Installation : Final Major Project
MA in Photography, Falmouth University, Module 5
The first phase trawl to select images was dual purpose; to achieve a long list of images for concrete work and a longer list which I chose to entitle ‘ephemeral’ for projection. My ultimate target was 15-25 for the former and 60-80 for the latter.
I created new folders for each shoot from my MA work, the Pause Project. This represents some 16 buildings and circa 2,500 images.
Using screen work I wrapped up 132 images on the concrete long-list and 90 in the ephemeral list.
Working with Freinds – Phase Two
I asked my photographer friend Stephen Morgan for his opinion on my long list of 132 and he offered to host a session for half a day where I could reprise my purpose behind the project and the dual selection of images for the two media selected. I expand on Stephen’s background and practice in the footnote below.
The session was challenging (my favourites were deliberately dissected) and highly informative (we found pairings, fig 1, and groupings by sliding images around in groups on the screen, figs 2, 3) and included some minor post-production helping me size up the Capture One software I adopted 4 months ago.
Figure 2, 3
I describe this second phase of editing as somewhat raw, as if preparing a meal with a large, if sharp, knife; the finessing and fileting was yet to come (see phase three and four CRJ entry).
I ended up with a folder of 57 images representing a cull of 75. A good few hours of productive looking, talking and thinking.
I enjoy Stephen’s company, perhaps indulgently as in this instance, I came away feeling as though I had a strong set of images with numerous interlinks. I find image making as a solo practice the purest form of work, yet I notably feel an emotional disappointment as I rarely fall in love with my work, the self-criticism pervades too often and I strive to do better; thus I seldom feel affection and strength from the work. Having as the second opinion can help, as if refining the fishing net, to pursue the food analogy, letting the good ones go for another day and the dead ones sink.
Stephen Morgan is a Brummie by birth and followed in his father’s footsteps as a photographer. He has lived in his home city, Amsterdam and London. His website is http://www.stephenjmorgan.com/
He has a melancholic style reflecting on historic memories, nationally and personally. His work blends people and spaces, often inviting one to inform the other. The images of the ordinariness of place invite the viewer to contemplate what is captured and why.
Morgan takes enormous care over his process with a real focus on the printing selection. It is something of a privilege t meet him over the last year and I have been able to introduce him to the owner of Argentea Gallery which resulted in him holding an exhibition there this year and latterly to the Director of Ikon Gallery in Birmingham, so I have been able to give something back.
Morgan has descriptions of his practice in both Carroll, fig 4, and Phillips books;
Carroll H. 2014. Read This If You Want To Take Great Photographs. Laurence King Publishing. London
Phillips J. 2012. Collect Contemporary Photography, Jocelyn Phillips, Thames & Hudson, London