TRACES ON DUST
For assignment five I went to a steel foundry.
These industrial sites are noisy, dusty, hot and dominated by orange colour, the colour of metal casting. It is no matter if it is night or day, if it is sunny or cloudy: in the foundry it is always night, so that artificial light and orange glare give to each photograph a main feature, that you could expect, given the place.
Following is a shot I took during the same shooting session, only to give an example of these “clichè” images:
These industrial sites are noisy, dusty, hot and dominated by orange colour, the colour of metal casting. It is no matter if it is night or day, if it is sunny or cloudy: in the foundry it is always night, so that artificial light and orange glare give to each photograph a main feature, that you could expect, given the place.
Following is a shot I took during the same shooting session, only to give an example of these “clichè” images:
I chose to go along the boundaries of the sites. Over there the residual casting products cover everything with the finest particles of dust. The atmosphere is diaphanous, lunar and “cold”, so surreal if we think that, just some meters away, orange colour and hot dominate the scene.
I decided to develop this series of photograps in black and white, because the subject of this series is the trailing of traces on dust. Looking for someone that, in the beginning, is only boot prints, abandoned gloves, besom, plastic cup, blurred shadow, and at the end he reveals himself on a platform roof.
By my opinion black and white give more drama to images, and give more emphasis to footprints, shadows, dust textures. In order to emphasize dust and prints textures I used a remote triggered flash, at ground level: this is done in pictures 3, 4, 5, 6, 8, 9.
By my opinion black and white give more drama to images, and give more emphasis to footprints, shadows, dust textures. In order to emphasize dust and prints textures I used a remote triggered flash, at ground level: this is done in pictures 3, 4, 5, 6, 8, 9.
I believe that the context of this series is provided by the content of each picture and the use of black and white (the way the pictures were made), but the order of the sequence is essential to get the idea of an “investigation”, a chase for someone unknown.
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| Photo 1 |
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| Photo 2 |
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| Photo 3 |
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| Photo 4 |
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| Photo 5 |
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| Photo 6 |
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| Photo 7 |
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| Photo 8 |
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| Photo 9 |
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| Photo 10 |
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| Photo 11 |
Tutor Report
Student
name
|
Giorgio Colonna
|
Student
number
|
514841
|
Course/Unit
|
EYV
|
Assignment
number
|
5
|
Type
of tutorial
|
Written
|
Formative
|
Y
|
Overall Comments
The pictures that you have presented
for this assignment evidence a growing awareness of meaning within the
photographic image. Through your ideas you have developed an interesting line
of enquiry within a specific setting that has allowed for an alternative
interpretation of the particular environment. This has also allowed you to
produce work that is within a particular setting but at the same time can be
viewed, within the context of meaning as being separate from it. I would like
to have seen you expand on your ideas for this assignment in the learning log
to contextualize the ideas within the parameters of critical reading and
research. The images record traces of events or a presence and this concept
offered opportunities for you to engage with relevant research. In your
submission you state “I believe that the context
of this series is provided by the content of each picture and the use of black
and white”. How is this explained in the content – through symbol or other
means? As regards the use of black and white why do you think that this format
adds more drama? Do try and question your ideas through reflection and analysis
and also apply this to your research as for example in your comments on the
work of Walker Evans you state, “The context of the
photo I selected is truly provided by the information in the picture and the
way the picture was made.” This may be the case but not necessarily in a
definitive way. Later you comment, ” The shot is taken discreetly, trying not
to attract attention and obtain un-posed and "fresh" portraits.” Yet
this could be interpreted through further analysis of issues arising from these images as examples
of voyeurism in photography at a time when the camera would have been hidden as
it would have attracted too much attention and deflected Evan’s intentions. Then there is the question of who actually is
the voyeur. Is it the photographer or the viewer? Is photography so special that in today’s
world we consider it to have the power to intrude or are there now so many
images that it just cancels itself out? You need to start considering these
issues as you progress through the degree programme and to document your
thoughts and ideas backed up by critical reading in your learning log.
Assignment 5 Assessment
potential
I
understand your aim is to go for the Photography Degree and that you plan to
submit your work for assessment at the end of this course. From the work you
have shown in this assignment, providing you commit yourself to the course, I
believe you have the potential to succeed at assessment. In order to meet all the assessment criteria,
there are certain areas you will need to focus on, which I will outline in my
feedback.
Feedback
on assignment and supporting work
An interesting
set of images has been presented as a narrative that in the main suggests a
story rather than being too obvious. The images in general document this
reasonably well with a few exceptions. I like image 4 but the inclusion of the
larger shadow in image 7 is unnecessary and too obvious and detracts from the
overall piece. In a similar vein the footprints in image 8 have already been
shown in image 4. I would also question the necessity of having to include a
person as in images 10 and 11 as an ambiguous feeling could have been
maintained throughout the piece. If a person has to be included I would suggest
only one image perhaps image 11 as the figure still remains unknown to the
viewer in this one. Finally I think that image 2 might have more impact if all
the focusing was on the glove.
I would like to
have seen contact sheets for this assignment and the criteria that you used for
final selection of images. Overall this is a good attempt at work that tries to
capture a sense of ambiguity. This is a good indication that you are prepared
to move away from the ordinary and explore and experiment with new ideas in
developing your work. However as mentioned this needs to be linked with
research and critical reading.
Learning Logs or
Blogs/Critical essays
Before any final submission I would reiterate what I said in my previous
feedback to you –“There is little evidence of critical reading and the learning
log needs to be expanded to evidence more research for each assignment. Also
please read the assignment criteria carefully and ensure that all areas are
covered. Remember when you consider submitting work for formal
assessment the assessors will be looking to see evidence of reading, reflection
and meeting all criteria.”
Suggested
reading/viewing
Check all OCA submission
guidelines and assessment criteria
Pointers for the next
assignment
I
would recommend that before work is submitted for formal assessment that you
review the whole body of work and indicate a progressive development. Check
that the learning log is clearly indicating this, is there evidence of reflection and evaluation, is the work presented in an appropriate
manner, is the presentation easy to follow, will the assessor be able to see
your development in the images and written work. Do not forget that you can
change the way you present the work for assessment. It does not have to be in
the manner that you submitted for each project assignment. It is also possible
for you to change content in relation to feedback received. Do indicate your
own responses to feedback. Ensure that all quotes and reading are referenced
using Harvard Referencing either in context or as part of a bibliography.
Tutor name
|
Matthew Winterlich
|
Date
|
11/01/2017
|
Next assignment due
|
Prepare work for formal assessment
|
Reflection on Tutor Report and Rework
After reading The Tutor Report, I investigated more on the use of black & white photography. This is something I approached several times in my learnin log: for istance in the page where I visited other practitioners' web sites, I reflected on the use of black and white (see notes in the Cristophe Gin area).
I remain in my opinion that, by removing hues in certain photograps, it is possible to concentrate on light, form, texture, composition without being distracted by colours. On the image itself. In this particular set of photos, the use of black and white has even a symbolic meaning, referring to a timeless place, out of the ordinary world. The strong contrast give a sense of drama and traces on dust are popping out.
I made a research on Robert Frank's "The Americans" in this page.
“Color tends to corrupt photography and absolute color corrupts it absolutely. Consider the way color film usually renders blue sky, green foliage, lipstick red, and the kiddies’ playsuit. These are four simple words which must be whispered: color photography is vulgar.” – Walker Evans
I collected the contact sheets of the entire work:
I collected the contact sheets of the entire work:
All along this work I experimented different illuminations trying to give more evidence to textures and traces on dust. Then I selected a group of photos and group them as a "story". I agree with my Tutor, some selected photos did not help to maintain that sense of mystery and ambiguity that I intended to put in the story, so I modified the selection and, following, is the new body of work:
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| Photo 1 |
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| Photo 2 |
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| Photo 3 |
 Photo 4 |
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| Photo 5 |
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| Photo 6 |
Photo 7
Photo 8
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| Photo 9 |
Photo 10
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