ABSTRACT
Diverse practices in photography occur at all stages of the design process – from initial investigation and research all the way through to final renderings and photographs made of finished projects. These processes are about making and thinking. One comes to an understanding, often a new or altered understanding, of the subject at hand through the process of making photographic representations. Representation is a critical act of making knowledge. Thus, “representation” is truly an active, complex verb.
This articulation of “representation” is discussed through the lens of the relationship between photographic Practice, Methods and Process. A Practice is a clearly defined mode of investigation that utilizes a set of photographic Methods to reach specific goals or outcomes. A Method is an articulated and often predetermined process for making, collecting, choosing or in some way using photographs. Process is the larger experience had while making or using specific photographic Methods.
Two examples are presented to discuss this interrelationship: work from visual impact assessment practices conducted by James Palmer for the Surry-Skiffes 500 KV transmission line and the landscape architecture office TENxTEN’s working practices with photography for site investigation and knowledge creation. Also introduced are concepts from theorist Catherine Moore.
This assessment of the relationship between Practice, Method and Process reveals that any action of photographic representation can and should be an active action. The more we work with specific photographic methods and develop a stated photographic practice, we actively acknowledge the underlying values, objectives and goals for our photographing.
This collection demonstrates the diversity and potentiality of developing a photographic practice that utilizes thoughtful and conscious methodologies. Photography works in many ways, can be deployed in many situations, can meet a variety of goals and produces a multitude of visual representations.
