Reflection dd170423

Activities done
day 155 10 april 2017

  • Read atheism as a basis for morality by Dirk Verhofstadt p129-160
  • Read the politics of design by Ruben Pater

day 156 11 april 2017

  • Read atheism as a basis for morality by Dirk Verhofstadt p161-177
  • Read the politics of design by Ruben Pater

day 157 12 april 2017

  • Read atheism as a basis for morality by Dirk Verhofstadt p179-201
  • Post aperture #226 American Destiny
  • Read the politics of design by Ruben Pater
  • Photo:Box look at pictures of nature chapter

day 158 13 April 2017

  • Install hardware/software

day 159 14 April 2017

  • Read magazine British Journal of Photography
  • Prepare Botswana trip
  • Watch Endaveour Morse
  • Experiment trail cam

day 160 15 April 2017

  • Experiment trail cam
  • 3x Posts visual research
  • Post part 2 project 2 research point
  • Read magazine Kamera Express
  • Photoshoot Westland
  • Experiment trailcam
  • Read embarrassment of riches by Simon Schama p1-24

day 161 16 april 2017

  • Experiment trailcam
  • Read embarrassment of riches by Simon Schama p25-50
  • Read Critique of Pure Reason by Immanuel Kant p71-115

day 162 17 April 2017

  • Read Critique of Pure Reason by Immanuel Kant p119-155
  • Photoshoot kalmthouse heide/assignment 2

day 163 18 April 2017

  • Read eos magazine
  • Read atheism as a basis for morality by Dirk Verhofstadt p202-245
  • Read magazine digital photographer

day 164 19 April 2017

  • Read magazine digital photographer

day 165 20 April 2017

  • Read magazine digital photographer

day 166 21 April 2017

  • Read eos magazine

day 167 22 April 2017

  • Re-work some Antarctica pics into B&W

day 168 23 April 2017

  • Photoshoot assignment 2


Read some interesting lecture, had some educational photoshoots and managed to progress in the course.

For the first time I re-visited a place to do a second photoshoot and complete a series.


Assignment 2 – wide, open and empty

Thoughts to brief

I interpreted the brief as an assignment to make a collection of photographs expressing a single aesthetic code using a fixed combination of a lens technique and exposure.

Like in assignment one I wanted to do a type of photography or use a technique that I’m unfamiliar with. Some attempts I made before settling on ‘wide, open and empty’:

– street photography in the centre of Antwerp.

– action photography. start of the Tour the Flanders, an elite men road cycling race, in Antwerp. The shoot was educational, but I didn’t have enough quality outcome to make a series. I also would not have the option to make adjustments, as there was no opportunity to re-shoot photos.

Wide, open and empty

I don’t like the distortion in most photos that I make with my 14mm lens. Therefor I hardly use it. I thought it would be a nice challenge to make a series with this lens. I decided to go for nature views. I started with two ideas:

  • no obvious point of focus. To try and lead the viewer through a picture by lines and colour without a specific subject where the attention would go to first.
  • wide-, open-, emptiness

In the contact sheets you can see how those ideas developed in the various shoots. Although the selected photos are more about wide-, open- and emptiness, still some remains of the first idea are in there. All shots were taken handheld, lower then eye-level, with aperture priority mode at f/16 and ISO 200.


The combination of landscape with clouds works very well. The clouds are necessary as the pictures don’t have a strong foreground interest.

I learned an important lesson about the 14mm lens. Very clear lines seen through the viewfinder don’t show the same on the picture. That’s is if the lines don’t lead the eye into the picture.

The series could improve by composing the horizon at less different heights, maybe one height when focus more on sky and one when focus more on ground.

Specific to photos

EvY 201 23/82. Various colour patches, different types of vegetation, bring depth into the picture.

EvY 202 – 22/82. Sand path as lead-in-line, but trees too small to be an obvious point of focus. Because of composition with lead-in-lines and the clouds the picture gets depth.

EvY 203 – 24/82. Various colour patches, different types of vegetation, bring depth into the picture.

EvY 204 – 25/82. Sand path as lead-in-line.

EvY 205 – 36/82. Various colour patches, different types of vegetation, bring depth into the picture.

EvY 206 – 37/82. Sand path as lead-in-line.

EvY 207 – 80/82. With some imagination a radial symmetry can be seen in the clouds. It leads the eye into the picture.

The order of the pictures I have chosen by alternating path and heath, matching successive pictures by colour of heath.

Carolyn Drake

carolyn drake diary (Drake, 2015)

African refugees at an American gas station. The sitting man is preparing for prayer. He washes his feet. A kid is looking. Three women look away. They overlook the bare surroundings. Another black man communicates with a notably dressed white male. Who’s the stranger here? If it were not for the white guy on the left, this picture could have been taken in the Middle East or Africa.

The whole project is about a road trip based on an nineteenth-century diary of an ancestor of Carolyn Drake. I love to travel. A project like this would be a natural development for me, if it were not for the fact that I don’t like people in my pictures.


Cadogan, G. (2016), ‘Diary’ In: Aperture 226 pp. 48-55

Carolyn Drake (2017) At:


Alessandra Sanguinetti

Google-search: Alessandra Sanguinetti – black river falls – Sunday choir

7 Young girls of a Catholic church choir with their song books. The books, the faces, the shoes, I keep looking at this picture. Each girl seems to be a story in herself. The picture is in black &white.

I don’t know if the poses are spontaneous, seen some of the work of the artist I suppose they are, although some girls are more then aware of the camera. The picture is conflicting to me. None of the girls has a smile on her face, I don’t see happiness. They must like singing? Or are they not voluntary there? Girl 1 seems to be scared, like she’s seen the devil. Girl 6 is somewhere else, but not in a place a girl her age should be. Girl 4 stands like she’s in the army. Overall I get a very negative feeling from the picture.

Looking at the picture on a computer screen in comparison to a printed version takes away a little bit of the negativity. The picture on screen looks a bit brighter.

I would love to create such a picture, a picture that each time I look at it raises questions.


Jennings, C. (2016), ‘Black River Falls’ In: Aperture 226 pp. 38-47

Part 2 Project 2 Research point

15 December 2013 – 1/640 sec f/8.0 135mm

The first successful picture I ever created with a DSLR with shallow depth of field. The main reason I succeeded was that I shot from very nearby with a tele-lens. The result was pre-visualised. The shallow DOF adds to the intimacy. Although I have upgraded my camera and lens in the mean time, which has its obvious effect on picture quality, I still love this picture. It remains one of my favourites.

Ansel Adams, Fay Godwin, Mona Kuhn, Kim Kirkpatrick. The DOF they choose for their pictures fitted with the subjects and the messages they wanted to convey. Ansel was a master, especially in post-production. I’m intrigued by the pictures of Kim. It’s like the sharp subjects and vague environments get whole new meanings, an alternative construction of reality.

Latoya Ruby Frazier

Google-search: latoya ruby frazier – the notion of family – denise and rodney clay

Picture: Denise and Rodney Clay, Shea’s aunt and uncle, watch president Obama take a sip of Flint water on television, 2016, from the series Flint is Family (Jones, 2016)

I see first – A man and a woman have stopped their daily activities to watch president Obama on television. The news banner on the television reads ‘presidential visit’. Obama sips from a glass of water.

Second – From the title I learn that the water is Flint water.

Third – In the accompanying interview in the magazine Aperture #226 American Destiny I read that the drinking of the water by Obama was a historical moment.

Last – After a wikipedia search I learned that the water of the Flint River had been contaminated with high concentrations of lead  and a federal state of emergency had been declared. Although the levels in the river are back to normal, the residents are instructed to keep using  bottled or filtered water until 2020, until all pipes are replaced.

All information certainly gives an added value to the picture, but even without it is already strong. The picture is in black & white and that takes away possible distractions. The setting and composition add to the strength of the picture and the message.

I appreciate how Latoya can make a political theme visible. For my own photography this is a great inspiration on how to photograph ideas.


Jones, K. (2016), ‘Witness’ In: Aperture 226 pp. 21-27

Wikipedia ‘Flint water crisis’ At: (last visited 15 April 2017)

Reflection on feedback

I wrote in my analyses of the square mile assignment, ‘Keith Arnett and Gawain Barnard don’t inspire me. I’m missing exhibition of the technical skills.’ My tutor replied, ‘Perhaps when you get really technically proficient the techniques become invisible.’ I fully agree that an artist doesn’t have to show off his or hers technical skills, but I don’t think ideas are more important than execution. It’s something I’m struggling with while looking at a lot of contemporary art. I’m learning to look and decode.
My next comment was related to this as well, ‘Tina Barney. The dividing line between art and snapshot is thin.’ My tutor commented, ‘And I think this is increasingly true in photography in general…look at Richard Billingham’s Ray’s a Laugh‘. I did have a look and although the chosen pictures might look like snapshots, I certainly see well framed and aesthetically pleasing pictures. Art concealed as snapshots.


Suggested reading/viewing

Sontag, S., 1978. On Photography. London: Penguin. I did read. Some comments in my doubt-posts are from during reading this book. I’ll re-read in coming period.

I added the following books to my wish list:

  • Berger, J., 1982. Ways of Seeing. London: Pelican.
  • Fox, A. & Caruana, N., 2012. Behind the Image. Lausanne: AVA Publishing SA.
  • Short, M., 2011. Context and Narrative. Lausanne: AVA Publishing SA.

Next time I order books this one will be included.

Learning log

My tutor suggested, ‘the Home page would be better holding what you currently have in the Geen categorie.’ I changed the front page of my site to a static page. I would prefer to show a limited number of posts on the front page, but in the chosen wordpress theme that’s not possible.