Dickie, C. (2006) Photo Project: Plan & Publish Your Photography – in Print & on the Internet. London: Argentum.
I have spent most of the day reading this book, the quote below I have included as indicative of the nature of this book. For anyone wanting to work on project-based photography, I would highly recommend picking up a copy of this book. It lays out in good clear English ideas of making or producing a photo project, from inception to completion without being prescribed in its approach to how one will do so. Any book that becomes a list of things to do, runs the risk of becoming too cliched or formulaic in its approach. This book does not provide such a list, however, it will give you a set of thoughts that will let you further research and develop your photographic projects. MWP
“They talk also about of photographer’s need to develop a visual language: a way of telling that fits comfortably with the subject matter which is an essential factor in achieving coherent in the body of work.” Page 7
“You can hone your technique until your images are technically flawless, investing the best optics money can buy, observe the zone system to the letter… And refine your chemistry processing procedures to create the perfect negative-but I won’t give your images meaning. And that, I believe, is where a project-based approach to photography comes in. By undertaking a project you are forcing yourself to think about your photography: what is it you are trying to achieve and how you are going to achieve it. The pictures acquire a point and a purpose beyond looking pretty, sharp and well composed. And subjecting yourself to the necessary discipline helps you and your photography develop. There is also great satisfaction in finding yourself with an identifiable, discreet body of work that has something to say.” Page 9
“Assuring the project can be very like schoolwork. You have an objective, a target, and, in the process of achieving it, you learn. Through this new and your practice developed, and you become a better photographer. By exploring your subject you gain insight and understanding, and your images make this knowledge available to others. The end-product is a coherent body of work where the whole is greater than the sum of its parts, rather than set of chocolate-box tops.” Page 13
“Norfolk talks about this need for the photographer to develop a satisfactory visual language, something that is critically relevant to this project. I think we all understand the need for a body of work that compromises a project to be coherent, to hang and work together, and by the use of effective ‘language’ the photographer can achieve this aim. Through project-based practice the photography is able to develop his or her own voice. With practice you may even become photographically ‘multilingual’. Like a writer, however, it is recommended that you stick to one language per story. ….” Page 20