Category Archives: Part 3

Summary – Part 3

Part Three took me into myself more, exploring the idea of self portraiture and expression of self – or providing a window into the lives of others.

Although not directly related to photography, I learned a lot about this from studying Tracy Emin’s famous installation ‘My Bed‘. It taught me a lot about how I needed to date to expose my own thoughts, feelings and motivations to be able to deliver engaging and authentic work.

My now Barthes was a constant companion and will freely admit to having to re-read the    ideas around Anchorage and Relay a few times before I gully grasped where he was coming from with Coded Iconics and Non-coded Iconics.  Whereas Sontag is easy to read with a characteristic tempo, examples, illustrations, lists (and use of the Oxford comma!) to paraphrase her style, Barthes was far harder going.

Nevertheless, I was by now starting to feel braver in expressing myself. In one of the exercises I explore a darker side of self in Exercise 3.2, something I would have felt vulnerable exposing before.

All of the above prepared me to take the rather scary prospect on of photographing a memorial that was all over the mainstream media at the time for Assignment 3.  There was a little cry of ‘I did this’ inside me when I heard back from my tutor that inspired me hugely in the remaining parts of the course.

Part 3 was that turning point for me, underpinned by a growing understanding of what portraiture is and how others feel about doing it from the coursework.

Exercise 3.3: portrayal of marginalised groups


Write a reflection in your learning log about some of the ways in which marginalised or under-represented people or groups could be badly or unhelpfully portrayed. How might being an insider help combat this? 

Minority groups can be badly portrayed in many ways. For example:

  • As different-class citizens, of the ‘wrong’ social status or intelligence.  This works in two ways and is perhaps best demonstrated by the msinstream press: society is divided into ‘workshy hoodies’ or ‘Tory Toffs’ depending which side of the fence the editor resides on.
  • As freaks.  The victorians were noted for their freak shows including the Elephant Man, dwarfs and bearded ladies.  Instead of working to include these people within society they were exploited monetarily as objects of entertainment and ridicule
  • As dishonorable in some way.  In recent years many people have been interviewed by the police for alleged crimes against young people following the Saville affair.  Many of these would subsequently be released or acquitted as innocent, but not before being ‘judged’ as paedophiles by the press and neighbours, without any evidence, portrayed as guilty.  Of course some were.  But not all, caught in a frenzy by a pious mob.
  • As originating from a less worthy race or religion. For example muslims are often generalised as all being jihadi terrorists, based on the a tions of a small minority.
These all share a root cause of society’s desire to generalise and be judgmental.  By putting these people in a box that is ‘less worthy’, the power hungry can strengthen their hand at the expense of others.  The weak can make themselves feel more worthy by pulling others down.
While it might be stretching a point to refer to celebrities as ‘marginalised or under-represented’, paparazzi photography preys on their vulnerabilities of appearing like normal people – shattering the star’s persona by being snapped in an ill-fitting bikini or buying groceries without makeup.
Myths are told, retold and elaborated until acceped as truths.
Heres an example from the recent terrorist attack on Westminster Bridge:

Photo: Jamie Lorriman

A twitter comment, by a non-present American lambasted the muslim lady for walking on by and not helping.  This went viral in the time it took me to travel back to Derby from London.  However she was helping, making calls to assist.
A backlash ensued shortly after, triggered by the originsl photogrpher putting the record straight.  He was there as an insider, credible.  The American racist was not.  Public opinion moved in the other direction.
Photogrphy has freqnently been on the frontline of these debates. Arbus and Goldin used their personal skills to befriend, gain access to and photograph people on the fringes of sociery.  How far is this exploitation? Voyeurism of the less fortunate?  Or putting the record straight so that people see these people as…people, rather than crossing the street?
(Insert Sontag quote)
The insider photographer must gain trust – which can only be achieved through integity and having a genuine desire to portray the group positively and fairly.  He must state his position, either as sympathiser or objective independant recorder.
But when released the photograph is out of his control – potentially to be twisted as with the example above, catching the prevailing public mood.

Exercise 3.2 – aspects of personality

This exercise requires me make a list of some unique aspects of my personality then set about expressing these attributes through a photograph.

I noted that the exercise does not use the word ‘portrait’ on this occasion.

I reflected on a few ideas then went for a walk around the city of Derby.  I opted for a gritty black and white aesthetic to echo the darker, more melancholy, shadow-self that resides below the happy, cheerful persona that other people identify with as being ‘Ian’:

_IMG2767 There is a constant conflict within me of wanting structure and order vs. seeking a simpler, less structured life where random fun things happen.

After taking this I also considered that there’s a voyeuristic element to this image – as though a person unknown is watching me through a venetian blind.  I fear our gradual loss of civil liberties caused by CCTV, internet surveillance, and so on as we cannot be assured that those watching us always have good intent.


_IMG2766This image describes me on two levels.  I love to be alone in nature, especially near trees and water.  Despite being in the centre of a busy city this rower have found his own quiet space, the image framed to exclude the surrounding buildings and bridges.

Like me, he’s seeking to enjoy a journey as much as the achievement of the destination.  No competitiveness, no challenge.  Just being, moving, travelling.



Is this graffiti reflecting my nature of wanting to help and support people?  Or is it a mirror, reminding me how often I don’t do this?



I’m easily discouraged by obstacles.  I’m trying to learn to step back and see the way around them.


I feel very inspired to develop this into a body of work and, for this reason alone, has been excellent at helping me out of a bit of a rut.  Compared to previous OCA courses I am finding the portraiture in I+P to be more challenging, so it was good to be ‘let off the portraiture leash’ for a while and take photos I enjoy again.

My idea is to consider developing this to see how this mirror of self, portrayed through inanimate objects, changes over time.  Perhaps a photobook over a year.  Like keeping a written journal but containing photographs.  It will be fascinating to see how feelings, mood, style and environment work together and evolve over a period of time.  I need to be careful to ensure that this introspective self indulgence doesn’t become all consuming though.   While I adore the work of Francesca Woodman, things didn’t end up well for her, as we know.  There are also aspects of the self-exploration into the troubled life of Claude Cahun here, as already explored in detail by Gillian Wearing:

Often a fan of bold ‘Martin Parr like’ primary colours and implied humour, it was interesting to explore this darker side of self.  I believe we all have one inside us.  Hopefully the viewer would feel that they knew something of my personal journey when they reached the end of it.  Although it should really be a personal journal that triggers other ideas and thoughts.  My tutor has encouraged the use of a paper-based photo scrapbook and journal for this purpose so I will combine the two some how.   I note that some people engage on ‘Project 365’ and ‘Photo a Day’ projects.


Exercise 3.4 The Gaze

Here i decided to try and analyse the variety of gazes that might occur in an every day social context.  Inspired by the work of Muybridge in the 19th century to determine through photography exactly how a horse galloped, i wanted to explore how the gaze changes during a very short conversation, and how the viewer might then interpret it.

Here, friends were sat outside talking after a long country ramble.  A friend just out of shot is talking to the lady who is the subject of the photographs.  Effectively this is the spectator’s gaze with the person in the image removed.

Given that the entire sequence of images were taken in less than a minute, how many of these gazes reflect a variety? How many were picked up on by the person speaking to her at the time?  

Engaged, entertained?


Disbelief, embarrassment?


Awkward? Embarrassed?

This was a deliberate attempt to try and explore how many different gazes could be extracted from a very short period of time and all other things in the frame remaining the same.  There is a strong narrative that comes through about the unseen speaker even though we dont actually see them.  We try to work out what they are saying: telling a rude joke? Announcing to the wider group an embarrasing secret about the subject? Daring the subject to do or say something?  Do they go a little too far, judging by the 3rd and 5th images?  The sequencing of the various gazes and expressions allow us to build our own story.

In assignment 2 I created titles for the images that clearly directed the viewer in order to ensure that my meaning came across.  Following discussions with my tutor about giving the viewer more room for interpretation it was interesting to explore that here.  I think I have decided that this is quite hard to do, reflecting a lack of courage in my work.  By giving people space for their own interpretation they might ‘miss the point’ and then declare my work to be rubbish.  But it is equally true that they might think it rubbish when they definitely do attach the intended meaning.  So better to be brave.  To guide rather than direct the viewer.


Exercise 3.1

For this exercise I selected ten photographs taken this calendar year for social purposes, not associated with my work on Identity and Place.  They were selected for no other reason than I like them  (personal or aesthetic) without any initial regard to whether they might be viewed as either a mirror or a window.

I then went throught the selection and categorised them as follows:

Curiously, the mirrors are fewer in number, suggesting that maybe I try to take the photos people would like me to take or see into situations rather than reflecting the images that I want to take for me (see previous post).  The only unambiguous ‘Mirror’ is the nighttime shot of the Wellcome building near Euston Station in London.  I’ve always been attracted to the bold primary colours of night photography, traffic trails and so on.

A few are hard to categorise and perhaps fit into both categories.  Maybe these have more of a narrative to them and hold for interest for the viewer – for example Rob staring into the train window, reflected back.

The off cammera gaze of Wassail and others make it hard to categorise these as Mirrors in any sense.  This is because there’s no direct connnection – no eye contact – linking viewer/photographer and subject.