Some of us in the German Bight cohort recently arranged to hold one-to-one peer reviews of each other’s work. I teamed up with Victoria Smith. We each spent a few days reading the other’s CRJ and reviewing work in progress, then we shared our impressions in a Zoom call.
I found the process immensely helpful. I think it was Martin Parr who said that when it comes to reviewing one’s images, the easiest person to fool is oneself. For a photographer, it is too easy to become caught up in the experience of making the image and to forget that a viewer will come to the image in a much more objective way. This is why culling one’s darlings during curation can be so difficult.
Victoria suggested that I might find it helpful to involve myself more with my peers and the cohort. She is quite right: I have a tendency to be a loner and can often forget to connect with others. She also suggested that I might find it helpful to look more at the work of other photographers in a similar field to that of my Final Major Project. This is another spot-on suggestion. In fact I have looked at several photographers by now, such as Keith Arnatt, John Gossage, Fay Goodwin, Lucas Foglia, Chloe Dewe Mathews and Willie Doherty, but I have not yet written them up in my CRJ. In addition, not all of them are current practitioners, engaged in the kind of project I might see covered in the British Journal of Photography or in Aperture, or shown in an online talk. While it is very important to be aware of the major past photographers in one’s field, it is one’s now-active peers that contextualize the work one produces and against which one is likely to be measured. This feeds into commercial considerations when it comes to pitching for work or entering competitions, for example.
Further suggestions included considering my audience more fully, looking at including historical artefacts in my work such as old maps, paintings, woodcuts, implements and so on, and looking at more fluid and flexible layouts. Finally, Victoria suggested that I look at the work of the sociologist Zygmunt Bauman in, for example, Liquid Modernity (Bauman 2000) – a new field for me and so very helpful.
So overall, a great meeting. I only hope that my suggestions to Victoria with her own practice were as useful. Her own Final Major Project, Uncanny Bodies, is completely different from mine (Smith 2021). But this just made the process more interesting and more challenging. It is always good to be stretched by considering new things outside one’s comfort zone and, besides, her work has led me appreciate some wonderful photographers such as Viviane Sassen and Annie Collinge.
BAUMAN, Zygmunt. 2000. Liquid Modernity. Cambridge: Polity Press.
SMITH, Victoria. 2021. ‘Critical Research Journal, Photography MA’. Victoria Smith [online]. Available at: https://photographycriticalresearchjournal.wordpress.com/ [accessed 6 April 2021].