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  • 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: Exhibitions

Chris Killip: The Last Ships. Laing Art Gallery, Newcastle.

Posted on September 27, 2018December 30, 2018 by Michael Millmore

The Last Ships is an exhibition of photographs made by Chris Killip in the mid to late 1970s of the… Read more Chris Killip: The Last Ships. Laing Art Gallery, Newcastle.

Gordon Parks: A Choice of Weapons – Side Gallery, Newcastle

Posted on December 14, 2017January 5, 2019 by Michael Millmore

Gordon Parks is a name that was immediately familiar to me from the photography books I have read, however, my… Read more Gordon Parks: A Choice of Weapons – Side Gallery, Newcastle

Chuck Close: Tapestries. Ushaw College, Co. Durham.

Posted on September 17, 2017April 22, 2018 by Michael Millmore

  Chuck Close is known for his photorealist portraits and for working in a variety of media. The six, giant,… Read more Chuck Close: Tapestries. Ushaw College, Co. Durham.

Sirkka-Liisa Konttinen: The Coal Coast. Side Gallery, Newcastle 

Posted on July 7, 2017July 31, 2017 by Michael Millmore

  ‘The Coal Coast’ is a documentation of the “terrible beauty of Durham’s coal-scarred coastline.” Between 1999-2002, Sirkka-Liisa Konttinen photographed… Read more Sirkka-Liisa Konttinen: The Coal Coast. Side Gallery, Newcastle 

Only in England: Photographs by Tony Ray-Jones and Martin Parr. Bowes Museum. 

Posted on May 4, 2017October 5, 2017 by Michael Millmore

The first thing I saw at the entrance to the gallery for this exhibition was a glass case filled with… Read more Only in England: Photographs by Tony Ray-Jones and Martin Parr. Bowes Museum. 

Dave Jordano: Detroit: Unbroken Down. Side Gallery, Newcastle.

Posted on February 16, 2017May 1, 2017 by Michael Millmore

  ‘Detroit: Unbroken Down’ is a long term project by photographer Dave Jordano. Jordano grew up in Detroit and although… Read more Dave Jordano: Detroit: Unbroken Down. Side Gallery, Newcastle.

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
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