Notes on Dissemination

I am continuing to consider the ways in which to disseminate my work, which is a continuation of the discussion I had in my post ‘Are you Drowning Yet?’ and also in my post ‘Hunters and Farmers’



Simon Norfolk’s critique of the photo book is a valid response to a sometimes esoteric world of photography, however there are photographers who are able to both create a work in the form of a beautifully presented book whilst at the same time disseminating that work with a broader audience, or at least with the people that helped to create the work.

Clémentine Schneidermann
Figure 1. From ‘I Called her Lisa Marie’ by Clémentine Schneidermann (Schneidermann, 2018).

I have been following the work of Schneidermann since the start of this module, after having the work recommended to me at the end of the last one. I really connect with the aesthetic of her work, especially ‘I Called her Lisa Marie’ (Fig. 1), which contrasts Elvis fans of South Wales with images from Elvis’s home in Memphis and really creates the idea of community formed through a connection to the culture and music of Elvis Presley and blends portraiture with environmental imagery, that Schneidermann says “help to breath between each portrait” (Rosenberg, 2016).

Figure 2. From ‘It’s Called Ffasiwn’ by Clementine Schneidermann (Schneidermann, 2019).

Her commitment to working with communities as well as within them is something that also resonates with me as I look to work closer with my own community. For example, her project ‘It’s Called Ffasiwn’ is a collaboration between Schneidermann, stylist Charlotte James, and the youth clubs of the South Wales Valleys (Fig. 2), which is referred to as a “fashion-cum-documentary-cum-participatory community project that challenges the static way the region has been portrayed by the media through celebrating the creativity of its younger inhabitants” (Wright, 2019). The work seeks to work in collaboration with the people who live in the South Wales Valley region, one of the most deprived areas in the UK in order to change the perception of how the area is represented through images of deprivation left after the decline of the coal industry in the 1980s.

Figure 3. ‘It’s Called Ffasiwyn’ exhibition by Clementine Schneidermann at The Martin Parr foundation (Schneidermann, 2019)

Although the series is primarily a fashion work, I find the tools of collaboration a positive way of re-framing the way a culture can be depicted, which is a kind of decolonisation of the poverty that we automatically attribute to these areas. The project has been exhibited at the Martin Parr foundation, which has been set up to focus on work created in the British Isles, something that I feel my work could aspire to. My own work is fundamentally about British community and would sit quite comfortable in this space (Fig. 3). Schneidermann has produced photobooks as part of her work, however for ‘It’s Called Ffsiwn’ a magazine was produced and was also shared in the local newspaper to share the work with the community. In this way the work becomes more inclusive of the people who helped inspire it.

Figure 4. Vogue Italia, 2019 by Clementine Schneidermann (Schneidermann, 2019)

Additionally, for Schneidermann there is also a secondary market for this work, creating opportunity for wider dissemination. Schneidermann also completes commissions for publications such as Vogue Italia (Fig. 4), and continues to utilise the aesthetic of her documentary and collaborative work by staging many of these shoots within the Welsh Valleys where she is based. This supports the discussion that I had regarding publishers such as Hoxton Mini Press who also work in this way in order to create a larger audience for the work and by extension making then work more attractive to these publishers to put out into the market place.

Figure 5. Gucci x Vogue Italia, 2019 (Schneidermann, 2019)

If there was to be a critique to this approach however, it would be in the potential gaze of this kind of imagery; taking advantage of the people depicted in the images (Fig. 5). However, I don’t believe that this is Schneidermann intention, who does not operate in the way that traditional documentary photographers have done in the past; As Sontag points out “The photographer is supertourist an extension of the anthropologist, visiting natives and bringing back news of their exotic doings” (Sontag, 1979, p. 42). Schneidermann is not a tourist in the Welsh Valley, she also lives with the community and works with them to create this photography, and continues to do so.

Considering the secondary market for my work
Figure 6. From BBC Article ‘ Coronavirus: The month everything changed’ (Kelly, et al. 2020)

Now that my project has evolved to include reaction to the current Coronavirus pandemic, it does present an opportunity to disseminate the work in an editorial setting. For example, BBC has already started to create reflections on how the UK has changed as a result of the virus, and illustrating this with stock imagery edited to present a before and after view of how life has changed (Fig. 6). In the weeks during the pandemic there will be inevitably be a range of content produced to help illustrate and understand what is happening and my work would fit very well in this. Especially as my intent is to look at the connections within community and society at large.

Figure 7. Huck Magazine spread from ‘Teen Activism’ issue (Huck Magazine, 2018)

Another example could be through a publication, such a Huck magazine, creates themed issues (Fig. 7) for content that could feasibly produce an issue on the impact and outcomes of the pandemic. Huck’s editor Andrea Kurland suggests that in this context it is the story that they are able to put together is just as important as the visuals when considering commissioning a piece of work “start thinking about what that editor would need to turn that into a feature” (Kurland & Creativehub, 2020). It would be good start thinking how my work can exist in these kinds of contexts as they have established audiences and built on the basis that if it is published there must be an inherent quality to the work and worth seeing. However, there is the issue of compromise to consider when pursuing publication in this kind of media. Both of the examples that I have given will have their own editorial guidelines with regard to the kind of work that they publish, and this could also exist in a particular political standpoint (although less so for the BBC), which could have a fundamental impact in the way that my work is read, potentially compromising the intent and dominant reading of my work. An important consideration that could have implications on how I am able to create work in the future.

Bibliography

Huck Magazine, 2018. Teen Activism. Huck Magazine, 15 May.

Kelly, J., Getty & Alamy, 2020. Coronavirus: The month everything changed. [Online] Available at: https://www.bbc.co.uk/news/stories-52066956 [Accessed 31 March 2020].

Kurland, A. & Creativehub, 2020. How to Show Your Work. London: Printspace Studios.

Rosenberg, D., 2016. Elvis Presley’s Biggest Fans. [Online] Available at: https://slate.com/culture/2016/01/elvis-presley-fans-around-the-world-photographed-by-clementine-schneidermann.html [Accessed 31 March 2020].

Schneidermann, C., 2018. I Called Her Lisa Marie. [Online] Available at: https://www.clementineschneider.com/i-called-her-lisa-marie/cz93s22tomb7f4jbr8radnwqtgxpal [Accessed 31 March 2020].

Schneidermann, C., 2019. For Vogue Italia. [Art] (Vogue Italia).

Schneidermann, C., 2019. Gucci x Vogue Italia. [Art] (Vogue Italia).

Schneidermann, C., 2019. It’s Called Ffasiwn is a collaboration with Charlotte James & youth clubs. [Online] Available at: https://www.clementineschneider.com/ffasiwn-1/lwqc0f3qqhdc4s3fznz34vv6tavez7 [Accessed 31 March 2020].

Schneidermann, C., 2019. It’s Called Ffasywn’. Bristol: s.n.

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

Wright, S., 2019. It’s Called Ffasiwn. [Online] Available at: https://www.lensculture.com/articles/clementine-schneidermann-it-s-called-ffasiwn [Accessed 31 March 2020].

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.

Week 10: Reflection

After this week’s webinar, I have had to consider the way I am discussing my work, and how much that I am projecting onto the work, which can distract from the reading of it.

We looked at critical perspectives to locate my practice:

  • Community is the shared space and activities that provide many with meaning. Eli Durst has said  “Many People need a sense of secular purpose” (Zoo, 2019).​*​
  • Robert Putnam discusses a decline in ‘social capital’ in his book ‘Bowling Alone.’ Traditional community groups have functioned to serve in providing the participants with the skills and knowledge to function within society. Civic engagement, for example, has decreased as education has risen over the past 30 years. People now have the skills to function within a society that historically would have been nurtured through clubs, organizations and associations (Putnam, 2000). ​†​
  • In Roland Barthes posthumous essays entitled ‘How to Live Together’ (Barthes, 1977)​‡​, he considered the individual and society in an attempt to ask the question on if it is possible to create a community where everyone lives according to their own rhythm, and yet respects the individual rhythms of others? (Reference, paper on barthes).

I continue to read ‘Bowling Alone’ which has inspired the concept of looking at the theme of community. It has been useful and provided me with a number of critical perspectives to consider moving forward. The writing is very much in the field of economics and everything is considered as such. I have come to realise that I need to expand my reading in this area and started to look at the work ‘How To live Together’ by Roland Barthes, where he considered the individual and society in an attempt to ask the question on if it is possible to create a community where everyone lives according to their own rhythm, and yet respects the individual rhythms of others?

During the Webinar, it was noted that my explanation of the work could be considered melancholic where the images did not read that way. This perception could be a factor in the way that I was applying the Social Capital theory in terms of the decline that Putnam discusses in his work. The reading of the images is correct as there is much positivity in the images that I shot and clearly show a strong sense of community. My emphasis on the decline is mostly a projection of the unprepared statements I was making regarding my work. An area of clear development as although, Putnam is right to assert the decline in social capital, however, my work is to look at what is replacing it. Is the traditional community in decline, or is it evolving. If it is evolving, what is replacing the traditions.

During the afternoon 'Children's Procession' at Gillingham Carnival. Part of Wessex Grand Prix: Gillingham Carnival
Figure 1. Oscar, Gillingham Carnival. (Hill, 2019)

My work on the Carnival was also a look at Putnam’s Bonds, Bridges, and Linkages’ in that the carnival culture and community is mainly that of the established working class demographic of the somerset region which feels besieged by the gentrification of the area. Local traditions are very much perceived as under threat by the people moving to the area. The bridge between these two levels of social capital are not considerate or in dialogue with one another.

Suggested further reading after the webinar
  • Charlotte Cotton – The Photograph as Contemporary art (Cotton, 2014)​§​
Work in Progress

I have been working on my sequencing of the work and now have updated my online gallery, hopefully ready for the portfolio submission.

The work has a new tighter edit that focuses on the ‘Adult Play’ and secular sense of purpose, which are concepts that I have come to this week through reading Alice Zoo’s review of Eli Durst’s new book ‘The Community.’

I feel my work now sits very well on my website and has a clear narrative running through the set. I asked peers to also have a look at the work and received very positive feedback on how it all works together. A critique however, was to consider the information That I am providing to the reader, and avoid generalised sweeping statements regarding my work. 


  1. ​*​
    Zoo, A. & Durst, E., 2019. The Community. The British Journal of Photography, Issue 7890, pp. 40-49.
  2. ​†​
    Putnam, R., 2000. Bowling Alone: The Collapse and Revival of American Community. 1 ed.
  3. ​‡​
    Barthes, R., 2018. How to Live Together: Novelistic Simulations of Some Everyday Spaces (European Perspectives: A Series in Social Thought and Cultural Criticism). Translation Edition ed. New York: Columbia University Press.
  4. ​§​
    Cotton, C., 2014. The Photograph as Contemporary Art (World of Art). 3rd ed. London: Thames & Hudson.

Week 10: Multiple Readings

Figure 1. From the Harris Lantern Slideshow (Seely Harris, 1904). ​*​

Alice Seely-Harris traveled to the Congo Free State as a missionary, which was under total control of Belgian King Leopold II. After witnessing many atrocities there, she became an activist photographing and creating a travelling slideshow touring much of Europe and the US. The images highlighted the plight of the Congolese and is seen as groundbreaking documentary photography, shifting perceptions of colonialism, slavery, as well as gaining public attention and a significant political will to intervene, rightfully ending the brutal regime of the Belgian King. (Liverpoolmuseums.org.uk, 2019).

The significance of the images and the impact on highlighting human suffering shouldn’t be diluted here, however It is important to understand the context of the time – The Congo Free State was a Catholic nation as was the king. Seely-Harris was a Christian British Missionary at the height of the Empire and colonial rule.

One reading of the images is that of a perceived moral authority that being a British Protestant had over Catholic violence. Protestants missionaries were part of a larger agenda of gaining territories, sent out by the state to take the message of British Protestants to the ‘Native’ and converting the local population to Christianity. Showing the King’s abhorrent treatment of the Congolese was an opportunity to show that under a more ‘civilized’ form of colonialism, a British Colonialism, these kinds of atrocities would not be happening (Sealy, 2019)​†​

Given that The Congo did not gain independence until the 1960s and the inherent racism and violence persisted in that culture up until then, the images did not make the Congolese free from slavery, the choice was a violent Catholic regime, or the rule of another version of colonial power.


  1. ​*​
    Liverpoolmuseums.org.uk. (2019). Alice Seeley Harris – International Slavery Museum, Liverpool museums. [online] Available at: https://www.liverpoolmuseums.org.uk/ism/exhibitions/brutal-exposure/alice-seeley-harris.aspx [Accessed 26 Nov. 2019].
  2. ​†​
    Sealy, M. (2019). Decolonising the camera. 1st ed. London: LW.

Shoot Five: Contact Sheets

This is the last Carnival in North Petherton that I managed to attend before the end of the season. The plan here was to aim and shoot a range of night time portraits and environmental shots using the carnival carts as a background. As I arrived, there was a lot of setting up activity which proved very good to shoot.

Week 9: Reflection

Continuing to explore narrative, I have started to read through some film theory as it has been recognized as being able to utilize narrative much more effectively than photography. The key points from the book are the need to identify the cause and effect of the narrative that I am aiming to portray. 

“A narrative does not consist of a random series of events, but a series of events related to one another in terms of cause and effect”

(Buckland, n.d.) ​*​

In film, the narrative is also categorized into three stages, as outlined by theorist Tzvetan Todorov (Buckland, n.d.) ​*​ :

  • A state of Equilibrium
  • The disruption of this equilibrium by an event
  • The successful attempt to restore the equilibrium 

Where the transition between the stages is referred to the narrative turning point and key events can change the direction of the narrative action.

(Buckland, n.d.)

There is also omniscient narration where the camera will be be removed completely and be controlled by someone outside of the narrative, in the case of film this is the director, however in photography this could well be the photographer.

In order to further this exploration, I think it would be important to identify whether this form of narrative is used within photography, and the photo project. I will continue my research by looking at a range of photography books. Further to this visual study, I feel it is vital to better understand the semiotic theory that underpins the narrative of a photographic narrative. To that end, I intend to read ‘Image, Music, Text’ (Barthes, 1990)​†​ and later ‘Mythologies’ (Barthes et al., 2009)​‡​ by Roland Barthes that look at this in more depth.

Narrative in art is defined as a sequence of related events, and historically where narrative is depicted in art, the reader of the image is to have assumed knowledge of the narrative present (Tate, 2019).​§​ I feel that a narrative in the literary sense does not always apply to a series of photographs, and also by sequencing images in a chronological fashion may reduce the impact of how some of them may be read. Aesthetic placement of the images may function well with photography, however may reduce the effect of the overall narrative by considering the images only for their technical and aesthetic qualities rather than the context that they provide, as discussed in the essay ‘Context as a Determinant of Photographic Meaning’ (Walker, 1997)​¶​ where this can have a huge impact on the way images are read together. In film, this is idea is supported by ‘The Kuleshov Effect’ explores by theorist Lev Kuleshov who analysed the effects of the juxtaposition of film shots and how they are put together (Fig. 1) will have an impact on how the reader will attach meaning and emotion (Elementsofcinema.com, 2019).​#​

Figure 1. Example of the Kuleshov Effect in sequencing (Elementsofcinema.com, 2019).

In order to create an effective narrative of my work, I will need to carefully consider the juxtaposition of my images in terms of the connotated coding that they represent when placed together. This will be more than merely the aesthetics and creating a pleasing juxtaposition and sequencing of events. The narrative in this case becomes an idea, or overall emotive presence of the work and how it is being presented to the reader.

Looking at Photobooks

Figure 2. Conspiracy Theorists Desk Reykjavik from 'Sugar Paper Theories' By Jack Latham (Latham, 2016).
Figure 2. Conspiracy Theorists Desk Reykjavik from ‘Sugar Paper Theories’ By Jack Latham (Latham, 2016).
Figure 3. ‘Sugar Paper Theories’ Exhibition tour at the Royal Photographic Society (Rawlinson, 2019).

At the recent Jack Latham talk and exhibition of his work ‘Sugar Paper Theories,’ (Latham, 2016)​**​ held at the Royal Photographic Society, Curator Dr Mark Rawlinson (Fig. 3) highlighted the difference between the images and placement of them in the exhibition from the book and how there is a tendency to read through a book in a linear way. The exhibitions role was to change the narrative of the work in order to keep you as the reader guessing and exploring the work in the search for ‘Clues’ (Rawlinson, 2019).​††​

Pieter Hugo – Kin
Kin
Figure 4. Different page sizes within the work ‘Kin’ by Pieter Hugo (Hugo, 2015).
Figure 5. Two pages from the book ‘Kin’ by Pieter Hugo (Hugo, 2015).

Hugo provides a deeply coded journey through his homeland in the book ‘Kin’ (Hugo, 2015)​‡‡​ all of the images are very emotive and challenge you to consider the colonial gaze through the use of nudes and classic portraits throughout this book. Hugo writes of South Africa being a complex and problematic country and his own exploration has created more questions than it answers. I believe that the juxtaposition of the images within the book really start to challenge you and underpin this notion. The use of different page sizes shows a kind of hierarchy to the placement of the portraits over other elements of Hugo’s work in the way they partially obscure the view of the image underneath (Fig. 4), forcing you to consider the first image before moving forward. This is a kind of juxtaposition that prioritises one image over another.

Hugo’s images in Kin do not form a chronological account of this story, but support my point of the overall meaning in the work.

Matt Henry – Short Stories
Figure 6. ‘Short Stories’ by Matt Henry (Henry, 2015)​§§​

A more overt use of narrative, even with the title relating to the way the reader is supposed to look at this work is Matt Henry’s ‘Short Stories’ (Fig. 6) which is a series of related tableaux images on the theme of Nixon era America. Each short set tells a short narrative as if a still from a movie, which is very much what Henry is aiming to present with his work of clear Americana. The relation of the narrative is clear in this book even through the use of smaller details and portraits of the work (Henry, 2015).


  1. ​*​
    Buckland, W. (n.d.). Film studies. John Murray Learning, p.32.
  2. ​†​
    Barthes, R. (1990). Image, music, text. London: Fontana.
  3. ​‡​
    Barthes, R., Lavers, A., Badmington, N. and Reynolds, S. (2009). Mythologies. London: Vintage books.
  4. ​§​
    Tate. (2019). Narrative – Art Term | Tate. [online] Available at: https://www.tate.org.uk/art/art-terms/n/narrative [Accessed 21 Nov. 2019].
  5. ​¶​
    Walker, J. and Evans, J. (1997). Context as a Determinant of Photographic Meaning in The Camerawork essays: context and meaning in photography. London: Rivers Oram Press, pp.52 – 63.
  6. ​#​
    Elementsofcinema.com. (2019). The Kuleshov Experiment | Basics of Film Editing. [online] Available at: http://www.elementsofcinema.com/editing/kuleshov-effect.html [Accessed 21 Nov. 2019].
  7. ​**​
    Latham, J., Gudjonsson, G. and Russell, R. (2016). Sugar paper theories. 2nd ed. London: Here Press.
  8. ​††​
    Sugar Paper Theories: Gallery Tour (2019) [Exhibition]. Royal Photographic Society, Bristol. 16 November, 2019.
  9. ​‡‡​
    Hugo, P. (2015). Kin. 1st ed. New York: Aperture.
  10. ​§§​
    Henry, M. (2015). Short stories. 1st ed. Heidelberg: Kehrer Verlag.

Week 8: Reflection

After the webinar, I have a clear sense that I need to develop my narrative and sequencing skills in order to better translate my project into a coherent series. If my aim is to present the work without the information initially, then it is important to get a clear sequence of the images to tell the story I am trying to communicate. The amount of images is crucial, too. I have so far put together 20 images in my gallery, however others have many more. I need to consider how many images will make an effective narrative and how many would ultimately start to reduce the impact of the work.

The feedback, although positive, narrative was a key area to look at. People liked the display of the work and the minimal gallery and page. I am happy with this, although there are some areas I would like to develop given the time to do so. For example, the native WordPress slider has a grey background that I am unable to change without looking into detail the CSS coding to change it (I will have a go at this at some point!). The page of my gallery also features a number of tags and keywords, which function for SEO purposes but do not provide a clean looking design. Overall, these are niggles and can be looked at over the period of the course.

To start looking at narrative, I have returned to Lewis Bush’s article ‘Photographic Storytelling: A Poverty of Theory’ (Bush, 2019)​*​ discussing how photography overlooks the power of narrative in photography and often misunderstood by photographers. 

In the article, Bush also states that Narrative and story are different but often confused. 

“One Story can spawn many narratives”

(Bush, 2019)

It is clear that the sequencing of my work will have a fundamental impact on how it might be read, which leads me back to the ‘Authors’ vs ‘Readers’ debate referenced in this weeks readings and Barthes ‘Death of the Author’ (Barthes, 1977)​†​ It feels that the emphasis is still on the reader of the work, however I can still maintain the control of the initial experience of the work.

Looking to develop skills in Narrative, sequencing, and the edit of my work, I continue to explore Bush’s article, and looked at the discussing that Bush was having on Twitter. There are a number of reference by Bush to ‘Narratology’ which is the study of narrative structure and how this can inform our perception. The article also discusses the strength of cinema in employing photographic theory in creating a strong narrative. These are areas that will continue to explore.

I have identified some further reading:
  • Relationships between Text, Narrative and Image – An Introduction
  • Gérard Genette : Narratology / Signo – Applied Semiotics Theories
  • Basics creative photography 02: Context and narrative
  • Image, Music, Text: Roland Barthes

Overall, I am going to keep the style and layout of the gallery that I have presented, maintaining the link that I have set up, and now focus now on the sequencing and amount of images that I am presenting, supported by the information.


  1. ​*​
    Bush, L. (2019). Photographic Storytelling: A Poverty of Theory. [online] Medium. Available at: https://witness.worldpressphoto.org/photographic-storytelling-a-poverty-of-theory-2def0ba48031 [Accessed 15 Nov. 2019].
  2. ​†​
    Barthes, R. (1977) “The Death of the Author.” Image / Music / Text. Trans. Stephen Heath. New York: Hill and Wang.

Week 8: Work in Progress Portfolio

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.

Figure 1. Example of my web galleries in the ‘mosaic’ format. (Hill, 2019) ​§​

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.

Figure 2. Updated gallery to show in a slideshow format. (Hill, 2019).
Figure 3. Information and thumbnails revealed. (Hill, 2019)

Considering the work of others
Zed Nelson
Figure 4. Screenshot from Zed Nelson’s website and project ‘Love Me.’​¶​ (Nelson, 2019).

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.

Laura El Tantawy
Figure 5. Laura El Tantwy’s website and project ‘In the Shadow of the Pyrimids’​#​ (El Tantwy, 2019)
Figure 6. Laura El Tantwy’s website and project ‘In the Shadow of the Pyrimids’​#​ with a single image and information on display (El Tantwy, 2019).

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.


  1. ​*​
    Obrist, H. and Raz̤ā, A. (n.d.). Ways of curating. London: Penguin, pp.81-87.
  2. ​†​
    Evans, J. and John, W. (1997). The Camerawork essays. London: Rivers Oram, pp.52-63.
  3. ​‡​
    Barthes, R. (1977) “The Death of the Author.” Image / Music / Text. Trans. Stephen Heath. New York: Hill and Wang.
  4. ​§​
    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].
  5. ​¶​
    Nelson, Z. (2019). Zed Nelson – photographer. [online] Zednelson.com. Available at: https://www.zednelson.com/?LoveMe [Accessed 14 Nov. 2019].
  6. ​#​
    El Tantawy, L. (2019). [online] Lauraeltantawy.com. Available at: http://www.lauraeltantawy.com/ [Accessed 14 Nov. 2019].