Evaluation

My work in this project so far has been quite good. I started research early, from a variety of sources and had a general idea of what I wanted to document. This was further refined through group and individual tutorials as well as through research. I used a variety of sources – more than I have ever used for any one given project. This included a range of photojournalistic/narrative photography sources, where historical and contemporary practices are implemented. In addition, TEDx talks, videos/documentaries, Magnum Contact Sheets, traditional photography, books, Professional Photography magazines, the BJP, art based multi-media practitioners as well as material from exhibitions (for example Photo London) informed my research and practise.

I found it quite difficult to get a balance between commuting to attend so many lectures and finding time to take new material. It is common that final year students only attend taught sessions for 2 days a week in order to allow time for creative processes but our course is different from that approach. Whilst we are creative practitioners in training and still developing our own styles, it has been argued that trying to emulate other established photographers work can help discover techniques faster. Conversely, photographers such as Peter Marlow highlighted (in the November 2016 issue of Professional Photography) that his style began to develop when he stopped trying to copy Henri Cartier-Bresson and did his own thing. Balancing all of this industry advice as well as more traditional tutor advice was a little difficult. Lastly, in the same magazine, an art director anonymously cited the gender imbalance in industry photographers being on agents lists for representation and how the emerging photography style of today is too homogenised – “we need creative and fresh thinkers”.

Documentary projects of this nature, are at best, very time consuming and are rarely completed in a year. Some of the photographers I have analysed have spent up to 8/9 years on a personal documentary project whilst I barely have 9 months to realise and execute mine. One must also consider the ethics of the research I am doing and the type of photographs being taken, potential and past eviction experiences related to gentrification are not topics in a petri-dish, they are real, and those who experienced it will naturally have feelings about it.

Living in London (born & bred), in particular, the borough I am in, engenders interest and a reputability more than living where my University (Hertfordshire) would have. The project has developed quite nicely, considering all of the above factors, and I will capitalise on making further contact with the relevant potential subjects before everything slows down for the Christmas holidays. This will be with a range of people gentrification affects/involves and not just ‘victims’ will help to widen the story a bit more, an provide access to more people. Lastly to continue developing the story, shoots need to be occurring more regularly so that I can have more material to refine the ‘final story’ – especially continuing my spatial arrangements of printed photographs.

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Test Images 2

Below is a combination of some test images I have been able to use to refine my approach and practice over the past couple of months. (These are not the same images that were physically submitted).

Please note, there are some photographs which are ‘perfect’ in their edit and how they were captured but they have not been included here as they give me nothing to talk about and improve for the next few months.

Points of improvement

  • Image 1 – will have to be replaced with a ‘straighter’ architectural photograph, the clouds in the background produce a nice moody effect and the contrast is quite nice. Possibly brighten up the area at the bottom a little bit.
  • Image 2 (top right hand side) – the lamp post and the building behind have been aligned, the bottom of the picture has too much cropped out of it. Try re-shooting with more ‘grounding’.
  • Image 3 (right, middle) – this image is quite powerful on its own, possibly re-shoot with bars in focus to imply the feeling of being locked out, or not supposed to be there.
  • Image 4 (right bottom) – brilliant use of natural light in this portrait, as well as showing the environment (kitchen), possibly get in closer to the subject.

Overall, these images go well together, and even without the above advised improvements, go well visually as a series. A building connected to a person/people is being suggested here through these photographs. To refine my work visually, I will be/have taken on board the above criticisms and will be posting ‘finished work’ from the middle of next month.

 

Artist Study – Alec Soth

Alec Soth (b. 1969) is a photographer born and based in Minneapolis, Minnesota. He has published over twenty-five books including Sleeping by the Mississippi (2004), NIAGARA (2006), Broken Manual (2010) and Songbook (2015). Soth has had over fifty solo exhibitions including survey shows organized by Jeu de Paume in Paris (2008), the Walker Art Center in Minnesota (2010) and Media Space in London (2015). Soth has been the recipient of numerous fellowships and awards, including the Guggenheim Fellowship (2013). In 2008, Soth created Little Brown Mushroom, a multi-media enterprise focused on visual storytelling. Soth is represented by Sean Kelly in New York, Weinstein Gallery in Minneapolis, Fraenkel Gallery in San Francisco, and is a member of Magnum Photos.

Hi most recent solo exhibitions were in Douglas Hyde Gallery (Dublin, Ireland) 2016 and
Scotiabank CONTACT (Toronto, Canada) 2016 with an upcoming one in FotoMuseum (Antwerp, Belgium) 2017. His most recent press review was in April 2012 by Decter, Joshua for the Sean Kelly Gallery. Soth is also a visiting artist lecture in 46 venues across America and Europe.

Customers waiting for Walmart to open on a Sunday afternoon. Williston, ND
Walmart. Williston, North Dakota, Songbook, Alec Soth, 

Alec Soth who was notorious for his more isolated portraits has recently turned his lens toward community life in the country. To aid his research, Soth assumed the increasingly obsolescent role of community newspaper reporter. From 2012-2014, Soth travelled state by state while working on his self-published newspaper, The LBM Dispatch. Whilst doing this, he was on assignment for the New York Times. From upstate New York to Silicon Valley, Soth attended hundreds of meetings, dances, festivals and communal gatherings in search of human interaction in an era of virtual social networks.

With Songbook, Soth has stripped these pictures of their ‘news context’ in order to highlight the longing for connection. Fragmentary, funny and sad, Songbook is a lyrical depiction of the tension between American individualism and the desire to be united. I find this a very inspirational project. I was unsure what I was looking at when I saw the exhibition last year and after an internship at Magnum, I feel my understanding of this project has deeply improved. My project is long term and of a personal nature which is why I will be looking at Songbook, in my last artist study.

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Facebook. Menlo Park, California, Songbook, Alec Soth, 

Below are my 3 key images for visual analysis.

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Execution. Huntsville Prison. Huntsville. Texas. Songbook, Alec Soth

Image 1

  • This is a brilliant image.
  • The lighting in this image is even – it was taken at night time, though the light reaches the subjects closer to the photographer (left hand side of the image).
  • The main focal point is the line of men in uniforms. The whole picture in focus allows the reader to picture the next parts of the story or even what happened before. Moreso, than a picture of an electric chair or a noose would.
  • The light in this image appears to be artificial  – flashgun or continuous lighting. The light enhances the message this photograph is sending.
  • This is a typical image by the photographer and lends itself heavily to his fine art approach to narrative photography.
  • I think it is a successful image with the viewer allowed to engage in the photograph to piece together a story from what is happening.
  • The composition of this image is quite interesting – an off centre rule of thirds approach combined with leading lines (the men and the cables above their heads) has been taken. Without the light illuminating the left hand side, the message of this image would not be as strong.
  • In addition, the whole image in focus with the foreground and background being filled adds to the narrative. These composition choices appear to be intentional.
  • This image tells a story, the story is strong as a series and on its own.
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The Key Hotel. Kissimmee, Florida, Songbook, Alec Soth

Image 2

  • This is one of my favourite images.
  • The lighting in this image is quite beautiful – possibly taken at sunset. The lighting draws attention to the top of this building and slowly the eyes fall to absorb what is happening in the picture.
  • The main focal point is the clouded skyline. The whole picture (the details of the building and parking lot) plus the woman going into the hotel, form part of this urban environment and this is justification for not blurring out the background or getting closer.
  • The light in this image appears to be natural – coming straight from the sky. The light enhances the message this photograph is sending.
  • This is a typical image by the photographer and lends itself heavily to his fine art approach to narrative photography.
  • I think it is a successful image with the subject matter insinuated cleverly – the theme of loneliness and vast surroundings – in nature and in the town/places in it.
  • The composition of this image is quite interesting – an off centre and slightly cropped. Without the skyline, or lady in the photograph, the message of this image would not be as strong.
  • In addition, the whole image in focus with the foreground and background being filled adds to the narrative. These composition choices appear to be intentional.
  • This image tells a story, the story is strong as a series and on its own.
Off Highway 23, ND (Williston Basin)
Near Williston. North Dakota. Songbook, Alec Soth

Image 3

  • This is my favourite image.
  • The lighting in this image is quite beautiful and idyllic. It frames the house more interestingly than an evenly lit photography would. The subject matter is clear by the emotion it connotes – loneliness.
  • The main focal point is the house. The whole picture (the details of the grass, skyline and the land around) form part of this country environment and this is justification for not blurring out the background.
  • The light in this image appears to be natural – coming straight from the sky. The light enhances the message this photograph is sending.
  • This is a typical image by the photographer and lends itself heavily to his fine art approach to narrative photography.
  • I think it is a successful image with the subject matter clearly indicated not by what is in the image but by the feeling it evokes. Getting closer, further away or changing perspectives would have utterly altered the image and its meaning.
  • The composition of this image is quite interesting – an off centre rule of thirds approach has been taken. Without the light illuminating the building, the message of this image would not be as strong.
  • In addition, the whole image in focus with the foreground and background being filled adds to the narrative. These composition choices appear to be intentional.
  • This image tells a story, the story is strong as a series and on its own.
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Brian. Williston. North Dakota, Songbird, Alec Soth

Artist materials and processes

Soth is quite a ‘slow’ car photographer. He uses large format cameras like Wista and sets up in spaces he feels curious about. He fits his personal work around his commissioned work and this gives him the freedom and flexibility to explore. In a Vimeo interview, he says “the great thing about photography is what it can communicate when you let it”. All he does is set up the parameters in which he will operate. He will go to a place he is curious about, go an knock on a door he wants to know what is going on behind and that, he says is when the rewards start to come.

He left the photography style quite open, there are close portraits where he considers spatial awareness between the subjects and then there are photographic ‘miracles’ like the picture with Jesus in the skyline or establishing photographs where the distance matters a bit more. When the images are placed together in a gallery, there is something for everyone to take away from it – the more alone pictures related to human instinct or the contextualised portraits (oil worker).

Key elements taken for my own practise

As a result of looking at Songbird, I will:

  • Become a bit more creative in my photography practise. I will not worry about the type of materials I am using or how I photograph things to the point of obsession. I will allow my curiosity and instinct to guide my documentary photography.
  • Consider how else I can communicate in photography – leaving the story wide open and at other times quite closed, say things by how the photographs make people feel as opposed to focusing more on visual arrangements?
  • Consider which other publications – besides a book, can used to present the story of the people and communities represented and initiate a positive change

info (no date) Songbook (First edition. First printing) by Alec Soth. Available at: http://mackbooks.co.uk/books/1057-songbook.html (Accessed: 11 December 2016).

Gallery, F. (2016) Alec Soth: Songbook. Available at: https://vimeo.com/120211809 (Accessed: 11 December 2016).

Soth, A. and LensCulture (no date) Songbook – photographs by Alec Soth. Available at: https://www.lensculture.com/articles/alec-soth-songbook (Accessed: 11 December 2016).

Written and Davies, L. (2015) Alec Soth – songbook. Available at: http://www.bjp-online.com/2015/03/alec-soth-songbook/ (Accessed: 11 December 2016).

Artist Study – Laetitia Vancon

Laetitia Vancon was born in Toulouse, France, 1979. From an early age, due to her father’s service in the French Air Force, she led the restless childhood life of an “army brat”.
In 2003, after completing her studies as a Chemical Engineer she spent 6 years working within France and South Africa in a chemical firm manufacturing artificial flavor enhancers. The pressure, the feeling of insignificance convinced her to leave this life for something more unconventional. In 2009, she gave up her career, and while travelling throughout Australia and South East Asia, used photography to help her reconnect with herself and her environment.

In 2014, Vancon completed studies at the Danish Photojournalism School in Aarhus, specialising in Visual Storytelling. In November 2012, she received an award in Creative Journalism for her project “The Time goes by, Bruno stays” by Emaho Magazine.“The Top will Fall” was selected for the Sony World Photography Awards 2014, and she was short-listed for the RPS (Royal Photographic Society) International Print Exhibition. Her latest documentary “My Home, My Prison” was selected as favorite by l’ANI, at VISA POUR L’IMAGE September, 2014.

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NYT tearsheet, 2015, Vancon

Vancon has further developed and defined her distinctive, interactive approach to Documentary Photography. She places importance on connecting with her projects not to search for the latest scoop or hot news but to undertake them based on necessity. Adapting to more extensive, long term projects helps her create a more honest method of respectfully documenting peoples thoughts, emotions and place within society. By using this precise approach towards storytelling. Vancon hopes to confirm her values and belief in the importance of morality within today’s journalism.

She is relevant to contemporary documentary photojournalism and documentary debates. In addition, she moves fluidly between commercial, editorial and journalistic practice with a distinct style. She works well with natural light and has covered a range of issues I am interested in which is why I have chosen her for my study. She covers gentrification in Turkey in Life Carries On, as a personal project.

Below are my 3 key images for visual analysis.

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Fatos 9, Vancon, 2013

Image 1

  • The lighting in this image focuses on the child in the foreground as well as the 2 children in the background, these subjects work well together and do not detract from each other.
  • The main focal point is the child and her environment. The child, the graffiti’d wall behind her, the children behind her , help tell the story which is probably a justification for not blurring out the child’s background.
  • The light in this image appears to be artificial – there is a difference in the light distribution between the girl in the pink t shirt and her surroundings. This could however, be a result of the girl sitting where the sun was. The light enhances the message this photograph is sending.
  • This is a typical image by the photographer and lends itself heavily to her creative approach to photojournalism/using photography as a tool for societal change.
  • I think it is a successful image with the subject matter clearly indicated by what is in the image (a child, surrounded by children and the architectural environment).
  • The composition of this image is quite interesting. Without the slanted angle of the pavement and the children in the background the message of this image would not be as strong.
  • In addition, the whole image in focus and the foreground and background being filled adds to the narrative. These composition choices appear to be intentional.
  • This image tells a story, the story is stronger as a series.
fatos10bis
Vancon, 2013

Image 2

  • The lighting in this image is quite dramatic. The lighting on the lower left hand sides adds more of a dynamic than an evenly lit photography would. The subject matter is clear – residential building demolition.
  • The main focal point is the shadow. The whole picture (the parts of the building still standing and the people in it), are part of this urban environment and this is justification for not blurring out the background.
  • The light in this image appears to be natural – there is a difference in the light distribution between the foreground and background but this is a result of the shadow the sunlight was casting. The light enhances the message this photograph is sending.
  • This is a typical image by the photographer and lends itself heavily to her creative approach to photojournalism.
  • I think it is a successful image with the subject matter clearly indicated by what is in the image (changes to an architectural environment – a building being demolished).
  • The composition of this image is quite interesting. Without the shadow of the building in the foreground as opposed to background the message of this image would not be as strong.
  • In addition, the whole image in focus with the foreground and background being filled adds to the narrative. These composition choices appear to be intentional.
  • This image tells a story, the story is strong as a series and on its own.
fatos2
Vancon, 2013

Image 3

  • This is my favourite image. I took an image similar to this one before I had discovered Vancon.
  • The lighting in this image is quite beautiful. The lighting in the centre frames the child beautifully more so than an evenly lit photography would. The subject matter is clear -a child’s sense of wander as all she has ever known comes into question.
  • The main focal point is the girl. The whole picture (the details of the sofa) plus the little girl, form part of this her familial environment and this is justification for not blurring out the background.
  • The light in this image appears to be natural – coming straight from the window. The light enhances the message this photograph is sending.
  • This is a typical image by the photographer and lends itself heavily to her creative approach to photojournalism.
  • I think it is a successful image with the subject matter clearly indicated by what is in the image (a child trying to process what sudden changes mean – where will she live, what is happening to her friends, can she look out of this window or sit in this sofa anymore?).
  • The composition of this image is quite interesting – an off centre rule of thirds approach has been taken. Without the light illuminating the girl, the message of this image would not be as strong.
  • In addition, the whole image in focus with the foreground and background being filled adds to the narrative. These composition choices appear to be intentional.
  • This image tells a story, the story is strong as a series and on its own.

Artist materials and processes

Vancon works both in black and white and in colour. Based on some of her work, I can assume that she uses a Canon DSLR or digital medium format for her work. Connection to her subjects is the priority which implies that she can live in places where she is working for extensive periods of time. Her photographs were taken in 2013 but the reportage was realised 2 years later. She is also aware of producing photographs for a variety of mediums. For example, newspapers (broadsheets), books and magazines.

Long term documentary photography projects where one is required to live in an environment other than their own, means a change in access to amenities such as electricity (important for photography battery charging). This implies, that it is more practical to complete such a project on film photography. Vancon has however, gone against this norm. She also combines interviews and collaborates with writers to add text to the online galleries where her personal projects are held. This adds context and an extra dynamic.

fatos6
Vancon, 2013

Key elements taken for my own practise

As a result of looking at Life Carries On, I will:

  • Become a bit more creative in the edit I produce of analogue styled black and white work which contains portraits with detail of the subject’s environment
  • Combine other elements into the final story besides photographs – such as statistics/text which can be used to represent the societal issue in question
  • Consider which other publications – besides a book, can used to present the story of the people represented and initiate a positive change

BIOGRAPHY (no date) Available at: http://www.vanconlaetitia.com/biography/ (Accessed: 11 December 2016).

PERSONAL PROJECTS (no date) Available at: http://www.vanconlaetitia.com/#/lifecarrieson/ (Accessed: 10 December 2016).

Practitioner Case Study – Mike Abrahams

Mike Abrahams has worked as a freelance photographer for over 30 years having become renowned for his sensitive eye in documenting the lives of ordinary people. In 1981, he was a cofounder of Network Photographers which is an internationally and his work has taken him around various parts of the globe. His photographs have been published in all the major international news media and his ability to work in difficult situations made him a highly sought after photographer. His work on Faith – A Journey with Those Who Believe, published in 2000, was a 5 year project, documenting the extremes/passion of Christian devotion in 14 countries. Awards for this work included the World Press Photo Award in 2000, and the book Faith designed by Browns, was a finalist in the Design Week – Editorial Design: Books.

Colin Jacobson, picture editor of The Independent Magazine, described his body of work from the conflict in Northern Ireland and published in the book Still War, in 1989 as “Documentary photography at its best – …comprehensive,… and concerned”. His coverage of the troubles in Northern Ireland was the subjects of a Television documentary “Moving Stills”. Other important assignments have included coverage the Berlin Wall, the Cult of Assad in Syria, The Jews of Damascus and Bradford’s Muslims.

He has completed both photojournalistic and corporate assignments. Some of his Corporate Social Responsibility (CSR) projects have taken him to parts of Africa and Asia. Whilst these works have been commissioned, he retains a sensitivity whilst documenting various experiences. One of the most poignant for me was a portrait of someone living with HIV in India and fighting the stigma.

Fighting the stigma of HIV in India
Rajakumar, 2013, India, Mike Abrahams

Abrahams is quite an important practitioner for me because of his extremely unique and far-reaching approach. He moves fluidly between corporate and personal assignments whilst retaining the ability to tell ‘the story’ effectively.


Mike Abrahams (no date) Available at: http://www.mikeabrahams.com/about (Accessed: 9 December 2016).nursery-school-in-burma

Testing Images

(reposted from a different section of my blog from over a month ago)

This is probably one of the the hardest aspects for me. I am not sure if others can relate or if this is a personal thing. So, I went out with my camera and took some photographs on location. I did not ‘chimp‘ and changed lenses a couple times (f/1.8, 50mm and f/5.6-6.3 50-250mm). I left the images for 2 weeks (yes 2 weeks) before I even looked at them on my computer. In that time I did extra research on other artists, photographs and some paintings (see my blog for relevant Artist Studies to follow).

When I did upload the images to my computer, I followed the process of proofing in Bridge then exporting to Photoshop etc. I work in BOTH digital and analogue but I am on a limited budget this year. I’ve been working with analogue material for almost 5 years now and this gives me a pretty good idea of the image aesthetics I am after. I followed a series of editing processes in Photoshop to get my digital work to resemble my film work.

Test series image
A test series image, Gabrielle Guy, 2016

One of my most striking images was similar to the one above but I had to reject it from the series – yes reject, and here is the reason why. No matter how striking the image was on its own, it is ultimately part of a series. When I was viewing it, it was ticking the boxes – a finished look, good composition, good tonal range and good exposure but it didn’t have the same message as a slightly similar image to it, nor did it speak the same visual language when it was grouped with other images from the series (click here for the Project post on arranging images in space). Editing your work is a brutal process but for every image you ‘reject’ your work becomes more refined and your thought process clearer. Ultimately, so does the message you want your photographs to tell.

Concepts And Planning: FMP

(This is a repost from a different section of my blog posted last month)

Following a test shoot 2 weeks ago and a tutorial with Diane Bielik, we were reminded that as photographers we are visual people. There is absolutely nothing wrong with planning shoots, refining concepts and evaluation with words but we need to plan visually.

How do you that?

By putting together a series of test images and printing them out! Images behave very differently on the computer screen than on Instagram, your online portfolio or a studio wall. Think about your end result. If your exhibition will be on a wall or in a gallery, it is pointless to have your collection on a folder on your computer and scramble to curate your work on a wall/physical space a week before the exhibition.I was advised to put together a working edit of prints (and negatives) I had from my previous exhibition that has been extended and see how they interact. I will admit, I was very hesitant to do it because it would remind me of how much more work I have to do and improve. I got over myself and did it and the change happened instantly!

Notice how this was arranged, purely on what visually looked good together. I walked away from the wall space, came back 5 minutes later, did some rearranging and then this happened…

Notice how with minimal rearranging, the set of images become more balanced and already the ‘pairs’ or ‘triplets’ that should move together are being formed. I went on to refine this set of images, reject two and note down what the collection need more of but what I learnt was so powerful I had to share. We as photographers are visual people, do not be afraid to do this type of proofing with your series work, the results will change your practice forever.

Artist Study – Thom & Beth Atkinson

Beth & Thom Atkinson are a brother and sister in their early 30s who after three quarters of a century, have revealed their mysterious reinterpretation of the effect of the Blitz on contemporary London. They combine aesthetics from old paintings and tell a part fictional narrative of the terror of war on London’s landscape. They aim to preserve the physical and psychological landscapes of the Second World War landscapes in London. According to The Independent, Tonkin (2015), “the Atkinsons uncover… hollow monuments, as sites of memory, and, in Benjamin’s premonitory words, as scenes of a crime.” Beth was educated first as a fine artist and then as a photographer at the Universities of Leeds and royal college of Art respectively.

copeland-road
Copeland Road, Thom and Beth Atkinson

Atkinson’s work appeals to me because it is quite simple yet profound. When I viewed these images I was thinking, okay I am looking at buildings, but what is so special about these ones? Then it hit me, when I saw the imprint of a building on a wall and an empty space. Something used to be here and now it’s gone!

They were chosen for my study because I am examining why everyone fears the wave of gentrification that is happening in London and what people do not want to disappear. The threat of something no longer being there draws in documentary photographers, like myself. I suppose it’s the thrill of being a part of history before it has happened. Missing Buildings, is a series comprised of 42 large format photographs and has been presented with other material to create a photobook. This appears to be a long term personal project.

missing-buildings-thom-beth-atkinson-photography_dezeen_ban
Florence Road, Thom & Beth Atkinson

Over a million of London’s buildings were destroyed or damaged by bombing between 1940 and 1945. Some of the types of buildings ranged from a suburban terrace, to the incongruous post-war inner city estate. Missing Buildings reveals London as a vast archaeological site, which still has the visible scars of its violent wartime past. The artists combined knowledge from books, images and grandparents’ memories to make more than a simple record of bombsites. They retell the story of an epic battle.

Below are my 3 key images for visual analysis.

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Hackney Road, Thoma & Beth Atkinson

Image 1 – Hackney Road

  • This is a road I have passed on many occasions. The lighting in this image creates a silently eerie photograph.
  • The main focal point is the building with the pink sign but this is overshadowed by the lamppost.
  • The light appears to be natural (daylight) and quite flat, with the absence of clouds.
  • This is a typical image by the photographer and lends itself heavily to initial training as a fine artist.
  • I think it is a successful image with the subject matter clearly indicated by what is in the image (buildings).
  • The composition of this image is quite interesting. I would have considered the image without the lamppost in the foreground but maybe it adds to the overall narrative.
  • In addition, the line of the pavement is not directly in the left hand corner but again, these composition choices appear to be intentional.
  • This image tells a story, but the story is stronger as a series instead of this image on its own.
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Dingley Place, Thom & Beth Atkinson

Image 2 – Dingley Place

  • This is a road I have also passed on many occasions.
  • The lighting in this image creates a silently eerie photograph.
  • The main focal point is the building behind the tree, where there is a contrast between the shade of brown and the type of material the building has been made with.
  • The light appears to be natural (daylight) and quite flat.
  • This is a typical image by the photographer and lends itself heavily to initial training as a fine artist.
  • I think it is a successful image with the subject matter clearly indicated by what is in the image (buildings).
  • The composition of this image is quite interesting and this image tells a story, both on its own and as part of a series.
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Brunel Road, Thom & Beth Atkinson

Image 3 – Brunel Road

  • This is a road I have also passed on many occasions.
  • The lighting in this image creates a silently eerie photograph.
  • The main focal point is the building behind the naked tree, it is also interesting to note that the tree is not in front of tall buildings.
  • The light appears to be natural (daylight) and quite flat.
  • This is a typical image by the photographer and lends itself heavily to initial training as a fine artist.
  • I think it is a successful image with the subject matter clearly indicated by what is in the image’s foreground (tree) in contrast to the background (buildings)..
  • The composition of this image is quite interesting and this image tells a story, both on its own and as part of a series.

Artist processes/materials used

They have used colour film and a large format camera which alters the way the colour scheme the photographs have compared to a DSLR. Traditionally, footage related to the war has been shown in black and white so this is another opportunity to see it in colour. Given that Missing Buildings searches for mythology/strange apparitions as part of its narrative, this blurs facts and fiction and may have been too complicated to produce in black and white.

Key elements taken for my own practise

As a result of looking at Missing Buildings, I will:

  • Produce an edit of both analogue styled colour and black and white work
  • Combine other elements into the final story besides photographs
  • Develop a consistent (fine art) approach both in aesthetics and content

Beth Atkinson (no date) Available at: http://www.bethatkinson.co.uk/ (Accessed: 20 November 2016).

Tonkin, B. (2015) Missing buildings: Thom and Beth Atkinson’s photographs capture the scars left on the London cityscape by the blitz. Available at: http://www.independent.co.uk/arts-entertainment/architecture/missing-buildings-thom-and-beth-atkinsons-photographs-capture-the-scars-left-on-the-london-cityscape-10475272.html (Accessed: 20 November 2016).

2016, T.A. (2016) Thom Atkinson photographer. Available at: http://thomatkinson.com/ (Accessed: 8 December 2016).

Magazine, F.-S. and contributors, its (2010) Contemporary photography: An informal movement. Available at: http://www.fstopmagazine.com/pastissues/43/milbrath.html (Accessed: 8 December 2016).

What is fine Art Photography and how to do it? (2015) Available at: http://digital-photography-school.com/what-is-fine-art-photography-and-how-to-do-it/ (Accessed: 8 December 2016).

 

Artist Study – Christian Thompson

Christian Thompson is a trained sculptor and is one of the first 2 Aboriginal Australians to attend the University of Oxford. His conceptual practice engages a range of mediums including photography, sound, video, performance and music. He holds degrees from: Amsterdam School of Arts, RMIT Melbourne and the University of Southern Queensland. He is represented in state and national collections and has exhibited across Australia, Asia, USA and UK.

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Christian Thompson, Australian Graffiti, Yellow Kangaroo Paw, 2007

I encountered this Thompon’s work at Photo London this year and immediately recognised issues of identity and ‘exploration’ through its visual language. He appeals to me because of the uniqueness of his experience as a creative individual and how he unafraid to practice in methods he did not initially train in. Also, he has been able to control his environment (studio photography) and change the element related to the photograph’s title.

I have selected him for my study because my topic is of a slightly personal agenda and I have to strive for this level of clear visual communication, across all my images. Whilst I am not really a studio photographer, I can draw from the technique of maintaining a constant background/setting within my own project. This approach will help me to see if this would make my visual communication clearer.

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Christian Thompson, Museum of Others (Othering the Art Critic, John Ruskin), 2016

I am looking at The Museum of Others, 2016, because it is a series on identity with an unconventional approach. Thompson engages with history in a cultural context, combines his biography with research and reflection, emphasises and reveals hidden narratives whilst going deeper than critiquing a museum’s display. He challenges the content of museums on such a topic as well as the process of putting together a body of work on a topic.

Below are my 3 key images for visual analysis.

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Christian Thompson, Museum of Others (Othering the Explorer, James Cook), 2016
  • The lighting in this image creates quite a moody atmosphere.
  • The main focal point of this image is the face of James Cook in the centre.
  • The lighting of the photograph where the artist is in has been lit in the studio. The canvas panels of the person in question have possibly been painted and so this lighting question would be irrelevant. The light between the two separate parts of the image have been carefully considered so the shoulders of Thompson seamlessly flow into Cook’s despite the outfit change.
  • This is not a typical image by Thompson. In his previous art work, he has more of his body visibly present, especially his face. In this series, his face is concealed by the person in question and only his eyes come through.
  • Thompson’s intentions are to dialogue with the assumptions of this explorer who encountered Australia so many years ago and categorise him from a Native Australians perspective then and now.
  • This image is in square format and has been composed with a strong sense of balance with only the bottom of the image filled to its edge. The foreground is filled with Thompson’s physical presence, the background is relatively empty, leaving room for me as a viewer to consider the texture of the background. It is reminiscent of tree back which implies a sense of nature/natural landscape and how notorious the Aborigines’ people are for living harmoniously with nature.
  • I think this is a very successful image. The clear content and visual language as well simplicity but ingenuity make it work.
  • This image tells a very sad story. A story where a British man decided to ‘explore’ a land that did not belong to him in a time where colonialism and imperialism were synonymous with a country’s greatness. This image is the first chance to see through the eyes of the Natives and how it felt to explore the ‘explorer’ who was but a stranger, intending to do them harm.
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Christian Thompson, Museum of Others (Othering the Ethnologist, August Pitt Rivers), 2016
  • The lighting in this image creates quite a moody atmosphere.
  • The main focal point of this image is the face of August Pitt Rivers in the centre.
  • The lighting of the photograph where the artist is in has been lit in the studio. The canvas panels of the person in question have possibly been painted and so this lighting question would be irrelevant. The light between the two separate parts of the image have been carefully considered so the shoulders of Thompson seamlessly flow into Rivers’s despite the outfit change.
  • This is not a typical image by Thompson. In his previous art work, he has more of his body visibly present, especially his face. In this series, his face is concealed by the person in question and only his eyes come through.
  • Thompson’s intentions are to dialogue with the how this ethnologist classified the Native Australians so many years ago and re-classify him from a Native Australians perspective then and now.
  • This image is in square format and has been composed with a strong sense of balance with only the bottom of the image filled to its edge. The foreground is filled with Thompson’s physical presence, the background is relatively empty, leaving room for me as a viewer to consider the background. It is of flowers, which implies the importance of the nature/natural landscape and how notorious the Aborigines’ people are for living harmoniously with it.
  • I think this is a very successful image. The clear content and visual language as well simplicity but ingenuity make it work.
  • This image tells a very sad story. A story where a British man decided to ‘classify’ a people he had only heard stories of, by biased Britsh men. It also implies a sense of dominance and superiority on Rivers’s part. This image is the first chance to see through the eyes of the Natives and how it felt to classify the differences between the British and the Aborigine’s from a different worldview.
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Christian Thompson, Museum of Others, Equilibrium, 2016
  • The lighting in this image creates quite a moody atmosphere.
  • The main focal point of this image is the circle in the middle hiding Thompson’s face.
  • The lighting of the photograph is artificial (studio).
  • This is not a typical image by Thompson. In his previous art work, he has more of his body visibly present, especially his face. In this series, his face is concealed by a circular object which allows the texture of the background to come through.
  • Thompson’s intentions are to dialogue with the principle of equilibrium by using a visual and mathematical tool (circle) in the context of identity for the Native Australians. Circles have no beginning and end and in a way, it looks like something has come full circle or will continue to be as it always was.
  • This image is in square format and has been composed with a strong sense of balance with only the bottom of the image filled to its edge. The foreground is filled with Thompson’s physical presence, the background is relatively empty, leaving room for me as a viewer to consider the background.
  • I think this is a very successful image. The clear content and visual language as well simplicity but ingenuity make it work. It is the only image where eyes are not present.
  • This image is quite open ended in contrast to the others in the series. A circle has many uses and is a common symbol for balance, harmony and a cycle.

Artist processes/materials used

Thompson uses a variety of materials to complete this work. He collects a variety of costumes and props and is a bower-bird lover. These props/costumes then feature in the majority if not all, of his work. In addition, this fine art approach was hones by his unique mentor support system. Names such as Marina Abramovic (his mentor) and others who engage in auto-ethnography, research and reflection to interpret historical collections to produce new cultural expressions.

In this series canvas masks were used as a prop and then their eyes were removed and Thompson’s eyes substituted theirs. Information on Thompson’s site about C-type prints implies that these images were shot on Colour (C-41) film, probably large format (studio practice, quite slow) and then processed and printed digitally. They ended up as black and white images and textures were preserved using metallic paper. The square format of the images implies a square medium format camera or severe cropping in post-production reminiscent of the square canvas panels used.

Key elements taken for my own practise

  • Whilst I am not working in the studio for my project, I will slow down my practise to consider composition even more.
  • It is okay to take work in colour and print it in black and white. Colour rules are not as rigid as they used to be (i.e. photojournalism or documentary photography in black and white only).
  • Be very strict in how I present a message so that viewers who do not know what the topic is about can easily guess that from the pictures presented.

Christian Thompson (2016) Available at: http://michaelreid.com.au/art_series/museum-of-others/?artist=christian-thompson (Accessed: 20 November 2016)

Artist Study – Felicity Hammond

Felicity Hammond is a fine artist working with mixed mediums – primarily, photography and sculpture/installation. I had the privilege of meeting her at Photo London earlier this year (in conjunction with The Photographers Gallery). Her series on show was, You Will Enter an Oasis, 2015. This was a photo-sculptural project dealing with the computer generated visions of opulent living and the discarded material that it conceals. Some, if not all of the (concrete) slabs were ‘found objects’ taken from construction sites, the natural elements (leaves, wood etc) were then fused onto it and the final product photographed. The finished product was printed on a surface of Perspex where distortion and warping gave the piece dynamic impact. Her work has won numerous awards/nominations from the following institutions: British Journal of Photography, Catlin Art Prize, Saatchi New Sensations and Magnum/Photo London.

Felicity comes from a very heavy fine art background. Her undergraduate degree was in Fine Art Photography, her MA was in Photography at the Royal College of Art and she is currently working on a PhD in contemporary art research. A lot of the work on her website combines at least two which give her work a conceptual approach. Following which there is a clear process, of making things, (photographing them – if that is what the end result is), and then considering installation.

F. Hammond, Installation, 2015

This photograph appeals to me for 2 reasons. She is a contemporary photographer and her work combines visual art with something tactile (sculpting and installation). An issue which is very dear to my heart has been expressed in a completely different way than I would have thought. It is in colour, Hammond has used sculpture, found objects and no more than 3 types of objects in each image (wood, plant and blocks). Her work has not isolated anyone from the art or photography world which is a sign of this series’clarity and success.

When I entered the room and saw her work I was able to use the items in the picture to hazard a guess at what the work was about. This visual language and visual clarity is something I am striving for in my own practice. Given that Hammond has devoted a lot of her life to visual arts she is able to work ‘quicker’ on great projects than someone who is just entering the professional world of visual arts (like myself).

THE FOLLOWING 3 IMAGES WILL BE USED FOR DETAILED VISUAL ANALYSIS

 

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F Hammond, 2014

IMAGE 1: THE TOWEL

  • Lighting makes the shadow where the wood is hanging on the rack appear soft but defined. The blocks do not have reflections on them and this image mimics a ‘bath showroom’ image.
  • This is a successful image, the lines, repeated pattern, muted colour scheme and simplicity work well. The brick in the top right hand side giving the image a sense of something beyond what I am seeing is particularly clever too.
  • The main focal point of this image is the wood/towel. The use of pattern in lines and object texture cries out to be analysed but not in a competing way – the use of a large depth of field helps here.
  • The image has been composed in a way which is unusual – the towel/wood is off centre and there is a good amount of foreground/background space.
  • The lighting setup is most likely even lighting (see diagram below, paired with a white reflector – see the drastic differences)

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  • Hammond’s intention is to address the spatial inconsistencies of simulated architectural propositions and how they materialise in the post-industrial landscape. She has done this by breaking down the heart of what buildings are made of and what they must remove in order to exists.
  • Looking at Hammond’s galleries of other projects, her stamp is there, in composition, colour palette, way of working and the mediums she employs.
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 F Hammond, 2014

IMAGE 2: THE BATHROOM

  • The lighting in this image is identical to its predecessor – even, soft and with minimal shadows
  • This is a successful image, it looks like a Hammond picture and does not visually stray from the theme of the series or its styling. This image screams nathroom tiles to me becuase of its pattern on the cube. In addition, the material behind the cube combined wiith the cube is what many opulent bathrooms consist of whilst the material on top of the cube has to be removed (clearing the land) in order for this construction work to begin.
  • The focal point of this image is the grass sprouting from the cube sitting on a wooden surface
  • This image has been composed using a play on the rule of thirds. There is a shadow behind the focal point of this image as well as a hole on the left hand side of the image whilst the right side of the image has none. The cube is given less monotony with the 4 main lines on its surface.
  • The lighting diagram mentioned in image 1 was most likely employed here too as well as the intention of this image and series.
  • Looking at Hammond’s galleries of other projects, her stamp is there, in composition, colour palette and way of working.
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Bermuda Grass, F, Hammond, 2014

IMAGE 3: BERMUDA GRASS

  • This images lighting is most likely the same as its predecessors.
  • This is a successful image, well executed, looks like part of the overall series and the 2 elements behind the focal point do not detract from it.
  • The main focal point is the rectangular slap with the grass on top of it
  • This image has been composed using the rule of thirds for the horizontal arrangement. The distance between the table top and the bottom of the picture was considered in the vertical placing of this object in the image.
  • The use of (what appears to be art or picture frames) on both corners of this picture make me think of an affluent persons living room – I could be wrong and this may not have been the photographers intentions.

Artist material and processes

Hammond’s end results are printed onto perspex and she works with sculpture, installation, role play and photography. I am inclined to believe that she used a digital camera for photographing these pieces however the colour palette is quite muted so medium/large format colour film could be equally as probable.

On Hammond’s website there are no behind the scene videos or written insight into her materials and processes. From the variety of projects she has up, I can see that she is a very tactile artist and is not afraid to incorporate a variety of mediums from the visual arts world into her work.

WHAT HAVE I LEARNED FROM HAMMOND AND HOW WILL I APPLY IT?

  • Don’t be afraid to incorporate other mediums into my work. I’ve never sculpted but I have had a hand at drawing and painting, see how this changes my work and the end result and possibly photograph that? Maybe even moving image/sound – just experiment and see what happens!
  • Visual language, a recurring theme, nevertheless a very important one. Think about the material/signs present in my photography and what they will communicate to my intended audience.
  • Have a very specific way of working and subject. The ‘boring topic to photograph’ is the easiest to experiment with, because of its simplicity.

Bibliography

Hammond, F. (no date) Works. Available at: http://www.felicityhammond.com/#/you-will-enter-an-oasis/ (Accessed: 31 October 2016).

Johnson, M. (2014) ‘A beautiful mess’, 23 December. Available at: http://www.abeautifulmess.com/2014/12/tips-for-using-natural-light-in-still-life-photography.html (Accessed: 31 October 2016).

Liberation®, P. (2015) Juno calypso wins BJP international photography award 2016. Available at: http://www.itsnicethat.com/news/british-journal-photography-awards-2016-juno-calypso (Accessed: 31 October 2016).

Liberation®, P. (2016a) Architectural photographer Frederik Vercruysse captures serene and haunting spaces. Available at: http://www.itsnicethat.com/articles/frederik-vercruysse-architectural-photography-261016 (Accessed: 31 October 2016).

Liberation®, P. (2016b) Photographer Vincent chapters documents the black lives matter marches in London. Available at: http://www.itsnicethat.com/articles/vincent-chapters-black-lives-matter-march-london-130716 (Accessed: 31 October 2016).
Liberation®, P. (2016c) The complexities of life in Rio de Janeiro from photographer Stefanie Moshammer. Available at: http://www.itsnicethat.com/articles/stefanie-moshammer-land-of-black-milk-rio-110816 (Accessed: 31 October 2016).
(No Date) Available at: http://www.itsnicethat.com/articles/jessica-lehrman-revolution-250716 (Accessed: 31 October 2016).