Part 3 Reflection

Reflecting on the feedback for my (In)Decisive Moment section has been a valuable experience, both in terms of refining my approach to street photography and in understanding how to strengthen my final set of images. My tutor noted the two images that stood out most: the man photographing while I photograph him and the figures focused on a camper van in the car park. These images caught my attention too, and it’s clear to me now how their composition and narrative work well as decisive moments. What I didn’t realise before was just how much potential these moments have for storytelling and for further developing the direction of my street photography.

The idea of photographing people as they photograph others is an interesting avenue to explore. There’s something captivating about capturing the interplay between photographer and subject, especially when the roles are reversed in the image. This moment gives the viewer a glimpse into the act of photography itself. Similarly with the camper van image, despite its flatness creates a solid narrative and provides a subtle story about what these people are doing. I see how these images fit into a coherent set, and this is something I want to build on as I move forward.

One of the key takeaways from my tutor’s feedback is the importance of being open to refining my work. The suggestion to reshoot and expand my ideas is something I’ll be putting into practice. I’ve already started thinking about how I can add more variety to my approach. There’s a need to capture more “decisive moments” that feel authentic, and I’m now aware of the power of getting closer to my subjects. Street photography can often benefit from a certain level of intimacy, and I’m keen to push myself out of my comfort zone in this regard. By getting physically closer to the action and exploring more varied lighting and locations, I’m confident I’ll add more depth and diversity to my imagery.

I also appreciate the suggestion to incorporate contact sheets into my process. This would give me a way to demonstrate how I am refining my choices throughout the process. I’m starting to see the value in reflecting on my contact sheets, not just as a documentation of what I shot but as a way of visually tracking my thought process and decision-making. Additionally, I’ll be using these reflections as part of my ongoing practice of sustaining creativity, as suggested by Gibbs’ Reflective Cycle. This method could help me gain deeper insights into my work, offering a more structured approach to my reflections, which will ultimately support my creative growth.

The feedback also mentioned to include images from other photographers whose work I admire. I see how this can add further depth to my own creative process. For example, street photographers like Alex Webb, Garry Winogrand, and Bruce Gilden have had a significant impact on my approach. Their ability to capture fleeting moments with a sense of narrative is something I want to emulate. Reflecting on their work, comparing their compositions, and understanding their techniques will provide valuable lessons as I refine my approach to capturing the decisive moment.

In conclusion, I’m excited to build on the ideas from this assignment and explore new ways to develop my street photography. I look forward to pushing myself further and producing a stronger, more refined set of images that truly communicate the essence of the decisive moment.

Part 1 Reflection

Reflecting on the first part of the course, I’m realising how important it is to let go of overthinking and just start making images. The Square Mile exercise was a gentle but valuable reminder that there’s creativity to be found in the familiar. I didn’t need to search for something extraordinary or travel far, just stepping outside and paying attention to what’s around me was enough to get going.

My tutor’s feedback highlighted the contrast between the diagonal, dynamic compositions and the more flat-on building shots in my early work. That observation made me pause and think about how different compositions guide the viewer’s eye, and how intentional or instinctive some of my choices were at the time. The diagonal shots that draw the eye toward the horizon carried more energy, while the head-on images offered a quieter, more contemplative feel. Noticing this contrast has made me want to be more deliberate with how I frame scenes moving forward, depending on the story or mood I’m trying to convey.

The artist research section really helped me begin to explore where my interests lie. Looking into the work of Gawain Barnard, Roni Horn, Tom Hunter, and Karen Knorr was like unlocking different corners of photography that speak to different parts of my curiosity. From atmosphere and subtle storytelling to more conceptual or staged approaches, each artist brought something different into focus for me. What stood out most was how they each made the ordinary feel worthy of attention, something I hope to carry forward in my own work.

The feedback also reminded me that this assignment was about simply beginning. The Square Mile was never meant to be perfect; it was about developing an eye for themes, connections, and the potential in local surroundings. I can already feel how valuable it’s been to view my photography as a series, not just isolated images. That way of thinking, seeing my photos as part of a set or story, is something I want to build on throughout the course.

In many ways, this first part felt like the foundations being laid. Paying attention to my surroundings, exploring what grabs me visually, and taking inspiration from artists who help me look differently. From here, I’m excited to keep building confidence in both my technical skills and my creative intuition.

Assignment 5 – Photography is Simple

For Assignment Five, I was asked to explore the idea that “Photography is Simple” by creating a series of ten images. The focus was on capturing a unique viewpoint and moment in each photograph, without repeating information.

I chose to focus on three interconnected themes: everyday small moments, walks through the neighbourhood, and people’s movements. These subjects naturally resonated with me and felt like an authentic extension of how I see the world through my camera. My goal was to stay present and observant, capturing moments that might otherwise go unnoticed.

I took my camera on slow, mindful walks through my neighbourhood, paying attention to the familiar and the ordinary: small objects, passing strangers, shifting light. I concentrated on my viewpoint (where I stood) and waited for the right moment to release the shutter. Sometimes it was a fleeting glance, a passing movement, or the way a shadow stretched across the pavement. I kept my approach simple, trusting my instincts and allowing the subject to reveal itself without staging or interference.

In the first part of my series, I captured everyday small moments. I photographed reflections in water, shadows cast across surfaces, and a can of drink left on a bench. These images represent the unnoticed poetry of the ordinary, details that exist briefly before changing or being forgotten. They demonstrate how photography can transform passing fragments of life into subjects’ worth attention.

The second group of photographs came from walks through my neighbourhood. I looked for visual contrasts and textures like fallen brown leaves nestled among bright green foliage, cracks in the pavement and the intricate pattern of tree branches viewed from below. In these images, I aimed to show how familiar spaces can tell new stories when we change our perspective. By paying attention to detail, I simplified the chaos of the world into small, composed frames.

The third part of the series focused on people’s movements. I experimented with shutter speed to reflect the motion of cars passing, people walking crisply frozen with a fast shutter, and a person lying still on the grass. These images were about capturing human presence and rhythm, both movement and stillness.

My final image was of a group of men playing basketball, captured at the decisive moment just as one of them took a shot. Although there are distractions in the background, I believe the energy of the scene comes through. The photograph might not be compositionally perfect, but it captures a real, vibrant moment, which, to me, aligns perfectly with the idea that photography is about “where to stand and when to press the shutter.”

After completing the series, I reconsidered the idea that photography is simple. As Tor Burridge notes, when photographing purely for enjoyment, it does feel simple. But underneath that simplicity are many layers: my understanding of light and composition, the technical knowledge of my camera, and the subtle influence of photographers whose work has shaped my eye.

I was particularly inspired by Miho Kajioka’s reflections on beauty in fleeting moments, and Michele Groskopf’s statement that photography teaches us about ourselves. What we notice, what we’re drawn to, what we value.

This project reminded me that while photography can be as simple as being in the right place at the right time, the emotional connection and deeper intention behind each image add a rich layer of complexity.

Artist Statement

Photography, at its core, is about the moment. A fleeting instant that captures more than just a scene. It holds emotion, atmosphere, and the often unnoticed beauty of the everyday.

For this series, I focused on simple, spontaneous moments: quiet details observed on walks through my neighbourhood and brief encounters with people in motion. These subjects felt natural and intuitive to photograph.

Rather than forcing a narrative, I embraced presence and spontaneity, allowing the images to emerge as I wandered. I paid close attention to my viewpoint and the timing of the shutter, capturing moments that may seem mundane, but carry quiet significance when viewed closely. Each photograph is an attempt to find beauty in the ordinary, to tell a story of a moment that might otherwise slip by unnoticed.

This series reflects my belief that photography is, in its simplest form, about being in the right place at the right time. But beyond that, it’s also about noticing, feeling, and connecting with the world in meaningful ways. As I progressed through this assignment, I realized that photography is simple, until it isn’t. Until you see how your choices in framing, light, and timing are shaped by personal experience, emotion, and influence.

In a world of constant distraction, these photographs offer a quiet invitation to pause, reflect, and rediscover beauty in what’s already there.

Bibliography

Burridge, T. 2021. Photography is Simple. [online] Falmouth Flexible. At: https://flex.falmouth.ac.uk/courses/3432/pages/photography-is-simple?module_item_id=651479 [accessed 29/4/2025].

Groskopf, M. 2016. The Photography of Everyday Life. [online] American Suburb X. At: https://americansuburbx.com/2016/06/michelle-groskopf-the-photography-of-everyday-life.html [accessed 29/4/2025].

Kajioka, M. 2022. Miho Kajioka Interview. [online] Urbanautica. At: https://urbanautica.com/post/miho-kajioka-interview [accessed 29/4/2025].

Contact Sheet

The Power of Context In Photography

As I’ve been exploring the current course materials and reading Terry Barrett’s essay “Photographs and Context”, I’ve been thinking a lot about how meaning in photography isn’t fixed. It changes depending on so many factors, from where an image is displayed to what surrounds it. This idea really resonates with something I’ve always believed: anything can be art if you give it context.

Barrett breaks down context into three types: internal, external, and original. Internal context is what we see in the photograph itself. Its subject matter, composition, colors, and emotions. External context is all about how the photograph is presented, whether it’s hanging in a gallery, posted online, or printed in a newspaper, and what words or images accompany it. Original context involves the story behind the photo, why it was taken, who took it, and under what circumstances.

This has made me realize that a photograph isn’t just about what’s captured inside the frame. It’s also about the world that surrounds it, both at the moment it’s taken and later when it’s shown to others. Its meaning can shift depending on when, where, and how we experience it.

I also found Quentin Bajac’s conversation with Paul Graham really inspiring. They talked about how even if you set out with a strong idea in mind, the real world will inevitably change it. You have to stay open and let yourself be “seduced” by what you encounter. This fluid relationship between planning and perception feels really important, not just for photography, but for creativity as a whole.

Reflecting on all this has made me more aware that as I continue photographing, I’m also building a context around my work. It’s not just about taking “good” photos, it’s about telling a story, creating a feeling, and deciding how I want my work to be seen and interpreted. And I love that. It reminds me that even the smallest, most everyday moments can become meaningful art if they are framed and presented thoughtfully.

Moving forward, I’m excited to embrace this more intentional way of working. Holding space for both my ideas and the unexpected beauty of real life.