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.

 

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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.

nyttearsheetmontage07
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.

fatos9bis
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).

Artist Study – Giles Duley

Giles Duley was born in 1971 in London. After 10 years as an editorial photographer across fashion and music genres in both the US and Europe, Duley shifted his focus to humanitarian projects. Duley He has worked with well respected charities such as Sans Frontiers, IOM and UNHCR to highlight less widely known stories equally deserving of action and public attention. He has documented some horrific and challenging situations being sure to capture the strength of those who fight instead of succumbing to their problems. His photographs create empathy for lives varying in circumstances and allow the viewer to be drawn to the subject.

In 2011, whilst on patrol with 75th Cavalry Regiment, United States Army in Afghanistan, Duley stepped on an improvised explosive device (IED). He was severely injured, and became a triple amputee. He has since returned to work. His work has been exhibited and published worldwide in many respected publications including Vogue, GQ, Esquire, Rolling Stone, Sunday Times and others. In 2010 he was nominated for an Amnesty International Media Award and was a winner at the Prix de Paris in 2010 & 2012. His self-portrait was selected for the 2012 Taylor Wessing Exhibition at the National Portrait Gallery.

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Self portrait – Taylor Wessing Photographic prize, 2012, Giles Duley

Duley’s work appeals to me because it is humanitarian and used to facilitate positive change for various members of society. His work deals with issues affecting a large proportion of society across continents . Duley has had to gain access to a range of communities and this takes both time and personal funding. He has successfully built up a network and is able to reconnect with people he meets in places as far as the Middle East! Whilst I am at a stage where I can still personally fund my long term documentary project, I do not have as much time. Duley’s longest and first project took 8 years.

The ability to use the camera as a tool for telling stories of marginalised communities is one that takes time and a lot of dedication and personal interest. For this assignment, I will be focusing on the series, A Family’s Story, Za’atari Refugee Camp. This series was done as a charity commission for Save The Children.

Below are my 3 key images for visual analysis.

a_family_s_story_28-1
Salwa waits for dinner, A Family’s Story, Jordan, Giles Duley

Image 1 – Salwa waits for dinner

  • The lighting in this image focuses on the child on the left hand side, and the slight vignette makes the detailed and ‘in-focus’ background, complimentary as opposed to distracting. especially behind the man in the centre.
  • The main focal point is the child and her environment. The child, the dinner and multiple cutlery pieces on the table help tell the story which is probably a justification for not blurring out the child’s background.
  • The light in this image is artificial – when you zoom in, the little girls eyes have evidence of on camera (or off) flash. Possibly a small flash gun, or continuous ring shaped LED lighting. The light enhances the message this photograph is sending.
  • This is a typical image by the photographer and lends itself heavily 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 patterned furnishings – rug, the cultural food and even the other child’s feet in the top right hand corner).
  • The composition of this image is quite interesting. Without the slanted image, and the whole image in focus, the message of this image would not be as strong.
  • In addition, the patterns in this image add to the setting of this story being in that part of the world (Jordan) whilst the presence of a child draws empathy and makes the story relatable. These composition choices appear to be intentional.
  • This image tells a story, the story is just as strong as a series, as well as this image on its own.
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Amin holds his youngest daughter Safa who was born in the camp 8 months ago. The family sees her as a blessing that has helped them get through the hardships of the camp, 2014, Jordan, Giles Duley

Image 2 – Amin holds his youngest daughter Safa…

  • The lighting in this image draws immediate attention to Safa, in her fathers arms.
  • The main focal point is the little girl, Safa.
  • The light appears to be artificial – from a flash gun, and emphasises the Safa more than Amin, her father.
  • This is a typical image by the photographer and lends itself heavily to humanitarian and emotive photojournalism.
  • I think it is a successful image with the subject matter clearly indicated by the subjects of the image (father and daughter) as well as the feelings it evokes straight away – empathy, familiarity and a sense of compassion.
  • The composition of this image is quite interesting. The image has been cropped quite closely, to really remove any distracting background elements.This image is very strong on its own but also, with the series.
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Amin washes his feet before prayer, Jordan, 2014, Giles Duley

Image 3 – Amin washes his feet before prayer

  • The lighting in this image creates a strong and moody photograph.
  • The main focal point is the right foot that the water is washing.
  • The light appears to be a combination of natural (daylight) and flash light, as there is a difference in light distribution between the arms – top part of the image, and the feet which are lower.
  • This is a typical image by the photographer and lends itself heavily to humanitarian work.
  • I think it is a successful image with the subject matter clearly indicated by what is in the image’s foreground (Amin washing his right foot) in contrast to the background (filled with stones/pebbles and the other parts of Amin’s body). It is strong for two reasons, it freezes the act and it shows a portrait without a face.
  • 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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Amin’s family, Jordan, 2014, Giles Duley

Artist processes/materials used

Duley works both in black and white and in colour. Based on some of his behind the scenes/travel companion photos, I have seen that he uses a Canon DSLR for his work. In some of the earlier series however, it is possible that this work was completed on film. Cost throughout the process is important to Duley as he sells his prints at around £130. It is highly unlikely that film work can be sold so cheaply. His digital work is printed in a special way (inkjet photographic paper) and sold until the series is no longer available. He has also produced a number of books, images for campaigns and posters.

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. Duley has however, gone against this norm. He also combines statistics and facts with his humanitarian work to give it some context and an extra dynamic. For example:

“We have rights to dream and rights to achieve those dreams” – Amin

3 years of war.
6.5 million internally displaced people.
2.4 million Syrian refugees.
560,000 in Jordan alone.
Za’atari Camp with over 100,000 refugees.

Siwar, Amin and their five children.
One family.

Key elements taken for my own practise

As a result of looking at A Family’s Story, I will:

  • Produce an edit 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 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

(no date) Available at: http://www.itsnicethat.com/watch/here-2012/giles-duley (Accessed: 11 December 2016).

(no date) Available at: http://www.slideshare.net/isabelleq/tedx-observer-unstoppable-ideas (Accessed: 11 December 2016).

Duley, G (no date) Available at: http://walkingwounded.emergencyuk.org/witness/giles-duley/ (Accessed: 11 December 2016).

Duley, G. (2013) Giles Duley: ’I lost three limbs in Afghanistan, but had to go back …  ‘. Available at: https://www.theguardian.com/artanddesign/2013/feb/10/giles-duley-photography-amputee-afghanistan (Accessed: 11 December 2016).

Duley, G. (2012) When a reporter becomes the story. Available at: https://www.ted.com/talks/giles_duley_when_a_reporter_becomes_the_story (Accessed: 11 December 2016).

Artist Study – Matt Black

Matt Black is a 46 year old documentary photography born in California. His work focuses on poverty, migration and the environment. He has received a World Press Photo Award, Robert F Kennedy Award for Excellence in Journalism (2016) and the W. Eugene Smith Grant (2015). He is also a nominee member of Magnum Photos. He usually works in his native area in Southern California and in Mexico. Black has photographed over 100 communities across 44 US states for his project, The Geography of Poverty. His projects often feature short films. Black has been named a Senior Fellow at the Emerson Collective, received a Magnum Foundation Emergency Fund, the Pulitzer Center on Crisis Reporting and other professional acclaims.

Matt Black 1.jpg
Fallowed Tomato Fields, Corcoran, California, Matt Black

Black’s work appeals to me because it is in black and white, political and socially engaged. His work deals with issues affecting a large proportion of society everywhere and he adds another element to his documentary photography – short films. Black has had to gain access to a range of communities and this takes both time and personal funding. Whilst I am at a stage where I can still personally fund my long term documentary project, I do not have as much time.

The ability to use the camera as a tool for telling stories of marginalised communities is one that takes time and a lot of dedication and personal interest. For this assignment, I will be focusing on the series, The Geography Of Poverty. This series was done using census data and then geo-tagging his photographs.

Below are my 3 key images for visual analysis.

matt-black-el-paso
El Paso, TX. The population is 649, 121 and 21.5% live below the poverty level. Matt Black 

Image 1 – El Paso, TX

  • The lighting in this image creates strong contrasts, especially behind the man in the centre. It appears that this photograph used natural lighting and the sun was quite high in the sky (daytime as opposed to sunrise/sunset).
  • The main focal point is the column in front of the building with the number 1500. This is overshadowed by the darker contrasts evident in this picture.
  • The light appears to be natural (daylight) and with the presence of clouds. The light enhances the message this photograph is sending.
  • This is a typical image by the photographer and lends itself heavily to photojournalistic training.
  • I think it is a successful image with the subject matter clearly indicated by what is in the image (a person, surrounded by shadows and items common to a road – street sign, lamppost, etc).
  • The composition of this image is quite interesting. Without the column/lamppost in the foreground the message of this image would not be as strong.
  • In addition, the lines in this image imply an idea of overarching system or structural error. These composition choices appear to be intentional.
  • This image tells a story,the story is just as strong as a series as well as this image on its own.
matt-black-modesto
Modesto, CA. The population is 201, 165 and 20.8% live below the poverty line.

Image 2 – Modesto, CA

  • The lighting in this image creates an interesting effect though it is more even than in the previous image.
  • The main focal point is the man in the foreground, after which the competition for my attention is between the horizontal line, the Stop and Save Sign and the man in the background.
  • The light appears to be natural (daylight) and quite flat.
  • This is a typical image by the photographer and lends itself heavily to photojournalistic training.
  • I think it is a successful image with the subject matter clearly indicated by the subjects of the image (2 men) as well as the sign on the building and the horizontal line working almost as a divider.
  • The composition of this image is quite interesting. There is a relationship/narrative between the visible and connoted factors inside this photograph. This image is very strong on its own but also, with the series.
matt-black-allensworth
Allensworth, CA. The population in 471 and 54% live below the poverty level. Matt Black 

Image 3 – Allensworth, CA

  • The lighting in this image creates a strong and moody photograph.
  • The main focal point is the hand on top of the pillar in the fields.
  • The light appears to be natural (daylight) and quite dynamic (the shadow on the underside of the subjects hands) and the clouds in the sky.
  • This is a typical image by the photographer and lends itself heavily to photojournalistic training.
  • I think it is a successful image with the subject matter clearly indicated by what is in the image’s foreground (human hand on a pillar) in contrast to the background (expanse of empty land).
  • 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

Black works only in black and white. His earlier work in Kingdom of Dust has different shaped images – so I am inclined to say he used a medium format 6×9 camera. His Geography of Poverty series is in square format. I can speculate and say he used a square format film camera such as a Mamiya, or a Bronica 6×6. Alternatively, he could have used  Canon or Nikon DSRL/medium format, and edit and crop his images. 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.

The fact that short films often accompany his documentary projects suggest that Black travels with a film maker or uses a camera which can produce short film footage – digital camera.

Key elements taken for my own practise

As a result of looking at Geography of Poverty, I will:

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

Geography of poverty (no date) Available at: http://www.mattblack.com/the-geography-of-poverty/idp5g8h3xnyw3afef56puvetzhu1k8 (Accessed: 11 December 2016).

Laurent, O. (2014) Matt Black is TIME’s pick for Instagram photographer of the year 2014. Available at: http://time.com/3615902/matt-black-instagram-photographer-of-2014/ (Accessed: 11 December 2016).

Matt Black • photographer profiles • magnum photos (2016) Available at: https://www.magnumphotos.com/photographer/matt-black/ (Accessed: 11 December 2016).

O’Hagan, S. (2016) ‘Poverty is often looked at in isolation, but it is an American problem’. Available at: https://www.theguardian.com/artanddesign/2016/may/29/matt-black-photography-poverty-geography-california-us-sean-ohagan (Accessed: 11 December 2016).

Written and Sritharan, B. (2015) Matt Black’s ‘moral’ photography of America’s sprawling poverty. Available at: http://www.bjp-online.com/2015/08/matt-blacks-moral-photography-of-americas-sprawling-poverty/ (Accessed: 11 December 2016).

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.

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.

museum-of-others-othering-the-explorer-james-cook-christian-thompson-1024x1024
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.
museum-of-others-othering-the-ethnologist-augustus-pitt-rivers-christian-thompson-1024x1024
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).

 

Final Year of Photography Degree!

So, the end of the final road begins. These past 2 years have been interesting as a Photography student. When you are completing placements, juggling freelancing and studying it can be hard to juggle all the information that is given to you and process it into something you can actually follow.

There are 3 things that I have learnt that have helped me a lot, they’ve been said over and over again but I don’t think the light fully switched on until final year so I will share them briefly below.

  1. Write down EVERY idea you have. As trivial as this sounds, there will be stages of growth in your development as a photographer. I now look back at ideas I had from the first year that I was not ready to shoot – I didn’t have the technical skills, the creative eye and quite frankly enough industry experience to attempt such a project. Writing it down tells your brain this is something important – not something I will be wasting time by doing and you’ll be surprised how much inspiration you can get after revisiting old ideas.
  2. READ like it’s going out of style! (I will elaborate this one further on in my blog) but when you are not making work, spend time looking at other creative work, journals, photographic magazines that explain how the successful live and think, books, films, paintings even music. You will find that when your reference these creatives in your work, your interpretation of it changes as you add your own flavour to what has been done before you. Saturate yourself in creativity, it helps you become more original.
  3. NEVER be afraid of failure. I cannot stress this last one enough. There will be some projects you try and you take some absolute sh*t pictures (at least I have) but this is all a part of the process. My editing in my early stages of learning  Photoshop was poor, and I had to submit some of this work for graded assignments. The feedback I got – though uncomfortable at the time, forced me to improve and to learn from what had gone wrong. It has been quite crazy how quickly the past 2 years have flown by, and I am glad that I attempted and failed the things I did at a time where it was less critical and I had a safe space to ‘fail in’. I can assure you that I’ve not made the same mistakes twice!

This year as I write my blog, I will be including more pictures, personal reflections and sharing tips for those creatives who wish to bridge the gap between student and professional and are unsure of how to go about it.

Welcome to my blog and please, don’t be afraid to leave a comment – I will reply.

Research & Development – Jeff Wall

Jeff Wall is an artist renowned for large-format photographs with diverse subject matter. It encompasses urban environments and tableaux vivant that mimics the complexity and size of nineteenth-century paintings. This aspect of his practise lends itself to his training in art history at London’s Courtauld Institute.

Wall started producing large, backlit photographs after seeing an illuminated advertisement from a bus window. He had recently visited the Prado, Madrid, and combined his knowledge of the Western pictorial tradition with his interest in contemporary media to create one of most influential visions in contemporary art.

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A Sudden Gust of Wind (after Hokusai), 1993

Wall calls his photographs, after Charles Baudelaire, ‘prose poems’. This description emphasises how each picture should be experienced as opposed to illustrate a pre-determined idea or a specific narrative. His pictures may depict an instant and a scenario, but the before and after that moment are left completely unknown. This allows the viewer to become involved in the deciphering of the photographs meaning. Naturally, it follows that diverse interpretations would emerge upon different audiences responding to his work.

The prose poem format allows any truth claims of the photograph – the facts we expect from journalistic photography – to remain suspended, and Wall believes that in that suspension the viewer experiences pleasure. In addition to the light-boxes, Wall has made, since 1996, black-and-white prints, and has recently begun to print large-scale colour inkjet photographs.

Below are the 5 images of his that I find the most interesting/relevant to my intended body of work. Following that are evaluations and influences for my practice to consider.

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Each image is uniquely composed and loaded with societal issues. What is most interesting is that the majority – if not all of these images, were composed by Jeff Wall to convey a particular issue. Yet, without being told that they were ‘directed’ they are assigned a meaning. For example: ‘racism/racial slurs’, ‘apartheid within the USA where segregation of black individuals was prevalent’, the importance of unpaid workers etc. Each of these images, if put on posterd/ads and ran as campaigns would be successful visually for the clear theme they seem to stand for.

My next concern would be of how ethical it is to direct an image that may stand for a prevalent societal issue. The end result would be similar if not identical to street photography however, a lot more instruction and ‘bias’ was involved in the directed photograph.

For my personal practice I wish to envisage the size and scale of the images I take and not wait until ‘printing/post-production’ to consider those factors. In addition, I would like to pay as much detail as possible to what is inside of my frames when shooting – what adds detail, what enhances and what detracts? This is particularly hard when doing fast paced street photography but, it is not impossible.


Continue reading “Research & Development – Jeff Wall”

Research & Development – Alec Soth

USA. Vasa, Minnesota. 2002. Charles
USA. Vasa, Minnesota. 2002. Charles
I fell in love with the process of taking pictures, with wandering around finding things. To me it feels like a kind of performance. The picture is a document of that performance. ”

 

Alec Soth b.1969 is a Magnum Photographer whose distinct style is documenting performance photography. When I first saw his images I felt like I was ‘waiting for the next scene’ almost like watching a movie. When I did some research into his photographic style the reason became clearer.

He photographs large geographical territories (Mid-West USA) with various subgenres – nature, people etc but has a way of making the process seem like an adventure and the photograph becomes the document. His photograph reminds me of childhood movies like Huckleberry Finn and bear a feel reminiscent of that story. He currently has a brilliant exhibition at the New Media Space, Science Museum – Gathered Leaves (review soon to follow) and was featured in the British Journal of Photography October 2015.

Below are some of his images I found interesting as well as a personal reflection.

Reflection:

I will be considering his technique of capturing a still and making it appear ‘as a scene/living picture’ in my personal practice. Sometimes a photographer is unable to translate a sense of movement without obvious tools such as shutter speed simply because one frame does not always tell the whole story. Instead of using this point of view I will consider how my ‘one shot’/series can tell the most exciting part of the story.

Another iconic thing that Soth has done is find the most ironic juxtapositions/locations for the relevant portraits [see above the Palm Sunday photography]. Whilst street photography should not be directed as such – locations and subjects will be carefully considered in my framing.

Continue reading “Research & Development – Alec Soth”