Author Archives: Ian Shaw (HippyHippoPhoto)

About Ian Shaw (HippyHippoPhoto)

Photographer inspired by good-natured people...and nature itself.

Final Reflections on I&P

There is a sense of ‘developing a practice’ starting to come through in my work now which I’m very pleased about. I’m inspired to continue with Assignment 5 and the Part 5 exercise 5.3 ‘Amberline’  as longer-term personal projects (or develop them further in Level 2 Landscape), as also encouraged by my tutor.  For Exercise 5.3 in particular, I find the lack of people in the images intriguing and draw parallels with the work of Atget.  This is something I will take into my next course, Level 2 Landscape, and explore deeper.

I&P has presented me with a significant challenge and was definitely the right course to choose after Context and Narrative. Assignment 1, Photographing Strangers, felt like a mountain to climb at the beginning but Assignment 5 shows how far the course content and my tutor have developed me. I’m thinking very differently about my work in areas such as cohesiveness and finding meaning.  But the biggest change is that I am now welcoming rather than fearful of the opportunity to work with strangers. The key is to get to know them while being clear on my creative purpose  – then I can portray them with purpose and confidence.

One thing that kept cropping up in my discussions with my tutor throughout Identity & Place is how I work.  Or, as I fondly call it, the ‘notebook issue’.

My tutor has advocated more use of a physical notebook as an effective, organic method of capturing, stimulating and linking creative thoughts and ideas.  I’ve tried this a couple of times and two issues arise

  1. Falling back into using the digital tools essential for my work life
  2. My handwriting!

I organise my professional life using an online ‘to do list’ app (Todoist) and Microsoft OneNote.  I always have my phone in my pocket, so I fall back into a habit of capturing ideas on the fly in my to do list. I then collate these at a later date, grouping them into the project or Assignment I’m currently working on.

This works really well for ensuring that I capturing things and don’t forget them because I didn’t have a pen at the time.  As a left-hander, I also sometimes go back to my written notes and struggle to read what I actually wrote.

Ive tried mind mapping tools but these seem to be clunky and I lose spontaneity with them.

Nevertheless, I do want to make more use of a physical notebook to ‘break’ my habit of keeping things logically structured and think more organically, letting ideas morph into new ones.

Trying to find a perfect compromise, I think I need to accept that my single to do list is ‘king’ for enduring I never forget anything g in life so I’m reluctant to give this up. But I also need a companion notebook to explore themes and ideas in a less structured way. I will also try slowing down with a nice pen so that I can hopefully read it again after.

Sometimes the simple things seem the hardest to fix.  This is a theme I’ll take with me into Level 2.

Looking back at the practitioners who were a major inspiration for my work during I&P, these would have to be Arbus, Tillmans and Kosloff’s ‘The Theatre of the Face‘ for setting out the progressive journey photographic portraiture has taken in the last hundred years.  Alongside this, Rankin provided a mental ‘bridge’ between my old, more commercially-oriented way of thinking and taking a more artistic approach.

As discussed in my self-reflection on Assignment 5, Arbus taught me how empathy can provide an ethical platform for curiosity in approaching people as potential photographic subjects.  I was lo longer thinking ‘apologetically’ as an annoying person with a camera, but as someone with clear intent to show people as unique, worthy but visually interesting individuals.

Assignment 5: Tutor Feedback & Changes for Assessment

This submission consists of six A4 prints.

The original Assignment consisted of seven, but Elaine was removed following a discussion with my tutor.


Elaine, Pagan Artist, Staffordshire

While the other images show people with their full attention directed upon their chosen spiritual activity and space, this image contained a different gaze, that of looking directly at the camera and so broke the continuity of the work.  Other images on the contact sheet were assessed but found not to be suitable and the submission presented for Assessment is stronger as a set of six images.

My tutor’s feedback can be found here.

Assignment 3: Assessment Notes

This submission consists of eleven A4 prints.

The filmstrips below are intended to help the Assessor to see what changes have been made to the original set of images in response to feedback from my tutor (see previous post).  A larger version of this is also included on the Assessment Google Drive here.

IandP_Assignment 3 Filmstrip

This Assignment has been particularly insightful to understand the impact that individual images, and their position within a set, can have on an overall work.  Having decided on the final selection and order using draft 5×4 prints, the final submission was then printed on A4 paper.

Assignment 2: Assessment Final Comments

Submission is by five physical prints.

In response to my tutor feedback I took the opportunity to re-shoot the first image at a real gathering that the shamanic practitioner attended over the summer.  After his ceremonial work was complete, I posed him as in the original shot but positioned people attending the event in the background.  This gave a sense of him being ready to ‘perform’ to the crowd as discussed in the tutor feedback.  Both images are shown here for comparison:

The five final images were then checked for matching colour balance and exposure before printing on Permajet Matt 240 paper.

Assignment 1 – Assessment and changes in response to tutor feedback

For assessment the images were printed out A4 matte with a border, noting the OCA submission guidelines. Paper is Permajet Matt Plus 240, using a calibrated printer ICC profile for consistency.

The images were assessed for uniform exposure, a couple of them being reduced by 1/3rd of a stop as required.

Finally, all were printed under uniform lighting together as a completed set.

Tutor’s comments were noted around the inclusion of ‘John and Unknown’.  Although I agree that it does break the cohesiveness of the set, it does reveal something about the nature of this couple.  I decided to retain this in order to ensure I kept to the brief’s requirement for five images in the submission.  I considered reshooting another image, but Assignment 1 does not count towards final mark at Assessment and so the time would be better invested in future assignments.

Authenticity and Personal Voice

Interesting discussion on the OCA discussion forum which caught my eye because I’m thinking a lot about personal voice as I approach Level 2 and a sense of authenticity in others was such a key part of my I&P Assignment 5 just completed.


Andrew makes the distinction with cats:

“when the work of photographers is researched as the basis for a piece of work ‘does anyone know a photographer who has worked with cats jumping out of windows’, which is then used as an inspiration for a series of cats jumping out of windows. This seems too contrived to produce authenticity. Whereas, ‘I saw a series of cats jumping from windows and wondered how it would feel to be that cat’, which is then used to make photos while jumping from objects speaks to an authentic interest of the photographer.”


Like I’ve done in Assignment 5 – taking clear inspiration from Arbus in the method of approach, relating to subjects and highlighting less ‘normal’ members of society -for the Assignment to work I had to internalise this and expresss it in my own way.  I’m genuinely interested in exploring how individuals relate to place in a spiritual way and find their own path away from the mainstream religions.  I hope this diversity and authenticity (in them) shows through in the result.


Clive W adds that “the degree is all about finding out; who you are as a photographer, what you want to photograph and why. It’s investigative.”

It makes sense now why the course advocates that I take risks, discover, explore.  It’s this self exploration and learning how to express it using a camera that is so important.


Looking back, I can see that the early signs of developing a personal voice started to appear late in Context and Narrative, then developed steadily over Identity and Place. Reflecting on my own work now themes around personal spirituality crop up again and again, as does a relationship with the land around us.  At one point I feel quite disheartened with I&P and the focus on people and portraits, I yearn to say more about the places we occupy again, our relationships with our environment.

By contrast, in Assignment 5 I absolutely relished working with people and portraits, enjoying every shoot and resolving to continue as a personal project.


As these themes crystallise into a personal voice it looks clear that I’ll better relate to subjects who actually say something about me.

Assignment 5: Final Submission

ass5 text.jpeg


People are increasingly turning away from mainstream religion and are defining their own unique spiritual paths through an uptake of Buddhist and Hindu practices such as mindfulness and yoga.  One of the fastest growing spiritual paths in the west is now actually paganism, as people seek to rediscover the native sources of inspiration perhaps followed by our Druid and Norse ancestors.

As people find new spiritual identities, the concept of a spiritual place is also changing dramatically.  Until recently the term would only be used to describe buildings such as churches and mosques.  However an increasing number of people would now describe nature, an historic site or even their home as their personal ‘church’.

In this assignment I wanted to explore the identities of these people.  Not as freaks or social curiosities, but a celebration of their authenticity – daring to be who they truly are in a western society ruled by convention and traditions.  I discovered that for some of these people, forging their own meaningful spiritual path meant major life upheaval and sacrifice.  I also wanted to explore the relationship between these new-age spiritual seekers and their special place.

My approach to the work was to purchase an advertisement on social media, asking for volunteers who would be prepared to be photographed for an art project depicting them practicing their spiritual path in a place important to them.  A strong and diverse response allowed me to select from a range of people.  However a major logistical challenge lay in being able to combine the demands of a full time job with travel to locations around the UK and meeting the Assignment deadline.  The work presented here is therefore only the start and has opened the door to a longer term personal project.

With the exception of the first image (Glastonbury Tor) which contains a personal reflection, in each case my approach was to interview the subjects beforehand and learn about them, their own spiritual paths and special places.  They each played a major role in defining the shot as I wanted all aspects of it to reflect their authentic self.  I guided them on pose, gaze and position in addition to selecting the lighting and composition.  They chose the location, props and clothing.

For example, the Priestesses of Avalon were keen to show how their chosen path allowed them to be strong, independent women within a spiritual community.  I therefore included two people in this image to suggest the power of relationships.  Conversely, the Druid found his inspiration alone in nature; the Pagan artist in her riverside studio surrounded by her previous works.

In conclusion, the work sets out  to provide a glimpse into how people are finding their true identities in the very diverse spiritual paths found in Britain today.  It aims to portray the deep relationship between them and the places that inspire and empower them to be their authentic selves.



Pilgrims and seekers, Glastonbury Tor


Mandi. Sacred Crafter. Somerset


Steve, Ovate Druid, Doll Tor Stone Circle, Derbyshire


Elaine, Pagan Artist, Staffordshire


Tesesa, Sacred Sound Bath, Slitting Mill


Janet and Dawn, Priestesses of Avalon, Glastonbury Goddess Temple


Sarah, Moon Mother, Derbyshire

Reflection and Self Assessment

Demonstration of technical and visual skills (40%)
Materials, techniques, observational skills, visual awareness, design and compositional skills.
All the images are tied together cohesively by being in a landscape format (despite being portraits).  As well as keeping the frame dimensions consistent for the set, this subtly reminds us that there is more than just a portrait here – the landscape it is set in is just as important to the subject’s identity.
To decide upon the sequence of the images I printed all of them as small 5×7 proofs then spread them on a table.  This allowed me to play with various combinations.I did consider whether the ‘Pagan Artist’ fitted aesthetically with the rest of the set but decided to keep it in.  This is because the whole point of the work is to show diversity.  If some seem not to ‘fit’ with the rest then that is exactly how these people are in real life!  The rhythm of the set is supposed to change with each image – dark, light, muted, bold, inside, outside.

Given more time I would have liked to have included another image of a lady called ‘Ellen of the Ways‘ who lives in woodland and wears stag antlers to connect with her spirit energies.  But the journey to the Scottish Highlands where she lives was not possible in the timeframe I have available to me.

As described under ‘Demonstration of Creativity’ I had to pre-plan various combinations of lighting –  including the use of coloured gels on off-camera flash – to portray a sense of how the environment is perceived by the subject.  In contrast to the creative lighting used in some, the Druid is shot with very natural lighting, echoing his connection to the natural world and trees around him.

I consider that the real test of success for this project is whether the subjects like the images and feel that they reflect their spiritual identity well.  I’m pleased that all have been very well received with the Sacred Sound Bath lady declaring that ‘it is the only photo of myself that I like!’


Quality of outcome (20%)
Content, application of knowledge, presentation of work in a
coherent manner, discernment, conceptualisation of thoughts, communication of ideas.
I’m less satisfied in that I would like to have done more.  However, the demands of full time work and logistics of travel are limiting the pace at which I can get the photographs.  This is compounded by bad weather, travel and the onset of Christmas holidays, meaning that prospective subjects are now unavailable.  I do intend to continue this as an ongoing personal project.
The project required a lot of preplanning.  I was very glad that I got to know the subject, planned the shot then arrived with a clear plan and the right photographic gear.  In some cases I tested lighting setups at home in advance to save time with the subject.  One required a long walk and so carrying everything ‘to be on the safe side’ was simply not viable.For several of the shots I used a tripod even though this was not technically necessary.  This allowed me to fix the composition and focus on staying engaged with the subject.  I found this to be a great help and will definitely do it again.  This was a tip provided to me by my tutor in the feedback from Assignment 1.

The First image suggests that the viewer may wish to come with us on a journey to see something new and spiritual.  It invites the viewer to consider that some places are pilgrimage locations rather than just tourist attractions.  What are people seeking?  What are they searching for?  The image also introduces the visual cue of a ‘path’ to echo the spiritual paths we will explore.

The final image, Moon Mother, looks out of frame to the right and towards the setting sun.  The moonlight is behind her, supplemented by flash (the image was actually taken on a full moon).   It therefore symbolises the end of something and the start of something else, finishing the set of images in a logical manner.

See the further comments above regarding selection and sequencing.

For Assessment, the images will be printed A4 and presented as physical prints.


Demonstration of creativity (20%)
Imagination, experimentation, invention,
development of a personal voice.
In this work I’ve tried to bring a fresh and interesting angle to the primary themes of the course: ‘identity’ and ‘place’.  I have not seen this aspect of spirituality explored in journals such as the British Journal of Photography before (the closest being Tomasso Fiscalletti’s study of Shamanic Practitioners in 2016;
Possibly the most creative image is The Moon Goddess.  This shot attempts to portray the transient and illusive qualities of moonlight by using  a very long exposure combined with flash.  The off-camera flash was fitted with a pale blue gel to simulate the moonlight.  I then asked the model to move out of shot before the end of the exposure, allowing a small amount of the background to show through her cloak, creating that ethereal, ghostly aesthetic to the image.For the Sacred Sound Bath, I wanted to create a sense of being in a tranquil  ‘bath’.  To create this effect I hid two off-camera flash heads fitted with green and blue gels behind the gongs.  A third flash was set up to provide some fill light from the camera.  I balanced the three manually using a light meter before taking a test shot.

The Priestesses of Avalon are lit by a single flash head fitted with a brolly.  They were celebrating Samhain (Hallowe’en) at the time which marks the influence of the dead ancestors on our lives.  Combining this lighting with the temple background I sought to show both light (for the living)and shadow (for the dead) as a metaphor for their beliefs at this time.


Context (20%)
Reflection, research, critical thinking(including learning logs).
Diane Arbus has been a major inspiration for this project in the way that she was able to win the confidence of individuals from more eclectic sectors of society and help them to feel positive about themselves in front of the camera.  It would be easy to make the subjects feel like freaks in front of the camera if not approached and photographed sensitively.
I’ve sought to follow a similar path here, identifying people with less than conventional spiritual paths and celebrate this rather than denigrate them.In practival terms this meant  befriending them beforehand, talking sincerely about their path with empathy and understanding before even bringing a camera long.  Some of these people reported to have suffered ridicule in the past for their beliefs and they wanted to be assured that this was not going to happen here.

Contact Sheets

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