Jo-Ana: Peer Review


Jo-Ana visually describes diary entries made by Jo, a 30 something recovered anorexic, throughout her period of illness.

Key events before, during and after her illness are recorded. Presented as a series of still life compositions, they offer the viewer insight into Jo’s struggle with anorexia.

Items of food consumed by Jo are portrayed, the nutritional value corresponding to her transition from health, to illness, and on to recovery.

Her thoughts are displayed alongside text she found inspirational. Everyday objects offer a glimpse of her interests and her personality.

Examining an alternative relationship with food and played out on a very small stage, it is the story of what happens when food stops being a friend.

There were two primary objectives for Jo-Ana.

The first being to ensure that the voice of the participant, Jo, was clearly heard, and the second being to present the images in a clean website with supplemental text and images which enriched the viewing experience rather than detracting from it.

Have I been successful in achieving these objectives?

Sutherst (2018) reviews as follows:

‘The words from the diary are the reminders that this is a real person’s account of their road to recovery. The inclusion and placement of personal items in each image remind us that there is more to an anorexia sufferer than them just not eating. They have lives and interests like everyone else and they are more than just the disease – it does not define who they are, it is something they are suffering with.’

Clear confirmation, then, that the first aim for Jo-Ana has been achieved.

‘Each image is expertly showcased on the responsive website. The style is understated and does not intrude on the viewer’s experience of work. Viewing the sequence of images of food and pages from Jo’s diary, the visual narrative is one of despair through to hope (with a multitude of emotion in between). The viewer starts to appreciate the mental distortions that anorexics have in their relationship to food. The unhealthy thoughts recorded in the diary are sympathetically and cleverly reflected in the accompanying food images.’

Clear confirmation, then, that the second aim for Jo-Ana has also been achieved.

Such confirmation can only be viewed very positively as I not only look to extend the range of surfaces across which Jo-Ana is presented, but also assess the feasibility of future project themes.

Jo Sutherst’s full review can be read here.



Sutherst, J. (2018). ‘Final Major Project: Review of Philip Morris’s ‘Jo-Ana’ Project’. josutherstphotographycom [online]. Available at: (accessed Thursday 23 August 2018)

Jo-Ana – Analysis

Jo-Ana is a body of work which examines the mental illness anorexia nervosa and by doing so continues the work of previous projects which have explored alternative relationships with food.

The diaries of an anorexic are visually described through a series of still life images. Items of food consumed by the sufferer together with extracts of text provide the viewer with an insight into the participant’s prolonged struggle with the disease. Personal effects provide further context, allowing the viewer to see something of the participant’s personality rather than focusing on the illness itself.

These commonplace items break down the fourth wall, allowing us a glimpse of the participant’s life beyond the composition: informing the viewer that yes, this is an individual with an illness, but first and foremost this is an individual with a life to live.

Whilst images form an intimate biography, they do so without the participant herself actually being portrayed – inviting the viewer to wonder about her life, her story outside the frame.

Together, paired images of food and text tell a story of a moment in time. The participant’s possessions providing continuity between the two as they bleed out of one image into another. The complete series provides a linear narrative straddling several years.

In each image is contained a detail which is the punctum (Barthes, 1980) – a detail which ‘pricks or bruises’ the viewer’s consciousness, evoking a sense of emotion.

Prima facie Jo-Ana is an examination of an alternative relationship with food. On a deeper level, however, the project is an attempt to reconcile a disease which is more than capable of taking the sufferer to the point of destruction. The theme was chosen largely for personal reasons, having myself been the partner of and carer for someone suffering from anorexia. Anorexia is a disease which destroys so much and leaves many questions unanswered. On a personal level the aim was to answer some of these questions, to gain a greater understanding of the disease and its causes, what makes some individuals susceptible, feelings experienced by anorexics, the tipping point motivating sufferers to seek help, and how recovery feels.

More widely, the following objectives were established for the project.

Firstly, to raise awareness of the disease, and its causes, within the wider community.

Greater public awareness is necessary so that family, friends and colleagues can more easily recognise the characteristics of the illness. Clinical studies have proven that successful treatment and long-term recovery are dependent on early recognition and intervention.

Eating disorders are subject to significant prejudice, with many believing them to be a lifestyle choice. Another important aim for the project was, therefore, to help dispel some of the ignorance that exists in relation to anorexia.

Thirdly, it was felt to be important to help bring the illness out into the open, making it a point for discussion. Most importantly, it needs to become more acceptable for those who suffer from anorexia to be able to seek help.

Finally, in the early stages of Jo-Ana, the participant stated that on many occasions her treatment had become about the illness rather than the person, and that this is a view commonly held by anorexics.

Consequently, ensuring that the participant’s voice was allowed to be heard through the photography became a primary concern, avoiding Jo being seen as ‘other’ (Sontag, 1977).

To convey something of Jo’s personality it was felt essential to incorporate some of her possessions into the images of food and text. This has resulted in a body of work which is inclusive for the participant and not exclusive.

It is absolutely essential that Jo’s personality is represented in the images. This is Jo’s project as much as it is mine, if not more so. Without Jo’s story, and her willingness to share it, there would be no project.

Strip away the context, strip away the personal effects and the images become devoid of the person, rendering it anonymous. Jo-Ana without Jo becomes Ana, and we have made one person’s account say nothing about that person, excluding them to focus solely on an illness which has already taken so much.

So, what exactly is Jo-Ana?

Barthes and Heath (1977) inform us of a signifier, something which is identifiable in an image and which conveys a denotational message, and the signified – the connotational (implied) meanings, ideas or ideologies which the image attempts to communicate to the viewer.

Interviewed in 2012, Francis Hodgson discusses not only the way in which we analyse images, but also the quality of the way in which we do so (Quality Matters, 2013). Hodgson suggests that we frequently perceive and discuss images as being “of something” without attempting to consider that images are also “about something”, an idea which links strongly with Barthes concept of the signifier and the signified.

In these terms, then, Jo-Ana is not a series of images about an illness called anorexia. It is, however, a series of images about a girl called Jo who, for a long period of time, suffers from anorexia before going on to recover.

Authentication is the term used to denote that an image is trace evidence of a subject having existed and this equates to the ‘certificate of presence’ referred to by Barthes (Barthes, 1980).

Scruton helps clarify the situation when he writes: ‘in other words, if a photograph is a photograph of a subject, it follows that the subject exists’ (Scruton, 1981, p. 579).

Further clarification is provided by Tagg who writes: ‘what the photograph asserts is the overwhelming truth that ‘the thing has been there’: this was a reality which once existed, though it is ‘a reality one can no longer touch’.’ (Tagg, 1988).

Visual anthropology is the graphical and written representation of a group’s culture. It is concerned with the study of the production and consumption of visual forms of communication.

Anthropology, however, is concerned with the study of humans, human behaviour and societies both past and present, whilst social anthropology is the study of societies norms and values.

Jo-Ana, then is not an example of visual anthropology, moreover it is anthropology presented visually – recording what were once the private thoughts of an individual, making them available as a source of information for future reference.

Have I successfully met my objectives for Jo-Ana? Have I produced a body of work which will help future generations to understand what anorexia is, and what it is like to live with?

What about the art value of the body of work? Have I produced a body of work which has value to collectors of art and photography, making it something they would wish to invest in? This is certainly an aspect of I want to disappear which Mafalda Rakos recognises.

These are questions which only the viewer can answer. I would suggest, however, that yes, based on feedback, the objectives for the project have been met. And future generations will certainly be able to see what anorexia is and feels like from at least one perspective.

Whether Jo-Ana has a value as art remains to be seen.



Barthes, Roland (1980). Camera Lucida: Reflections on Photography. New York: Hill & Wang

Barthes, R. and Heath, S. (1977) Rhetoric of the Image in Image Music Text. London: Fontana

Francis Hodgson: Quality Matters (2013) YouTube Video, added by Huis Marseille, Museum for Photography [Online]. Available at: (accessed 19 February 2017)

Scruton, R. (1981) ‘Photography and Representation’, Critical Inquiry, vol. 7, No. 3 (Spring, 1981), pp. 577-603 [Online]. Available at: (Accessed 29 January 2017)

Tagg, J. (1988) ‘The Burden of Representation’ PhotoPedagogy [Online]. Available at: http// (Accessed 30 January 2017)

Differentiating Visual Anthropology & Anthropology

Visual anthropology is the graphical and written representation of a group’s culture. It is concerned with the study of the production and consumption of visual forms of communication.

Anthropology, however, is concerned with the study of humans, human behaviour and societies both past and present, whilst social anthropology is the study of societies norms and values.

Jo-Ana, then, is not an example of visual anthropology, moreover it is anthropology presented visually – recording what were once the private thoughts of an individual, making them available as a source of information for future reference.

Exhibition Review

Review received as follows, 07 August 2018:

Jo-Ana – MA Final Project

Philip Morris

I have followed the progress of this project from an interesting viewpoint. Firstly I work as a Psychotherapeutic Counsellor so I view from a professional aspect, I also work as a Mental Health Student Mentor at a university so I view this from my ongoing professional relationships with students and thirdly from a personal perspective.  At sixteen I developed anorexia this was in the 1960`s, the Twiggy era, so it was completely unrecognised as an illness.

Using photography to portray the anorexic journey is both innovative and cathartic as the visual image speaks beyond words and allows the viewer the opportunity to put their own thoughts and words into the story. Viewing the series of sequential images and the visual story shows the mental distortions in relation to food and gives access to the unhealthy thinking that has become a primary driver to food choice and quantity. Including the personal possessions in the images both personalises and contextualises the ongoing life script.

In therapy there are times that words are futile and do not express how a person feels or it can be that the feelings have not reached the conscious level of knowingness.  Using creative methods such as images through drawing or image choice can help a client to access the sub-conscious and in so doing access the sub-text or underlying unhealthy flawed thinking and even core beliefs that have been woven into someone’s life script that is playing out every day.  I consider this project to be a basis for a way forward in client expression to access the hidden and uncover the underlying emotions related to a distortion of reality.

Well done Phil!!

Lesley Foulkes


Exhibition Feedback

In addition to comments recorded in the website Visitors Book, the following feedback has been received.

‘Congratulations. This is important work. This is evocative work. Have you begun to solicit galleries about a showing? Have you reached out to support agencies to promote your work? If not, you should. It could help more people. This is what visual art should do … move people to emotion and action. You are well on your way.’

Andrew Scrivani

Food Photographer, New York Times food writer

19 July 2018

‘Hi Philip,

I am just looking at, congratulations.

I like that you included a lot of text, and I appreciate the sensitive approach you’ve chosen.

I can imagine that people who are affected themselves find it very interesting to browse through.’

Mafalda Rakos

Photographer, author of I Want to disappear

26 July 2018

‘Hi Philip,

Well done for moving forward, jumping through the tech hoops and moving into the creative which at the end of the day is all that counts. A very valid and thought provoking series that successfully communicates Jo-Ana’s battle. The question at the end of the project is whether you feel the story is complete or whether there is more to say? Expand the story perhaps? Well done.’

Stewart Weir


05 August 2018

You Have Nothing to Worry About – Melissa Spitz

Spitz - mom's vacation

Spitz, 2013. Mom’s Vacation

Melissa Spitz’s You Have Nothing to Worry About describes the tumultuous relationship between her and her mother.

From her earliest memory, her mother has suffered from mental illness and substance abuse. The diagnosis of her condition frequently changing from one of alcoholism to dissociative identity disorder.

This has led to the breakdown of her parents’ marriage, and a relationship between mother and daughter which is resentment filled.

You Have Nothing to Worry About is described by Spitz as a ‘complex and difficult body of work’, having images which, she informs us, are ‘simultaneously upsetting and encouraging, honest and theatrical, loving and hateful’.

For me, the images have a richness, but also have a repellent quality. I oscillate between wanting to view the images on one hand, and not wanting to view them on the other. The images in this series contain a punctum (Barthes, 1980), a detail which ‘pricks or bruises’ the viewer’s consciousness, evoking a sense of emotion.

Spitz’s work is significant to me for the way in which it is approached.

Firstly, she has considerable self-awareness of how she interacts as a photographer with her subject

“There was never really a conscious decision of going to photograph my mentally ill mother,” says Spitz, yet, in the shadow of the stress, her lens became a mechanism through which she communicated with her family. “It was the easiest way to give me a reason to go home but still be separated from the situation, via the physical act of putting a camera up in front of my face,” she explains (Richter, 2015).

Secondly, Spitz appreciates the impact of her intervention as a photographer upon the subject.

I am fully aware that my mother thrives on being the center of attention and that, at times, our portrait sessions encourage her erratic behaviour’ (Spitz, 2018).

Spitz is in a position to influence. How she approaches one moment in a shoot can affect what happens for the rest of that session, how she approaches a shoot can determine the way in which future shoots proceed.

Jo-Ana was different. The moments in time upon which the still life images were based were already fixed, immutable. The subject’s thoughts were already captured in a diary and could not be influenced by the act of my photography. Each outcome had already been determined.

I propose a future project investigating alcoholism. This will be different again, placing me closer to the situation in which Spitz finds herself – a position of being able to influence the perceptions held by subject’s regarding their circumstances.

Molloy (2018) states that a key question when producing participatory works is ‘what difference does it make having me being part of the story?’

Mannay (2016) seems to suggest an answer to this question, suggesting that ‘consideration is given to the relationships between participants and researchers, and acknowledge that even when the ‘intrusive presence’ of the researcher steps out of the site of visual data production this leaves a space that is often filled by the ‘intrusive presence’ of others’.

Pauwels (2011) suggests that participatory productions place the social scientist in the position of participatory facilitator, and that research is conducted ‘with’ and not ‘on’ participants.

I think that, for me, this is the point to take away from Molloy’s presentation – to engage without influencing, to present a true and fair view.  In essence, ensuring that conceptual and practical filters which can be applied as a result of pre-knowledge and associated underlying assumptions (Walmsley and Johnson, 2003) are eliminated.



Barthes, Roland (1980). Camera Lucida: Reflections on Photography. New York: Hill & Wang

Mannay, Dawn (2016), Visual, Narrative and Creative Research Methods: Application, Reflection and Ethics. Oxon: Routledge

Molloy, Caroline (2018). ‘Guest Lecture (Research) – Caroline Molloy’. Lecture to PHO705 17/18 [online]. Available at: (accessed: Friday 23 March 2018)

Pauwels, L. (2011), ‘An Integrated Conceptual Framework for Visual Social Research’, in E. Margolis and L. Pauwels (eds) The Sage Handbook of Visual Research methods. London: Sage

Richter, T. (2015). ‘This woman documents her mother’s battle with mental illness’. [online]. Available at: (accessed: Monday 25 June 2018)

Spitz, M. (2018). ‘You Have Nothing to Worry About’. [online]. Available at: (accessed: Monday 25 June 2018)

Walmsley, J. and Johnson, K. (2003), Inclusive Research with People with Learning Disabilities: Past, Present and Futures. London: Jessica Kingsley Publishers

Welcome to the LTP – Irina Popova

Popova - men eat soup

Popova, 2015. Untitled

The first Labour Treatment for Profilactorium (LTP) was established in Kazakhstan 1967 and offered alcoholics and drug addicts rehabilitation in return for forced labour.

Operated along the lines of a prison, residents could be incarcerated for periods lasting from 6 months to 2 years. There was no right of appeal. There was no crime.

Should the residents have one, their home is rented out to meet the costs of their treatment. Any children are placed in care.

The LTP system met with strong protest from human rights campaigners in the USSR, and was closed down by Yeltsin in 1993 under perestroika. However, some LTPs still remain in operation in Belarus, Turkmenistan, and the Pridnestrovian Moldavian Republic.

Irina Popova is a documentary photographer and curator. Her book Welcome to the LTP is a journey through the Soviet-era passageways of despair of one Belarusian ‘workhouse for substance abusers’. She is the first photographer to be allowed access to such an establishment.

Draconian in concept, Draconian in practice – the LTPs are not an investment in people, instead there appears to be two objectives behind the system. Firstly, to remove the problem away from mainstream society, out of sight is out of mind. Secondly, to beat the addiction out of the residents with a proverbial stick.

The LTPs are a chimera of the penal system, being described by human rights activists in the USSR as ‘punitive psychotherapy’ – prison meets rehab.

Popova’s Welcome to the LTP conveys a strong message of not only addiction, but also abject poverty and loneliness.

Her images have a distinct richness to them. Which is in stark contrast to her subjects and their surroundings in Welcome to the LTP.

Grimy walls, dingy corridors, stark rooms – the outlook at every turn is dismal, hopeless, bleak. Popova’s images capture an infrastructure in decay, a system that was never going to work. The base level at which the decay starts, and the magnitude of that decay suggest that there was never any interest in the system, nor the people who would go to these centres. The system failing the system.

My projects to-date have explored alternative relationships with food. These have been interesting and rewarding projects to work on.

I feel that as my photography has developed, so has my interest in giving a voice to the socially disadvantaged through my practice.

Taking my three most recent projects in the order they were produced, this trend can be seen clearly: the cravings experienced by an athlete preparing for a competition, the interrelationship between diet and mental health, and the diaries of an anorexic.

With reference to the latter, eating disorders are a conveniently forgotten disease. Periodically there is a news article informing us that a celebrity has an eating disorder and the issue becomes topical for a very brief time, before being forgotten again.

Eating disorders are highly stigmatised. They are something that the general public are largely ignorant of, many believing them to be a lifestyle choice. The reality is that eating disorders are a serious mental illness. Some individuals are susceptible, they carry within them a ticking time bomb. For such individuals, family and societal pressures are merely triggers which stimulate an underlying condition.

Alcoholism shares some similarities with eating disorders. It is perceived by much of the general public as being a lifestyle choice, whilst in reality being a serious mental illness. There is much stigma attached to alcoholism. It destroys careers, homes, families, people.

Building on the success of Jo-Ana, my next project will investigate alcoholism. Popova’s work is a fascinating documentary, in view of my plan, however, it takes on new relevance.

Jo-Ana took me out of my comfort zone, and that was necessary for me to develop as a photographer. My next project needs to do the same, but in different ways.

My photography already has a definite characteristic style – close up, point of view still life compositions beautifully lit by natural light. I do not intend to deviate from this. However, I think my practice will develop, both technically and creatively, if I include some environmental shots in my next project. Popova’s Welcome to the LTP is a benchmark as to how this can be done.

Jo-Ana & Social Media


Morris, 2018. 29.07.13 from Jo-Ana

As an online exhibition, Jo-Ana has an advantage which is denied to its physical counterparts.

Whilst physical exhibitions can be advertised and subsequently read about on social media, they still require a journey to go and see the works of art. In Jo-Ana’s case, however, one click and you are immediately transported to the exhibition as the images appear on the screen within seconds.

Not all social media channels are appropriate for all causes. The three social media channels which were chosen to market Jo-Ana were Facebook, Instagram and Twitter.

There are issues to be overcome in getting images from a laptop into an Instagram account. However, once images are posted to Facebook it is an easy task to share them externally on other social media platforms, Instagram included.

Facebook generated the least interest – this was predicted (this accuracy is viewed positively as it demonstrates an understanding of the target audience and its behaviour). Instagram generated the most, with Twitter coming second. Again, this was expected. The Instagram account was established in October 2017 and had a small following, but a following nevertheless and one that is loyal. The Twitter account, on the other hand was set up immediately before the launch of the Jo-Ana exhibition and has only attracted a small number of followers which, again, appear to be loyal.

Hashtags were researched, looking at posts made by recovering anorexics to see which hashtags had the highest frequency of use – using these in the advertising posts for Jo-Ana would help give maximum reach

The campaign has been successful, there has been a definite response. The response appears to show a split result.

The first target group, friends, family and colleagues of anorexics arrive at Jo-Ana through direct referral.

The second target group, anorexics (both those recovering and those not) arrive at Jo-Ana through social media channels. This group also responds to adverts for Jo-Ana on social media channels – this response taking the form of likes, comments, shares, or retweets.

Detailed analysis of all social media response over an initial data capturing period of 6 days can be seen below.

One thing is clear, response is proportional to the number of followers an account has, irrespective of hashtags.

Next steps are to analyse other contemporary practitioners and peers in order to establish what they do that is different and leads to success in terms of organic growth of followers.

Google Analytics is being used to monitor traffic to the website. At the time of writing (22 July 2018) the exhibition has received 123 views since being launched on 29 June.

Jo-Ana_Media-analysis-1Jo-Ana – Analysis of Social Media Responses 1, July 2018


Jo-Ana – Analysis of Social Media Responses 2, July 2018

Participant’s Voice

‘This problem is discussed by Lomax (2015) in relation to her work with children creating participatory videos where the children themselves acted as editors to select the content for a presentation of the film. Lomax (2015) had envisaged a short but impactful segment of film, cinematically capturing the importance of arts and community projects: however, the children in the study had other ideas, insisting that the sequence be included in its original unedited form to recognise their individual contributions, as artists and narrators. The editing process was guided by the participants and prioritised the individual children’s voices. However, this participatory undertaking was antithetical to the dialogue that the researcher was attempting to disseminate’ (Mannay, 2016).

I find the above extract from Mannay (2016) extremely interesting and highly relevant to my FMP.

Ana_Text finals 5_12Jun2018-004

Morris, 2018. 29.01.13 from Jo-Ana

Jo-Ana is based on diary entries made by an anorexic during the period of her illness.

From the beginning of the project, the subject was clear about two things.

Firstly, that she wanted to be part of the project.

Secondly, she wanted her ‘voice’ to be heard. Elucidating on this, she specified that she wanted her personality to be represented by the photography, rather than the photography focusing on her illness.

This was a particular concern for her because, she relates, there have been so many cases where the treatment of her anorexia became about the illness, dismissing her as a person.

Being based on key diary extracts, the project images needed to focus on two things: food, and text extracts.

The food element was relatively easy to pre-visualise as a series of still life images.

Incorporating text into the body of work, however, was more problematic.

Several mock-ups were tested but the most successful, the most aesthetically pleasing, were those that depicted diary extracts alongside the subject’s personal effects.

Raising awareness of anorexia was a primary objective for the project. And I felt that this was best achieved by giving the audience images that were both visually attractive and interesting to look at. The project was not an exercise of academic research, which might lend itself to a formal presentation. A ‘staid’ presentation would do nothing to entice an audience.

But what of the participant’s voice? Again, a formal presentation would only serve to strip away any element of person or personality from the images. It was essential, in order to capture the participant’s character, that some of her personal possessions were included alongside the extracts of text and that these were captured together as still life images.

In this way, both objectives could be met.

Throughout the development stage, it was these images that were preferred. Although there was some criticism of this presentation of text, the majority were in favour.

At the time of writing (Monday 02 July 2018) feedback from both the target and wider audiences confirms that this was the correct method of incorporating the diary extracts into the project, with audience members stating that the personal effects bring important context to the text, and that they enhance the images rather than distract from the main subject – the diary entries.

This is clearly a contradiction to Lomax’s situation. In the case of Jo-Ana, prioritising the participant’s voice has facilitated a series of images which are both interesting and informative, allowing the two of the primary objectives for the project to be achieved.



Mannay, Dawn (2016), Visual, Narrative and Creative Research Methods: Application, Reflection and Ethics. Oxon: Routledge

The day-to-day life of Albert Hastings: KayLynn Deveney


Morris, 2018. 29.09.14 from Jo-Ana

KayLynn Deveney’s The day-to-day life of Albert Hastings skilfully combines image and text to provide a narrative on the aging process.


Deveney, 2018. Wind broken daffodil from The day-to-day life of Albert Hastings

Deveney, whose doctorate focused on the way in which contemporary and historical diaries and self-books address myths of domesticity, began the project after regular walks past Albert Hastings’ rented flat led to friendship.

As her photography has developed, Deveney informs us, her focus has increasingly been on our ideas of home.

‘I often seek in my photographs the banal moments of the day—the experiences not usually considered significant enough to warrant a snapshot. I look, too, for domestic patterns and practiced daily routines that make us feel at home or that confirm, or conform to, our ideas of what home should be’ (Deveney, 2018).

Deveney is far from the first photographer to include text into or alongside her images, indeed towards the end of the 1960s Danny Lyon and Bill Owens were supplementing their images with written commentary provided by the subjects of their photographs.

Lyon’s The Bikeriders, for example, places statements alongside images of members of the Chicago Outlaws motorcycle club. Whilst these statements are sometimes lengthy and offer us an insight into the lives of Lyon’s subjects, Deveney’s The day-to-day life of Albert Hastings offers us a pared down commentary which for its brevity is nonetheless poignant.

With relevance to my own practice, Jo-Ana is not an exercise in documenting diary pages. It is about a person and a personality, and how such are shaped (or not) as a result of the individual’s anorexia and its treatment. Successfully co-joining images of food and text was a critical factor for the project.


Calle, 2017. Rachel Monique

The presentation of photography seen in Sophie Calle: Rachel Monique (Calle, 2017) suits the objective. But, in my view, it is a staid presentation which reveals little or nothing about the person who wrote the diary. It is, therefore, a body of work which is exclusive and not inclusive. Deveney’s work clearly demonstrates the collaboration which took place between photographer and subject, it is a body of work which is highly inclusive.

In the early stages of Jo-Ana, the subject stated that on so many occasions her treatment had become about the illness rather than the person, and that this is a view commonly held by anorexics.

Consequently, ensuring that the participant’s voice was allowed to be heard through the photography became a primary concern. This was achieved, successfully I feel, through a series of still life images featuring both diary extracts together with the subject’s personal effects (see lead image).



Deveney, KayLynn (2018). ‘The day-to-day life of Albert Hastings’. [online]. Available at: (accessed Thursday 28 June 2018)