Shutter Hub

Final Major Project: Future Directions

The end of this module and the MA course has arrived so quickly. With my head still spinning from the whirlwind of activity that preceded and encompassed the exhibition and website launch it is difficult to rationalise what might come next. 

I was surprised to be asked a number of times at the Reaching Out Into The Dark private view“So what’s next Justin?”, and as the reality that I’m soon going to be a former student starts to sink in, I’m obliged to start trying to come up with some answers.

Visitors to the ROITD Private View

Visitors to the ROITD Private View

Here is what I have so far:


The work so far in this project feels very provisional, like only a surface scratched, with the FMP outcomes simply demonstrating the potential audience for the work and also how many more facets of this theme there are to uncover and explore. 

I’m proud of what I’ve achieved so far but already have a clear idea of the next few steps for the work, visually, which include:

·     The urgent need to include older people in this work. This is especially important as I’m confronted with lonely older people every day in my job, such that it feels almost criminal not to give them a platform in this project and a prominent one at that! There is also the need to represent younger people (adolescents mainly) and finding a way to reach this group and engage them with this work will be a future challenge no doubt.

·     A need to better represent the internal world of solitude and loneliness, both with more images of interior spaces, and by finding an effective way to visually depict the internal emotional landscape. I think my work already does this to some degree (hopefully), it certainly reflects my own internal emotional landscape in a sense, but there are a variety of emotional responses to this subject (not all of them negative of course) that would be really interesting states to explore photographically if this could be done in a manner that wasn’t too obvious and was based on a coherent visual strategy. My initial goal had been to explore solitude, this gradually evolved to me wanting to explore solitude and loneliness as I started to research the theme and understand the topic more. This further developed into a desire to better represent the positive aspects of a solitary life. Latterly though, I’ve thought a lot more about specific scenarios and how they could be explored, such as feeling alone despite being in a relationship, or the feeling of being alone among a large throng on a busy street in rush hour – all these experiences that are broiling away internally but which may never be discernible on the external surface of our persona, yet have a profound impact on the way we experience the world and relate to each other. This is a really interesting area that I am keen to explore further. I’ve been thinking a lot about this since the exhibition concluded and it might even be separate project, or sub-project, as the potential ground to cover is vast.

My internal emotional landscape?

My internal emotional landscape?

·      I also want to examine the role that technology plays in our modern solitude. There’s an irony that while we were all sold these devices as ways to better connect with each other, we spend most of our time now experiencing daily life with our heads down fixated on a small screen whenever we are out in the world, such that the happenings of the world around us and the existence of other actual humans is no longer necessarily a vital part of our daily experience in the main. We thus live a voluntary solitude, detached from each other and hypnotised by our personal mini computers. It’s not clear whether these were the intended consequences of these devices but this is the reality we are faced with and it’s interesting to consider what that means for our emotional and mental health and what it means for our wider communities and societies. 

·     Reconsideration of the outputs and how best to use them is another element that can further progress the aims of the project. I’ve learnt a number of useful practical lessons during FMP, particularly from putting together an exhibition. Reflecting on the aspects of the planning that worked well and what things I’d wish to do differently in the event of a future exhibition is important learning to take forward. I’m also more convinced of the need for a book as an eventual output for this work. I arrived at this conclusion after seeing the work take shape during the website build and getting a clearer understanding of how the interaction of text and image might work to successfully communicate to the viewer on a page as well as a screen. Continuing to refine and mature the work over the coming year or two will gradually make a book project seem like a foreseeable future milestone of the project I believe and will offer yet another way to present and experience this work.

Considering one of the aims of this project is to stimulate dialogue and help to facilitate discussion about the experience of loneliness and solitude, I’ve always been keen to find a way to take the work outward in the form of a workshop. This had formed part of an (as it now seems) ambitious FMP project proposal, but it remains an important pillar of what I would consider to be a fully realised project.

Shutter Hub’s   Camera Amnesty   campaign to help homeless photographers

Shutter Hub’s Camera Amnesty campaign to help homeless photographers

To that end, I’ve already made initial contact with Shutter Hub, an organisation that has a lot of experience of delivering talks and workshops, about how we might collaborate to bring this work to a different audience in that format. Shutter Hub have already been working with potential target groups in their own outreach work and so it would be a potentially mutually beneficial collaboration that would align with their existing corporate activities. 



Moving forward I have to consider how I will balance my photographic practice with imminent changes in my job, working pattern and place of abode. The MA has given me a much better understanding of how to approach trying to communicate through photographs and associated/accompanying media, as well as a grounding in how to carry out research to support one’s visual aims. I’ve also learned practical skills that will benefit my practice and my ability to connect and collaborate with other practitioners. The aspects of my practice that I will be concentrating on in the immediate post-MA future are likely to include:

·     Continued regular contextual research to support the ongoing progress of this project but also to provide the basis for potential future work of a different nature. It’s not always possible to directly quantify how the research done contributes to the final work but it certainly does, and this is one of the aspects that sets my current work apart from what I was producing before starting this course. My work now is supported by extensive research of visual and written media and prolonged reflection, whereas before I was just taking photographs that interested me for no clear reason. That’s not a bad thing in itself of course, but I can say that the work I’m producing now is a more eloquent expression of my ‘voice’ than anything I produced previously. This is only due to the research and consideration which underpins it and thus I look forward to further clarifying my voice with ongoing research and learning.

·     Writing will become an increasingly important element of my practice moving forward. I very much enjoyed writing for this project, in the process reawakening an interest in creative writing that I’d had in my much younger days. While continuing to write more critically during the course as well as book reviews elsewhere, I envisage less constrained writing being a larger proportion of my future output. I’ve found writing to be a good way to synthesise my reflections and the conclusions I’ve made about the work I’m doing, and so the writing serves to further my thoughts and offer another conduit to connect with the emotions that I always want to bring to my work. Thus, in the time that’s freed up after the completion of the MA I intend to take a writing course to help develop my competence in this area and will continue to write at every possible opportunity. 

Excerpt of my review of Robert Hirsch’s book  Seizing The Light  on   Amazon

Excerpt of my review of Robert Hirsch’s book Seizing The Light on Amazon

·     Another aspect of my practice that I will be concentrating more on in the future is networking and self-promotion (horrible as that sounds!). The exhibition cemented the importance of this for me, as the private view was attended by a number of people who became aware of me on social media. Edo Zollo, a photographer I’ve looked up to for years, was kind enough to visit my private view and stated that he’d been following me for years and that I was one of his favourite photographers. This was very surprising and obviously great to hear, but it also highlighted the importance of presenting yourself online. He’d never have heard of me otherwise and it’s currently the best way to connect with your audience, communicate your motivations and describe your practice in ways that people will hopefully identify and engage with. I saw this in action during this FMP and I have to take this aspect of my practice more seriously if I hope to reach a bigger audience, position myself for future professional opportunities and connect with potential collaborators. I’m by no means comfortable with what can at times seem like relentless self-promotion but I have to find a happy medium where I’m regularly nurturing this audience of supporters and steadily adding new followers as well, people who are supporters of my practice in one way or another. There is a lot to learn too about how to promote and market specific events. My exhibition only came together at very short notice, so it wasn’t possible to build a solid buzz about it with a long lead-up. In future, the planning of the exhibition will take better account of what’s needed to promote it effectively to give it the best possible chance of success. These practical lessons are one of the most useful takeaways from the MA course for me. Being an artist is great, the licence to stay in your head where dreams live, the onus to be creative, to challenge conventions and to bravely explore new territories. Yet there is no escaping the practical realities involved in researching, producing and promoting the work. I’ve learnt some of these realities first hand (my credit card can certainly give you some chapters about the harsh realities too!) in these final weeks and have a more pragmatic appreciation of what is required to continue making good work, that people will want to see and possibly support, in the future.

Final Major Project: Shutter Hub Open 2018 and thoughts on presentation

I had the pleasure of attending the private view for the Shutter Hub Open at Photomonth East London International Photography Festival at the Old Truman Brewery in Shoreditch last week, where one of my FMP images was being shown. 

One of the obstacles encountered to this point has been the difficulty in securing an exhibition space to show the FMP work and settling on the best method of presenting it. I don’t want to create unnecessary barriers between the work and the viewer, as this would be counter to one of the key aims of stimulating conversation and connection in as accessible and inclusive a way as possible. 

One of the benefits of the evening then, was that aside from it being great fun I came away with a new idea for presenting the work in the FMP. The images in this show were printed on newspaper by Newspaper Club and stuck to the wall with tape. When this idea had been proposed to us by Shutter Hub, I was sceptical about how colours and detail would be preserved in these prints. 

Newspaper print images at Shutter Hub Open 2018

Newspaper print images at Shutter Hub Open 2018

Happily though, the final results were great, with plenty of detail and good preservation of dynamic range and a surprisingly good amount of shadow detail in particular (especially relevant to me when thinking about how night images will look once printed). The fact the images were then simply stuck on the wall created a very informal and egalitarian feel to the show. Though the content was incredibly varied, there was a uniformity and unceremonious feel to the presentation that was largely due to this use of newspaper print.

My image on show at the Shutter Hub Open 2018

My image on show at the Shutter Hub Open 2018

This would work perfectly for the way I envisage a possible FMP show of my own work and would be a significantly cheaper option than getting a number of archival prints done with handmade frames. This possibility makes achieving a final show a lot more likely in practical terms and I will be researching this option further in the coming week.

You can find images of the exhibition installation here

Informing Contexts: Final Thoughts & Future Moves

So this is it, the end of Informing Contexts and the beginning of the final stage of this Masters degree. I can’t believe how quickly we’ve arrived here. I’ve learnt loads, with many of the lessons still being absorbed as I try to understand how to relate the learning to my own practice. I approach the Final Major Project (FMP) with some nervousness, mainly just because I’m not sure what the format of the next few months will be, but I’m also excited by the prospect of hopefully being able to put everything together into a cohesive vision of this project.

A frustration of mine has been that the 12-week module rhythm, with the need to prepare for summative assessments at the end of each one, hasn’t always correlated with the speed at which I’m able to absorb and respond to the lessons I’ve been learning along the way. Often I’ve found myself having the biggest revelations and making the largest steps between the modules, as the absence of course demands gives me the time to reflect, let things sink in and embed into my thought process about what I want to do. Due to the demands of my job, I often feel like I’m just hanging on for dear life during the modules trying to keep up, rather than having space and time to truly assimilate the information and allow my practice to develop. This has been a particular problem during this module as I approach the end of my medical training and so have had the most important exams of my career to prepare for, alongside working and doing this MA. Those demands, as well as my struggle to see a way to move forward with the photography (‘the narrative conundrum’ I think I’m now going to call it!) has meant this has been the module I’ve found most difficult so far. 

As previously, I’m confident that the period immediately after assignment submission (which again coincides with another big work thing) will be a productive one, both in terms of the images I’ll be making as well as in terms of putting a clear plan in place to attack the FMP. It arrives too late to be absolutely reflected in the WIP for this module but, as I’ve written elsewhere, I have a much better sense of the images I want to make and how to hopefully create interesting photographs. I will also be bringing people (and possibly also myself) into the work in some way and have only just been able to start experimenting with this. 

Something else that I’m looking forward to exploring further is the internal environment and how this relates to our experiences of solitude. My work has almost exclusively focused on outdoor urban spaces to this point, but reflecting on how people experience solitude and isolation in many hidden or public indoor places (bedrooms, cars, pubs etc.) and inspired by the work of practitioners such as Lynne Cohen and Andrew Emond I am really keen to explore interior spaces and make this an important part of the work moving forward. This actually now feels like a big omission from the project to date, an oversight on my part, and I envisage interiors becoming increasingly integral to telling the story of urban solitude in my FMP.

The work of Andrew Emond, from his    Objects of Consequence    series 

The work of Andrew Emond, from his Objects of Consequence series 

Despite the misgivings I stated above I do feel I’ve made progress during this module. I’ve continued to write, with more book reviews published and in progress.

My most recent book review on   Shutter Hub

My most recent book review on Shutter Hub

I’m aiming to continue developing this area of my practice. I’m still trying to find a short writing course that I think will help me to develop my writing style and that is feasible for me to do over the next few months alongside all my other commitments. The ones I’ve been interested in so far are either too involved (essentially a writing MA) or too inconsequential to be worthwhile. I’m increasingly of the view that text will be a substantial part of the final work, and though this is not likely to be all my own writing, I do feel I’d benefit from having more competence and confidence in this area. Using practitioners such as David Campany and Lewis Bush as inspiration, I hope to make this a solid strand of my practice moving forward. 

I was happy to be selected as a ‘shortlisted artist’ for the Revolv Collective One Year Open Call which will involve some much welcome social media promotion via their channels and may open further opportunities in the future. I have also entered work into the Royal Photographic Society’s International Photography Exhibition 161, with the outcome of shortlisting currently awaited.

I’m looking forward to what I anticipate will be the most intensely rewarding period of the MA to come in the Final Major Project. I feel that my work is on the verge of blossoming into something different and hopefully more compelling. I’m excited about the possibilities ahead and have already begun to consider the future beyond the MA, where I know the work will continue (PhD?). I’m relishing the opportunity to spend more focused time researching, exploring and developing new ideas and creating new connections with the work I have planned (workshops, joint projects with key agencies already involved with issues surrounding loneliness and urban isolation etc.). 

I look forward to discovering where the work will evolve to and how it will broaden out to hopefully include people (of all ages), interiors, exteriors and maybe even some daylight! I am less daunted by the FMP simply because I understand now that my work on this issue will not stop there, and I have a sense of where I will be able to take this work forward in the post-MA world that will soon be a reality.

Let’s get it!

Sustainable Prospects: Strands

One of the few things I’m clear about is that I would like my future photographic career to have a number of strands, aside from creating photographic images. One of my main reasons for doing the MA was that it would provide possible openings into some of these potential career strands such as teaching.

I’ve always enjoyed writing, although having chosen a scientific career, there is little scope for the sort of writing I enjoy in my day to day work. Of course, writing this CRJ as we are obliged to do, hones the skill of writing for a photographic/critical theory audience and in this module I’ve taken another opportunity to write in this genre by agreeing to write two book reviews for Shutter Hub.

Book review published on Shutter Hub website last week

Book review published on Shutter Hub website last week

I’ve written for Shutter Hub in the past and it’s always an enjoyable opportunity, made only slightly less so on this occasion as their submission deadline coincided uncomfortably with that for the MA work this December. The stress is worth it though, for the opportunity to write about something I’m really interested in – I love books and I love photography – and to continue developing my written communication skills. 

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    The review, for ‘Perception and Imaging: Photography as a Way of Seeing’ by John Suler & Richard D. Zakia is available   here  :

The review, for ‘Perception and Imaging: Photography as a Way of Seeing’ by John Suler & Richard D. Zakia is available here:

I’ve thought about how I might develop this strand of my practice further, and consider submitting work for a journal (e.g. Sourceas possibly being the next step. I’m not sure I yet have the credentials to be a credible author in a photography journal but this is a forum I would hope to be able to contribute to in future.

I still see text as playing a role in my final project output also, and having planned to do a creative writing course at the time of my original project proposal I’ll be looking to do this as we move into the second year of the MA. I have a very important medical exam coming up in late February, so once that’s out of the way the creative writing course will possibly be the next thing on the agenda to do alongside the MA work. 


Positions and Practice: Week 10 Reflection

Week 10 was for me more like week 12 or 13! As I mentioned previously, I’d gotten into a study deficit due to the dual demands of the MA and my actual job, which meant I got round to the work for week 10 a little late. As always, it’s only a couple of weeks after the fact that I seem able to properly contextualise what I learnt during that week, as the dust settles and the information gradually seeps into the cracks in my mind where the weeds of new thought will no doubt eventually grow.
I write this having just recently finished reading Camera Lucida by Roland Barthes.

Barthes photographed by   Henri Cartier-Bresson  , 1963.

Barthes photographed by Henri Cartier-Bresson, 1963.

Here we have a writer, who starts his critical appraisal by admitting that he doesn’t really take photographs, setting out to identify what Photography is ‘in itself’. He argues at length for the particular qualities that make certain images stand out above others, the aspects that attract and retain his attention and provoke an emotional reaction. He seems to conclude that without these special qualities (the ‘punctum’) the image can only ever be appreciated on a technical or cultural level (the ‘studium’) but will not be truly memorable. 

A large part of his thesis is based on an image of his late mother in her childhood. He talks about this photograph at length, returning to it and its qualities often. The book contains a number of photographs that he uses for illustrative purposes, but Barthes chooses not to include the image of his mother that he refers to repeatedly, arguing that it cannot possibly have the same significance to the reader as it does to him so there’s no point including it. 

For me this book encapsulated a lot of what annoys me about critical theory and how almost intentionally opaque it can be. Photographs are everywhere. Their reach is limitless. Their potential audience is absolutely global, transcending geographical, cultural, ethnic and economic boundaries. Yet, the discourse in which these images are discussed is often conducted amongst somewhat self-satisfied academics who are almost exclusively Western, wealthy, male and white. The language used is almost designed to obfuscate, to exclude people who aren’t in the club from being able to have an opinion. Because if you can’t speak in terms that the academics will understand, or if you lack the intellectual arrogance to simply invent language to support your argument, you do not have a voice in this debate and your contribution is invalid. 

Of course, Barthes’ work is considered a seminal text in the study of photographic practice, and I don’t wish to dismiss it entirely. It seems to me though, that the intrinsically democratic nature of photography obliges those who partake in critical appraisal of the medium to reflect that in their analysis. They should seek to elucidate, opening doors of understanding, rather than obscure the art and make the practice of photography seem like a more mysterious and less attainable thing. This is something that is increasingly getting on my nerves.
One of the tasks for this week’s reflection was to consider the relevance of critical theory to my own practice. I’m afraid to say that I don’t see any significant link between some of the high-minded elitist claptrap masquerading as photographic theory and the reasons why I take photographs. I appreciate there may be irony for some in the very fact that I am writing, critically, about this book and critical theory in general, in a way that many may find in itself inaccessible. For that I can only apologise.
I believe strongly that photography is a versatile art form. I believe that the analysis of this practice is important and can be beneficial for those who undertake it (hence me doing an MA). But I also strongly believe that those ‘in the know’ should strive to be as inclusive as possible in their analysis, to widen access to this beautiful practice and to enhance the enjoyment of it for those who are interested in spending more time to understand it. This can be achieved in many ways, both in the production and distribution of the analysis, and I think we all have a responsibility to consider how we can contribute to a more inclusive debate around photography.

So, taking that idea further, I have to consider how I will personally rise to that challenge. What will I do to help to demystify things? 

Some of my views & reviews via   Shutter Hub

Some of my views & reviews via Shutter Hub

I enjoy considering these questions and writing about photography. I'd certainly like to write more, either as a companion to my own work or as a contribution to the discourse of photography that examines the context of images related to each other and in relation to general themes.

So ultimately I’ll have to put my money where my mouth is. Can I contribute to photographic debate and critical theory in an interesting, accessible and no-nonsense style? Or shall I just make a groveling apology to Barthes’ memory and slink off into the distance with my tail between my legs!