Working on how my work is presented after reading the Kitchen from ‘Ways of Curating’* (Obrist and Raz̤ā, n.d.) and ‘Context as a Determinant of Photographic Meaning’† (Evans and John, 1997) I have started again to consider that context and how my work is read is somewhat out of my control. The readings reference the essay by Barthes ‘Death of the Author’‡ which also starts to place the most value on the ‘reader’ as opposed to the ‘author’ of the work. I have discussed Barthes’ essay before and although I do agree with this statement, I question his argument for completely removing knowledge of the author of a work as this is not something that can be easily done, and once known, it does change how the work is read.
With that said, I have looked at presenting my work as minimal as possible on my website. Previously, I was utilising the mosaic format (Fig. 1), where the work is shown in full and on quite a busy page, together with any supporting information I felt should accompany the images. After considering the readings, and conducting some research into how other photographers are presenting their images online, I have made the decision to present the work in the form of a slider (Fig. 2), where the images are viewed individually (or in the case of my series ‘Four Prefectures of Japan’ which I have since edited into a slider, a juxtaposition of images). The information is initially hidden on the page and can be revealed as an option to the reader (Fig. 3 & 4). This, I hope, will allow viewers of my work time to assimilate it and form their own narratives before they consider the information and background to the work. That said, I still maintain a control of the work in the form of the sequencing and the display. Once the information has also been taken into consideration, the images may also change their meaning to the viewer and creating an enhanced experience.
Considering the work of others
Zed Nelson displays a lot of content on his website from his various projects. I looked in particular at how the project ‘Love Me’ is displayed (Fig. 5). There are 50 images in this gallery and are displayed individually with a click through button. There is a caption to accompany the work, together with a link to additional material such as the book, the information, and the thumbnails. The work here is presented well, however Nelson’s website is quite complicated to navigate with a lot of clicks and inconsistent with the menus. The overall feel of the site is good however with the images presented on a white background.
The work here is presented on a white background with a clean menu to the left of the images providing a good navigation through the work and the site. When a project is clicked on, the work is first presented all together, serving the function of the thumbnails (Fig 5). When an image is selected (Fig. 6), you are able to view the images one at a time and click through at your own pace. El Tantawy’s information is hidden with a button to click and view the written justification of the work. El Tantawy’s work is very much open to interpretation, and this I feel lends itself very well to that notion of the ‘reader.’
Audio and images
I spent some time collecting audio at some of the events that I have been photographing. I want to experiment and create some kind of experiential part to my work that gives a sense of the spectacle that these Carnivals present. To explore this further, I created a quick gallery (Low Resolution) of the abstract light images that I took in Frome and added the raw audio as an option to click and listen to whilst the images are transitioning through the set. The audio is an option to enhance the experience of viewing the images.
Exploring PDF presentation
As a hangover from my freelance days, I have also started to experiment with creating a PDF version of the project as a kind of book dummy/zine. I have created these in the past when I would use a PDF to promote my commercial practice. As another way to present the work, it is quite useful to start experimenting with different typeface and design elements.
I looked at how I could represent the work using design and created a series of experiments, playing with the typeface and the colours of the carnival.
As we are expected to produce a simplified PDF of the images presented in the work in progress gallery, I am not sure if I will include these design element. Moving forward though I aim to continue exploring this as a promotional tool for the work.
- *Obrist, H. and Raz̤ā, A. (n.d.). Ways of curating. London: Penguin, pp.81-87.
- †Evans, J. and John, W. (1997). The Camerawork essays. London: Rivers Oram, pp.52-63.
- ‡Barthes, R. (1977) “The Death of the Author.” Image / Music / Text. Trans. Stephen Heath. New York: Hill and Wang.
- §Hill, P. (2019). Polo Hipster, Western Australia. | Phil Hill Photography. [online] Phil Hill Photography. Available at: https://www.philhillphotography.com/portfolio/polo-hipster-western-australia/ [Accessed 14 Nov. 2019].
- ¶Nelson, Z. (2019). Zed Nelson – photographer. [online] Zednelson.com. Available at: https://www.zednelson.com/?LoveMe [Accessed 14 Nov. 2019].
- #El Tantawy, L. (2019). [online] Lauraeltantawy.com. Available at: http://www.lauraeltantawy.com/ [Accessed 14 Nov. 2019].