Participatory Culture – “Rethinking ‘Rethinking Convergence / Culture’” // Henry Jenkins.

“Participatory culture is one in which members believe their contributions matter, and some degree of social connections occur with one another” – Delwiche & Henderson, 2013. In his essay, Jenkins aims to address some of the core themes that were featured in the September 2011 edition of Cultural Studies, titled ‘Rethinking Convergence/Culture’, Hay & Couldry, 2011. Many writers were featured in this issue, including Jenkins … Continue reading Participatory Culture – “Rethinking ‘Rethinking Convergence / Culture’” // Henry Jenkins.

Lewis Baltz.

Photograph by Lewis Baltz // ’21/21 The New Industrial Parks Near Irvine, California’. // Lewis Baltz is best known as one of the icons of ‘The New Topographic’ movement of the late seventies. His contribution consisted mainly of photographs of industrial warehouses in Southern California. He offered a critical perspective of urban and suburban life through bleak concrete walls and prefabricated buildings. His images resonate with … Continue reading Lewis Baltz.

Lee Friedlander.

Photograph by Lee Friedlander // Nebraska, 1999. One of my favourite American photographers has to be Lee Friedlander. His ability to so strongly reinforce the idea to the viewer that the photograph is JUST a two-dimensional object is remarkable. The way he consciously composes his images so it is purposefully busy, yet is readable and accessible to the viewer is something I find very inspiring. … Continue reading Lee Friedlander.

Robert Adams.

Photograph by Robert Adams // ‘Frame for a Tract House’ // Colorado Springs, Colorado, 1969. The body of work by American landscape photographer, Robert Adams which really caught my eye was ‘The New West’. Originally published in book form in 1974, the series, along with other New Topographics of the time, drastically changed the American perceptive on the landscape aesthetic, and therefore representation of the … Continue reading Robert Adams.

New Topographics. Thirty-five years ago, William Jenkins curated an American landscape photography show called ‘Photographs of a Man-Altered Landscape’. It was then that he also coined the term ‘New Topographics’; a collective group of photographers with a dedication passion for representing the aesthetic of the banal. Although this movement is now widely accepted and mostly respected, at the time many people “vigorously hated [the] show.” Robert Adams, … Continue reading New Topographics.

‘Songbook’ // Alec Soth. “Photography is so static as a medium, the opposite of music” he says, “but that’s where the book form comes in – it allows for rhythmic patterns and passages. It’s taken a lot for me to open up to that and know how to feel it. It’s problematic, hard to articulate. How does a musician explain rhythm, like why they put the sounds together? … Continue reading ‘Songbook’ // Alec Soth.

“How Do We Read a Photograph?” // Graham Clarke.

The passive act of ‘seeing’ a photograph does not exist within the formal practice of photography, nor should it within the realm of the general viewer. Therefore, one must undergo a series of complex readings to fully understand a photograph. One must ‘read’ a photograph. Clarke firmly presents the notion that photography has its own discourse and language, so is therefore read just the same … Continue reading “How Do We Read a Photograph?” // Graham Clarke.

‘Teaching Critical Thinking: Practical Wisdom’ // bell hooks.

As an introduction to critical perspectives, our set text was the introduction and first chapter of bell hooks’ ‘Teaching Critical Thinking: Practical Wisdom’. In her concise introduction, hooks (whose name is purposely written all in lower case) outlines her education and experience as a young black woman growing up in “all-black, segregated schools of Kentucky in the fifties”. She deemed her self as lucky as … Continue reading ‘Teaching Critical Thinking: Practical Wisdom’ // bell hooks.

Large Format // Printing Session #1.

This is a test print after a day long workshop in the darkroom. It is a result of a series of test strips, trying to determine the correct exposure settings. I had previously used the darkroom before, so this workshop acted as a pleasant refresher. The test strips are located in my sketch-box, along with a brief explanation of my process. In terms of the … Continue reading Large Format // Printing Session #1.