Paper: MA Major Study Development

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One thing I am not prepared to do at this point in my practice is develop film or paper. I do not have the time or the facilities to properly process either. Also it has been my observation through my years in the industry that, as far as gelatin silver prints, digital printing and editing has far surpassed the quality and control of darkroom printing. Another reason is size, I would like to produce large scale images and anything beyond 48” inches digital onto inkjet (PetaPixel, 2017) is the best option. The quality is better, it is cheaper, and you have more control in the digital editing process. The people within the images are going to be printed near live size, I want them to be engaging and confront the viewer.

Figure 1: Paper Choices (Source: Machinski, 2019)

Figure 1: Paper Choices (Source: Machinski, 2019)

The one paper I do want to work with is a fibre based paper as it is thicker and it reminds me of fibre based silver gelatin paper I used to use in the darkroom. I recently did some testing printing on a assortment of fibre rag papers, Canson Platine Fibre Rag, Epson Exhibition Fibre, Hahnemuhle Baryta Glossy, and Hahnemuhle Baryta Satin they all have gsm of about 300 a nice thicker paper stock.

I decided on the Hahnemuhle Baryta Glossy I like the finish and this like fibre based papers silver gelatin papers it has a barium-sulphate gelatin applied to the paper ground to produce purer whites and richer blacks and is archival, The Getty Conservation Institute (2018).

Figure 2; 44x54 Baryta Glossy Print for the Migrant Narrative Show (Source; Machinski, 2019)

Figure 2; 44x54 Baryta Glossy Print for the Migrant Narrative Show (Source; Machinski, 2019)


Citations

The Getty Conservation Institute (2018) The Atlas of. Available at: https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/atlas_silver_gelatin.pdf [Accessed on: 17 Aug, 2019]

Parallax Photographic Coop. (2016) The Difference Between Resin Coated And Fibre Based Paper. Available at: https://parallaxphotographic.coop/the-difference-between-resin-coated-and-fibre-based-paper/ [Accessed on: 17 Aug, 2019]

Machinski, J (2019) 44x54 Baryta Glossy Print for the Migrant Narrative Show (Unpublished).

Machinski, j (2019) Paper Choices (Unpublished).

Nickelson, J. 2017, Fine Art Inkjet Printing, Rocky Nook.

PetaPixel (2017). An Interview with Edward Burtynsky. Available at: https://petapixel.com/2017/04/13/interview-edward-burtynsky/ [Accessed on: 17 Aug, 2019]



Hanging Prints: MA Major Study Development

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The video below is process video on how to hand a large scan vinyl image along with my rationale for going with large format output for this particular series. Along with a comparison of the quality of a Howtek vs. an Epson scanner.

This is a video of my process for scanning and printing large format negatives. This video is a follow up to the Howtek Scan Master 4500 drum scanner and Epson V750 scanner video. Within the video I critique the prints from the Epson 9900 printer and the HP 110 Latex printer.

Posing: MA Major Study Development

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While re-reading Heisler’s book I came across this line:

“I couldn't possibly have told him to stand the way he stood, he weight shifted just so, like an artist's model demonstrating contrapposto.” Heisler, G. (2013)

Figure 1: Michelangelo’s David (Source: Academia.org)

I liked the image so my interest was peaked, what was contrapposto was and how I could incorporate that into my posing repertoire.

Conrapposto is a posing style that is used in sculpture, one fo the best examples is Michelangelo’s David, conrapposto make the subject look more natural as if they are taking a step forward. (Khan Academy, 2019). I like the idea of placing my subject on the road or pathway to represent movement. So to further emphasis this I plan on using this technique to make them appear like they are in motion as well. I like that this will also be a metaphor for migration which is movement too.

I also found this great resource, CreativeLive (2019).

  1. Creating separation- Move the subject’s arms and legs to allow for negative space, lines, and triangles around the body. Lines and spaces help the eye move around the frame. In addition to appearing slimmer, the model will look like he or she is in the middle of doing something instead of just standing still.

  2. Tucking the arms in - Move the arms back far enough to hide the upper arm. This allows the elbows to cinch the waist a bit. This position makes the subject look whimsical, like they’re in a fairy tale.

  3. Forcing the chin away from the neck - Lean the head back and push the neck out. This pose creates a straighter line under the neck and helps your subject look alert and purposeful.

  4. Arching the back - Exaggerating an arched back defines the waist, creates negative space, and adds tension and implied motion.

  5. Dropping the shoulders - Ask your model to take a deep breath and relax his or her shoulders. With the shoulders dropped, the neck is elongated. The pose looks elegant and encourages better posture.

  6. Tilting the head back - Define the jawline and elongate the neck by tilting your subject’s head back so he or she is looking up. The viewer is left wondering what the subject is looking at, and the model looks engaged in the scene.

  7. Pulling the arms back - Add tension, alertness, and implied motion to your images by asking your models to thrust their arms back behind them. This results in a more dynamic, storytelling pose.

    Another great resource for posing is this book:

    Valenzuela, R. 2014, Picture Perfect Posing: Practicing the Art of Posing for Photographers and Models, 1st edn, New Riders.

Citations

Academia.org (2019. Michelangelo’s David Available at: http://www.accademia.org/explore-museum/artworks/michelangelos-david/ [Accessed on: 1 Aug, 2019]

Heisler, G, 2013. 50 Portraits Stories and Techniques From A Photographer's Photographer. 1st ed. New York: Amphoto Books.

Khan Academy. (2019). What is contrapposto Dr. Steven Zucker and Dr. Beth Harris. Available at: https://www.khanacademy.org/humanities/art-history-basics/tools-understanding-art/v/contrapposto [Accessed on: 1 Aug, 2019]

Tobin, R. 1975, "The Canon of Polykleitos", American Journal of Archaeology, vol. 79, no. 4, pp. 307-321. https://www-jstor-org.ezproxy.herts.ac.uk/stable/503064?pq-origsite=summon&seq=2#metadata_info_tab_contents

CreativeLive (2019) 10 Basic Posing Techniques for Fine Art Portraits. Available at:https://www.creativelive.com/blog/10-basic-posing-techniques-fine-art-portraits/ [Accessed on: 1 Aug, 2019]


Lighting: MA Major Study Development

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Figure 1: Without Flash (Source: Machinski, 2019)

Figure 1: Without Flash (Source: Machinski, 2019)

Up to this point I have not used flash with my view camera on location, within my proposal for this module I decided to use flash for this series of images. I use the zone system for ambient exposure, using a spot meter to read and record all the exposure values in a scene and assign a zone to them. Adams, A.,& Baker H. R., (1981). This is used to assess the dynamic and texture range of a scene and to set my exposure, Adams, A.,& Baker H. R., (1981). Through research and experimentation I found using that the zone system could still be applied to my exposure metering formula.

Initially I did a test with a digital camera setting up my Elinchrom Ranger pack with one light. Boosting the output of the flash two stops higher than the ambient light I was able to overpower the flash and gain a correct exposure. I was shooting in a low light situation and wanted to keep my shutter speed low to let in the available light register.

“So your f-stop camera control is like a rheostat for your flash exposure. Again, the shutter speed has no effect, because the flash is just an instanteaneous burst of light. The shutter speed becomes a rheostat for the ambient light, independent of the flash. So if I have f/8 storbe light falling on my subject, the background can be at any of a wide range of shutter-speeds without affecting it.” Heisler, G, (2013)

Figure 2: With Flash (Source: Machinski, 2019)

Figure 2: With Flash (Source: Machinski, 2019)

This was a very harsh light as the flash was too powerful and aimed directly at the subject. So I started to feather the to achieve a softer effect, because in its own way, it causes the light to wrap around and act its own fill. It is also a way to emphasize the subject. Heisler, G, (2013). I was also fighting the available light at first because I was not thinking about where the natural light was coming from, placing the strobe so that it follows the direction of the natural light Leibovitz, A., (2008). Created a more natural light look but emphasizes the direction of the natural light Leibovitz, A., (2008).

One thing I did find funny's about this process was initially I thought the use of flash would let me shoot anywhere but using direct flash in direct sun looks unnatural. The best time to shoot is an overcast day, or at the beginning or the end of the day, when light are low and the tones are most even Leibovitz, A., (2008). This is much like shooting available light but the look is quite a bit different.

Figure 3: Flash Unit Setup (Source: Baylin, 2019)

Figure 3: Flash Unit Setup (Source: Baylin, 2019)

In Figure 4 there is a side by side comparison of a image with flash and without. The image with flash I can adjust the overall contrast without affecting the subject. The image without flash is very much tied to the exposure of the background. So when editing I could hardly change the contrast without drastically effecting the subject. This is another benefit of using flash.




Citations

Figure 4: Sandra No Flash and Flash, (Source: Machinski, 2019)

Figure 4: Sandra No Flash and Flash, (Source: Machinski, 2019)

Adams, A., Baker H. R., 1981. The Negative. 12 th ed., Bulfinch Press.

Heisler, G, 2013. 50 Portraits Stories and Techniques From A Photographer's Photographer. 1st ed. New York: Amphoto Books.

Leibovitz, A., 2008. At Work. 1st ed. New York: Random House.





Scan & Print: MA Major Study Development

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Below is a video detailing my scanning and printing process for the series, migrant narratives. Within the video I detail my research into scanning large format negs, and my process along with outputting them to an inkjet and a latex printer.

This is a video of my process for scanning and printing large format negatives. Within the video I compare a Howtek Scan Master 4500 drum scanner to an Epson V750 scanner. I use SilverFast scanning software and output the files to an Epson 9900 printer and an HP 110 Latex printer producing two prints, a 44'x54" and a 88"x108" respectively.

Connections: MA Major Study Development

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I have established connections with migration agencies and networks through previous modules. I have stayed connected with them through social media platforms, specifically LinkedIn and Twitter. These platforms seems to be more inline with their clientele and networks. I have formulated an email to each of the networks I am interested in working with:

Hello,

I am a local photographer and professor in the Photography Program at Algonquin College. Louisa Taylor recommended that I contact you regarding a project I am working on for my MA.

Currently, I am completing my MA in Visual Communication and working on a photo and interview series with migrants and refugees, and I am looking for subjects for my final series.

The focus of my work has always been to tell people’s stories. For this series, I am photographing portraits and recording audio interviews of migrants and refugees. The images are photographed using a large-format camera and will be printed in a large scale in order to confront the viewer, to have people stop and listen to their stories and hopefully realize our shared humanity.

The final work will be submitted in an ebook form for my final MA project and I hope to have a showing of the work in Ottawa. This is a self-funded not for profit venture to raise awareness and support. I am not asking for funding just introductions to people within your network that might want to share their migration story. I would be happy to provide your organization with the final project to use as you see fit.

Here are some of my recent projects:

Emerging From Darkness: vimeo.com/310195821

The Thread: vimeo.com/310192953

My other recent and ongoing projects are on my website: jasonmachinski.com

I have contacted, these migration networks and organizations:

Ottawa Community Immigrant Services Organization

Refugee613

Development and Peace Caritas Canada

World Skills Employment Centre

Ottawa Local Immigration Partnership

After making the initial connection I hope ask them to send out an email to their network if possible, the email is below:

Migration Narratives

Is a culminating project for my MA studies, its goal is to put a face and a voice to migration through photographic portraits, audio interviews, and research on the benefits of migration. I believe that listening to other’s stories, and sharing your own, can lead to mutual understanding, friendship, and peace.

This portrait series is photographed on film using an antique 8x10 view camera. Participants will be photographed and then a short audio interview will be conducted. The interview is about their migration story. Participants will be provided with prints and digital files. All images and audio will be published in an ebook, and a showing of the work will hopefully take place at a local gallery early next year.

email: talk@jasonmachinski.com

phone: 613-558-5789

web: jasonmachinski.com

The day after I sent the email I was contacted by the chair of Development and Peace and was put into contact with one of their volunteers who has a South Sudanese friend and activist who would like to share his story, his name is Deng. I was also contacted by the Ottawa Community Immigrant Services Organization and have a meeting setup with their Director for August 7.

I plan to do a follow up email, direct message, or call within a week if I do not get any response from the other organizations.

On Location: MA Major Study Development

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These are two separate location setups the Test Shoot with Mark Baylin and the First Shoot with Deng. For each I was using the Deardorff 8x10 Field Camera and a portable battery pack system for lighting, an Elinchrom Ranger pack and a Profoto B1.

The battery pack lighting systems was used as the 8x10 generally needs a bit more light than digital capture and I was not sure if I needed to match the intensity for he sun or overpower it. These lights are quite powerful and they also allowed me to use a soft box to soften the light.

The second location with, the subject Deng, was the same location from the Gear & First Shoot: MA Major Study post. Like the location scout I photographed Deng in the early light, the light is softer and easily balanced with the flash’s power.

I use an ambient incident light meter, spot meter and flash meter to get initial readings. I meter with the spot meter for the areas that I would like darkest detail and put that in Zone III and gauge the rest of the exposure and flash power on that. I set the flash to one stop over the ambient exposure for the Deng shoot. However, I was using the aperture to try and darken or lighten the background something I should have used the shutter speed for. This is because the shutter controls the ambient exposure and the aperture controls the flash to a large degree.

Citations

Baylin, M. (2019) Mark Test Shoot and Deng First Shoot August 2019. Unpublished.

Gear & First Shoot: MA Major Study Development

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Location Scout

Did a final location scout a week before the first shoot, on the same date and time. Initially I wanted to use an area familiar to the subject, but realized that I would have less control over the locations. I want locations with linear perspective, perhaps roads or paths to symbolize the journey the migrants are on. It was not until after I reviewed the location scout contact sheet that I realized how much I liked image 19, see Image Gallery Fig. 3. There are repeated bollards on the road and the trees frame the street in very nicely, creating a nice enclosed space along with a repeated pattern, which enhances the linear perspective. I planned to photograph Deng on the curb placing his head close to the vanish point.

First Shoot

The first subject for this series wa Deng from South Sudan, we met and I interviewed him a few days before, so the day of we could focus on capturing the photographs. I shot in the morning at 8AM ANNIE LEIBOVITZ QUOTE ON LIGHT IN THE MORNING. I was using flash on the subject, my intention was light the subject one stop over the ambient exposure (f8, 1/30). The camera was set to the flash exposure of f11, 1/30. What I failed to realize at the time was that by setting my background exposure is really controlled by the shutter when using flash. For future shoots I will try to remember that as I would like to bracket the background exposure to see what it would look like darker to lighter than the subject.

The images are soft photographing wide open is difficult to do with a Deardorff, as I had mentioned before, the ground glass is not as bright and the focus control is not that smooth.

.

Citations

Machinski, J. (2019) Contact Sheet. August 2109. Unpublished.

Machinski, J. (2019) Deng & Larry 01. August 2109. Unpublished.

Machinski, J. (2019) Deng & Larry 02. August 2109. Unpublished.

Machinski, J. (2019) Deng 01. August 2109. Unpublished.

Machinski, J. (2019) Deng 02. August 2109. Unpublished.

Machinski, J. (2019) Deng 03. August 2109. Unpublished.

Machinski, J. (2019) Deng 04. August 2109. Unpublished.


Test Shoot: MA Major Study Development

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Before my test shoot I was able to get my hands on some expired Polaroid Type 55 film, this was great for allowing me to see the shot framed up and to judge my exposure. My initial concerns about the 8x10 Deardorff camera not focusing was heightened after looking at the polaroids during the shoot. The polaroids were overexposed making it hard to judge critical focus, I assumed that it was because the film was expired.

Once I got the film back my suspicions were confirmed the film was out of focus, was indeed soft. The image gallery (Fig. 1-6) on the right has the polaroids and the final image along with a cropped in version of it. The focus appears to be just in front of Mark, my subject. This is unfortunate as I went ahead and shot my first subject with the camera before I got the film back from the lab, so I am hoping that the images will be in focus and this was just a anomaly.

Reflection

This location is one that I would like to use, I like the background but I will position the subject in the centre of the roadway instead of offsetting them like I did with Mark. This centring of the subject is something that photographer Spencer Tunick does in his work, within his Individual Nude series, see Fig. 2, he uses of linear perspective to draw our eye up to the subject’s face by placing the subject at the vanishing point of the image, dead centre horizontally. His use of linear perspective reminds me of classical painting he is a photographer that recreates Renaissance-style paintings in modern settings throughout his work (Independent, 2008). The use of linear perspective and the vanishing point are most evident in the work of Raphael, his School Of Athens (FIg. 8) is a great example of this and Caspar David Friedrich’s The Wanderer is a great example from the Romantic period. These works remind me of the work of Urban and Phimester, (Fig. 11 & 12 below), two images I have been inspired by.

Another element I quite like from this test shoot is the vine on the column, it has also has a classical feel and helps further remind me of the work of Julia Margaret Cameron, her images of costumed people posed in landscapes and natural light (Artspace, 2013). The use of foliage is most evident in my favourite image by Cameron Ponoma, (Fig. 9). I think the use of foliage can help offset the urban concrete environment of the background and I do really like that the top of the frame is open, but not completely it has that sense of freedom but is enclosed which was what I am looking to do within these images.

Citations

Artspace (2013). Meet Julia Margaret Cameron, the Cindy Sherman of the Victorian Era. Available at: https://www.artspace.com/magazine/contributors/see_here/julia_margaret_cameron_cindy_sherman_of_the_victorian_era-51588 (Accessed: 05 July 2019).

Artsy. (2017) Caspar David Friedrich Wanderer above the Sea of Fog 1817 [Online image]. Available at: https://www.artsy.net/article/artsy-editorial-unraveling-mysteries-caspar-david-friedrichs-wanderer [Accessed: 21 July, 2019].

Independent (2018). I stripped for Spencer Tunick. https://www.independent.co.uk/arts-entertainment/art/news/i-stripped-for-spencer-tunick-920804.html [Accessed: 20 July, 2019].

Phimester, S. (2017) Jacqueline [Online image]. Available at: https://www.flickr.com/photos/sandyphimester/36817501613/ [Accessed: 25 July, 2019].

Machinski, J. (2019) Mark Test Shoot Polaroid 01. August 2019. Unpublished.

Machinski, J. (2019) Mark Test Shoot Polaroid 02. August 2019. Unpublished.

Machinski, J. (2019) Mark Test Shoot Polaroid 03. August 2019. Unpublished.

Machinski, J. (2019) Polaroid. August 2019. Unpublished.

Machinski, J. (2019) Mark Test Shot 01. August 2019. Unpublished.

Machinski, J. (2019) Mark Test Shot 01 Close UP. August 2019. Unpublished.

My Modern Met (2018) [Online image]. Available at: The Story Behind Raphael’s Masterpiece ‘The School of Athens’ https://mymodernmet.com/school-of-athens-raphael/ [Accessed: 22 July, 2019].

New York Magazine (1999). Julia Margaret Cameron, Ponoma, 1872 [Online image]. Available at: http://nymag.com/nymetro/arts/art/reviews/138/ (Accessed: 05 July 2019).

Phimester, S. (2017) Jacqueline [Online image]. Available at: https://www.flickr.com/photos/sandyphimester/36817501613/ [Accessed: 25 July, 2019].

Urban, A. (2017) Michelle [Online image]. Available at: https://www.flickr.com/photos/alex833/36373592033/ [Accessed: 24 July, 2019].

Migration: MA Major Study Research

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“International migration has been a fundamental feature of nation-states since their emergence in the sixteenth century, and it is likely to continue to shape the economic, political, and social life of societies across the world in the twenty-first, regardless or because of the gyrations of world economic activity, the restrictionist stance of countless national, as well as regional and local governments, the hospitality of citizens, or the energy, determination, and wishes of migrants themselves” Samers, M. (2016)

Humans have been migrating for centuries, if not millennia, and will continue to do so. The world’s population that lives outside their country of origin does not exceed 3.5 percent, Samers, M. (2016). However, if we could look back at our families’ past, chances are you are a descendant of a migrant. Why do people have a fear of migrants?

“In many countries across the world, there is rise in nation- alism and an authoritarian and exclusionary form of populism, with political leaders once considered on the fringe of politics gaining power and influence. Such populism is often due to the backlash against the emigration of displaced per- sons, austerity and other social and economic divisions, inequalities and injustices in society.” (Tahzib, Davidovitch, & Labonte, 2019)

It seems that the wide inequalities around the world, and the clear injustices they represent within and between countries, are regrettable features of our era (Migration Data Portal 2019) and this has led to migration and feeling of animosity and fear of migrants.

Most of the reasons that people migrate are:

“The drive to seek better economic opportunities; family reunification; concerns about public security and criminality in migrants' country of birth; and to escape humanitarian crises, persecution, instability and war. All this is facilitated by lower international travel costs and easy availability of information, and sometimes misinformation, online and through social media about migration.” (House Of Commons, 2019)

Most people do not would not choose to migrate if they did not have to. Many experts in this field belief that migrants are people like you and me, seeking peace, and aspire to freedom and safety for themselves and for their families (House Of Commons, 2019).

Canada recognizes certain definition when it comes to migration,

Migrant - is an all-encompassing term that refers to any person who moves away from their home,26 either within their country of origin or across an international border, without taking into account the legal status of the person or the causes of migration.

Immigrant - specifically refers to those who enter a new country with the intent to settle.

internally Displaced Persons - are defined as individuals who have been forced to flee from their home, especially “as a result of or in order to avoid the effects of armed conflicts, situations of generalized violence, violations of human rights or natural or human-made disasters, and who have not crossed an internationally recognized State border.

Asylum Seeker - refers to any person asking for international protection and who is going through a refugee status determination process in a country other than their own country of origin.

Refugee - is an asylum seeker who received refugee status from the country where they claimed international protection or from the United Nations High Commission for Refugees.

(House Of Commons, 2019)

These terms are important to remember when talking with the project’s subjects. Also what their push or pull factors where at the time of their migration. Today there are more pull factors, namely the presence of a dual labour market in the richer countries that drives migration Samers, M. (2016).

Citations

Samers, M. & Collyer, M. 2016, Migration, 2nd edn, Taylor & Francis Group, London.

Tahzib, F., Davidovitch, N. & Labonte, R. 2019, "Migration, justice and health: Reimagining the earth as one country and humankind its citizens", Public Health, vol. 172, pp. 105-107.  https://www-sciencedirect-com.ezproxy.herts.ac.uk/science/article/pii/S0033350619300976

Migration Data Portal (2019) The bigger picture Available at: https://migrationdataportal.org/themes/global-compact-migration [Accessed : 1 July, 2019]

House Of Commons (2019) Adapting Canada’s Immigration Policies To Today’s Reality, Report of the Standing Committee on Citizenship and Immigration. Available at: https://www.ourcommons.ca/Content/Committee/421/CIMM/Reports/RP10541650/cimmrp25/cimmrp25-e.pdf [Accessed : 5 July, 2019].


Affirmation: MA Major Study Development

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When starting a project I become really engrossed in the idea and obsess with it and then I become a little too self-reflective and start doubting myself and the idea. As a creative we need to be challenged as these obstacles strengthen our ideas and the process. We also need a little encouragement too.

I was out the other day with a friend and he commented on my work, it is someone I respect so the feedback was greatly appreciated. He loved the Expired Series but did not really care for the Street Portraits or Couple Series. I asked why and he said photographing people and couples, well that has been done before and really did not peak my interest.

Needless to say I have been reflecting on this feedback and I happen to agree with him, this has been done before. This also got me thinking about why I photograph at all, what is the point? Especially in this age of social media and Instagram, really what is the point?

My wife and I have our house up for sale and we are moving to a smaller, much smaller, condo downtown. We live just outside the city and rely on a car to get us everywhere, we seldom interact with others in our neighbourhood as we are rather secluded. The properties in our neighbourhood are large and the neighbours like their privacy which is fine but we both feel that we need a change. We have by no means become hardcore minimalists but we have often talked about focusing more on experiences rather than things and giving back to a community through volunteer work. We think this is not only good for us but for our daughter as well, we would also like to raise her in a neighbourhood she can walk to school, and be more connected to a community. So we plan to sell or donate a large portion of things, downsize, and move into the city.

What does my move have to do with photography, and the questions above? Well nothing I thought until I stumbled across a video by photographer Eric Kim. Eric is a contemporary photographer who effectively uses social media and the web to market himself and his projects. He has a very interesting mindset when it comes to creating work which resonated with me quite a bit. Eric’s personal philosophy is to not be so attached to stuff, but find fulfillment in life through experiences (Meditations on Life and Photography, 2017). He uses photography to document these experiences and uses photography to answers questions he is curious about and sharing these answers or truths with others (Meditations on Life and Photography, 2017). Eric finds joy through discovering and creation and enjoys life.

Living a life based on experiences rather than material consumption is very important to me and Eric’s connecting photography to this idea was revelatory. For me this was also an aha moment an affirmation of my studies as I realize that what I have been doing it taking and idea that peaks my interest then I research, document, create, reflect, learn, share, and then repeat this process. This is how one becomes a better visual communicator. This is the essence of the practice-led methodology and also design thinking for creatives. I am curious though, did my studies influence my current life choices or visa versa.

So I think I have answered the question, why photograph at all what is the point? Photography is about documenting my experiences and sharing what I have found with the world. Like Eric I am the happiest when I am creating new information new photos, new videos and living in the pure creative moment (Meditations on Life and Photography, 2017). That is the point of photography and I think life, finding your own happiness.

Citations

Eric Kim Photography (2017) Meditations on Life and Photography. Available at: https://www.youtube.com/watch?v=eHMMkKppfSg (Accessed: 05 June 2019).