RESEARCH AND REFLECTION: READING ON RESEARCH

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Creative Photography: Behind the Image – Research in Photography (Fox and Caruana, 2012)

We were directed to read this in preparation for assignment 5 and the project proposal- here are my notes on chapters 1 and 2

CHAPTER 1: PLANNING

Introduction: What is research in photography? It is part of the photographic process. It can be through: investigating histories and theories of photography, observing the world, reading and listening, debating, and reflection.

You can trace how a project as evolved by asking: How did the work start? Influences? What was happening in the world at the time?

Recording the research process enables critical reflection and evaluation.

You may bring your unique vision to a project, nothing is completely new, make a draft plan for research:

  • Record where the initial ideas came from: overheard and direct conversations, memory, reading, music, facebook
  • Return to these areas for further research – do not self-censor possibilities.
  • Draw up a plan to navigate the options I have ahead of me.

The plan is a guide only to translate ideas into photographs.

RESEARCH PROPOSALS

  1. The title or working title: Summarise the work to be done to make the project happen. Mine is layers of meaning, stupidity, double meanings.
  2. Topic/theme: 2/3 paragraphs giving the key details of the project. Be positive and enthusiastic. How do I intend to approach the photography and expect the project to develop?
  3. Audience: Exhibition, publication, public artwork, picture essay for a magazine…Consider how each context might give the work a different meaning.
  4. Approach and methods: Practical methods, technical aspects, mediums, platforms, collaboration, methods of research.
  5. Access: to location, understanding the law.
  6. Proposals for funding: potential sources will ask for written proposal (coherent vision, clear story, aesthetic and technical competency)- Less is more. If asked to write a project summary it may be used for publicity, so consider how it might look on social media platforms; it will need to encourage viewers to read on.
  7. Timetable and budget: be realistic.
  8. Proposed research references: A list helps a proposal reader to understand the scope/ambition of the project, include:
  • Photographers/artists, links to working methods, references to fiction, music, film and theoretical debate if applicable.
  • Investigate histories, to help understand why bodies of work were made, also look at the political and social period and possibly obituaries.
  • Investigate a photographer’s history, projects and websites to gauge their relevancy.
  • Talks and lectures, magazines, journals, books and wider reading
  • Make notes and mind maps.

CHAPTER 2: DEVELOPING IDEAS THROUGH RESEARCH

Where to research:

  • Libraries, Museums (often have photography collections), Galleries, talks and events.
  • Internet research: bookmarking and search engines – share ideas with peers
  • Blogs: check out RSS (really simple syndication) enables you to access all blogs from one page from a list.
  • Social media
  • Archives
  • History
  • Vernacular (everyday) photography
  • Lectures
  • Interviews
  • Reading,
  • Listening: share, be open to feedback

Review the project frequently.

Establish own research framework through own practice.

This was very useful to me when forming my project proposal

Reference:

Fox, A. and Caruana, N. (2012) Basics Creative Photography 03: Behind the Image: Research in Photography. (s.l.): A&C Black.

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RESEARCH AND REFLECTION: STUDENT LED HANGOUTS

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OCA Documentary Student led Hangouts 18.2.21- 1.4.21

1.4.21

I was able to share my first draft with the group. I have written this up in my learning log but here is an extract:

I asked the group:

Should I give more context, perhaps in the title?  but was told to keep the ambiguity.

Whether they could see my voice and what they thought my message was?

  • Some did realise that I was taking a tongue in cheek position and that the visuals are opposed to the text.
  • The fact that one peer asked me where I sat in the whole thing told me it wasn’t clear enough.
  • Some thought the message was about spreading corona virus, holiday homes
  • So I realised that my message wasn’t clear, nor was my voice.
  • No one had realised that I had put the subjective Facebook comments on a grey background and facts on white background.

We discussed what I wanted to convey and how I could adjust to achieve this and to ensure the visuals come through. There were suggestions to:

  • Reduce the text
  • Separate the text in some places from the visuals
  • Put the facebook comments on ticker tape under the images
  • Present some facts without visuals on a text only page.

Afterwards I thought more about how to make it clear what my position is:

  • I need to really think about where I am in the story.
  • Let my voice speak in the visuals.
  • Make sure the work is really tongue in cheek.

18.3.21

Much general discussion and sharing of resources, events, talks and books.  

We also spent time discussing the pros of printing from lightroom and various paper that people prefer.

4.3.21

We spent a long time discussing printing. The useful part of this for me was that I will soon be changing my PC and getting a monitor. I made some useful notes on suggestions for good photographic monitors and have since researched. Currrently I have noted I should get a Eizo 24” at just over £500 recommended by Bob our resident group technical guru, though others are happy with their BenQ monitors.

Judy Bach joined us for the first time, she is close to the end of level 3.

I discussed my plans for my assignment 5 presentation, and asked the group if they thought I could use just 4 images appearing 4 to 5 times with varying text to show layers of truth. I can to the conclusion that I will need to use 4-5 images maybe for times to cover my themes which will give the required 15 images for the brief.

18.2.21

Many of our documentary group are now working on level 3. Much of our discussion this session was around level 3 work. This does give me some insight into level 3 which is approaching for me later this year.

We also gave peer feedback to Jonathan on his Documentary assignment 3.

Link to my OCA regional student meetings: https://nkssite5.photo.blog/category/learning-log-research-and-reflection/thames-valley-oca-meetings/

Link to my other Student led hangouts: https://nkssite5.photo.blog/category/learning-log-research-and-reflection/zoom-oca-meetings/oca-student-led/

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RESEARCH AND REFLECTION: OCA STUDY EVENT

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Andrea Norrington How to be a creative learner

(5 sessions between now and July)

Session 1 24.3.20 Plan Do reflect

Plan, do reflect – record those thoughts capturing them before they’re gone

Plan act observe reflect –  revise plan act observe reflect in a circular motion

This enables you to do the work and move forwards, documenting enables you to engage with the work at a deeper level.

Planning: Creating momentum

  • Remind myself to read Austin KLeon Steal like an artist which I haveand another of his: Keep Going: 10 Ways to Stay Creative in Good Times and Bad
  • Side projects are useful: keep you going and skills fresh

Photographing- think how you can regularly photograph – this is relevant to me

Reflection should happen throughout the course

  • It’s part of the planning process and can move your work forwards
  • Work will be more focused and structured
  • Use your learning log
  • Writing the end course evaluation will be easier

Invest in your practice by planning doing reflecting

My reflections:

Not anything new here as I attended Andrea’s sessions last year however it’s always good to remind myself of ideas for good practice. My takeaway was to photograph regularly especially as I come up to the end of this course and may have a summer break before starting level 3.

Padlet for the session is at: https://learn.oca.ac.uk/mod/lti/view.php?id=10961

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RESEARCH AND REFLECTION: OCA STUDY EVENT

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Keeping Up Momentum Student Stories – 27.2.21

Keeping up Momentum is a student-led initiative designed to connect, inspire and motivate OCA students. This session features three students stories to inspire and motivate.

Speakers:

Jane Coxhill BA hons in painting:

There were lots of interruptions to her journey, personal circumstances but the OCA supported and encouraged her and she continued and has now achieved a first class degree.

Hugh Hadfield just completed level 2.

An illustrator with a practice rooted in observational drawing and an interest in reportage, documentary and “the slightly strange”.

Sarah-Jane Field 1st class degree in photography.

Sarah-Jane usually works as a photographer but also works for a local housing co-op, writing blogs She received marks of 90% for her last three modules; for Digital Image and Culture in 2019, and for Body of Work and Contextual Studies in December 2020. https://sjfsyp.wordpress.com/ and was the reason I signed up for this session flagged by course leader Dan Robinson. I have met Sarah Jane before on study events,

My notes on her practice:

  • Her work is a shift away from a western linear view of reality towards a more entangled and relational reality and a connected interest in mark making.
  • Works as a commercial photographer as well -suggests dissolving boundaries between research and personal life
  • Influenced by Judi Marshall “Living life as an inquiry” (1999), who talks about noticing if our actions end up reinforcing the systems we aim to interrogate, deconstruct and instigate change; and Sarah-Jane began to wonder if photography does this.
  • During self and other and digital image and culture made her explore the importance of other digital technology
  • Level 3:  Her final project eschews the idea of a linear forward facing time arrow and the passing of time non-linearly. Her contextual study was on other types of photography to expanded moments of production.

An interesting quote shared: “Cartier-Bresson’s style of photography is still possible, still practical and celebrated, but its importance is marginal…other types of photography have become more culturally significant, ones which often involve a shift from the single moment of capture to the expanded moments of post-production” (Daniel Palmer, 2015)

  • Currently she is looking at mark making and makes work with other people’s photographs.

Reflections on the session:

Tips on assessment:

  • Explain about what you’ve done, overcome difficulties, thought processes, the complete journey – your work doesn’t stand alone.
  • Cross discipline work.
  • Difference between the pace and depth between level 2 and 3: Need to put the work in to get creative sparks, so commit to photographing.

On Problems with momentum:

  • Doesn’t hurt to take a break at times
  • Value of the OCA to their practice
  • Use lots of lines of enquiry to inspire work
  • Study whatever interests you
  • Use your personal experience in your work and ties this into your academic questioning

Padlet and shared drive: https://oca.padlet.org/helen416376/zrlacdumwrd4za6y

References:

Judi Marshall’s Explore: Living life as an inquiry https://www.amazon.co.uk/First-Person-Action-Research-Marshall/dp/1412912148

Marshall, J (1999) Living life as an inquiry At: http://www.jmarshall.org.uk/Papers/1999%20Marshall%20LivingLifeasInquiry.pdf

Palmer, D 2015 lights, camera, algorithm: digital photography’s Algorithmic conditions in Sean Cubitt, Daniel Palmer &amp:Nate, tKacz (eds), Digital Light (London: fibreculture Book Series, Open Humanities Press, 2015), 144-62.

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RESEARCH AND REFLECTION: VIRTUAL OCA STUDY EVENT

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OCA: Climacteric – 21.2.21

Moderator: Rob Townsend Intro: Derek Trillo.

This was a sharing and discussion with Jane Weinmann’s about her final year body of work for level 3 Climacteric, which has good examples of creating efficiencies in your work. The Climacteric A personal journey through the menopause.

Derek suggested that her journey was a good example of how to narrow down topics in self directed briefs:

She had no idea on what topic she would use when she started level 3. Advised to choose something that she could live with for 2/3 years. So she went out and just shot and explored. She found various strands she might follow, graffiti, paths, self portraits, mark making on images, notions of embarrassment and presented them to her tutor who told her she’d need to narrow it down.

Her images were personal and conceptual such as broken, dark, sombre objects. She realised her work was about her feelings and was going through the menopause and that she should go with this. Climacteric is the name for the menopause from the peri to the post menopause.

Her process:

  • Researched and read.
  • Created a survey posted in the OCA forum and to friends and colleagues asking about people’s feelings about the menopause. She wanted the work to resonate with people and asked them what visually came to mind for them.
  • Note the importance of referring to groups/peers. Jane presented to groups asking particularly about the use of colour, she was focusing on using the colour red.

She was then able to narrow down the strands

  • Looked at artists who had used colour in black and white work.
  • Used her contextual studies to study her ideas of using colour on black and white images.
  • Explored lots of ideas all the way through.
  • Explored beyond photography; at one point emojs were an inspiration to her, and have appeared in her final images.
  • Experimented until she found something that worked.
  • Collaborated with others and tried to interact with the local press.
  • Found her own way of doing something. Her work contains a virtual exhibition, a book, video.

There was context to her work beyond the topic and ways it could be shared/of value to others. She wanted to bring awareness education and outreach and hence created a virtual exhibition and website (used billboards in the public space to bring people in). If it had been a physical exhibition, she would have used projection as well.

My Take aways:

  • It was useful to hear the process that Jane went through form not having a clear topic to her body of work to the final exhibition; especially as at the memonet  have no ideas myself for level 3.
  • It was good to hear that through experimentation and research you can narrow down ideas and come to a worable and interesting focus.
  • I liked her Tutors suggestion that you should write an artist statement, what you want to do with it and why at the beginning/part way through and refer to it throughout to keep you focused. Maybe I should do this on my assignment 5 to help me keep my work/research relevant. Ask yourself: Is what I’m doing adding or distracting from my work?
  • It was good to hear her advice to find a group with good intent and ask for feedback throughout. I have 2 good OCA groups for this and should make sure I keep contributing to them, Documentary/level 3 hangout group and Thames Valley OCA group.
  • Derek Trillo shared that Simon Norfolk suggests that for a successful body of work you need to draw viewers in, keep them there for a while (possibly with humour), hold their attention and then they might linger and take something away with themselves. I need to remember not to make my work too dry.

References:

Gallery – The Climacteric – a photographic journey through the menopause (2021) At: https://www.climacteric.ch/climacteric-i (Accessed 21/02/2021).

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RESEARCH AND REFLECTION: VISUAL ARTS DATA

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Discovering images using Visual Arts Data Service (VADS) OCA: webinar 11.2.21

This session was run by the University for Creative Arts. I’d not heard of the VADs resource before. VADS is managed by the Library at the University for the Creative Arts (UCA). 

Here is what I learnt:

  • Can be accessed by anyone for non-commercial use but must reference the images
  • 1400 images form 300 UK art and design collections available , it is a service of the library ogUniversity of creative arts
  • Unique images (often not found elsewhere), specialist collections, detailed descriptions (reliable sources), British design, European paintings.
  • How to browse/search by collections
  • How to reference
  • J peg images not high resolutions but are suitable for essays etc.
  • Can save images to favourites
  • “Mirador” (right hand small box) can be used to open an image viewer and add others from other repositories/places to compare them.

Information given in the Q & A session was useful:

  • Am I allowed to use a VADS image in a non-commercial exhibition? Although in the UK it is not an infringement of copyright to put an artistic work on public display, it is likely for that you will need to reproduce images in high resolution for the purposes of an exhibition.  We would recommend contacting the relevant collection owner to gain permission and obtain high quality versions of the images. 
  • Can I use a VADS image in a Thesis? It is permissible to use VADS image in your thesis for educational purposes as long as it includes a full acknowledgement.  However if you intend to make your thesis available online then it is considered a published work and you will to conduct some research to see if there are any commercial licences attached to the images.  If you have checked and can’t trace any commercial licence, then it may be possible to rely on a legal exception.
  • Are students more likely to go to Google to find images? How is VADS ranking in the Google search results? It is an ongoing priority for us as librarians at UCA to promote the use of quality image collections that can be used in education, and not just searching via Google.  Nevertheless, VADS is indexed on Google search results down to the individual item level.  VADS has a lot of links from quality websites such as universities that should also improve its Google ranking.
  • Can the Getty Museum images be used for free? The J Paul Getty Museum website states that: “The Getty makes available, without charge, all available digital images to which the Getty holds the rights or that are in the public domain to be used for any purpose. No permission is required.” https://www.getty.edu/about/whatwedo/opencontent.html

A useful source to remember, especially if I want detailed information.

Reference:

University for The Creative Arts (2021) VADS At: https://www.vads.ac.uk/ (Accessed 11/02/2021).

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PART FIVE: NEW FORUMS FOR DOCUMENTARY

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PROJECT THE DOCUMENTARY PROJECT

Documentary projects

Look at the digital version of Penny’s Blurb book on her blog: http://marmalade-cafe.blogspot.co.uk/2012/02/not-our-time.html

Listen to OCA assessors Clive White and Maggy Milner talking about the project on WeAreOCA: www.weareoca.com/photography/student-work-uncovered-penny-watson/   (Open College of the Arts, 2014:110)

We have been directed to look at some of the documentary projects of OCA photography students. Here are my observations:

Penny Watson-Not our Time

This a day in the life of her Nanna, I believe not long before her death. It is a sensitive, spy on the wall, project with mundane images of her Nanna’s everyday life.

Briony Campbell-The Dad Project

I have visited this work before. Its exploration of loss has similarities with Penny’s work. I find Briony’s work more explorative and conceptual than Penny’s. Perhaps I just subjectively prefer her visual images.

Harry Pearce-A Dozen Eggs

Here his family-based project has an added dimension of handwritten text provided by his family to accompany his image. Theas in Briony and Penny’s work is magnified, shared, and made interesting.

Beth Aston-Behind the scenes

A biographical self portrait focusing on her illness. This is a brave subject, shared honestly. Also, with a strong aesthetic quality, lent by the use of black and white, unusual perspective and a cohesiveness of presentation. It is good to be taken back in my mind to autobiographical work that I enjoyed doing particularly in my Identity and Place course, Mirror, Image and Text, and in my Context and Narrative course, Photographing the Unseen and Putting yourself in the picture. Though none of these were nearly so raw as Beth’s work, but I did find them reflective and cathartic.

The above works are contrasted with the following 2 projects.

Omar Camilleri- Feet

This project appears light-hearted, however there was a deep spiritual and conceptual process behind it. A collaboration between a painter artist, and the photographer and another who had a shared concept to see reality through visuals of feet. It shows how the good choice of a topic combined with honed observational skills can create an interesting body of work.

Tanya Ahmed-Living on 100th Street

This subject was photographed by Bruce Davison 40 years ago, Tanya photographed it as it is today to give a current portrait. It is her insider view of the street, focusing on the people rather than the environment, in a collaborative manner.

My learning:

I can see that these works are driven by strong strategies and where needed, careful research. They are of course technically strong. Though the projects are varied, they are all evidently personal and driven by a strong purpose, perhaps with the exception of Omar’s. I have discovered myself that being passionate about what you are photographing is important to the quality of the outcome, though to be honest because of the limitations of the pandemic I have not always been able to chose subjects that I am excited by during my documentary course. I realise that when working on level 3 I must ensure that I find subjects that I am passionate about. Won’t it be nice when our choice of subject is opened up again, when we can go inside buildings and get close to people.

References:

Camilleri, O (2010) Feet At: http://omarcamilleri.com/2010/09/23/feet-photographic-exhibition/  (Accessed 06/04/2021)

Campbell, B. (2011.) The Dad Project. At: http://www.brionycampbell.com/projects/the-dad-project/ (Accessed 06/04/2021).

Harry Pearce (2012) A dozen Eggs. At: https://www.harrypearce.co.uk/ (Accessed 06/04/2021).

Lomas, M. (2012) Student Work Uncovered – Penny Watson. At: https://www.oca.ac.uk/weareoca/photography/student-work-uncovered-penny-watson/ (Accessed 06/04/2021).

Open College of the Arts (2012) Student Work Uncovered – Tanya Ahmed. At: https://vimeo.com/42467929 (Accessed 06/04/2021).

Open College of the Arts (2012) Tanya Ahmed: Living on 100th Street. At: https://vimeo.com/43594038 (Accessed 06/04/2021).

Open College of the Arts (2014) Photography 2: Documentary-Fact and Fiction (Course Manual). Barnsley: Open College of the Arts.

Watson, P (2012) marmalade and Profile, V. my C. Not Our Time. At: http://marmalade-cafe.blogspot.com/2012/02/not-our-time.html (Accessed 06/04/2021).

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PART FIVE: NEW FORUMS FOR DOCUMENTARY

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POST DOCUMENTARY ART

RESEARCH POINT

Learn more about crowd funding by reading the following articles:

‘The 7 Essentials of Crowd-Funding Your Next Photography Project’ (Light Stalking March 2012):

http://www.lightstalking.com/crowd-fund-photography/‘Crowd Funding’ (WeAreOCA September 2011): www.weareoca.com/photography/crowd-funding/ (Open College of the Arts, 2014:1085)

Crowd Funding

I’ve heard the term crowd funding many times, but never really taken the time to understand how it works. It seems it’s a method of raising finance for a personal project- that much I did understand. Having read the OCA post on the subject I can see that it’s a great possibility for creating impact with photographic projects.

The Kickstarter project launched in 2009 as a web platform for funding personal creative projects is described as the original crowd-funding concept. The concept is that funds are raised by offering creative rewards to individual backers who pledge varying amounts. The OCA post cites the example of Pete Brook’s Prison photography projects for which he has raided $8000 from 142 supporting people. This was done by a pitch that touched the collective conscience and offering items such as limited editions, signed books and so on. Other crowd funding platforms mentioned are the UK WeFund, and Empash; these platforms deal with donations and take commission. There are arguments that projects may be trivial and self-indulgent, but then how would they reach their target funds? There is also the suggestion that once funded projects could be released pro-bono creating a surplus of free documentary work. The point is also made in the OCA post that work can be professional even if it isn’t commercial. The author concludes that crowd funding creates “digital democratised photography”. I make no apology for the fact that here I have summarised the article, which I have done to clarify my understanding of what feels like a “dark art” to me.

In my further browsing on crowd funding, I was interested to also come across Crowd books, a platform for crowd funding books.

I found some tips online for successful funding photographic projects by crowd funding, curtesy of lightstalking:

  1. Build enthusiasm before launching your project.
  2. Create a personal and story-telling video.
  3. Set a realistic but achievable funding goal.
  4. Keep your project specific with clearly defined goals.
  5. Target specific groups and individuals – build your networks.
  6. Offer rewards that don’t require a lot of overhead.
  7. Create updates and keep people engaged.

These all seem good ideas also to use when setting up an exhibition or for marketing for any project.

I’m not sure crowd funding will be something that I’ll ever use, but at least I understand the process a little better now and will keep it at the back of my mind.

References:

Jose (2011) Crowd Funding. At: https://www.oca.ac.uk/weareoca/photography/crowd-funding/?cn-reloaded=1 (Accessed 06/04/2021).

Kickstarter (2021) At: https://www.kickstarter.com/ (Accessed 06/04/2021).

Open College of the Arts (2014) Photography 2: Documentary-Fact and Fiction (Course Manual). Barnsley: Open College of the Arts.

The 7 Essentials of Crowd-Funding Your Next Photography Project (and How We Funded Ours) (2012) At: https://www.lightstalking.com/crowd-fund-photography/ (Accessed 06/04/2021).

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PART FIVE: NEW FORUMS FOR DOCUMENTARY

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PROJECT THE DOCUMENTARY PROJECT

5.5 Exercise

Visit the web pages of the Kingsmead Eyes project (http://gideonmendel.com/kingsmead-eyes/ or http://www.kingsmeadeyesspeak.org/).

Investigate the original 2009 project and the latest Kingsmead Eyes Speak project.

Write notes in your learning log about how the work is presented on the website, in particular the use of mixed media – stills, video and audio.  (Open College of the Arts, 2014:107)

Kingsmead eyes- Gideon Mendel

This was the result of a long collaboration with the Kingsmead Community school in Hackney when he was photographer in residence. He was partnered also by Crispin Hughes and the poet Joelle Taylor. Mendel engaged year 5 students in photography workshops encouraging them to be creative whilst sharing their lives and cultures and building bonds between communities and the school.

In Kingsmead eyes (2009) at the same time Mendel made portraits of each child and assembled them into composite images which he used in a video installation featuring their work and their words. Here in turn, they share their stories and backgrounds through visual and audio. Their mages are interestingly from a child’s perspective, the height (stairways, corridors) and the interest (their families, toys) and to us seem very creative like the inside of a box of chocolates – but this is the benefit of an untamed child’s view, which is great.

For his subsequent project Kingsmead eyes speak (2011), Mendel worked with fewer students for a shorter period. Their work is presented on different platforms both as slides/gallery with accompanying text and audio files as well as video presentations by the students.

I particularly like the way the students explain in whichever format, why they like their images and why they’ve shot some of them. The combination of various media gives the students a variety of opportunities to share their perspectives and ensures that it reaches their audience. It also ensures that viewers have the opportunity to be affected by what media touches them best.

I have researched Mendel’s work recently, notably his HIV /AIDs work in Africa and global warming work Drowning World. I found before that he uses alternative ways of storytelling to reach audiences. Mendel shows again in this work his belief that photography has the ability to make positive change in the world. He is also demonstrating his inclination to give long term commitment to projects to bring make impact.

References:

Kingsmead Eyes Speak (2011) Kingsmead Eyes Speak led by Gideon Mendel. At: http://www.kingsmeadeyesspeak.org/kingsmeadeyes/ (Accessed 06/04/2021).

Mendel, G (2009) Kingsmead Eyes At: http://gideonmendel.com/kingsmead-eyes/ (Accessed 06/04/2021).

Open College of the Arts (2014) Photography 2: Documentary-Fact and Fiction (Course Manual). Barnsley: Open College of the Arts.

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PART FIVE: NEW FORUMS FOR DOCUMENTARY

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PROJECT THE DOCUMENTARY PROJECT

RESEARCH POINT

Research the current activities of Photovoice (www.photovoice.org) and also look into archive projects such as New Londoners: Reflections on Home.

Briefly reflect on the documentary value and visual qualities of the work that you research. (Open College of the Arts, 2014:107)

A current project is Care leavers in Focus (CLiF)

a 3-year project exploring the perspectives of those leaving care. Through workshops using photography and storytelling as a tool for self-expression, care leavers can reflect on what they need from support services and other providers. These insights are then shared with local authorities and organisations to improve their responses. Participants make captioned images with advocacy stories and images to share at exhibitions:

A message for other care experienced people: Your seat at the table might be upside down but you’re capable of turning it around. A message for policy makers: Sit us down, and listen. Don’t hinder opportunities for care experienced people.
Moving into my flat wasn’t easy but it wasn’t hard. It was a rocky road knowing you’re going to start a whole new journey all over again. Especially knowing myself in the big world we live in. Moving was the light at the end of the tunnel.
Friendships: Friends can have a really positive impact when you’re having a hard time but It’slonger in care and live independently, it can be really lonely. I feel I could be better supported to meet new people and form friendships so that I have that support network.

(PhotoVoice, 2008)

The visuals here are thought provoking and have punctum which causes you to stop and look for meaning, even without the text.

Looking through the archive projects I found that generally the overseas projects show less interesting photography than the UK projects; by interesting I mean unusual visual perspective or a more conceptual viewpoint.

And We Shall Find Tales in the Shadows” project in Jordan in 2014.

An exception for me is this project. Here Photo voice worked with a group of 14–20-year-old Syrian refugees and their host community in Jordan.

(PhotoVoice, 2008)

Their work shares insights into the way I which their childhood has been snatched from them and they believed that “politicians would help change things & that if people listened to what they had to say, that the world might change and they may be able to one day, return home.”

The New Londoners project (2006-8)

was a project with young refugees aged of 16 to 23, from over 10 countries as they settled and began to integrate into the UK. The aim was to help young people see themselves not as ‘New Londoners’ rather than refugees. This work shows more of a variety of quality and in the work, which is probably representational of the photographic work form across the projects:

(PhotoVoice, 2008)

This work is more of a mixture of quality, some being blurry and some well shot as well as some interesting representation of aspects they want to share.

Overall, the documentary value of the Photovoice projects is high, it presents a reality and a viewpoint. It gives people the tools and the skills to express themselves through photography and carries strong messages. The visual messages are strong and create impact whether they present as unskilled “snaps” or crafted images.

References:

Open College of the Arts (2014) Photography 2: Documentary-Fact and Fiction (Course Manual). Barnsley: Open College of the Arts.

PhotoVoice (2008) New Londoners. At: https://photovoice.org/new-londoners/ (Accessed 05/04/2021).

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