Category Archives: Part 1 – The Photograph as a Document

Exercise 2 (b) Street Photography Salisbury

Exercise 2 asks for 30 colour and 30 black and white street photographs. It suggests that these are taken in the same street on the same shoot. I only wish that I could capture 60 photos on a shoot that … Continue reading

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The Influence of Surrealism on British Street Photography

What is Surrealism? There are a multitude of definitions of Surrealism but they generally net down to using imagery from the subconscious mind and dreamscape to express an authentic self and thereby visualise a truer reality, the Surreal. This expression of … Continue reading

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Late Photography

Foreword This essay is about how war photography has lost its place as the primary source of visual news images taken in conflicts and how this has contributed to a rise in late photography. In arguing that the war photographer in … Continue reading

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Exercise 2 (a) – So This is Christmas

As part of completing exercise 1, Street Photography, I have captured a few low light Christmas photos that might work as a series.

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Insiders / Outsiders and Documentary Photography

The Abigail Solomon-Godeau Essay Inside/Outside Solomon-Godeau in Inside/Outside ( i ) puts forward the argument that  that Susan Sontag and Martha Rosler ( ii ) are being simplistic when they categorise photographers into “good” insiders or “bad” outsiders, labelling outsiders as voyeurs and insiders … Continue reading

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Critical Debates Around Photojournalism – Rosler and Hine

Introduction Martha Rosler’s 1981 essay  In, Around and Afterthoughs (1) is one of those essays that, once you start researching it, is widely quoted, analysed, dissected and regurgitated in one form and another, so like reading Camera Lucida (2), considering her views is part … Continue reading

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Exercise 1 (b) – Objectivity in Documentary Photography

Definitions The Oxford Dictionary defines objectivity as existing independently of perception which, in the context of photography, could be interpreted as an object, or the subject matter, must exist independently of the subject’s perception of it. In Photography (1) Stephen Bull offers … Continue reading

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