PHO705: Group Critique with Module Leader

While the focus of late has been on writing the Critical Review of Practice and on ‘plussing’ the visuals, this post relates to a switch back to the public presentation of the work.

Switching tasks like this may be less efficient than running each task to completion. Professional development of photographic work might call on multiple resources, but here for the MA Photography, the author becomes or has become the sole resource for all of the work.

Collaboration practised as a professional specialism has yet to flow into the making process, so it has become quite a busy time. Considering research turned to image-making only a month ago then a lot of ground has been covered.

The making in the digital darkroom had been akin to the process of creating a painting. Now with the change of methodology and processing, the mental task of visualising and the way time is consumed is closer to photographic sculpture.

A National Portrait Gallery Friday evening drawing session attended last year, was conducted with white pencil on black paper, the process of observation and drawing likened to making sculpture.

Guest Group Critique

In presenting the work it was noted how exciting the development of the project has become and how this easily extends the work beyond the time available to us on this MA Photography course. With practice development, the project is likely to undergo further extension and presentation beyond May 2020. It is very exciting at this stage

A minor comment was the all-important selection of the sans serif Granville light font for use in the book and in the PDFs – the Critical Review of Practice assignment PDF and the book PDF hand-in.

As for the work shown in the critique an original InDesign file was shown having evolved through a one to one session, to the recent book designer session, to the subsequent splitting out of themes into individual files and finally and importantly the addition of more new work.

The project had all along used but now re-presented as having a trace of author’s DNA both as glow and as a graphic sequence.

There was a call to make a model in order to experiment with the layout of images. This would be more of a demonstration or proof exercise. In practice, the author has ongoing access to the studio/exhibition space and so does not require the intermediate step of modelling layouts. In an earlier module, a summer exhibition was held in the same space over a period of 8 days, it will be four days this time.

What is different this time is that access has been gained to the material for constructing exhibition walls from a stand kit. In a one, to one review the author was advised to set this aside, for an unexplained reason. It would be easy advice to take as it makes life easier. It is felt that there was a misunderstanding in communication via the online medium used.

Style, Paper and Framing

The critique was missing much in the way of content as the reviewer needed to see actual prints in front of them. The previous comment was of the look of charcoal on antique paper and was an accurate description of the aesthetic. This is produced both as an adjusted filter and is reproduced as a homemade PS action.

The vignetted borders were said to act against normal framing methods and would require consideration.

A test print was made a little while ago, was on matte paper and set out on the surface of the stock off white mount board used in the Summer exhibition. It all went together well.

There was a call to make a pile of prints as the quality can be more readily viewed and prints allow the order and sequencing to be done. This is an imminent action.

The project is the same one from the start of the course and has recently taken on more of the surreal. As image making began little more than one month ago the thrust has been towards image-making to gain images in sufficient numbers, higher than in the past with quality and with enough spares to support an 18 image exhibition and a book.

Recombinant Rhymes

From recombinant DNA and an artsci process of creating poetry. A decision was made to discover all or as many dictionary words as possible containing base pair letters A, C, G and T together. In order to form two or three-word crossword sections, words were gathered into themes.

There are sufficient range and sophistication of meanings linked to the work as photographic, biological and socio-political. The book would be expanded with facing blank pages set to contain word pairs or triples. No rhymes are intended.

Word Cloud

A simpler approach is the word cloud.

A variation might be to take advantage of scale in order to emphasise selected words. Chosen words correspond with a facing image. The method can be used with my DNA results in two cases; autosomal and mtDNA

Author’s Autosomal DNA and error rate

The Autosomal DNA chromosomes 1-22 are over 99% identical to all other human beings. Above are the mismatch errors in a 600,000 sample from 1.3 trillion base pairs in each DNA strand.

Author’s mtDNA

Mitochondrial DNA (mtDNA) samples for the author scaled by position in the DNA chain. mtDNA exists within the female line, is passed on to offspring female and male offspring and is very very stable. By remaining constant for thousands of years it easily spans the century of ancestors to whom the author identifies with. The Past Present.

Vision 2020

The forthcoming Vision 2020 Symposium and gathering at Falmouth University would have been a great opportunity to unveil the prints. However, the finite risk from the current virus spread and attending an international conference, combined with having caught a virus three times last year, making attendance undesirable.

Campaign

A social media campaign is planned and the first post made on social media using Instagram account foto_graphical. An Easter exhibition has been announced with the title: Past-Present.

Strands are coming together in consistent form.

Practitioner Comment

The advice given to another student was not to go overboard in obtaining practitioner input. A note I’d sent in earlier indicated that one remote critique was booked in, while a contemporary journal editor had responded as a potential attendee. A multi-genre, multi-award-winning professional had also volunteered to comment. Three others are on the back burner, so perhaps this is what was meant as going overboard – two of the three are recognised, art photographers.