Project 2 – Visual Skills – Exercise 1.2 Point

Notes, Part 1, Reflection on coursework, Thoughts & Ideas

Summary:

For my second exercise I have;

– Provided the brief for this task and my initial worries about how to I was going to shoot as well as
– My decision to explore flat lays and the visual preferences for this exercise.
– Stated the choice of subject and why they helped with the overall balance of the shot.
– Inserted the images taken for this exercise, explaining the different choices made and a short analysis of how I feel they fit the brief along with
– Selecting the strongest example.
– Explored the shots taken without the rules applied and why they aren’t the strongest
– While noting the few strengths they provide and choosing the best image of the two.

Brief:

‘Take three or four photographs in which a single point is placed in different parts of the frame. When composing the shots use these three rules: the place of the point shouldn’t be too obvious (such as right in the middle), the composition should hold a tension and be balanced (the golden section or rule of thirds) and the point should be easy to see. Evaluate the shots according to these rules and select which one you think works best.

Then take a few more shots without any rules, just being aware of the relationship of the point to the frame. Without the rules, how can you evaluate the shots? That will be a key question throughout the whole degree programme.

Add the photographs to your learning log together with brief observations.‘ (Bloomfield, 2018)

I must admit, when I first saw this exercise I was slightly nervous and didn’t have a clue as to how I was going to execute it, mainly due to the fact I don’t use the grid when I shoot imagery, nor do I actively think about the rule of thirds.

However, I decided to go with a flat lay shoot, as I like the way they look visually and allowed me to have more control over the negative space.

My subjects of choice we’re a pegboard, a succulent and the point being a pair of rings. I feel as if the balance was created by the different sized objects I decided to use, to avoid crowding the frame with “stuff” making the point difficult to find.

Camera settings:

1/80 sec; f/1.8; ISO 400.

For the first composition (see Fig. 1), I decided to place the point in the bottom corner of the pegboard to draw your eyes throughout the image in a straight diagonal line, whether you start from the middle and then up, then down OR from the top to bottom and vice versa.
It doesn’t take away from the text, nor is the point out of sight and ignored. Instead, it’s subtle and very natural to my eyes.

For the above piece (see Fig. 2), I chose to move the point further into the negative space and closer to the two other objects to create a cosier feel. The placement of the items creates a right-angled triangle when you flick your eyes from each object, which forms an invisible geometric shape to complement the visible geometric shapes within the frame. I found this quite clever in terms of composition, especially as the rings are placed on the 90-degree point which is the most significant part of the triangle. Therefore the point continues to be the most important element of the image without it being obvious.

For my last image (see Fig. 3) following the rules, I moved the rings on to the plant to make it a little harder for the audience to see, without it being lost. The point highlights the middle of the succulent and compliments the natural curves of the plant, however, the contrast between green and gold helps the ring stand out, despite it being small.

I feel as if the tension in this particular image is caused by the fact you have to look a little deeper than you did with the other two, which makes it a fun composition to explore and is the strongest of the three in my opinion.

I then removed the rules and just shot a couple of images (see Fig. 4. and Fig. 5), without really putting much thought into the composition at all, taking it to the opposite extreme.

While these images aren’t awful, as the colours compliment each other, as do the shapes and sizes, the fact there wasn’t much thought put into the framing or placement of the point, it feels slightly sloppy and unbalanced. The best one out of the two for me is the first image as the angle of the frame cuts up the image slightly, forming more geometric shapes.

Whether you consciously apply the rule of thirds, balance or tension or not, I think it’s important to pay attention to what you’re shooting and where things are in the frame to create a stronger image overall.

References:

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 23. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 9 November 2019].

List of images:

Figure. 1. Powell, L Flatlay 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L Flatlay 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L Flatlay 3 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L Flatlay 4 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L Flatlay 5 [image] In possession of: Lauren Powell: Eastleigh.

Exercise 1.1 The Instrument

Notes, Part 1, Reflection on coursework

Summary :

In this post I have;

– Stated the brief for this exercise.
– Provided the images taken, along with the technical settings and histogram screenshots.
– Documented the camera I used, as well as the settings and
– Briefly covered how I executed the exercise, my choice of a static transparent subject and the changes I saw with the naked eye and the histograms for both the indoor and outdoor shoots.

Brief:

‘Take three or four exposures of the same scene. Don’t change anything on the camera and keep the framing the same.

Preview the shots on the LCD screen. At first glance they look the same, but are they? Perhaps a leaf moved with the wind, the light changed subtly, or the framing changed almost imperceptibly to include one seemingly insignificant object and exclude another. Time flows, the moment of each frame is different, and, as the saying has it, ‘you can’t step into the same river twice’.

Now bring up the histogram on the preview screen. The histogram is a graphical representation of exposure – the camera’s sensitivity to light. As you page through the images you can see small variations in the histograms. Even though the pictures look the same, the histogram data shows that in a matter of seconds the world changes, and these subtle differences are recorded by the camera. If you refine the test conditions – shooting on a tripod to fix the framing, moving indoors and closing the curtains to exclude daylight – still the histogram changes. Probably some of the changes are within the camera mechanism itself; still, the camera is a sensitive enough instrument to record them.

Add the sequence to your learning log with the time info from your camera’s shooting data as your first images for Part One.‘ (Bloomfield, 2018)

Before shooting anything, I made sure my SONY SLT-A57 was set to auto as requested in the OCA Expressing Your Vision Course Handbook, as well as making sure my 50mm lens was switched to auto-focus.

Instead of using a solid object, or a ready-made set up, I decided to use a resin art piece as my subject, due to the fact light can pass through it which seemed like an interesting idea to play with.

For the first set of images, I decided to begin in a more ‘controlled’ area by placing the piece on the window ledge in my kitchen during mid-morning when the sun was shining through.

While the changes in the images are very slight (see Fig. 1), you can see that the framing shifts slightly where I wasn’t using a tripod to steady the camera.
As shown in the histograms, the shadows in the first image peak slightly higher than the other two, while the mid-tones in the third image peaks significantly in comparison to the first image.

With the naked eye, these light changes are very difficult to see, if not impossible so it’s really interesting to analyse what the camera can detect.

For the second set of images, I decided to head outside with the same piece and place it in direct sunlight to see how the results would differ.

Unlike the first set, I can see the changes in light levels (see Fig. 2). The left is the best of the three (in my opinion) with just enough shadow to define the details within the frame, without being blown out by the highlights. The third picture, however, is significantly brighter and takes away the depth presented in the first.

Once again there are slight differences in the framing due to the lack of tripod for support.

What I’ve found most interesting is the histograms for the images taken outside are much more smooth, with less peaking than the images taken indoors, as well as the fact the shadows are almost if not already clipped off on the histogram.

I would have to do further research on histograms if I wanted to understand why this was the case in much more depth, so I may do this in the future. But what I have taken from this small exercise is the slightest of changes can be picked up, even if you can’t notice it with the naked eye and despite where you capture your imagery.

References :

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p.21. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 9 November 2019].

List of images:

Figure. 1. Powell, L. (2019) Set 1 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2019) Set 2 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Final images and analysis

Assignment 1, Notes, Reflection on assignments, Thoughts & Ideas

Summary:

In this post I will be

– Analysing the 8 images I have chosen for my final set
– Explaining why they were paired together, visually, technically and conceptually if applicable
– Sharing my overall thoughts on how the assignment has evolved, the visual techniques I enjoyed using such as colour, shapes and texture
– As well as my understanding of the importance of looking around you, to find something new.

Pair #1

Fig. 1. *Winchester 2019 03* (2019)
1/250 sec; f/1.8; ISO 400

This pair contrast in tonality, colour, and space. While ‘Winchester 2019 18‘ (see Fig. 2) shares the cool and gloomy tones of ‘Winchester 2019 03‘ (see Fig. 1), the colours are much more saturated and warm due to the tanned wooden architecture in the background and vibrancy of the leaves framing the person in the shot. There is plenty of negative space in ‘Winchester 2019 18‘, displaying how open and free the surrounding area is, unlike the claustrophobic composition of its partner. The use of daylight, emphasises the highlights and shadows bouncing off the wet paths and textured areas in a much more natural way, preventing too many harsh lines and shapes. In terms of the subject, they are almost identical, both include umbrellas, bags, and coats, however, the focal points are the complete opposite. One person is positioned in the foreground at the top of a path, the shallow depth of field appearing in the background and the other is located in the background at the end of a path, the shallow depth of field creating a much softer foreground. Their positions in frame and the clear differences in location could symbolise the start and the end of a journey.

Pair #2

Fig. 3. *Winchester 2019 11* (2019)
1/400 sec; f/1.8; ISO 400

This pair share a lot of similarities. The composition is exact which provides a repetition of the geometric buildings, the leading lines are heavier on the left-hand side, drawing the eye from the left and across to the right which in turn naturally follows the paths in the shots. The artificial lights mixing with natural light, add warmth and tension between man-made inventions and the nature of weather affecting light and temperature levels. Even though the shutter speed, aperture, and ISO were the same for each shot, the highlights and shadows completely contradict one another. Silhouettes, reflections, and intense blacks are more dominant in ‘Winchester 2019 11‘(see Fig. 3), whereas textures, colours and bright whites stand out in ‘Winchester 2019 12‘ (see Fig. 4). Signs of life are featured throughout the two via full high street shop windows, members of the public, temporary shelters and graffiti, all of which portray different elements of modern life and how certain issues such as homelessness continue to exist in the 21st century.

Pair #3

Fig. 5. *Winchester 2019 14* (2019)
1/500 sec; f/1.8; ISO 400

Visually this pair works best in terms of the similarities in tones and textures. The smooth grey brickwork of the cathedral and surrounding areas create a very cold and gloomy atmosphere with the help of the wet floor and raindrops on the bench. However, the daylight bouncing off the lighter areas of the stone brightens up the image, drawing out and accentuating the natural shadows created by the archways and cracks in the walls. While repetition is very obvious in ‘Winchester 2019 14‘ (see Fig. 5) due to the archways over the path, if you follow the natural line of the walkway and look closely, you can see the wooden bench featured in ‘Winchester 2019 19‘ (see Fig. 6). So, while it may seem that these two images don’t link together beyond the fact they are similar due to location, temperature, and tones, if more time is spent looking into the image, more connections may be found than at first glance. The emptiness of the walkway and bench forms a very lonely feeling as if what was once there many times, has vanished since.

Pair #4

Fig. 7 *Winchester 2019 10* (2019)
1/400 sec; f/1.8; ISO 400

While the two images juxtapose in terms of the architectural elements in question, the colours, window styles, and dirty marks from nature, pull the pair together. Black and Whites are more prominent in ‘Winchester 2019 26‘ (see Fig. 8), with the geometric wooden beams, painted stone walls, and dark-tinted windows, only appearing very subtly on the road sign in ‘Winchester 2019 10‘ (see Fig. 7). However, the rusty colours and textured bricks stand out more at The Pentice than it does in the other shot, creating an even balance between the two. The framing is cropped in both, in turn helping the viewer focus on the details in the image, rather than the surroundings. Viewpoint wise, they are both shots from below and are at a slight angle, implying that the subjects weren’t at eye level or as easy to photograph due to the height of the building. While the aperture was wide, the shallow depth of field cannot be seen as clearly or at all due to how close the camera was to the buildings, creating a very sharp focus that works beautifully with the precise angles of the beams and grouting in the brickwork. Animals unfortunately now have to find their place, around what man has built over time, so the appearance of the pigeon atop a windowsill sheltering from the rain may communicate the impact humans have on nature.

Overall, I am pleased with these images as it pushed me to view this town in a more detailed and clear way, rather than focusing purely on the personal connections it holds. While I was initially driven by a personal view when I first read the brief, being able to explore the architecture, shapes, colours, textures and how places have changed over time, really helped me understand that we need to look at our surroundings much closer. You may think you know a place like the back of your hand, but a bit more time and a different perspective can help you explore in more depth and find a whole new area within.

List of images:

Figure. 1. Powell, L. (2019) Winchester 2019 03 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2019) Winchester 2019 18 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2019) Winchester 2019 11 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2019) Winchester 2019 12 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L. (2019) Winchester 2019 14 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 6. Powell, L. (2019) Winchester 2019 19 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 7. Powell, L. (2019) Winchester 2019 10 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 8. Powell, L. (2019) Winchester 2019 26 [image] In possession of: Lauren Powell: Eastleigh.

Selection process for final images.

Assignment 1, Notes, Reflection on assignments, Thoughts & Ideas

Summary:

– I have analysed the contact sheets provided in the previous post, selected the strongest images and edited them slightly by adjusting the highlights/shadows, cropping and straightening.
– The edited images are provided below in a gallery
– Before the selection was cut down once more to help with the final selection process
– Stating why some images weren’t included, for instance, they weren’t strong enough conceptually or technically
– Unlike the photographs shown in the scanned document, that is highlighted and numbered to show the two attempts at image pairing, the numbers being the final choice.
– Brief bullet points have been listed to cover the strong variety of elements within the final collection and why they were paired together.

I decided to select what I feel we’re the best images from the shoot and edited them very slightly. The only photo manipulation that took place was correcting the highlights and shadows, cropping them down and straightening a few of them out where needed, without completely changing what was captured in the camera which was requested in the ‘Expressing Your Vision’ course material.

The edited images are as follows :

After editing these images, I cut down the selection once more to make it easier to choose my final images for the ‘Square Mile’ assignment.
While there were quite a few images that I liked, some of them just didn’t ‘fit’ or have a strong enough link to the project plan, where I stated that ‘I would like to explore various childhood memories, see how the areas may have changed throughout the years and if they are as I remember them’ (Powell, 2019).

For example, ‘Winchester 2019 28′ (see Fig. 2.) is strong due to composition, the relaxed position of the bike, the highlights and shadows, as well as the shallow depth of field, however, it didn’t compliment the collection. Considering the majority of the images explored architecture, the differences between each building and the effects time has had on them, it became an odd one out.

The following images are a part of my second selection process. The scans below show my initial pairings in colour and the final image pairings with numbers. I will provide a brief list as to why I decided to pair up these specific images, to refer back to in my image analysis.

Reasons for pairing up:

While I am aware I didn’t have to pair these images up, to create a cohesive series I felt that it was the best option for me to make sure I achieved what I set out to do, which was to explore Winchester by retracing steps, capturing what had changed, the similarities and presenting a personal view in a different way to which I’m used to. Pairing the photos up has helped me form a short journey through the town, as well as a complementary collection.

Winchester 11 and 12

– Similar compositions.
– Contrasts between light and dark.
– Contrasts between natural and artificial light.
– References to work and daily life.
– Shows human interaction.
– Both significant places I visited with family.

Winchester 14 and 19

– Similar tones.
– Repetition.
– The juxtaposition between architecture and public seating.
– Both in the same area and have a significant connection.

Winchester 3 and 18

– Person framed by architecture and nature.
– Umbrellas.
– Shows daily life.
– Monochrome.
– Pathways.
– Start and end of my journey.
– Special areas vs new.

Winchester 10 and 26

– Similar brickwork.
– Nature vs man-made.
– Similar tones.
– Contrasts in colour.
– Reflection of a significant statue.
– Depth.
– Dirty buildings.
– Buildings are behind one another.
– Family links.

References :

Powell, L. (2019) Plan for ‘The Square Mile’. [online] Available at: https://laurenpowelloca.photo.blog/2019/08/20/plan-for-the-square-mile/ [Accessed 12 September 2019].

List of images:

Figure 1. Powell, L. (2019) Page 1 [PDF, Screenshot] In possession of: Lauren Powell: Eastleigh.

Figure 2. Powell, L. (2019) Page 2 [PDF, Screenshot] In possession of: Lauren Powell: Eastleigh.

Figure 3. Powell, L. (2019) Contact sheet 1 [Scanned Document] In possession of: Lauren Powell: Eastleigh.

Figure 4. Powell, L. (2019) Contact sheet 2 [Scanned Document] In possession of: Lauren Powell: Eastleigh.

Figure 5. Powell, L. (2019) Contact sheet 3 [Scanned Document] In possession of: Lauren Powell: Eastleigh.

Figure 6. Powell, L. (2019) Contact sheet 4 [Scanned Document] In possession of: Lauren Powell: Eastleigh.

Contact Sheets for ‘The Square Mile’ + reflection.

Assignment 1, Notes, Reflection on assignments, Thoughts & Ideas

Summary:

In this post I have;

– Provided annotated contact sheets of my shoot around Winchester, noting the strengths and weaknesses of a variety of shots
– As well as a PDF version for a clearer view of the sheets.
– Noted what images worked well and drew on the techniques used, such as consistent framing, natural lighting and such.
– Covered what went well during the shoot, for instance my ability to think about my surroundings to gather a cohesive series much like Keith Arnatt, reflecting on his influence.
– Explored how the shoot went despite an unexpected burst of bad weather, enabling me to achieve the ’empty’ town shots I was looking for and supplying an added interesting atmosphere, as well as
– Stating what could be improved in the future, for example being aware of the angles images are shot at and reducing the amount of duplicate images I capture, in turn being more selective.

Contact sheets:

The following contact sheets include all of the images shot during the ‘Square Mile’ photo-shoot in Winchester, Hampshire. They’ve been annotated and scanned onto my computer, providing suggestions of how the images could’ve been stronger and/or the various elements I enjoyed.

All images were shot in RAW on my Sony A57, so I could then make the basic corrections in post-production without losing too much detail.

Notes :

What do I think of my images?

I’m pleased with how my images turned out, considering that street photography isn’t my usual area of focus and isn’t something I have explored very much. I tried my best to consider similar framing techniques and be aware of the light in my surroundings, to take inspiration from Keith Arnatt who has been part of my practitioner research. Summaries of Arnatt’s work suggest that he ‘may have planned his approach, due to the way he composed the series and stayed consistent with his choice of natural lighting and fixed camera distance’ (Powell, 2019).

What are some of my favourite images?

One of my favourite technical elements from the images shot in the high street (see Fig. 2.) is the contrast between cool, natural light from the gloomy, rainy weather and warm artificial light from the shops and cafes.
Another shot that stands out is the pigeon resting on the window ledge (see Fig. 2.), with the reflection in the glass, very subtly adding tension to the image as you don’t know at first glance what that silhouette may be.

What went well?

The variation of subjects I shot and being able to form a cohesive series purely from my surroundings, successfully achieving my aim to be flexible with what I captured in-camera while keeping the final selection process in mind so I’m not going to be left with a group of random ‘snapshots’ that don’t compliment each other.

What could be improved?

I need to work on my framing and angles a little bit more when shooting. Sometimes my photographs are intentionally taken at an unusual angle, but I also understand that some subjects are better suited with a straight horizon line, which creates more work in post-production if I don’t think about it or can’t get it right the first time round in camera.
Also, I have a habit of taking multiple images which aren’t necessarily an issue, but a few duplicates would be better than half a dozen especially when it comes to producing contact sheets. This is something I will discuss with my tutor to get their opinion on whether I need to work on this or not.

How did the shoot go?

When the shoot was planned, I stated that ‘I would like to go early in the morning so that it isn’t too crowded. This way it’ll allow me to focus on what is around me, what is happening and how I feel about it as a whole’ (Powell, 2019). However, one element not considered was unexpected weather conditions. Thankfully the rain worked in my favour as it was even quieter than expected while creating a moody, dark atmosphere which challenged me to work in conditions that I wouldn’t usually choose to shoot in, due to the inconsistency of light levels, much like direct sunlight at midday.
It was interesting to see how I worked with what I had and how the quality of the images wasn’t necessarily hindered by the weather.

What am I going to do with these images now?

After going through my images as a whole on my computer, I am going to select a few of my best images and apply very basic corrections to them, such as highlight/shadows alterations e.t.c. They will then be cut down again and paired together for the final series of photographs needed for the assignment.

References :

Powell, L. (2019) Keith Arnatt Research. [online] Available at: https://laurenpowelloca.photo.blog/2019/08/13/keith-arnatt-research/ [Accessed 20 July 2019].

Powell, L. (2019) Plan for ‘The Square Mile’. [online] Available at: https://laurenpowelloca.photo.blog/2019/08/20/plan-for-the-square-mile/ [Accessed on 20 July 2019].

List of images:

Powell, L. (2019) Page 1 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Powell, L. (2019) Page 2 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Powell, L. (2019) Page 3 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Powell, L. (2019) Page 4 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Powell, L. (2019) Page 5 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Powell, L. (2019) Page 6 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Powell, L. (2019) Page 7 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Plan for ‘The Square Mile’

Assignment 1, Notes, Thoughts & Ideas

Summary:

In this post I
– Explained how I planned my shoot using the 5 W’s, H and why
– Listed my plan in bullet points

Plan

I planned my shoot using the 5W’s and H so I could think about my goals and ideas properly, instead of just formulating a list of various aims that were inspired by the mind-map I created.

Area of choice – Where? : Winchester High Street and the surrounding areas

Why? : It holds significant memories with my grandparents, cousins and direct family, so I would like to explore various childhood memories, see how the areas may have changed throughout the years and if they are as I remember them. For example, new buildings vs old architecture, as well as modern-day life within an aging town.

When? I would like to go early in the morning so that it isn’t too crowded. This way it’ll allow me to focus on what is around me, what is happening and how I feel about it as a whole. We also used to go to town fairly early in the day to avoid the rush of people, so it is quite fitting with the routine I followed as a child.

Who? : Depending on whether Winchester is as quiet as I am expecting it to be in the morning, I may include members of the public in my imagery to give a bit of life and action to my photographs. For example, people going about their day, unaware of what significance the town holds for me and vice versa if the town means anything to them. We all share the same space, but we’re not always aware of what people are doing there, how it makes them feel or where they’re headed.

What? : As noted in my post ‘Initial Thoughts About ‘The Square Mile’ + Mindmap’ (Powell, 2019), I will be revisiting some areas I visited or spent significant time with close family. That way I can capture what they look like now, the people/objects surrounding them that may have changed, are consistent or may only be temporary.

How? :

– Go to town early in the morning via train.
– Start from the top of town from the station and work your way down.
– Notice and capture whatever captures your eye as you observe, while keeping original ideas in mind.
– Set the aperture and keep it constant, only change the shutter speed to fit the light settings on the day. SET CAMERA TO MANUAL.
– Have the chosen ideas in mind, but be flexible too. E.G. If something doesn’t work, it’s fine. If you notice something you didn’t think about beforehand, then work with it.
– Think about making a cohesive series – can images/areas be paired up in your final selection process?
– Have fun and go out of your comfort zone.
– Shoot multiple images so you have a reasonable selection.

References :

Powell, L. (2019) Initial Thoughts About ‘The Square Mile’ + Mindmap. [online] Available at : https://laurenpowelloca.photo.blog/2019/08/15/initial-thoughts-about-the-square-mile-mindmap/ [Accessed 20 August 2019].

Learning how to reference

Notes, Online Research

Summary:

In this post I

– Gave examples of the citations I created myself after reading the Harvard Referencing Guide from UCA

Referencing examples:

After having a conversation with my brother who recommended I create a few templates to refer to in the future when it comes to my assignments, research and such, I decided to visit the Harvard Referencing guide (UCA, 2014) provided on the UCA library which I will link if you too are struggling.

One of the example’s I created for myself to practice is as follows;

BOOK: Surname, Initial. (Year) Book title Place: Publisher.

Example for bibliography: Rowling, J.K. (1997) Harry Potter and the Philosopher’s Stone London: Bloomsbury Publishing.

CITATION: ‘quote’, (Surname, year:page number).

Example for citation (in text) : ‘Mr and Mrs Dursley, of number four, Privet Drive, were proud to say that they were perfectly normal, thank you very much’, (Rowling, 1997:7).

‘Note: If there is more than one edition of the book you need to state which edition you are referring to. Different editions may have different information, page numbers etc. This is not the same as a reprinted version, which does not include a change of format’, (UCA, 2014:6).

I think I’ve finally gotten the hang of it after sitting and creating multiple versions for a few hours, so hopefully research will go smoothly in the future.

References:

Rowling, J.K. (1997) Harry Potter and the Philosopher’s Stone London: Bloomsbury Publishing

UCA. (2014) UCA Harvard Referencing Guide. UCA: pp. 6, 10 [pdf] Available at: https://www.uca.ac.uk/library/academic-support/harvard-referencing/ [Accessed 22 January 2020].

Initial Thoughts About ‘The Square Mile’ + Mindmap

Assignment 1, Notes, Reflection on assignments, Thoughts & Ideas

Summary :

In this post I have;

– Referred to the brief.
– Noted down my initial thoughts and concerns for this assignment.
– Provided a mind-map of ideas for the Square Mile.
– My chosen subject area and the reasoning as to why it was selected.

‘The Square Mile’:

‘In our earliest years we know a patch of ground in detail we will never know anywhere again – a site of discovery and putting names to things – people and places – working with difference and similitude – favourite places, places to avoid – neighbours and their habits, gestures and stories – textures, smells – also of play, imagination, experiment – finding the best location for doing things – creating worlds under our own control, fantasy landscapes.’ (Professor Mike Pearson)‘

‘Photographers and artists have always found inspiration in their immediate location. There is a concept within Welsh culture called Y Filltir Sgwar (The Square Mile), described above by Professor Mike Pearson. It is the intimate connection between people and their childhood ‘home’ surroundings. Use this ‘sense of place’ as the starting place for your assignment.‘ (Bloomfield, 2018)

Brief:

‘Make a series of six to twelve photographs in response to the concept of ‘The Square Mile’. Use this as an opportunity to take a fresh and experimental look at your surroundings. You may wish to re-trace places you know very well, examining how they might have changed; or, particularly if you’re in a new environment, you may wish to use photography to explore your new surroundings and meet some of the people around you.’ (Bloomfield, 2018).

Initial thoughts about the concept:

– So far I am very intrigued about this concept, as my photography is usually inspired by personal experiences, past and present.

– It will be interesting to see how I can explore these ideas, as well as pushing myself to portray them in a different manner and style to what I am used to.

– Quite anxious to start, but also eager to learn and grow.

Initial plans for the brief:

– Will expand with a mind-map/mood-board? (See Fig. 1)

– Refer to past college project – ‘My Britain’ which explored my childhood. Potentially take ideas from this and work on them differently?

– Explore childhood memories/areas/people?

– Significant buildings/objects/symbols?

– Explore the family tree?

– Photos of people in my chosen area that aren’t linked with my memories or are related to me?

Reflection on mind-map

– Pleased with initial ideas and think I already know the route I want to go down.
– The route will be decided after further research and shoot planning.
– Mind-map could be tidier and clearer in the future.
– Maybe use different coloured pens for different areas or subject arms?

I’ve decided to choose ‘Winchester’ as my area of choice mainly due to the family links it holds and the memories experienced here. It isn’t my immediate location as I wasn’t born there, nor do I live there, however, it is a local city that I am fairly familiar with and have grown up visiting multiple times, therefore I felt as if it was significant.
The buildings/locations/objects have been listed, instead of the memories linked with them, hopefully allowing me to view the town with a fresh set of eyes.

Highlighting the chosen area and the things I want to visit while I’m there, make it a lot clearer for those viewing it as well as myself, so I will continue to do this in the future.
Making a key for different colours helps me prioritise what I want to explore in more detail and the less important ideas.

*Purple ideas were added on the 12th August for future reference.

References :

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p.14. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 12 August 2019].

List of images :

Figure. 1. Powell, L. (2019) Mindmap [scanned document] In possession of: Lauren Powell: Eastleigh.