TMA1431 - Creative Studio

‘The Transdisciplinary Studio – Design Art’ 

On Friday 30th September, I attended an online lecture as part of the MA I am currently studying. We will be having weekly lectures, each based on a range of advanced creative concepts and practices within the Art & Design subject. Working alongside a multitude of students each following a unique pathway such as 3D design, fashion, photography, and textiles, it allows for me to explore new ideas and processes.

The theme of our first lecture in week one was ‘The Transdisciplinary Studio - Design Art’. Hosted by Alex Coles, I found it quite interesting and inspiring as I had never previously heard of or researched into the term ‘Design Art’ in my studies prior. We began by exploring the term Design Art. It became clear to me that Design Art began to flourish and increase in popularity in the mid 2000’s. As artists moved into design, the lines between became transparent as designers often felt limited with companies giving out briefs to strictly follow. In the early to mid 2000’s, Design Art became a global currency for practitioners in galleries, auction houses and fairs.

Marc Newson Installation, New York (2007).

We explored several examples of transdisciplinary practices that combine the work of both artists and designers. An example I found extremely interesting was Marc Newson. For three months in 2007, Newson held an exhibition in the Gagosian gallery, New York. The installation showcased multiple pieces of furniture that was design based in its form, however, the materials used were often associated with high art. For the first time in design history, limited numbers of art were being produced to generate demand that was now being manipulated and enhanced by the media. The objects became unique in their making as they were being sold as one of a kind or small sets of two or three. This vastly increased the price tags in galleries as supply was limited.

To understand the concept of transdisciplinary practice, we have to come to terms with its meaning and how it is utilised within the art industry. Transdisciplinary in art terms can be defined as having no disciplinary limits. It is the free flowing movement and fluidity between the rules of art, design, fashion, architecture, and photography. The session allowed for me to see my own practice in a new light as the work I am continuously creating is always influenced by the next and the things that I surround myself with. As well as this, being able to surround myself with a group of students each following a variety of artistic pathway has transformed my work and influenced my decisions.

At the end of the lecture, as a group we discussed some of our thoughts on the essay we had individually read prior to the session. Titled ‘Studio Olafur Eliasson’ by Alex Coles, it explored themes of space and place within a photographic studio. Personally, I found the essay quite difficult to interpret at times, however, I did enjoy the concept and ideas that were formed from the conversations it started.

Read the essay here -

Newson, M. (2018) Marc Newson, 555 west 24th street, New York, January 25–March 3, 2007, Gagosian. 
Coles, A. (2012) Studio Olafur Eliasso... • read • studio olafur eliasson, Studio Olafur Eliasson.
Coles, A. (2022). Alex Coles: Creative Studio Lecture [lectures notes]

Bachelors to a Masters...

On my BA I explored the relationship I have with my grandad. I focused a lot on age and passing of time for me to achieve emotional, raw imagery that touched the beginning of early grief. I was challanging the typical ‘documentary’ style and instead used it to my advantage to not only collaborate with my grandad, but to use the project as a way of celebrating his life. The images I created were of a soft, delicate and beautiful nature that were almost so silent you could hear the clock ticking in the room. I wanted the photographs to be poetic and flow from one to the other, having a dream-like feel as I was sharing the connection to the viewer. 

Influenced by several photographers including Thomas Duffield, Maria Ansell and Larry Sultan, I used all natural lighting within the home in a way to create a homely yet natural atmosphere, that did not feel constructed in any way. The majority of the images I shot were of my grandad looking away from the camera lens. This is was a purposeful, creative decision as I was wanting to capturing my grandad’s life without him feeling the need to change or pose in anyway for the camera. I held long, memorable, conversations with him and photographed in a candid style. 

The final outcome was an A5 sized photobook that was hand bound with red, waxed thread. It was sealed with a golden eyelet, looped with the thread and tied in a bow. The stock was G.F Smith and was ranging from 120gsm-170gsm for the cover and inside pages. A delicate piece of low opacity tracing paper was also bound through the book, hosting a small paragraph of text on the inside page.

Beginning the Masters..

The project has always felt continuous to me. When the BA course ended, I still felt as though I could carry on with this project and explore it even further. During a tutorial last year, I gained the idea of carrying it on throughout my MA, almost like a new chapter. As I dont want it to become repetative, I feel that exploring the wider theme of home would be successful. In a way it will still be relevent to my previous work but will home in on a more refined theme of memory within a space. I plan to document the feeling of being in the space, not solely the visual aspect but the feeling of familiarity within the space I place value in.

‘78 at N°32’. Olivia Strettle, (2021).

Strettle, O. (2021) 78 at N°32.

‘David Blamey: In the Studio’

Lecture two was hosted by David Blamey over Microsoft Teams followed by a discussion on a short essay we read in advance prior to the session.

Blamey began by delving into his career from the early stages and informing us on how he got to where he is today. Based in London UK, David Blamey is an artist and owner of publishing company Open Editions, founded in 1992. He is also the owner of record label ‘Continuous Tone’, aiming to publish sound online. Blamey often works within a multitude of artistic practices that each overlap to form an alternative way of working. I found this really interesting as I had never looked into or researched anything about the use of sound as a artistic practice before.

It became clear to me during his lecture that his work involves a lot of sound and digital manipulation, for example with ‘Open Editions’, it is recently becoming a lot more digital rather than physical in its outcomes. I found this really interesting as a photographer myself adapting to the changes within the industry as I progress with my own work, with the inclusion of interviews and short video recordings.

‘Warm Spell’ was a project Blamey spoke highly about. Based in Hangzhou, Warm Spell was an immersive installation produced by multiple artists. Blamey referred to is as “reading with your ears” and “travelling without moving”. I found these small quotations to perfectly capture the emotion that is felt, when being included within the space. Collectively, it is an eighty-two minute sound installation supported by the British Council, that was debuted in July 2022.

View warm spell here:

One of the most interesting pieces of work David Blamey spoke about was ‘Pride of Calais’. Influenced by being a passenger on the cross-channel ferrythat struggled to dock due to strong weather conditions fifteen-years ago. The sounds of cupboard doors slamming shut, the constant humming of the engine, chattering of staff and chiming cutlery being set for breakfast. Blamey revisited these sounds in 2022 and re-recorded them himself, using anything he had local access to. The final outcome is a constant piece published onto Continuous Tone.

I found the session with David to be very influential as it was very clear to me how he works amongst a multitude of creative practices. I found this extremely helpful due to specialising within photography myself but also broadening my ideas of perhaps using other areas such as sound and video to create an immersive installation for my final major project.

After the session with David Blamey, we further discussed the short essay titled ‘Function of the Studio’ by Daniel Buren. I found this essay to be particularly enjoyable to read comapred to the previous essay, as it covered a lot of areas within the concept of owning a studio and how your working environment can impact the process. I found the writer of the essay to be quite humorous and real with the writing style. Frequently offering the work a sense of personality. It was common in the essay that the autor was using metaphorical language for a parent allowing their child into the world, relinquishing its ‘control’ or ‘protection’.

A common theme within the second part of the essay is when viewing physical work that is hung in a space, it often feels diluted when perceived in a clinical gallery space rather than the original location it was made. The essay states “to accomplish my study…travelled through southeast France….” (Buren, 1979) and “enthusiasm began to fade…some cases disappear”(Buren, 1979). It suggests how there is a gap between the work in its context and the making in a studio against the context of the work in its exhibition space. Because of this, it is often a common reason why several individuals and artists choose against having a studio space as they would prefer to work and live within their creative environment to close that metaphorical gap.
The essay has a timeless feel to it and relates to social media commenting and online feedback vs visiting the physical space.

Read the essay here:

Blamey, D. (2022). David Blamey: Creative Studio Lecture [lectures notes]
Buren, D. and Repensek, T. (1979) The function of the studio -

‘Dale Holmes: The Mobile Studio’

Today for lecture three, we had an in-person talk with Dale Holmes. I’ve really enjoyed the weekly lectures from people within the industry even if it isn’t specifically photography, I am able to visualise my work from a new point of view as well as considering a variety of creative pathways and ideas for my own projects.

The main project Holmes spoke about was ‘The Stone That Crashed Into The Kneecap Was Not Moving’. It was an exhibiton held in London that consisted of a bicycle frame hung on the wall as well as imagery of grusome cyclists injuries. In the session, Holmes shown us a video from the exhibition where he was shaving his legs whilst reading out three texts. The first being based around the loss of movement ability, second text was in the perspective of a patient having their leg pinned with metal bars, and finally text three was a crash that took place specifically at the Tour De France of professional cyclist Phillip Gilbert in 2018.

Screenshot from Dale Holmes website

Dale Holmes spoke to us about his mobile studio. His bicycle. Initially, many of us were aprehensive as to how a manual machine powered by himself, could be a creative tool. However, I did find it interesting in his creative ways of making. Holmes went on to explain the reasons for the bicycle being the mobile studio. It is utilised as his research method for ideas to flow and inspiration to begin. After cycling many miles, Holmes journals his experience including what he saw, his mindset whilst cycling, thoughts and feelings as well as future concepts for artistic methods. Holmes went onto explain how the bike became a painting named ‘The New Aspidistra 1’ as it was personalised and crafted to be his studio.

Image of ‘The New Aspidistra 1’, Dale Holmes (2021).

It is common throughout Dale Holmes’ work that he explores a lot of conceptual ideas with elements of performace and live pieces. It is mainly body performances as he is mobile with his studio, it is very time based and a significant emphasis on design as well as having several references to modern art. Dale Holmes dances inbetween design and art. He calls himself an artist that manipulates the concept of design. The physical art of the bicycle is utilised to trigger the production of more art as him physically riding the bike correlates to him mindmapping thoughts and feelings. 
The bike was exhibited as part of an installation as well as four framed photographs hung on the wall. The bike was stripped down to a metal frame to be exhibited. It was interesting to me that it only becomes a studio when he rides it and he is within that mindset of creating, otherwise it is a stationary art piece.

As a photographer, I found this talk really interesting and unique as I hadn’t considered anything that is mobile, to be a working studio - especially a bike. However, on reflection, it is clear to me that a studio can be defined as any method you are choosing to make work from. It is not confined to a four-walled photographic studio. I can resonate with this concept myself as I find that I don’t work within a typical studio setting very often. I much prefer on location for shooting, it makes me feel non-restricted and can use the aspects of the physical world around me to my benefit in order to support my creative practice. 

To view Dale Holmes website, click here:

Holmes, D. (n.d) Dale Holmes.
Holmes, D. (2022). Dale Holmes Guest Lecture, [class notes]

Feeling Inspired

After yesterdays session with Dale Holmes, I felt really motivated to create work. Today I used my time to plan out photoshoot ideas and concepts around my theme of the home. I’d been wanting to do this for a while as I found myself stuck with the concepts I had already explored on the BA and couldn’t see past that. I came up with some notes and open ended questions for myself regarding space and place. It was extremely interesting during my research to understand how ‘home’ is very often more of a feeling or emotion, rather than a physical location. This lead me on to thinking how my grandparents home makes me feel, rather than just relying on documenting what I can physically see. I want to be able to encapsulate the feeling of familiarity and comfort within a space I know so well.

The feel of the textured wall paper that is still hung, the scent of the room, the colour of the bedding and the ticking of the clock. 

Screenshot of ‘What is The Meaning of Home?...’, Schlage, (2020).

I looked into an article titled ‘What is the meaning of home? Hint: It’s not just a place’ and found myself resonating with a large portion of the text. A direct quote such as “It’s the intangible feeling you get in a location, a sense of peace, joy from loved ones or an environment where everyone knows they’re welcome. ‘Home’ isn’t easy to define, but you know when you’re there” (Schlage, 2020), really strengthened my concept of a home not just being a physical location. I want to capture this within my work and reach every sense that is felt within the space. 

To find to more, click here:

What is the meaning of home? hint: It's not just a place. (2020) Atom.

How the Home is Represented in Film...

For further, more varied research, I looked into the representation of the home within films. I briefly added this into my verbal presentation but I wanted to go more in depth as a blog post format as I believe it is highly relevant to my theme. 

‘Interiors’ by Woody Allen was a film I was recommended to look into after a one to one tutorial with Alex Coles. The film follows a divorce from a marriage that lasted decades. It explores the lives of their young children it has affected and the future of their broken marriage. The film uses light and dark within the interiors to foreshadow emotion and moods the characters are feeling. 

It is clear from the film that the spaces in the homes are curated to represent and reflect the character within that scene. Cool toned, minimalism and a clincal feel to a lot of the rooms that are shot for this film was creativley decided upon in order to create a storyline and reflection of the cast. You can see from the images below how the colour tones and use of lighting are used in scenes for the purpose of emotion and story telling. I really like how the framing and compositon has been decided up in order for the room to be the focus and the window on the left to add brightness. The subtle light on the floor and the bed is highlighting the decor and features of the room. The warm toned frame below feels very appealing and inviting, as well as the decor and small objects accompanying the space.

I find this relevant to my own practice within photography as I have been looking a lot into the use of light from practitioners such as Maria Ansell and how she has used light and shadows to tell the narrative. 

Screenshot of ‘Interiors’, Woody Allen (1978)

Screenshot of ‘Interiors’, Woody Allen (1978)

This dark, eerie and silhouette heavy scene from ‘Interiors’ above, has a much different feel to it than the one prior (shown above). The deep contrasting colours and misted windows has connotations that are very much sinister and emotional. It is very obvious how subtle changes in the setting, lighting, time of day and framing methods can emphasise the mood of the narrative.

Allen, W. (1978). Interiors [film]


For this Fridays session, the class was split into two groups depending on if our artistic practice was 2D or 3D based. As a photographer, I was in the 2D session, although it could be argued that image making would fit into both categories!

The session was ran by senior lecturer Patrick McEntaggart who specialises in graphic design. We were introduced to his practice and experience within the industry. ‘Edith & I’, ‘Two Summers’ and ‘No Man’s Land’ were three books Patrick explored with us and his journey with being part of the cover production. It was really engaging to hear about the phases they follow with a client to get to the final outcome. Size of image, text layered, full wrap cover image and bleed lines are all considered. As someone who enjoys the production of photobooks myself, this part of the session was very beneficial to my own practice and I could relate to a lot of the challanges that are faced along the way. 

- Making the invisible, visible
- Layout
- Typography
- Photography
- Illustration
- Texture/materials

As part of the task for the session, we had to challange the concept of book cover making in an ambiguous style. I was really interested in this workshop as I enjoy the practical side of photography such as book making.

In small groups of three, we were given a word and had to use coloured paper to create a conceptual design. Our word was ‘egg’. We explored a more abstract style and used bold colours to grasp the audience. The repeated pattern is engaging and modern as well as still following the given word - aiming to look like a fried egg! We also created a second book cover as we had time left over. The one on the right follows a more obvious approach of a frying pan and may be the better option for a book cover when deciding on text placement.

Image of our book cover designs (Group work, 2022).

McEntaggart, P (2022) Patrick McEntaggart Guest Lecture: [class notes]

What Does ‘Home’ Mean to You?

Screenshot of ‘What Does ‘Home’ Mean to You?’. RealSimpleEditors, (2022).

I found the online article ‘What Does ‘Home’ Mean to You?’ whilst browsing for research on the theme. It is filled with a long list of direct quotes from readers of the article when asked ‘What Does Home Mean to You?’. I love the diversity of replies but also similarity throughout as we are all connected in what familiarity and safety is defined as.

During my research into ‘home’, I found there was a significant amount of research around the concept of home and how the definition of it can be so maluable from person to person. When looking into the online article above, I realised that to a lot of people, home is defined as the small items, quirks, furniture and decor in a space they feel safe and familiar. When asked what home means to them, the majority of the responses begin listing the things that make them feel secure, such as their “warm bed”, “the lemon-scented living room”, “the smell of my mothers perfume”, “the dining table where we ate holiday meals” and “a hot cup of tea”. Its interesting to see how they are all personal items that could be located within any environment but as long as they have those small quirks and valuables they feel at home, no matter on the location. 

In my opinion, home to me feels safe. It is a place I know the in’s and out’s of and feel comfortable. I feel at peace when home as I am surrounded with familiarity and a sense of belonging. As well as the physical being of the home, it is also the objects and individual rooms within the environment that hold value. The rooms that each grasp onto the memories that were created there. My grandparents home, to me, feels like a home away from home. Its a place my mum, my aunties and uncles, cousins and siblings were raised - in the same home my grandparents have lived in for nearly sixty years. 

During my research, I came across a project titled ‘Abbotsford Avenue’ by Shannyn Sletcher. I found it really interesting to learn about someone else’s connection to a space they feel a sense of safety with. The project is a photographic journey of her grandparents beginning the process of moving out of the only place Sletcher called home. She states “I've moved more than 15 times throughout my life and never considered any particular place as home” (Sletcher, 2020), suggesting how she struggles with gaining a connection from a space as she is moving so frequently, she is not given the time to ‘fit in’. Her work is a combination of new and archival as she is reflecting on her grandparents home throughout the years - it is a photographic timecapsule. Shot on black and white 35mm film, Sletcher is building a physical photographic connection to the archival imagery that was shot using film at the time. This way of working flows very successfully and becomes one piece.

Images from ‘Abbotsford Avenue’ below:

‘Abbotsford Avenue’, Shannyn Sletcher (2020).

‘Abbotsford Avenue’, Shannyn Sletcher (2020).

‘Abbotsford Avenue’, Shannyn Sletcher (2020).

‘Abbotsford Avenue’, Shannyn Sletcher (2020).

If you want to read more about this article, view it here:

Find out more about Shannyn Sletcher here:

Editors, R.S. (2022) What does 'home' mean to you?, Real Simple. Real Simple.
Sletcher, S. (2020) Abbotsford Avenue: Shannyn Sletcher photography, Sletcher Photography.

Claire Barber ‘The Textile Studio’

For this weeks guest lecturer session, I wasn’t able to make the in person talk. Although, to still gain knowledge about her practice and where she lies within the creative industry, I took time to read up about her using the information I was emailed later on in the week, aswell as the PDF version of the talk. Eventhough I missed the physical session, I still wanted to make the most of the time I had and understand as much as I could about her career to widen my own knowledge on the industry, something I had not looked into previously.

Claire Barber is currently a senior lecturer at the University of Huddersfield for textiles. Since she graduated university, she has worked with a multitude of models all across the world, from Japan to the UK. She has also had amazing opportunities with artist-residencys, enabling her to not only expand her practice but also engage in a variety of cultures across the world that have an influence in her creative practice. 

One piece of work in particular that I found to be really interesting was ‘You Are The Journey’. It is a collaborate art piece that was extremely interactive and pushed for the general public to be involved. The public artwork encouraged for people using the 10 minute ferry journey from Hythe to Southampton Quay to write on their ticket about their journey/day. It is to note that some of the quotes and messages were actually printed onto tickets later on, leading to poetic lines engulfing the tickets. I found this project to be quite inspiring as it turns the mundane into a public directed art piece. 

Image of ‘You Are The Journey’ (2006-09)

My main connection to Claire Barber, someone who works predominantly within textiles and myself working within photography, is her concepts and ideas around using a space for an exhibition. Her use of scale and size. One of her projects titled ‘The Last of The Dandelion Seeds’ from 1997, was a large scale exhibiton that very clearly considering lighting, curation, use of space, positioning around the functions of the room and a sense of order. All things that as a photograper and creative practitioner is needing to consider. In this piece of work it is obvious her choices around layout and making use of the space. She has perfectly lined up the apple slices and curved them naturally around the physicality of the room. As well as this, the way the natural light is cascading over the walls and floor, allowing the viewer to use the space holistically as you are walking around and reflecting. These small, often minor curations make the space what it is and are always a creative choice when it comes to putting together an exhibition. 

‘The Last of The Dandelion Seeds’. (Claire Barber, 1997).

‘The Last of The Dandelion Seeds’. (Claire Barber, 1997).

Barber, C. (2022). Claire Barber: Creative Studio Guest Lecture. [presentation slides/images]. 

Austin Holdsworth: ‘Critical Design’

Austin Holdsworth visited my MA class this week to give us some information about his career in the creative industry but to also inspire our own practice. I found the session to be really interesting as I had never worked on anything as physical within my own study. It was great to see his way of working and planning that comes with a design project. This part was very influential as you could clearly see how much time and effort had gone into his curations. 

Holdsworth began the session by talking about our own identity within society with the takeover of mobile phones and technology in this fast paced world. He spoke about his interest in challanging this concept and how it lead to him designing mobile phones that still withheld the ‘1970’s’ concept. One of the designs I found most interesting was a mobile phone that had multiple, detachable sim cards that each hosted certain friendship groups, clubs, family members etc. They could be removed and re-added as you are now choosing who to interact with, juxtoposing todays design of a compact sim card hosting every single contact. It is a way of removing your identity, physically and digitally from the world.

Another project Austin Holdsworth spoke about was ‘2 Million & 1AD’. It was part of the Tatton Park Biennial in 2010, “built to produce a partridge from one of the estate’s partridge (Holdsworth, 2010). It was a prototype fossilisation machine in order to fossilise a human, leading to our extinction having a place in the earths vast timeline. It was great to learn how Holdsworth curates his ideas and are turned into physical, existing designs. Although I found myself to not be able to relate as such to his creative practice, it was still engaging and eye opening to learn about something completely out of my realm and comfort zone in terms of making. 

‘2 Million & 1AD’, Austin Holdsworth, (2010).

Holdsworth, A (2022) Guest Lecture Austin Holdsworth. [class notes].
Holdsworth, A. (2010) 2 MILLION & 1AD, Dr Austin Houldsworth.

TED Talk 
Pico Lyer: Where is Home?

I wanted to broaden my research by looking into various different forms such as text based, existing photographic sources and online articles/videos. I used Ted Talk’s for some research as the website has thousands of videos all relating to a topic or theme. I found there was a multitude relating to home, but this one in particular drew my attention. Titled ‘Where is Home?’ it is a short pre-recorded conference discussing the idea of home to an audience. 

I found this video to be really helpful as I had considered home from a different perspective. Prior to this, I had only been considering ‘home’ as a physical location but this video opened my eyes to home being more than just that. Pico Lyer spoke openly about his childhood experiences and how his birth country is not where he calls home. 

Some notes I made from the video:
- Home may be multiple locations.
- Pico Lyer has an Indian heritage but was born in the UK. He left the UK after completing his undergraduate degree and has lived in the USA for nearly 48 years. Now spends the majority of his time living in Japan, has been here for 25 years - except is using a tourist visa. Although it feels ‘home’, it is not his official home. 
- Pico Lyer stated “home becomes a work in progress”. I found this interesting as home is so maluable. It is not stationary and consistant. 
- After a wild fire in Californina lead to his parents home being destroyed, he could not define a physical home at the time. The home he had was all he carried with him in a backpack since the physical being had been removed from his life. 

Lyer, P. (2013) Where is home?, Pico Iyer: Where is home? | TED Talk.

Screenshot of ‘Where is home?’, TED Talk, (2013).

Iyer, P. (2013) Where is home?, Pico Iyer: Where is home? | TED Talk.

Annotating an Article 

I found the online blog titled ‘On Ageing Grandparents’ by Blair Lamb to be a great representation of the descriptive parts of a home I am wanting to capture within my photography. Not only the visuals aspects of a home but the feeling you feel when in a space of safety and familiarity. Those memories that are contained and cherished in each room of the home. 

I screenshotted a portion of the article that I felt was most relevent and began to highlight and annotate using microsoft word. I found it really simple to do and could get my ideas and notes down quickly. I began by highlighting some key descriptive points that I resonated with and made some annotations that developed those points more. I was mainly looking to highlight areas that include feelings of the home or highly descriptive point of the interior decor, specific memories and connections to those places. 

Screenshot of ‘On Ageing Grandparents’. (Lamb, 2017)

Click the image below to make it full screen!

Screenshot of article (Lamb, 2017) annotated by (Olivia Strettle, 2022).

Lamb, B. (2017) On aging grandparents, Blair Blogs.

Interrogations Photobook

‘Interrogations’ by Donald Weber follows police interviews in Ukraine, on a journey of exploring “private unpleasant encounters with unrestricted Power” (LensCulture, n.d). The photobook is a real life situation intended to be creating awareness and opening the eyes of the viewer. 

The front cover of the photobook is in fact the same as the walls within the interrogation room. This subtle connection connects the deep rooted meaning to the visual styling of the book. It is also a landscape book, again, encouraging the viewer to rotate tand interact. It is encapsulated within a sturdy sleeve to ‘protect’ the stories and livelihoods of the subjects, the pages are also not trimmed and all are varied lengths, suggesting the real life and rough problems the country is facing. The photobook is considerably informative and this is represented by the format of the book. Its strong use of line on the cover and the protective sleeve with no accompanying text to distract from the meaning. 

Donald Weber stated “My study of the gestures of Power invokes the larger question of supposed democratic nations and their vast power to quell the citizenry’s instincts to achieve a more conscious society” (LensCulture,n.d). Suggesting how Weber is using his photographic practice in a way of being open and honest about the truth the citizens of Ukraine are facing. The images did not need to be accompanied by any text as they are strong, emotional and horrifying enough to speak for themselves. 

Interrogations (Donald Weber, 2011)

Interrogations (Donald Weber, 2011)

Casper, J. (n.d) Interrogations - photographs by Donald Weber, LensCulture.

Weber, D. (2011) Interrogations. text by Larry Frolick by Donald Weber on bow windows bookshop, Bow Windows Bookshop. Amsterdam: Schilt Publishing.

Colberg, J.M. (2018) Forms and functions of photobooks (part 2), Conscientious Photography Magazine. Conscientious Photography Magazine.


After each photoshoot I have conducted, I’ve been keeping note of successes and improvements in order for my work to continue developing and progressing over the next coming months/modules. I find this benefits me a lot as it lets me develop my skills and be able to visuale how effective they can be. Additionally, I can see if there is a more efficient or effective way for the future - such as shooting at varied times of the day, using a different lens or testing new subjects and framing compositions. 

The two images below were shot during a photoshoot were I intended to include some of the home interiors after looking into the project ‘89’ by Maria Ansell. She uses light in way that is delicate and dream-like, to reflect those memories that are fading with her grandfather. I used light in my photographs to capture the fragility of those memories, using it to show beauty within the everyday. The image on the left was shot around 3pm. As the winter sun was beginning to go down, it was beaming through the drawn blinds and creating a dappled effect over the velvet headboard. I wanted to capture this moment and used a 50mm lens and Nikon D750 to do so. The image on the right captures part of the home but also includes my grandad in it as his clothes are laid on the bed. 

Images for current project, (Olivia Strettle, 2022).

The two images below were shot after being influenced by varied uses of lighting from the film Interiors by Woody Allen (see the other blog post for more information on this). I wanted to use the natural lighting in my favour to portray emotion through my photographs. Im happy with the images I took for this, however I think the one on the right is slightly too over exposed. There is a loss of information over my grandads face and his hand is becoming muffled by the light. To improve these images I could alter the exposure/ISO levels within the camera setting, change location for the subject or perhaps work with more uplose photographs with subtle lighting over the face, in contrast to the majority of the image being light. However, I am happy with the composition and framing of the image on the right and I plan to re visit this in future photoshoots.

Images for current project, (Olivia Strettle, 2022).

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