November Assessment

Notes to Assessors
Thank you, for looking at my work.

I have included hard copies of all my assignments to the OCA, together with planning notes. Contact sheets can be found the g drive and on this blog. 

The prints I sent were disappointing to me.  For previous assessments I printed high quality images using a Cacon Pixma Pro 100s printer. I did the same this time after calibrating the screen using a Spyder device genuine cartridges and paper but I couldn’t seem to get the colour right. After trying evererything I could think of there was not enough time to send them to a printer. So my apologies for the less than perfect prints that you have.  

My blog is laid out in 4 categories Assignments, Coursework in which there are sub headings for each assignment and each part of the course. The coursework heading includes all exercises.  The Learning Log heading includes Visits, Exhibitions ,

The Self –evaluation sheet is included on the Gdrive as are all of my Tutor Feedback forms with reflections and actions annotated on each .

Lynda Wearn

Part 2 – Street & Studio

Walker Evans

From the  Guardian Evans’s subway portraits are extraordinarily romantic images of New York. Each of them is a moment of encounter, or the desire for encounter; as far as we can tell from the pictures, the artist never reveals his project, never speaks to these strangers, though sometimes the subject catches his eye. In others, sitters are caught in moments of anger and menace; a youth in a cap looking frustrated, a grim newspaper reader.

Each of these travellers through the dark tunnels is someone you want to know more about, someone whose fleeting presence is subtly fascinating – yet Evans doesn’t elaborate, he just photographs someone else. The seriality implies universality: everyone is part of the same collective life. These people hurtle through the dark, thinking their private thoughts, suspended between moments of their lives, all in the same subterranean gloom.


Alexander J.A.P. (2015) Perspectives on Place London, Fairchild Books

Barthes R. (1977) Image, Music, Text London, Harper Collins

Berger J. 1980 About Looking London, Bloomsbury plc.

Bown J. (2007) Unknown Bown, 1947-1967 London, Observer Books

Evans J. Hall S. (eds.) 1999 Visual Culture London, Sage Publications

Frank R. (2004) Robert Frank Story Lines. London, Tate Publishing. (accessed 5/11/2018)

Grimsey B. (2018) The Grimsey Report 2 (accessed 5/11/2018)

Higgins J. (2010) David Bailey. New York, Phaidon Press.

Kolonia P. (2016) Black & White Photography: A how to guide. Popular Photography

Lang K. Kalkanis E. (2017) A Macat Analysis – John Berger’s Ways of Seeing. London, Macat International Ltd.

Langford M. et al. (2000) Langford’s Basic Photography: a guide for serious photographers. Oxford, Focal Press.

Lebovitz A. (2008) Annie Lebovitz at work. London, Jonathon Cape.

Lichfield P. (1981) Lichfield on Photography London, William Collins Sons and Co. Ltd.

Marien M.W. (2002) Photography, A Cultural History London, Laurence King Publishing Ltd.

Melville J. (2003) Julia Margaret Cameron. Gloucestershire, Sutton Publishing Ltd. (accessed 5/11/2018)

Wells L. (ed.) 2003 The Photography Reader Oxon, Routledge

Worobiec T. Spence R. (2007) Black & White Photography in the Digital Age. Cinnicinati, David & Charles

Who am I?

Potential subjects who connect with me:

  • Builders
  • workmen
  • group members
  • council
  • musicians
  • photographers
  • family
  • gardener
  • walking friends
  • quiz team mates

Where do they connect :

  • Shops
  • meetings
  • social gatherings
    • countryside
    • pubs


  • Alleys of Alnwick
  • Castles (Alnwick, Bamburgh, Warkworth, Edlingham etc.)
  • Pants (fountains)
  • Market
  • Market Place
  • Shops
  • column field
  • Barter Books
  • War Memorial
  • Cheviot Hills
  • Simonside Hills
  • Valleys of Northumberland (Coquet, Ingram, Aln)
  • Kielder Forest
  • Northumberland Coastline
  • Gardens



Types can be assembled through

  • Observation
  • Collection
  • naming
  • Grouping

Typology can seem to show more difference than similarity – but photographers seek to identify a common essence (Barthes)

Therefore, typology is an act of attribution rather than classification.

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