FP 6: Self Reflective Account
3.2 Feedback Point 6
Dear friends, as requested, I am submitting my work, in Feedback Point 6, for your kind comment. I am happy to show you the result of the second external project. However, I warn you that the interview text is very long, and I do not expect you to read the whole thing.
The links are as follows:
https://caa514841.blogspot.com/p/summary-of-wip_18.html
https://caa514841.blogspot.com/p/a-joint-photographic-session-with-marc.html
https://caa514841.blogspot.com/p/a-day-with-marc-de-tollenaere.html
In the meantime, I can finally dedicate myself to the feedback I failed to give some of you!
Giorgio
8 replies
Post by Barry Rourke3 days ago
Re: 3.2 Feedback Point 6
I have just read your Summary of WIP- I was very interested in your comments about how we are seen by professionals. As it happens, I have a chat scheduled for later today, with a professional photographer and your comments have made me rethink how I will approach the chat- certainly with more awareness of the sensitivities, so thanks for that.
I think one type of meeting that is different from those you describe, is the case of workshops and lectures/webinars. In these instances, the professional is being paid to share skills. Although they are usually willing to answer questions about techniques and skills, they rarely share ideas and tend to be fairly specific in their answers, not often generalising. In other words, they are noy likely to divulge their USP.
I don’t blame them for this. At least some of the people they meet are or may become competitors. On the other hand, we have thoughts and ideas of our own. Should we therefore keep these to ourselves for fear of giving the other person competitive advantage? I think not! If we meet a photographer whose work we admire, we should be sensitive to their concerns and look to share thoughts, not just take from them, but offer back as well.
I think your reference to the student experience is absolutely valid, but that has developed over time. Trust is not automatic- it has had to be earned. That is equally true with our external contacts.
Joint photographic session.It sounds like you had a very special day with Marc. The pictures you put in your blog certainly look good. I was interested by how many of them include people- more than I remember from previous galleries you have put up? Was this Marc’s influence. I really like these. The people do not become the subject- very few appear as portraits, they are there as part of the city and add to the city’s story. Pure bias on my part, but I particularly like the warmth of the night shots.
The interview. The introduction is excellent. It really makes me want to go on and read the interview itself.
The interview was very interesting- I certainly have an impression of honesty in Marc’s responses. What have you taken away from the interview- is it just data or does it inspire you, change you or reassure you of your own direction?
3 replies
Parent of this post↑Reply to Barry Rourke from Giorgio Colonna2 days ago
Re: 3.2 Feedback Point 6
Barry, I agree about not blaming the slightly suspicious attitude of those who photograph for a living. However, as a customer, I am not comfortable comforting the supplier that he has nothing to fear from me. When commissioning prints, part of the interaction with the supplier is mutual collaboration to find the right combination of, for example, paper type, file format, and parameters. Having to deal with someone who thinks about why I'm doing it instead of aiming for the best quality of the finished product is unpleasant. All this amplified the positivity of the interaction with Marc De Tollenaere. Marc talked to me about his mistakes and successes, gave me advice and discussed how I approach my way of photographing. Although he is the "maestro" and I am the student, it was a relationship between equals, and Marc thanked me for some ideas. The rest of my answer will be coming soon.
Parent of this post↑Reply to Barry Rourke from Giorgio Colonna1 day ago
Re: 3.2 Feedback Point 6
Joint photography session: although Marc shoots in black and white, Marc's personality and artistic depth in composition certainly influenced me, and I consider this in a positive sense. We discussed how to approach street photography involving people or animals, whether they are the photo's subject or part of the composition. There is also a reference to this theme in the interview. While I tend to "go towards" people and make them become the subject inserted in the composition (for example, in the photo of the old man with the cane or the black dog in the foreground), Marc is more inclined to "create a stage" and wait for people to pass through it. I think this approach is determined by being in Venice, where the urban reality comprises pedestrian streets that run alongside canals. If you walk along one of these streets, looking at the street on the other side of the canal, you see a continuous succession of frames and stages. In the set, I presented some images following this technique. I am happy to have achieved the awareness and mastery of when I use one technique or the other, and I don't think I have to choose, just as I don't think I have to decide a priori whether to include people in the composition. Certainly, in Venice, a pedestrian city by definition, people are a constant presence. However, you are right that people are not necessarily the subject of the images but are placed in context as a component of the image. All these aesthetic and poetics are my comfort zone. As for the night photos, we took advantage of the time of day when the artificial lights were on, but the sky was still bright. By illuminating a subject, streetlights create beams of conical light, which can create very suggestive images. Marc and I had a photographic tool capable of taking technically acceptable freehand photos: one of the projects I have in mind is photographing the urban reality of Venice at night because it is an immense pool of inspiration for images that would have a strong psychogeographic connotation. These considerations made me think about the main project of Unit 3, which I could title "Nocturnal Psychogeography of Venice" or "Venetian Nocturnal Drift". This approach could be used in many urban environments, which at night take on a mood and charm, each different.
Parent of this post↑Reply to Barry Rourke from Giorgio Colonna23 hours ago
Re: 3.2 Feedback Point 6
As for the interview, I believe this and the joint photographic session are the real takeaways, together with a greater and more direct knowledge of Marc's artistic sphere and poetics.
Post by Mirjam Lorek 21 hours ago
Re: 3.2 Feedback Point 6
Hi Giorgio,
I went through all of your blog posts and it seems you had a great day with many insights from the interview to the walk.
As I mentioned in our bi-monthly meeting yesterday, the competition here is big too and those who have been longer in 'business' make newcomers feel small. One has to belong to a certain network - otherwise, you have no chance. I don't appreciate that but decided to ignore it. Because there were moments where I realised that some of these photographers, don't have much to say - they repeat what they have once read and there is no evolution in their images. So my tactic is to save my energy for fruitful exchanges. :-)
In the last feedback round you mentioned that night photography would be a theme for you to explore. I'm glad to read that you have not given up on this idea and have a new project in mind: "Nocturnal Psychogeography of Venice" or "Venetian Nocturnal Drift" - that sounds fascinating and I'm looking forward to seeing those images.
Talk soon and thanks for sharing.
Mirjam
1 reply
Parent of this post↑Reply to Mirjam Lorek from Giorgio Colonna52 mins ago
Re: 3.2 Feedback Point 6
Hi Mirjam. Yes, as Barry noted, I'm more inclined towards night photography. However, I don't want to tie myself to just one context. Since I was young, I loved studying (and playing the piano) at night: it sounds like I find it comfortable working while others are in their homes or resting. It, therefore, seems that this attitude of mine is conditioned by the presence or not of other people. Perhaps it is more due to this pleasant sensation of being in a direct and exclusive relationship with the space and the details that compose it. I gradually defined my photographic kit to be able to photograph freehand in low light and with an acceptable technical result. With the technological advances available, you can wander around an urban environment at night without carrying a tripod. Unfortunately, most urban environments are unsafe at night, so the choice of locations is limited by prudence. This situation, unfortunately, conditions me and, therefore, prevents me from letting myself go completely and having a truly psychogeographic practice.
Post by Robert Harris9 hours ago
Feedback
Hi Giorgio
This may not make any sense when you read this, as I seem to drift a little with my summaries.
I read your blog with interest; street photography in today's society is changing, and countries are interested in individuals’ privacy rights and imposing some regulations on what a photographer can do. On the other hand, the authorities are using CTV for crime reduction. This paradox creates an interesting discussion within the local RPS group, and I am unsure what I really think about street photography. The idea of telling stories about urban life is fascinating, but at what cost to the individual?
I enjoyed the read and found the interview thoughtful and related to my personal work in the field. I like the honesty of the discussion with Marc. Thanks for sharing.
On the professional front, I had a similar experience with my tutorial on Carbon Printing; it was very helpful during the training session and less helpful after the event. The lack of information may be due to being busy, or I am seen as a competitor. I will keep an open mind.
In many ways, society also conditioned us to ask, “What is in it for me?” If this is true, how can we achieve a “Win-Win” whereby both parties go away happy? Not all Win Win’s are about money; it can be a feeling of self-worth.
In my working life, I was keen to promote good working practices and would be happy to work with people to improve the business. I found that business life was divided into two groups: the Takers and the Givers. The Takers were generally the people who received the credit, while the Givers remained in the background. We make choices sometimes we need to be in both camps at different times, evolution rather than revolution. I may be slightly cynical as I have turned my back on the rat race.
On reflection, we all see life from different angles, and our own experiences reflect our viewpoint. This viewpoint may be clouded by previous experiences that may be modified as we progress through life. We sometimes need to change our shoes and walk in other people's footsteps, maybe they have their reasons.
Sorry, I rambled on a little.
Robert
1 reply
Parent of this post↑Reply to Robert Harris from Giorgio Colonna36 mins ago
Re: Feedback
Hi Rob. I enjoyed your ramblings; they made me think even more about the relationship between give and take in what we do. Given that, cynically speaking and reasoning, in relationships with others, there is almost always a give and take; it materializes in various ways. It must be balanced. I only mention our periodic meeting and this forum without being too philosophical. I feel a little guilty in the forum because the relationship between what I give and take is too unbalanced in my favour. At least between us; however, there is no relationship based on interest because we are all fellow students and are therefore interested in sharing and sharing for improving. But the world "out there" is not like that, and perhaps Mirjam's attitude is the most coherent and correct.
Dear All.
Your thoughtful responses and insights have added valuable layers to my understanding of our shared experiences.
Firstly, I appreciate the time and effort you took to explore the links I provided despite my disclaimer about the length of the interview text. Barry, your reflections on professional interactions and the dynamics of workshops and lectures resonated deeply. The delicate balance between sharing and safeguarding one's unique approach is indeed a consideration, and your perspective on trust being earned over time is a valuable reminder.
In response to Barry's point on the joint photographic session, I find comfort in the resonance between our experiences. The influence of Marc's artistic depth on my approach is undeniable, and I'm grateful for the exchange of ideas during our time together. The distinction between creating a stage and capturing the passing elements in a composition is an aspect I've been reflecting on, leading to considerations for future projects like the "Nocturnal Psychogeography of Venice."
Mirjam, your acknowledgement of the challenges in the photography community, where newcomers may feel overshadowed, is something I've encountered as well. Your strategic approach to saving energy for fruitful exchanges aligns with my belief in the importance of meaningful connections over superficial competition.
Rob, your insights into the evolving landscape of street photography in the context of privacy rights and regulations prompted further contemplation. The parallels are drawn between our experiences with professional tutorials and the dynamics of give and take in relationships add depth to my reflections.
In conclusion, these interactions have fueled my introspection on the reciprocal nature of our exchanges and the broader dynamics in the photography world. As we navigate our respective journeys, the diverse perspectives shared here catalyse growth and self-awareness.
