3rd February 2017
Tim is founder and editor of 1000 words photography magazine and curator of exhibitions for artists, he recently co-curated the Alec Soth exhibition that I attended last year at the science museum. He gave a good lecture however it seemed to drag on about his magazine a bit too much for my liking. What did stand out to me was his understanding of photography. It’s huge, as expected with being an editor of a magazine, but he understood work way beyond its face value… this is something I wanted to tap into in the crit later on.
In the crit with Tim:
I questioned him about Alec Soth’s body of work and wanted to know more about Alec. He knew him well and told me all of his images are planned and set up. The people are real and how he met them is real but the pose, the props that are brought into shot, where he stands them, their stance and facial expression is all set up. Not to cause a fake reality but to strengthen what he sees and what he wants to share to maximise the storytelling experience.
This shocked me.
Upon reflection it makes sense to do it this way and i don’t know why i had an initial shock to it. But it’s something i seriously need to consider when shooting portraits, regardless who for, what client and what body of work. He said to watch Youtube videos that show him doing this.
I asked him what he did prior to his current work, he studied a Photography degree and had taken part in the Erasmus scheme where he went to Barcalona for 6 months. I mentioned I was doing the same and he said it will sort my current situation out.
My current situation is why I want to make work. Motivators, trying to get into a mindset after university. I guess I’m trying to get ahead of the game to make a good living outside uni. Howeverm he said ‘It’s important to be mindful of how you’re going to make it as a photographer after uni, but don’t let it bog you down and build up.’ That’s what it’s been doing, constantly looking at influences on Instagram and wanting their lifestyles, to live financially independent. Taking this on board I will and enjoy the rest of this term and the term abroad.
He mentioned considering where my work is going to be shown. Either in a photojournalistic way, set of small images quickly gone past or in the art from of a gallery, this is also something to think about when producing work.
To look at:
Paul Graham – A shimmer of possibility (Already looked at)
I believe Sophie’s work is very similar to Duane Michals work.
Get this book:
The photographers playbook – aperture
Come away points:
Stop thinking about after uni too much.
Consider controlled portraits, more direction to what you want to communicate in that frame