Assignment 5 - Comments on Tutor's report

Plus side

- Overall comments: "I love the ‘premise’ of your assignment here. Creating a narrative, whether real or fictive, is a creative device that has ‘framed’ your pictures. I also appreciate the running poetic verses you’ve written, which add a personal narrative to the search bringing up memories and random associations. It doesn’t quite captivate me but it is a very promising idea. Nevertheless, it shows you’re thinking ‘out of the box’ and beginning to join text to picture in experimental ways."
=> I am happy Robert appreciated my effort to experiment the mix between text and images. I am convinced that I have to think more and more "out of the box" in order to develop my artistic path. The combination between photos and poetical text can be really an interesting way for my personal growth.
- Images 1-6. "This series of urban perceptions are well composed and make good atmospheric impressions of the place. Technically they are almost faultless; I think you could have straightened some of the naturally straight lines. But you really are confident about how to arrange the different elements of the view in the frame. In terms of pure subject interest, the picture of the hand prints stands out to me. Maybe because it provides a mysterious human connection in this initial series. Also because it resonates with the text and the idea of following it with the photo of the child."
=> As I know to be "technically weak", I am proud to read that this series of images are technically faultless because I tried hard in putting a lot of attention to the technical aspects of my pictures.
The approach I wanted to have planning the shooting was as "cold" and "neutral" as possible. Even the post production left the photos almost unchanged and that is the reason why I did not want to straighten some of the lines that Robert mentioned.
- Images 9-11. "I would cut image 10 here because it doesn’t reflect the same kind of young male macho attitude of the other two. They are really good portraits. 9 because you’ve framed one guy with two headless pals in the foreground. 11 because the pose and attitude of the guy with sun- glasses is so completely “American Hip-Hop”. You’ve captured the character his gestures."
=> Image 10 is indeed the weakest of the three, but I decided to leave it because, in my opinion, it gives continuity to the flow of images and because it is supposed to underline the flavour of an atmosphere imbued with alcohol, smoke and hip-hop.

Things to improve

- Image 7. "It’s a pity this is not in focus. It also isn’t a great portrait. But the idea of a suddenly appearing child in red is quite strong in this neutral coloured and (until now) people-less environment."
=> I fully agree with Robert on his comment.
- Image 12. "The voluptuous folds of this woman’s body suggest a random erotic perception. It would have worked a lot better if you’d used shallow depth of field to soften the distracting background. It’s all about her torso, not the place. The light is also a bit grim for the subject. With a photo like this you kind of break away again from the first more architectural project and the Hip-Hop kids to something altogether different which creates a feeling of incongruity. It’s difficult to see how all this gels together and becomes an integral whole."
=> I agree on the fact that I should have used a shallow depth of field to soften the distracting background. However, my intention was exactly to break from the previous first "architectural" and then "hip-hop" approach. On purpose I was looking for the feeling of "incongruity" perceived by Robert because it is the exact feeling that I had during my shooting. My introspective journey was full of "incongruities" and ended up with the discovery of somebody (myself) that does not fit at all into the scheme, exactly like the fat lady does not fit at all with the previous pictures.
- "On the whole, I feel you haven’t put this work together in an interesting and telling manner, but the raw material is there. Think about sequencing or pairs. Search for a resonance between pictures."
=> I like the idea about the sequencing or pairs. As Robert says, poetry, after all, is a special kind of syntax and photography can really work well as visual poetry. In the future I would like to pursue this way and maybe trying to work with photographic diptych combined with poetical texts.


Final conclusions

"Congratulations on finishing People & Place. I hope you will continue your photographic studies because you’ve got talent and you’ve shown that you are capable of self-motivated learning. Maybe now is the time to assess your progress through all the courses you’ve done and consider what to do next. OCA have many new courses, Context and Narrative is challenging and I think it would suit you."
=> As I wrote in the conclusions of the assignment, this final assignment was a fantastic photographic experience. I am very satisfied because the work done in Arles helped me to express what I learned during the last year with my tutor and the PaP course. Indeed I have learned a lot and I really believe I have made good progresses from the beginnings of my first assignment to this final one. I have to thank my tutor Robert for his advice and patient encouragement throughout this course.
I will definitely go on with my OCA's studies and I think that, as Robert suggested, I will consider "Context and Narrative" as the main option going forward.

Part four: People interacting with place - Learning points

Pulling back so that people appear small in the frame does not necessarily make them appear insignificant, but rather shows them in a different context.
Such a picture is conceived exactly as this, but it is also an interesting and restrained way of establishing a connection between people and their wider surroundings.
Such figure-in-a-landscape images pitch a small human being against a dominant location, so an extreme size relationship is key.
Typically, contrast is in the form of colour difference or tonal difference – dark against a light background or light against dark.
One thing that you are forced to abandon with this kind of extreme composition is identity.
There may indeed be an advantage in this kind of anonymity, in that it keeps attention more firmly focused on the location.

When the place is the principal subject, but when it will look better inhabited, it is often useful to find ways of reducing the visual attention that a person or a face tends to command. Among the most common ways of achieving this while shooting are the following:
1. Small and many. A crowd of people naturally have a certain dominance because of their numbers, but individually they command less attention.
2. Facing away. The human face is such a powerful visual attractant that simply photographing someone from behind or with their head turned away from the camera alters their relationship to the rest of the image.
3. In silhouette. Shooting from darkness towards a bright background, as in the example shown here, communicates ‘person’ but rarely ‘personality’.
4. Partly obscured. Figures and faces even partly hidden behind some other object are automatically reduced in visual importance.
5. Motion blur. Useful if slightly mannered technique when you have a tripod and the light is sufficiently dim to use a slow exposure. Needs experience to judge the effect of length of exposure on the appearance of a moving figure. Light figure against dark background is always more noticeable than dark figure against light background.

Assignment 4 - Comments on Tutor's report

Plus side

- In his “Overall comments” my tutor Robert stated: "This is a personal and idiosyncratic view of your subject of Romagna. At times you’ve succeeded in creating a strong mood and expressing something of the character of the region in the colours and light particularly."
=> I am particularly happy about the fact that Robert appreciated the colours and the light of my shots because my major effort in this assignment was to focus on those two aspects which are the main characteristics of Romagna.
- Image 1. "There is a special ambience to holiday towns when they’re out-of-season. That pole looks like it could be used for something in the summer, but here it is rendered meaningless, like a black line, a purely visual element crossing the horizon. Technically this is very objective and rigorously composed, but it appears slightly soft focus in the sky. Such stylistic treatment does add a subjective rendering to an otherwise objective subject. You should be aware of this."
- Image 2. "This wider curving bay with silhouettes of people looking out to sea also has that bleak, stormy off-season look. This is by far the strongest picture here, the most ‘complete’ and finished. It is also the kind of photo that looks great large because you notice the details: the woman and child covered in black clothes, the seagulls on the shoreline, the misty distance that swallows the land."
=> Despite Image 2 is not my favourite shot for this assignment (I feel much "closer" to Image 1, 4, 5 and 6), I understand very well where Robert comes from with his comment and I will definitely print out a large sample of it.
- Image 5. "It’s a good strategy to seek out novel images of traditional themes, as you have done here with the twilight landscape over-view of a sea town with the foreground in car headlamps. It shows you are aware of tradition and want to transcend it."
- "As you say, you had been taking photos without any end result in mind. And it is this pre-visualization or vision that is your next level of development. Such a vision ties images together and gives you a goal to aim for when you’re wandering around searching for pictures. I think the best image here (Image 2) is worth building on and could form the basis for your final assignment.
Try to think in terms of the subject of “off-season” holiday locations."
=> I think I really must continue to improve my "vision" in order to better express myself with my photographic language.

Things to improve

- "It is difficult to find the thread that connects these pictures to a single, defined location. Romagna is a large and unwieldy ‘place’ to use as a subject for this assignment, so I think you would have been more successful if you had focused on one village or town rather than an entire region."
- "You have made some close detail shots here and hardly any wide landscape shots of the region and not many portraits. Such images would have been key elements in showing atmosphere in a place.
You seem to have stayed within your personal interest and that is an artistic ‘comfort zone’
that you should be aware of so you can challenge it. You clearly have visual talent, and that is something to be developed, but you must try to extend it rather than remain within its confines because it will eventually become a ‘manner’, a ‘style’."
=> I agree with Robert and I believe I must shape my "style" according to my creative vision. I must break out of my current comfort zone and become comfortable with the unfamiliar and the unknown.
- Image 3. "Apart from the well spotted visual play, technically the image isn’t so good, with some obvious degradation in resolution of movement blur. At this stage in your development you should be editing out any picture that doesn’t pass basic tests like focus. It’s a bit like singing out of tune on a record, it is just unprofessional!"
=> Point taken! I fully agree with Robert.
- Image 6. "The orange paint makes a great background for your shadow-play here and certainly emphasises the character of the place. But it is a very ‘visual’ picture with aesthetic textures: cobble stones, weathered plaster and shadows. When I say this, I mean it has visual merit without really having much to say about subject. This photo though suggests that you had no decisive vision in mind and appears random in the context of the better photos here. You’ve been honest about that in your text."
=> I agree in principle with Robert's comment. Image 6 was supposed to show my very (!) humble version of the "decisive moment". I felt that everything was perfect in the very exact moment I shot my photo: the light, the background, the colour, the shadow and its lightness... Probably only who knows Romagna can understand this kind of "dolce vita" so typical there and my regret is not to be a great photographer (yet) to make this feeling pass through my images. I am sure I will improve!

Assignment 3 - Comments on Tutor's report

Plus side

- In his “Overall comments” my tutor Robert stated: "There are some really strong photographs here both in terms of visual interest and your artistic approach to ‘seeing these spaces’ as abandoned, tourist infested or just purely as a visual muse. I like the intelligent way you see your guided walk through the old seminary as a ghostly tour through an inferno – a place of testing. You must commit to a longer term, in-depth treatment to one subject. In the St. Vincent de Paul images, there is a depth and a potential that is not as apparent in most of the other photos. But, in general this is mature and confident work that proves you can make an assignment your own."
- Speaking about the "Learning Logs/Critical Essays" section Robert stated:"Your writing is good. I think you are getting more out of looking at other photographers than you make clear. There is something in your work that reminds me of the Dusseldorf school, but you are somewhat more personal. You are also refreshingly honest about your own work."
- Suggested reading/viewing: "It is clear from this work that your approach relates to a more personal kind of documentary photography and you do need to look at photographers of this kind of work. I could suggest Larry Clark, Nan Goldin, Araki, Paul Seawright and Paul Graham. But in the end, you must make your own search in books and galleries."
- Robert appreciated particularly the St. Vincent de Paul College. He commented Image 2 as "A beautiful balanced composition that uses the contrast of colour and light in the other room well. The torn wallpaper suggests decay or just the battles of good and evil! It reminds me of Van Gogh’s painting of his room, the way every surface is unique and hyper-real" and Image 3 as "Another wonderful composition, like the last in that it uses layers of more than one space. This is an extremely confident arrangement of shapes and planes. So much so, that really you should immediately set to work on something that powerfully challenges your knowledge and limits with photography."
- Image 6. "This poor old bald head! I bet he didn’t know he was so photogenic! This is one of the best photos here because, like Struth’s photos that this little series resembles at times, it shows us the amusing idolatry of tourists in museums. They don’t need to like the Mona Lisa, they only need to know it is famous! It’s a great composition that is both funny and telling."

Things to improve

- Pointers for the next assignment: "I feel you should make a big jump with the next assignment"
- Image 5. "The contrast between the old and modern architecture is interesting, but I think you needed a more interesting example than this foreshortened rooftop image."
- Image 7. "This you can cut out, it doesn’t ‘work’ as your other pictures do."
- In "Caffe Fiorio" series: "The light and colour in all these pictures is beautiful and you are playing interestingly with composition. But here only Image 12 seems to stand out as a portrait of something “petit bourgeois” in French society that I imagine is falling away. This response is triggered because the woman (your mother) is out of focus and you are looking both in the mirror and at the empty tables. This gives the photo a kind of melancholy in the midst of its rustic opulence."
- Robert commented "Sacro Cuore" photos as follows: "These are searching images, but you haven’t really found anything of note here. However, Image 15 with Dali and pigeon is really amazing because of the bizarre contrast between Dali’s colourful face and the mundane ‘everyday’ world around."
- "Image 18 here is rather interesting. Some kind of optical illusion is at work on the desk. I think you needed just a touch of fill-flash here to bring out the eyes of your father. But maybe that would have ruined the optical illusion! Your use of vignettes is quite obvious in some of these photos. You need to take care not to make it look like you’re trying to make it look “vintage”. And some of these are slightly soft, so you need to keep an eye on that."

Part three: Buildings and spaces - Learning points

This section was about structures as an extension of human activity and as being ‘usable’.

We are interested in purpose, and so the presence of people in the images is completely acceptable.
Most architectural photography is concerned with showing space, volume, constructional techniques, and as clear an exposition as possible of the building as a piece of construction.
Architectural photographs, well-lit and carefully framed, show an absence of human occupation.
We have been showing how buildings and other man-made spaces are used and how people interact with them. Think of this as a form of reportage photography, even when the subject is ostensibly a room, for example. Absence of people from a shot does not mean that the space is empty and unused. 
Considering this as an assignment of some importance, as a professional photographer would, it makes a great deal of sense to study the effect of light on space. 
However ,hard it may be to imagine dramatic changes when standing in a likely camera position on seeing the place for the first time, changes in the sun’s position and in the weather can alter the image greatly. 
Dusk and artificial lighting create even greater differences.

Assignment 2 - Comments on Tutor's report

Plus side

- In his “Overall comments” my tutor Robert commented: "This work is interesting and diverse. You’ve done quite well to find some ‘telling moments’ of human activity in the Blues n’ Jazz Rally. There here are times when you capture a strong image and show a good eye for telling gestures and amusing juxtapositions (the little kid and the band)."
- In the "Assignment potential" Robert added: "From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to succeed at assessment."
- Speaking about the "Learning Logs/Critical Essays" section Robert stated:"I like the way you interpret some of your photos, like the picture of the boy lost in the enchantment of the music. All that is great for developing your understanding of how images communicate and makes you more ready to notice it when you are making photos. Your research into Ruff and Calle is interesting, informed and objective. You’ve done a really good job. You will need to do more and to start making the connection between what you make (or are currently working on) and the research you do. After all, other photographers should be helping you."
=> I am very pleased with all the above comments and I am very motivated to improve further my photographic skills.


Things to improve

- Image 1. "This is a nice, decisive moment in many ways, capturing the singer’s eye in a moment of pause. You’ve married up the different lights well and the shallow depth of field helps her stand out even though the environment looks pretty messy. I think you could darken (burn) the large pole on the right to stop it competing for the viewer’s attention."
=> Here is my correction following Robert's suggestion:

Before.

After.

- Image 6. "This kid looks like he’s being visited by aliens! It’s a really nice juxtaposition of childhood and adulthood. The coloured light around the boy stands as a metaphor for his childhood joy, and the empty grey space suggests something like a frontier he needs to cross to become a man like those guys! Did you not notice the slanted stage? You must straighten your horizontal and vertical lines unless they add some dynamic to the picture. In this case they didn’t."
=> Here is my correction following Robert's suggestion:

Before.

After.

- Image 8-9. "You are clearly aware that the last two images are very degraded in quality. It’s a shame because both are good images of the general happy milieu of the place. If you’ve got some other good photos, try to build on the best images here themically."
=> I decided to replace these images with this one:

Part two: People unaware - Learning points

The idea behind the "street photography" is to explore on foot, photographing life on the pavement, in open-air cafes, markets, parks and so on.
Nothing is pre-planned; the photographer relies completely on his powers of observation and anticipation, and on luck, to find interesting images from ordinary situations.
The emphasis is on three things:
1. being unobtrusive
2. spotting potential pictures in advance
3. shooting quickly with the camera's automated settings

The methods tend to divide between being unnoticed on the one hand and gaining trust and permission, if only implicitly, on the other (personally, I use the second method).
In un-posed photography, in which the subject is unaware, the people in front of the camera present a fluid situation.
They move, act and interact, all without guidance.
Inevitably, in any given scene that is framed, certain moments will simply make a better-looking image than do others.

The great French reportage photographer Henri Cartier-Bresson coined the phrase 'the decisive moment' to describe this key quality in a photograph.
In his 1952 book of the same name, he defined it as ‘the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organisation of forms which gives that event its proper expression'.
The moment normally hinges on what the subject is doing – the most striking expression, or action, or gesture – but in other situations it may depend more on how the photographer chooses to frame the composition.

Longer focal lengths make for objective 'across-the-street' compositions, and separate the photographer from his subject, both physically in distance and in the sense of involvement.
Depth of field is relatively shallow, making accurate focusing important, but with the camera set to auto-focus this is usually not a problem.

A wide-angle lens has two valuable functions: it places the person firmly in their surroundings, and it draws the viewer into the scene.
In a situation in which there are people moving around with a wide-angle lens the photographer will be taking in much of the immediate surroundings, as in order to partly fill the frame with a figure, he will typically be shooting from a few or several feet away.
This naturally makes him fairly obvious to passers-by, and one problem is having someone who is not the subject in frame and staring at the camera.
The way to avoid this is to raise the camera only immediately before the shot, then lower it. Alternatively, simply wait it out, or even briefly lower the camera, glance to one side so as to divert their attention, then shoot.
The photographer is clearly in the middle of things, a style sometimes known as 'subjective camera', that conveys a sense of being there and of activity.

The concept of ‘standard’ and ‘normal’ in lens focal length is that the view approximates to what the photographer would see with the naked eye.
In street photography, ‘standard’ means non-insistent, with no special graphic distortion applied to the picture.
On the one hand, this means that the photographer does not have the benefit of a graphic strength to help the images, but on the other hand, the sheer normality of a standard focal length keeps the attention firmly on what is happening in the scene, without distraction.
There is no need to think about the special difficulties of working either at a distance or very close.

Assignment 1 - Comments on Tutor's report

Plus side

- In his “Overall comments” my tutor Robert appreciated my work.
"This is a strong first assignment showing good technical and visual control and an understanding of the vital relationship between subject and photographer in this ‘People Aware’ section.
I really like the diversity of visual ideas you present here – not only among the ‘assignment’ pictures but the other experiments – which shows you’re looking for diversity in facial expression, character, mood as well as ‘image’.
I also like the way you’ve thought about design and colour in these photos, which changes the mood.  On the whole a good start, with only a few minor issues."
=> I think I must continue to improve my qualities in order to support the ability to express myself with a personal photographic language.

- Image 7. "This is my favourite shot here, maybe because it brings together everything you’ve done well here into a unique picture: the colour, the bold design and composition, Aline’s strong gaze and character.
It could be a wider view so that her ‘diamond shaped’ arms framed her head.  That would create a circular composition in which the eyes go around from her face to her hands holding the dandelion.
The colours work well here, the dark green background, the pink top and the spots of yellow flowers.   And you’ve nailed a really glowing even exposure on her skin."

=> I am very happy about this comment and I fully share it. I believe that the shot is the best of the assignment and it manages to show Aline's charme and intensity. 

Things to improve

- Image 1. "I’m not sure whether the green and pink are distracting here or whether they enhance the photo. Possibly her collar does pull the eyes away from the pink lips."
=> Personally, I think that the green and pink enhance the photo. I tried to hide the pink collar with PS, but I really do not like the result.

- Image 3. "Again the colour co-ordination here is quite good – the simple blue background and the pale skin and white shirt work well together.  You could probably reduce Yellow in the skin a bit – I guess that was a mixture of daylight and artificial light.  Paler and cooler tones here would bring it more in harmony with the Pieta idea and enhance the ‘tiredness’.  You could also reduce the overall brightness, making it darker."

=> Following Robert's suggestions I got indeed a better image

Before.

After.

- Image 6. "You’ve emphasised her nose and chin a little too much with this wide-angle shot from below.  The window light is nice and gives the photo a ‘natural’ mood.  You could probably rub out that wallpaper line on the wall in Photoshop to stop it distracting the viewer."

=> Frankly speaking, reviewing the original photo, I really can not understand how I could miss to correct the wallpaper line on the wall. Here there is the final result.

Before.

After.

- "Your blog is good.  You are beginning to understand the ‘codes’ that make a portrait “intimate” or a gaze “intense” or intellectual.  But you are thinking quite technically and aesthetically at times: about the image quality, light etc.
Try to add to this an understanding of the possibilities of the genre you’re your own responses to the works that you show and write about.  Don’t just be ‘generalizing’. Put a “Research” section on your blog, not just a Reading section."
=> I added a "Research" section to my blog as requested. I understand the "extra mile" I am supposed to run with this section and I will do my best to accomplish it. However, I am sure it will not be easy!

-   "You may also want to make that wonderful portrait smaller on your ‘home page’ – it necessitates a lot of scrolling."
=> Done.

Part one: People aware - Learning points

After having completed the part one and its first exercises, I feel the need to sum up briefly the major learning points.

Part one explored the variety of relationships between the photographer and the subject.
The most important division is the one adopted here, between when people are aware that the photographer is taking their picture and unaware.
The practical work in this course is as much about social relationship as photography.

Over the years, the "classic" portrait composition has come to be a framing that includes the torso, head and shoulders.
If the shoulders are too square to the camera then the photograph may look static and formal, too much like an identity photo.
The tilt of the subject's head also make a difference.
The background should be relatively unobtrusive unless it has a constructive role to play in the photograph.

There are times when it makes sense to bring the location into the photograph and even to let it play a leading role.
A short checklist for a setting
• Is it reasonably consistent in tone and features?
• Does it complement or contrast with the person? Either can work.
• Does it need tidying and/or cleaning? Look for scraps on the floor, anything obviously disordered, drawers left open, doors ajar, and so on.
• Are there unnecessarily distracting objects in view? Look for strong clashing colours, images (posters, photographs, paintings) and/or words (posters, book covers, signs). Do they add or detract?

Concerning light, beware of using on-camera flash; this has its uses, but used as the sole illumination is rarely flattering or acceptable for portraits.
There is, therefore, a big difference in effect between sunlight and shade.
On the plus side, sunlight has sparkle, good contrast and can produce catchlights in the eyes; against this, it can appear harsh, cast unattractive shadows across the face, and cause squinting.
In favour of shade, there are no shadow problems and the overall effect is soft, which is good for downplaying skin blemishes; against this, there may be no modelling effect, so that the effect is flat and the face lacks volume.

There is often value in encouraging subjects to occupy themselves in some simple way.
This usually involves your subject holding something or demonstrating how something is done, and neither of these needs to be complicated.
One of the standard variants is the interview shot, a staple of magazine and newspaper feature pages.

One highly effective way of making a portrait, although it takes some preparation, is to set the person in the context of what they do – whether work, an interest, some characteristic location or unique activity.
In this sense it is a form of photo-journalism.
This kind of portrait lends itself to a natural, artless approach, and by encouraging the subject to do whatever comes naturally, you have the strong possibility of capturing an unselfconscious spontaneity.

Facial expression is arguably the single most important variable in a portrait.
Establishing a rapport with the subject begins from the instant of the first have contact.
If the person is a friend or relative then existing relationship will play a role.
Otherwise, it will probably need to establish a relationship that inspires trust.

A checklist for reviewing a portrait sequence
• Is the general composition satisfactory?
• Is there anything behind the subject that appears to emerge from the head?
• Is there anything that can be left out of the frame to make it simpler?
• Is the lighting balance about right?
• How is the angle of the head?
• How is the facial expression?
• Does the body language communicate ease, tension, alertness, or what?

First thoughts about my new Open College of the Art course

Here we go again!

After few months of break, now I am very exited to be about to enrol to my third OCA course: "People and Place".

In 2011 and 2013 I passed the first two OCA courses "The Art of Photography" and "Digital Photographic Practise".
My scores were respectively 75% and 73%, corresponding to what used to be an A.

Upon completion of this third course I will finish the Level 4 of the BA Hons Degree in Photography.

My goals and aims for P&P

"One of the key purposes of this course is to stretch your photographic skills in terms of the subject material you choose. Specifically, to broaden the range of your work by tackling subjects that include people. In this sense there is something of a challenge.
Any comprehensive set of courses on photography will of course embrace a range of subject material, and some of this will be easier to deal with than others. Throughout most of the modules you will usually have a choice in exercises and assignments, and it is perfectly natural to look for subjects that are accessible, nearby and predictable. Too often, however, this means avoiding interesting subjects in favour of safe ones. And arguably, the most interesting class of photographic subject is people."

On the basis of my recent experience with OCA, this year I would like to:

1. Maintain a forensic attitude to what I am photographing.

2. Increase the level of my rigour with a well established flow of actions to take both in production and editing.

3. Focus on my photographic technique.

4. Increase the level of interaction with my tutor.

5. Pay more attention to the details of my learning log blog.

6. Post all my best photos (not necessarily linked to the course) in order to start to build a personal portfolio (recently I created a Facebook page - https://www.facebook.com/macondophotoproject).

7. Visiting more exhibitions.

My general goal in taking this course is to develop a personal style in the area of photography that I prefer: street photography.  

I also am looking forward to put a bit of order in my photographic world.

Let's start (or, better, continue) the journey!