subject: images taken in your office

To: L; a
Cc: H
images taken in your office


hi A and L,
hi H

— I realised when talking to A earlier this week that I haven’t done something in order to clarify the use of the work that I have been doing around my current project (in an office at night) to do with overwork, desire and (not)work. for this project, I met with H in your shared office one evening and we talked about the themes and also used a methodology of jointly taken photos. the images were taken on an analogue camera and my phone, H has since seen the phone images but not, in detail, the analogue ones (as I don’t have a full contact sheet of them yet) – so in this sense, H: the below applies also to you for the images you haven’t seen yet.

The project (like other current work of mine) is pursuing the edge of public/private, and while I realise that that is a current concern of mine I also know that it involves transgressions (feared or actual), most notably if I work with lens-based media and its rich and cumbersome traditions of voyeurism and exhibitionism. I like to attend to and work with this transgressive discomfort in whatever way possible (and some of that attention will be clumsy, no doubt; as well as possibly an imposition on others). I feel that I negotiated that process well with H and the material and forms we employed; I was also conscious of being in someone else’s office as a not quite private, not quite public space; that registered with how and what photos I took (and notably didn’t take), and it also was in one way or another done with/by H (in her shared office); there are a number of images in the full set that blur out/ spill over into your spaces/ presence, and I wanted to ask you to let me know if there are any images in this set you don’t want me using in future.

The images that require for me a confirmation that you are okay with them existing and being used are most notably:
– row 5/ img 4: showing the names on your office door — I will obscure these/ overlay them in any case; I would love to be able to use that img with such an overlay.
– any image that shows A;
– any image that shows A’s desk and shelf space; with the latter, I would really like to use the images that show the duvet bin bag as well as row5/ img 3 which includes A’s hands.

And then there will be others in the set that don’t register as sensitive to me but may be to you.

As for the use of these images: at the moment it sits fairly contained within an educational context, as part of my current undergrad degree course. Some of the images I have made from these are here: [it’s one of several posts but has links to all others].

At the same time, I have the sense that this project could become fairly long and expanded… I am quite excited by the issues it raises and how it seems to be able to bring together some of my academic interests and visual strategies and theories… so it could potentially involve various more interviews in other offices at night, and it thus may in future acquire different public forms.

I would like to ask you to have a look at the image which shows all images of that shoot and to let me know if you want any of these removed, restricted, obscured or similar: and please do let me know if that is the case. And if the image quality is too poor, I can also send on digital files for individual images.

I appreciate that you will have lots of other things to do at this time of year; so, I would like to suggest that if I don’t hear back from you until 10 January 2016, that the images (plus the above proposed anonymisation of row5/img4) are okayed for usage from your side.

Link to dropbox photo file:

Thanks so much and all the best,

Assignment 1: In an office at night – Digital montage (WIP)



These are the two digital files that I have been working on.

– I will write up more of the conceptual thoughts in the final assignment submission: in the main, I was trying to get to some sense of

a) the overwhelming, spilling out and over of that space and the work (as in knowledge production) that happens within this space and within the conversation between my colleague and myself.

b) a sense of the conversation and the relational work between author – subject – viewer: to include both of the participants in the conversation in the image; to reposition us within the frame and possibly also the viewer (though maybe that is open to question).





In an office at night: digital 1

Entirely made up of Minox images (i.e. images that I took just by myself); processed and then scanned with a Hasselblad scanner; processing of digital file, the layering; the layering is fairly seamless and discrete, i.e. that the image is constructed isn’t immediately obvious.

I love the tonality of this image and am surprised how much it references Hopper’s Office at Night.


In an office at night: digital 2

Digital 1 does not contain any of the images that we took jointly on the iphone, so it actually does not contain the process that I had identified as key; this was mainly what led me to produce the second image; the interest is similar: to show relationality, the layering of author – subject – viewer within the picture plane; even more so than in digital 1 I altered scale; the iphone jpgs are much flatter in hue than the Minox scans, I altered the background to reference again Hopper’s palette (changing gamma in exposure); relatively late I chose to add another layer of outside to it by rephotographing the screen with my hand in the foreground.

Both images are non-standard ratios; the Minox one is expanded on the horizontal, digital 2 is shortened… I find that significant… just need to spell out the why for it.

I have shown these images (and the manual montages) in two settings and had very useful feedback for them; there are a few minor changes to make for both of them and then they are good to go.

— There is much in this series and project for me, and this first assignment has covered some useful ground as to the reasons for montaging and how to go about it; but also: rescaling, repositing/ rephotographing and thus starting to both fold context into the picture plane and let the picture plane bleed out into the context. In this sense, I can see this final images of this assignment changing a fair bit between now and assessment time.