Advanced photography project > learning objectives
To encourage students to examine the use and meanings of images and text and the relationships between them.
Students are encouraged to see how photographs of private things can have several meanings, from the personal, to being social clues, reveal identities through objects and places. By relating with each other, they can feel what it is like to be photographed, and present photographs like the participants in reveal.
Materials and facilities required for project 1
Students should ideally have their own cameras and processing / printing facilities at home or at college.
Method > project 1
1. Photograph items you use everyday, from the bathroom mirror, to the door handle on your car. Combine these into a picture narrative, and then abstract the relevance of these items in your immediate world, looking at the colour photographs from reveal as a starting point.
2. With another partner from your class or photographic group, photograph each other’s private spaces based on what you know about each other, or what you discuss in relation to this project. Try to photograph the peripheral objects in a way that gives them personal context. When finished, arrange the photographs in a way that relates a narrative of both the photographic experience, and your partner’s story.
Method > project 2
1. From the themes raised in the sections 'about image and text', select two photographers and discuss their use of words and pictures, referring to the issues of narrative and physical construction.
2. Write a short piece about the combination of words and pictures in everyday use, bringing in examples from magazines and books to illustrate your points.
3. Describe how you could combine some of your own pictures with words, and discuss the outcome of combining the two mediums in relation to the changed meaning of your own work.
4. The choice of font, or typeface, can be crucial in how ideas are presented in written form, and when words are combined with pictures. Look at the work of Duane Michals, and critically evaluate the impact of his handwritten text onto the surface of the photographic print.
© John Frederick Anderson