Strategic Choices

Chance plays a big part in our creativity.
Consider William Eggleston’s “uncanny ability to find beauty & poetry in the ordinariness of everyday life”
He was creatively innovative & one of first to use colour film in documentary practice. But his strategic choices of camera type, framing, editing (image choices) and printing greatly reduces the ‘chance’ element.
Observation & intuition are essential.
Justify choices in technology or strategy when capturing your images – how do these choices impact on final image & reading of the work
How do the technical & practical choices impact the work I make?

Chance & Serendipity

Ansel Adams careful ‘pre-visualisation’ compared to Henri Cartier-Bresson’s ‘the decisive moment’.
“great photography, is the potential for delightful – almost supernatural even – combinations, or juxtapositions, of subjects and components”
Cartier-Bresson early search for the humorous reflects surrealism
“give the viewer an expansive text into which we can read infinite metaphors.”
Brassai “idea of the derive and psycho-geography”
Walking the streets or road trips in an effort to ‘discover’ new and arresting scenes or stories. Adding an atmosphere to a street /landscape / cityscape scene to add drama or introduce a narrative.

Creative Restraint

Creating a ‘Brief’ by which to explore & create a body of work.
Gillian Wearing’s Signs 1992-93 through collaboration, and allowing the unexpected to take place.
Walter Benjamin on The Flaneur
The Flaneur could only exist in the great city, the metropolis. The stroller – the detached observer of human life. Does not actually exist except as a type & an ideal for an afternoon or in literature.


What have I learnt from this? What do I keep telling myself?


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