Received my tutor's comments on Assignment 2. On project 5 she raises the issue of an 'impartiality of view' and asks why I chose to use images taken within Winchester Cathedral. The short and probably unhelpful answer is that I was there for another reason but saw the opportunity to take shots that could possibly be considered for the project. On a more reasoned note it was an attempt to demonstrate that the impartiality of a view lies not with the photographer but with the viewer. The images chosen could, in theory, have been taken anywhere - the cropping was such that there was insufficient information within the image for someone without prior knowledge of the places where it was most likely to find these objects to make a guess as to where they were located. It is of interest that my tutor describes it as "a place of C of E worship" (which it is) but that relies upon her interpretation of the clues. There is nothing that is specific enough to restrict it to a C of E cathedral.
I am asked to consider the 'mind of a child as yet free from from influence from those around them'. If there is such a child we are asked to consider how the child would react to what they see -"Vast spaces, high ceilings and echo might suggest noise and movement to a child. A great place to run riot and make yourself heard." We now have a child who is not yet under the influence of those around them but 'knows' in some mysterious way that such a 'space' would be great to run riot. Furthermore we are asked to consider that this is an impartial view - it is certainly an 'incorrect' interpretation but is it an impartial view? I would suggest not from the child's point of view. The important point to make is that the images do not give a sense of scale ( there are no human figures or other clues) so if our mythical child could tell us what it sees it would not be able to tell us about a place to run riot unless it had prior knowledge.
Image 4 is an example of where the viewer adds a layer of knowledge to what they see and seeks greater clarification. The sculpture is almost devoid of detail from which I drew the conclusion that the sculptor used his/her skills to present a figure that could be seen as representative of all human like figures. We each interpret the figure in our own way and then seek clues to see if we are right in our interpretation.
Project 8 - the decisive moment. The 'decisive moment' is in some sense non-existent because only the subject can know whether a fraction of time was the point at which a decision became concrete. Then it is doubtful if the subject is actually aware that in some way a point in time was 'decisive'. He (in this case) could possibly rationalise his thought process and pick that moment in time but in reality it is something that is imposed by the photographer and then after the event. If you take a series of shots, say at 5 frames a second, around an action how do we as an outsider 'know' that within this sequence or prior or subsequent sequences whether there was a decisive moment or not. My choice was based on my interpretation of the body language of the dancer particularly his facial expression but I could be totally wrong.
I am asked to include more of the planning process in my blogs. The planning process is, at the highest level, the same for every shoot. Having read through the Course material I decide what it is I am expected to do (not always obvious); where I am most likely to find the material I need and how to be there at the best time. I rarely go out with just one project in mind and try to plan so as to get as many relevant shots for parts of the Course and my Major Project as I can. If travelling to Cornwall for example as I have done I use any knowledge I have or can acquire to plan a route so as to maximise my chances. Included in my preparation is checking my equipment to make sure I have a range of lenses, all batteries are charged and I have sufficient memory cards to take the number of images I think I will need plus spare capacity.
When I arrive at the pre-planned shooting point I rely in part on the pre-planning but far more on opportunities that present themselves. Experience may tell me that the best time to shoot a particular image may be at sunset or just after. What I cannot control is the weather. I therefore remain open to other opportunities that arise. Normally I write the blog after the event so what I write is a rational description of something that is probably beyond explanation. Choices made at the time of pressing the button and the subsequent selection of shots can be described but I often wonder how real are the explanations. Why I chose one viewpoint over another is probably not capable of explanation and certainly not without showing the alternatives. To explain everything is to reduce the photography to something that could be programmed into a computer ( as much now is in modern cameras) and reduces what essentially is a product of individual psychology and physiology to a mechanical process. It is like trying to set down the emotions felt at seeing something so beautiful that even coherent thought is difficult. Photography at its best is about living the moment not cold-blooded rationalisation.
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