This was a visit based around an exhibition of landscape photography at The Ffotogallery
His vision, from the constantly passing bars,
has grown so weary that it cannot hold
anything else. It seems to him there are
a thousand bars; and behind the bars, no world.
As he paces in cramped circles, over and over,
the movement of his powerful soft strides
is like a ritual dance around a center
in which a mighty will stands paralyzed.
Only at times, the curtain of the pupils
lifts, quietly–. An image enters in,
rushes down through the tensed, arrested muscles,
plunges into the heart and is gone.
Does one expose for maximum detail or for creative effect? I suggest former by metring off highlights rather than going for the ceative effect which can be done later. The tutors however suggest that going for creative effect is better; I can’t help but think that this is a more film orientated approach when the original rather than a copy was sent to the editor! One can of course do both since one needs to retain both detail and one’s impression of how the scene might be seen. Ansel Adams made the allegory of the capture being the score and the finished product the interpretation or performance of that score.
Exercises are about tutors seeing you have done the work; assignments are judged in terms of marks. OCA study days often come around to discussing the way the system of learning works.
Level 2 more intellectually challenging than technically demanding. Exercises are tasks that need understanding but do not expect great results; they support you in your practice of photography. Processing a RAW file is a skill that needs learning but not a part of the written course as software keeps changing. There are a lot of technical online tutorials to help one with this part of the learning process.
The WOW factor in photography. Capitalist model of photography encourages this as images need instant appeal to sell themselves to the customer.
OCA course about exploring photography and not getting too bogged down.
Two new photographic courses at Level 1
OCA course has become more academic but then photography itself has become more conceptual. Theoretical considerations can be overwhelming yet have their place.
Show my Somerset Levels photos (the others seem more interested in this than the possibility of Western Tibet) and explain that it a landscape project rather than a social documentary approach focusing on people … it shows images of the flooded Somerset Levels followed by rephotographs of the same locations when the water has gone and Spring has come. There is feedback …
aesthetically appealing, beautiful images but serious theme underlying
REF Simon Norfolk beautiful seascapes with unsettling captions …
images don’t need people; avoid cliched “Points West” images
what about photographing the mundane effects of flooding? not really part of what this project is about but a possible approach is to photograph the after effects of the flooding as well as the same landscapes in the Spring/Summer
OCA course about groups of images rather than the singular image
John mentions Michael Ackerman who uses film thereafter creating books
captions need to relate directly to the images and reflect their meaning