Shoot Planning

I intend to take some of the concepts that we looked at during the last module forward to create a starting structure to my initial shoots whilst I am building the relationships that I need to further develop my ideas. I want to look at my own community much more closely and will use the psychogeography approach to provide a boundary to this first shoot. I will use the postcode area of where I live to provide this, with the intention of staying as close to it as possible and photographing along the way (Fig. 1).

Figure 1. Postcode Boundary area to use as a ‘Psychogeography’ for my initial shoot. (Google, 2020).

To support my initial approach, I have also been reading the FSA shooting scripts on a ‘Small Town’ (Stryker, 1939) that provide a very comprehensive list of things that I could potentially photograph and also outlined as good inspiration by Todd Hido (Hido, 2014, p. 123). Although I do not intend to follow the list to the letter, I will use this as a guide and inspiration of areas to consider and look for along the way (Fig. 2).

This is beginning to tie in to a number of my recent reading and investigations, leading me to plan a shoot around the environment of community, having been drawn more a more to the idea of those that are excluded from society. I first started to consider this as an idea after reading what Roland Barthes discussed in ‘How to Live Together’ where he suggests that it is important to consider those that have been excluded by a society. As people group together and form communities, there would inevitably be those that are left out, stating that community can’t exist without integrated rejection  (Barthes, 2012, p. 96). Being ostracized from society is something that I have also come across in ‘Ten Types of Human’ (Dias, 2017) where he discusses that groups that have cast out members often become a closer knit community, however for those that have been ostracized, prospects of survival are limiting (Dias, 2017, p. 127), which is in reference to much of the animal kingdom and for me this concept feels quite libertarian in the sense that we have the ability to take care of those we might seek to ostracize. However, in a counterpoint to Barthes assertions that there is no contradiction that we can live together and separately (Barthes, 2012, pp. 4-5), Dias considers that there might not be a benefit form living together, a ‘dilemma of social life’ (Dias, 2017, p. 107). What I find the most interesting from Dias’s writing is the identification that we, as humans, have an innate need to from tribes, even if this is in essence an irrational behavior, we for groups, sub groups, societies, and all the way up to nations, are all forms of groups in one way or another (Dias, 2017, p. 285). This is fundamental to some of my aims and an area that I wish to explore.


Barthes, R., 2012. How to Live Together: Novelistic Simulations of some Everyday Spaces. Translation ed. New York: Columbia University Press.

Dias, D., 2017. The Ten Types of Human. 1st paperback ed. London: Penguin Random House.

Google Maps, 2020. WD24 Watford Postcode Prefix, Viewed 23 January 2020. Available at:

Hido, T., 2014. Todd Hido on Landscapes, Interiors, and the Nude. New York: Aperture.

Stryker, R., 1939. Shooting script on the Small Town, Washington DC: Library of Congress.

Image Transactions

My 2-year-old daughter would receive many gifts over the festive period from my wife’s extended family as we made our annual pilgrimage to visit. “Make sure you take a picture of her wearing it and send it to your aunt.” In fact, all of the gifts that we received would all need to be meticulously documented and catalogued so that these photographs could be shared with the donor of the present. Even though I find that to photograph is almost a reflex action to me, and the ease and enjoyment with which I photograph even the most banal of subjects, I started to consider the value of these images and what happens to this value once it has been received.

The photograph can be considered a form of currency – a term that could be used to describe how images are used in the modern age and how they inappropriately propose evidence and provide what Roland Barthes termed a certification of presence (Barthes, 1993, p. 87). Currency as an acceptance of the ubiquity of images and need to show oneself to others. In this description of the image, photography becomes a form of transaction, promising to pay the bearer on demand, though not to be confused with the commercial sense of the term (photographic skills are of course exchanged for their monetary worth). The value I refer to is the emotional and moral exchange that also takes place through the prolific sharing of images. Images that are designed to reduce your own value, images that are designed to reduce the value of others through the intersection of gaze and the intersectionality this creates (Lutz & Collins, 1991, p. 135); Images that provide a punctive moment, one way or the other (Barthes, 1993, p. 27) resonating lingering with us.

On the internet, the inherent value of photographic images is becoming more and more quantified and recognized through the unattainable view of perfection that exists; the idealistic and fundamentally edited world of our lives, nothing more than a greatest hits compilation, which is part of the performative power of photography and one that is continuing the illusion and the pretence. This is a more easily understandable transaction occurring between the author and the reader of the image (Barthes, 1977, pp. 142-149). This author seeks validation that one has lived; the reader will provide that validation and appropriate the image to suit their own gratification. This is an emotional attribution to the image, one that forms a kind of tangible link to a virtual and devoid of space online world.

This can be compared to sporting events – when we root for our team to win, we react in what is known as the ‘spectating brain,’ where we can put ourselves into the role of the athlete on the field and get a real sense of feeling, connection to the sport, and community spirit, without any verbal communication or actual and literal physical link to the act of taking part in the activity (Borreli, 2016), it is something that can be palpably felt through a TV screen, or through the plethora of mobile devices that we interact with daily. This neurological impact has also been attributed to a number of actions wherever emotion is also attached, we start to mirror those feelings after witnessing others perform, which then creates links and other implications in the way we read each other’s emotions and also how we empathize with them (Winerman, 2005, p. 48). 

Through the prolific sharing of images that takes place every single second, we aim to generate a validation and empathy from others. However, it could also be a ‘status quo’ that might need to be maintained through these visual transactions. If an emotional resonance is created from the image then potentially it can be used as a method of placating others. A subtle politics is at play when used as a method of thanks, a kind of irrational behaviour for sending this kind of image, especially if the gift was not gratefully received, as was the case for items we received for our daughter. Not to be viewed as being ungrateful however, some of the items were not the most appropriate, in terms of the size of clothing or the age range of the toy given. In a reverse of the function of the image transaction, over the internet in the thank you scenario, the photograph appeases and validates the donor, and maintains the balance within the family unit. It is a form of obscure blackmail, transmitting deeply held moral values and motives: the photograph becomes both a product and bait (Barthes, 1993, p. 92). 

After the transaction has happened, the image becomes meaningless and removed from its intended use: its context now has been completed. The context falls away, however the image does not assume new meaning, it is redundant and the thing that we photograph has been appropriated (Sontag, 1979, p. 4), in the sense that they start to fulfil us, and add value to our lives through the image itself. In this way the donor is now fulfilled in a way that may not happen through the simple thanks of a text message, or letter, or simple email. They are visually stimulated in the knowing that the received gift has been put to good use forms the tangible link, the emotional connection to object, person and place. However, these images may regain some of their value over time, re-appropriated by nostalgia and in the context of historical intrigue. This is of course may only be if these images survive the digital process of capture and storage. Printed images have the power to be cherished in a way that digital images will not, or instead they become the property of data harvesting juggernauts and disappear into the cloud (Prix Pictet, 2019). 

The present image, the image captured in the moment, this image that has been used as thanks is a perfunctory exchange. There are many images that I would go on to record of our daughter that many other families also take. These are shared online in an album that we created in the cloud where personal poignancy, and other more candid moments blend together with the thankyou transaction and become part of the nostalgia and ongoing narrative following the beautiful development of our child, familiar to many.

In essence, the thank you image transaction is part of the wider discussion on the proliferation of images. If we view photography as a type of currency, it would be in the form of a traded commodity exchanged for emotional validation, whether positive, or more often than not, a negative one. Consuming images as we do, it is easy to skip over their value in the quest for even more images. Our culture encourages it, and capitalism demands it, defining our very freedom on the ability to continue consuming (Sontag, 1979, p. 178). The thank you image is just another part of this plurality that exists in photography and will continue its proliferation. 


Barthes, R., 1977. Image, Music, Text. Translation edition ed. London: Fontana.

Barthes, R., 1993. Camera Lucida. London: Vintage.

Barthes, R., 1993. Mythologies. 1st Vintage Edition ed. London: Vintage.

Borreli, L., 2016. Sports Fan Science: How Watching Sports Games Affects The Mind And Body. [Online]  Available at: [Accessed 12 January 2019].

Lutz, C. & Collins, J., 1991. The Photograph as an intersection of Gazes: The Example of National Geographic. Visual Anthropology Review, 7(1), pp. 134-148.

Prix Pictet, 2019. A Lens on Sustainability: Consumption. Paris: Prix Pictet.

Sontag, S., 1979. On Photography. London: Penguin.

Winerman, L., 2005. The Mind’s Mirror. American Psychological Association , 36(9), p. 48.

Preparing for Informing Contexts: Human Choices

I set out to create a set of images that focussed on one particular community group. The Carnival was a relatively accessible choice for me to look at as I was already familiar with the events, as they were very much part of the yearly calendar growing up. I also knew of a few of the individuals how had good connections within the world of the carnival (Fig. 1). It was this initial connection that had led me to look at the Somerset Carnival circuit, understanding that access is critical in creating the kind of work that I wished to make. 

Figure 1. Mike, Frome Town Crier & key participant in the carnival who is also the step dad to an old school friend of mine. (Hill, 2019)

In terms of the Human choices that I would make during the project, I found that I would have to come to terms with the representation of the people that I was photographing. As I continued to work on the portraits, there would be an initial interaction between me and the subject in the form of an introduction to myself and the aim of what I was trying to do with the image. The initial introduction would also include a quick photograph being taken in a style that they were very used to: a large grin, maybe a thumbs up, or assuming the pose and acting out of the performance of the character that they were dressed as (Fig. 2). This was a result that each subject was quite happy to do and also with the result. The image could also be considered nothing more than the thin layer of performance of the character, not the person I was photographing. I made a conscious decision to pose my subjects in a very straight-on manner, with the hope of creating an image that I would in essence have more control over the subjects instinctive reaction, which in turn I would have more ownership on the images that I was creating. 

Figure 2. Initial reactions from many of the carnival participants. 'Sunday Afternoon Theatre Company at Frome Carnival.' (Hill, 2019).
Figure 2. Initial reactions from many of the carnival participants. ‘Sunday Afternoon Theatre Company at Frome Carnival.’ (Hill, 2019).

I have come to understand this is however still a kind of performance, one of my making and choosing. It is one that I am confident creates a successful image and provides a deeper look into the subjects and the culture that they participate. Todd Hido takes this even further through the detailed control of the environment even before the subject enters into it, saying

“You can have an amazing story to tell but you have to get the setting right”

(Hido, 2014, p.97).

Hido also goes on to discuss that he does this in order to create a situation in which the subject can do something natural within it. Susan Sontag suggests that the photographer projects themselves on to the subject and the skilful photographer has the image pre visualised before the photograph is taken (Sontag, 1979, p.117). I have started to apply this to my practice, however I do have some development to continue in this area. I have found that, one of my key weaknesses in creating environmental portraits is the lack of awareness of what is happening in the background of my images. So concentrated am I on the subject and creating the posed images (Fig. 3). Before starting the MA, I would always tend to isolate my subjects against some kind of ‘clean’ background which although creates an image that I am happy with, and one that I have pre-visualised in many cases, and also go so far as to controlling the environment, as Hido does. This approach does tend to remove the context of the image as it sits within the narrative of the project. I am happy to have this approach challenged and will continue to work on my consideration in placing my subjects within the environment.

Figure 3. Example of an uncontrolled background in an attempt to shoot an environmental portrait. (Hill, 2019).
Figure 3. Example of an uncontrolled background in an attempt to shoot an environmental portrait. (Hill, 2019).

The question of how to pose my subjects within my images came up a number of times during the last module. Paul, for example questioned the looking off camera approach as a very common, and potentially overused method in photographic portraiture at the moment. Where I do not necessarily disagree with his assessment and especially the aversion to smiling in perceived ‘serious’ photographic work, Hannah Starkey (Starkey, 2019) consciously avoids getting her subjects to look directly into the camera suggesting that this can have a real impact in how the reader attributes narrative to the work. Looking away and off into the distance reduces the confrontation within the work and allows the reader to get in between the exchange of author and subject and create their own narrative of the work (Fig. 4&5). 

Figure 4. Looking directly into the camera. (Hill, 2019)
Figure 4. Looking directly into the camera. (Hill, 2019)
Figure 5. Looking off and away from the camera. (Hill, 2019)
Figure 5. Looking off and away from the camera. (Hill, 2019)

More and more now, I am appreciating the interplay between Author, subject, and reader. I am beginning to understand the crucial importance of the reader after reading Roland Barthes ‘Death of the Author’ Essay (Barthed, 1977, p.142 – 149), and how I have limited, if any control of how others interpret and read my work. Even though I do not completely agree that the reader can completely disregard the author of the work, especially in our modern age where so much information exists about the artist of a piece of work. As it impossible for the read to not bring opinion in isolation, it may be impossible to be completely removed from the artist of the work.

Nadav Kander reflects on this, and puts the more emphasis on the reader as ultimately being the author of the work discussing that the interplay between all three key elements is fundamental to the strength of the image through a triangle that exists between Artist, the scene, and the reader (Fig. 6).

Figure 6. Illustration depicting Nadav Kander's triangle (Kander, 2019).
Figure 6. Illustration depicting Nadav Kander’s triangle (Kander, 2019).

Moving forward into the new module, I intend to start looking at the environment of community more closely and investigate the infrastructure of how it functions through photographing the architecture, such as meeting halls, and community hubs. This is an initial approach whilst I start to build the relationships needed to introduce portraiture back into the work. I also feel that it will be crucial to my development to focus on the environment and then start to introduce a human element to the images. I am also looking to start exploring my technical and aesthetic choices for my ongoing work. Up until now I have been relying on a style of image making that served me well whilst I was an editorial freelance, however I feel that it is important to challenge and explore moving forward. As I continue to use digital, I may even consider looking at a post production method of applying this aesthetic to my work – The technical choices that I make to my work related to the aesthetics will have a big impact on the context in which that work is read (Short, 2018, p.55).


Barthes, R., 1977. Image, Music, Text. Trans ed. London: Fontana pRESS.

Hido, T., 2014. On Landscapes, Interiors, and the Nude. New York: Aperture.

Hill, P., 2019. Mike Bishop, Town Crier. [Art].

Hill, P., 2019. ‘Sunday Afternoon Theatre Company at Frome Carnival’. [Art].

Kander, N., 2019. Prix Pictet: A Lens on Sustainability. Photography as Witness [Interview] (5 November 2019).

Short, M., 2018. Context and Narrative. London: Bloomsbury.

Sontag, S., 1979. On Photography. London: Penguin.

Starkey, H., 2019. Photography as Witness [Interview] (5 November 2019).

Roy Stryker’s Shooting Script for a small town

Shooting Scripts

The Script is a very comprehensive look at all of the possible ways that you could photograph a small town. Todd Hido considered these shooting scripts as an endless source of inspiration and a way to photograph a complete project of a place, with all of the components required to tell a story (Hido, 2014, p. 123). After reading the script, I do not necessarily agree that the lists would provide anything other than a comprehensive topography of a place. This of course is a valid way to approach a project, however Dorothea’s Lange concern that this approach was too focussed on the economic set-up suggests that such an approach would lead to a sterile look at the space devoid of humans, when the central focus should be on the people impacted by the issues raised in the images (Stryker, 1939, p.5).


Hido, T., 2014. Todd Hido on Landscapes, Interiors, and the Nude. New York: Aperture.

Stryker, R., 1939. Farm Security Administration Notes. Library of Congress.

Hole-punched FSA images

Figure 1. Untitled negative showing South River, old high school at traffic junction, New Jersey by Carl Mydans (Mydans, 1936).

I had been looking for the shooting scripts mentioned in Todd Hido’s book that were created by Roy Stryker for the FSA photographers.

The FSA series was about highlighting the socio-economic conditions of the US which makes an interesting contrast that they rejected some of the images in such an abrupt way. It really resonated with me over the idea that Roland Barthes discussed in ‘How to Live Together’ about those that we exclude from our communities but seek to ‘guard’ them, seemingly to create the comparison to ‘the other’ something that seems at odds with what the FSA photographs were aiming to achieve.

Figure 2. Untitled photo, possibly related to: Old stage coach tavern near Huntsville, Arkansas, now inhabited by rehabilitation client by Arthur Rothstein (Rothstein, 1935).

Roy Stryker would ‘Kill’ and image by punching a hole through the negative if it was deemed not good enough to be printed, though interestingly enough, some of these images have survived to be catalogued by the Library of Congress along with the much more famous images, such as ‘Migrant Mother’ (Lange, 1936). The photographers were unhappy with this, however he continued to punch holes in the images up until 1939 (Taylor, 2017). It is worth noting that Stryker was an economist and may not have seen the value of such images, he would also approach the task of the FSA by looking at process over the human story, this is noted in one of the shooting scripts that contains a note regarding Dorothea Lange’s concern that there was far too much emphasis on ‘economic setup’ and not enough consideration to the people that were impacted by it (Stryker, 1939). 

The hole in the image is striking and creates a clear subtext of its rejection by focusing the reader directly at this floating black disk, before considering the rest of the image (Marks, 2018). The hole creates an additional meaning to the image, some of which have been punched in areas that create an uneasy feel to the image itself. The image of the farmer (fig. 1) has been punched straight through the face, rendering the subject unrecognizable, although the caption states that it could be ‘Mr Tronson,’ we cannot be sure. When I read this image I am immediately drawn to the black circle in the center of it and know that the subject is living in potential poverty, his story was not deemed important enough to include and be seen.

Figure 3. Untitled photo, possibly related to: Mr. Tronson, farmer near Wheelock, North Dakota by Lee Russell (Russell, 1937).

This seems to contradict what Susan Sontag writes of the FSA project as a whole, stating that the very purpose of the images was to show the value of the persons depicted in order to convince the middle-classes that “The poor were really poor.” This form of rejection removes the re-usability of the images for any kind of reappraisal later on, they have now become valueless in the context of the initial work (Sontag, 1977, p.62).


Killed Negatives: Unseen Images of 1930s America (2018) [Exhibition]. Whitechapel Gallery, London. 16 May 2018-26 August 2018.

Marks, A., 2018. Hole Punched Voids Transform Rejected Photographs From the Great Depression. [Online] Available at: [Accessed 13 12 2019].

Mydans, C., 1936. Untitled negative showing South River, old high school at traffic junction, New Jersey. [Art] (Library of Congress).

Rothstein, A., 1935. Untitled photo, possibly related to: Old stage coach tavern near Huntsville, Arkansas, now inhabited by rehabilitation client. [Art] (Library of Congress).

Russell, L., 1937. Untitled photo, possibly related to: Mr. Tronson, farmer near Wheelock, North Dakota. [Art] (Library of Congress).

Sontag, S. (1977). On photography. London: Penguin, p. 62.

How to Live Together – Roland Barthes

As I start to research text that looks at the community, I have come across Roland Barthes collection of lectures entitled ‘How to Live Together: Novelistic Simulations of Some Everyday Spaces’ (Barthes, 2012). This text is a look at “idiorrhythmy” which is primarily a system of community related to how many religious groups co-exist, such as monasteries. When related to the broader community, it is how we as individuals, and our individual rhythm can live with others whilst respecting their individual rhythm withing the same spaces.

It would be good to consider those within certain communities that have been excluded. This according to Barthes as ‘Perhaps there is no such thing as a community without an integrated reject’ Roland Barthes discusses that any community that exists to include some, also excludes some as well, with some communities go as far as ‘guarding’ their rejects and preventing them from leaving, presumably so that a comparison to ‘The Other’ can be made of ones situation over another.  (Barthes, 2012, p.101).

Rectangle as the basic shape of power. (Barthes, 2012, p.114)

In nature, the rectangle shape does not exist (With limited exceptions). Barthes creates a view that the spaces that we build for ourselves are a form on control. Control of the environment, in the shaping of it, control by the state are formed of rectangles. The same could be said of photography that creates compositions within the bounds of a rectangle.
This is worth considering when looking at the buildings and architecture of community.

Barthes considers the typology of communities in ‘How to Live Together’ discussing the relationship that we all have with beds, as an example. The bed too, is a rectangle, a system of controlling our sleep. The object itself is a functional item, designed for a purpose, an impersonal object. it’s connotations are also deep in meaning and provide a gamut of meaning, for example in language, we refer to ‘Death Beds,’ ‘Marital Beds,’ and how one could ‘Make your bed, and the sleep in it.’ (Barthes, 2012, p. 114). When considering the objects that I will explore in this part of my project, I really need to consider the relationship that these objects and spaces represent.

Linking back to Todd Hido
Figure 1. #2133 by Todd Hido (Hido, 2001).

Reading ‘How to live together’ there is also a nice link back to the work of Todd Hido that I was reading. Barthes considers the night time and the need to be around other people. (Barthes, 2012, p. 129) Living in any community means that this is unavoidable, except at night. Living together is a way of avoiding the loneliness of the night time. Todd Hido’s work is primarily shot at night and leaves a sense of separateness and loneliness. His image of the two windows with television light illuminating them (Fig. 1) suggests that these are at least two people ‘living together’ but choosing to spend time apart (Hido, 2014).

Also very much related to the work of Hido is the idea of ‘space.’ Barthes notes that the ultimate possession that we have is space. Distance is valuable. Sometimes however, it is not a literal distance that is being referred to. This could be a distance between socio-economic groups, it could also be through how you define and be yourself, in what Barthes calls the “pathos of distance.” (Barthes, 2012, p. 132).


Barthes, R., 2012. How to Live Together: Novelistic Simulations of Some Everyday Spaces. Translation Edition ed. New York: Columbia University Press.

Hido, T., 2001. #2133. [Art].

Hido, T., 2014. Todd Hido on Landscapes, Interiors, and the Nude. New York: Aperture.

Todd Hido on Landscapes, Interiors, and the Nude

Figure 1. #3557 by Todd Hido (Hido, 2006).

Now that I am looking at taking my project on community into a broader look at the places that allow it to function, I have been reading Todd Hido’s book ‘On Landscape, Interiors, and the Nude’ (Hido, 2014), as I have come to his look at his night images of homes and how these become an image of the people and the relationships they represent. Hido provides multiple examples of this in his book, one of these is of a bed (Fig. 1) which is not necessarily just an image of a bed (considering the denotation vs the connotations of an image), it might be an image representing a relationship, it could also be about loneliness (Hido, 2014, p.66).

Figure 2. #2133 by Todd Hido (Hido, 2001).

It is important to consider the meaning that a seemly simple image such as a building might have. My aim is to start looking at the architecture of community, through the civic buildings that people congregate. From my initial research into some of the local buildings near me, I am now keen to shoot a range of interiors as well as exterior, and eventual images, before I move on to images of people again.

I do not feel the need to shoot these as Hido has done with his buildings, at night (Fig. 2). However, his emphasis on ambiguity is something that I intend to take from reading his book. It is also a continuation of the work I have started on developing my sense of narrative and allowing the reader to ask the question “What’s going on here?” (Hido, 2014, p.28), and also posing more questions than answers. The danger of applying Hido’s approach wholy onto my own photography is to then create a contrived image, removed from the faithful representation of the subjects. It is something worth exploring and considering the impact on my work.

Setting a Stage

Hido discusses the need to set the stage, which is an area I may consider exploring. Hido works on his locations to create a sparse environment so that you can focus on the subject, creating the conditions that provides context, and so that his subjects (Or characters) are able to be natural withing. Hido says:

“You can have an amazing story to tell, but you have to get the setting right”

(Hido, 2014, p.97).

My approach to this kind of work has always been to photograph what is in front of me and be as faithful to the scene as I possibly can. As I developed over Positions and Practice however, I have come to consider the direction in terms of how much I impose onto the subject to move them away from a ‘performance’ presented to me. My role, as I have come to terms with, is to create the kind of image I want to tell, and the dialogue between the subject and myself is an ongoing process.

Roy Stryker’s ‘Shooting Scripts’

Hido mentions Roy Stryker’s use of ‘Shooting Scripts’ to guide the FSA photographers

“In order to create the feeling of a common experience”

(Hido, 2014, p.123)

which I feel might be an interesting place to start looking at for my own work, moving forward. Hido considers that these are the elements for telling a story, and creating a full body of work and useful inspiration. I intend to look at these and create some explorations based on them.

I have found through some research, this example Shooting script produced by Roy Stryker and the FSA on ‘The Small Town.’ My intention is to analyse this in greater detail and see if it will apply ton what I am aiming to accomplish with this part of my project.


Hido, T., 2001. #2133. [Photo].

Hido, T., 2006. #3557. [Photo].

Hido, T., 2014. Todd Hido on Landscapes, Interiors, and the Nude. New York: Aperture.

Library of Congress, 2011. Farm Security Administration/Office of War Information Written Records: Selected Documents. [Online]  Available at: Farm Security Administration/Office of War Information Written Records: Selected Documents [Accessed 11 12 2019].

Research Project Proposal

I am happy with how my proposal has turned out, I found it challenging at the beginning to put my ideas into a logical order, however once I had found a good flow, it has become useful to create this plan in a way that is flexible enough for evolution. It has also given me the opportunity to apply some additional skills that may come to inform and support my work.

The proposal was consciously designed to mirror the layout and style of a government information document, similar to the EU Referendum pamphlet that was widely circulated during the 2016 referendum. Many state organisations choose to use the typeface Helvetica due to its clarity and appearance of stable governance (Helvetica, 2007). This is a subtle coding that we interact with regularly. I felt it important to start utilsing in my work on the community. My aim was not to create a complete copy of this but to consider the civic and political elements of community.

In order to make the document as accessible as possible I utilised Adobe InDesign to add elements such as navigation links and bookmarks to aid people in reading the document, although this might depend on prior knowledge of PDF reading software.

Helvetica. (2007). [film] Directed by G. Hustwit. Canada: Veer, Swiss Dots.