Task: To reflect on what challenged us within the topic, what was surprising, and what we felt we had learned. More specifically methods and methodologies we have historically used in our practice to convey meaning? Have any of these been unintentional? Finally, have any of the practitioners discussed, or our peers used strategies or methods that we might impose on ourselves in the future?
The most poignant learning outcome for myself from this week’s Methods & Meaning topic has been the idea that we can evaluate bodies of work to derive meaning in ways that are different from those applied to a single image. The three separate principles of Methods: Processes that apply to specific stages with the image creation journey, (for example, the use of film vs analogue). Concept: The creative intent of the photographer Methodologies: The systematic application of a series of methods to provide a distinct series of images that can be considered separately within an analytical discussion. These will be useful dimensions going forward when discussing my image output and evaluating their fit to the project objectives.
Having total control over every stage of the image-making process has been a key feature of my own photography from the beginning. This should come as no surprise to me as my go-to approach in work and life generally is to research comprehensively, plan well, and seek certainty through mastery of the process. Whilst this may work well for certain styles of landscape and architectural photography, this approach is less than ideal for street photography and documentary work. In truth I have been working hard on this aspect of my creative approach and to some extent have been able to ‘let go’ to certain aspects of the creative process. This has helped me create a more authentic street photography practice and more recently urban portraiture.
However, the degree to which some of the featured artists have applied methodologies to abdicate themselves from large parts of the creative decision process has both challenged and surprised me. The work of Chris Coekin in which he becomes a hitchhiker, randomly taking lifts and photographing his drivers feels extraordinary. The self-selection processes involved fall far outside of my comfort zone.
Conversely, the work of Gillian Wearing with subjects holding placards expressing how they feel offers some fascinating possibilities. Although the placard message concept is not new (it was featured in Richard Curtis’s film Love Actually), unlike the work of Chris Coekito I feel that Gillian Wearing’s methodology could perhaps play a potential role in my own work. I could imagine a situation whereby subjects who are featured in my environmental portraits, holding cards or objects that provide additional cues as to the individual’s role within the image.
The concept of psychogeography provided a fascinating perspective on limiting one’s geographic location during the image capture process. Whether by following a randomly prescribed route such as that described by Robert Mcfarlane or using demarcations and boundaries to define your subject matter as seen within the A to Z project of London by Mark Power, Psychogeography whether or not described explicitly as such has been used very effectively for example by Alex Soth in Sleeping by the Mississippi (see my post in the forum discussions for more detail).
In truth, my own work has lacked distinct methodologies at the ‘body of work’ level. My practice has tended to focus on the power and aesthetics of the single image. My bodies of work, have consequently felt like a collection of single images, held together by a singularity of intent, but lacking cohesiveness as a collection. This week’s topic has provided ‘food for thought’ on how I might address this aspect of my work in the future. Both the consideration of methodologies and strategies at the ‘body of work level and the enforced abdication of creative control holds exciting possibilities. Over the coming weeks, I want to consider what these might be and share them with both the teaching staff and my peers.
FIGURES
FIGURE 1: SOTH, Alex. 2002 Joshua, Angola State Prison, Louisiana. The Guardian [online]. Available at: https://www.theguardian.com/artanddesign/2017/aug/25/alec-soth-sleeping-by-the-mississippi-loners-preachers-sex-workers-sinners [accessed 6/10/2023].
‘
The Photography of David Rosen 