Announcing our new collaborative project!

Colour and Light 1, Lincoln Cathedral

Colour and light 2, Lincoln Cathedral

I’m starting something very new, and quite challenging. My good friend Eileen suggested to me that we do a collaborative project, something I’ve had thoughts about doing for quite a while. We wanted something very thought-provoking and it’s taken us a little while to come up with a plan, but here’s where we are right now.

We’ve been inspired by the idea of Socratic dialogue. Socrates taught his students not by feeding them information or telling them what they should think, but by asking questions of them. By asking the right questions and getting them to examine their own replies, he helped them clarify the issues and work out why they thought what they thought, quite often leading them to change their minds of their own accord. Socratic questions don’t have any right or wrong answers, and often there are no absolute answers at all – the important thing is the questioning process and the deeper understanding it leads to. This is what we’re aiming to achieve with our new project, but with images being as important as words (or maybe more so).

We’re going to choose a piece of text – or it could even be a photograph, an audio recording, or a video – and exchange images that show some kind of response to it, along with some explanation and thoughts as well. We’ll probably keep going with the text until we feel we’ve exhausted the possibilities and then change it for something else. We’re hoping that it will give us – and perhaps anyone who’s reading our blogs – some food for thought. We’re also hoping that other people might like to join in the discussion, and perhaps even leave links in the comments to their own photographic responses to the text.

And we’re not starting easy – oh, no! We’ve chosen our text and this is it:

Ultimately – or at the limit – in order to see a photograph well, it is best to look away or close your eyes. ‘The necessary condition for an image is sight’ Janouch told Kafka; and Kafka smiled and replied: ‘We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.’
Roland Barthes, Camera Lucida

Before we came up with this text – well, it was actually Eileen who came up with it – we’d already exchanged a set of images each. She’s now emailed me her interpretation of our pictures, with reference to the quote above. First of all, here are Eileen’s photos:

Bognor ceiling butterfly 532 ecopy 650(c) Eileen Rafferty

Bognor new estate 207 ecopy 650(c) Eileen Rafferty

And you can see the ones I sent to her at the top of the post. I was feeling very mentally and creatively blank at the time, and wasn’t sure why I’d picked these ones out specially – I was just drawn to the colour and light in them.

Here’s what Eileen had to say:

My pictures are very much about space and perhaps absence – large pictures with limited information across most of the picture plane. Yours in contrast are small images, and have a slight feeling of enclosure. When reflecting on them, it seemed to me that where my images are in part about absence, yours are very much about presence. The light that falls across the scene feels to me like a very definite presence, almost physically palpable. It’s a warm, comforting presence and the more I look at them the more I imagine it as personified. Light as God, or the ultimate parent, or some form of spirit or benign being. It was reflecting on that presence, and the role these pictures might play in your life, that drew me back again and again to the quote above. I think I am making expansive and peaceful images at least in part because my life feels so busy and unpeaceful just now. Who or what is this presence that is calling to you in these images?

Does making these pictures drive them out of our minds, not to help us avoid them, but to give them some form of incorporation, to make them more real, to comfort us and to seek to share that with others? To what extent are they about things you can’t see, and how necessary are words to deepen understanding and explore more complex points?

Whew……some big questions there. I’ll do my best to respond to at least some of them – as this is an ongoing kind of thing, I’m not even going to try and answer everything at once.

First of all, these two images are very typical of my work. Sometimes I make images that are about emptiness and absence and involve a lot of space, but it’s more like me to produce smaller, intimate pictures like these ones.  Something comes over me when I see beautiful light or amazing colours, and it’s something that lifts me out of myself and my petty concerns and makes me forget about myself for a while.  In that sense there’s a transcendent element that kicks in when I shoot these things – it’s no longer me capturing the pictures, but the pictures capturing me, and that’s when I feel I do my best work.

As for a kind of presence, I don’t believe in any kind of orthodox god – if I were pushed to say what I believe in, it would be that there’s something like a benevolent but impersonal positive force or energy that we can draw on and tap into. Some people might call that ‘god’ but I don’t like the connotations that hang around the word. However, if I had to give this thing a physical presence, that presence would be something that trailed clouds of light and colour – very like what I’ve attempted to show in these images, in fact. It’s coincidental that these pictures were taken in a cathedral, but perhaps the space lent itself to the expression of this kind of thing.  My beliefs are very personal to me, and not something I want to go into here, but it’s interesting to me that Eileen has seen something in my images that expresses them rather well.

But let’s go back to the text again. – why the need to ‘drive them out of [my] mind’ and give them tangible form? I think this is a question that’s relevant to all photography – why do we need to give the things we see a physical form? Why is not enough to simply experience them? I don’t think I have any answers right now, but the question is interesting.  Garry Winogrand once said that he took photos to see what things looked like when they were photographed, and I think there’s something in that that resonates with me. But what is it that makes that an interesting thing to do?  And isn’t there more to it than that?

‘The necessary condition for an image is sight’, quotes Barthes. But there are quite a number of blind photographers out there who get something from creating images that they can’t see. Some of them do have some residual sight, others are completely blind but did see at one time, so they’re ‘seeing’ the image in their minds, but it still puzzles me why someone would get anything out of doing this. Turning to a different sense, there’s also the example of Beethoven, who continued to compose music he’d never hear except in his own mind. It seems, then, that we have some kind of need to ‘drive them [our images] out of our minds’ and put them into tangible form, but it’s not clear why. Is it the process that’s important rather than the result, and why is this process important even when you can’t see what you’re taking?

These photographers will never be able to see prints or screenshots of what they’ve taken, so the end result is presumably not the driving force.  Talking to another friend of mine a few weeks ago, we were pondering the problem of what you actually do with your photos or artwork once you’ve created them.  If you aren’t going to sell or display them, why produce them?  I could argue that it’s the process that’s the important thing, but would I still take pictures if I knew no-one but me would ever see them?  I think not, so it can’t just be about the process for me.  I think I feel a need to communicate what I’m seeing, perhaps to try and point out something that I’ve noticed but that you might not have.  Or if you did, you might have seen it in a different way.  It works as both expression and communication, and if someone resonates with something I do, then some small connection is created between us and that’s a very satisfying thing.

There’s a lot more to say, and in true Socratic style I’ve asked far more questions than I can ever hope to answer, but there’s an alarmingly high word count appearing at the bottom of my screen.  I’m going to leave it here for now, except to return briefly to Eileen’s pictures.  For me, they’re all about space to breathe.  When I look at them I feel as if I can take a big deep breath and let go of my problems – which is exactly what I’m going to do now.


Where is home? – Pico Iyer

‘Where or what is home?’ is a question that’s been occupying me for some time – for obvious reasons – so when I came across this TED talk by Pico Iyer I stopped everything to watch it. If the question interests you, then I recommend you watch it too – it’s fourteen minutes well spent.  (I’ve had terrible trouble getting the video to embed, so if it’s disappeared again you can link to it here:

Iyer points out that ethnic origins no longer define where home is – he’s Indian by ethnicity, but has never lived there nor can he speak any of its languages.  For myself, I’m Scottish by ethnicity and birth, but although I identify to a great extent with Scottish culture and I have a great deal of love for the landscape, I’ve never actually felt at home there.  Even at a young age, growing up in the west of Scotland, I never felt as if I belonged.  As time went past I managed to forget that, and a few years ago I went back there to live, expecting it to be a permanent move.  I was miserable.  That whole feeling of not fitting in and not belonging came back in a huge rush.  Scotland is where I come from, and a place I love to visit, but it isn’t home.

There’s a problem with linking home to a physical place – what happens if that place disappears?  Iyer had the misfortune to have his house burnt down in a Californian bush fire and was left with nothing but the clothes he was wearing and a toothbrush.  That’s an extreme example, thank goodness, but most of us have lost a place that represents home in some much less dramatic way.  Leaving Canterbury felt like losing my home.  I was back there for a week recently, and it really did feel  like going home even though I no longer have any physical roots there.   But the latter isn’t really what home is about:

“…for more and more of us, home has really less to do with a piece of soil than, you could say, with a piece of soul.”  Pico Iyer

That piece of soil may be strongly linked to a piece of our soul, but the soil itself isn’t home.

If home isn’t synonymous with place, we could think of home as being where the people we love are, which is fine if we’re thinking about spouses and pets, but what if your children, parents, and friends all live far away from you?   And what if they all live in different places?  No, home is something far more nebulous and much harder to pin down.  And perhaps it’s something that’s different for different people.

Part of my feeling that Canterbury is still home lies in its familiarity. For the first time in a year and a half, I knew how to get to places, I knew where the best places were to go, I knew where to buy the things I wanted – it was all so easy and reassuringly familiar.  New places are exciting, it’s true, but when you have to actively remember where the light switch is each time you want to put it on, novelty can get a bit wearing.  I know some people thrive on it – they’re the travellers, the adventurers.  I’ve never been like that.  My taste for adventure lies in new ideas, different ways of thinking and being, and to travel effectively in my mind, I find I need a familiar, reliable, physical base.  You may be quite different.

Home is more like a feeling than something that you can point to. I still find it difficult to understand why I feel at home in one place, but not in another, which doesn’t help when I have to make choices about where to live.  I never felt at home when we were living in Cheshire, although it isn’t obvious to me why that was.  And I already feel much more at home where I’m living now, even though I’ve been here less than two months.  It isn’t exactly ‘home’ yet, but I can see that it might become it in time.  Home, for me, feels something like having a familiar, stable base – a metaphorical and physical fixed point from where I can venture out and explore.  It’s a mixture of familiarity, proximity to people I love, and perhaps most of all,  a feeling of belonging. The first and last of these take time to develop, and sometimes never do.  I wonder if there are places where we simply never can feel at home?  I think it’s possible.




Desperately seeking a Wabi Sabi house

Steep Hill, LincolnSteep Hill, Lincoln – perfect in its imperfection?

We’re house hunting again, and it’s making me think a lot about what I like and don’t like and why that might be. What we really want is something old and characterful, but most of the housing stock is post 1960s and we’ve begun to consider other possibilities. Recently we thought about viewing a house I spotted on Rightmove – it was very modern, but it was light, bright, and beautifully decorated and finished.  It was immaculate. But therein lay the problem – we don’t live immaculate lives. We’re often messy and sometimes the housework goes un-done if there are more interesting things to do (and there are always more interesting things to do). I just couldn’t see myself in this house at all.

It was so perfectly presented that a few crumbs in the kitchen would have ruined its good looks. And then I thought – one reason I love this rental house so much is that it accommodates our lives and doesn’t ask too much of us. The kitchen has an ancient, broken brick floor that doesn’t show up all the little bits of food that get dropped on it, and the solid old pine of the units can take a few crumbs left lying and the kind of watermarks you get where it’s been wiped with too wet a cloth. I like to cook, and I want a kitchen I can cook in and really use, not a show place. The rest of the house is like this, too – this house supports us, we don’t support it.

I don’t really like perfection. It has an instant appeal, but I become bored with it quickly and it somehow pushes me away. This is ironic, given that I’ve spent much of my life trying (and failing) to be perfect, thinking somehow that it would make me more lovable. And yet that’s not how I respond myself. I’ve never found perfect faces and bodies very interesting – give me a quirky, individual sort of beauty any time. And I love the house we’re living in for its bumpy walls, sloping floors, uneven staircases, and all its glorious, imperfect idiosyncracies. It has immense character. Perfect faces don’t have much character, and neither do perfect houses – they tell you nothing about themselves.

Perfection both demands something of us and is untouchable in itself. If a thing is perfect, there’s nothing you can add to or subtract from it without messing it up – it gives us nowhere to go, no way of interacting with it and all we can do is worship at its feet. At the same time, its perfection can be like a reproach, by highlighting our own lack of it. Nobody much likes the person who seems to live an immaculate, perfect life (of course, they never do, and we’re only seeing what they want us to see, but it doesn’t endear them to us). And when we fall in love, it’s often someone’s vulnerabilities that open up our hearts.

I find this with photography, too. The perfect can have a kind of instant, ‘wow’ type appeal, but it doesn’t last. Technical perfection often has a soul-less quality and it leaves the viewer nowhere to go – it’s glossy and finished. When I started in photography I would sit gazing in awe at the immaculate, perfect landscape shots in the magazines, wishing I could produce such a thing myself. After I’d seen lots of these, though, they lost their appeal and now I don’t give them much more than a passing glance.

And another thing – I grew up in Scotland, and I can tell you that the much-photographed Highlands very rarely look the way they look in this kind of image. It’s a wilder, grimmer, wetter place, full of swarms of irritating midges, and cold, buffeting winds. The reality of it is not so immediately appealing but it touches the soul in a way these images never do. Those perfect, idealised photographs of it don’t capture what the place is really like – immensely beautiful, but also sometimes threatening, gloomy, timeless, untamed, and at times hostile.  This is what makes it what it is, and when I look at these photos I don’t see the Highlands I know.

The Japanese have a concept they call Wabi Sabi. It’s complex and not easy to translate, but put simply it’s about the beauty and nostalgia of age and imperfection. Perfection is controlling, Wabi Sabi is accepting. Perfection is an attempt to preserve, contain, and stop the ravages of time, Wabi Sabi embraces them.  Where perfection only sees entropy and disarray, Wabi Sabi sees beauty. When something is Wabi Sabi, it’s perfect in its imperfection.

I’m looking for a Wabi Sabi home.


Do big spaces make for big thoughts?

Talacre Beach, Flintshire

My constant yearning for the sea led to a trip to Talacre Beach last weekend. Of course, the tide was out – a long way out – but we walked the several miles to get to it (just kidding) and it was enough to keep me happy for a little while.  Unfortunately, at low tide there are pockets of quicksand/mud that you start sinking into very rapidly.  It’s impossible to know where they are – one moment everything’s nice and firm underneath you and the next you’re up to your ankles in it, as this picture of Geoff’s shoes will demonstrate – a bit like life, really.

Muddy boots

Even though the sea is mostly AWOL, I do like this beach – it’s such a huge, open expanse that seems to go on forever. It’s the very opposite of feeling trapped, claustrophobic, and limited, as I have been prone to doing recently.  Geoff’s temporary job comes to an end in a couple of weeks and he has no interviews lined up or any other prospects.  This situation we’re in can easily make us feel powerless, immobilised, stuck, and fearful for the future, so being in a place where the space is huge and horizons expanded can help bring back some balance.

My friend Eileen mentioned a book called The Old Ways, by Robert McFarlane recently, on her blog. She quoted something that stood out for her, and also intrigues me:  “The two questions we should ask of any strong landscape are these: firstly, what do I know when I am in this place that I can know nowhere else?  Secondly, what does this place know of me that I cannot know of myself?”  McFarlane has claimed elsewhere that cognition might be site specific” and that we think differently in different landscapes.  He even wonders whether it’s possible that “certain thoughts might be possible only in certain places”.  This idea took hold of my imagination when I read it, and I’ve always meant to go back and ponder on it a bit more.

I wouldn’t know how to answer these questions in any depth, but it does seem to me that we are enabled to think differently in different kinds of spaces.  Positive thoughts are harder to come by in miserable environments, and being in a huge open space like this beach helps get things into proportion – perhaps by making us realise how small and unimportant we are in the total scheme of things (in a good way, of course).  It also seems to me that being in a big space could naturally lead to bigger, more expansive thoughts.  Aesthetically-pleasing natural surroundings help us in some primitive, physiological way, too.  There have been numerous studies that show that hospital patients in rooms with a view of trees get better and are discharged more quickly than if they’re looking out onto concrete.  Seems obvious to me, but it’s nice to have it confirmed.

But now, on with the photographs – first off, I had a couple of Gursky moments (wish I could get paid as much as he does for them):

Blue puddles, Talacre Beach, Flintshire

Gursky moment, Talacre Beach, Flintshire

For the rest, I just wanted to capture the feeling of space and the wonderful clouds and sky and water.

Cloud reflection, Talacre Beach, Flintshire

Waves, Talacre Beach, Flintshire

Talacre Beach, Flintshire

Reflected clouds, Talacre Beach, Flintshire

Reflected clouds 2, Talacre Beach, Flintshire

And then there were these amazing ripple patterns in the sand:

Flow - sand ripples, Talacre Beach, Flintshire

Flow 2 - sand ripples, Talacre Beach, Flintshire

And finally, my favourite shot of the day.  Turned upside down, it takes on a rather surreal look:

Lighthouse reflection, Talacre Beach, Flintshire






In those spaces, you make your own voice

Justine Musk is talking about writing in this quote, but it applies equally well to photography.

Let yourself gravitate to the writers who attract you, pull you in, because their work is showing you something of yourself.  Let yourself imitate them, until you notice those spaces where you can’t help but do something different.  In those spaces, you start to make your own voice.

Sometimes we try so hard not to imitate other people that we leave ourselves nowhere to go – better to trust that in the imitation there will be spaces where our own voice insists on making itself known, and that if you’re drawn to someone’s work it’s because something of it already exists within you.

Quote from 11 Quick + Dirty Things About Writing


So where do I go from here, I wonder?

Horizon, West Kirby

The results of my assessment are in, and they’re not good. I’m too embarrassed to give the mark here, but let’s just say that, while it’s a clear pass, it’s at the low end of average.  The mark is divided into four sections, and under ‘Demonstration of Creativity’ I’ve been given 10 marks out of 25 – in other words, they see me as a definite creative failure.  Obviously I didn’t do too well in any of the others either, but this was the worst, and the biggest disappointment for me, since I believed that during the last year or two I’d made quite a bit of progress creatively.

A couple of years ago this would have devastated me but the one thing I’ve learnt while doing these courses is to shield myself against what anyone in authority says, good or bad.  Where once a good comment from a tutor would have thrilled me, now I shrug my shoulders and think, well, yes………maybe.   It’s obviously nicer to get good comments than bad ones, but I’ve stopped allowing either of them to impact on me.  Whether I’m as detached as this in truth I’m not sure – squashing one feeling down has the result of squashing them all and this might go some way to explaining why I’ve felt so little consistent enthusiasm for photography for quite a while.  I certainly feel very flat at the moment, and a bit lost as to where I go from here.

If I accept the assessor’s opinion that I’m mediocre in the extreme, then I feel little incentive to carry on doing photography in any serious way.  I like to do things well – and I usually succeed in that – and I’m not really prepared to be that bad at something.  But photography has been my passion and is also my way of earning a living, so to give it up would be a huge loss to me.

When I did an Access to Art & Design course many years ago, I was told after a couple of months that I was likely to fail the drawing section of the course.  Since I’d only started drawing at all about three months before I started, I knew very well that I wasn’t much good.  My immediate reaction at that time was ‘what do I have to do to get better?’.  I was told simply to practice as much as possible, and I did just that, with the result that I ended up passing that part of the course with no problems at all.

That hasn’t been my reaction this time. Firstly, I honestly don’t think I’m that bad.  It’s easy to be self-deluding – anyone who’s watched the selection process in The X-Factor will be well aware how many people there are out there who have no idea how bad they are at something for which they think they have a talent.  It’s possible I fall into this group, but I do have a modicum of self-awareness and I don’t think I’m entirely fooling myself.  A more likely explanation is that I simply don’t fit into the parameters of what OCA considers ‘good’ photography.

A while ago, I talked about an article by Tara Sophia Mohr on the whole business of criticism, and I’ll quote a bit now:

Tara’s view is basically this: feedback/criticism doesn’t tell you about you, it tells you about the person giving the feedback. She says that when we seek out feedback, we shouldn’t see it in terms of our own merit or value, but as useful information that tells us whether we are reaching the people we want to reach in the way that we want to reach them (my emphasis). So if you want to win the camera club competition, feedback from the judges can tell you how to do that. Of course, you may not actually want to produce the sort of work that pleases camera club judges, or higher-level education tutors, or someone who likes ‘greeting card’ photography, or the people who buy for IKEA, and in that case feedback from those people is essentially useless to you and means very little, except whether or not you’re not giving them what they value. If you take on board what they say when you don’t actually want to compete in that field, then you’re going to end up becoming discouraged or untrue to yourself. Of course, if you have ambitions in the area in which they’re expert, then it would be sensible to consider their opinions.

So really, this mark is only important if I want to produce the kind of work that pleases OCA assessors and thereby gets me a good result, and I’m not sure I do.  I was never very bothered about getting a degree-level piece of paper out of this, but saw it as a way of being made to stretch myself and give myself a structure to work to.  I’m not great at self-discipline, so having the imposed discipline of  a deadline – albeit a very flexible one – was useful to me.  I’ve enjoyed the contact with other students and the feeling of belonging to a group of people with similar aspirations.  But you know, that feeling of belonging has been dwindling slowly over the last year or two, as I’ve become more and more disenchanted with institutionalised art education and feel myself less and less accepting of the group mentality.

You may be wondering what was in the feedback? They started by saying my assignment was very well presented – the one thing that means nothing since it has little to do with the work itself and is something that anybody can learn to do well.  They also liked my essay a lot, which is making me wonder if I should be putting down my camera and picking up my pen.  The main criticism of my photography seemed to be that I wasn’t showing ‘evidence of a conceptual progression‘.

Ask yourself, why would someone look at these images?  Are you conveying your interest and is it one that is likely to be shared with an audience?  One of the reasons for contextualising your work is that you will gain awareness of how others will perceive it.  We live in a shared culture, images that signify endlessly similar things to us become quickly meaningless, your audience will be very quick to dismiss work that either is not immediately striking or does not contain references or evidence that thought has taken place in the construction of the image.

It raises a number of thoughts, the first being that they’re assuming a certain sort of audience, probably one like themselves, and this is not the only kind of audience there is.  I guess it’s true that if I knew better where my work fitted in with the kind of work they rate highly, then I’d be able to tell how they would perceive it and modify it accordingly.  But do I want to do this?  The crux of the matter is that I’m not too interested in doing the kind of work they appear to value just so I get the mark, and I’d prefer to hold onto my integrity.  Much – although definitely not all – contemporary photography leaves me cold and seems contrived, over-intellectualised, and lacking in aesthetic satisfaction.  This is not ignorance speaking – I’ve looked at many people’s work and opened myself to finding what I could in it.  It might be my age (I’m getting on a bit), it might be that I’m too rigid in my opinions, it might be that I lack understanding. Whatever, in an era when the idea has become vastly more important than the image, I find myself far more interested in the image than I am in the idea and that puts me firmly at odds with the zeitgeist – never a comfortable place to be.

I’m left with some very mixed thoughts and emotions – an inner battle between confidence in my own ability and the fear that perhaps I really am below-average; the acknowledgement  that the assessors may well be right from within their own context, but perhaps wrong from within mine; the immediate impulse to give it all up in disgust and the equally compelling impulse not to let ‘them’ win; the knowledge that photography has become less and less enjoyable for me since I started doing these courses, but also the understanding that I need to keep learning and to be part of something that will stretch me; the hurt and frustration that’s finally beginning to come through as I write this and the feeling of freedom that, were I to stop studying, I’d no longer have to care what ‘they’ think of my work and could avoid the depressing feedback that accompanies every assessment and tells me that my work is nowhere near good enough.

And finally the big question – why am I doing this, and where do I go from here?



Turquoise wave

I’ve been thinking lately about the whole business of being ‘influenced’ by other artists. Researching other photographers and putting our own work into that context is something that we’re supposed to do for our coursework. I’ve always found that a little bit strange – I mostly just do what I do without thinking about who else has done something similar first. Apart from helping us avoid the reinvention of the wheel, I’m not sure what the benefit to us is supposed to be. (And actually, even if we did reinvent the wheel photographically speaking, we’d almost certainly do it in a different way that had our own stamp on it – so it’s still worth doing.)

It might give us some inspiration, perhaps, or supply us with an idea that we could build on, or twist in some way to create something new.  The danger is, though, that it could also push our own ideas into the background or lead us to feel that we might as well not bother as someone else has done it better first.  It’s for these reasons that photographer Cole Thompson practices what he refers to as ‘photographic celibacy’ – he won’t look at anyone else’s work in case he’s influenced too much by it.  It’s a controversial approach and if you want to read what he has to say about it, you can find it in this interview (the bit about photographic abstinence comes right after the sixth image).

There are obviously situations where you have to relate your work to other photographers – for example, the assignment in which I attempted to produce work in the style of Ernst Haas involved a lot of research into Haas and some analysis of his work, followed by an attempt to see the world through his eyes. What struck me most while I was doing this was that the attempt didn’t involve much effort as I was already photographing ‘in the style of’ Haas before I even knew he existed – it’s what I’m drawn to doing anyway. (I’ll hurriedly add that I’m not claiming to be of the same standard – just that I see the world in a very similar way)

I took the picture at the top of this post years and years ago, before I’d even heard of Haas; compare it with After the Storm, by Ernst Haas, here: Not identical by any means, but there’s a similarity of approach.

Naturally, one of the reasons I chose Haas as my subject is that I love his photographs and his vision. While there are plenty of other people whose work I enjoy and who have very different ways of relating to the world, I knew it would be much harder for me to come close to working in their style. It might have been more interesting – it certainly would have been more challenging – and a part of me thinks it would have been very good for my learning to choose someone with a very different voice. However, I doubt I could have pulled it off very successfully because I’d have been working against my own style, and it would have been a lot more difficult for me and perhaps frustrating, too.

Oddly though, it’s just possible that if I had chosen someone very different to me, I could have ended up being more influenced by them than I am by someone whose work fits with what I’m doing anyway. Emulating Haas hasn’t made me change anything that I was already doing, but if I’d had to emulate someone very different, it might have given me cause to change some, at least, of what I usually do – and that would have been a very definite influence. Even if it hadn’t, it might have given me a better understanding of why I like to work in the way that I do, and that might have had a beneficial influence in its own way.

If anyone gives a list of their influences, you can always see elements of the work they do in the people they’re influenced by. My guess is that they’d have done work that was much like this anyway, and that their influences haven’t actually influenced them that much, although they may have encouraged or inspired them to continue on the same path (which I concede is also one kind of influence).  What you never see – well I haven’t, anyway – is someone claiming to be influenced by someone whose work is entirely different to theirs.  If you know of any examples, please post a link in the comments!

Less like an ending than just another starting point

Landscape, Port LympneLandscape, Port Lympne

It’s done, it’s packaged up, and from tomorrow I’ll have my life back again – the assessment is in the post and I can get rid of the mess that’s taken over in my study. All that remains is to look back over the course and reflect on what I’ve learned along the way. Here’s what I’ve discovered.

Landscape can be interpreted in any number of ways
One of the most challenging things for me on this course was to find a way through it that didn’t require me to fit into the mould of classic landscape photographer. I don’t tend to enjoy photographing large vistas, and pinpoint sharpness is not my obsession – moreover, despite the course content, the classic approach is not really what the college is looking for.

I did a lot of reading around the subject of landscape, and looked at a lot of non-traditional landscape work, finally realising that it could be interpeted in any number of ways, many of them far from obvious. One book I looked at – Shifting Horizons: Women’s Landscape Photography Now by Wells, Newton & Fehily – had a portfolio in it of elastic bands found in various streets and then used to create photograms. That’s landscape? – it seems so. I figured I could certainly do what I wanted to do and still stay a lot closer to most people’s idea of what landscape covers. That was a huge relief, and I’ve pretty much followed my own instincts and passions.

I need to start doing my own printing
My existing printer isn’t up to the job of doing decent photographic prints, and so I get my prints done through online printing services. I’ve always known there would come a time when I’d feel the need to start printing myself, but I didn’t realise it would happen right in the middle of getting my final assessment prints done.

Until now I’ve used Photobox and despite having an uncalibrated screen, their prints matched up pretty well with how they look on my own computer……..until now. The batch I just got back from them were appalling by any standards. Most of them were so soft that they were totally unusable, and the rest had strong colour casts. A friend had also just received a batch of prints from them and hers were very badly done too, with a lurid yellow-orange cast to them. I think this is where Photobox and I part company for ever.

I ended up having to have them redone by a more professional printing lab, and that then involved learning how to do things like add ICC profiles and so on. Because my screen isn’t calibrated I had to guess at colours and brightness levels and it was all a major stress – I had to have some prints done more than once before I got them right. I know now that I must get a decent printer and a calibrator for my monitor and start doing my own – a learning curve, yes, but in the long run it will be much easier. I’ve put it off for too long.

I’ve gained the impetus to continue with my own projects
One of the reasons I like to do these courses is that they give me a structure to work to and force me to persevere with small projects. As I’ve worked through this course I’ve found that, more and more, I’m coming up with little projects of my own without the motivation having to come from an external source. The last time I finished a course I had a gap of a few months before I started the next one, and I found that I drifted a bit and lost focus (no pun intended). This time I feel as if I have the momentum to keep going. There are a number of things I’d like to explore and even without the course structure in place, I think I’ll be working on some of these. Writing this blog has helped a lot to keep me motivated.

I’m not sure that academic photography is for me
More and more, I’m feeling as if I’m in the wrong place. On a study visit yesterday I got a bit fed up with the endless discussions of photographic theory and history, and the emphasis on the conceptual idea. ‘If I’d wanted to study philosophy’, I found myself thinking, ‘then I’d have done a degree in that. But wait………I already did!’.

I took up photography as a way of getting out of my head, where I spend far too much time as it is. I wanted something that would allow me to be more spontaneous, intuitive, and creative. I had the rather naive idea that a fine arts degree would be more focussed on these things than, say, a philosophy degree – how wrong can you be? There’s a real danger, when it’s studied in this way, that you end up doing more thinking about it and reading about it than you spend actually taking photographs. And that’s not the point for me. It’s not that I’m not interested in the theory and so on – I find a lot of it very intellectually stimulating – but it’s not where I want my focus to be. I need to do more and think less.

I expect I’ll go on to do another course, but it will be a decision born of a lack of alternatives. There just isn’t anything out there that satisfies my needs course-wise. All the other photography courses I’ve seen are either technically based rather than art based, or are too low-level. I want something that challenges me and stretches me over a longish period of time, and at the moment this is all there is.

One of my options could be to change from being registered for a degree to studying the courses as leisure interest, which would give me more freedom to use the courses for my own ends. I’ve got a few reservations about this. I wonder if the tutors give as much attention or thought to their feedback if they know you’re not aiming for the full Monty? And I wouldn’t be allowed to have my work assessed if I’m not formally studying (the way I’m feeling at the moment that seems like quite an advantage, but if I’m going to do the work then it would be nice to get some recognition for it).

And last – but very definitely not least – I have protected fee status right now, which means that I’m spared the enormous hike in price that the courses have been subject to recently. The saving is huge, and I don’t think I’d be eligible for it unless I was studying as part of a degree. I need to check this out, but this will probably be the deciding factor that keeps me enrolled on the degree path.

To sum up
There was a whole year when I didn’t think I’d continue with this course, but I’m glad I did. It’s turned out to be a really valuable learning experience, though perhaps not in the manner in which it was intended. I feel that I’ve come much closer to finding my own voice and developing my own style and that my photography has moved on considerably since I started it. I’m relieved to have it over and done with but, to quote Chuck Palahniuk, ‘The feeling is less like an ending than just another starting point.‘  What’s next, I wonder?


Learning log blues

Swimming for the sky

Reaching for the sky – reflection in fish pond, Cambridge Botanical Gardens

I have very mixed emotions about the whole concept of educating people in art, and they’re escaping like worms from a can as I try to get my course assessment material together.  My biggest bone of contention is the learning log.  This, they’re quick to tell us, is for our own development and we should create it in a way that works for us.  So far, so good, but then they give us a 14-page A4 booklet telling us how to do it properly.  Mixed messages or what?

The logbook is part of the assessment, and as such, it gets a mark. If they were telling the truth about it being purely for our own benefit, they might want to see it, but they wouldn’t mark it.  Because as we all know, if you mark something you must have certain criteria that have to met in order to be able to give that thing an appropriate mark.  So that means there are certain things they expect to see in it, and certain ways in which you’re supposed to write about things, and if doing it that way doesn’t suit you, then you’ll get marked down.  Mmmm…’s for us, is it?

There are three questions, they say, that we should ask ourselves:

  • am I being honest with myself?
  • is this a useful process for me?
  • is this helping my own process of learning?

If the answers to these questions are ‘yes’, then ‘your learning log is right for you’, it says.  I think these are good questions, and I can answer each of them with a clear ‘yes’.  But I’m worried, because then it goes on to tell us about things we ‘must’ include in our logbook.

Of course you know where this is going. I’ve used this blog to explore my thoughts on my course and photography in general.  I think I’ve done a fair bit of reflecting on the course and on various aspects of photography, and that’s good – but there are an awful lot of things I haven’t done.  Or – let me be more specific – there are a lot of things I’ve done but haven’t written about.

I’m a voracious reader and not just of photography books. I read a lot of these, but I read a lot of other non-fiction as well and also try to relate what I learn there back to my photography studies.  But I haven’t written all of this down, mainly because I read so many books that I don’t have the time or the inclination to document them all.  I see lots of exhibitions, too, but I don’t write about many of them.  I don’t want to write about something because I’m supposed to, but only if I feel I have something interesting to say about it.  So I haven’t documented most of the books I’ve read, websites I’ve looked at, exhibitions I’ve gone to, or discussions I’ve had.

Another thing I haven’t done is to record my experiences with the exercises in the course materials. This is a very old-fashioned course that desperately needs to be re-written (I think it is being re-written at the moment) and it’s bad enough having to work my way through exercises like ‘try taking your shots in both landscape and portrait orientation’ or ‘take a photo with as many shades of green in it as possible’, without having to write all this up as well.  I hope I’m not suffering from hubris, but most of the exercises cover things I did ages ago when I was first learning to use a camera.  The remaining ones relate to film, which I don’t use.  The exercises are tired and old-fashioned, and I don’t feel they’ve contributed much to any learning I’ve done.

So I’m a bit worried right now, because the learning log counts for a substantial proportion of the marks and I think mine is likely to be frowned upon.  Doing this course hasn’t been easy for me – there was the demoralising tutor criticism at the beginning, and the subsequent loss of confidence that led to me taking a year off and not planning to come back.  I’ve also had to find a way of doing the landscape assignments that fits my particular style, which isn’t that of a traditional landscape photographer.  I’m proud of myself for having finished the course, when I thought at one point I was done with studying photography for ever, and I feel my personal style has developed and deepened in the process.  But because I see these courses as being for me rather than as a way of getting a bit of paper that qualifies me, I’ve gone about it very much my own way.

The first question they want us to ask ourselves is ‘am I being honest with myself?’ Well, yes, I am and I’m doing my best to be honest, too, to the people who’ll decide if I pass or not.  I’m probably going to suffer for that, but I’m past the point in life where I’m willing to play the education game any more.  I’ve already done that and got the certificate to prove it – I don’t need another one.  If I fail or get a low mark, and if part of that is because I’ve made the course fit me rather than fit myself to the course, then I guess I’ll just have to live with that.  But I know myself, and I know I’ll find it hard to deal with, and so I worry.


Collecting photobooks

Ernst Haas, Color CorrectionA while ago – about a year ago, I think – I bought the photobook Color Correction, by Ernst Haas, for about £28.  I love this book with a passion and I want to have it always, but I’ve just noticed that second-hand copies are on sale on Amazon for £400 upwards.  I’ve been thinking for some time that photobooks, if carefully chosen, would be an excellent investment.  There have been so many times that I’ve wanted to buy a copy of some photographer’s work, only to find that it’s out of print and would cost me several hundred pounds even if bought second-hand.  There have been lots of other times when I’ve thought about buying a recently published photobook but haven’t because I didn’t feel at that moment that I could spend the necessary £35.  Later I’ve gone back, and found that the price has soared because it’s gone out of print, putting it out of my reach.

The average photographic monograph can be bought for between £20-60, making it affordable to buy, say, one a month.  You’d probably have to keep them for quite a while (although my Haas book has soared in value very quickly) and there’s no guarantee that they will ever rocket to these giddy heights.  On the other hand, these books do tend to hold their value and you’re unlikely to lose much money if you buy them at the original price – on top of that you’ll have a wonderful collection of photo books to enjoy.  Of course you would have to handle them very carefully as even minor damage would reduce their value a lot, but this isn’t a problem for me as most of my books look like new even after I’ve read them several times.  It’s one of the few advantages of being anally retentive  🙂

I found this article from The Guardian, dated about a year ago, that suggests photobooks are a promising way to make money over the long term.  There are lots of pros and cons, of course, and I’m sure there are far more reliable investments, although not many that would be so enjoyable.  I have mixed feelings about the idea, because I wouldn’t buy something I didn’t like purely as an investment, and if I do like it then I’m probably not going to want to sell it.  Having said that, though, there are quite a number of photobooks that I’d very much like to have for a while and wouldn’t mind selling on once I’d had my fill of them.

Edge of VisionThere’s a book that I already have on my shelves, for exampleThe Edge of Vision: the rise of abstraction in photography by Lyle Rexer.  I bought this a year or two back, and it didn’t live up to my expectations, so I’d be more than happy to sell it.  I had to sit down when I saw how much it’s on sale for on Amazon – upwards of £1199.56 for a second-hand copy!  I can’t believe that anyone would be willing to pay this, but I’ll be putting it on there for sale just in case.  And if it does sell, guess who’s going to be using some of the proceeds to buy lots of photobooks?