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    Translating a silent language : photographing social interaction : a thesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2016) Slade, Thomas
    Working with photography to alter our perception of time, this project examines social interaction in a city environment. I have adopted the unobtrusive role of the flaneur and observed how social norms orchestrate social behaviour in public spaces. I chose to use constructed photography and I selected and recreated observed moments. I made images that I hope come alive within the expanded time of a still photograph. Through these reconstructions of observed behaviour I set out to question the capacity of photography to amplify reality and demonstrate how a fictional image might reach closer to a lived experience. I focussed on overlooked moments to produce an expansion of time that allows the viewer to question the ordinary values that shape social behaviours in the everyday, providing an opportunity to recognise the complexity of a lived experience as part of everyday actions.
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    Street photography in the Google age : written component presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2010) Ivory, Andrew John
    The role and position of the documentary street photographer is examined in the context of other forms of contemporary visual survey, including Google Street View. The Street View methodology is critically examined and related to the methodologies of other visual artists, including street photographers Peter Black and Robert Frank. Comparisons are drawn between the methodological restrictions imposed by Street View and those imposed by the photographers in the course of their practice. The issue of authorship is discussed and the lack of specific authorship of Street View is related to its inability to augment the viewer's personal sense of space. Wainuiomata, a suburb of Hutt City in Wellington, New Zealand, is introduced as a location for the author's research into how documentary photography might operate. The author's own phenomenological history is considered, and it is proposed that Wainuiomata may act as a mirror which reflects a sense of place derived from personal history, triggered by the visual landscape. The author's installation work The 1 p.m. Project is discussed and contextualised as a response to the author's research findings.