Laia Abril Talk – Combatting Misogyny with Images:

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Like so many of the talks this year, this talk definitely struck a chord with me. At first, I thought this was simply because I was female, so the matters discussed concerning misogyny, and the rights of women over their bodies was something that would naturally resonate with me. But the longer I have had to think about this, I think it resonated with me because I am a human being who has been raised in a way where I have been encouraged to take ownership of who I am, and what I believe. These beliefs correlate with notions of what is moral, and what is not. Although, the fact that I am female probably heightens my engagement with these bodies of work, but this is not the sole factor of my engagement. Otherwise, this would completely disregard the beliefs of men, and there are definitely men out there who probably have similar, if not the same beliefs as me. So, the audience for Abril’s work simply is not based on gender, but based on values; what do we hold important in society, and our social awareness?

A project that Laia Abril discussed was her series of projects that came under the umbrella title of ‘A History of Misogyny’. She talked about ‘Chapter One: On Abortion’, which highlights the extremes that women in certain countries would have to go to in order to have an abortion, and in most, if not all of these countries, abortion is against the law. This is why they feel the need to go to such lengths. What’s so completely compelling about this body of work, is this ‘stepped-back’ position that Abril adopts; she has no judgement, or her values and what she believes is not forced upon the image making. Abril’s photographs are simply a channel for these stories to be told through, and the viewer then is able to experience these stories in as pure a form as possible. The images are not manipulated by the image maker’s beliefs.

Abril mentioned that she had been pursuing this particular project for the last five years, and it has also toured globally during this time as well. As you can probably imagine, Abril felt that this was a tough task in terms of the production of this work, but I can also imagine that the pay off is far greater. I think that, to make a body of work that has the ability to tour globally, it has to resonate with such a wide, and vast audience; so the importance of making a project that is universal in its language is inherent.

Something else that I found refreshing was Laia Abril’s admittance that she will find the next year the toughest year of all in terms of producing work. Now, I definitely think that this is true with most creatives, but I think there are a lot of people that may not want to admit this to others. It was just reassuring to hear, as I definitely feel that I, much like my other course mates, are in the same boat at the moment. I think, coming back from this Pandemic will be a very slow process, and normality as we knew it, may not be something that can be duplicated. We may have a new normal now, so as creatives we have to adapt to this; but also not be afraid to create bodies of work that are reflective of this change as well.

‘Chapter One: On Abortion’, like the other projects in ‘A History of Misogyny’, acts as a magnifier enabling Abril to show that misogyny goes on all over the world, and it happens all the time. Each Chapter within this umbrella project shows the viewer a little bit more about what constitutes as misogyny; also we become so much more aware of the extremity of misogyny. This is not just historically speaking, but nowadays as well, because it is presented so directly in front of the viewer. Abril doesn’t shy away from the truth, because to do so, would be to turn a blind eye to people’s realities; what they have had to go through. Laia Abril has created projects that do not judge, they do not pity, and they certainly do not mock, but they reveal honesty, and make us question everything that still is wrong in society today. This is a world that predominantly strives for equality, but yet there are women who have to go to such extremes to have an abortion, as authorities made up of men, tell them that abortion is wrong; to have an abortion would be to go against the law. So, in my mind, and probably in the mind’s of others, this notion of the ‘DIY’ abortion becomes something that we are able to understand; and Abril has allowed us to understand this. This is what Laia Abril’s projects allow the viewer to discover; these new understandings about certain situations that we may not have acquired before looking at these works.

Portrait of Marta, 29, Poland “On January 2, 2015, I traveled to Slovakia to have an abortion. [In Poland, abortion is illegal except in cases of sexual assault, serious fetal deformation, or threat to the mother’s life.] I was too scared to take DIY abortion pills alone. What if something went wrong? So I decided to get a surgical abortion in a clinic abroad. I felt upset about borrowing money for the procedure, and lonely and frustrated because I couldn’t tell anyone what was happening. The hardest part was facing my boyfriend, who opposes abortion. All the same, I felt stronger and more mature afterwards.” – Marta Abortion is legal in nearly all EU countries, except Poland, Ireland and Malta. In Poland abortion is illegal except in cases of sexual assault, serious fetal deformation, or threat to the mother’s life. The official number of abortions performed in this country with 38 million inhabitants, is only about 750 per year. According to Dutch pro-choice organization Women on Waves, the real number is closer to 240,000. Marta’s Portrait comes along a with a Photonovel on her illegal abortion. Poland, 2016. Laia Abril.

Research: Script Developer/ Editor

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As part of the process of creating my case studies; looking at the different avenues of work that I could go down, I also felt it necessary to do some research into these different career paths. Previously, I have completed research on Forensic Photography, and Art Direction / Curation in a Gallery. Now, I will look into Script Development; how do you become a Script Developer, and also what really is a Script Developer’s role?

Script Development is a career within the realms of television, theatre and film, and requires you to help build the narrative that these shows are based on. Ultimately, a Script Developer’s role is to support the Script Writer/ Screenwriter, and help them to build a story that engages with an audience. Your role is very much the role of a storyteller, and you must be able to edit these scripts so that they translate seamlessly from written words, to a visual and spoken language. So, the acquisition of a visual mind; a mind that is able to visually create stories is a skill that I would have thought would be beneficial. This is where photography helps massively. I have, now, an ability to create stories, and project narratives through images, so maybe this would help when it comes to translating words onto screen and stage. Personally, my passion resides in storytelling in all its forms; I have always had a fascination with theatre and musical theatre, photography, literature, television, and I am also a massive film buff as well. So, storytelling, to me, would be a natural part of my progression in a career hopefully. I am currently writing a book of my own as well as completing my photography course, so telling stories is already something that I spend a lot of time on anyway.

So, what would a Script Developer/ Editor have to do in their everyday as part of their role? As a Script Editor, your role is to, ultimately, be the go between for Screenwriters, and the Production team. Before production on a script even starts, you are a part of the process of finding the Screenwriters to collaborate with initially. You have the required knowledge of what makes a great script, and have the ability to relay this to the Production team; why do you like this script? What does it say to audiences? When a script is found, then you are a part of the team that help to build this script up alongside the screenwriter; Is there anything that needs to be edited out? Is there anything that needs to be added, or phrasing that needs to be changed within the script? As somebody who loves the process of storytelling, I am fully aware of the importance that a story holds; the information that needs to be available to audiences, but also when is the right time in a story to reveal said information? This is a general overview of what a Script Developer’s role really is in this industry. I read this particular blog post, which gave me more information about what this role really consists of; this idea that the role of the Script Editor is important even before the process of creating a TV show, stage performance, or film.

The Script Editor’s Role:

NFTSI have also been looking at the course that the National Film And Television School offer in Script Development, and have been looking at their courses religiously for the last few days. As I have discussed in my case studies, this is definitely a course that I will be considering if I were to pursue this career in the near future. With this, I would gain the skills necessary to further my career in this field.

What is the role of the Photographer?

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After recent events, with the horrific murder of George Floyd, and the subsequent response that has occurred because of this, I have found myself questioning what the role of the media is, but also what the role of the photographer is in times like this? As photographers, much like media personnel, we are communicators.We cast light on issues, stories (both negative and positive), our inner most thoughts, the lives of others, and beliefs that are felt by the world; universal beliefs. After seeing this brutal, and completely unjust murder of a black man, I, as well as so many, had this overriding feeling of anger, and complete disgust that any human being could ever treat another human being in such a way. But, I also know why; because those men that murdered George Floyd were out and out racists, and this isn’t the only murder that has occurred between ‘so – called’ police, and black people. This is something that has happened year on year, for god knows how long, and for privileged people like me, the extremity of this is only just coming to light.

Yes, I am privileged, because race has never acted as a handicap for me, where it has done for others. This makes me deeply upset, but I could never pretend that I knew what it was like to be in this position; to feel that opportunities in life were beyond my reach. Although, this doesn’t make my role as a photographer, who believes in the rights of all human kind, to be any less valid. I have to use my privileged position to stand for those who necessarily aren’t given the opportunities that I am given. Then, and only then, can the world start to create change; we can start to work towards a world where there is equal representation of all races in all different industries. These industries range from media, to entertainment, to arts, to academia, to positions of power, and so many other industries in society.

I am very aware also, that media at this moment in time, is very much dominated by the white male. We see the world through the eyes of them, and yet this doesn’t account for the rest of society. How can people find any truth in the media if they are never represented; if their truths are never projected on our TV screens, or in our newspapers? When there’s equal representation in media, then this will infiltrate into the rest of society; into the lives of the youth as well. I think it is underestimated how much young people, and children really absorb when it comes to their environment, and the values that they are taught from such a young age. If a child has never heard a racist slur, or has never seen this division between races in industries, and in media, then this is surely a good start. But, the education that is given to children, is so important as well. They need to be educated on the racism that has been present throughout history. I think throughout school, I had never really been taught about slavery, or moments of racism in history. This has to change. This is also something that I am deeply concerned about in British schools as well; I don’t think I had ever been told of any moments of racism or slavery in Britain, but yet marks of slavery spread across British landscape. These remnants of such horrendous events literally taint our landscapes in our architecture. I was taught none of this. When referring to the Civil Rights Movement, I was only taught about America, and the American Civil Rights Movement. I had no idea that there was a Civil Rights Movement in Britain. I have a huge issue with this. If we aren’t taught about this, then how would we ever know about it (unless we read books that we had no idea existed in the first place). It feels as if these matters are almost hidden from children, and young people, but yet they need to know about this. Isn’t it truth that we learn how we want the world to be, only by the learning of the faults of generations before us?

This is where the Photographer comes in. If the truth isn’t told in schools, and isn’t projected in the media, then this is what we must do. We have to be that communicator of truths; we have to act as a voice for those who cannot necessarily speak for themselves, and in this, those who engage with our work take away a message that serves purpose in their own lives. We almost have to act as the teachers that we never had in school; the people who aren’t afraid to admit to their own faults, but use these lessons to teach others. This is where we differ from the media. The media, even after this horrendous event, will still be dominated by white men. As a young, female photographer, I can see that we have the opportunity now to not let this happen in the Arts Industry. We have to make it our mission to include people of all races in this industry, and not only that, but also we need equal representation of male and female artists within this industry as well. Then we will start to see a greater diversity in works created; works that are representative of so many other people’s lives in society.

I have just read an article that touches on this, and definitely shed some more light on the role of photographers, and also the gaze; who is acting as the magnifying glass on the world? Ultimately, if it’s still the same groups of people, as it was 30 odd years ago, projecting the way in which they see the world through means of photography, then this is where our problem lies. I want new people, new views, and new, informative representations of our world. Obviously, if those working 30 years ago in photography are still working today, then that’s absolutely fine, but my issue is if this net is cast too tight around these people; it needs to be expanded somehow, and some way.

The article: https://www.fomu.be/trigger/articles/the-impact-of-the-white-male-gaze

I’m having an issue with my domain, and it’s not ideal!

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Domains are so important to any website; they are one aspect of a website that really gets across this sense of professionalism. Having a domain that ends in ‘.com’ or ‘.co.uk’ makes others believe that you are well-established, and that an extra effort has been made to make your website feel as professional as it can be.

I used to have a domain when I was with Squarespace, and this meant that my website would, in turn, be easier to find on search engines. Unfortunately, this is not the case anymore as I have switched website platforms, and am now with Format.

With Format, when you pay monthly, you are given a default domain. Obviously, I wanted to transfer my domain over from Squarespace to Format; I got my domain from GoDaddy, and thought that it would be easy to transfer this over. I was wrong. Apparently, if you pay monthly on Format, you have to upgrade in order to freely transfer over domains from other platforms. Here’s the catch. Upgrading would mean that I would have to go from paying monthly, to paying for the whole year, which is over £200. As a student, and at this point in the year, I am not in the best place financially. This means that I cannot afford to upgrade my website, and am stuck with a horrendous domain for the time being. This is one of those moments where you just have to admit defeat, but when I eventually have enough money to transfer my domain over freely, this will be one of the first things that happens.

 

Professional Contexts with Archie Wells:

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Archie Wells gave a more general talk about his practice to the entirety of the photography course, but afterwards he discussed his professional practice more in depth with the third years. This gave us a greater insight into what it will actually be like after university in terms of finding employment, and the beginnings of establishing yourself as a photographer in your own right. In terms of giving us a more general idea of what it is like to transfer from a university environment, to a more professional setting, I found this incredibly insightful.

Advice 1:

The first bit of advice that Archie shared was that after university, the best way to go about it is to work slowly with people. University is an environment where a lot of pressure can be placed upon you to generate a body of work within a strict time frame; often a short timescale. This isn’t what it’s really like in the outside world; of course, you may receive deadlines for work to be completed, but the sheer amount of research that goes into creating this bit of work may not quite be to the same level as at university. Research is always important when creating bodies of work, but university-led research, and research you would complete anyhow are two different approaches all together. The idea of working ‘slowly’ means that you are given an ability to gradually adjust to your environment, and a different way of working; you have time to plan what you will do next, and where you want to go next. I think that brash decision making can be detrimental in the long run, and can lead to regret if you have not thought about what you are doing; plans need to be made, in order to pave your way for success, and to reduce the making of mistakes along the way.

Advice 2:

Another key bit of information that Archie shared was that, after you no longer attend university, and you no longer are a student, you do get treated differently. Of course, naturally, this would have its pros and cons. Arguably, I would have thought that there are more restrictions placed on someone who is not a student, but also in a lot of cases there are more freedoms as well. This shift in attitudes towards you as a photographer rather than a student studying photography probably takes some getting used to, but it’s all part of the development in your career. As you grow, your practice grows and develops, and the opportunities that arise also grow with that. Everything works hand in hand.

Advice 3:

Build up a relationship with a lab for printing. This is another bit of advice that was shared, and ultimately it’s such a crucial one as well. If you build up a relationship with a lab, you have to ability to call them, and to talk to them with absolute clarity. This, therefore, gives you the best ability of achieving the best quality prints in order to sell. The ability of working with others within the industry; treating others with absolute respect, enables you to also create the best work you possibly can. Sometimes, a body of work will require more than just you working on it. These added hands, and added creatives allow you to create the best body of work between you that you could possibly create.

Advice 4:

Social media nowadays plays such a huge part in getting your work out into the mainstream, and also at establishing new relationships with potential clients, other photographers, and people you could work with. Something that Archie Wells felt was particularly important is this ability to direct message others on social media, and to have the confidence to do so. I’ve always believed in the idea that if you don’t ask then you don’t get, so when messaging others in the industry, the worse case scenario is that they just say no. This is all that would happen, and then you move on and chase other opportunities that may be presented. But trusting social media with this, can be a very daunting ask when you first step out of university. If you follow a particular musician, band, company etc. then sometimes it’s a good idea to message those they surround themselves with if you want to work with them. This might be an assistant, or someone else close to them, but by doing this, your message isn’t overlooked in the massive amount of messages that they probably have. Also, you are showing initiative, and an ability of reaching out to others, which demands confidence. This way, you are more likely to get a reply, but this isn’t certain at all, as they often lead busy lives. Overall, this goes to show us the power of social media, and how we are able to connect with people that we otherwise wouldn’t necessarily be able to connect with. Social media, therefore, generates more opportunities in my opinion. Once a connection is established, then this can lead to more opportunities, and then these can snowball from there. Sometimes it just takes you saying yes to one opportunity to generate other opportunities.

Advice 5:

We all need money to be able to survive. That’s just the way the world works, but when you are a creative, you also need money to generate work as well. Archie made it very clear that there is no shame in working your 9 to 5 job in order to gain the financial means to generate work. Working jobs on the side helps massively with trying to produce work in fact, although it can only help if you also have enough time to generate this work. You still need the freedom to think and work creatively as well. So, a balance between having enough money, time, and independence also has to be established as well. I think logistically speaking, you would need a job that at least gives you a couple of days off a week to create work. Also, this way, I think you would also be earning a fair amount to carry on making work, and survive as well. I think this is a good ratio, working 5 days in a job, and making work for 2 days of the week. This creates a fairly good balance between the two, but as you produce more work, and start to really establish yourself as an artist, then these hours would hopefully, and gradually go down over time.

All of these bits of advice have enabled me to really think more in depth about this transition period between university, and creating work more professionally. More importantly, I feel more confident in my decision making now as well, as I am starting to form a few plans for myself in terms of what I want to achieve. As you can see on a few previous posts, I have done some research into various carers, and have also created some plans for these careers. This session helped me with this I believe.

Kelly O’Brien – A talk about photography, and the very important matter of human rights!

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Kelly O’Brien is a photographer who finished her MA in photography just last year, but has made a number of works that explore human connections; whether that be to each other, or our environments. As explored in Alexandra Lethbridge’s talk, Kelly O’Brien also felt it crucial to talk about her development as a photographer; how has she got to where she is today? What opportunities has she taken, or maybe passed on? These are all important aspects that help to shape who we are, and where we’re heading.

Currently, in her practice, Kelly O’Brien is actually investigating her relationship with her father after he passed when she was young. This is all done through means of spirituality; connecting beyond our immediate environment. As you can imagine, this project is one filled with deep emotion, a poetic atmosphere, and this inquisitive nature that is something that is only natural for Kelly O’Brien to have, as the project is such a personal one. Although, as I will later discuss, this hasn’t always been the approach that Kelly O’Brien has taken with photography; the subject matter of her photographs was once somewhat different from this type of image making. Delving deeper into her beginnings as a photographer, Kelly O’Brien supported this idea of being absolutely clear with her development of her practice. She mentioned that she finds it helpful when practitioners are transparent about their journeys, so felt it necessary for herself to be this way as well.

Early On:

At the age of 18, O’Brien become involved in the punk-rock scene, and political activism. This is also the time at which she ‘discovered photography.’ I definitely think that this is a natural progression into photography, because this need to communicate issues, messages, and anything else that you would deem important is such a massive part of image making. Personally, I have always thought that photography enables you to place a magnifying glass on the world around you; to help others see things more clearly, or to reveal something to them that they were otherwise unaware of. Photography is a place of challenging perspective, but also a place of solace for those who can equally relate. Therefore, this natural progression for O’Brien from activism to photography, is one where she is given the opportunity to carry on these messages of activism; just because she found photography, doesn’t mean that activism stops. Photography is just simply another channel for this activism. After finding photography, O’Brien heard of a college open day that was taking place at a college near her Mum’s house. Here, she studied film and media for three years, and then went on to Nottingham – Trent university to study an undergraduate course, but found this a massive challenge. Ultimately, O’Brien admits that she wasn’t used to this sort of environment, and felt out of place. I think, on a more personal note, many people can relate to this. The task of getting used to something new can always be a daunting one, but risk taking is such an important part of your life as a creative. This ability to engage with others in your industry, to network, and to ultimately put yourself out there to be criticised is tough, but helps to build your practice. This teaches you massive lessons in the photographic industry, but also can make you aware of things that need to be changed in the industry. Pursuing anything creative is a struggle, as most of the time, works can be subjective. So, with this, the opinions of others about your work will always be different; some opinions are nice, and some opinions are more critical. But the most important thing is to take advice, but always know how you feel about your practice, and then with that you always will know where you want to go next with it.

Whilst attending university, O’Brien admits that she felt the need to try and forget her working class background, and tried to imitate others. I think that another huge part of being a creative person is this feeling of self-doubt with every new body of work you create; or maybe this is just me at this point in life. But, I think self-doubt is a natural feeling in creating works because they are often a portrait of what we are thinking; our values, what matters to us, and what we truly feel. Although, we are always aware that others may not agree with this, so this is always going to be something that presents itself in your mind after creating a body of work. Self-doubt can then lead you to subconsciously imitate what others are doing, or compare yourself to them, especially in a university environment. Speaking truthfully, I have definitely felt this, and although I try to always focus on what I am doing, and what I am trying to convey, impostor syndrome takes over. For a split moment, the works of others seem so much more inviting than my own. So, what I am really trying to say, is that when O’Brien stated this, I completely new where she was coming from.

Projects – Activism:

Kelly O’Brien then started to go through various bodies of work that she has created over the last few years, and what struck me most was how over this time period, her works, and what she is conveying has changed/ altered drastically. I guess this could arguably be down to our growth as human beings. Sometimes, what we once deemed to be the most important, becomes less so over the years. Photography, in my opinion, therefore provides us with means to explore our own development as human beings; even if you are pointing your camera at a landscape. If you read it like that, then photographing landscapes isn’t any less of a self-portrait than a physical self-portrait; they both explore what we deem to be the most important message to convey at that time. They are reflections of our inner most thoughts, and nothing can get as personal as that.

To start with, O’Brien’s projects more so were reflective of human rights, activism, and an awareness of class systems. With her photography, at this point, O’Brien would create workshops for marginalised groups, and she also joined migrant solidarity projects throughout Europe, therefore working within activist circles. At this point within the talk, O’Brien went on to state that at this point she considered herself more so a humanitarian than a photographer. When working with anyone in photography, it’s important to get to know them; who they are, what they stand for. So, in turn, when photographing marginalised groups, naturally a huge part of this is getting to know them, but also because O’Brien is a activist at heart, this need to help, and to give back to those in need is something that is so ingrained in her psyche. As a huge believer in the rights of human beings; the necessary changes that need to be made to achieve equality in all forms, I completely see how, for this period of time the photography came second. The need to primarily help others comes first before anything else, and then we can start thinking about getting these messages of social awareness, political accountability, and the importance of equality out into the mainstream. In turn, communicating these messages through images can also be a massive help as well, and contribute to the way in which media helps to change our perspectives on such matters.

 

Projects – Current Practice:

Lastly, O’Brien talked about her practice now. And this is where we see a slight shift in her approach to photography, although themes that she felt so strongly about in her works previous to this, are also still prominent int this body of work. Currently, O’Brien is creating a project in which she explores the practice of Clairvoyant’s to ultimately communicate with her father, who as I have previously stated, passed away. Therefore, this project is one that isn’t created to make a statement, or to spread a universal message to the mainstream. This is a project that remains so deeply personal, and I guess reflects this natural need for answers. This need for everyone to know who they are, and where they come from. Therefore, this project does remain universal in that sense. Everyone has the desire to know of their identity; what are your values, and what do you hold dear to you? The seeking of knowledge through asking questions is something that is instrumental within this project. not only did O’Brien find herself asking these Clairvoyants questions, but also she asked her Grandma some questions about her father as well. Admittedly, Kelly O’Brien stated that her Grandma felt slightly uncomfortable, so little information was given. I think in that sense, this is where Clairvoyance really comes into play. The personal distance that they can have from those who have passed is something that family members don’t possess, enabling them to speak with directness, and intent. Whereas, we all have such a deep emotional connection with family and close friends, so often we find it difficult to speak with a direct tone. Matters involving death seem more difficult to talk about, as the thought can be enough to put you off the subject. With Clairvoyance, you don’t get this.

Ultimately, with this project, it discusses something that I personally have never experienced. So, naturally you would think that it would be a difficult project to relate to. This is so untrue. Although, I have not experienced this, I am a human being who has family, and there is a deep emotional connection between my family and I, like a lot of other people. This is where I relate. I also relate to the very universal and natural themes that are explored. This human nature of seeking answers, of needing an identity, of reflecting on the past, and of trying to rebuild connections that maybe lost. These are all themes that I think resonate with many of us.

A talk given by Alexandra Lethbridge – the trials, successes, and the importance of RESEARCH!

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Even as a student, Alexandra Lethbridge admits that she would wonder how photographers managed to get from point A to point B. Ultimately, there seemed, to her, like there was no clear route to follow to become a photographer. This is most likely down to photographers not making others aware of maybe the hardships they have faced, or the path that they chose to follow to get to where they are now. With this in mind, Alexandra Lethbridge’s talk was very much a talk about how she has made her way in the photographic landscape; the trials, and successes of her career thus far. As a student, Lethbridge studied Graphic Art, and specialised in Photography at university. With this comes hard work, research, and a clear development in one’s practice.

I have discussed in previous posts that it can be difficult to decide exactly what you want to do after university; suddenly you are now on your own. This is why, as I have also discussed before, it is so important to create some sort of career plan; some sort of goal for you to reach. After university Alexandra Lethbridge decided to move to New York with hopes of completing an internship with a magazine, but yet this fell through. This just goes to show as well, how plans can change just like that; so this suggests to me that it’s probably a good idea to have back up plans as well, and other aspirations. I think something that is inevitable is the risk that comes with pursuing a job in the creative industry; it is an industry that is ever-changing and moves so quickly, and as an up and coming photographer, you have to be able to adapt to that. It would be understandable that Lethbridge was disheartened after this, but she decided to attend a talk given by Joel Meyerowitz. Ultimately, she listened to the talk, and spent money on a book to get it signed. Therefore, enabling her to have a conversation face to face with Meyerowitz, which lead to her being able to get a job as an assistant of his. With this, Lethbridge managed to earn money, gained a wealth of experience, and also this massively helped with her visa. For me, this raises such an important point – this need to network within the photographic industry. Throughout my time at university, it has been instilled in my brain that networking with others in the industry can help massively when it comes to landing a job, or even acquiring more knowledge. Personally, I believe that you can have all the skill in the world, and know exactly what you are doing, but if people can’t get along with you; if they are unable to bond with you on a personal level, then they would therefore struggle to work with you. This can often be the difference between getting a job or not. Ultimately, you can learn skills, and acquire them over time, but no one can really teach you how to be a naturally compassionate person.

Whilst working as Meyerowitz’s assistant, Alexandra Lethbridge also was studying a course at the ICP (International Centre of Photography). This course consisted of having to take 36 photographs a day, teaching how to generate images in a fast paced environment. Whilst attending this course, they thought that Lethbridge should study a full time course there, and for this, she spent most hours of everyday for the next year studying for this. This was an underground school, so she started in the early morning, and didn’t really finish until 3am. This just goes to show, that even after completing university, this doesn’t have to be the end of education, and learning all together. There are so many more options to look at. For instance, if I were to go down the route of Forensic Photography, like I have discussed in a previous post, then I would feel the need to gain more experience in this field; so, maybe going back into education would be one of many ways that I could acquire this knowledge. After this point, Lethbridge came to a cross roads and wasn’t sure whether she wanted to stay in New York, or to go back to London; this was a point at which she had to weigh up the opportunites that either place would present? This is a great way to really deduce what path you should take, and leads us back to this idea of creating a career plan. Personally, I often find myself wanting to race ahead, and get as much done within the shortest amount of time possible. But sometimes this is not healthy, and definitely isn’t helpful. Like Lethbridge, I think it is a good idea to weigh up the pros and cons of any opportunity that ever arises, because this is how you make a well informed decision. Sometimes it’s just not enough to make a decision on a whim, because this could lead you anywhere. It could also be argued, though, that we shouldn’t be fearful of decision making, and putting off opportunities either. I think we should always acknowledge the opportunities that arise, but equally make well informed choices with these opportunities; what is it that you want to achieve?

After this point, Alexandra Lethbridge took a few more assisting jobs, enabling her to gain even more experience, and also allowed her to carry on making some money as well. With assisting though, I think you would be less conscious of creating your own work, as you are putting so much effort into your assisting job. This is exactly how Lethbridge felt; her personal work had somewhat come to a halt. So, this then became her priority after moving back home with her parents back in the UK.

Lethbridge’s personal works that she has created bring up this importance of research; the importance of the acquisition of knowledge, and also the utilisation of knowledge. To me, this is also something that resonates, and that I regard important as well. I have always been someone that believed that knowledge can give you freedom, and enables you to grow as a human being. You absorb information gathered over time, you process this, and then this informs your actions, what you create, and how you treat others. So, it only seems natural that research can play such a massive part in the development of an artist’s practice; an artist like Lethbridge. In this talk, when looking at the work that Alexandra Lethbridge has created; all of her various projects, it became apparent to me that the way in which she photographs draws an observational, even forensic, eye on the subject. We almost, as the viewer, become investigators of the subject; the projects encapsulate this deeper look into our world, the mind, and how signifiers are read. For this to be achieved, research is crucial; it acts as the magnifying glass on what Lethbridge deems important anyway, but enables her to look at it with greater intent. Research can help us to form new ideas, or can support notions that we already have. But also, research can change perspectives; it can make us question things that we have never questioned before. So, in this, the freedom to create an engaging body of work; one where questions maybe asked, is almost a direct response to the research that has been conducted. Ultimately, I feel the more research that is done, the easier it is, and the more natural it feels, to produce a body of work. It now isn’t a body of work that takes the upmost effort to produce, but is simply a visual response to what has been learned; to what questions research has provided us with. To me, this is what Alexandra Lethbridge’s work is about; the human acknowledgement, and interaction with the world around us.