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.

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.

giles-duley-self-portrait-001
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.
a_family_s_story_16-1
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.
a_family_s_story_22-1
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.
a_family_s_story_1-1
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.
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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 – 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.

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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.

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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 – 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).

 

Personal Photography Briefs decoded

When coming up with photographic ideas a personal photography brief is always a good starting point. It helps you describe your ideas/how you want your images to look before you have taken them. It can serve as a reminder for what you are doing, how you want to do it and sometimes, why. Once the shoot is over, you can reflect on this document to see what you followed or didn’t follow and why. It helps in your evaluation, and you find yourself growing a lot faster a photographer. Once you move forward from the previous project you become more intentional with how you work.

Sections to break your photography brief into:

  1. Aims & Objectives – what are you doing/going to do and why?
  2. Location – where are you shooting, why? Include sample images here.
  3. Equipment – list here
  4. Influence – who are your key influences and why, what are you taking from their work and injecting into yours? Include every element and use visual language. Include key images here to demonstrate what you wish to achieve.
  5. Light – how should it look in your images, mood and atmosphere you wish to create? How will you achieve it?
  6. Lighting diagram – use it to show your setup and consider your subject and location. Include any good test shots you have here.
  7. Look and feel – how would you describe your images in words – use descriptive vocabulary.
  8. Genre – what genre are you working in – how will this affect the way your work looks visually?
  9. Audience – where do you want your work to end up? Who will view it and how will you make money from this work? Will this affect how you complete your project and the decisions you make?

You don’t have to write paragraphs for any of these sections. aim to answer in bullet points. This will help you absorb what you are doing faster and make planning the consequent shoots/projects easier. I’ve included my example brief in another post.