Thank you for taking the time to evaluate my work.
My learning log is online and can be located at: https://lyndakuitphotographylandscape.wordpress.com/ . The blog is in descending date order (standard blog format), however, I have arranged the assignments so that they can be viewed in consecutive order. Each assignment’s post begins with the assignment, followed by the tutor feedback and my reflections and ends with any revision/rework that I have done as a result of the tutor feedback. My assignment planning posts are under the Coursework –> Part # –> Assignment # menu as indicated below.
To access each assignment, tutor feedback and any revisions done, please click on the assignment number you wish to view at the top menu as indicated by the arrow in the screen shot below and you will be able to scroll in consecutive order.
The Research and Reflection tab on the menu at the top of the blog contains my learning log which is in descending order (standard blog format). Research relevant to each assignment is mentioned in my assignment write up and is hyperlinked to the relevant posts as well.
Included in this package are:
the contact sheets of the initial submission photos for assignments 1 – 3, 5-6. Contact sheets are clearly labeled on the back of each sheet.
Final output for each assignment:
Assignment 1 – eight (8) prints from assignments 1;
Assignment 2 – Book: Canucks Edgelands – A Journey
Assignment 3 – twelve (12) prints
Assignment 4 – Critical Review Essay: Collective Memory and The Writing on the Wall
Assignment 5 – Book: Ways of Looking at Blind Bay and Salmon Arm (plus portfolio of six (6) panorama prints
Prints are clearly labeled on the back of each print.
all six (6) tutor reports. Electronic copies of the tutor reports have also been uploaded to my assigned Google Drive and are located under Tutor Reports, clearly named in the following format [Lynda_Kuit_512863_Feedback_Assignment_No_ Landscape.pdf].
Please note for assessment purposes that I have only uploaded the tutor reports to the Google Drive. Everything else is located on my blog.
I could not wait to enroll on this course when I finished Level 1. I enjoyed learning about the various histories of landscape and different types of practices associated with it. I found assignment 1 one of the most interesting to do and sincerely enjoyed exploring all manners of the sublime in my research. I was a little disappointed to see that assignment 2 was about a journey. Almost every module I have done has had an exercise about a journey in it and I found this a little frustrating. But at the end of the course I can say I get it! The journey isn’t really just about the physical journey, but about the mental journey (and also the photographic journey as we develop our practice). Assignment 3 was an exploration into my new surroundings which I relished discovering. The edgelands and psychogeography are definitely topics that I will want to explore in more depth. Once I settled on a topic for assignment 4, I found that I liked doing the research. Writing about it was another task altogether! I related well to the assignment 5 which I did on the different tourist gazes as I had been experiencing these myself in some or other form for this past year. But probably the assignment that I learned the most out of is assignment 6. I found returning to the same place and taking photographs over a one year period very enlightening. I became invested in the space and even started to identify with it as a local would. I documented changes to mini-landscapes as well as the larger landscapes, changes in tides, weather and the seasons. I’ve come to realise that my work needs to marinate and mellow for it to become reflexive. Just like a good wine.
I have learned new technical skills while on this course. I created panorama photographs for the first time, learned how to create a slideshow, created my first Blurb book and also a flipbook. I brushed up on some LightRoom software skills in learning how to colour correct in LightRoom. All of these skills will be able to be carried forward into subsequent modules.
Throughout the course my tutor was kind enough to point out my areas of strengths and also encouraged me to work on my weaknesses. This was incredibly helpful to me as I realised that one of my great weaknesses is my writing style (not surprising as composition was never a favourite subject of mine at school) and I will try and rectify this in my next module. I did find that I struggled more in this module with the writing component than with other modules and I am wondering if this perhaps has something to do with the fact that there are no people to write about in landscape. Being concise is also another of my challenges. Notwithstanding these stumbling blocks, I feel that I have made a decent improvement from where I started on the module to where I now am.
Having moved from a city into a rural community towards the beginning of the course has caused me to question where exactly do I fit in in this new environment and I think this is reflected in my work in the Landscape module. At this moment it feels as my practice has developed around transitions or changes as this seems to be a common thread running through the assignments.
I have had such a long wait to to be able to go and reshoot some images for this assignment. Shooting in winter was not an option with all the snow on the ground. It would have relayed a totally different feeling of the sublime than what I was after. Would it even have been sublime then? I think not.
My tutor suggested writing a word or two to describe feelings or emotions on viewing these images. I am hesitant to put captions to the images as I want the viewer to experience his/her own emotions and not necessarily mine.
I used a little light painting on one of the new images in the project and I think that it has the desired effect of drawing the viewer’s eye to the pool of light and further emphasising the darkness that lies beyond.
I have added two new images and reduced my edit to a set of eight which I think sends a more powerful message of the sublime.
Helen’s timely posting on the OCA forum about the Critical Review Guide has prompted me to upload my research spreadsheet that I used when searching, keywording, recording abstracts, making evaluative comments for references for my critical review essay.
After much consideration and dithering I have decided to present my work for Assignment 5 in a physical book format. I feel that this way is probably a better way to present the images for assessment, instead of having a collection of different sized images in an envelope as a sample, loose prints and a flipbook online.
By compiling a book I can still present the images in different sizes without the presentation being too cheesy or over-complicated. I had sent off my book via LightRoom to Blurb last week and was pleasantly surprised to be informed that delivery would be this week. Still I wasn’t holding my breath, knowing what postal deliveries in rural communities can be like. I have just this day received the book, right on time as promised. So now I will present the book and because the panoramas in my book are on a two-page spread and the book is not a layflat, I will include only the panorama prints as well in my assessment submission for the assessors.
Greg Girard often exhibits at Vancouver’s Capture Photography Festival, but this was the first time I had managed to see some of his work in person. His exhibition Tokyo-Yokosuka 1976-1983 was on at the Monte Clark Gallery. I was quite excited about this exhibition as I had seen a film about Girard working the streets of Vancouver a few years ago.
Sadly I was quite disappointed. I don’t know who is responsible for the curating at this gallery, but all the exhibitions I have seen here at this gallery have one thing in common. They all feel very sparse. The gallery is part of an old warehouse that was built over tram or rail tracks so there is an interesting historical element to the gallery. The main room is quite large, but the photos are always arranged to look as if there is rationing happening! It never feels welcoming. Girard’s work was displayed without any wall text next to the photographs which I thought was a shame as it would have added to the viewing experience. I found that rather odd as he does add captions to his photographs on his website.
Girard’s photographs are large so they are easily viewed from the middle of the floor. The images in the exhibition were from a time period when he first went to Southeast Asia in 1976 and after shooting the streets of Shinjuku one night decided he was going to stay there. He makes use of artificial light and his colour images all have a “neon” feel to them. One definitely gets the impression that they were taken in the seedier part of town. The three black and white images, which were portraits, felt out of place with the street scenes. While Girard’s images are interesting to look at and the colour palettes quite stunning, I felt the whole exhibition quite disjointed. It lacked rhythm and sequencing which was a great pity as his work flows better on his website.
In contrast with Paul Graham’s The Present, I found John Maclean’s Two and Two more engaging. The book presentation is simpler: stacked or side-by-side diptychs. The subject matter varies a little more than Graham’s work. Maclean’s diptychs involve pull back shots and zoom ins, similar views with and without a screen, the same shot taken at different times of the day, a scene and a detail of that scene. The combinations are intriguing and at the same time playful. Slight shifts of position by a few inches produce different effects. When one enlarges the images so much more detail is revealed. Most of the photographs were made within a minute of each other, the view point changing every so slightly in most cases. Maclean involves the viewer by challenging him/her to search the image pairings, looking for the similarities and connections. I found myself happily absorbed for about an hour mulling over the discrepancies and similarities in his images.