PHOT301 - Mileage May Vary - An Evaluation
The first portion of this project has gone already? Those people weren’t lying when they said it’ll go fast once third year comes around. And this evaluation marks the end of PHOT301, which is the early stages of the FMP, featuring all of the research and planning of ones project. Although this is only the beginning for what I finally titled ‘Mileage May Vary’. This project is the culmination of a majority of previous works all the way back to my access course, which started in 2016. The seeds of MMV were planted all throughout my tenure at university, with elements from PHOT103, 104 and 201.
Rover 75 - Mamiya 6 IV - Cinestill 800T
PHOT202 is where my work took a turnaround. That whole project was a massive mistake: start to finish. It had the right intentions from the get go, and was meant to let off where Alienated Spaces left off. However, I felt alienated about a project about alienation as I was trying to convey something that had dwindled over time. This lead to me leaving anything contextual behind and focusing purely on taking images for the sake of images. It was during this time of making images without any substance, I thought of a project that documented cars that managed to escape the 2009 Vehicle Scrappage Scheme. Annoyingly, this thought came to me when I was a good way through PHOT202 and wasn’t able to go through with changing an entire project, but I wanted to keep hold of it for a summer project, which then turned into my third year work.
The summer time isn’t a conducive time of year for my to be working, as I find the harsh sun and long days uninspiring and the weather is always too hot. That may come across as whiny, but it is just how I feel about the summer. I managed to get one measly shoot in before university started again in September, yet it was interesting to see where my head was at, in terms of composition and creating images. This managed to lead me into a practice that as mostly self lead, but also included an amount of research to back up what I am doing. Although, I piqued up my reading on hauntology, and came to the realisation that it has been omnipresent without my knowledge since the very early days of the degree. Hauntology is something that took me a long time to get my head around, as the first interaction of it was convoluted. However, with much more reading on the internet, and Mark Fisher’s writing made it a lot easier to grasp the spectral haunting of our society. Fisher has always been an accessible writer to me, and makes somewhat complex theories by making them link into something contemporary, which I find a lot easier to digest. I found Derrida’s original text about hauntology was difficult to take in and only made me hate it. Fisher does a good job in making some palatable without dumbing it down.
The other aspect that informed my practice was governmental data about the VSS. Thankfully in 2014, the government released the numbers from the scheme, which detailed how many vehicles were scrapped between 2009/2010. However, there are some detailed discrepancies with the data as it was all taken from different sources, and those sources were each and every dealership that received candidates for scrapping. Despite this, it was interesting to see the ‘reality’ of the numbers regarding the vehicle scrapping. Perhaps in the final stages of MMV, I should look at the highest number of scrapped cars and document them.
Shooting the project was potentially the easiest experience as of yet. The process of finding subjects was mainly walking the streets of towns and cities. There is no way to gauge what one is going to find as its impossible to know what cars are on what street, with the only way to know is to find out. Finding the right subject was a form of trial and error, with a lot of the cars mainly on the streets now won’t be affected by the VSS as they didn’t exist. Some models did however, but the date on the registration plate would place it after the scheme. The technical aspect was no problem either, as I am now fully proficient and reliant on shooting film for personal projects.
There also wasn’t many issues regarding shooting apart from the exposure issues, which was down to me, and the same roll being slightly damaged by the processing provider. These can be overcome by making sure the equipment is in place, and changing where I process my film for colour. Whilst that may cost slightly more and take longer, its the peace of mind knowing that it probably won’t be damaged by a rushed process.
Volkswagen Type 2 - Canon EOS-1 - 50mm F1.8 STM - Kodak Ektar 100
Taking the photos was a breeze, as I knew what I was looking for and taking. Although, what is included in the photographs has varied over the course of the project. It started with composing the majority of the vehicle in frame, but after talking to Jack Latham, it seemed like a good idea to focus more on the details of the car. I was including things like scrapes and dents, as this shows that it has been used and knocked over the years. But, I was featuring these points whilst the vehicle was mainly in view. I have mixed these together instead of limiting myself to one kind of composition.
One thing I would improve upon is shooting more medium format images for the higher fidelity of negative. I only shot one roll of medium format during these stages of the project, and this was the roll of which I had a shutter speed issue and the roll of soiled by MyPhoto. One thing I would like to experiment with the Cinestill CS41 kit, which allows one to develop colour film at home, with the same process as B&W. This makes it a lot easier to develop colour, as it is a finicky process with tight tolerances with temperature. I also decided to disregard shooting black and white, as I wanted to document the pragmatism and realism of the vehicles.
The photo book is something that I feel my work lends itself to, as it can contain a narrative bundled together in a handheld package. At this stage, I didn’t want to produce a self published book as it is still the early stages of MMV. However, I did want to make something that contained these elements, but had a level of experimentation to it. This is where the ‘zine’ comes into fruition; although I am not sure what to call it, as its a mix of a photo book and work in progress documentation of what I want to create further down the line. I made the online/PDF version on Canva, as it is a free and powerful tool to create graphics and documents. Once I knew what images I wanted and how to display them, it was rather easy to create. The cover was the most challenging aspect to this, as I knew I didn’t want to just have a photograph on the cover, and I wanted to resurrect my graphic design work. For this, I utilised one of my images and editing it with GIMP, a free alternative to Photoshop. The cover contains semiotics to the entire project: cars are the sole image on the cover which reflects on the project’s subject, which is coloured red to signal the Labour government’s scheme and the bitmap effect was to give the illusion of newspaper articles about the scheme/news. This is a style that I would like to go back to and hopefully keep using for the next portion of the FMP.
Being informed and influenced is something that I written about being somewhat difficult for me. Whilst I do digest photography on a regular basis, only some of that actually makes an impression. I can appreciate a nice photograph, but it rarely gets my creative juices flowing. Although once in a blue moon I will stumble across a practitioner that just gets me. Once of those is the little known Vlad Tretiak; a Russian based photographer with a partial social media following. His work manages to intrigue me in a technical aspect as he shoots medium format at night time, as well as the subject themselves. I have always had a fascinating with anything Russian and Soviet related, and this manages to meld in my love for cars. Chris Dorley-Brown was tuned into me by Jack Latham, and Dorley-Brown’s work focused on the portraits of motorists stuck in traffic during the summer of 1987 in East London. I rarely enjoy photographs containing people, but it made me think that my work as portraits of the cars themselves. I also was inspired by Franck Bohbot, who I looked at during PHOT104′s Economy project. These practitioners, as well as the contextual research of hauntology has spearheaded me into a well informed project, which after PHOT202 was much needed.
Citroen Berlingo Aftermath - Canon EOS-1 - 50mm F1.8 STM - Kodak Colour Plus 200
Where does this lead me for the final stage of the FMP? With all of the now previous work, I feel as if I have a good project on my hands and that I can take it far. It feels as if I am finally undertaking a project that I am actually enjoying to shoot to produce, in addition to not feeling like it’s died as soon as it has been handed in like previous projects. The premise of this project was on my mind for a while and I am happy that I can finally undertake it, and take it into the future to wherever it will take me. What I have produced is something that I am proud to have my name to, and it has garnered some good feedback and constructive criticisms. The work flow shall continue after PHOT301, and any film started before, and hasn’t been finished before the deadline shall be used for the second portion of the FMP. With the continuing stages of MMV, I plan to still use the compositions of full car and close up detailed shots, but I would like to incorporate the numbers/statistics of the cars that were scrapped - possibly even photographing a selection of the most scrapped vehicles from the government spreadsheet. The prints will also progress, as I plan to print at least A0 for Free Range and accompany them with a layflat ‘coffee table’ style book, detailing an edited down selection of all vehicles photographed during the project. Technically, I would like to utilise more medium format and find a more uniform visual aesthetic in regards to tones. This would mean possibly shooting one type of film and edit them accordingly. Although I would like to use some expired film to add to the hauntology of the photograph, as well as using a film stock that co-exists with potential vehicles in frame. If multiple stocks are used, I shall to the best of my ability edit them so they are visually similar with little difference between them.
I feel that this has been the most enjoyable project to date, as it has been totally up to me with what I do, instead of interpreting a brief and making my work fit it some how. With this, I have been totally free to create what I want to create in a professional and informed manner. I am looking forward to seeing what the future brings for this project.
