Tutor’s formative feedback – PDF below.
The formative feedback from my tutor for the assignment and coursework was positive. There were some pointers in terms of the forming of the learning log that should help me address issues that have become evident in terms of the need to separate coursework and assignment. I have now addressed the errors which arose as to where the formative work ended and ‘Part 2’ began. I hope that I have now have a clearer appreciation of the study materials.
Having looked at the suggested work of Stuart Roy Clarke http://homesoffootball.co.uk/ I can appreciate a sense of the documenting of supporters/fans of football that Clarke has been able to achieve throughout his 25 years of documenting the wide ranging community of fans that may come together to watch and to support their favoured teams, be it by the means of viewing on large screens or by travelling near or far to stadia.
Having watched the BBC Sport in Focus interview with Clarke who explains some of his work process in terms of preparation by arriving at the ground hours before kick off, [BBC Sport in Focus via YouTube] and his love for all levels of football and support of football I can see how an approach of someone who appears to be a fan or lover of the sport can differ from that of an outsider observing closely an event that has significance and to some an ordinariness being held in Sheffield year after year after year.
I can appreciate my tutor’s response when considering the technical and visual skills that Image 5 (below) has less impact for him. Shooting people from behind when their backs are to some degree forming a wall perhaps isn’t considered appropriate. I appreciate the argument of the photographing of individuals behind being at times voyeuristic or alternatively the argument of portraiture from behind an individual allowing for their being a lot of the usual signifiers we respond to, of their facial features, having been removed from our view. Though as a non-snooker fan who went, indeed, with some preconceptions that Sheffield might be slightly busier with fans who might have come into the City Centre, just a small wall of people and a screen as a signifier to the top left seemed part of the narrative.
I was a little disappointed that I hadn’t managed to form a strong enough sense of cohesion in my quality of outcome to equal that achieved in my formative assignment. I’d felt that though some of the images are dissimilar they had achieved a sense of narrative using some similar styles of shooting albeit altered to accommodate the necessity of shooting both indoors and outdoors to capture the day.
My tutor compared the images to some of the different approaches I’d used in both a coursework exercise and my more candid images of the Pickering 1940’s festival.
Coursework Image – “Compare these shots with the excellent train station image in your recent exercise – simple, evocative and direct with dynamic composition” Tutor.
Pickering 1940’s Festival 2015
My tutor has suggested that I reflect on the differences between the ‘more chaotic’ images of the Sheffield City Centre and my ‘train station’ and ‘Pickering 1940’s’ shots. I concede that the images I took in Pickering of the 1940s festival are easier to view and make more sense as documents of the festival than my depiction of the daytime reality during the Snooker Championships in Sheffield. I also see that the post-rationalised image of the train moving in the station used when my coursework required an old image to be reviewed and re-read makes more sense to a viewer. This is perhaps because I went to Sheffield expecting that there may be a more crowded, bustling, busy reality during the Snooker Championships. I thought there may be a mix of mid week shoppers, those leaving work, and those who’d come to the city centre to view and participate in the Snooker oriented daytime schedule.