Work in Progress
Week 5 - Tell a Story
Imagine you are being commissioned by a newspaper, or magazine, to shoot a story in five to seven images. It can be about anything – ideally something local – but the images must tell the story by themselves; be strong enough to carry the narrative. The story can be about a person, a place or a thing. Keep your focus narrow. What matters is to make sure each photograph gets to the essence of what the narrative wants to express.
Share the five to seven images of your story below, and comment on those of your peers – tell them what you see. Did they understand what your story is about?
Week 4 - The Current Commercial Environment
Joining this course, I am considered an amateur photographer. I am self-employed and make a living in a different industry. Photography has been a source of income in the past, albeit it in-house as I have already mentioned in a previous post. I did join an agency, and when I was accepted, I felt very positive about it. I was soon to be disappointed, to make a living you have to post thousands of images, and the agency will take over half your fee. I do have friends who have been successful in this field. Their photography is specific and sells to specialist agencies. I am not sure in which direction my practice will lead me, but I am reasonably sure it will not be commercial. I am drawn to self-publishing, and while I know this has a limited market, I am at a time in my life where I can try this. Only time will tell ............
Week 3 - Art and Commerce
I'm not sure if its the photographer that first sees their visual style or their audience. It is something for many years I strived to achieve. Then you realise that its not something I believe you consciously do, its something which finds you. A photographers visual style is not always right in my view, and it can make peoples work look very similar after a while. I used to follow a particular landscape photographer, very well known in his field. His approach to image-making had all the same characteristics. These photographs were technically brilliant but had no soul, no narrative as such. I have had friends say to me they can recognise my pictures, in my case its because I concentrated on similar subjects and was experimenting with the same technique. This MA course is making me rethink my style (if I do indeed have one), and encouraging me to produce work I would not have ordinarily contemplated.
My commercial work was mostly in house Architectural photography. I would take images based on a tight brief, usually for client publications or the media. I had limited personal input in the photography aside from getting the exposure and focusing correct. This made the process more comfortable as the Architect running the project would direct me on the exact images he required. I did enjoy seeing my photographs in newspapers and magazines, but I did not particularly enjoy the process.
Chelsea Bridge wharf
Week 2 - Other Careers in Photography
I have spent most of my working career in architecture and its where I have made most of my professional photography. I have never worked solely as a photographer. I have to consider, being in my mid 50's, if I could find employment within the photography industry. With this in mind, the only other option would have to be self-employed. When I applied for this course, it wasn't to improve my job prospects, it was to better my understanding of the subject. I was at a personal crossroads with my practice, questioning the very reason for taking photographs. The course so far has inspired me to push boundaries and investigate new concepts. It has made me excited about the subject again. For the moment, I haven't decided on my future practice; hopefully, this will become clearer as I progress the course.
River Tay by author
Week 1 - Understanding the client brief
This week we’re asked to look at live briefs from three clients. We formed into groups and decided on the Oxfam B option. Ilya Fisher produced an outline paper which I developed into a summary and shown at the next webinar. This meeting proved the project to be viable but required additional input from the other members. Unfortunately, some of the members of the group were very busy and unable to help, so consequently, the project failed. Below is the summary I produced.
Introduction
Climate Change is a global issue affecting some of the poorest countries in the world. The more affluent countries have been less affected, although the droughts in California and Australia and resultant firestorms are a testimony to change. Johannesburg (Andre is this correct?), South Africa, is running out of water due to lack of rain. The UK is experiencing weather changes causing flooding throughout the UK, destroying people’s businesses and livelihoods. Coastal erosion accelerated by rising sea levels destroying homes.
Proposal
We will raise awareness on behalf of Oxfam UK for the need for action on Climate Change and its impact on the UK. Our campaign will be targeting KEY decision makers at COP26 Summit to be held in Glasgow next year 2020. Our goals will be to:
Highlight the plight of refugees who have arrived in the UK as 'persons displaced in the context of disasters and climate change'. These people have been forced to migrate to the more prosperous western countries less affected at the moment.
Look at climate change from the perspective of the UK and how this is affecting its current population. Many residents of the UK have lost their homes and livelihood due to coastal erosion and rising sea levels.
Around 5.2m (one-sixth) of properties in England are at risk of flooding. More than 2.4m properties are at risk of flooding from rivers or the sea, of which nearly 0.5m are at significant risk, and 1m of these are also vulnerable to surface-water flooding. A further 2.8m properties are susceptible to surface-water flooding alone.
https://www.theguardian.com/environment/2014/feb/12/uk-floods-the-facts
We anticipate the photographic work will consist of compelling visuals — for example, a portrait of a refugee alongside their personal story.
To enforce the message, we will title the portraits so that it localises the issue and makes it more prevalent to the UK.
The personal stories are likely to be written, but we may also consider audio.
Visuals
We require the narrative to be seen by the KEY delegates at the conference as well as the public. Our initial ideas include :
Freestanding boards located in strategic positions around the city and venue.
A magazine of our work sent to KEY delegates.
A web site, which can be used as a hub for both the public and delegates to discuss
ideas.
Social Media campaign.
Budget
To be confirmed
Further Reading/Notes
Climate Change Refugees (or Climate Displaced Persons)
‘People fleeing because of climate change don't have the same protections’
‘Climate refugees are forced to leave their homes because of environmental changes which
risk their lives or livelihoods. Such changes might include extreme weather, drought or
rising sea levels’. (https://friendsoftheearth.uk/climate-change/climate-refugees)
‘Climate refugees’?
The term “climate refugee” is often used in the media and other discussions. However, this phrase can cause confusion, as it does not exist in international law. A “refugee” is defined as a person who has crossed an international border “owing to well-founded fear of being persecuted for reasons of race, religion, nationality, membership of a particular social group or political opinion” (1951 Convention relating to the Status of Refugees). In some contexts, the definition extends to persons fleeing “events seriously disturbing public order” (1969 OAU Convention; 1984 Cartagena Declaration). Climate change affects people inside their own countries, and typically creates internal displacement before it reaches a level where it displaces people across borders. There may be situations where the refugee criteria of the 1951 Convention or broader refugee criteria of regional refugee law frameworks may apply, for example if drought-related famine is linked to situations of armed conflict and violence – an area known as “nexus dynamics.” Regardless, the term “climate refugee” is not endorsed by UNHCR, and it is more accurate to refer to “persons
displaced in the context of disasters and climate change.”
https://www.unhcr.org/uk/climate-change-and-disasters.html
My research highlighted two areas which I would have liked to have investigated further — climate refugees from the UK and coastal erosion. Living just outside of York, I am well aware of flooding, and its impact on the community and the east coast is notorious for coastal erosion. These two subjects would make interesting research for a future project.