Nicola South        Student number: 514516



Construct a stand-alone image of your choice. Alternatively, you may choose to make a series, elaborating on the same theme.

As the culminating assignment for the course you may wish to draw upon skills learned from Parts One to Four – using various forms of narrative, using yourself as subject matter, telling stories and reading images. The only stipulation is that you produce work that has been controlled and directed by you for a specific purpose. Remember to create a story with a specific context like the artists you’ve looked at in Part Five. This means you need to have an artistic intention, so a good place to start would be to write down some ideas. This could then form the basis for a 300-word introduction to the piece. You may find it helpful to draw storyboards to help you visualise your ideas.

The aim of this assignment is to use props, costume, models, location, lighting, etc. to contribute to the overall meaning of the image. (Use flash/lights if required but available light is fine as long as it is considered.)

If the narrative is to be set in a different era then the elements of the image must reflect this. Also consider the symbolic meanings of objects and try not to be too literal in your approach. For example, don’t automatically use red roses in a love scene but try to be subtle in your ideas to obtain a more true-to-life scenario.

For this final assignment, you should also include an illustrated evaluation of the process you went through to produce your final image(s). Include snapshots of setting up the work and write about how you felt your direction went, how you found the location, props, etc. How did this process affect the final outcome? Write around 1,000 words in total (including your 300-word introduction).


IMG_7806 LR crop final final db.jpg

Image 14: Exposure 0.4 sec, Aperture f/9, ISO 200, Focal length 18mm.


I have continued a theme that appeared in other Context and Narrative assignments, domestic tension; my reflections on this theme engaged me fully with those assignments. The tableaux that I’m using to express this came to me immediately, as mealtimes are often stressful in our house. Following a spoiled meal I often resolve never again to cook a special meal, thus the title “The Last Supper” came to mind. I researched Da Vinci’s version of painting, along with other’s and thought it would be interesting to borrow some of its visual symbolism, motifs and choreography to add interest and emphasis to my modern tableaux- vivant.

My overall inspiration was Jeff Wall’s realistic set constructions, and subtly dramatic rather than cinematic lighting, to encourage acceptance of “tableau photography as an imaginative blending of fact and fiction, of a subject and its allegorical and psychological significance” (Cotton, 2015 p52). Lottie Davies shares his compositional devices, leading viewers round the story, I resolved to use this; I was also stimulated by her narratives of memories. Tom Hunter’s classically inspired modern scenes encouraged me to continue with my own fabrication of the last supper. The work of Frances Kearney and Hannah Starkey offered me the notion of obscuring faces to increase ambiguity, and Crewdson’s aesthetically pleasing but disquieting work gave me much to strive for.

For this constructed reality I wanted to achieve the look of a fabricated theatre stage, but with a rich seductive aesthetic, despite some disturbing detail. It is a narrative of memories, reshaped and refabricated to the minutest detail, as “What counts for us in the memory…is ultimately not its reference to the ‘objective facts’ of a particular moment but its capacity to act as a founding myth”. (, 2017). The props are the clues to the implied disturbance – the punctum. I want the reader to notice the deliberate way the photograph is set up, and realise their significance.  I hope that it the pictorial narrative in the image provides an ambiguous drama that will also carry some viewers narrative as well as my critique on part of an everyday life.

Link to research in learning log: 


Cotton, C. (2015). The photograph as contemporary art. London: Thames & Hudson. (2017). Lottie Davies [online] Available at: [Accessed 24 Jul. 2017].


The process:

Subject: A supper, with the context of a tense mealtime. Some motifs, parallels and symbolism borrowed from Da Vinci’s “Last Supper”.

The-Last-Supper use 1.jpg

(, 2017)

the last supper  use 2.jpg

(, 2017)

Location: The dining room striped out and reshaped. I removed extraneous/distracting objects not essential to the meaning of the image. I experimented with different angles to shoot the table; I had originally intended to shoot it front on with the wall running behind and have an empty chair on the camera side of the table (as in Da Vinci’s Last supper), but it was ultimately more aesthetically pleasing  taken from a corner angle with teak door panels as a backdrop. I began with a chair on its side but thought it was too obviously disruptive. I spent ages on setting a pleasing angle for the shoot, eventually shortening the table to compact the three place settings and fill the frame more effectively from the diagonal.

Props: Table and chairs. Settings for a meal: slate mats, napkins, glasses, wine bottle, dipping oil, bread board and knife. The placements of these objects was critical for each place setting. I tried footwear placed by the washbowl, but removed it as it cluttered the scene and wasn’t aesthetically pleasing. I experimented with different places for the dropped napkin, wine bottle and bread, both to layer and lead the viewer’s eye around the image and to balance it.

Symbols: Red wine, bread, spilled salt, washed feet, shawl, trilogy, and shocked reactions.

Actors: Before shooting knowing that I would only have my actor for short bursts, I set up and decided on everything that I could. I took practise shots of what I thought he should do; on involving him I asked him to interpret my ideas as his own but he naturally adopted the pose I had suggested with the addition of holding the wine glass. I had more problems performing myself and then released him whilst I took practise shots of what was effective for my role before continuing with the shoot. I decided to obscure our faces to add ambiguity but ultimately that was only partial.

Lighting: I went for subtle rather than dramatic in keeping with my intention to show a constructed reality. I had some ambient light from one wall which is all windows, though thankfully it was a dull day.  I invested in another Speedlight, a 60 cm softbox and an umbrella and stand. I used the soft box as my key light to light my male actor, and switched between using the other Speedlight on my camera with a diffuser and bouncing it off of the ceiling and reflecting into the umbrella on the stand as a fill light; Pre-shooting I spent a long time experimenting with these, the power and the placement.

Lighting diagram:

lighting 1500.jpg

The shoot: My camera was on a tripod and with a remote timer to trigger the shutter on a timer, giving us time to compose ourselves between shots. I reviewed images between shoots several times and then reshot to improve lighting, or resolve other silly mistakes like leaving my notes on the table. I was limited in the amount of shots I could take with my actor which I found frustrating as my search for perfection increased each time I reviewed the images, whilst his tolerance and cooperation decreased.

Post processing: When reviewing the mages I was conscious not just of the slightly changing positions of the actors, but also any reflections, shadows, and the quality and quantity of light. I didn’t do much post production work on the image I chose, preferring to keep the lighting slightly low and not to mess with the slightly green hue given off the glass table and the walls. I did make some further small adjustments post feedback as detailed in my feedback notes.


It was a new experience directing a scene, and a large proportion of my time was given to the preparation. I was glad that I reviewed images whilst shooting and then adjusting as I continued.

The final outcome was affected most particularly by the one variable that I could not completely control, my actor, and thus I had to settle for less than what I considered was perfect. I did spend a few hours in short burst shooting and had many images to choose from. I guess were I a professional photographer paying an actor I would have had more control over this variable.

These contact images illustrate the process of setting up the shoot and some of the changes that I made before I began:IMG_7726.jpg

References: (2017). The Last Supper. [online] Available at: [Accessed 9 Aug. 2017]. (2017) The last supper [online] Available at: [Accessed9 Aug]

Please note: Any images by other photographers used on this site are accredited and are being used for personal research and educational purposes only.






Niki South             Student number: 514516

Submission – Assignment 5: Making it up

“The Supper”

TUTOR REPORT: Tutor report OCA Niki South 514516 Ass 5


This feedback was by google hangout followed by a brief report.

I was particularly pleased with my Tutor’s feedback this time by video and then written. He has been a hard task master, constructively critical and technically a perfectionist, which has been very good for me. I felt that I had been on a long journey this course and that my work on this final module pulled together the huge learning that I had been through over the last year.


  • Understanding of symbolism.
  • Understanding of art history and contemporary practice.
  • Extensive research and my learning log.
  • Careful construction of a tableaux, including the direction of the actors.
  • Commitment to learning about off camera lighting. I had initially thought to avoid shooting this assignment inside, as I was nervous about using off camera lighting; I am very glad that I challenged myself, bought new equipment, experimented with it and have opened new exciting doors in my photography.
  • Technical improvements in my photography. I have looked back to my last photographic assignment (assignment 3) after which my development areas were: lighting, being aware of shadows and reflections and how to overcome them, and awareness of colour balance. I am pleased that I have improved on these areas with the photography for this assignment.


The areas we talked about were for possible post production work although these were suggested as possibles not essentials at all:

  • To eliminate the light switch above my head in the image. How did I not see this myself? Now it has been pointed out it is a huge irritation and distraction and will have to go!
  • I could tone down the right side of the image and the back of the chair slightly, not essential.
  • I could brighten the door a little, not essential.
  • Should I have used less salt? I did wonder this myself, though I also did want it to be obvious.


These I have taken not only from this assignment but from the wisdom shared by my tutor generally and the learning that I want to take onto my next course myself:

  • To continue to tackle challenges head on to broaden and accelerate my learning.
  • To continue my learning with off camera lighting.
  • To remember to look very carefully with another’s eye, especially a technically trained eye to spot weaknesses and areas for correction.
  • Continue to compose with some ambiguity.
  • To read and research broadly and learn from the great photographers.


  • Reprocess “The Supper” to eliminate the light switch.
  • To experiment with lightening and toning down small areas of the image. I need to look very carefully at the image again and ultimately determine whether I prefer it aesthetically as it is or with some changes, going through the exercise will be useful even if I decide to leave these areas as they are – After some experimentation for my submission image I brightened the open door side of the image very slightly, to balance the tone across the image.

Link to learning log:

This mind map summarises the narrative of my brainstorming and planning contained in the learning log.

 Planning brainstorm:

mind map prep final.jpg



SUBMISSION : Assignment four

Student number 514516     Nicola South


“A picture is worth a thousand words”

Write an essay of 1,000 words on an image of your choice.

The image can be anything you like, from a famous art photograph to a family snapshot, but please make sure that your chosen image has scope for you to make a rigorous and critical analysis. 

  • If you choose a well-known photograph, take time to research its context – the intentions of the photographer, why it was taken, whether it’s part of a series, etc. Add all this information into your essay to enable you to draw a conclusion from your own interpretation of the facts. 

It’s not enough to write an entirely descriptive or historical account of your chosen image. You must use the facts as a means to draw your own conclusions about what the picture means to you. You may wish to apply what you’ve learned in Part Four regarding translation, interpretation, connotation, signs, punctum, etc., but be sure you get the definitions correct.   

Follow thought associations and other images that relate to the discussion, directly or indirectly. Look at the broader context of the image and its background and specific narrative as well as your personal interpretation of it and what thoughts it triggers for you. Follow these associations in a thoughtful and formal way. Allow yourself to enjoy the process! You may write about personal connections but ensure you express yourself in a formally analytical and reflective manner. 

“A picture is worth a thousand words”

bourke-white_margaret_6_gandhi_india_1946_L_large (1)

Gandhi at the spinning wheel. Margaret Bourke-White (1946) (Gallery M, 2017)


Who is the real subject Gandhi or the spinning wheel? 

The photograph was selected as I have a personal connection to it, having visited the exact spot it was photographed twice. This essay will deconstruct the image to uncover its meaning, as well as the intentions of the photographer. Much of the reality of an image can be redefined by a photographer so the truth of it may be “naive and illusory (for though the lens draws the subject, the photographer defines it)” (Szarkowski, 2009:12). It seems that “The relation between what we see and what we know is never settled” (Berger, 1972:7), however through analysing the formal contents and their contexts it will be possible to show the invisible meanings hidden within the image and expose whether it is the spinning wheel or Gandhi that is the subject of the photograph.


The signifiers (material elements) denoted in this photograph are: A spinning wheel, a seated bald or shaven man reading papers wearing a dhoti, floor rugs, a window and white walls. The frame is divided into two areas, the spinning wheel and the figure with the room behind it. The eye is drawn in by the prominently placed spinning wheel and led across diagonally to the top right of the image through the seated person up to the bottom of the window frame. The image is monochrome, grainy with strong contrast, though with a range of tones. The photograph is variously titled Gandhi at “his” spinning wheel or “the” spinning wheel, informing us both of the person’s identity and the foreground object.


So what do these objects connote (mean)? To move to this next level of meaning this it is vital to understand what Barthes terms the studium, the cultural, political and social meaning (Boothroyd, 2015) behind the photograph. There are four main contexts to explore, Gandhi, the spinning wheel, Bourke-White and their relationship to each other.

Gandhi (1869-1948) born in India, trained as a lawyer and developed a personal philosophy of anti-materialism and abstinence, living out his idea of truth force, powerful but non-violent argument (Von Tunzelmann, 2012). “Swaddled in just a shawl and a dhoti, with a long thin arm clutching a long thin staff, Mahatma Gandhi had quickly become the most recognisable symbol of anti-colonial protest” (Keay, 2010:484). He promoted the charka (domestic spinning wheel) as a symbol of penance, self-reliance and non-violence saying “We cannot visualise non-violence in the abstract. So we choose an object which can symbolise for us, the formless” (Gandhi, n,d, cited in: 2017).

The American photographer (1904-1971) began her career photographing industrial architecture with “dramatic use of perspective, light, and shadow on hard-edged industrial shapes, to create photographs that merged fact with the potent language of abstraction” (Johnson et al., 2005:589). She became a renowned journalist for Fortune and Life magazines demonstrating “her singular ability to communicate the intensity of major world events while respecting formal relationships and aesthetic considerations” (Handy et al, 1999:209, cited in: International Center of Photography 2017). She used heavy lighting for industrial subjects which “was obvious in many of her portraits which often looked staged” (Jeffrey et al, 2008:102). Bourke-White photographed Gandhi as part of an assignment covering the prelude to the partition of India.

             Welding-tire-rims-International-Harvester-Chicago-IL-1933             stalin.jpg                      (, 2017)                      (Bourke-White, 2017)

The relationship she had with Gandhi is key to unlocking the signified (invisible meaning) in this image. She was described as becoming “a friend to – as well as a close chronicler” (Time, 2017a). She realised “to understand another human being you must gain some insight into the conditions which made him what he is” (Bourke-White, M, 2016:1746). Passionate about machines she notes “some of his opinions I found difficult to reconcile. One was his opposition to industry and scientific agriculture” (Bourke-White, 2016:3715). However she understood that spinning was completely bound up with his identity (Anon, 2017a).

When shooting she had to observe his rules, he disliked bright lights, be silent and learn to spin herself beforehand (Anon, 2017b). She shot unsuccessfully without flash, then her third and last attempt with flashbulb worked “In the end, she came away with an image that became Gandhi’s most enduring representation” (Iconic Photos, 2017), unusually without his staff and shawl. Curiously this image was not used in that May 1946 life article, but in a tribute to him following his assassination (1948) titled “India loses her great soul…a stirring visual eulogy to the man and his ideas” (Time, 2017b).

The context above reveals meaning in the image: the symbolism in the spinning wheel, the tidy room representing cleanliness and order, Gandhi reading newspapers signalling connections with the world, daylight alighting mystically on Gandhi’s head. The punctum that disrupts the rest of the narrative in the photograph is the spinning wheel; “Once we have discovered our punctum we become, irredeemably, active readers of the scene” (Clarke, 1997:32). Gandhi was a cunning man (Keay, 2010), but the vantage point was of Bourke-White’s choosing, “If the photographer could not move his subject, he could move his camera” (Szarkowski, 2009:126). She gave prominence to the spinning wheel, and interestingly a separation from Gandhi. Interpreting these actions enables us to find the signs and overall meaning of this image.


In any image “the primary frame of reference remains the subject of the photograph (although this in itself can be problematic)” (Clarke, 1997:30). Bourke–White herself admitted “only you would come with just that particular mental and emotional experience to perceive the just telling thing for that particular story” (Bourke-White, 1972:1756). We know “the photographer’s way of seeing is reflected in his choice of subject” (Berger, 1972:10); drawing on the visual gestalt- of the picture” (Shore, 2007:110), and the Intertextuality (background), I suggest the Spinning wheel is in fact the primary subject of this image. It is the wheel that provides the personal connection to other elements in the photograph, revealing its meaning. Whether Bourke-White was simply drawn to the industrial shape of the wheel and pursued her natural style by placing the shadow on it to give it dominance, or whether she intended to illuminate its symbolism, only she could tell us. Whichever, the power of this image to me is her photographing of the spinning wheel.

(1035 words)


Anon, (2017a). [online] Available at: [Accessed 4 Jul. 2017].

Anon, (2017b) Influential photographs: Ghandi at his spinning wheel 1946 by Margaret Bourke-White. [online] Available at: [Accessed 28 Jun. 2017].

Berger, J (1972) Ways of seeing. London. Penguin group.

Boothroyd, S (2015) Context and narrative. Open College of the Arts. Barnsley.

Bourke-White, M. (2016). Portrait of Myself. Kindle edition. San Francisco, UNITED STATES: Lucknow Books.

Bourke-White, M. (2017). Margaret Bourke-White. [Photograph] [online] Available at: [Accessed 4 Jul. 2017].

Clarke, G. (1997). The photograph. Oxford: Oxford University Press.

Gallery M. (2017). Margaret Bourke-White | Biography. [online] Available at: [Accessed 28 Jun. 2017].

Gandhi (n, d) Cited in: (2017). The Tribune…Sunday Reading. [online] Available at: [Accessed 2 Jul. 2017

Handy et al (1999) Reflections in a Glass Eye: Works from the International Center of Photography Collection, New York: Bulfinch Press in association with the International Center of Photography. Cited in: International Center of Photography. (2017). Margaret Bourke-White. [online] Available at: [Accessed 30 Jun. 2017].

Iconic Photos. (2017). Gandhi at the Spinning Wheel. [online] Available at: [Accessed 29 Jun. 2017].

Jeffrey, I. and Kozloff, M. (2008). How to read a photograph. London. Thames and Hudson Ltd.

Johnson, W., Rice, M., Williams, C. and Mulligan, T. (2005). A History of photography. Köln [etc.]: Taschen.

Keay, J. (2010). India. London: HarperPress. (2017). Master Photographers. Black and White Photojournalists. [Photograph] [Online] Available at: [Accessed 2 Jul. 2017].

Shore, S (2007).The nature of photographs. 2nd edition. London. Phaidon

Szarkowski, J. (2009). The photographer’s eye. The Museum of Modern art. New York. (2017a). Gandhi: Quiet Scenes From a Revolutionary Life. [online] Available at: [Accessed 30 Jun. 2017]. (2017b). Gandhi and His Spinning Wheel: The Story Behind an Iconic Photo. [online] Available at: [Accessed 28 Jun. 2017].

Von Tunzelmann, A. (2012). Indian summer. The Secret History of the End of an Empire. Kindle edition. UK. Simon & Schuster ltd.


Anon, (2017). [online] Available at: [Accessed 2 Jul. 2017].

Barthes, R (n,d ) Camera Lucida in: La Grange, A (2013) Basic critical theory for photographers. Uk. Focal Press.

Barthes, R (n,d) Rhetoric of the lmage [online] Available at: (Accessed 2 Jiul.2017)

BBC News. (2017a). How Gandhi’s last day was photographed – BBC News. [online] Available at: [Accessed 29 Jun. 2017].

BBC News. (2017b). Rare pictures of the last 10 years of Gandhi’s life – BBC News. [online] Available at: [Accessed 29 Jun. 2017].

Bourke-White, M. (2017). Margaret Bourke-White | ND Magazine. [online] Available at: [Accessed 2 Jul. 2017].

Golden, R. (2013). Masters of photography. London: Goodman.

Nehru, J. and Khilnani, S. (2004). The discovery of India. Penguin Books; London. (2017a). A New Way of Seeing Indian Independence and the Brutal ‘Great Migration’. [online] Available at: [Accessed 30 Jun. 2017 (2017b). See the Classic Cameras Used by LIFE’s First Female Staff Photographer. [online] Available at: [Accessed 30 Jun. 2017]. (2017c). ‘Great Lady With a Camera’: Margaret Bourke-White, American Original. [online] Available at: [Accessed 30 Jun. 2017].

Please note: Any images by other photographers used on this site are accredited and are being used for personal research and educational purposes only.


ASSIGNMENT FOUR: A picture is worth a thousand words.

Nicola South              Student number: 514516

TUTOR REPORT: Tutor report OCA Niki South 514516 Ass 4



  • Extensive research.
  • Powerful analysis.
  • Use of a personal connection.
  • The image chosen for the essay.


  • Include more on the composition, my thoughts about it.
  • My tutor suggests that I could have mentioned the way the eye is directed to the main subject, and that I should comment on the light hitting Ghandi’s head spiritually; however re-reading my essay confirms that I have written about the way the viewer’s eye is drawn across the image, and described the “daylight alighting mystically on Gandhi’s head”. I think unfortunately he must have missed these comments, although I accept that I may not have been obvious enough about how this directs the eye to Gandhi. I could have been more explicit however about the image following the rule of thirds.


  • Remember to consider and comment on whether and how an image could be improved when analysing and reading a photograph.
  • To use my learning from this part of the course on reading photographs as I go forward.
  • As my tutor suggest to carry on learning from “the greats” to take my own practice forwards.


  • Reread the essay, to check whether any changes are needed, though my Tutor suggests I should submit it as it is. Having done so I concluded that I should submit as it is, especially as I found that I have covered the composition points he mentions apart from the rule of thirds (I thought to go back and insert this but decided it would be rather obvious!).

Link to learning log:

This mind map summarises the narrative of my brainstorming for the image:

mind map prep







Nicola South               Student number: 514516



IMG_6090 sq final blog 1500


“The Organiser”

Image 3: Exposure 1/8 sec,   Aperture f/11, ISO 200, Focal length 28mm


IMG_6288 2 ps 1500

The Escapist”

Image 24: Exposure 1/6 sec,   Aperture f/8, ISO 200, Focal length 50mm


IMG_6936 ps sq 1500

“The Peacemaker”

Image 85: Exposure 1/10 sec, Aperture f/8, ISO 400, Focal length 52mm


IMG_6309 sq 1500

“The lover”

Image 25: Exposure 0.3 sec,   Aperture f/8, ISO 200, Focal length 41mm



Niki South       Student number: 514516


The Brief

Drawing upon the examples in Part Three and your own research, you can approach your self-portraits however you see fit. You may choose to explore your identity or masquerade as someone else, or use empty locations or objects to speak of your experiences. However you choose to approach it, use yourself – directly or indirectly – as subject matter.

Keep a diary for a set period of time (at least two weeks). Each day write two or three pages about yourself – what you’ve been doing/thinking. This can be as specific or poetic as you wish. You may wish to pick a theme for the duration. This is an open brief designed to give you freedom to create something personal which suits you best. Use the artists you’ve looked at in Part three or your own research for inspiration.

Select the most interesting parts of the diary (which could also be the most banal or mundane) and interpret them into a photographic project. You don’t have restrict yourself to the diary itself; you may decide to use it to take you into new territory.

Send your finished piece to your tutor by the method agreed together with an introduction of around 300 words briefly setting out your rationale and how you approached this project.



This assignment was a challenge as I avoid being photographed; however I resolved to keep an open mind until I had completed the exercises. I discovered through the directed research that self-portraiture was extremely varied, and the project became more interesting as I began to understand how photographers (initially Francesca Woodman and Elina Brotherus) used it confidently as self-exploration. A turning point for me was the exhibition “Behind the mask, another mask” (National Portrait Gallery, 2017). Their examinations of identity through their images of their multiple selves, as well as their commentaries and quotations such as “You always feel that you are the mask to some degree” (Wearing, 2012), caused me to ponder on my own identity and how I am made of multiple selves.

On rereading my diary, I was struck that though it contained a series of events, sporting, travelling social and domestic, it didn’t reveal the real me, only how I operate on the surface. I then reflected on the hidden me not revealed in my diary. I decided to represent four of these hidden selves in my images: The Organiser, The Escapist, The Peacemaker and The Lover. I expect that The Organiser is easily understood. The Escapist represents how I make space for myself amongst meeting the needs of others. The three peace lilies in The Peacemaker image symbolise members of my family and how I try to pour oil on troubled waters and hold them close. The Lover image is a visualisation of my mood and senses through colour and texture. My intention is to reveal increasing glimpses beneath the surface as the viewer moves through the series, I hope that I have built narrative meaning, despite some elements remaining obscure and personal to me.

The project took me out of my comfort zone, performing is not natural to me, and the shooting was challenging as I composed and then recomposed myself in the frame. In retrospect I may have lost myself in the performing slightly at the expense of some technical aspects; I hope I’ve addressed this somewhat in my final submission by reshooting “The peacemaker” in a purer light and reprocessing “The organiser” to improve the colour balance.

Ultimately I enjoyed exploring and expressing my identity and hope that it manifests as self-portraiture with a sense of ownership as I truly think that “the “I” in self- portraiture is truly comprehending an “other” (Sobieszek, 1978).


National Portrait Gallery (2017) Gillian Wearing and Claude Cahun: Behind the mask, another mask. London. National Portrait Gallery.

Sobieszek, R (1978) “Other selves in photographic Self-Portraiture” in: Sobieszek and Irmas (1994). The camera i. 1st ed. Los Angeles: Los Angeles county museum of art.

Wearing, G (2012) on the wall at: National Portrait Gallery (2017) Gillian Wearing and Claude Cahun: Behind the mask, another mask. London. National Portrait Gallery.



Niki South Student number: 514516

This Tutor feedback was firstly by google hangout and then followed with a brief Tutor report.

TUTOR REPORTTutor Report Form-Niki South 514516 Ass 3

GOOGLE HANGOUT NOTES: Tutor verbal google hangout feedback Ass 3




  • The “bold” concept.
  • My communication, I had been conscious of my Tutor’s previous advice to be more ambiguous and to pare down what was within a frame.
  • The images chosen for the series.
  • Use of the square format for the images, an idea I had taken from my tutors previous feedback.
  • The research and commitment to the subject


These were technical as I had expected: in my self-reflection I had said that I was pleased with my images as concepts but knew that they could be technically improved:

  • Lighting: experiment with diffusers, bouncing the light, reflectors and sources such as soft boxes.
  • Be aware of shadows and reflections and how to overcome them
  • Consider the colour balance, the peacemaker has a slightly yellow hue


  • Consider the type of lighting that is best for the subject, whether it should be direct or soft for instance.
  • Be alert to colour balance
  • Continue to make use of a variety of formats for effect
  • Continue to compose with some ambiguity
  • Continue the use of sketches pre shooting


  • Reshoot “The Peacemaker” in a purer, softer light. I recreated the same composition as in my draft shoot but experimented with the lighting. Before shooting I set up the shot in various locations with daylight from different positions. Having found the best location for light and minimal reflection I then shot the first 4 images without flash, the next 5 with a speed lite and then decided to shoot with only natural light.
  • Reprocess “The organiser” to improve the colour balance

Link to learning log:

These mind maps summarise the narrative of my brainstorming, preparations and post shooting thoughts contained in the learning log.


Putting yourself in brainstorm 1500


Putting yourself in shooting 1500


Putting yourself in editing 1 1500

 Notes on reshooting “The peacemaker”: I recreated the same composition as in my draft shoot but experimented with the lighting. Before shooting I set up the shot in various locations with daylight from different positions. Having found the best location for light and minimal reflection I then shot the first 4 images without flash, the next 5 with a speed lite and then decided to shoot with only natural light.




Niki South   Student number: 514516


a-lr-0755-ps-crop-1500The bustling high street”

Image 56: Exposure 1/160, Aperture f/8, ISO 100, Focal length 39mm.



“Castle reopens after £11 million restoration”

Image 51: Exposure 1/160, Aperture f/7.1, ISO 100, Focal length 20mm.



“State of the art theatre and 3 screen cinema complex”

Image 20: Exposure 1/250, Aperture f/10, ISO 100, Focal length 35mm.



“One of many centres offering exciting outdoor activities

Image 39: Exposure 1/60, Aperture f/11, ISO 200, Focal length 46mm.


e-lr-1001-crop-1500“Brand new sustainable, solar, social housing”

Image 76: Exposure 1/80, Aperture f/11, ISO 100, Focal length 16mm.



“Booming local yacht building business expands again”

Image 25: Exposure 1/100, Aperture f/4.5, ISO 100, Focal length 16mm




“The supermarket that was never built”

Image 6: Exposure 1/100, Aperture f/5.6, ISO 100, Focal length 17mm.



Even Penny Pinchers could not survive the downturn in retail sales”

Image 72: Exposure 1/60, Aperture f/4.5, ISO 100, Focal length 16mm.



Traders complain that charity shop’s exemption from business rates make them unfair competition”

Image 20: Exposure 1/100, Aperture f/6.3, ISO 100, Focal length 22mm.


f-lr-0517-crop-1-1500“The site of the once booming cattle market is now rusting”

Image 13: Exposure 1/60, Aperture f/5, ISO 100, Focal length 20mm.



“The housing market here is stagnant”

Image 35: Exposure 1/80, Aperture f18, ISO 125, Focal length 57mm


e-lr-0836-no-crop-1500“The once busy boat builders, no longer have work”

Image 56: Exposure 1/250, Aperture f/8, ISO 100, Focal length 70mm.