Skip to content
  • Assignments
    • Assignment 1
      • Assignment 1: Initial Ideas
      • Assignment 1: process
      • Assignment 1: Inspiration
      • Assignment 1: Thoughts on selection, processing and presentation
      • Assignment 1: Peer feedback
      •  Assignment 1: Local Communities 
      •  Assignment 1: Reflection 
      • Assignment 1: The Democratic Document 
      • Assignment 1: Response to tutor feedback
      • Assignment 1: Final Version
    • Assignment 2: Single Image Narratives
      • Assignment 2: The Commodity as Spectacle
      • Assignment 2: Reflection
      • Assignment 2: Rework Experiments
      • Assignment 2: Response to tutor feedback 
      • Assignment 2: Final Version
    • Assignment 3: Visual Storytelling
      • Preparation for Assignment 3: David Campbell Lecture
      • Assignment 3: Ideas
      • Assignment 3: Influences, approach and experiments
      • Assignment 3: 13 Elizabeth Street
      • Assignment 3: Reflection
      • Assignment 3: Response to tutor feedback
      • Assignment 3: Final Version
    • Assignment 4: Critical Review
      • Assignment 4: ideas
      • Assignment 4: Critical Review – War photography and control: Vietnam to Abu Ghraib
      • Assignment 4: response to tutor feedback
      • Assignment 4: Final Version
    • Assignment 5: Personal Project
      • Assignment 5: Ideas and Influences
      • Assignment 5: The Past We Inherit
      • Assignment 5: Response to Tutor Feedback
      • Assignment 5: Final Version
    • ASSIGNMENT 6
      • Assignment 6: Pre-assessment review
  • Coursework
    • Part 1: Defining Documentary
      • Exercise 1-1: What is documentary?
      • Exercise 1-2: Realism
      • Exercise 1-3: Time and context
      • Exercise 1-4: Discontinuities
      • Exercise 1-5: A Postmodern Documentary
      • Exercise 1-6: The Myth of Objectivity
      • Exercise 1-7: A Decisive Moment?
      • Research
        • Merging genres, merging media
        • What makes a document?
        • The Decisive Moment 
    • Part 2: The B&W Document
      • Exercise 2-1: Legacy Documentary for Social Change 
      • Exercise 2-2: Survival Programmes
      • Exercise 2-3: Bill Brandt’s Art of the Document 
      • Exercise 2-4: Discussing Documentary 
      • Exercise 2-5: Continuing the Tradition
      • Exercise 2-6: Narrative 
      • Exercise 2-7: The Americans
      • Exercise 2-8: Information and expression 
      • Exercise 2-9: People Surveys 
      • Exercise 2-10: B&W portraits as a documentary strategy
      • Exercise 2-11: Classification
      • Exercise 2-12: The FSA – ‘Making Sense of Documentary Photography’
      • Exercise 2-13: Street Photographs
      • Exercise 2-14: A Japanese Connection
      • Research
        • Socially Committed B&W Photographers 
        • Semiotics
        • An ‘anthropology of ourselves’
        • The FSA
        • B&W and Surrealism
        • Vivian Maier
    • Part 3: A Colour Vision
      • Exercise 3-1: A subtle colour documentary
      • Exercise 3-2: Surrealism and colour documentary
      • Exercise 3-3: Travelling gazes
      • Exercise 3-4: Travel Photography
      • Exercise 3-5: The Roma Journeys
      • Exercise 3-6: Documentary, identity and place
      • Exercise 3-7: A British Tradition
      • Exercise 3-8: Martin Parr Territory
      • Exercise 3-9: England Uncensored
      • Exercise 3-10: Imaginary Documents
      • Exercise 3-11: Performative Documents
      • Exercise 3-12: Fictional Documents
      • Research
        • An introduction to part 3: A Colour Vision
        • Colour and Modernity: William Eggleston’s Guide
        • Surrealist elements in colour documentary
        • Reflexivity, authorship and a sense of place
        • Hannah Starkey and Charley Murrell
    • Part 4: Ethics and Looking at the Other
      • Exercise 4-1: Gaze and control
      • Exercise 4-2: The Photograph as an Intersection of Gazes
      • Exercise 4-3: Documents of conflict and suffering
      • Exercise 4-4: Imaging famine
      • Exercise 4-5: The ethics of aesthetics
      • Exercise 4-6: To print or not to print…
      • Exercise 4-7: Reflecting on the war photograph
      • Exercise 4-8: Post-colonial ethnography
    • Part 5: New Forums for Documentary
      • Exercise 5-1: The real in the twentieth century photograph
  • Reflection
    • Aims and goals of documentary
    • Introductory Tutor Phonecall
    • Hangouts
      • Documentary Hangout 1
      • Documentary Hangout 2
      • Documentary Hangout 3
      • Documentary Hangout 4
      • Documentary Hangout 5 
      • Documentary Hangout 7
      • Documentary Hangout 8 
      • Documentary Hangout 8th April 2018
    • Case study: peer sharing and crediting (Response 1)
    •  Speaking to the Future
    • Thoughts on the learning log, coursework and progress
    • OCA North Study Event – Newcastle, 8th September 2018
  • Exhibitions
    • Dave Jordano: Detroit: Unbroken Down. Side Gallery, Newcastle.
    • Only in England: Photographs by Tony Ray-Jones and Martin Parr. Bowes Museum. 
    • Sirkka-Liisa Konttinen: The Coal Coast
    • Gordon Parks: A Choice of Weapons – Side Gallery, Newcastle
    • Chuck Close: Tapestries. Ushaw College, Co. Durham.
    • Chris Killip: The Last Ships. Laing Art Gallery, Newcastle.
  • Notes
    • ‘Documentary, Document, Testimony’ Jean-François Chévrier
    • The Paradox of Documentary: Witold Krassowski – ‘Three things on teaching and the taught’
    • Susie Linfield: Vogue Italia Interview (2014)
    • Street Photography Now – introduction (notes)
  • Photographers
    • Introduction to ‘Photographers’ section
    • Mohamed Bourouissa
    • Robbie Cooper
    • Witold Krassowski
    • Paul Reas
    • Simon Roberts
    • Monique Stauder
    • Phillip Toledano

Michael Millmore: Documentary

Learning log for OCA photography course

Category: Assignment 3: Influences, approach and experiments

Assignment 3: Influences, approach and experiments

Posted on June 5, 2018 by Michael Millmore

After much thought (as discussed in my previous post – Assignment 3: Ideas) I decided to base this assignment around… Read more Assignment 3: Influences, approach and experiments

Recent Posts

  • Assignment 6: Pre-assessment review
  • Assignment 5: Final Version
  • Assignment 4: Final Version
  • Assignment 3: Final Version
  • Assignment 2: Final version
  • Assignment 1: Final Version
  • Assignment 4: response to tutor feedback
  • Assignment 5: response to tutor feedback
  • Assignment 5: Ideas and Influences
  • Assignment 5: The Past We Inherit
Follow Michael Millmore: Documentary on WordPress.com

Tags

13 Elizabeth Street Abu Ghraib Alter ego Amber Collection Assignment Assignment 1 Assignment 1: Local Communities Assignment 2: Single Image Narratives Assignment 3 Assignment 3: Visual Storytelling Assignment 4 Assignment 4: Critical Review Assignment 5: Personal Project Bill Brandt Chris Killip Chris Steele-Perkins Colin Jacobson Critical review Daido Moriyama David Campany David Campbell Eight Magazine Errol Morris Eugene Atget Exercise Exercise 1-7 Exhibition Exit Photographers FSA hangout Henri Cartier-Bresson Hotshoe magazine Immersion Jack Kerouac Jose Navarro Local Communities Martin Parr Miranda Gavin Nick Battye Notes Part 2 Part 2: The B&W Document Part 3 Part 3: A Colour Vision Part 4 Part 4: Ethics and Looking at the Other Paul Trevor Peter Dench Photographers Provoke Provoke aesthetic Ray's a laugh Reflection Research Richard Billingham Robbie Cooper Robert Frank Roland Barthes semiotics Side Gallery Simon Bainbridge Simon Norfolk Simon Roberts Sirkka-Liisa Konttinen Stanley Street Photography Now! Surrealism Survival Programmes The Americans The Non-Conformists Three things on teaching and the taught Walker Evans weareoca When did you last cry Witold Krassowski
Create a website or blog at WordPress.com
Cancel
Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy