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Apologies for the order of these photos, I feel like they are still somewhat readable as a series but Padlet makes it very difficult to re-order them. Also apologies for the censorship, Padlet is very anti nipple

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I was so mesmerised by these photos. The way bodies become landscapes just because of the field of view created by the camera is so interesting. Again, testament to the power of black and white photography to manipulate our perception of scenes and objects

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I would love to learn how to combine negatives like this in the darkroom

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The contrast of the uniform white sky with the subject's angular features and the jagged rock face is very effective

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I love how Brandt creates the limitation of using a landscape camera exclusively. In this sense his interior photography as an outcome is a material witness to this process

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If I were to present images I had made, I would like to do so in a book. Or at least on paper. I find it a beautiful method of presentation

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One of the most important takeaways I got from this exhibition was the value of printing black and white images on paper. Something I realised when seeing the same images from the wall in a book is that, because of the high contrast, the white parts of the photo are just unprinted paper. The printer only colours the black areas and leaves the white areas untouched. This makes the darker areas of the photo glossy and the lighter areas very matte. This resonated with me quite deeply because it breaks the rigidity of the printed photograph, and its borders. The paper used becomes part of the image - in a way, it's the most profound detail of the image since it quite literally is the image

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The aggressive contrast and blackened edges of the white buildings appeal to me. I like how such high contrast reduces the world into a very binary plane where the details of reality are either "black" or "white"

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It seems rudimentary to us now, but the crop and modification of this image must have been incredible at the time. I love that, by cropping the image so aggressively, it creates a soft grain to to photo. I also think the process by which Brandt added white to the line down the centre of the photo is a subtle detail which I would like to carry into my own work. I love how Brandt extracts surreal imagery from real life; I feel like this echoes some of my feelings about real life, and how surreal our lives can be

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I love the brooding malevolence in this photograph. The stillness of the photo when the subject was clearly moving allows us to penetrate the scene in detail. The contrast of the knife against the apron is terrifying. Our eyes are drawn to the butcher holding the knife, which makes the photo seem much more sinister than the reality of watching a butcher cut up meat must have been. I also like the subtle nod to the surrealists in this photo, who too were fascinated by butchers and meat

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My Material Matters project outcome was developed by hand in my kitchen, but this is the only time I have developed my own photos. I really need to get my own film camera and experiment with this more because I completely agree with the importance of the agency it gives you over your outcomes

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The way Brandt would modify pictures of the real world in order to make them look more "real" (or at least more evocative of that which is real to an audience) is fascinating. I like how this asks questions of how we quantify reality, and how we understand its true nature if, in fact, we find falsified information more "real" than reality

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I was inspired to see this exhibition because of Brandt's interest in the concept of "real life", and what that can mean in art. I was intrigued by how he fuses mundane with surreal, and how by meticulously staging scenes we can understand more about reality than if we were shown pictures of organic reality itself. I also hoped to learn more about the importance of print media in relation to photography, the materiality of paper and the artfulness of modifying photos

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bill brandt retrospective at tate britain (22/12/22)

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bill brandt retrospective at tate britain (22/12/22)

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ailish (audio) + benjamin hall (visuals) + kirstin halliday (dance) "lampfire" (01/10/22)

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ailish (audio) + benjamin hall (visuals) + kirstin halliday (dance) "lampfire" (01/10/22)

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This is one of my favourite exhibitions I have seen this year. I though the connection between ritual, dance, survival and space was delivered in a way which was both sensitive and explicit. The use of typeface throughout the video was interesting in how it conveyed abstract symbolism in very bold real text, and the use of multiple screens showing different videos but being perceived as one work inspired me to think about ideas of stereo video and the stereo field

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basel abbas and rane abou-rahme "may amnesia never kiss us on the mouth" at the common guild (05/10/22)

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basel abbas and rane abou-rahme "may amnesia never kiss us on the mouth" at the common guild (05/10/22)

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I felt a bit awkward in the gallery because the guide was explaining at length the all blue space, which had been recently renovated. Personally, I feel Price's work was slightly consumed by the space - it felt like when there are two similar flavours in a dish competing. Or like when two instruments in a piece of music are occupying the same space in the frequency graph, meaning the definition of both is lost. I would have preferred to see futuristic, reflective, sculptural objects presented in this space, because work which relies so heavily on colour is completely enveloped by the blue carpet and walls

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The incorporation of the framed paper drawing bolted so crudely to the canvas really resonated with me. I think honest communication of process and material transparency is very important. Also, on an aesthetic level, this three dimensionality and material contrast is very intriguing

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walter price "pearl lines" at the modern institute (05/10/22)

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walter price "pearl lines" at the modern institute (05/10/22)

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I didn't take any pictures at this exhibition but this was testament to the methods of presentation. The work was presented in an intimate and personal space and was accompanied by a discussion with gallery curator Neil. Some interesting discussion about labour and ethics was brought up, which again showed the importance of art being presented in a way which promotes intense understanding and scrutiny. The work itself was interesting, although I would say that Lowndes' work seemed to be grounded in a more compelling canon of outputs ranging over a very long period, whereas Tenant of Culture's anonymity for me felt like a barrier preventing a level of connection to the human behind the artwork on display

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gillian lowndes and tenant of culture "piece(d) work" at ivory tars (05/10/22)

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gillian lowndes and tenant of culture "piece(d) work" at ivory tars (05/10/22)