As a starting point, I could use my time back home to gather initial material. This could include documenting significant places for me growing up, focusing on the changes I observe and reflecting on what once existed. While home will serve as the foundational setting, As the project progresses I want to explore more conceptual interpretations.

To add onto my personal exploration, I want to look at identity as a broader concept, considering the factors that influence it, such as the rise of individualism in contemporary culture. In addition to this id like to hear different interpretations. engaging with others will be important for this project; Ill conduct interviews with family and friends to understand what identity means to them.

I also plan to experiment with moving images and still photography, inspired by Chris Marker’s “La Jetée.” Im interested in developing a narrative structure that could easily translate onto paper. Additionally, incorporating pieces of text alongside the imagery, drawing from Sophie Calle's work, experimenting with different approaches of visual storytelling.

Throughout this project, I will document conversations and insights about identity to create a richer network of perspectives in the effort to form a comprehensive understanding of the subject.

I was particularly inspired by her 1981 project L'Hôtel . In L'Hôtel, Calle worked as a chambermaid , and during her time there, she began photographing the rooms after guests had checked out, capturing not only the physical remnants they left behind but also the traces of their presence—objects and personal belongings.. The project is an intersection of voyeurism and a search for meaning in the mundane.

What I found compelling about this project was her way of revealing the hidden aspects of people's lives - small, personal details that are unintentionally left behind yet speak volumes about the persons identity and behavior. Through the act of documenting these seemingly insignificant things, she raised questions about the way we leave fragments of ourselves in public spaces. This resonated with the themes I wanted to explore in my work, particularly in terms of how identity is both shaped by and revealed through the spaces we occupy.

Her first independent publication, Easter and the Oak Trees, is a black-and-white series that explores a mother's perspective as she watches her children transition into adolescence . I was drawn to the spontaneity and sketchiness of her style; while her photography feels instinctive, the subjects are depicted with great intentionality.

Later in her work, Van Manen’s focus shifted to closed cultures, photographing individuals whose lives were vastly different from her own. Her photographer-subject relationship remained consistent. The use of point-and-shoot cameras enhances the intimacy of her work, eliminating the barrier of a big, intimidating camera between the viewer and subject.

I want to carry Van Manens instinctive approach to photography into my work. I feel the subject of identity can be explored well through a relaxed, instinctive approach especially with my interview series im planning. I liked her way of translating individual expeience/way of seeing.

- scans of written notes + bday cards + shopping lists

- Photo Booth portraits

- scans o jewelry

- written annotations

— scrapbook minimalist feels

-archve b+w pics too

-handwritten annotations

• focus on details to paint a picture,

• 
  

NAN GOLDIN:

• warm,sentimental hues

• 
  

SOPHIE CALLE :

• focus on objects/domestic spaces

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DAIDO MORYAMA :

• b+w harsh contrasts

• portraits concealing face , abstract portraiture, street photography

In the image on the left, where two girls are lying in bed, I like how the yellow and orange hues from the lamps create a warmatmosphere, and how this light contrasts with the subjects. The soft, muted tones of their figures against the background gives the photo a feeling of both calm and intimacy.

This acts as a great piece to study to gain a bit more of an understanding of the purpose of mementos ,being someone so open with their emotional life means there is so much material to investigate the links between.

This kind of shooting style allowed me to pay attention to details I might otherwise overlook, the way a mark on a wall suggests a story behind it or how an object could evoke a personal memory. It also gave me the freedom to explore the emotional weight of these places and objects, not just as visuals, but as symbols of experiences. I enjoyed the process as it encouraged me to think more about the use of symblism and how I could emulate the significance of these experiences/ fragments of identity and how to convey that in a way that felt authentic and meaningful.

What I found particularly interesting was observing how others approached this same question. Some people had an immediate sense of who they were temperamentally, offering insights into their character and internal lives almost instinctively. Others, however, struggled to identify anything beyond physical traits, and when prompted to consider temperamental aspects of themselves, they seemed uncertain. This made me reflect on the role that physical characteristics play in our sense of identity. It was intriguing to see how much people gravitated toward material, tangible aspects of themselves—like appearance or possessions when asked to define who they are. When probed further, many found it difficult to articulate their inner selves, which made me wonder if our identities are in some ways more attached to the things we can physically hold or see.

This led me to refer back to the idea of the evolution of identity in the digital age where we were able to physically hold our identities in our hands `(photographs, letters, or personal mementos). These objects allowed us to store and relive memories in a tangible way. But now, with the rise of technology, the way we remember and perceive our identities is changing rapidly. We no longer rely on physical objects to encapsulate our experiences. Instead, memories and aspects of ourselves are stored on social media and in digital archives.

Continuing with a diaristic approach, I spent time walking around Bristol, focusing on trying to capture motifs from the mood board. I focused on markings on walls, interactions between families and friends, and intimate domestic scenes. Over the course of two weeks, I shot instinctively, allowing my observations to guide me while reflecting on the meanings behind the images. One particular shot that stood out to me was of the 'Luca' graffiti. The way it seemed to hint at a personal story behind the mark I found intriguing, and as I continued shooting, I found myself drawn to similar pieces of urban symbolism, each carrying its own untold narrative.

I was drawn to the idea of keeping the series somewhat anonymous, opting to conceal or crop out faces, or keep them out of focus. This approach allowed me to shift the focus away from the individuals themselves and onto the objects and environments that surrounded them. By removing the identification of the people, I felt the viewer would be invited to engage more deeply with the objects, spaces, and gestures that subtly convey the subjects' identities. In this way, the objects themselves would act as the markers of identity, speaking volumes about the people they belonged to without the need for explicit representation.

This approach was inspired by the work of Daidō Moriyama, whose photography emphasizes details that evoke a deeply personal connection to his subjects while also maintaining a sense of ambiguity. Moriyama's ability to capture fleeting moments, focusing on the intimate, almost invisible details of the everyday, resonated with me. Like Moriyama, I wanted to imbue my photographs with that same sense of personal, tactile detail, while also allowing the viewer the freedom to interpret the narrative in their own way.

One of the aspects I particularly appreciated about using film was its experimental nature. With film, there is always a degree of unpredictability. This lack of precision ultimately contributed to the authenticity of the series. The unpredictable outcomes of film, whether due to light exposure, developing processes, or subtle imperfections, mirrored the spontaneous, real-life quality I wanted to preserve in the moments I was documenting. It helped reinforce the idea that identity is not always clear-cut, but rather shaped by nuance and imperfection.

By choosing this format, I also thought about a slower, more intentional viewing experience. A zine invites the viewer to handle it, flipping through its pages at their own pace, like a photo album.

Reflecting on Daniel Miller’s The Comfort of Things, I began to think about the photobooks layout as a kind of ethnography of identity. Miller’s work emphasizes how material possessions serve as markers of identity, offering a way to objectify the self and stabilize our sense of continuity over time. Miller's theory helped me frame my work in a new light: by capturing these objects, I was documenting not just physical things, the identities of the individuals who owned them, the relationships they signified, and the continuity of their identities.

This structure would allow me to maintain a balance between the spontaneous nature of the photographs and the structured elements of the text. By keeping the textual components minimal, I could preserve the fluidity of the series, while still providing enough context to invite the viewer to engage with the underlying themes of the project, such as memory, identity, and the relationship between people and their possessions.

The intuitive shooting style yielded imagery that focused on the subtle traces of identity and the use of Kodak Gold 35mm film enhanced the warmth and nostalgic quality of the visuals. Also, the choice of a zine format conveyed the personal nature of the theme along with the Interviews which provided helpful insights and added a broader perspective on the subject of identity.

However, while the interviews did add perspective, they were underutilized. I think a more structured approach to incorporating these findings would have strengthened the project and better informed the viewer. A few other aspects of the project were also lacking in clear planning and as a result made for disorganized outcomes. For example, I could have established a more coordinated framework for the integration of text by experimenting with different ways of using text as a contextual tool in the final piece.

The zine itself was unorganized due to an error made using indesign, if i was to do this again i would opt for a larger more detailed layout,one that included text and anecdotes to inform the viewer and create a more cohesive narrative. Going forward I'm going to focus on keeping in mind the importance of balancing spontaneity with structure as well as pushing my experimentation with other mediums such as moving images and conceptual storytelling.