METHODS & MEANING
“I believe that the process of photography itself is a form of action research, continuously exploring and refining photographic methods through practice. During each shoot, I reflect and summarise experiences, identifying issues and proposing improvements. This reflective practice helps me continuously enhance the quality and effectiveness of my photography, while also providing valuable lessons for future projects.”
In educational photography, every click captures narratives and messages aimed at promoting various initiatives. In this Critical Journal, I will reflect on the methods, aims, and objectives behind my previous projects, highlighting their focus on authenticity and creative expression. Additionally, I will discuss the inspiration I have drawn from renowned photographers and how I plan to incorporate and enhance visual storytelling in educational endeavours to showcase dynamic learning environments in the future.
Consciously Applied Methods and Techniques
In my previous photography projects, I focused on helping educational groups promote specific programs or courses. By visiting schools and taking relevant photos, I aimed to communicate the main ideas and unique features of these projects through visual storytelling. To do this, I used various methods.
I often used environmental portraiture to show individuals in their school environments, capturing the moods and teaching styles of the schools. Inspired by User-Centred Design principles (Norman, 1988), I prioritised capturing genuine moments that connected with the audience's experiences. For example, I took photos of teachers teaching in classrooms, students doing experiments in labs, and interactions on campus, to better understand the dynamics of the school community.
Unintended Communication of Meaning
Drawing inspiration from Henri Cartier-Bresson's concept of the "decisive moment" (Cartier-Bresson, 1952), I focused on capturing moments that best expressed the features and highlights of the projects. These moments often conveyed genuine emotions and moods, like a student's success in a competition or a lively discussion between a teacher and students.
Additionally, I focused on creating visual stories by taking a series of related photos. To showcase a course's features, I photographed various stages such as pre-class preparation, classroom teaching, and post-class discussions. This approach created a complete visual narrative that helped the audience understand the course content and its impact. Grounded in User-Centered Design (Norman, 1988) and participant observation, my photography projects effectively communicated the core values and essence of the educational environment.
Inspiration for Expanding Creative Possibilities
Examining the techniques of photographers Alex Webb, Boris Mikhailov, and Sophie Calle offers valuable lessons in expanding the creative potential of my work. Webb (2011) illustrates that Alex Webb’s use of overexposure, often seen as a technical flaw, creates unique visual effects, blending subjects and backgrounds to produce a dreamlike atmosphere. This approach challenges traditional rules of photography, as shown by Mikhailov (2007) and Calle (2009), who demonstrate how breaking these rules can convey specific emotions or concepts.
Mikhailov’s work is deeply rooted in social critique, using photography to expose and question societal issues (Mikhailov, 2007). His approach highlights the power of photography to document reality and provoke thought. While adopting this approach in a school setting may require careful consideration, Mikhailov (2007) indicates that it shows the potential of photography to have social relevance beyond just aesthetics.
Calle’s focus on storytelling adds layers of meaning and emotional depth to her work, creating a strong connection with the audience (Calle, 2009). This demonstrates how, as Calle (2009) articulates, photography can tell complete stories that connect with people on a personal level, making the subject matter more engaging and relatable.
Conclusion
In conclusion, the techniques of Webb, Mikhailov, and Calle offer valuable lessons in expanding the creative potential of photography. By integrating these diverse approaches, experimenting with technical rules, engaging in social critique, and focusing on storytelling, my school photography projects can achieve a higher level of visual and emotional impact. This review of their techniques encourages a thoughtful application of these methods, tailored to the specific context and objectives of each project.
Challenges:
If I draw on the methods of the aforementioned photographers, I may face several challenges, for instance:
Mikhailov (2007) suggested that his style is often socially critical and experimental, focusing on revealing social issues. His work frequently delves into deeper social and political themes. While this approach might be suitable for uncovering certain social phenomena within a school, applying his style in a school setting could present some challenges. The sensitivity of the subjects could provoke dissatisfaction from the school and parents, necessitating careful handling. Additionally, schools and audiences might prefer more positive content, requiring a balance between social criticism and positivity.
Similarly, Calle (2009) demonstrated that her work often blends personal narrative and investigation, characterised by a high degree of personalisation and storytelling. This method could be effective for capturing the personal stories of students or teachers. However, it presents challenges such as ensuring the privacy of the subjects and obtaining their consent. Furthermore, uncovering and documenting personal stories demands substantial time and effort, adding complexity to the shooting process.
Reference list
Cartier-Bresson, H. (1952) The Decisive Moment. New York: Simon and Schuster.
Calle, S. (2009) Take Care of Yourself. New York: Actes Sud.
Mikhailov, B. (2007) Case History. Göttingen: Steidl.
Norman, D.A. (1988) The Design of Everyday Things. New York: Basic Books.
Webb, A. (2011) The Suffering of Light: Thirty Years of Photographs. London: Thames & Hudson.