Category Archives: 5: Final Major Project

Module 5: Final Major Project

Final – Reflection

I started the MA with Falmouth in September 2016 after seeing an article on the course in a Photography Magazine as I looked for ways to develop my practice with the objective of developing a self-funding fine art practice that I could operate in parallel to the job that would remain my primary source of income and would become a full-time job when I decide to retire from the Financial Services industry.

I only applied to join the MA the August with a course due to start in September. Over that period I was busy writing my first commissioned piece that was due to be published in Professional Photography plus preparing to exhibit as part of a group show in London at the end of September. Based on the above one might ask why do an MA if you are about to be published and are exhibiting.

Though I had got positive feedback on my work from other photographers I did not feel that my practice was sufficiently developed to sustain itself over the medium to long term. My own analysis would suggest that I had developed a high level of technical proficiency in the art of image making over the last 20 years a level, though the images lack a consistent visual language. I started to realise that I would consistently return to tired and tested forms of image making. Photography had become mechanical the process off just pressing the shutter. I am reminded of a quote from Oliviero Toscani “even a donkey or monkey can press a shutter”.

The long and the short in 2016 photographically I had many positives that might be the envy other other photographers yet I am an individual who strives for going further than contemporaries why take the easy route when taking an unknown path can feed the mind and soul.

I set myself a set of goals at the start of the MA:

  • Better understanding of contemporary art language and more specifically contemporary photographic art.
  • Identify other photographers who stylistically and content wise could be considered a contemporary artists
  • Converse with art lovers, gallerists, journalists and contemporary photographers about my own work using contemporary art language
  • Able to develop a clear visual voice and present that consistently across a body of work and eventually across multiple bodies of work

Now as the MA journey reaches it’s point of arrival as the train eases into the terminus I look back on the journey and feel confident that I may not have attained full mastery against those objectives I am much better place to develop my practice into the future.

I have a better appreciation of the different elements of contemporary art photography and the different aspects of the domain able to identify different trends and identify the artists that are broadly attributed with the creation of that specific genre such as the likes Cindy Sherman, Angel Adams and other notable photographers that pre-date me. I can quote contemporary photographers who stylistically have associations with my own work. I am more confident in galleries and shows to analyse the work of others and draw my own conclusions. My photographic voice is clearer than it was 2 years ago. The final word on the definition of the methodology that defines my practice will have to wait until the day I stop creating new work. Until that date I will do what I have always done is take an idea or though and develop it and weave it to suit my own purposes. I feel it will only be possible to unpick and analyse practice in totality at that point in time.

Author, 2018, The show is over

In closing this journal

“And now we’re through
The show is over
The audience is walking out the door
You know it’s true” (Faith, 2009)

Reference

  • Faith, P., 2009, Smoke & Mirrors, Do you know the Truth or Something Beautiful, Sony Music, London.

 

Moving on up – Interview

In June I was approached by the organiser of PhotoLondonShow to exhibit at their next show in October at the Bargehouse an exhibition space that is part of the Oxo Tower complex on the South Bank of the Thames. The show is a group exhibition where my work would be show next to work by other photographers. The Bargehouse is a large building with multiple rooms that can be used to exhibit work. I have been allocated a dedicated room for my work a windowless space 9m x 4m so in some ways it will be like hosting a solo show where I can use the room as a frame for the works and not be worried about how other work in line of sight of my work might influence the reading of the space. I have decided that I will create a completely new set of work for this show rather than use it as a retrospective of the different bodies of work created “City Canyons”, “Childhood Memories”, “Last person to leave turn of the tap” and “Points of Departure Tilbury to Harwich”.

Anyway I digress from the purpose of this journal entry “Moving on Up” the title of an M People song was to record life after the MA. Andrew Mason the organiser of the PhotoLondonShow approached me to explore if I would be happy to do an interview that would be shared as part of the overall show. We agreed to meet on the 21st August in Borough Market for the interview. I was expecting the interview to last about 30 minutes cover a number of generic questions that typically get asked in photographic interviews. I was very wrong the interview lasted well over an hour in the end.

It covered all things photography things that have influenced my photographic practice since my first ever picture on a Kodak camera in my pre-teenage years. I discussed the transformation from being a technical photographer to being an art photographer where visual storytelling is the main reason why I pick a device for image capture. The conversation covered sources of ideas which for me are very diverse, typically I have an idea that will triggered by a new article or an observed aspect in my life. That idea gets recorded as a sentence in my book of project ideas (these days I use my iPhone) and over time I review those entries, add extra details that I think might make the project interesting and eventually the idea will be sufficiently formed to initiate the project.

We discussed my aspirations for the practice and the desire to attract patrons who would support the practice financially and contribute to the projects. The project for the show at the Bargehouse is a light hearted project that is comment on social media after that project is delivered the plan is to embark on more serious long term project that explores 20th century history of industry in Chelmsford.

[pdf-embedder url=”http://fineart.photography/wp-content/uploads/2018/08/Bargehouse-all-floors-floor-plans.pdf” title=”Bargehouse all floors floor plans”]

 

Reference

  • M People, 1993, Moving on Up, London 

Whitechapel Gallery – Activity

Whitechapel Gallery on a monthly basis organise an tour of exhibitions in South East London and my exhibition was selected as 1 of the top 5 exhibitions. They arranged with the gallery that the tour would visit the gallery as one of the last stops on the tour and therefore I arranged to keep the gallery open until 9pm for the tour.

Author, 2018, Spectators in the gallery

Being featured on the Whitechapel Gallery website resulted in a steady stream of visitors to the gallery through out the evening with people asking questions about the exhibition and my motivation for creating the work. Some of the people had very personal stories about the impact Brexit would have on them. I was a asked by one group if any pro Brexit people had visited the exhibition? My view is that I have tried to put on a show that does not show bias for leaving or staying part of the European Union instead I am asking the question ‘What do you want from the future relationship with the European Union?’

The main group from the Whitechapel Gallery arrived at just after 9pm and I provided the group with a short talk about the work and answered questions from the audience. A gentlemen from Austria asked me why I referred to the United Kingdom in a way that suggested it was not part of Europe. Though I felt I had not displayed any form of bias when creating the work my use of language could lead someone to infer that I felt the United Kingdom was somehow separate from Europe. Whereas the gentlemen felt that the United Kingdom was indeed part of Europe. This has made me consider my use of language and how that might infer unintentional bias in the way I communicate my projects. Another person commented on the melancholy colours from the blue hour landscapes and the haunting effect it created within the space.

The Whitechapel Gallery tour provided an opportunity for additional exposure, it provided me with additional feedback that I can take into my practice for development of this project in other locations and future projects. The visitors had the chance to hear directly from the artist behind the work instead of having the intent translated or replayed by an intermediary which can result in additional meaning being inferred on the work that does not exist.

Private Viewing Evening – Activity

The evening of the 1st August was ‘Private Viewing’ for the exhibition and a group of friends and family were invited to attend the exhibition. This evening was the one where I expected to get most feedback on the work in the exhibition.

The private viewing was attended by about a 1/3rd of the people I invited to the event, however the feedback was very detailed with questions being asked about different elements of the exhibition.

The public outcome for this project is an exhibition which provided an opportunity to hear directly from the people engaging with the work. Overall the people who visited the gallery were positive about the work and the narrative presented within the gallery they could associate the images with the current stage of the Brexit negotiations.

In Zone 1 people were unsure if they should or interact with the work some did press the morse key to hear the message which achieved resulted in curiosity to understand more about the work look beyond the obvious, recognising the other icons of departure which changed they way they read the images in zone two.

The photographs in zone 2 invoked different meaning for people there was a general interest in the portrait images and the structures below the piers. One person felt said the images reminded her of the pier on Coney Island. She was interested orientation of the pier to the waters edge.

A number of  people expressed preferences for certain images in the show. The most popular of the portrait orientated images was the image from underneath Clacton pier which I think is particularly strong due to the orientation of the pillars and the 3 dimensional nature of the work.

Author, 2017, Institutional Provisions

There were 3 landscape images that viewers liked the most and these where two images of boats and the last image was the landscape image that I had selected for exhibition invitations. I felt that these images worked particularly well due to the blue tones and the point of focus within the image.

Author, 2018, Marooned Citizen

           

The images within the hang contained a number of diptychs which readers recognised as such. Though the pairing that was less obvious of Walton and Clacton piers arranged to represent arms that meet together was recognised a message of coming together to reach an agreement.

Author, 2018, Reaching Agreement Part 1
Author, 2018, Reaching Agreement Part 2
 

 

 

 

 

 

 

 

 

 

 

The triptych of Southend-on-Pier framed on deckchairs achieved the desired effect of acting as a focal point to draw people into the space and generated surprise when they realised the objects framing the images. One spectator said the colours reminded her of Tokyo, though she found other elements such as the bare tree disturbing and the lights along the pier created a sense of uncertainty for the future.

Author, 2018, Waiting to Depart

Installation Day – Activity

Installation day had arrived the keys for the gallery were collected on Monday evening. All the exhibits were boxed up and ready for transportation. Due to the size of some of the larger items a transit van was arranged to transfer the items to the gallery. I had arranged for my help in the form of my father to assist with the installation.

Step 1: was to setup the GoPro to record the installation timelapse which was placed by the door to provide a complete view of the gallery. On the basis that the installation would take several hours to complete my initial estimate was 2 hours I decided to set the GoPro to record an image once a minute creating a very short timelapse.

Step 2: was to unload all of the items from the van, placing the prints to the edge of the gallery and the other items in the centre providing an opportunity to check that everything that went into the van was now in the gallery.

Step 3: was to in pack the prints and place them against the wall as per the install layouts completed the previous day. Then the items in zone 1 were positioned to confirm the balance with the prints. I decided on 1 minor alteration to the layout moving one print from the right wall to the left wall.

Step 4: I had purchased a laser level to ensure that the envisioned linear hang could be executed as intended without the need to be constantly using a spirit level that extend the install time. The level was set for the top of the prints and was adjusted by placing a print on the wall until we were happy with height. The laser level was then locked in place on the tripod for the remainder of the install.

Step 5: Print hanging the prints were to be mounted to the wall using velcro so we setup a production line to cut 4 8cm strips for each A2 print to be place in the corners. Leaving the backing tape for the strip that would adhere to the wall on until the point of installation. Mounting the strips vertically on the prints provided the opportunity for micro adjustment of the level if they were not attached in the correct position first time. For the A1 prints the strips were doubled up to compensate for the extra weight of the print. The main concern being the adhesive not working as effectively in the exceptionally hot weather. Then it was a case of attaching each print to the wall initially starting with the landscape prints followed by the portrait images.

Step 6: Installation of the deckchairs. Unpacking the prints for the deckchairs revealed the fact that the top and bottom leaders that had been part of the original print sent to theprintspace had been trimmed off. (Note: I should have checked this when collecting the prints.) This meant I was not able to use the intended installation method that consisted of tension wires connecting the top and bottom of the prints to create a continuous loop that could then be adjusted to align each panel and create a level. It was necessary to create a revised installation method using the resources available. After careful consideration I decided to use the canvas of the chairs as a substrate for the prints and attached them using Velcro similar to the method used for the prints on the wall. This created a small amount of sag in the print which I felt was a better reflection of a chairs fabric than the tensioned version in the initial install method. The hanging frame was mounted to the wall and then the 3 deckchair panels were placed on the hanging frame to complete the installation.

Step 7: Installation of the shelf for the Article 50 alternative methods of delivering the message. The installation was seamless with the Morse key attached to the shelf using double sided tap. The message in the bottle was placed on the shelf and the Raspberry Pi responsible for playing the morse code message was attached underneath. The speaker was placed on the shelf though it would have been nice to have had more time to create a period version of the speaker instead of using a modern speaker.

Step 8: Installation of the video screen. The installation was easy and only required the attaching of cables and the securing of the second Raspberry Pi to the back of the monitor. Installation complete it was powered up to confirm everything operated as intended.

Step 9: Wall Text install. Rather than having a wall text painted directly on the wall which would have taken several days to complete the text was printed on clear adhesive vinyl to achieve the same effect with a shorter install time. Given the risk of creasing or getting bubbles in the two large pieces that made up the wall text it was decided to leave the backing paper on and attach the print to the wall using spare Velcro. In this case 12 pieces were used for each of the two sections. This allowed the item to be installed in a matter of minutes rather the 15 to 20 minutes that would have probably been required if it was attached using the vinyl’s own adhesive backing.

Step 10: was placement of the last installation piece the luggage in the gauge which was used to prevent people falling down the step to the toilet.

Step 11: Having placed all of the items in the gallery the final task was to adjust  lighting in the gallery. Based on the advice of the gallery each print was light by two lights one cool and the other warm to create additional pop for the prints.

 

Reflection:

The installation process in the end took 4 hours to complete more than double my initial estimate. Though the installation had been designed from the outset to be completed as a short handed install it was clear that it required a minimum of two people to install. Overall given the duration of the exhibition the overall installation time felt appropriate a longer exhibition period would have afforded the opportunity to make the install space more closely reflect the subject being explored within the gallery.

Final Layout Pre-Install Day – Activity

During the last couple of month I had explored a number of different layouts and printing and framing options. The prints for the exhibition are now printed and I am happy with the decision to hang the work in a frameless images however the the exact nature of the hang still does not feel correct. The version with the portrait prints at different highs on the wall is interesting though I would like to have a large number of prints and of the same location and position them to reflect the tidal cycle of the coast.

The fourth layout where the landscapes and the portrait images are on separate hang lines for me does not really work with the width of the gallery or ceiling height as one set of images will either be too low with the other set too close to the ceiling. In a different setting the configuration might have worked.

I therefore decided that a final layout was required before taking the work to the gallery, as I prefer to have a hanging plan defined before installation day. This approach allows the hang to progress smoothly and avoids late changes that can delay the hang and ultimately cause frustration with the team. The installation team was only going to be two people and we had 23 prints to hang plus multiple other pieces to install.

For the final hang layout I decide to retain the concept from Paul Graham’s MOMA exhibition ‘Shimmer of Possibility’ and the concept from the Magnum Portfolio review. The hang was based on a constant line running round the gallery which would represent the top of all of the images. This would place the centre of the landscape images at the average adults eye height. The images on the left and right wall would be organised into the 7 groups based on the EU Withdrawal Agreement, 3 on the left side and 4 on the right side. The portrait orientated images were then grouped with between 1 and 3 landscape images. Some of the landscape images arranged as diptychs. Creating the effect that the portrait image then formed a diptych with the landscape diptych conveying additional meaning within the overall context of each image group.

Figure 1. Author, 2018, Left Wall 1
Figure 2. Author, 2018, Left Wall 2
Figure 3. Author, 2018, Right Wall
 

Magnum – Portfolio Review

The timing of the Magnum event meant I decided to take a very limited set of images for the portfolio review. My intention for the review was very focused really looking for only two pieces of feedback rather than a broad feedback that I had sort during earlier stages of the projects development.

The first piece of feedback was from Harry on the transformation of the project from an exhibition outcome into a book based outcome. He reviewed the images and made a number of suggestions on how the book could be constructed. Reviewing the images he felt that the image of the boat moored at Two Tree Island could act as a focal point for the narrative. The boat either representing a single person or the United Kingdom as a collective unit. He then suggested that the boat could be cut out and placed as the sole object on the page. The suggested that the repeating the same images over multiple pages could encourage an interesting discourse between the reader and the book.

Author, 2018, Isolated Boat

I explained about the use of diary entries on the wall text to tell the narrative which he felt was a clever method for articulating the narrative.

His final comment for the creation of a book was to push the design concepts to the extreme, otherwise the book would end up looking like any other photobook. Pushing design to the extreme would allow me to explore different possibilities as he felt as you explored this bigger envelope eventually through evolution you land on a layout the as a designer you feel amplifies the body of work in to something that is greater than the original component parts. This provides me with an avenue for exploration to create a book dummy that could then be entered into book dummy competitions over the next 12 to 18 as the subject material is going to remain relevant in the short to medium term.

The second for portfolio review was with Fiona Rogers, I showed the same set of images. In this particular review the feedback from Fiona was that some of the images included did not support the narrative and she felt that those images looked like strong commercial images rather than fine art images. Once those images were removed from the selection she then felt the narrative was evident in the work . This feedback acted as a validation that during the selection process I had made the decisions for the overall project rather than purely based on the strength of individual images. For me this was further confirmation that a a photographer I have developed away from the creation of single images towards being able to express a narrative across a series something that I felt was important in my development during the MA.

Author, 2018, Magnum Portfolio Review Selection 1
Author, 2018, Magnum Portfolio Review Selection 2

 

Magnum Photography – Financing Personal Projects – Nicola Shipley

Nicola Shipley Director, GRAIN Projects, Curator

Nicola Shipley works as a Producer, Curator, Project Manager, Mentor and Consultant, specialising in photography. She is Director of GRAIN Projects, based in Birmingham UK, delivering a range of projects, commissions and exhibitions in collaboration with photographers. She trained as an art historian, has an MA in History of Art, and a background in the visual arts, including in commissioning, exhibitions, collections, public art, artists education and professional development.

Nicola works with organisations looking to apply for funding from organisations such as the arts council. Her talk was aimed to provide the group with guidance on sources of funding plus advise on the funding process itself.

Nicola initially walked through the different sources of funding that include Arts Council, Trusts, Companies and other bodies. She explained that certain types of funding are not open to individuals yet if you establish a relationship with an organisation, they can apply on your behalf.

Many grants stipulate or expect a level of matched funding that can be as low as 10% of the funding requested. Though the matched funding does not need to be money and in kind support. Big corporations are setting up funding schemes as part of their corporate social responsibility agenda.

Alongside the Arts Council there is Heritage Lottery funding that is less difficult to secure than Arts Council funding. When applying they are looking for information on the audience for the work and how you intend to engage with that audience. There are grants available for developing your practice if you can justify why certain skills need to be acquired as part of your project.

Only 10% of grant applications are successful. Project applications are more successful if they do not last longer than 12 months and the project can not start prior to the grant being awarded. Though some level of research is likely to be required to document the project and its objectives.

Applications for the Arts Council and a number of other funding applications take place on Grantium. Registration on the system can take up to 3 weeks therefore it is important to allow sufficient time for that step of the process. Once you have established a track record you are more likely to be successful with subsequent applications. To apply as a collective you need to have a written governing document and a bank account.

Nicola suggested that the Arts Council funding template is a good starting point for any application as most funding bodies will be looking for similar information. Given the importance of audiences in arts outcomes Nicola suggested that it is important to look at research into audience development that in many cases can be found on the funding organisations website.

Evaluation of funding applications are a mix of quantitive and qualitative assessments. Many applications fail because things like budgets do not balance or sections of the application have not been completed. Budgets are expected to include payment for the artist. The budget should include estimates for time provided by consultants/experts even if their time is provided in kind rather than expensed. Funding applications should not include capital items as the benefit should relate to the specific project. For UK applications it takes about 6 weeks to get a response to your application within a funding round. Applications can be resubmitted but should be adjusted before being resubmitted. Some funding sources have a limit on the number of time that you can submit a specific funding application.

Nicola suggested partnering with someone who has experience of successfully securing funding to avoid making simple errors that can cause an application to get rejected plus it helps establish credibility. Other tips include making sure you do not start the project before funding is awarded and structuring the project into phases if it is going to last longer than 12 months. It is also advisable to request smaller levels of funding until your track record is established.

Magnum Photography – Financing Personal Projects – Fiona Rogers

Fiona Rogers Global Director Business Development, Magnum Photos, Founder, Firecracker

Fiona Rogers has worked at Magnum Photos since 2005 and is currently the Global Business Development Manager. Her responsibilities include Magnum’s strategic partnerships, brand exposure and new revenue streams. Prior to this she was the Cultural & Education Manager, founding Magnum’s educational department in 2007. She established Firecraker in 2011, a platform to support women in photography through online features, events and grants. Prior to Magnum, Fiona was employed at a popular London gallery and studied BA Arts Media at the University for the Creative Arts in Surrey. She holds a postgraduate certificate from the London College of Communication in Creative Enterprise Management.

The traditional economic model of photography has changed with the reduction in commissions paid for documentary photography which as core the Magnum’s financial model. This has required Magnum to shift its economic model with the introduction of a new platform. Magnum publish different stories and at the end of the story provide links to purchase items related to the story. The strategy relies on a content first strategy and then a conversion process that generates revenue based on the story. Magnum have a strong social media following and use that amplify the awareness of stories via their social media channels.

Be a thought Leader

To stand out in the photographic community it is important to become a thought leader however there are people who do thought leadership badly and other who do it well. Fiona suggested that though Joe McNally portrays himself as a thought leader in reality he editorial work is more about self-publicity. In contrast she suggest Danielle Zalcman and her Women Photography site was a good example of an individual who is promoting women photographers more generally and therefore is acting as a thought leader.

Safety in Numbers

We traditionally view photography as a very solitary activity yet Fiona suggested that by banding together photographers can become stronger and as a result amplify their message. An example of this is the project Postcards from America (2012) where Alec Soth and a number of other photographers brought a camper an a toured America arranging local shows and they funded the project by people purchasing postcards that photographers would send to the individuals funding their project.

 Do something interesting

If you want your personal projects to get noticed then a novel or interesting way of promoting your work can help get your project funded. Fiona gave Naomi Harris’ project EUSA as an example of innovative funding. The project explored America themed placed in Europe and European themed places in the USA. Naomi then dressed up in different outfits to promote her project via a successful kickstarter campaign. Using social media to help promote your campaign can drive a following however people now expect high quality campaigns so it requires a plan with strong execution.

Fiona spent some time to explore some other photographers. The first example was the work of Anastasia Lynd which was an original take on the conflict in Ukraine. Her project was funded by sending a postcard from a person killed in the Ukrainian Conflict to fund her project into the subject. Chris (Magnum Photographer) undertook a project on diversity as it is said that London has representatives of every nationality.

Get a second job

Having a second job can help fund your personal projects as getting funding is not easy to secure. Alice Tomlinson is an example of photographer who works as a wedding photographer which helps fund personal projects.

Collaboration

Collaborate with friends who have other skills such as if you are not a creative writer collaborate with a writer.

Create a call to action share a teaser of your work to get people interested in seeing the show.

Applying to open calls and grants can be a great way to gain visibility especially if the people judging the open call are people you respect.

Fiona recommended Instagram as the best social platform for photographers to share work as there are organisations commissioning work directly from Instagram. Fiona did share a note of caution with Kickstarter as she felt the platform has evolved and people expect to receive a physical product as a result of their funding your project.

 

Fiona’s key message is

  • Be patient
  • Be dedicated
  • Be committed

Magnum Photography – Financing Personal Projects – Antoine d’Agata

Antoine d’Agata MAGNUM Photographer

Born in Marseille, Antoine d’Agata left France in 1983 and remained overseas for the next ten years. Finding himself in New York in 1990, he pursued an interest in photography by taking courses at the International Center of Photography, where his teachers included Larry Clark and Nan Goldin. For his first books of photographs, De Mala Muerte and Male Noche, d’Agata travelled the world to document characters of the night’s further edges: prostitutes, addicts, war-torn communities and homeless. The books were published in 1998. In 2001, he published Hometown and won the Niépce Prize for young photographers. Compiling intimate and provocative images, the book focused on his travels in France and personal journey. Traveling around the world, documenting his personal experiences and encounters, d’Agata continued to publish regularly: Vortex and Insomnia appeared in 2003, accompanying his exhibition 1001 Nuits, which opened in Paris in September. His latest book, CODEX, Mexico 1986 – 2016 was published in 2017 by Editorial RM.

Antoine d’Agata is a Magnum Photographer who explores the world of drugs, sex, fear and addiction. For many people his work is controversial partly due to the subject matter and the fact many might perceive that he is exploiting vulnerable people on the fringe. Antoine explains it differently that he is photographing people that he has got to know from the world of night and he is opening a door on this world with the agreement of all participants. This is a world where Antoine frees himself from thinking entering a state of flow. In many cases he is no longer the photographer instead asking others to take photographs of himself and the women in his life.

Antoine created a short video of the images which he shows. There is a continuous beat to the music it reminds me of a heart beat that is raised drawing us into the visual experience. Image of sex and drugs are interleaved. Sometimes single images other times there are 60 or 100 images as strips on a page.

Antoine talks about his work in terms of night and day. He has a desire not to contaminate his work with the experience. He immerses himself into the world of night when making work. He describes the creation of books as a way for moving forward. (Reflection: I feel this is a short of unloading of experiences, to free his mind to allow  immerse himself into a new set of experiences where he pushes himself to the boundary and maybe sometimes beyond.)

He reflects that photography helps define your position in life. Photography is exciting due to the development of new techniques yet it is dangerous  because of the ways it is used. The night world is free of controls while the day is more frightening because of the way images are being controlled similar to the way people have been controlled by religion or politics or economy.

He recognises that he has become associated with blurred images as result of the techniques and strategies used to capture the images. Now he is looking to transform his image making to react again those old strategies, developing new strategies that allow him to capture the intensity of the dark side of the world.

He views his work is a challenge to society and the overall system:

  • Girls are speaking about their life of sex, drugs, violence, self harm.
  • The work has helped some of the girls to step out of the night world
  • He has published 45 books yet each book has been published with different publishers.
  • He exhibits concern that others in the industry, publishers, agents, editors are exploiting photographers.
  • He says that photographers should look to use the system and not get used by the system. Generally he feels we give up too much to get into the system.