A1 Assessment Criteria

Demonstration of technical and visual skills

Reworking my original project plan in the light of the current crisis has meant having to be creative in how I visualise this assignment. I used black fabric as a backdrop for photographing objects from my kitchen to minimise any external context and focus attention solely on the objects. I also used an external flash offset from the camera to avoid too much direct reflection from the white bottles and glass jars.

Although the refill shop is fairly well lit I used fill-in flash to allow a higher ISO and faster shutter.

 Quality of outcome

I have presented this as a slideshow to try and reinforce the idea that this is a single piece rather than a set of individual photographs.  Although the assignment brief asks for unmounted prints, the current Covid-19 situation, along with the strain on printing and delivery options, means online viewing is the most appropriate mechanism. If I were to print these I would prefer to present these as A4 images in book form.

The photographs are presented here as individual images, along with links to allow enlarging.

 Demonstration of creativity

I have placed the individual images in a larger frame with each image either to the left or right of the frame. I have presented them in pairs, with the photographs from the refill shop itself on one side and the others to act as counterpoints. For the external photographs, I looked for scenes where a single figure could be seen in the distance.

By using a tripod and shutter delay I have used myself twice here as the subject (once as customer, once as server). This meant I could get five images from the refill shop to use in this set.


I have mentioned that I referred to Paul Graham’s “A Shimmer presentation avoids a static interpretation, how the positioning and juxtaposition of images invites new meanings not necessarily apparent in any of the individual photographs.

Without explicitly meaning to, I do think that my resulting work demonstrates at least in part Allan Sekula’s position that photographs do not themselves contain absolute truth, and that any interpretation is not possible without some form of context.











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