Week 4 Ubiquitous photography – 14.02.20
Notes on relevance for my research , and photography specialism of choice, capturing the everyday lives and stories of people involved in alternative education.
“It is hard to imagine any aspect of contemporary life that has not become visual content.” (Hand. 2012.pg 1)
“The weaving of photographies – as images and ideas, as devices and techniques, and as practices – into every corner of contemporary society and culture produces quite a different scenario from that envisaged during the late twentieth century.” (Hand. 2012.pg 1)
Where many once imagined a future of digital simulation and virtual reality, we now arguably have the opposite : the visual publicization of ordinary life in a ubiquitous photos cap.” (Hand. 2012.pg 1)
“the demain of the ordinary is precisely what should concern sociologists and others when trying to understand social, cultural and technical change.” (Hand. 2012.pg 3) I felt this quote was very relevant to my practice , as it is the ordinary everyday that I am trying to show in my practice throughout the MA, the act that the ordinary everyday of the people that I am showing is not the ‘ordinary’ of the masses means that is failing into the brackets of cultural and societal description and change . It isn’t a call to arms for change of education, it is a call to arms to an irradiation of ignorance on the subject that I am looking for. There is also the question of how the dissemination of this project will effect this. Will an exhibition help produce cultural change more, would a book be better suited to the ‘ordinary’ the ‘banal’ being that it is a household item ?
“Personal photography is inextricably tied to broader changes in what counts as ‘family’, how social identities have shifted in relation to patterns of work and leisure, gender , and how the use and analysis of personal photographs have altered in line with scholarly approaches to history and memory.” (Hand. 2012.pg 5/6)
“These distinctions also remained gendered: personal photography and practices of album making were positioned towards women, while serious amateur photography, alongside professional and art photography, were dominantly framed as ‘masculine’. (Hand. 2012.pg 7)
I find this subject so very interesting, the split and divide of photography and how it has, and is morphed and morphing to this day. Next month in Manchester sees the first PHLOCK LIVE , tag lined as ‘Europes number one learning event for women in photography’ (phlocklive home page) running over three days, seeing talks, workshops, masterclasses, and shoot alongs being presented by “45 internationally published, award winning speakers, 122 classes, 180 hours of education.” (phlocklive home page) , as massive undertaking, and from the range of spectrums of genres of photography being discussed and shown, it is apparent as it is on social media, and any photography magazines or websites now, that this has definitely changed. However it wasn’t that long ago in 2017 when Nikon was called to to explain why their new camera the D850 , with all 32 brand ambassadors chosen being men (BBC 14.09.2017)
Eight pages in I have decided to stop reading and go and loan this book form the library, as out of all he reading I have done so far it seems the most relevant to my practice, and realms of study for the MA, added bonus is that I can understand everything it is trying to tell me !
Hand, Martin. 2012. Ubiquitous photography Chapter 1 , Ubiquitous photography a short introduction. Cambridge, Uk. Polity press.
Phlock live home page. Available at https://phlocklive.co.uk/ (Accessed 14.02.20)
BBC. Harrison, Paul. 2017. Nikon in spotlight over sexism row. Available at https://www.bbc.co.uk/news/blogs-trending-41266234 (Accessed 14.02.20)