Major
Project Proposal,
“Feeding
Wild Birds in Britain: History, Current Practice and the Benefits to both
Parties”
by
Martin
Johnson
January 2014
Overview
This proposal sets out my plans and intentions for the work on the Your
Own Portfolio module as part of the degree course on Photography with the
OCA.
My intention for the Major Project is to produce a portfolio of
photographic images that both illustrate some of the many different ways in
which we feed wild birds in Britain and explore the reasons for our actions. Our
roles, both as individuals and within groups such as charitable organisations
and businesses, will be covered. Crucially, the content of the images will be
used to encourage consideration of both the motivation behind our desire to feed
wild birds and the benefits that this action provides for the birds and, in
particular, for us.
As a keen bird-watcher and naturalist and an active member of the RSPB
for over 20 years I will use my extensive knowledge of the many, varied and
sometimes surprising reasons for feeding wild birds in Britain in order to
build up a photographic portfolio that attempts to explain some aspects of our
complex relationship with these “feathered friends”.
This project and the other course work will be used to improve my
photographic techniques, broaden my knowledge of different photographic genres
and apply this knowledge in practice to the benefit of my main interest in
natural history photography.
1
Aims
and objectives of the project
Aims:
- To create a portfolio of photographic images,
relating to the topic of feeding wild birds in Britain, within a range of
genres (including social documentary, natural history, landscape and still
life). Each image, despite variations in content and style, should link
with the others to tell a clear, coherent story. The narrative of the
story will be brought out by the careful selection of images and the ordering
of the resultant portfolio.
- To use my extensive knowledge of birds, their
behaviour and the many different reasons why we feed them, in order to produce
quality photographs that explore issues such as our motivation for feeding
wild birds, whether both parties (birds and people) gain and, if so, how.
- To develop the skills needed to produce a
strong picture story on a topic that both motivates me and is of general
interest.
Objectives:
- To develop my style and technique as a natural
history photographer from one that is largely concerned with “portrait”
type images to one that is more expressive, engages creatively and
beneficially with other genres and allows me to effectively present my
views and opinions through a photographic medium, using images with strong
visual elements and aesthetics.
- To establish the requirements for consistently
producing images that can be turned into good quality A3-sized prints that
are suitable for exhibition.
- To carry forward the knowledge gained from
this project, as well as my developing individual style, in order to
tackle the final OCA photography course module, “Advanced”, with confidence.
For this course I could, as one possible option, develop the general theme
of man’s relationship with birds for a project such as man’s conflict with
birds, birds using our constructions or the effects of climate change on
birds. A more specific topic might be man’s interaction with a single bird
species, such as the Robin.
2
Rationale
Historical Practice
Man has
been feeding wild birds for millennia. Until recently birds were fed for our own
benefit, in order to tame and/or trap them before killing and eating them.
Birds were considered to be a plentiful source of virtually free food.
Eventually some of these birds (such as hens and turkeys) became dependent on
us for food and were farmed: our dependence on truly wild birds for nutrition
was reduced and hunting birds for pleasure became more important. Other birds,
such as grouse, were fed indirectly by our maintenance of the wild plants that
were necessary for their survival. These birds, too, were subsequently shot,
both for pleasure and “for the pot”. It is clear that we had much more to gain
than the birds in these early interactions although the maintenance, to the
present day, of pristine grouse moors by private landowners has at least led to
the conservation of a species that might otherwise have been threatened with
extinction as a result of change of land use or urban development.
The
development of towns and cities during and after the Industrial Revolution led
to their colonisation by Rock Doves (now described as “Feral Pigeons”). For
many city dwellers these birds became one of their few links with the natural
world and it is not surprising that some people started to feed pigeons,
providing early examples of our altruistic behaviour towards birds. The
practice of feeding the pigeons continues today (and will form part of my
portfolio) although it is condemned by many due to problems with hygiene and
for encouraging the proliferation of what many consider to be “urban rats”.
As the
human population growth accelerated through the 20th century and
more and more land was purloined to provide crop food and accommodation for our
families, the balance of numbers between man and birds swung decisively. Suitable
bird habitats were reduced in size and number and there was a growing awareness
of our responsibility towards at least maintaining a sizeable population of
those birds that we had left in Britain. Nature reserves, dedicated to the
maintenance of wildlife and wild habitats, grew up. In towns and cities,
children were encouraged to feed the ducks in the local parks and we started
providing bird feeding stations in our gardens and communal areas. The practice
of feeding the birds started to ask: “what can we do for them?” rather than
“what can they do for us?” Business opportunities were created and we started
to develop a collective conscience and to do more for the birds around us.
Extensive
preparatory research, mainly on the internet, has unearthed a number of books
and articles from the last 40 years dealing with how to attract wild birds to food
and what food to give them, but to my knowledge nobody in Britain has yet
published a major article or book that specifically deals either with the
subject of why we feed wild birds (and
what spiritual [as opposed to practical] benefits this practice provides) or
with the wide range of historical and contemporary practices that have been
used for feeding the wild birds and the motivations that have driven these
practices. My portfolio will attempt to address these issues.
Contemporary practice
Nowadays the practice of feeding wild birds in our gardens has grown
into an estimated £200 million per year business in Britain (and is a
multi-billion dollar business in the USA). My portfolio will deal with the
various beneficiaries (wild birds, ourselves, conservation and business
organisations) and ask the question: “who benefits and why?” I will look at the
continuing practices of feeding the ducks and swans in our parks and the
pigeons in our cities as well as at recent commercial developments, such as the
feeding of wild birds to attract paying customers, to conserve species or to provide
opportunities for wildlife photographers. I also intend to cover the continuing
process of “fattening” wild birds at feeding stations in order to later kill
them. However, given the remit of a photographic portfolio limited to a maximum
of 20 images I may need to prioritise and it is possible that not all the
issues mentioned above will feature in the final selection.
Whilst my background research is not yet complete, I believe that I
currently have this area to myself. My portfolio should therefore provide a novel
insight into the wide range of uses for the practice of feeding the birds, our
reasons for carrying out the practice and some answers to the question: “who
benefits?”
Whilst this is not a scientific study, it may raise and attempt to
answer some moral or philosophical questions, which could form the basis for
more detailed investigations. My experience as a former scientist, a keen
bird-watcher, a photographer and an RSPB member with “hands on” experience of
conservation and educational work puts me in a strong position to deliver a
portfolio that may be of academic and intellectual, as well as of educational
interest to those working in the field. My contacts with those working within
the conservation field may allow me to develop the project further at a later
date or to explore one specific area in more detail.
In addition to exploring the different genres described above I intend
to develop my interest in photo-collage in order to produce prints within the
portfolio that make use of this technique, in a functional and artistic way.
I believe that my knowledge of the subject matter, the continuing
development of my techniques across a range of photographic genres , my
expertise in the field of wildlife photography, my passionate interest in
wildlife conservation and my philosophical approach to the subject matter
should ensure that this project is completed to degree level standard.
3 My
Personal Practice
For this project I plan to move away from my current practice, of
capturing images of wildlife either as animal or plant portraits or by placing
the subject within a landscape, towards a more “social documentary” style, in
which the interactions between birds and ourselves are directly or indirectly
displayed. The subject matter will, however, require me to shoot across a range
of styles and genres in order to tell the story. Consequently I feel that it
will be necessary to shoot in colour and not to be restricted to either
“portrait” or “landscape” mode. Whilst the portfolio will be designed to tell a
picture story in the absence of text I am additionally approaching the project
with a view to having an “exhibition style” display, in which each image/print
will have accompanying explanatory text and there will be some introductory
text to set the scene for what will, essentially, be a picture story. For this
purpose I intend to produce a photo book, perhaps incorporating additional
images together with those submitted in the portfolio, as well as text to
accompany each image, using a commercial internet supplier (e.g. “Blurb”). The
book will be submitted for assessment as a supporting document for the major
project portfolio of images. Following assessment I may seek a wider audience
for the portfolio, in exhibition form and/or in (magazine) print.
The subject matter for this project is of great interest to me and
provides a significant part of my motivation. I plan to use the resources of
the RSPB and other charitable organisations during the production of the
portfolio: building up further links with these organisations will be one of my
objectives.
3.1. Capture:
I plan to use digital capture with my two SLR cameras (Nikon D90 and
Nikon D7000). Due to the wide range of subject matter that I plan to capture
and the expected variety of weather conditions that I will encounter it is
likely that I will need to use both my main current zoom lenses (Sigma 17-70mm
and Nikon 70-300mm), with the high end range of the Nikon zoom being of
particular value when images of birds are required. I currently have no prime
lenses. Following discussion with my tutor I am now planning to purchase a
telephoto prime lens (probably a Nikon 300mm Nikon f4 lens, with accompanying
1.4x converter). The main advantage of using such lenses is the higher quality
and resolution of image produced, even in poor light, compared with my current
zoom lenses. The disadvantage includes the relatively high purchase price (ca £1200 for the Nikon f4 lens; over
£4000 for the corresponding f2.8 model), heavy weight and possible limited use
over a long period of time. I will capture raw images. Generally I will work in
manual mode, but may switch to shutter or aperture priority for action shots
with (bird) movement, depending on what type of effect I require.
I may use cable release for some bird feeder images and have constructed
an extensive winter bird feeding station in the garden, which I hope will be of
value during the production of the portfolio. I have also invested in a remote
camera trap system (activated by movement) to capture close up images of birds.
However, I should emphasise that photographs relating to feeding birds in
gardens will only form a relatively small, albeit significant part of the portfolio.
3.2. Post Processing:
I currently process images using the Adobe
“Photoshop Elements 8” software package, which fulfils all my basic
requirements, but am considering upgrading in the near future, possibly to the
latest “Photoshop Elements” package together with Adobe “Lightroom”. I
initially process the raw images from the Nikon D7000 using the Nikon View NX2
interface. In order to retain as much detail in the images as possible during
processing I will try to capture them so as to minimise the need for cropping.
I will use the highest quality settings available. Likewise, in processing, I
will attempt to retain as much detail as possible in the image and minimise
modifications (changes in tone and contrast, sharpening). If an image requires
substantial post-production editing I will abandon it (unless it is a relevant
“once in a lifetime” photograph) and, if necessary, repeat the photo-shoot.
3.3. Production and Printing:
This project will require a significant amount of location work. I plan
to spend a few days in London’s parks and squares, where I will be looking for
subject matter relating to feeding feral pigeons and water birds as well as
feeding birds “from the hand”. In these cases I will be trying to capture
interactions between birds and people. The birds are relatively tame here,
which will help me to get close to the action. I plan to make at least one
visit to a Red Kite feeding station in Wales (day trip) and to spend some time
in seaside resorts, such as Cromer and Hunstanton (and possibly Brighton),
where I will concentrate on the feeding of the gulls (this aspect relates to my
project P5: see below). At least one visit will be made to WWT Welney to
photograph the feeding of the wild swans. The photographic representation of commercial
aspects of the project, such as the production and sale of wild bird food and
feeders, will also involve some travel. Environmental aspects, such as changes
in land use, will involve some travel although some aspects can be dealt with
locally. Remaining photographic work could be carried out on reserves or in
countryside close to my home, as well as in the back garden. I am wary of
making my planning too detailed at this stage, as some aspects of the project
may have been overlooked and unforeseen events and opportunities are likely to
crop up.
Because I am retired I have plenty of opportunity to visit appropriate
locations during the week. Because most or all of the photographic work will be
executed outdoors the weather will be important. However, some work could
actually be well suited to photography in the rain and (particularly) snow. Most
of the feeding station work will be carried out in the winter months (January
to March 2014), when wild birds are most in need of supplementary food and
therefore most active at bird feeders. Most other location work can be carried
out throughout the year.
I will find a commercial printer to provide me with A3-sized prints for
assessment. Part of the research for the project will be to establish the most
appropriate type of printing paper to use for my photographs and also to ensure
that a consistent printing profile is developed for both my home
experimentation and for commercial printing. It is likely that I will use a
printing company that will enable me to experiment with different paper types for
this work. I will also trial some papers at home on an A4 photo quality printer.
I will do some research to establish what paper types are used for exhibition
displays, in order to establish some guidelines for my own work.
3.4. Multi
media: possible supporting practice
In addition to providing a supporting book I will consider producing one
or more supporting video tapes. These would likely feature birds in action,
possibly in the presence of humans. I would only consider including the tape(s)
if they added extra weight to my picture story. Many photography exhibitions
nowadays incorporate film and/or video clips (this is particularly true of
exhibitions at the “Photographer’s Gallery”, London) and I am thinking along exhibition
lines, although I suspect that video clips recorded on my cameras may not be of
sufficiently high quality for this purpose.
4
Outputs
I will initially produce unmounted A4 or 10x8 prints for submission to
my tutor. After early investigatory work to look at choice of paper by
producing test prints up to A4 size, the following A3 prints will be produced
for my assessment work and for submission to my tutor prior to assessment:
Assignment 1 Project 1
(Gestalt): 3 prints.
Assignment 2 Project
3, Experiments in key: 2 high key and 2 low key prints.
Project
9, Change: 4 prints.
Assignments 4 and 5 16 to 20
prints with chosen paper
Total: 27-31
Prints (approx.).
The prints will be reviewed regularly: reprints may be necessary and I
may also choose at a later stage to replace some of the earlier portfolio
images with better or more relevant images for printing. Although most of the A3 printing will be done towards the
end of the major project schedule I may still exceed 32 A3 prints and should budget
for this.
Critical Review document: this will consist of about 3,500 words and may
also incorporate a small number of images, although these will be placed within
the text document. The self-published book is likely to incorporate up to 25
images and perhaps 15 pages of text. The size would be large and it would
probably consist of square pages in order to incorporate both landscape and
portrait type images. The book would be finished in hardback and would be
produced by a supplier on the internet, such as “Blurb”.
Printing Cost
Projections:
Test prints
£50
30 A3 prints £10.00 per print £300
4 orders postage £5 per order, £20
1 small test book £26 each £26
1 large book (40 pages) £57 each £57
Total cost estimate £453
Additionally,
I would obtain an A3 portfolio box with corresponding sleeves for the
prints.
5 Planning and Work
Schedule
5.1. Course Project Selections
For
Assignment 2 I have, as required, selected three from eight projects 2-9 (see
Table below).
Project 3
(“Experiments in Key”) was chosen because of my developing interest in
portraying natural history subjects in a minimalist, black and white manner.
The resultant images would likely feature a degree of abstraction, which I also
hope to be able to incorporate within the Major Project photographic portfolio,
although the end product in that case would not be in monochrome.
For
Project 5 (“An Impartial View”) I plan to produce a picture story on the
subject of Herring Gulls. I have already done some background work for this
story as a potential photo-journalistic assignment on my most recently
completed OCA course: “Progressing with Digital Photography”. Herring Gulls
(the classic seaside gull) provoke both strongly positive and strongly negative
responses from supporters and detractors respectively. My aim would be to
present a balanced view and place the subject in context. This topic is of
direct relevance to my Major Project, since the practice of feeding seaside
gulls can have a similar impact to the practice of feeding Feral Pigeons.
I have
yet to settle on a subject for Project 9 (“Change”). I will ensure that this
project is directly relevant to the Major Project and fits in with the general
theme of the course work. One possibility might be to feature a bird feeder
being gradually emptied by a variety of birds or being emptied by birds at
different times of the day.
Table of Project Work
|
THEME
|
PROJECT
|
CHOICE
|
|
|
P1: Gestalt
|
X
(mandatory)
|
|
Colour or Black and
White
|
P2: Colour Accent
|
|
|
|
P3: Experiments in key
|
X
|
|
Photography as
Documentation
|
P4: A Persuasive Document
|
|
|
|
P5: An Impartial View
|
X
|
|
Depth and Perspective
|
P6: Clear Separation
|
|
|
|
P7: Eliminating Depth Clues
|
|
|
Gesture and Expression
|
P8: The Decisive Moment
|
|
|
|
P9: Change
|
X
|
5.2. Critical Review
For the critical review I plan to discuss why the
genre of natural history photography appears to be excluded from serious
discussion within the world of photographic art, whilst other photographic
genres are greeted with far greater critical appreciation. I will go on to
discuss the work of photographer Daniel Beltrá and to use
his output to propose that not only do natural history photographs play an
important documentary role but that they can also, in the right hands, bridge
the gaps between photo-journalism, natural history photography and other
photographic genres. However, although I have not researched the topic fully it
is likely that I will conclude that there is no role for natural history
subject matter within the world of photographic fine art.
I will take advantage of the ability of Beltrá’s work
to cross genres and break down barriers to inform my own practice and inspire
my work both within and outside the Major Project. I will also use my research
for the essay in order to provide me with an informed view of the state of
current practice in natural history photography. It will also be necessary for
me to develop a greater understanding of the principles underpinning the
current practice of photographic fine art (as opposed to photographic art or
art in photography). This understanding will enable me to explore whether there
can be any link between fine art photography and natural history photography,
now or in the future.
5.3. Tasks to Come Outline
1. Continue
searching for and photographing subject matter for Project 1, “Gestalt”.
2. Continue
researching material for use in the Critical Review (Assignment 3).
3. Investigate
access to suitable (commercial) high quality A3 and A4 printing facilities.
4. Choose and
install appropriate image processing software for use during the remainder of
the course.
5. Choose
and obtain prints of three images for submission for Project 1: “Gestalt”.
6. Update
Major Project proposal following tutor feedback and further research.
7. Update
Critical Review proposal following tutor feedback and further research.
8. Produce a
“Story Board” which visualises and presents potential images for my Major
Project portfolio, placed in an order that optimises links between adjacent
images and produces a clear overall story.
9. Get
logbook up to date.
10. Submit
Assignment 1 (Major Project proposal with initial Story Board,
Critical Review proposal, Project 1 [discussion and images plus A4 prints] and
electronic version of updated logbook).
11. Review
tutor feedback for Assignment 1. Modify plans and make changes accordingly.
12. Continue
research for the Major Project and produce images for potential use as prints
in the final portfolio.
13. Obtain
some test prints using different papers and then make initial choices on type
of paper and use of commercial printer for deployment later in the course.
14. Complete
research for the Critical Review and produce a plan for the essay.
15. Carry out
work for course projects 3, 5 and 9.
16. Produce
prints for course projects 3 and 9
17. Get
logbook up to date.
18. Submit Assignment 2.
19. Review
tutor feedback for Assignment 2. Modify plans and make changes accordingly
20. Continue
research and practice for Major Project.
21. Write Critical Review.
22. Get
logbook up to date.
23. Submit Assignment 3.
24. Review
tutor feedback for Assignment 3. Modify plans and make changes accordingly.
25. Review
major project work to date. Make changes to the concept and/or presentation
that will be necessary to successfully complete the project in accordance with
the course requirements. Produce A3 prints of selected images, using different
paper types.
26. Continue
research and practice for major project.
27. Get
logbook up to date.
28. Submit Assignment 4.
29. Review
tutor feedback for Assignment 4. Modify plans and make changes accordingly.
30. Make final
decisions regarding printing preferences and paper type for the Major Project.
31. Complete
photography for Major Project.
32. Choose
final portfolio of images for Major Project and print images according to task
30.
33. Produce
accompanying text for final portfolio of images.
34. Design
portfolio book and produce a test book.
35. (Optional):
complete preparation of any additional accompanying material, e.g. a video
clip.
36. Apply for
assessment.
37. Get
logbook up to date.
38. Submit Assignment 5.
39. Review
tutor feedback for Assignment 5. Make changes accordingly.
40. Produce
final portfolio book (full size).
41. Prepare
for assessment.
42. Send work
for assessment.
43. Enrol for
next course: “OCA Photography 3: Advanced”.
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