Assignment 3 planning (thoughts about photography)

With my PC out of action for a while and me out of the country (travelling light - iPhone only)  I've had time to think about my photography rather than do my photography.

I realise that might sound a little strange, because without a doubt, this module of the course has for the first time truly made me think about my photographs; how I develop my images and how I want to communicate visually. I have been doing this module for eight months (since November 2013) and I haven't changed my working methodology between this module and the last module. Therefore, the only conclusion I can draw is that my thinking methodology must have changed. Until now I had never even considered that there was such a thing and a thinking methodology...

I was warned by my tutor before I started this module that there was a significant jump between first and second year modules. I have found it to be very significant, in terms of both volume of work and standard of work required. Not least of which is the amount of philosophy included in this module. Like most people, my first module was TAOP and the reading list included "On Photography" by Susan Sontag. I enthusiastically bought this book but failed miserably to read it several times. Lurking around the OCA forums, I heard mention of Foucault and also failed to read his work - that is, until now (chapter 4, exercise 36). Not only could I read it and understand it, I knew what he was saying before he'd finished saying it.

David Campbell in his talk on Narrative, Power and Responsibility mentions Tod Papageorge and a lecture he gave to his students about developing narrative. Stating that the oft repeated quote from Robert Kappa "if your pictures aren't good enough, you're not close enough" was no longer valid and the new mantra should be "if your pictures aren't good enough, you're not reading enough".

I think this is especially true in our media-saturated environment. Historically, photographers have always developed their own voice by understanding, interpreting and modifying the voices of other artists. Today, to stand out in the crowd it's not just about good imagery, it's about effective communication through the development of strong visual cues that narrate events.

Simply put, a good photograph is fine for stock but has limited appeal elsewhere. However, a good photograph that is anchored and referenced; adds to and further expands an existing debate; provides an alternative view point or is intentionally controversial and challenges the status quo - these are the images of the future and without sufficient depth of knowledge, photographers will not be given the opportunity to engage with tomorrows audience.