Phototherapy: Shooting personally

I researched about the idea of phototherapy years ago when I was shooting my project "Sarah". I looked at how Jo Spence used image making to come to terms with her illness, and it is something that I now have started to look at again in a wider context.  

"Traditionally, the portrait is typified by the notion that people can be represented by showing aspects of their 'character'. We understand the portrait differently. Instead of fixity, to us it represents a range of possibilities which can be brought into play at will, examined, questioned, accepted, transformed, discarded. Drawing on techniques learned from co-counselling, psycho-drama and the reframing technique we began to work together to give ourselves and each other permission to display 'new' visual selves to the camera." Rosy Martin and Jo Spence
 A Picture of Health: How Do I Begin?, 1982-83-

A Picture of Health: How Do I Begin?, 1982-83-

Spence also worked with ideas around family I'm beginning to wonder why it is that I photograph? Why the huge interest in the family album, but yet the lack of new family photographs? An almost obsession with the characteristics of the album photograph described as its own aesthetic of "the snapshot". 

When I think about the photograph as an object, and the viewfinder I use to constantly look through, to record, I wonder what it is that I am searching for? Whatever it is I am starting to get the feeling that it isn't so much what it is that I am photographing, but what I am not photographing. It was talking to Cemre my tutor about the editing process where she described an edit as just as much about what to leave out as what to include . Thinking about the same process in my broader practise leads me to think more about the photographs I choose not to make and why....?

Whilst scrolling on Instagram, I came across this post which made me stop and read for a little longer than I would normally spend with an image on Instagram. "Made me feel" is a photographic project by way of Phototherapy. The photographer who I had never come across before had used this act of making new work as a therapy - as a phototherapy. As it was also made into a hand made zine it also filled the obsession I have with printed matter.  




Donnelly, K Made to feel - 2017, Instagram, 20-03-2017 Available at: [accessed 1 Jul. 2018].

Spence, J. (2018). Jo Spence: Work. [online] Available at: [Accessed 1 Jul. 2018].


Poetry and Photography: A Collaboration

I started to think about the relationship between text and image, and in particular the relationship that takes place in Die Zeit newspaper with Gerhard Richter and the writer. After talking about collaboration in last weeks activities, I stated to think that maybe my current images would work better when placed along side some poetic text of some kind. To see how this artistic collaboration would work in the future, I did some research into how photographs and text sit side by side from the perspective of other collabs and more importantly the methodology of their approach to making these picture/poem relationships.

‘It’s about showing rather than telling,’ explains Jillian. ‘What we realised is that both the photograph and the poem are trying to capture ephemera, and fix a moment—in a word and in an image. It could be something quite fleeting and transient, yet you try to pin that down.’  - Jillian and David Pattinson









Meanjin, A., Meanjin, C., Payment, C., Involved, G., Touch, G., Conduct, B., Edition, C. and Editions, P. (2018). The Art of Collaboration — Poetry and Photography. [online] Meanjin. Available at: [Accessed 21 Jun. 2018].

Nobuyoshi Araki, Hi-Nikki (Non-Diary Diary)

I was compelled to buy this book when I saw it as the book as an object is such a beautiful thing to hold and to look at. In the context of a diary it works very well, and is very nicely edited (although It would be interesting to see if there are actually any images that didn't go into the book). The idea of the days and dates on the pages clarifies the diary context.

In the context of my work I think this book gives me enthusiasm to keep making new work. To photograph everything and anything I experience and maybe I should perhaps as a little test give myself date and time perametres for my work. As my images are all date stamped the curation process would be interesting as the camera has curated the work possibly - or have I curated the work by deciding when to make the images...?

I also really like this way of showing a photobook or publication in digital form rather thna the online magazine formats like ISUU and such.. I think it should be a teaser for the work rathe rthan showing th a work in full online. Afterall this selection of images were made to be in a book rather than an online gallery, similarly to an artist showing exhibition views of  projects rather than the images themselves. I think it is very important to keep the original context of the work very much obvious even when showing archived work online.  

Appropriation II: Richard Prince

I have always been intrigued by Richard Prince' work. Whoever you speak to they are usually on the hate side of the fence. I have no problem with the work he has made at all, and was really interested to hear about his methodology of making the Cowboy work. The control taken over deciding what should and shouldn't be included in the frame, focusing so that the moire wasn't visible to give it the appearance of being from a magazine. He tried to make it a much his as possible which leads me to think a great deal about authorship of the image. 

When you make a picture and show it to someone or put it on your website or it its published in a magazine it is out there for the world to see, and experience in anyway they wish. I feel that Prince started  out by just experiencing the images like anyone else would but through the viewfinder of a camera. He adopted the view of the director, moving around the image whist looking through the viewfinder. I find this a really intriguing methodology and although my opinion might have changed if it had been my work that had been reproduced like that, I really like the result od Cowboy far more than the original Marlboro men.


Mariela Sancari

This xerox copy of the project which intriguingly furthered the project after the original book had sold out and also undermined it's value. A very interesting idea I thought and something to think about. The idea of being the one to copy rather than have it copied by others in a sort of appropriating your own work way.

Xerox version of my photobook Moisés.

This piece revolves around the idea of representability through images: by doing a xerox version of the book (self-pirate) I insist on the idea (or its impossibility) of making a fantasy come true through photography. It also seeks to make a scathing comment on the “sold out” and the fact that the book is no longer available.


Video instructions to print, bind and put together "Moisés is not dead" photobook.

Binding workshop:

The above video was posted on Sancaris project page with instructions on how to download and print the book yourself. This idea commenting on the scalability fo a book project and I guess also creating a piece of mass art similarly to Gerhard Richter in the Die Zeit Newspaper but produced in a different way.

Week 2 Reflection: The Power of DIY Print

I wanted to look a little deeper into Zine culture and to see how this creative freedom in making could help my own practise. I've always been interested in zines and hand made objects of photography. Ari Marcopoulos is one of my all time favourite photographers mainly through his methodology. Making work and straight away putting pictures together in groups, printing them and sticking them into a book and photocopying it. I love this immediate photography. Its almost a long form polaroid as he took the images and then gave the little books to people to see almost immediately. I also really like the idea of a short run of zines. These days a great deal of photographers do short runs of phonebooks and zines. Usually down to cost factor of printing I guess, but it somehow adds value tot he phonebook as an object. 

Snapshot Diary

Jeff Wall talks about how photography is the record of an occurrence, or a non occurrence. I've been thinking about what I'm trying to say or what attracts me to make an image and I think it is down to the occurrence. The couple embracing in a moment together listening tot he music, or the plane flying through the clouds. I don't currently have a particular subject in mind, just that there must be a connection between the view and me when the image is made. 

The constant I want there to be amongst all my images is the date and time stamp acting as the moment of fact. It almost legitimises the image and puts it into a category of time. This relationship between image and time and the occurrence is what is interesting me at the moment. 

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