Firstly If you haven't already read it then there is a post here about Process.
I feel I have been far more critically aware since the start of this module and I feel the choices I have made to do with he process of making this work have been informed mainly by reading about the work of mainly two photographers, John Spinks and Jem Southam.
I have written a post about John Spinks work which you can read here. However to sum up he talks about using the large format camera for his project The New Village. There is a very different process using large format because of the length of time it takes to make the image.
"It’s a different kind of – I’m trying hard not to say consciousness – but that sort of thing." (Spinks, 2017)
Although due to firstly not owning one and secondly the cost of film and developing for large format I made the decision to stick with medium format but with the largest medium format negative possible. The 6x9 negative from a Fuji Rangefinder. I chose this camera also because it doesn't have a built in light meter so again I would need to emerge myself in the landscape to take the correct light meter readings to set the camera. ( Not getting it right every time yet).
This work is all about recalling memories and travelling over the ground Ive walked in the past. I wanted the actual process of making the images to be slower so I had the time to reflect on the place whilst making the work. Also because of the size of the negative you only get 8 frames on a roll of 120 film. I have both likes and dislikes for this. I like it because It means that a real human choice needs to be made before making the image. Is it exactly as I want it? Have I included and excluded the information I want? These are now very important questions when you don't have a memory card you can fill up with images. I dislike it due to the expense per image.
There are certainly some images which are far more successful than others but overall I am happy with this first batch of negatives. It seems my light metering skills are a little out still as there are certainly some that are overexposed. There were also some of the places I visited which were far more aesthetically pleasing than others although they may not have had the same emory status to me.
On a brief reflection of the images in these contact sheets overall, I feel the portraits of Cole in contact sheet 4 are the strongest of the series. A little more detail of why I chose Cole will come later on.
Other images which I found more aesthetically pleasing were the close up details in the landscape. I didn't find the wider shots to be so pleasing to the eye and actually it is the closer up images that resonate with me on a far more personal level in terms of the memories they hold.
I have written another post about the Landscape and Memory here.
Thinking back to the actual making of the images, the process of finding these little pockets of memory amongst the landscape have really made me look at the smaller details in the landscape. These which in some ways, could be a metaphor for daily life. I feel like especially living in a busy city, that life goes past so quickly and actually to spend some quiet time in the natural landscape slows things down and gives you time to think. In my case time to re think about memories of childhood in Devon and walking the same paths I did for this series.
Below are some of my favourite images in terms of there aesthetic value but actually also for the stories they hold. I'm now thinking about whether the stories should be part of the work or actually whether the images hold just be triggers for the viewer to think about their own memories, which may make the project stronger.
As well as Cole being my kind of nephew, the other reason I chose to make some portraits of him are because of his age. I was exactly the same age when I left Devon and moved to Bath with my family. More of the story can be found in this post here.
To jog my memory I wanted to spend some time with him in his natural landscape around his home and did this just before going off on my own to make some of the landscape images above.
Some of the images I feel are too literal and don't really fit with what I want to say. I spent some time in the grave yard in the village nearby where my Aunt Sarah is buried. Sarah was the focus of a previous body of work focusing on notions of family, imagination and ultimately Loss after she died in 9/11. I feel this ha been covered now and I don't want to continue down that path. However, there is one image of 'her' view from her gravestone one the top of the church which I really love. When I made that image I sat there for an hour or so just watching and recalling various times during my childhood. Again, and something which I touched on in the last module was that a great deal of my personal work is more about the process of making than the end result.
Paper-journal.com. (2018). John Spinks – Studio Visit « Paper Journal. [online] Available at: http://paper-journal.com/john-spinks-studio-visit/#.Wse-dmaZPUI [Accessed 6 Apr. 2018].