{"id":822,"date":"2021-03-08T20:26:27","date_gmt":"2021-03-08T20:26:27","guid":{"rendered":"http:\/\/debraflynnphotography.co.uk\/OCA\/identityandplace\/?p=822"},"modified":"2021-03-11T01:31:36","modified_gmt":"2021-03-11T01:31:36","slug":"part-3-exercise-3-4-the-gaze","status":"publish","type":"post","link":"https:\/\/debraflynnphotography.co.uk\/OCA\/identityandplace\/2021\/03\/08\/part-3-exercise-3-4-the-gaze\/","title":{"rendered":"Part 3 – Exercise 3.4 – The Gaze"},"content":{"rendered":"\n

\u201cThe picture serves as a trap for our gaze.\u201d<\/p>Durden, M. & Grant, K. Double Take: Portraits from The Keith Medley Archive (2013)
Liverpool: LJMU Archives. Pg 15<\/cite><\/blockquote>\n\n\n\n

This exercise gives you the opportunity to explore the image as a window with which to trigger memory.<\/em><\/p>\n\n\n\n

\u25cf The objective here is to produce a series of five portraits that use some of
the types of gaze defined above. The specifics of how you achieve this are down to you; you choose which types of gaze you wish to address and who your subject might be in relation to this decision. What you\u2019re trying to achieve through these portraits is a sense of implied narrative, which you can explain through a short supporting statement.<\/em><\/p>\n\n\n\n

Don\u2019t try and be too literal here; the viewer must be able to interact with the portraits and begin to make their own connection to the work, aided by the type of gaze you\u2019ve employed.<\/em><\/p>\n\n\n\n

\u25cf Write down any thoughts or reflections you might have regarding this
exercise and include this in your learning log or blog.<\/em><\/p>\n\n\n\nngg_shortcode_0_placeholder\n\n\n\n

To complete this exercise, I decided to use the ‘covert’ method of capturing the images, as I felt I would be able to get some more authentic gazes and perhaps more interesting stories.<\/p>\n\n\n\n

I did this in two places:<\/p>\n\n\n\n