Suggested Research – in response to Assignment Four

As assignment 4 was an essay there were no images to re-work, but Russell included several links and interesting points within his feedback. I decided to research the ideas and to see if they would form any alterations to my essay.

http://www.independent.co.uk/news/business/nikon-sexist-men-32-photographers-asia-no-woman-new-camera-promote-fx-format-d850-a7946111.html

Nikon labelled sexist after asking 32 male photographers to promote its new camera – but no women
‘We had not put enough of a focus on this area,’ admits camera giant

In September 2017 Nikon in Asia was severely criticised on Social Media after selecting 32 “creative individuals” to test and promote its new camera, the D850,  without including a single woman. In a statement they said this was more accident than design as some of the females invited to take part were unavailable but admitted that they should have in effect tried harder.

At a global level, Nikon has invited four photographers to act as ambassadors for the launch of the D850, one of which is Italian photographer Rosita Lipari.

We take pride in celebrating female talent and include many brilliant female photographers in our Ambassador line-ups globally and will continue to do so.

Rosita Lipari is a wedding photographer who takes very different shots compared to ‘traditional’ work.

https://mywed.com/en/photographer/lipari/

In the fashion industry there will always be some kind of divide until society throughout the world stops seeing one, or emphasising it. Different cultures have different laws/rules governing how men/women can act. Photography is just a reflection of this wider world.

Most recently John Lewis thought they would partially address this imbalance by getting rid of gender labels, but this seems to have backfired with some as much as it has been praised by others.

http://www.independent.co.uk/life-style/john-lewis-boys-girls-clothing-labels-gender-neutral-unisex-children-a7925336.html

Reading the article drew my attention to this as well.

http://www.independent.co.uk/life-style/national-trust-sexist-hats-girls-selling-children-future-footballers-wife-charity-a7919601.html

Fashion is a minefield for larger stores it would seem.

Gap, for example, came under fire for referring to girls as “social butterflies” and boys as “little scholars” in an advert promoting its new clothing range.

Asda was criticised for the gender disparity in its clothing, with girls’ clothes featuring slogans such as “Hey Cutie” and “Ponies Rock” in contrast with “Future Scientist” and “Bows Will Be Boys” on boys’ clothing.

http://www.dailymail.co.uk/femail/article-4860060/pretending-sexes-ludicrous.html

Being a parent to now grown-up children I never forced them to wear ‘gender’ specific clothing. As a toddler my daughter wore hand-me-downs from both sexes, I hated anything pink but sometimes she would choose the most girly fluffy tops to wear, the next day she would be happy grubbing about in shorts and t-shirts that were ‘male’ in design. Likewise when my son came along he would dress-up in bride’s outfits and push a pink buggy, he also insisted on playing with my daughter’s Barbie dolls, so much so I eventually bought him one, to go along with an Action Man!

I don’t think it is the labels that desperately need to alter, at the end of the day at a certain point the male and female body shape does start to alter, but the inclusion of different designs, colours and slogans on the clothing would be a better way forward.

To look at how Instagram may be helping the ‘female gaze’ or influencing photography in general Russell pointed me towards an article on the recent Instagram selfies of Cindy Sherman.

https://www.theguardian.com/artanddesign/2017/aug/09/cindy-sherman-instagram-selfies-filtering-life

“Cindy prefers not to comment on her Instagram posts.”

This was the reply from Cindy Sherman’s New York gallery, Metro Pictures…

A private Instagram account run by Sherman featuring a new series of selfies was recently made public, creating an art world sensation overnight. Sherman has a long history of dramatically staged self-portraiture, and in a sense pioneered the idea of the “selfie” decades before social media began.

That area between real life and the theatre of the selfie is what Sherman is already so adept at presenting, but in the context of an era where Donald Trump has repeatedly criticized women for their physical appearance, her images of distorted female faces take on a much more defiant tone.

The article also linked ideas of what the future holds for presenting/exhibiting work:

What does our digital landscape mean for the changing nature of exhibiting one’s work? Is it better or worse than showing in a real gallery space? “The difference between exhibiting online over exhibiting in a real space is ‘depth’ in every possible sense,” said New York writer and curator Jeffrey Grunthaner. “You can’t really take a point of view on an image; there’s no genuine scale to it. It’s simply there, floating in digitality. There’s a certain potential for dictating exactly how viewers look at an artwork that is quite appealing. As I see it, the difficulty in accepting the ascendancy of exhibiting online relates to the proscribed corporate identity most online venues have.”

A section that resonated with me, which may help the flow of my essay was a comment on narcissism:

In many cases, Instagram is not art but a digital dumping ground – a playground for society’s worst narcissists. For an artist like Sherman to be using it as an exhibition space raises the bar for users seeking attention or claiming to be artists.

Russell also directed me to look at work by the late Francesca Woodman

https://www.theguardian.com/artanddesign/2014/aug/31/searching-for-the-real-francesca-woodman

The first solo shows of her work opened in 1986, and drew a great deal of attention. More crucially, she was championed by American critic Rosalind Krauss, who saw her photographs – perhaps somewhat predictably – as an attempt to resist the male gaze (Krauss has written that Woodman exhibits a tendency to “camouflage” herself, attempting to “hide” even as she stands in front of the camera). Although some continued to see the work as adolescent and excessively narcissistic, others began to regard Woodman as the last of the great Modernist photographers, a line that may be traced back to Man Ray and the other surrealists. Later, Cindy Sherman, a contemporary of Woodman’s, became a fan – and perhaps Woodman’s influence can also be seen in the work of Nan Goldin and David Armstrong.

From the Victoria Miro website:

Woodman is often situated alongside her contemporaries of the late 1970s such as Ana Mendieta and Hannah Wilke, yet her work also foreshadows artists such as Cindy Sherman, Sarah Lucas, Nan Goldin and Karen Finley in their subsequent dialogues with the self and reinterpretations of the female body.

It was also suggested that I look further into Annie Leibovitz and Sally Mann, both are so prolific but I liked this article on Annie Leibovitz:

…and I found these whilst diving about the web:

http://unframed.lacma.org/2013/11/18/see-the-light-through-the-female-gaze
https://www.thedailybeast.com/the-female-gaze-1
https://i-d.vice.com/en_us/article/evxgwp/4-young-female-photographers-sound-off-on-social-media-gender-bias-and-girlgaze

The inspiring exhibition #girlgaze: a frame of mind collects photographs captured by a diverse crew of international young female-identifying artists. Primarily sourced from social media, these visionaries are given the authority and significance they deserve in an IRL framework at the Annenberg Space for Photography in Los Angeles. Each of the 150-plus images broaches the complex topic of selfhood and all that encompasses, from body image to beauty to race. We spoke to four participating young women — with sharply differentiated aesthetics and philosophies — and discussed the photographers they admire, the way gender shapes their vision, and what they wish to change in both the photography industry and the world at large.

https://www.annenbergphotospace.org/exhibits/girlgaze

#girlgaze: a frame of mind is an interactive, digitally driven exhibit for all ages that maps the imaginative landscape of young, female and trans-identifying photographers from around the world. Largely sourced through social media, the curated images’ raw vitality is their only constant – female, WOC, and trans-identifying perspectives are presented on everything from identity and standards of beauty to relationships, mental health and creativity. While viewing these stunning, never-before-exhibited images, visitors will have the opportunity to create and share their own photos on social media.

The exhibit curators are Girlgaze, a collective founded by the famed British-born television host, women’s advocate and photographer Amanda de Cadenet. Girlgaze began as a social media movement with over 450,000 submissions on Instagram and has grown into the first multimedia platform to support girls behind the camera. In addition to its digital showcase for images, Girlgaze provides a larger ecosystem supporting the work and careers of fledgling female and gender-nonconforming photographers, artists and creatives, from providing grants to securing jobs.

https://hazlitt.net/blog/female-gaze-sally-mann-and-kim-kardashian-west

When I found Sally Mann’s work—its arrestingly private views of family, of bodies, of something too subjective to name—my understanding of the way a photograph bore through the eye, inward, proved useless. Here were photographs so technically familiar, yet completely alien in terms of how and what they showed: the bracing intimacy of a mother’s connection to her child. A wife’s perspective of her husband’s ailing body. She was the photographer who made me realize I’d only ever looked at pictures taken by men.

On the topic of self-image, anxiety, insecurity and confidence…This was just plain scary…to think a lot Western women undergo surgery to a prescriptive ideal of beauty and now Chinese women are doing the same!

http://shanghaiist.com/2014/11/10/20-women-before-after-plastic-surgery.php

…and another link provided by Russell

https://www.whatsonweibo.com/chinese-celebrities-weibo-followers-top-10-2017/

Another fascinating cultural difference on gender came to light when I found several articles about Muxes.

https://www.vix.com/en/identity/526920/meet-muxes-mexican-indigenous-individuals-identifying-as-a-third-gender

https://www.telesurtv.net/english/news/Meet-the-Gender-Smashing-Muxes-of-Mexico–Not-Man-Woman-Trans-or-Gay-20170515-0020.html

I haven’t made any real in-depth observations or comments on this page as there is so much to look up and think about. This is more a page for reference and further contemplation!

 

Advertisements

The documentary project – other OCA students’ work

Some Documentary Projects.

Not our Time; Penny Watson
http://marmalade-cafe.blogspot.co.uk/2012/02/not-our-time.html

https://weareoca.com/subject/photography/student-work-uncovered-penny-watson/

As with most of us who choose to ‘document’ Penny has chose a subject very close to her heart, her grandmother, and it shows though in the sensitive nature of the work. I found the imagery well presented and moving. Showing ‘a day in the life’ was something we were asked to deliberately not do and it was interesting to see the progression of a day rather than the progression of a narrative. Is it easier to do a day in the life? Or do you have to have more intimate knowledge of the subject? Another student asked can you sustain the same level of intimacy once you move away from a family member?

Behind the scenes: Beth Aston

Beth Aston’s project was again on a very personal level as she chose to document her own battle with illness. This I found to be very brave, Her choice of lighting, black and white imagery and lighting were used to great effect. The close cropping added another layer of visual coherence. I wonder what elements of this style of photography she would apply to another project or would she chose a different direction?

A Dozen Eggs: Harry Pearce

http://www.harrypearce.co.uk/gallery_515190.html

Another directly personal project where Harry Pearce documented his ‘siblings’ lives into a single family album.’ What came across as everyday snaps I loved the natural lighting on these and the inclusion of text adding a different layer.In time they will be a document to the fashions and ideals of a by gone age.

Feet: Omar Camilleri
http://omarcamilleri.com/2010/09/23/feet-photographic-exhibition/

I love his opening statment

Why FEET? This is an original project which will bring out the diversities of life and at the same time it reflects today’s realities and challenges. Any theme is a challenge for any artist. And any theme can be a source of inspiration.

I really enjoyed the diversity of this project as well as the photographic skills and high quality of the resulting images. Feet can so tell someone’s life story, from cheap shoes causing deformities, to the occupational hazards of being a dancer, to the innocence of a new born and the excited exuberance of youth

The Dad Project: Briony Campbell

http://www.brionycampbell.com/projects/the-dad-project/

This project in a way was too close for comfort. My mum died from terminal bowl cancer in 2012 and at the time I wondered if I should document it? In some ways I wanted to but in others I felt it was an intrusion into our last moments together. As a daughter and a photographer was I over stepping the line to make a project out of her last days? I don’t think she would have minded if I had asked. We laughed at so many things in those last days. Anyone listening probably were horrified by our irreverent conversations. How many other people cut out paper fish and seaweed and stuck it to a urine bag? Would have made an interesting photograph!

Well done to Briony for having the courage to complete this emotive set of images which tell the story of many others in the same situation.

100th Street: Tanya Ahmed
http://vimeo.com/43594038

This video was enlightening on many levels, Tanya’s acknowledgement that she is a photographer and has always been a photographer yet working on the OCA course helped her look in a different direction to how her own style of photography changed slightly from focusing on the built environment to that of the people within the buildings. She also cleverly used another photographer as inspiration, reworking Bruce Davidson’s work of the 1950’s www.magnumphotos.com Her own personal involvement within the community must of been a great help when soliciting the collaboration of the residents and being given access to their homes.

The Documentary project – crowd funding

Research was directed towards several links…but as with some of the other links in the coursework some are now defunct : the 2011 BJP link in the course notes comes up page not found  and following the link to Emphas.is, the specialist photojournalism crowd-funding platform covered in the OCA article, takes me to a different site called Crowd Angels?

Find a Crowd Angel to guide your project. You‘ll need other stuff then just money to execute your idea. Maybe someone to cover your back. Maybe expert advice. Certainly exposure. You know what? There’s still good folks out there. You just have to find them. Our Crowd Angels will cover your back.

Kickerstarter still seem to be alive and kicking however ….

From the OCA article written by Jose:

 

Launched in 2009 as a web platform for funding personal creative projects, Kickstarter is the original crowd-funding concept. Thanks to Kickstarter photographer Pete Brook has been able to raise nearly $8,000 for his Prison Photography project. A worthwhile cause of universal social appeal, coupled with an intelligent marketing strategy, will allow Brook to develop his project and… put pressure through public opinion and raise awareness of the social issues he is concerned with…

Kickstarter projects are only funded if the fundraising target is met. Amazon manages donations but no money exchanges hands until the deadline for raising funds is over. It is only then that Kickstarter and Amazon get their commission – 5% and 3-5% respectively.

There are many benefits to crowd funding, not at least the fact that a photographer, completing a project others would ‘like to see’,  not only no longer has to bear the financial brunt, but they can also gauge the level of interest in the suggest idea. New forums for documentary photography are opened and work can reach many different audiences. A photographer backed by ‘the few’ could retain more editorial control than one backed by a major publisher. There are also potential rewards for sponsors, so on the surface it’s a win win situation.

Are there pitfalls?  Well further research has revealed that Emphas.is went bust with all the inherent difficulties:

While all photographers who successfully raised funds on the platform received the money they were owed before the company’s liquidation, a group of photographers have seen their work become hostage to Emphas.is’ internal divisions.

As Jose pointed out would all the projects that are worthy be overshadowed by ‘that which is comparatively trivial and self-indulgent … [or] be dangerously blurred in crowd-funding.’

His main concern was that once funded the successful documentary bidders would decide to publicise their work on a pro-bono basis resulting in a ‘surplus of quality and free documentary work.’ This indeed would be manna from heaven for editors and a kick in the teeth for professional paid photographers. As noted the quality of crowd funded work and even straight forward amateur work that you can find on the web can be outstanding.

Another pitfall I guess is being able to promote and market yourself as a commodity!

The comments on the article also threw out some other valuable links:

http://www.david-campbell.org/2011/04/19/crowd-funding-photojournalism-review/
http://www.david-campbell.org/2011/04/08/the-back-catalogue-photojournalism-in-the-new-media-economy/
https://crowdbooks.com/

Personally I think crowd funding can be the way forward for many valid projects that would otherwise get overlooked.

Research

Crowdfunding http://www.weareoca.com/photography/crowd-funding/ [Accessed  07 Oct 2017]

Prison Photography https://prisonphotography.org [Accessed  07 Oct 2017]

Emphas.is story http://www.bjp-online.com/2013/10/crowdfunding-platform-emphas-is-goes-insolvent-amid-internal-conflicts/ [Accessed  07 Oct 2017]

New forums for documentary – Post Documentary Art

The main issue between documentary and art is how a gallery positions i.e. defines the work itself.

Ignatieff (2003) stated ‘ Photography which loses sight of documentation risks becoming mannerism, while photography which loses the ambition or art loses the possibility of becoming forgettable.’

What he was possibly trying to say was that certain bodies of work put forward in a way as to be considered an art practice ‘fuses expression and information’ and has a legitimate forum within a gallery as it disseminates and articulates. A prime example given is Jim Goldberg’s Open See project which I was lucky to see in 2011. I am sure I wrote a huge review about it at the time but currently can’t find it! I know I really enjoyed the use of ephemera, different ways to display the work and how he allowed and encouraged his subjects to personalise their images by writing over the Polaroid photographs.

The title, Open See, comes from one such quote ‘in the open see [sic] there is no border.’

Exercise

Listen to Jim Goldberg talking about Open See and his exhibition at the Photographers’ Gallery.

Visit Goldberg’s website and reflect on how or if it works as a documentary project within the gallery space.

Open See, which was a book and an accompanying exhibition, were both part of a project about what Goldberg calls the ‘new Europeans’ – illegal immigrants, refugees, displaced people and asylum seekers from Africa, the Middle East and eastern Europe.

Goldberg was commissioned by the Magnum photographic and began this body of work in 2003 in Greece, which at the time had an estimated two million immigrants, most of whom lived a ‘clandestine life, unable to work legally or avail themselves of even the most basic rights.’ This project won him the Henri Cartier-Bresson prize, which helped fund his subsequent travels to the various countries of origin of his subjects: Ukraine, Bangladesh, Liberia and many others.

Described as ‘documentary story telling’ he uses many formats – Polaroids, photographs, video stills, found images and hand-written texts –  all which go towards creating ‘a fragmented narrative that fractures the received conventions of reportage or straight documentary.’

Goldberg explains

Since 1970, I’ve been using text and ephemera as well as photographs in order to tell stories of one kind or another,There’s a thread that runs through all the work that is to do with bearing witness. The photographs are about asking questions, though, not answering them. I’m not a politically radical person. In fact, I’m much more interested in being radical aesthetically.

So does this project work in a gallery setting? Is it documentary or is it art? Is it appropriate to consider documentary photography as art?

Open See does not come across as documentary in the traditional sense, although I strongly believe it is a documentary project; it highlights global issues that need to still be resolved and gave voice to usually invisible individuals. It could be considered to be overly artistic in the way it was created and presented, but the original intent was to inform and make people question rather than to be pieces of art to be hung on the wall, and be admired for aesthetic reasons alone.

Photography and photography as art has become more accessible. No matter how much we dislike the ‘commodification’  of documentary photography it does generate much needed funds for new projects and allows photographers to self- fund if necessary.  This I feel does make the gallery a valid setting for documentary work and Open See, in my opinion, works brilliantly as both Documentary and Art.

Research

Open See at TPG http://vimeo.com/22120588 [Accessed 29/09/2017]

Open See http://www.opensee.org [Accessed 29/09/2017]

https://www.theguardian.com/artanddesign/2009/nov/01/jim-goldberg-open-see-review   [Accessed 29/09/2017]

New forums for documentary – Post documentary Photography, Art and Ethics

Exercise

Read the article ‘Images that Demand Consummation: Postdocumentary Photography, Art and Ethics’ by Ine Gevers (Documentary Now! 2005).

Summarise in your learning log the key points made by the author.

The article was broken into different sub-headings so I will respond likewise.

Preamble

Main points –

  • Documentary photography is a tradition with its own history and reflection.
  • Since the Seventies there has been such a blurring of boundaries
  • In today’s post-media age,  should there be a new label of ‘post-documentary photography. ‘
  • What is the ethical stance of the photographers?

Introduction

Main points –

  • Aesthetics is a complicated concept, and needs much clarification and examination.
  • Looked at etymologically, aesthetics has an ethical foundation.
  • Aesthetics and ethics are intertwined. Aesthetics growing from ‘ethics of perception’ into ‘a concept that appeared to be more and more autonomous and was no longer accountable to anything or anybody.’
  • Ethics and aesthetics is a contentious issue with ‘The media merely see ethics and aesthetics as antitheses.’ ‘Thoughts about beauty and truth seem to have ended in stalemate.’
  • ‘Faded aesthetics’ (a new sub-label?) can be ‘presumptuous, elitist, arrogant, undemocratic and even fascistic at times.’ it ‘judges, censures, discriminates, stereotypes and restricts.’
  • Aesthetics has become dogmatic and can cause more harm than good.
  • Postdocumentary photographers, filmmakers and artists question if their work can be defined on an ethical instead of purely an aesthetic perspective
  • Oscar van Alphen is cited as being influenced by Barthes, Foucault and Bataille, and  turning away from aesthetics.

Photography: objective, aesthetic, colonial

  • Photography opens up our world, enlarges our awareness, creates knowledge and makes everyone share in experiences
  • Photographic images, whether they are documents, snapshots or works of art, can turn people into objects. Introducing cliche and the ‘numbing of our conscience’ – Susan Sontag
  • Documentary rather than being a mirror to reality too often is used as a tool for propaganda and indoctrination.
  • Documentary photography  too often supports the ‘status quo of oppressive institutions and practices.’
  • Documentary film and photography are being harshly viewed in light of  post-colonialism.
  • ‘Representation in its totality is in a crisis’ – possibly a little over dramatic in tone?

Examples

  • Gevers links photography to scientific disciplines, archiving and research
  • Postulates that American artist, writer and activist Martha Rosler is not a documentary photographer herself but uses documentary photography in her work. Subverting ‘qualities as factuality, veracity and objectivity in relation to both the photographic image and the word.’
  • Rosler introduces the idea that photographs alone are incomplete, inconsistent and inadequate ‘descriptive documents’ embrace different disciplines and media, also collaborative projects with people.
  • Gevers discusses Allan Sekula, who has ‘appropriated documentary photography as his domain’ yet ‘opts more consciously for a recognisable aesthetic approach,’ focusing on ‘social, cultural and political-economic developments in today’s (post)capitalist society. The photographic work never stands by itself.’

 

Representation – interpretation – counter-presentation

  • Photographic documents can be turned into commodities which can be distasteful given some of the subject matter, being ‘distorted’ by presentation e.g. The Killing Fields
  • ‘In 1997 the Museum of Modern Art in New York exhibited a selection of the S-21 portraits, oblivious to their problematic role in the politics of representation. Elaborating on an existing tradition, the photographs were selected and presented on humanitarian grounds. The public, however, regarded the photographs as art, an aesthetic appreciation that was nurtured with no shame whatsoever.’
  • A more recent example would be images from Abu Ghraib prison, ‘which were sent out into the world like trophies.’

Alienation as strategy

  • The reaction of the art world to the attack on the Twin Towers was a mix of shock but impotence
  • The awareness of the aesthetic impacted on what to show and how to show it
  • More and more filmmakers are turning to deliberately not showing images, a tactic that goes back to Guy Debord’s 1952 film without images, Howls for Sad.
  • Alfredo Jaar (1994) travelled Rwanda and took thousands of photographs following the mass slaughters – later, he made an installation Real Pictures. The installation contained many photographs from Rwanda, but only one could actually be seen. The rest lay in piles of closed black boxes.

‘The artist’ in aesthetic terms

  • More philosophy from Alain Badiou, ‘the artist’ is someone ‘who feels the necessity to pursue a personal truth and to remain faithful to it in spite of considerable opposition. According to this argument, being an artist and ethics are inextricably bound up with each other.’
  • Truth is not something that can be communicated

Personal is political

  • Gevers returns to Rosler and an argument that ‘photographers and artists have shifted their attention to ‘the small’, the personal. Their goal, it seems, is no longer to change the world but to know it.’
  • The Atlas Group’s pictures show how, on the basis of personal experience, truths can be formed and put into context in such a way that the viewer can supplement them with his/her own experiences and observations.
  • Photographs themselves have no weight. Only those images acquire meaning that have it in themselves to unleash such a truth-process
  • It is up to the viewer as co-author to give weight to the image – Barthes punctum

 

Wow…ok…lots of insights and having to pick between examples to get to the main points which seem to be that ethics and aesthetics collide a lot in documentary photography, that don’t believe everything you see, everyone has an agenda…messages can be put across in many ways. The interpretation of the image is the responsibility of the viewer and when this is realised ‘only then can an image, a documentary photograph, a written intervention, a staged situation, give the other the opportunity to become involved and engrossed.’

Research

Gevers, I. (2005) ‘Images that Demand Consummation: Postdocumentary Photography, Art and Ethics’ in Documentary Now!

http://inegevers.net/site/?s=publications&id=244

New forums for documentary – The Documentary Project

Research Point

Research the current activities of Photovoice and some of their archived projects.

PhotoVoice’s vision is for a world in which everybody has the opportunity to represent themselves and tell their own story

If you want to know why Photography in particular they also give the answer to this.

Photography is a highly flexible tool that crosses cultural and linguistic barriers, and can be adapted to all abilities. Its power lies in its dual role as both art form and way to record facts.

It provides an accessible way to describe realities, communicate perspectives, and raise awareness of social and global issues.

Its low cost and ease of dissemination encourages sharing and increases the potential to generate dialogue and discussion.

The aim of this research is to look at the ‘the documentary value and visual qualities’ of the images produced, but it was also interesting to look deeply into the charitable organisation, especially at their aims, ensuring that they:

  • Design and develop projects specific to communities, issues and needs, and based on engagement with them
  • Promote the imagery produced from the projects utilising media, events and exhibitions
  • Provide consultancy, training, materials and resources to organisations wishing to use participatory photography in their work

They also have a statement of ethical  practice.

Every project they have participated in is visible via their projects link. Whilst not every image undertaken for that specific project may not be available on their site you can research further and discover more at individual links.

Without diving too much into the ethics or consequence of the projects I found this article which summed up or mentioned many of the issues previously covered within the course e.g representing a different culture without being stereotypical, ethics and possible exploitation, making the ugly look beautiful, environmental issues and wanting to campaign to change something,  using ‘people, landscape and still life to convey the true and often unheard story,’ the use of social media and different mediums to convey a message, although as yet I don’t think the images were taken by the indigenous population.

https://photovoice.org/cairo-to-cape-town-africas-plastic-footprint/

 

Continue reading “New forums for documentary – The Documentary Project”