| Date of Supervision Meeting | 16/03/2021 |
|---|---|
| Start time of Meeting | 12:30 |
| Length of Meeting in minutes | 30 minutes |
| Meeting Notes & Action Points | Discussed work I have been experimenting and making, and my concerns around using re-photographed images as an ethical process as well as not quite conveying the intention I wanted to convey. Whilst I had decided instead to go back to set building miniature scenes as I feel this will better carry my narrative and intent, I did receive some helpful comments on the re-photographed images in that it was suggested it might work better with the entirety of the men made invisible, Discussed playing with the scale as well as including a personal aspect to my work. As I have been largely focusing on research and set building up until now – the plan is to focus solely on shooting for the next few weeks. |
| Date of Next Proposed Meeting | 20/04/2021 |
Tag: Coursework
Week 5: 1-2-1 FMP Supervision Log
| Date of Supervision Meeting | 23/02/2021 |
|---|---|
| Start time of Meeting | 12:30 |
| Length of Meeting in minutes | 25 minutes |
| Meeting Notes & Action Points | Discussed FMP Project Proposal, and my current thoughts in regards to the direction I am pursuing in terms of an exact narrative to build onto my foundations of research. Was advised to look at FOAM for it’s contemporary angle, 1000 Words, Link in Bio (which I have been referencing on my CRJ), Art in the Age of Anxiety by Omar Kholeif, revisit Leah Schrager, Andy Kassier, Eva Stenram, and how they are positioned, written about. I was also advised to experiment visually, possibly bringing my images from the digital to the physical in sketchbook form, potentially layering this way over digital. Also discussed the visual horizons, where I might position myself within the industry. |
| Date of Next Proposed Meeting | 16/3/2021 |
Week 1: 1-2-1 FMP Supervision Log
| Date of Supervision Meeting | 26/01/2021 with Laura Hynd |
|---|---|
| Start time of Meeting | 12:30 |
| Length of Meeting in minutes | 30 minutes |
| Meeting Notes & Action Points | Discussion based on PK presentation, with specific focus on the structure I might take to create an interactive body of work, as my initial thoughts have revolved around multiple flows of narrative. I was advised that it would be worthwhile to research into design firms who specialise in online interactive pieces such as AKQA or other firms who deal with interactive advertising on a practical level for advice. What output I might go down e.g. internet based? Whether the structure would mean I would have a ‘mother’ image that provides the birth of discussion for the various tendrils. I was also suggested some artists to research: Samuel J Brand, Mat Collishaw, Rob and Nick Carter. |
| Date of Next Proposed Meeting | 23/2/2021 |
PHO705: Pecha Kucha
Week 11: Show and Tell
“I think social media can be anything that they want it to be. I think
Barnett, M. [in] Pfab, A. (2017)
that as long as you have got a strong vision from the base, social media is going to become an extension of that and it’s a great way for you to implement your ideas, but also see how people react to them.”
Listening to this week’s presentation has proved intriguing in regards to Barnett’s comments on social media which has resonated with my current stance and approach in usage, but in a sense his comment ties well to Ravetto-Biagioli’s comments that your social media presence is ultimately what you feed and input into it.
In the forums this week, we were asked to post a link to our CRJ, and comment on other peers, with suggestions. I largely received positive feedback on my reflections, my use of quotes and the detailed progression of my WIPP and the research that ties into it. I had one suggestion on adding the original image to an image edited in a prior week’s entry, which I have now done, as I agreed that it probably made more sense with a visual reference to the original version.
Figure 1 Murray, J. (November 2020) I thought to myself “she is prob a crazy cat lady with colored hair that prob looks like she smells like a yeast infection.” And here you are.
On thursday I had my last webinar of this module with Colin and as ever, it was very insightful in regards to last minute tweaks to my WIPP, including a final adjustment to Figure 1, replacing the yeast tin to a tube of anti-yeast cream. A previous tweak to the harsh lighting of the washing machine image, was felt didn’t work as well as the original execution, which was in line with my thoughts as I felt my eye was being drawn to the wrong area of the photograph.
I introduced to my WIPP a cover and introductory frame, as a lede into my work, to add contextualisation, and tie back to my previous work with the glitchy cover, which incorporates a cracked phone screen. I don’t feel my introductory frame which mimicks twitter subtweeting works despite an attempt to use a font (Arial) that closely aligned with what twitter uses, the spacing is not correct, and the colour palette of the font itself appears to be wrong.
Figure 3 Murray, J. (November 2020) Introduction
Whilst I largely have been thinking throughout this module that my choice of display for my current work in progress, may be more of a traditional choice, such as a zine or choosing the same as previous modules in choosing to display via the web itself, a direct response. However this week I’ve begun to think that my primary intent for my work may be to display in a guerilla style (in the style of Figure 4), displaying the work by turning the virtual into the physical, placing the tweets and my response into the real world in the form of stickers with a QR code in the corner of the white space where the tweet is displayed, below the main image which directs to either my website or social media encouraging those who scan it to leave feedback, subjecting the unexpected public to the same as the women who were targets of the original vitriol. This approach would also allow a participatory approach in that I could sell stickers for others to place in their own locality, a pop up exhibition that can be in various locations like a treasure hunt.
Ethically their may be some issues in opting a guerilla approach and placing my work in public places, especially if I haven’t sought approval to do so prior to installation. Historically this is why guerilla artists go by nom de plumés, like Banksy, Slinkachu or JR, or as a collective like Dysturb. I have looked in a previous module at the works of JR specifically the series ‘Woman Are Heroes’, where JR brings the images he has taken back to the community in a participatory nature, ultimately different in intent to my own.
Slinkachu arguably does the opposite of my intentions in that he places miniature sculptures in situ and leaves them behind after photographing them for others to enjoy and subsequently sells artist prints of his photos of his set-ups. A lot of Slinkachu’s works make a comment on consumer culture mirroring the real world albeit in miniature form, often with a sinister dystopian twist, like the beach being not a beach but a yellow line down the road.
Dysturb collective is closer in intent to my own, in that they primarily use the guerilla approach as a means of getting a message out that they want to communicate to the masses, placing large scale images onto the walls in cities to highlight the stories being missed in the noise of news. The images are usually combined with a short snappy headline to assist in the communication of the message they want to send, with their most recent installations providing commentary on the COVID-19 pandemic, showing a dystopian landscape not amiss from a 1980s sci-fi film such as Bladerunner.
Really, the most relevant of practitioners in relation to my practice in this field of display would be the Guerrilla Girls, who provide factual messages of inequality, yet often deliver this in a satirical manner to communicate to the masses, interestingly their decision to run the original 1989 version as an ad on the buses stems from being rejected by the public art fund, in an ironic sense them being rejected by the art fund, led to their work being shown to a wider audience, and allowed the message to go beyond it’s original audience to international interest due to their unusual method of display attracting the news.
I would define my visual language as a construct of scale dolls melded with pseudo-realistic environments, to provide social commentary on how personal identity is created, framed and manipulated on social media. Within my images I explore the superficiality that individuals engage in online in relationships and identity via the circulation of self-fashioned socio-visual inauthenticity.
Other photographers, particularly Hayley Morris-Cafeiro and Amalia Ulman who’s work I admire, also comment on and satirise social media. Whereas Morris-Cafeiro makes personal comment on being judged online about her weight, via staged self-portraits and wearing online bullies words on clothing, Ulman dons alter-egos and personas to create fictional realities.
Also worthy of mention is Richard Prince, who also has used photography to comment on social media, however his work differs significantly in that he relies on rephotography, with the only alteration beign his addition of comments, some of a dubious nature, but laden with emojis.
References
Figures
Figure 1 Murray, J. (November 2020) I though to myself “she is prob a crazy cat lady with colored hair that prob looks like she smells like a yeast infection.” And here you are.
Figure 2 Murray, J. (November 2020) The Mirror Hack’d.
Figure 3 Murray, J. (November 2020) Introduction.
Figure 4 Murray, J. (December 2020) Guerilla Sticker Mockup.
Figure 5 Slinkachu (2016) Shore Line (Honolulu, Hawaii). [Online] Available from: https://slinkachu.com/work#/new-gallery-74/ [Accessed 01/12/2020]
Figure 6 Dysturb Collective (2020) Stay home in Paris, in front of the Saint Louis Hospital. [Online] Available from: https://www.huckmag.com/art-and-culture/photography-2/information-should-be-clear-accurate-and-accessible-to-all/ [Accessed 03/12/2020]
Figure 7 Guerilla Girls (2012) Do women have to be naked to get into the Met. Museum? [Online] Available from: https://www.guerrillagirls.com/naked-through-the-ages [Accessed 02/12/2020]
Bibliography
Barnett, A. [in] Pfab, A. (2017) Falmouth Flex: Week 11: Presentation – A Conversation with Maximus Barnett. [Online] Available from: https://flex.falmouth.ac.uk/courses/671/pages/week-11-presentation-a-conversation-with-maximus-barnett?module_item_id=43431 [Accessed 01/12/2020]
Battersby, M. (2010) The Independent: Genius or vandalism? The guerrilla artists subverting our streets. [Online] Available from: https://www.independent.co.uk/arts-entertainment/art/features/genius-or-vandalism-the-guerrilla-artists-subverting-our-streets-1954614.html [Accessed 01/12/2020]
GuerillaGirls (1985-2020) Naked Through the Ages. [Online] Available from: https://www.guerrillagirls.com/naked-through-the-ages [Accessed 04/12/2020]
Ravetto-Biagioli, K. (2019) Digital Uncanny. pg 52. New York; Oxford University Press.
Week 10: The Digital – New Possibilities
I joined Instagram originally back in 2011 back when the primary use appeared to be snapping photos of food and coffee, back then it was a small friendly community where you could chat and make friends with strangers you’ve never met, I still keep in touch with the few who remain active today. I would say Instagram has changed beyond compare and become more and more commercialised in a way that follows the trajectory of fallen social media sites, such as Myspace and it’s music venture, Flickr and it’s stock imagery venture and Tumblr and DeviantArt and it’s artist venture.
Perhaps I’m simply cynical due to my practice revolving around commenting on the phenomenon of the internet, social media and identity, however I feel Instagram has become a place of inauthenticity, dominated by brands, influencers and bots. Despite Instagram claiming to crack down on inauthentic content, you can still easily purchase likes, follows and comments or even automate your account if you so wish and largely get away with it, with little to no consequences. You can even get bots to target your competitors that flag and report their content as spam so they end up shadow banned, by hashtag, geolocation etc.
In my opinion it’s more about who you manage to network with via real engagement of conversation and not the amount of followers or likes you attract to individual posts, or even how often you post.
So how am I using social media? For the past two years, I’ve gone from posting daily to far more irregular updates, in part due to not wanting to be influenced aesthetically too much by the stream of images in the feed, but also I’ve massively slowed down taking images, and like to reflect before I post. I occasionally post in stories sneak peeks of upcoming work, but largely spend more time interacting with other users networking. I also trend to rely on some automation in cross-platform posting, using IFTTT (though due to recent Instagram changes my current method doesn’t seem to be functioning).
“Almost one in five young men (18%) hold negative views about feminists and 14% see anti-abortion activists positively. And more young people agree (36%) than disagree (35%) that feminism has gone too far and makes it harder for men to succeed. Among young men, 50% agree while only 21% disagree.”
Carter, R. (2020; 42)
The changes going digital has brought upon us, has for my generation meant being uncomfortably being in-between being a digital native yet also remembering the world without the internet, without the instant digital camera. Web 2.0 hit when I was just stepping into my teenage years and arguably severely impacted how I and my peers saw the world around us. I’m hesitant to say I am “excited” by all the changes, as some of the changes digital has brought are not positive, misogyny is on the rise amongst some younger millennials and Generation Z (the rise according to most media outlets is correlated to the rise of Jordan Peterson), reality itself has become blurred with the creation of deepfakes, and privacy, a myth.
Has my practice changed and adapted due to changes the digital has brought us? I guess yes, as my practice as it currently stands frankly would not exist for me to comment on without the rise of web 2.0 and social media, and due to the topic at hand is a practice which is constantly in flux and evolution as different topics and developments come to light that I want to comment on. I would like to embrace digital changes further in regards to how I display my work in the future, last module I tried experimenting with virtual reality galleries, however I found them quite limiting in regards to what I wanted to try doing, and I feel it is perhaps something I need to look into further.
References
Figures
Figure 1 Murray, J. (c.2011/2012) Limes (early instagram post)
Bibliography
Barr, S. (2020) The Independent: Half of Generation Z men ‘think feminism has gone too far and makes it harder for men to succeed’ [Online] Available from: https://www.independent.co.uk/life-style/women/feminism-generation-z-men-women-hope-not-hate-charity-report-a9652981.html [Accessed 24/11/2020]
Carter, R. (2020) Hope Not Hate Charitable Trust: Young People in the Time of COVID-19. A fear and hope study of 18-24 year olds. [Online] Available from: https://www.hopenothate.org.uk/wp-content/uploads/2020/08/youth-fear-and-hope-2020-07-v2final.pdf [Accessed 25/11/2020]
Wittenberg-Cox, A. & Chamorro-Premuzic, T. (2020) Forbes: Are Younger People Less Sexist? [Online] Available from: https://www.forbes.com/sites/avivahwittenbergcox/2020/08/07/are-younger-people-less-sexist/?sh=3401c13226de [Accessed 25/11/2020]
Week 9: Presenting your Pitch
This week we presented our pitch to our clients. It was a very insightful experience even though a lot of the feedback we received were things I had already queried and worried over in our weekly chats (like the ratio and visual coherence). On reflection I agree with the clients that perhaps I should have been more assertive though whether it would have made any difference is another matter, as it felt as though I was the only one noticing the flaws, and no one wanted a conflict.
I found it really challenging, as the angle we took in the brief was wildly out of my comfort zone of staged studio work and I think this was reflected in the image I chose for the brief aligning in colour to two of the other group members colour palette, but wasn’t as personal in content as I would have wanted for my work. I do feel this brief has been a massive learning curve of experience to me. If I did this brief again I would use the studio, take my asthma medication and distort it with cotton wool as a metaphor for smog, the inhaler itself a metaphor for the the skyscrapers. Unsurprisingly, most of the group were not interested in meeting up for a debrief session, so it did not go ahead, so I was happy to receive such in depth feedback from Peta and Charlie.
Week 8: Photography and its Fine Art Markets
Website
In the forums this week we were asked to post our portfolio website and 3 photographers whose websites I feel work well and resonate with potential clients. I chose the websites of Juno Calypso, Laurie Simmons and Haley Morris-Cafeiro, as all 3 opt for a minimalistic clean approach, with easy navigation, interestingly only Calypso has a logo remotely close to mine in being cursive, as both Simmons and Morris-Cafeiro opt instead for a sans-serif font in capitals.
My logo was brought up in feedback from peers on the forums and it’s given me food for thought as it’s something I designed back when I was doing my HND 7 years ago, before I had really decided where I fitted in photography or really what my actual style was. I think it’s probably something I ought to revisit and try out a less cursive version to see if it fits.
Another comment was about making my CV a downloadable PDF link in my about page which has been something I have been thinking about after seeing a couple of artists I admire doing similar, Ambar Navarro’s approach of a hosted google drive document is particularly inspired as it allows for easy quick change. I was glad to hear that all of the peers who commented to me found my website easy to navigate and found my images playful. It was interesting as well to find that peers found my CRJ equally easy to navigate in terms of layout.
WPP B
Figure 1 Murray, J. (November 2020) Slide Mockups
I have written the following to explain my intentions:
The inspiration for my work embraces Abbott and Brandt whose images capture the impact of urbanisation, along with Nakaya and Gormley’s art installations which communicate my anxiety of air pollution.
My eco-anxiety is around the negative effects of urbanisation, such as the rise of air pollution, something that personally affects me, as an asthmatic for example when I commute into cities such as London. Air Pollution has been a concern since the early 1950s, during the peak of the coal and steam driven industrialisation. However, despite air pollution improving from the smog of the 1950s, people in cities like London are still dying because of air pollution. The W.H.O. (World Health Organisation) estimate that air pollution kills 7 million people in the world every year.
The aim of my submission is to express the anxiety that urbanisation brings, with the continued rise of air pollution, its impact, both visually and environmentally. I want to highlight the challenge facing the world, a balancing act of economic development against a sustainable future.
To quote Kissi-Debrah, Santi & Company: “We can see when water is dirty. We can see when food is rotten. But we can’t see – not in the everyday – when air is polluted. Breathing is innate. We may not be able to see it, but taking a breath is the most precious action we take.” (Kissi-Debrah, R. [in] Santi, A. & Company 2020; 69)
This week for our WPP B group we decided for the pitch that we would each individually discuss our own image. We had a meeting with Anna on the Monday and she gave valuable feedback suggestions that we should focus on how it comes together as one visual body of work, unfortunately in the other meetings we had that week, the others did not want to compromise on colour, tone, or subject to create a more cohesive work, so I felt really restricted in what I could do to try to fit their images together through my own choice, I came to the conclusion I wouldn’t be able to use the studio as it would just further the differences between each image.
She also suggested our pitch should aim to be conversational, so I tried to keep my written piece as informal and largely stick to simple english, rather than espouse scientific words or waffling. I did suggest since overall decision was not to compromise by narrowing the topic that we should focus on the fact that ultimately eco-anxiety stems from increased population and urbanisation globally and it’s impacts. In a meeting we had after Anna’s feedback we discussed our target audience, stating we wanted to engage and interact with those who might find extinction rebellion alienating as a white middle class movement, yet want to reflect and think about the environment, it’s concerns and things they can feasibly change to make a difference. A group member suggested that a caption or a hashtag such as #myecoanxiety may help in tying together the campaign. I’ve found this week quite challenging in regards to the commission group as it felt as though I was one of the few who wanted to collaborate versus those with a strong personality who expected us to follow their way of thinking.
The guest lecture this week did give me some insight on how you might deal with a tricky sitter, it surprised me how sometimes the answer when shooting portraiture is to ask for what you don’t want if the sitter is particularly being tricky with you the photographer.
References
Figures
Figure 1 Murray, J. (November 2020) Slide Mockups
Bibliography
Kissi-Debrah, R. [in] Santi, A. & Company (2020) Three Things. pg 69. Birmingham; The Pound Project.
Week 5: Who Buys Photography? I
Figure 1 Murray, J. (October 2020) Cat on Roof
This week we were set the task of producing a story in five to seven images, with the images strong enough to tell and carry the narrative. I was initially quite unsure what to do this week so counted myself lucky when a local cat decided to make the neighbours roof it’s home for nearly 2 days refusing to come down for food and water, that it had to be ‘rescued’ by the fire brigade. Unfortunately as I posted quite late in the week I didn’t manage to receive any feedback, however going on past experience where an image of mine was specifically picked up by a newspaper because of it’s narrative content, I feel that my images in Figure 1 have successfully conveyed the basic narrative of the cat being rescued from the roof.
WPP B Week 5 & 6
“We can see when water is dirty. We can see when food is rotten. But we can’t see – not in the everyday – when air is polluted. Breathing is innate. We may not be able to see it, but taking a breath is the most precious action we take.”
Kissi-Debrah, R. [in] Santi, A. & Company (2020; 69)
I recently received a copy of Three Things an anthology on climate health, by the Pound Project, the book is divided into three parts: Eat, Wear and Breathe. As my take eco-anxiety is around the negative affects of urbanisation such as the rise of pollution, something detrimental that would personally affect me as an asthmatic, and in fact does when I commute into cities such as London. Looking into the Wellcome archives the topic of air pollution has been in academic journals since at least the early 1950s at the peak of the industrial coal and steam production, however despite air pollution improving from the days of the smog people are still dying from it, with The World Health Organisation stating that air pollution kills an estimated 7 million people worldwide each year. Ultimately I aim for my submission to express the anxiety of urbanisation, the rise of air pollution, its impact, visually and environmentally, highlighting the challenge facing the world, balancing economic development against a sustainable future.
This week we had another webinar meeting on monday as our group we discussed how we might get some stylistic continuity with out work, as a group member presented us with diptych and triptychs it was decided to go with a 2×3″ ratio portrait diptych. Whilst I mentioned 2×3″ ratio as a portrait alone would be problematic for social media ratios as Instagram for example has a 8×10″ ratio cap on height of images, it was decided that 2×3″ portrait issues would be resolved by opting into a diptych. We decided that we would determine budget and invoicing after Anna’s live lecture.
“The photographer should be aware that terms on the client’s order can override the photographer’s terms…”
Thomas G.; Turton, S. (2003; 62)
I have calculated a rough estimate of my own costs as follows:
Day Rate – I have assumed equipment costs based on a camera replacement value of £1000, plus £15 for a used legacy lens. I then depreciated the total £1015 over 6 years to give an award figure of £166 per year. Assuming I work for approximately 40 weeks in a year, this translates to £4.10 per day. I then rounded this up to £5 per working day to cover contingencies. I then assumed my own cost for my skills as just above minimum wage of £12 per hour. As this is a ‘day rate’ I have multiplied this by 24 hours per day, giving a total of £288 for my labour. Adding on the equipment cost raises the total to £288 + £5 = £293, which I have rounded up to £300 per day to include an element for contigency.
Expenses – I have estimated my expenses as consisting of £30 per day for food, plus £70 for other expenses e.g. train fare, taxi etc, bringing the total to £100. I will set aside an additional £100 for contingency. Day Rate Total – I have combined my Day rate, £300, with my expenses, £100, plus another £100 for contingency, so a total of £300 + £100 + £100 = £500 per day.
Usage fee – I have evaluated my usage fee at £2,000 – £3,000 for the first year. This usage fee would grant exclusive global, worldwide, online and print use for the first year. However I will retain perpetual copyright for any images I produce. I also produce a reuse option after the first year, at £1,000 for any subsequent years on the same exclusive use terms. If the reuse option is not exercised all rights return to myself as the creator and I have the option to resell the works produced in any way I wish.
This brings my total costing to £300 + £3,000 + £100 + £100 = £3,500.
References
Figures
Figure 1 Murray, J. (October 2020) Cat on Roof
Figure 2 Murray, J. (2017-2020) Diptychs of Urbanisation
Bibliography
Kissi-Debrah, R. [in] Santi, A. & Company (2020) Three Things. pg 69. Birmingham; The Pound Project.
Thomas G. & Turton, S. (2014) Beyond the lens. Contract Law, Legislation and Legal Remedies, 4th edition. pg 62. London; AOP.
Wellcome Collection (2020-) Archives: Air Pollution. [Online] Available from: https://wellcomecollection.org/works?query=%22Air%20-%20Pollution.%22 [Accessed 19/10/2020]
WHO (2020-) Air Pollution. [Online] Available from: https://www.who.int/health-topics/air-pollution#tab=tab_1 [Accessed 19/10/2020]
Week 4: The Current Commercial Environment
“Many stylistic developments in the history of photography are linked to technological progression, with smaller cameras, faster films, artificial lights, chemical processing and colour film all facilitating a wider range of creative choices.”
Keaney, M. & Weber, E. 2014; 7)
Market & Audience
Due to the social commentary nature of my practice, where I am calling out the contradictions and hypocrisy of my generation, my market now and in five years time may not be my audience. With my latest WIPP for this module I am questioning misogyny on social media, where I am targetting the offenders with my images, however the market for my work would be for example feminists, and collectors of fine art photography. At the same time, while not literal, I make my images easy for the lay person and accessible, which belies the large amount of academic research underpinning them.
As 2020 has shown, plans for the future can be derailed by various ‘Black Swan‘ events, so any plans we make now can be overturned by technical developments, personal health, pandemics and economic shocks. On that basis I am keeping an open mind to any opportunities that might arise to develop professionally and commercially. I’ve experienced two Black Swan personal developments within the last 15 years and have had to quickly adapt and change my career trajectory to remain relevant. Having come of age during the digital revolution taking speed I have watched as “…a new generation of amateur and citizen image-makers has emerged.” (Hadland, A. Lambert, P. & Campbell, D. 2016; 820) and this has led to me taking a flexible view to any career path I do take.
WPP B: Eco Anxiety
Figure 1 Murray, J. Durrant, M. Thatcher, A. Butter, S. Dzudova, T. Thomas, M. (October 2020) Jamboard Idea Generation
This week we had a quick meeting on Monday to finalise roles, share our current research and influences and how we might shoot in preparation for our meeting with Anna on Tuesday. I thought it might be a good idea if we adopted Jamboard, which Colin had introduced to some of us last webinar, as a means of acculumating and sharing information easily between one another as well as a means to mock up a presentation for Anna tomorrow. I began by listing what we needed to discuss and finalise before the meeting began and then included a slide for job roles; a quote from Wellcome about what eco-anxiety stands for and set up several slides for us to place images we had taken or found inspiring. Anna gave us plenty of insight and food for thought on where we might be going, as well as clarifying some of the questions we had, around using archival images we had taken previously. It as advised that we needed to find the similarities, to unify the subject matter and provide a cohesive visual story. This is something I have been thinking about already and partially why I had yet to pick my camera up to take any images yet, as my current practice would likely clash with my fellow peers work and would therefore ruin any sense of cohesion, I know to make a successful group project I would need to adjust not just my visual style, but also my visual vernacular. Subsequently I have been delving into my archives this weekend to see whether I had any images that depicted in-line with the smoggy muted tones (of air pollution) of some of the images my peers have provided that I also feel would depicted a desolute and anxious scene, I found an image I have taken a few years back in London of it’s smog (as I would struggle to do this kind of image in my home location and Covid-19 has limited my travel this might be my best option).
References
Figures
Figure 1 Murray, J. Durrant, M. Thatcher, A. Butter, S. Dzudova, T. Thomas, M. (October 2020) Jamboard Idea Generation.
Figure 2 Murray, J. (March 2017) Changing Skylines
Bibliography
Hadland, A. Lambert, P. & Campbell, D. (2016) The Future of Professional Photojournalism [IN] Journalism Practice, 10:7, pg 820-832. [Online] Available from: https://doi.org/10.1080/17512786.2016.1163236 [Accessed 14/10/2020]
Keaney, M. & Weber, E. (2014) Fashion Photography Next. ‘Introduction’, pg 7. London; Thames & Hudson
Jasmine Murray Photography 