Understand the context
“Study the work of other photographers – the masters and your contemporaries, read photographic theory and online debates, understand how visual communication and culture work, and the wider context you are making and presenting work in.”
Suggested Work: Raised by Wolves by Jim Goldberg
-an example of long-term, collaborative storytelling
-photographing through objects, archival imagery and handwritten text.
Find your own voice
“The best photographic work feels like something we have not seen before, whether that is a story, a style or a feeling that it evokes.”
Suggested Work: Tim Hetherington’s ‘Sleeping Soldiers’
Suggested Work: ZZYZX by Gregory Halpern
Ask yourself what will sustain you photographically
“Photograph the thing that you are obsessed with, the thing you are angry about, that you are fascinated by, that you want to understand. Make sure it is something that will sustain you photographing it over many years. The best photographic projects develop over time.”
Suggested Work: Dreamlife by Trent Parke
“…waited for the perfect light to hit the street corner…”
“A beautiful example of the passion and patience needed to make great work.”
Do the work!
“Do the work then spend time sharing it, selling it, promoting it, entering awards etc.”
“…making good work takes time. When you are hustling, it can feel like a very lonely, thankless pursuit. Keep at it.”
Suggest Work: ‘Geography of Poverty’ by Matt Black
“has taken four cross-country trips over 80,000 miles throughout 46 states of the United States, photographing communities living below the poverty line. The work is a master class in what is possible through sheer commitment and many miles of road.”
Go where your audience is
“The making of a book is a beautiful way to get your work out into the world, but it is not the only way. What impact do you want your work to have? Who needs to see it to have this impact? Where are they looking? How can you reach them?”
“One way of reaching a large audience and building a community is Instagram.”
““In my case it was important to be on Instagram because it has become such a fulfilling and fun creative outlet. I am able to look at, think about and take pictures with a freedom and immediacy that is more difficult with my ‘work’.”
Suggested Article: Magnum article
Build a community
“Photography can be hard and lonely. Build a community around you. Reach out to people whose work you like on Instagram. Organise a meet-up. Attend a workshop. Be generous with your time and ideas, help others and others will help you.”
Expand your practice
The job does not end in the camera.
Suggested Work: ‘1915’ by Diana Markosian
Kill your darlings!
“you will edit out many “good pictures”, but the overall work will become better for it.”
Suggested: Mark Power on Magnum here.
Break the rules
“Read the rule book, then throw it out the window. Listen to all of the advice, and then do what you think is best for you and your practice.”
Suggested Work: ‘Agata’ by Bieke Depoorter
Enjoy the journey
“Photography can be playful and propose more questions than it gives answers. That’s the greatest thing photography can do – raise questions.”
List of Suggested Materials:
- Raised by Wolves by Jim Goldberg
- Tim Hetherington’s ‘Sleeping Soldiers’
- ZZYZX by Gregory Halpern
- Dreamlife by Trent Parke
- ‘Geography of Poverty’ by Matt Black
- 5 Instagram Lessons from Magnum Photographers
- ‘1915’ by Diana Markosian
- Mark Power on Magnum here
- ‘Agata’ by Bieke Depoorter
Preferring the look of “Photo A”, but adore the blue sky in the “Photo B”. In Photo A I enjoy the spots of lights through the shadows and the metallic luster of the “chimney”(?).
Photography as performance art probably more closely describe the commonality of the works I chosen and resonate with.
Sophie Calle, modelling as herself, described as “depicting human vulnerability and intimacy”. Her eyes closed, in one way to avoid light beaming directly to her eyes, but gives off the feeling she is offering something significant to the viewer. She’s apparently standing, so her closed eyes, to me, aren’t read as relaxed, but rather some rigid acceptance.
Deana Lawson: Dark-skinned, black individuals at home, in bedrooms and living rooms. It gives off comfort through the bodies of the models. Because is safe, home is a haven, no matter how much you try exaggerate the models features or pose compared to the plainness of the room, I still feel, I can still accept that this is there home.
Carrie Mae Weems, another example of black people at home but this time there a unique unrealistic perspective. How the subject in the center is presented as the main character of their on story, movie-like.
Justine Kurland’s work here has that energy I want to set loose. “The Lawless Energy of [Teenagers]”. Carefree bubblegum-blowing, rough housing, undress and being bare to nature, remnates of civilizations is in the background or hold small amount of space, like balled up clothes that been casted off, breaking social etiquettes. Greens, browns, and yellows of outside world visually dresses the scenes like clothing.
Hannah Wilke, modelling as herself, augmented body, grotesque, disregard for ideal beauty, chewed gum and hinting at unsightly growth and unashamed. An affront to the tastes western civilization comes to mind as a over-encompassing theme. Freakish, grotesque and yet captures the attention. Everyone who does look away in disgust has taken part of the crime as they take it in.
Ana Mendieta, disappearing human bodies, but erased but transitioning into something else. Bodies coming new parts of the earth, in a non-morbid light. Not carrying the connotation of discomposing but intermingling a molecular level. Maybe it’s the way she poses her body that gives the impression of what is happening is supposed to happened. Her body is realistically propped to be merge with nature, and not callously dropped there. “Planted” also seems suited.