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.

 

Practitioner Case Study – Mike Abrahams

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

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

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

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

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


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

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.

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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 – Thom & Beth Atkinson

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

copeland-road
Copeland Road, Thom and Beth Atkinson

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

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

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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.

static1-squarespace
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).