This week I began exploring how methods and processes impact narrative and meaning within photographic practice.
I was interested to understand how a project can form and develop from an initial idea in order to aid my own storytelling narrative.
We discussed the use of intentional ‘faux pas’ within photography, seeing how these could add elements of interest and spark conversations, holding the attention of the viewers' gaze far longer than if all the answers were made immediately available.
I was introduced to the work of Chris Coekin and was drawn to his project ‘The Hitcher’ where he chose to document himself hitching lifts around the UK, relying on the collaboration of his passengers who made the decision to stop and pick him up - this apparent stranger.
This project outlined a clear objective from the outset, with many constant factors. The hand-drawn signs, the documenting of roadside finds (mainly rubbish!) and the portraits of the drivers. Coekin chose to document his journey using a compact camera, whilst each driver portrait was taken using a DSLR offering a degree of contrast within his work.
I feel this project resonates with me through my love of wildlife photography, as much as I consider the location, the area, and the animals' behaviour and routines. Ultimately the outcome is often out of my control.
During this week's research, I was also introduced to the writer Robert MacFarlane, who describes an elementary exercise in psychogeography*:
“Psychogeography: a beginner’s guide. Unfold a street map of London, place a glass, rim down, anywhere on the map, and draw round its edge. Pick up the map, go out into the city, and walk the circle, keeping as close as you can to the curve. Record the experience as you go, in whatever medium you favour. Montagur: film, photograph, manuscript, tape. Catch the textural run-off of the streets; the graffiti, the branded litter, the snatches of conversation. Cut for sign. Log the data-stream. Be alert to the happenstance of metaphors, watch for visual rhythms, coincidences, analogies, family resemblances, the changing moods of the street. Complete the circle and the record ends. Walking makes for content; footage for footage.” (MACFARLANE, 2005)
I think there's a lot to be said for a degree of creative restraint. I found this particularly prominent in 2020 when our movements suddenly became restricted. I vowed to take my camera out daily to nurture my creative practice, I noticed all the small things around me that were previously overlooked as I busied myself in everyday life allowing my creativity to flow, rather than being overwhelmed by the vastness of the world!
Boris Michailov’s series Red contained around 80 images containing the colour red. The formation of his project differed in the fact that he was collecting photographs. It wasn't until he came to display and collate these photographs that the apparent consistency of the colour red came about - this formed an important connection with the time they were living in.
So on reflection, I have learnt that ideas can develop and form over time. Ideas can come about in many different ways. There may be a strong initial focus that leads throughout, or it may be swayed by outside influences, open to discoveries. The path is rarely linear, but that's okay.
* Psychogeography - describes the effect of a geographical location on the emotions and behaviour of individuals.
References
Chris Coekin. 'The Hitcher: Series 1'. Available at
http://www.chriscoekin.com/index.php?/ongoing/the-hitcher-series-1/Links to an external site. [Accessed 03/02/23]
MACFARLANE, R. (2005). ‘A Road of One’s Own Times Literary Supplement. October 7th
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