Developing a project

Don't restrict yourself

There is no single method of developing a project and often it is a long and engaged process with many cycles that involves many stages of intuition, taking images, critical analysis, experimentation, research, etc,

While art theory can add a great deal to a project - a problem I have observed with some theory driven projects is that the images often become illustrations of a theoretical position. Rather than offering a means of interpreting work, the theory might be seen as a rigid commandment from a rigid bible and restrict the dialogue between the artist and the creative process of making. Like wise a photographer might place a set of rules on the way they work that limits the outcome. However some projects without a theoretical basis can also lack meaning and offer limited or obvious avenues of interpretation.

Be child-like - Making art can be a wonderful mysterious journey - in the process of developing a project we can discover more about who we are and our place in the world – it is an opportunity to become playful in a child-like way again, to create our own universe. Learn to be open to opportunities that come along.

Engage in Sketching - One method of working is to use the camera as a sketching device, when you initially approach a subject don’t be too analytical, try to approach it with an open mind and all your senses, let things beyond your control to happen, allow the process to intervene, explore all manner of possibilities - shutter speeds, blur, aperture, depth of field, exposure, focal length of the lens, perspective, view point, lighting etc. Ask the question what happens if I do this? There is a great series of works by Painter John Wolseley where he took sheets of fine art paper and simply let then blow around in an area where a bush fire had been.  In his absence, the marks on the sheets were formed entirely from natural processes. After three weeks he retrieved as many of the works as he could find. They not only had an intricate series of delicate black marks from the charred trunks they had brushed against, but they had formed the most interesting 3 dimensional shapes.

Practice - As a trained musician, Ansel Adams always felt that photographers never practiced enough. A musician does not simply step onto the stage and play - there are hours of practice that go beforehand. However he observed that many photographers expect to produce a command performance without familiarity of their instrument (the camera) or any experimentation or practice of their craft.

Shoot Lots - edit heaps
This does not mean be sloppy and shoot everything that gets in front of the lens - so while you want to develop a critical eye and shoot images that count - you also want to shoot a range of images that allow you to edit the best images to work on. If you spend days getting to  a remote location make sure you get the shots you were after - If you are using film - check the exposure several times before you take the image - if you are  using digital, check the histogram to make sure the exposure is right. If you don’t know how the histogram works spend the time to find out.  You might like to use a tripod etc.
Look at taking photographs as a form of meditation, take your time – take 6 deep breathes prime your senses and ask what has motivated you to take this image.

Play Snap - Rather like a game of Snap - go through your sketch images and look for aspects that relate to each other - perhaps the aesthetic matches - perhaps they carry the same idea or emotion. Place them in piles - some images might fit into several piles. Before digital, when I worked with analogue I would make enlarged photocopies of my proof sheets and cut up the images - now I tend to work with the images in photoshop. When you are selecting the final images for an exhibition - sort the images every week or so and see which images keep landing on the top of the pile. Have friends do the same thing and see how their selection relates to your own.

Play with Scale - Once you ave decided on the final images, experiment with scale - what size works best for the images.

Go back and reshoot

If you feel you have not got the shots you really need - if possible go back and reshoot - make sure you time the season - weather - time of day etc. to get the most dramatic shots. Often spending a lot of time at a particular place can give a greater understanding of the landscape than endlessly driving looking for a good shot.

Experiment with presentation - There are many ways photographers have discovered to present their work - each has its own advantage and disadvantage - each carries its own syntax. Individually framed works using archival materials can look fantastic and protect the work - but they are expensive and become difficult to transport and store. They suggest a traditional approach. There is also a large investment if the work does not sell.

On the other hand, dress making pins have contemporary feel, they are cheap and the work can simply be rolled up and slid into a tube to transport and store.

Save Money - re use your frames

While it has certain restrictions - it can be cost effective to make a set of stock frames that allows you to re-use the frames for several series of works.