Category Archives: Context & Narrative

My Learning Log for the Open College of the Arts’ course, Photography 1 – Context and Narrative

Context and Narrative – The Last Post

Assessment results out today: I passed with a mark of sixty seven percent (breaking down as 26/40; 14/20; 13/20; 14/20).

This was marginally down from the seventy I got for The Art of Photography (29/40; 13/20; 13/20; 15/20), but that reflects quite well the fact that – in playing with ideas and trying to move what I was doing on, conceptually – the technical finish of a lot of my images was a bit more slapdash while not all the ideas I was playing with managed to quite pay off.

As expected, Assignment 3 was the high point.

As ever for a level one course, there was not much detailed commentary, but what there was was both kind and encouraging:

“An ambitious, inventive, thoughtful and eloquent submission, Simon. The research you’ve undertaken is focused and impressive, always meaningfully chiming with and feeding into your own work. Assignment two didn’t quite come together as convincingly as it might, and I think that it’d have made more sense to focus exclusively on the medical packaging, which would have given the concept a greater consistency (and, potentially, more of an emotional resonance).

Assignment three explores an extremely interesting and ‘serious’ idea with wonderfully humorous effect- lovely stuff. Your essay is solid, thoughtful and observant, providing further evidence of an engaged and motivated student with much potential. Keep it up!”

– 512973 S Chirgwin PH4CAN Marksheet, 24/7/17

I can cope with that! Now, watch this space!

Simon Chirgwin (512973) Context and Narrative – Notes for Assessors

Hello Assessors!

Nested below the link to Context and Narrative  (at the top of the page, under the title bar; it will take you back here, if you click it) there are 3 sub-category menus, each with further nested links to allow you to view specific categories of posts. I have replicated this tree of links here:



Research and Reflection

Each of the Assignment categories is headed with a brief introductory post, containing links to the Tutor’s Report and details of both files included in the physical submission and stored on the OCA g:drive folder that has been shared with me for this purpose.

I have not been able to reverse the most-recent-to-oldest sorting of the posts within any of the sections, or indeed in the blog as a whole, but assume this is normal.


The physical submission for this Module includes a full index. The online files to accompany the assignments follow a simple naming convention:
The common prefix: PH1CAN-512973-Assessment; the assignment number: 1-5; and the individual file number for that assignment.
So, PH1CAN-512973-Assessment-3.01 is file number one for assignment 3 and PH1CAN-512973-Assessment-2.02 is the second file for assigment two.

And thank you for your time, reading all this.

Assignment 5; Making It Up – Notes For The Assessors

I have included a print of the original picture for this assignment in the physical submission for this assessment. There is also a high resolution picture file in the assessment event G-Drive folder called PH1CAN-512973-Assessment-5.1.jpg

During the online tutorial for assignment 5, Garry and I discussed remaking the still life that forms the heart of the single picture I produced. This remake would have a different background and the lighting would be further refined to improve the definition of the left side of the objects contained in the shopping bag.

Because of the difficulty of getting hold of some of the ingredients in the picture – the cheese in particular – I have not yet been able to do this, but will definitely give it a go after my holiday “back home” in Orkney later in the summer.

Tutor’s Report – Assignment 5

All related posts can be found either here or by using the link in the main menu at the top of this page.

Assignment 4; A Picture is Worth a Thousand Words – Notes For The Assessors

Following the tutorial for this, I rewrote  my essay to include more of a context for the way that Cartier-Bresson’s reputation has developed and changed since the 1950s. I then spent a lot more time getting it back down to under 1000 words + 10%!

This is version uploaded to the assessment g:drive (and also available here as part of my online log). In the g:drive copy, I have bold-ed the two paragraphs containing significant changes from the original.

On the g:drive, the file is called 512973-PH1CAN-assignment4-revised

Tutor’s Report – Assignment 4

All related posts can be found either here or by using the link in the main menu at the top of this page.

Assignment 3; Putting Yourself in the Picture – Notes for the Assessors

The main thing discussed during the tutorial that has lead to a revision of this assignment was that my organisation of the files, folders and instructions for my “generate my self-portrait” game was difficult to follow. I have therefore produced the revised flowchart – intended to show the way you can generate a self portrait for me using either a 6 sided die or a random dice-throw generator –  here:

fig.1: Life During Wartime Instructions – available on the g:drive as PH1CAN-512973-Assessment-3.09.jpg

I used the new instructions to generate a self-portrait and the resulting collage is included  – along with three of the original crowd source composites – in the physical submission for the assessment where it is titled PH1CAN-512973-assessment-05: 634242.

The “kit” of parts to generate more portraits is all there in the g:drive folder (PH1CAN-512973-Assessment-3.01 – PH1CAN-512973-Assessment-3.08) along with a further 3 of the crowd-sourced composites.

Tutor’s Report – Assignment 5

All related posts can be found either here or by using the link in the main menu at the top of this page.

Assignment 2: Photographing the Invisible – Notes for the Assessors

Units of Time – A Revised Set

The main problem with these was that I probably got the labeling wrong: the writing (in pen, on prints) gave the time period  rather than what was depicted in the picture; the result was that  -in Barthesian terms –  I had anchored the pictures rather than providing a relay. In response to this criticism, I’ve reversed the labeling/titling so that the title states the time unit and the label provides the information about what the picture shows. For the three sets of pill packaging where i still have the boxes, i have used scans of the prescription labels/dosage information which works well, I think.

I have also replaced three of the pictures in the set – the two featuring bottles of beer, and the one that used a guardian obituary to represent a lifetime – with other examinations of the way prescription dosage can be used to measure periods of time. This lends a good continuity of approach to the set and also – focuses in on the way that – according to David Bate in the chapter on still life in Photography – The Key Concepts – the neutral background of the advertisment photograph stands for death and the void, with the picture’s subject standing between you and the inevitability of your decease; the idea of medicine helping you ward off death seems rather apt here, and refers neatly back to the musings of Eliot’s Prufock, where this assignment started…

Tutor’s Report – Assignment 2

Four of the pictures are contained in the physical submission: Fig.1, Fig.2, Fig.4 and Fig.6; high quality jpegs of the other four are available in the assessment g:drive folder.

All Related Posts can be found either Here or by using the link in the main menu at the top of each page. I have removed all “Read More” commands, to reduce the amount of clicking you have to do.

Assignment 1; Two Sides of the Story – Notes for the Assessors

It’s a long time since I put Assignment 1 to one side in January 2016, intending to come back to it and do extensive re-shoots after a suitable pause. I reckoned that this would be sometime in the autumn of 2016 when the shops’ lights would be on as the sun set, reducing the contrast between inside and out.

But of course, by the time that autumn 2016 came round the context of this piece of work – predicated upon the idea that it would be ridiculous to think that  anyone could see Eastern European shops offering anything other than an enhancement to any high street – had changed somewhat!

After the Brexit vote, it seemed a bit pointless to try to simply improve the technical quality of the images a bit and to let the implicit ‘message’ that no one was being ‘swamped’ speak for itself.

I had also never been quite certain whether the original online presentation (a typography-style layout of square photographs arranged  to show “trad” English shops replaced by ones serving an eastern european market row by row contrasted with a second assembly, showing the heterogenous makeup of the actual high street) worked obviously enough. So, when it came to preparing my work for this assessment event, I have made a start on reshaping this assignment into something completely different. This is not a completed process and I will try and make the time to make a finished piece of work off to one side of my work on Identity and Place.

One of the things that was bubbling around in head when I started work on the original assignment was Edward Ruscha’s 1966 work Every Building on the Sunset Strip. This did exactly what it says in the title and showed both sides of LA’s Sunset Strip in a series of  photographs taken from the back of a pickup truck (like a section of early google streetview, I suppose). The two sides of the street were printed with a white gutter down the middle of a long, concertina-ed piece of paper. If you turned the book over so the top became the bottom, the other side of the street (inverted on the paper) became the right way up. This seemed like a good way to demonstrate a contrast, as well as being a fitting return to the assignment that the direction my work has taken towards construction and conceptualism over the course  the module.

So, I have made a long, thin composited image showing two sides of a street (one is more trad; the other peppered with Polish, Latvian and Romanian shops); both sides contain shops To Let – the economic climate is not good for anybody it would seem.

fig.1 : one side of the high street

Depending on which way up you have the image, you can read one of two captions/titles. On the trad side – which includes a sprinkling of West Indian and South Asian shops –  you can read: “The vibrant character of east london has been built up over the years by wave upon wave of immigrants” (the original caption for the second series of pictures). On the other side the caption is taken from an interview with a brexit-voting member of the public aired on Radio 4’s Today: “The high street is no longer English; and the foreign people do not shop in English shops so the English shops will slowly die down as the Eastern European supermarkets expand”

fig 2 : the other side of the high street

This reworking is included here and much larger, high-resolution files (both ways up) are included in the g:drive space for this assessment event. They are called ph1can-512973-assessment-1.1.jpg ph1can-512973-assessment-1.2.jpg.

The original assignment version is available as part of my log.

This is still a work in progress.

Tutor’s Report – Assignment 1

All Related Posts can be found either Here or by using the link in the main menu at the top of each page. I have removed all “Read More” commands, to reduce the amount of clicking you have to do.

finis – looking back at Context and Narrative

Out of all the topics covered in this course, which felt most comfortable to you? Why?

Part four, where we had to look at and analyse other people’s pictures was probably the most comfortable bit of the course for me. My original degree (in English Literature and Film & TV Studies, at Glasgow way back in the 80s) had introduced me to critical theory; it was not a great stretch to look at still photographs from  the position of someone trying to establish a meaning beyond the simple surface one of “this is a view,” “this is Uncle Albert,” “this is me at the pyramids” and instead to try and tease out what it is that they mean, culturally. I also think that this has fed into how I look at other people’s photographs, whether they are in books or on the wall at exhibitions or encountered in the wild as part of my day to day life.

Near the time when I started this course, iI went a few times to see the Shirley Baker show at the Photographer’s gallery; last week, I went for a second time to see the Roger Mayne pictures in the same venue. Where I had looked at Baker’s pictures from the outside, relating what they depicted to my own experience of childhood and of the north of England and memory, I was aware that I was looking at Mayne’s pictures trying to identify his thought process as he lined up objects in relation to the frame in some of his wider photographs of the Park View estate in Sheffield; I looked at the slide show from the 1964 Milan Trienalle and found myself analysing how the five streams of colour pictures combined to produce meaning as much as I was thinking about what the showed.  Parallel to my development as a photographer, there is a related development as a viewer. The two feed off one another.

This is, I think, quite important and can only become more so, as i process not only what photographs I want to take but also what I want to do – to say, rather – with them.


Did you discover anything completely new to you? What was it?

Before I started the course, I had had little experience of making pictures in a studio. The closest I had come to this had been some of the exercises for part four (lighting) of TAoP, but these had been mostly concerned with the technical aspects of working with artificial light, rather than using a studio set-up to construct meaning. I have never even sold anything on ebay,  in part because I have never got round to making good pack shots for sale items.

So, the work I did l for assignment 2 and assignment 5 was a much greater departure for me than it might at first seem. Likewise, the self-portraits that form the centre-piece of assignment 3 required the creation of a space where I could take head and shoulder self-portraits with a plain backdrop. All this was achieved up in the attic where I have my study. I learnt a lot, I think, and intend to go on and learn more.

Then, putting the resulting pictures together – either by assembling them into individual composite images or arranging them in series – seems to offer a way to create a more controlled meaning for my work than would be possible with streams of “reality pictures”. I would appear to have found a parallel method to augment the diary sequences that were also produced during my work for part three.


Which area enabled you to come closest to finding your personal voice?

As mentioned above, taking photographs in a controlled, studio situation (and sometimes combining them into composite images) is opening up a new area of photography that I would like to examine further. However, this has yet to be fully assimilated into what I am still learning to call “my practice”. So, the area of the course which saw the biggest change in what I am doing with photography was probably Part Three where I think I took several steps towards its stated aim, of putting more of myself into the picture.

In particular, the streams of diary pictures I took on trips seem to describe my experience of being in different places, with different people much better than previous series of pictures taken in similar circumstances. They are less concerned with technique (and equipment) and more focused on the place i was moving through and the people I was travelling with or meeting. They also allowed me a space where I could try out things I had noticed and liked in other photographer’s work. Finally, I may have found a way of maintaining a photographic sketchbook!

A few weeks ago, I jotted down in my notebook a phrase to describe what I think I may now be doing: “I take photographs to locate myself within time and within change.” I realise this all sounds quite portentous (and indeed the spell check just suggested “pretentious” – ha!), but amongst it all I hope there are things I can begin to identify as characteristic: humour, a certain distance, an interest in the world around me as I move through it…


Which area seemed furthest  from who you want to be as a photographer? Why?

To find something I have no desire to pursue further, I’d need to go back to my strong negative reaction to the extreme pictorialism of Geoffrey Crewdson’s tableaux.

I find his pictures as unconvincing in their attempt to control every aspect of their of their meaning as the Victorian story pictures by the likes of Rejlander and Henry Peach Robinson which seems to be their direct ancestors. Equally Victorian, they seem melodramatic in their approach – using heightened colour and ‘strangeness’ to signify a preferred emotional reading that leaves no space for any form of intellectual analysis – and in no way seem rooted in the society and the world which we inhabit. They are static and – ultimately, i feel – a little shallow.

I think the engagement with society found in the constructed realities of Jeff Wall (in The Mimic, say) or Cindy Sherman’s series of Untitled Film Stills is much closer to where I would like to go with my photography.

Of course, I will go and see Crewdson’s upcoming show at the Photographers’ Gallery, but it will take a lot more to convince that there is much more to them than their (admittedly highly accomplished) surface!


What were the main things you learnt? Were there any epiphany moments?

There were, I think, three things that were central to what  I “got” from Context and Narrative:

  1. It doesn’t have to be ‘true’! I am not taking pictures that will be used as evidence in any court; rather I am making pictures with a machine; they may show traces of the things I choose to point my camera at, but they also show traces of that process. I can use pictures to say subjective things, but I cannot say simply, “This is definitely a pipe”.
  2. Picking up on some of the exercises from Part 2 as well as a re-reading of Dyer’s The Ongoing Moment, I have moved closer to a position of seeing that photography has a greater affinity for poetry than it does for prose.  Alec Soth puts it well in this quote from the 2006 Deutsche Börse Photography Prize catalogue: “I see poetry as the medium most similar to photography […] What is essential is the ‘voice’ (or ‘eye’) and the way this voice pieces together fragments to make something tenuously whole and beautiful.” To that I would add that poetry does not have to be etherial or ‘soft’; it is possible to use it to engage with the society we inhabit and to try and tease out stuff that has meaning now, and hopefully in the future as well. And this is much more to do with making images rhyme with one another or to provoke associations than it is to illustrate poems.
  3. Two years ago my thoughts on what constituted “good” photography were based on things I had absorbed while I was growing up; somehow I had stopped actively seeking out what was happening now and as a result my idea of what constituted “cutting edge” photography was getting increasingly blunt. Now, I think I have a much better idea of what  people who are working today are doing and am beginning to make a parallel move forward in my own work. Before starting with the OCA, I may not quite have entered the 21st century photographically, but I certainly am making an effort to do so now!

None of this came to me in the blinding flash of epiphany, instead, it was a steady accumulation over the course of the module. As described in my posts detailing what I was doing with assignment 5, I felt each section of the course built on the previous ones with ideas developing and changing as I moved (horribly slowly) forward. And of course, it is possible that the slowness was essential to this process.

But now, I really do need to speed up a bit…


Will you return to any of the assignments from this course at a later date? Did you feel as if you were on the cusp of anything?

I hope so! I have already committed to having another go at the still life that forms the heart of the final assignment.

For this assessment, I have reworked both of Assignments 1 and 2 and, having found a way to address the problems I had with assignment 1, would like to take that one a bit further towards being a completed work. Assignment 2 is finished really, but has allowed me to find a working method – specimen photographs of personal objects taken under controlled circumstances, compiled into larger compositions – which I am sure I will use again.

Taking objects and turning them into photographic ‘scrapbooks’ is something I would like to try with – amongst other things –  the stuff you collect over the course of a trip away from home, which could then be used to augment further series of diary pictures (something else I’d like to carry on doing from time to time) or to catalogue the clothes worn by my daughter since her birth and providing a record of the way she has grown over the past four years.

Assignment 3 has gone as far as I really want to take it photographically but, when I have time, I would like to work on using it as the basis of a web application that could cycle through the full 32,400 combinations of my self-portrait. I am rusty with javascript and php but it shouldn’t be beyond me to something in this line. On a number of occasions now, I have been frustrated by my inability to go much beyond a very straightforward presentation of a number of photographs on a page or in a basic slideshow; I would like to create something a bit more presentationally complex from time to time and this would be a good project to experiment with.

As for being on the cusp of something, I think Garry’s comment towards the end of our final tutorial – “You’ve turned into a conceptual artist” – encapsulates nicely my development during this module. On a first reading, Identity and Place looks like it will cover many of the same areas  (and draw its examples from many of the same photographers) as context and Narrative, but with more emphasis on looking out at other people rather than in at myself.It will be a challenge not to fall back into simply recording the surface of what I see but I hope I will be able to find strategies to get round this and work in a way that acknowledges the context that links me and the subjects that I am making pictures of. Let’s see…

Photographs for Purposes of Identification

Identification photographs have a number of strict rules. For example:

“The photo must be of the applicant: facing forward and looking straight at the camera in close-up of their face, head and shoulders with a recommended head height (the distance between the bottom of the chin and the crown of the head) of between 29 and 34 millimetres with a neutral expression and with the mouth closed (no smiling, frowning or raised eyebrows) with their eyes open and clearly visible […] free from reflection or glare on glasses, and frames must not cover eyes (we recommend that, if possible, glasses are removed for the photo) showing their full head, without any head covering, unless they wear one for religious beliefs or medical reasons with no other objects or people in the photo (this also applies to a photo of a baby or young child and babies should not have toys or a dummy in the photo)” – HM Passport Office – Passport Photograph Guidance

“…the photograph must have been taken within the last six months; the applicant should not look down or to either side [ …] angled views are NOT accepted; the photos must be clear, well defined and taken against a plain white or light-colored background; sunglasses or other wear which detracts from the face are not acceptable unless required for medical reasons (an eye patch, for example)” – Russian Visa Photo Specification

All of this should lead to something that is unequivocally me, but certain bits – in particular the UKPA requirement for me to take off my glasses – seem to make them remarkably unlike the Simon Chirgwin who looks out at me while I shave in the morning.

I find ID pictures suggest different personas – the harrassed middle-aged dad (my old driving licence) – or different fictional circumstances – me, chained to a radiator in Beirut (my pass for work). None of them are really me, but various officials agree to conspire with me that they are…


  • HM Passport Office – Passport Photograph Guidance –
  • Russian Visa Photo Specifications –

Links accessed, 8/8/16

Assignment 5 – Tutor’s Response

online tutorial – 21-iv-17

The tutorial was again wonderfully positive: “Well contextualised work on identity using a still life of groceries with a constructed strategy appraised from Barthes’ italianicity . Well referenced.” And then towards the end of the tutorial, almost as an aside: “You’ve turned into a conceptual artist…” Continue reading