Assignment Two – Photographing the unseen using props

I have chosen to use a white handkerchief as a metaphorical representation of the lifecycle of continual bad relationships.

This Linear sequence as a whole tells the story of being lost and found, cared for and given hope to once again being let down; ending up more broken than before.

The narrative starts with an abandoned or lost handkerchief looking very vulnerable in the gutter, cold, wet and lonely.  Using natural lighting and muted shadows I gave the inanimate object a portrayal of human emotions by setting the tone of the first photograph in the sequence as being quite sombre.

Photograph Two shows the handkerchief being found with immediate care and attention lavished upon it followed by photograph Three where a higher level of care is given.  Photograph Four gives a feeling of hope as the handkerchief is seeing the light in an otherwise dark environment.

Photograph Five moves beyond care, the handkerchief, as in photograph four has emotional needs met once the physical needs are dealt with.  Now the handkerchief is feeling complete until suddenly in Photograph six the handkerchief is feeling used.  By photograph seven the handkerchief is treated with careless abandon until eventually coming full circle and ending up lost once more.

The final photograph has been stripped of any colour to emphasise the the damaging effects of negative repetitive patterns in bad relationships, concluding in an even darker place to be.

Other than the ‘repair’ photographs, the dark and sombre theme continues as a representation of the scars worn from relationships past.

The balance of this set is evened out into four pairs, lost and found, caring and hope, objectified and used and finally, carelessness and abandonment.

The ‘other’ person in this story had been depersonalised by not showing the expressions on the face as the viewer could form an opinion regarding a persons persona that isn’t in line with the story.

The images are kept tight to focus on the handkerchief although anything that adds to the narrative has been included.  I mainly used a narrow depth of field to reiterate this fact.









Self Evaluation against Assessment Criteria

• Demonstration of technical and visual skills
– Particular attention has been paid to the main point of focus in each image based on tutors comments on the previous assignment. The composition of these images has been quite challenging as I’ve tried to make each individual image pleasing to the eye.  Composing #careless was particularly challenging due to obstructions outside of the frame but I feel it’s successful in continuing the narrative.  The concern I have is that the close cropping of the frame in most of the images can restrict the narrative but it’s meant to give a sense of isolation and I’m not sure it comes across this way.

• Quality of outcome
– The story is balanced evenly through eight photographs so as not to give to much emphasis to one emotion.  The sequence flows in a coherent manner that the viewer can understand.  The addition of hashtags gives a short and to the point idea of the emotion being portrayed.  Narrow depth of field was used through most of the images to focus on the main subject.  I think that #caredfor is the weakest photograph in the sequence in terms of a pleasing image.  I tried to make the composition as interesting as possible within the constraints of the room.  However, it is critical to the story and I decided it had more value being in the sequence than taken out.

• Demonstration of creativity
– I feel that the emotional states come across by humanising the handkerchief and dehumanising the person in the photographs.  This is done by not showing the persons face or facial expressions, in effect, depersonalising; and focussing on the inanimate object.  Individually I have experimented with lighting to assist in the narrative, in particular the contrast between light and dark.  This has resulted sometimes in extending the narrative to the dark feelings one can experience despite #seeingthelight.

• Context
Research and Planning
Prior to carrying out this assignment, I revisited part two, Narrative,  to reflect on what I’d learnt.  I found Briony Campbell’s ‘the dad project’ and her accompanying text to be incredibly useful in understanding which photographs are pinnacle to a narrative.  Also, I learned the importance of not duplicating images in a story and to keep the narrative tight and precise.  I began to think of the emotional impact of a photograph rather than putting so much importance on how it comes across aesthetically.  Sequencing is something I’d thought about before but hadn’t placed too much emphasis on, I now understand that this is imperative to the viewer despite the fact they can look at a narrative in any order they choose.  I need to start demonstrating the research I do into other photographers and theories, and in particular quoting references from the books that I read.


Short, R. (2011) Context and Narrative. Switzerland: AVA Publishing

Wells, L. (2015) Photography, A critical introduction. Oxfordshire: Routledge

Bright, S. (2011) Art Photography Now. London: Thames & Hudson

Bull, S. (2010) Photography. Oxfordshire: Routledge

Jeffrey, I. (2000) The Photo Book. London: Phaidon

Bate, D. (2009) Photography the key concepts. London: Bloomsbury



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