“Photography is a medium – a vehicle for communicating facts or fictions, and for expressing ideas. It requires craftsmanship and artistic ability in varying proportions.” (Langford M, 1977)
For our context of the study of photography the transmission of ideas is particularly relevant. Concepts in the form of images, that ignite, inspire and move people are what drive photographers to make images, on the whole.
Greetings to all budding and progressing photographers and visual arts people, tutors and assessors.
This is my OCA blog based upon level one Photography working towards the BA.hons which I plan to complete somewhere in the region of 6-8 years.
I will give a brief explanation of the site so that anyone that wants to investigate can navigate with ease. The titles are: Assignments which go 1-5 and are progressive during the course. The coursework is that which influences the assignments and serves as a guide in the study. The reflection section entails various other categories that range from books read, to exhibitions seen.
For assignment 5 I made another photo for the series. This was on suggestion of my tutor and also even before that I’d decided that the angle of view for the original photo of my bathroom was just too odd. Spatially the bath of the original photo sat lopsided in the frame and the focal length (35mm) gave too wide a look to the subject. This might of served in a another context but I figured that another photo might work better.
Whilst finding it difficult to engage enthusiasm for taking the photo again because the subject matter was not thrilling! I soon got into it when I remembered that actually it is part of a series and so keeping me focused in the perspective that I am shooting in.
I used flash (bounced off of the ceiling) with a grid to control excess spillage of light in order to enhance the items of the bath and the area of the bath. The original photos was quite dark. Another reason to re-do it. The visual perspective of seeing more of the objects in the bathroom also fits in better overall with the series as the rest show a wider angle of view into different parts of the house.
Original photo for assignment 5
A few technical points
This image was taken with an 80mm lens as opposed to the majority that were shot with 35mm.
Getting the photo right was difficult because of the limited opening into the space through the door and the space at the head of the bath. Therefore I had to make a technical compromise by losing a little bit of the bath at one end.
Exhibitions in Barcelona of Humberto Rivas and Carlos Saura
Whilst in Barcelona recently I had the privilege to see the work of two photographers who’s work I did not know too well but enjoyed. The theme was of the Spanish Civil war and the genre was social documentary and the 50’s in Spain.
Although these exhibitions were at two distinct locations they shared the telling of stories of men, women and places that have lived through the Spanish Civil war (1933-35) and the 50’s era in Spain which was obviously still under the influence of the dictator, Franco. They are telling and sad pictures for the most part.
I know Spain very well as a country, speak the language fluently and have spent many days wandering the countryside fascinated by its plethora of ruins, landscape and people. I could almost go out and shoot several hundred photos myself and mount a very similar exhibition to the some of the photos seen here. In fact, I have photographed some of the places depicted in these images, especially Belchite, a bombed out village in the province of Aragon near to Zaragoza, that has simply been left as it was since the war. It is fenced off and sits like a great ghost in the bare dry plateau of Belchite like a witness to the world. It’s as if it is saying…”War never works…” “be warned”.
Below are some of the photos of Humberto Rivas:
[1] Humberto Rivera Huellas (footsteps) Photos taken between 1995-2005
The effect was in some quite familiar as I have felt the sadness and pain of the civil war. I know for a fact that it is still to this day a difficult thing for many spaniards to talk about, of a certain age and generation. Many simply won’t. With the ‘pact of silence’ in place after the war ended both Republican and Nationalist decided it better to put the ‘elephant under the carpet’ and thus forget the pain. However, as I see it, it does not work like that. Pain lives on in the faces and lives of people until they find a way to resolve their past.
I’ve often wondered wether I could not produce a photo project that might aid that process. It would be somewhat provocative for a foreigner to do so. I am struck by how Rivera manages to get the clear firm attention of his subjects in the photos and portray them so well in terms of their emotional inner lives.
Carlos Saura
Saura is the director of the famous film of the seventies ‘blood wedding‘ (boda de sangre, 1981) and presents some of his stills and studio shots from the characters of the film as well as some other documentary/street photos of the 50’s era Spain. I place just one example here from the exhibition.
Image 2. Saura, Lola Flores (1991)
Saura’s film for me was very gripping as I love flamenco and the energy of dance. This film was created in the 70’s which gives it a special feel. When I look at some of these still again I am reminded of the scenes and people that I have seen in Spain, on my travels and stays here. I am endlessly fascinated by this peninsula.
As for the effect of the image on me I see these picture as very enticing and strong, especially because of the character in the photo. The posture in the above photo, a curious position with a back lit background to produce the stylised split lighting effect, creates a certain tension in that she is looking around. There is a certain dynamism in this as opposed to a figure simply looking face on at the camera and I must say it has stimulated my interest in portraiture that is a bit more ‘out of the norm’.
Images.
L’Arxiu Fotográfic de Barcelona (1995-2005) Rivera H. Huellas Photography [exhibition] April 2017
Círculo de Arte (1991) Saura C. Lola Flores photography [exhibition] Barcelona April 2017
I first saw an exhibition by Viola way before my photography days in London at the National gallery. It had to do with faces, well emotions on faces to be exact. But the images were not stills they were moving images, videos. The intriguing part was that the movement was in slow motion. At the time I was taken by this. Later I saw other pieces of his work such as the figures under fire and water, and human faces submerged under water…are they dead or alive? Either way his work has attracted attention and for me he has reemerged into my visual awareness as an artist worthy of investigation.
One piece of work that stands out is: The Crossing (water), 1996 which is a video sound installation that involves a figure walking out of the dark and then being showered upon by a downpour of water.
[1] Image 1. Bill Viola, Water (from the crossing) 1996
Like many or most of his pieces, they are dramatically produced. Often he uses a dark background to maximise the use of studio light in combination with the music and movement.
The music that accompanies his pieces evokes another level of response in addition to the visual element. It is strong stuff. Often I find myself thrown into a kind of existential reflection of some kind, often life and death!
There are often strong religious connotations in his work, that seem to reflect something of his own view of religion. Unlike the work for example of ‘Thy kingdom come’ (2009) Lachapelle D. his work has a seriousness as opposed to a rebelliousness that I see in Lachapelle’s work. Their styles in some way are very similar if viewed as stills and not video. The work of Lachapelle is also quite cathartic and often has sexual symbolism and imagery mixed in with the religious. His work (and his video film work) are like visual punches to the abdomen. His work falls into the genre of semi-surrealism and fantasy.
It strikes me as interesting that there are many tools at the hand of the visual artist, especially those working in the digital mediums and these two artists have exploited very thoroughly the use of this medium.
Helmut Newton comments of Lachapelle:
He isn’t very impressed by current photography. ‘‘There’s a lot of pornographic pictures taken by the young today,” he said. ”There’s a magazine, Purple.” He frowned. ”A lot of the nudity is just gratuitous. But someone who makes me laugh is David LaChapelle. I think he’s very bright, very funny, and good.
To this I would have to agree. That a lot of what passes as visual nudity really now is beginning to feel a bit past it and pretentious to my eye. However, with Lachapelle I can see a social message, a commentary happening which makes it more interesting to engage with.
Viola has the capacity to capture the attention of the viewer through the video work. As the videos are usually in slow motion, it means that one has to stay with the movement of the frames to see what the outcome will be. Thus they are a kind of moving meditation.
I chose to compare these two artists because I have been impressed by them both for the way that I felt that they affected me and also to explore their very different styles and to see how they are both effective.
My first thoughts about this exercise were slightly perplexed and uncertain as to precisely what was being asked. However I gave the OCA photography department the benefit of the doubt that they know what they are doing and that the idea is to ‘test’ the student in lateral thinking and being open to seeing something new?
I have approached the exercise from the point of view of what I most felt empathy with when going out for a random exploration of objects to photograph and seeing what called up my empathetic feelings. It doesn’t usually take that long before I see something that resonates with my desire to form an image of it.
If you look over my work of the past two years (OCA foundations photography and EYV) you’ll see that ruins appear an awful lot in my shots and projects. I have an empathy for these beautiful and poignant reminders of impermanence and change. This time and for the exercise I have chosen a ruin albeit a modern ruin.
The idea had been to juxtapose the building with the background which is just visible thought the window and shows you the environment outside. Nature contrasted with man made objects. I am attracted to the bizarreness of the image. I think that there is a deeper reason for being attracted to such situations and objects. Whilst the framing of the image was intentional perhaps something more could be said about the content within the frame that was not fully conscious at first.
Reflections
When I framed the image I wanted to bring in various elements such as the graffiti and the window to the outside view of nature and the young tree in the middle of the frame. On the ground as well there is a spree of debris. I shot that frame intentionally and at the time hadn’t thought through all of the implications of doing this. Whilst on the whole there are no ‘mistakes’ in terms of the content of the framing etc. I can see that there is something symbolic in the content if I look closer. Ruins v’s nature, the tree growing into the semi built house and the black insulation on the ground are all clues here. My sense of closeness to the theme is very strong and stems from my childhood when I spent many hours wandering alone through ruins and rubbish dumps and deserted landscapes. The wastelands for me where places of reflection, aloneness and time to be with myself.
There is something poignant in the relationship between the man made structure, unfinished or in ruins and the presence of nature. There is something of a message in this in terms of nature being more powerful and putting things in perspective. The insulation on the ground, although I saw it, at the time didn’t know what it was. It could represent the attempts to insulate ourselves from nature; in this case quite literally by putting a physical layer between ourselves and it. The graffiti is an attempt to embellish something and make it more interesting. Whilst it was in the framing, it also represents the idea of making something more interesting but distracting us from some essential truths. Nature cannot be embellished or made the shape that we want it to be.
Select image
Pre-select images
1. pre-select
1.This is one of the pre-select images that I have used for the exercise but later not chosen. The composition show more of the environment where the ruin or house structure are this putting more in context.
2. Pre-select
2.This image was nearly chosen for the more acute contrast between the sense of nature and the man made environment. However I felt it did not really have enough of the elements in it for the idea that I was working with.
5.2 Produce a photo in response to an image that we like.
For this exercise I examined a number of photos that I would of wanted to make a ‘homage’ to. I initially thought that I would base the photo on one by Joel Sternfeld-one of my favourite American
Image 1.Joel Sternfeld. McLean, Virginia, December 1978
photographers. He has a sense of poignancy and of the bizarre that other photographers such as Gregory Crewdson also share. The photo is of a fireman on a ladder attacking a fire in the background whilst in the foreground his colleague is buying pumpkins in a store. It is a juxtaposition rite large.
The context for this photo is the 70’s during a downturn in US morale and employment. It is said to represent the way the Americans were turning their backs even as the proverbial house was burning down-a timely metaphor that was well gauged by Sternfeld I thought.
Searching for the image for 5.2
As I rooted through a number of photography books, I came across the image of Andrés Serrano ‘Piss Christ’ (1987). Probably this is one of the most irreverent photos that I have ever seen. The reason that I chose this photo is twofold. First of all I saw it as relevant to our theme of contextualisation. As Juliet Hacking states, if it had not been for the title: ‘Piss Christ‘ it would not of caused such a storm in the public. In other words, in this case it seems that the title created in Barett’s terms the “internal context”. If the photo had been untitled I still believe that its “external context” would of created something of a reaction in the public as it is an image that provokes a ‘double take’ by virtue of the red liquid submerged christ. Not a typical depiction. However, the words had impacted the image as they seem so slanderous. According to Serrano, this was not his intention. This is the second reason for my choosing this photo.
Image 2.Andrés Serrano, Piss Christ (1987)
Intention plays a big part in contextualising the photo. In Serrano’s case maybe the intention was not explicit enough, or maybe his intention was to simply provoke reaction and therefore dialogue. The image was produced as he explained it, as a protest against the cheapening of religious icons and to question the need for faith at a time when HIV and AIDS were at the height. The public read it as a denigration of religion (Christian faith) and reacted accordingly with political and religious leaders alike in outrage.
My homage is therefore to Serranos not so much for the crudeness of the image, although I perceive a certain beauty in it myself, but for the provoking of habitual thought and a questioning of that.
The context of my photo
My Image below has elements of the “original context” in that there is comparing and contrasting to original works…in this case the work of Andrés is being compared with the photo that I have made. Comparing and contrasting are elements that fall into the “original context” category. Also the photo offers a theme and a response in some ways to current issues around religion and our views of it. There is an interpretative context going on, based upon the photo of Serrano.
There are also elements of the “internal context” in that one can identify the subject matter, or that which is obvious in the photo and begin to interpret meaning. The objects in this photo represent religiosity although it is not completely certain what is being said. Therefore it is open to interpretation. This is one of the problems often found when looking at photography, it is not always clear what the photographer wants to communicate. The connotations are really the main communicating points of the photo within and I would say is the key “context” for this photo. This point is somewhat subltle and I think it requires further reflection as its not necessarily always obvious. I find the questions below useful for deepening into this three point analysis:
What do I see?
What does it mean?
What is the subject matter?
What is the relation amongst the subject matter?
What is the form?
What is the medium?
What is the style?
What is the difference between one photos and others?
I am responding specifically to the idea. The idea that being religious means paying homage to articles and objects of religiosity. I feel that this is what I am trying to say in this photo. That actually wherever you are is the place to practice your religion, including in the toilet! So, in a way the use of imagery that is not just christian (see the meditating figure) responds in a similar way to Serrano. The imagery is different but the message is a response to how he perceived superficial spiritual ideas. That people talk a lot but do not walk the talk. I respond to the photo using my own style and composition but the message intention is the same. When I see Serrano’s image and understand what he says it is very clear to me, why he made the picture this way. My response is one of kind.
Final note*
The picture has a red hue to it which I left intentionally as a ‘homage’ to the colour and richness of Serrano’s image. See original images that I took. I decided later to reduce heavily the red (having shot with a speed light using red gel) because the use of that kind of light seemed too strong and overpowering. Red however connotes friendship, passion and life.
Article by Terry Barett on context and photogprahy.
This article is a refreshing look at the seriousness of context in photography. Here I research the topic further using other sources as well as the primary paper by Barett.
Much is written about the importance of evaluation, reading and contextualising photos in order to gain maximum understanding and appreciation of their message. Barett in his paper (2010) discusses the relevance of understanding context and provides a formula that is often utilised in academic institutions for the analysis of photography.
“THE SAYING “A PICTURE IS WORTH A THOUSAND WORDS” is never more true than with a photograph. Photographs have tremendous power to communicate information. But they also have tremendous power to communicate misinformation, especially if we’re not careful how we read them. Reading photographs presents a unique set of challenges. Students can learn to use questions to decode, evaluate, and respond to photographic images.” Thibault M. and Walbert D. (2003).
I find myself more in agreement with this above quote as I deepen my own understanding and practice of photography. I personally believe that there is more of a chance of simply not understanding the message of any given photo, if the image is not correctly contextualised. In todays market plethora of photos, there is greater danger that due to the sheer quantity and perhaps less time to stop and really take in the meaning of things, we skip by only superficially taking in the message of a photo (thus not understanding at all) or we come to a superficial comprehension. Therefore it would seem that to contextualise one’s work and to have some explicit elements within the contextualisation would be essential to the understanding of the work.
Barett in his paper starts his argument by looking to the photograph of Robert Doisneau’s of a couple at a Parisian cafe. He explores the picture’s original intent and then shows how a decontextualisation can lead to a change of meaning in the photo and the photographer’s original intent. The image is used initially by Doisneau in photojournalistic context. Later the photo is appropriated and used in three other contexts:
A temperate magazine against the abuses of alcohol
A french scandal sheet entitled: “ Prostitution in the ChampsElysées”
Finally the image shows in art galleries in New York (fine modern art)
The change of context of the photo leads to several problems and can be seen again and again in the development of photography during the 20th century. Another example of this is the iconic photo by Dorothea Lang taken as part of the series ‘family of man’ ‘Migrantmother’ (1936):
The photo is later replicated and used in two different magazines to promote two different causes. What was the photo’s original intent? The original intent was also criticised by Pare Lorentz noting the following: …“In other words the appeal made to the viewer was premised on the assertion that the victims of the depression were to be judged as the deserving poor, and thus the claim for redress hinged on individual misfortune rather than on systematic failure in the political, economic and social sphere”(Godeau S. 1991a: 179 in: photography a critical introduction: Wells2009:43)
This would show that either a harsh criticism has been made, maybe with some other agenda other than the apparent or that the photographer really has dissociated the image from the bigger social, economic and political ‘picture’. Generally the response that the photo gives me is more on the level of the personal (this poor person needed assistance) but in the background of my observation is generally a sense that this (the issue/problem) belongs to a bigger context although not explicit. Therefore I would argue that this case is not necessarily so. If we are completely ignorant of the context of a photo however then this misinterpretation might be more easily made.
Michael Langford (1998:4) provides us with an example giving various possible interpretations of a photo that can range wildly from a simple documentation of an event to:
Life lived under a certain regime
A political document
Statement documenting the subjugation of women
A picture of warm relationship
A picture of dress and decor of a particular period in history in a particular culture
Demonstrating the effect of a lighting technique
Anyone of these interpretations may be given depending upon the factors surrounding the image such as placement etc. It would be difficult to assign one meaning to the photo and the only way to be clear is to understand (as Barett points out) a number of criteria to explore the meaning based upon the photographer’s initial intent.
Hardy B. 1949 Picture Post
Barett offers a method to assess and analyse photos that consists of a number of specific criteria. He offers three main headings for the contextualisation of the photo. 1.Information evident from within the photo 2. information surrounding the picture in its presentation 3. Information about the pictures making. These translate into what Barett terms “internal context”, “external context” and “original context” The internal context are things such as title, date, maker, the “external context” means where the picture is presented i.e street, gallery, journal art book etc. The “original context” refers to the “causal environment” which relates to the psychological and physical elements that went to make the photo at the time.
With this information about any image we can then see the original intent of the photo and get closer to its intended meaning. The untrained eye tends to see the image at face value or even immediately draws a false conclusion due to lack of training or awareness about the photographic medium.
In conclusion, without a solid understanding of the context of photography we are likely to misunderstand or not fully appreciate the value of what the photo has to offer. There is a criteria that can help the viewer see the picture in its intended context gained by enquiring into the photos origin, intention and display. This criteria can also aid the practitioner of photography to deepen their practice by making more explicit the intention of the photo.
2. Assignment 5 research
Sophie Calle born: 1953, Paris
When looking for photos that drew my inspiration for this project my mind turned to Sophie Calle and her exploits in the street of Paris and Venice whereby she creates an adventure of following people and then in other episodes taking photos of peoples’ possession in hotel rooms such as in ‘Hotel room 47’(1981).
Images 2,3,4 Sophie Calle (1981)
The Hotel, Room 47 1981
Suite Ventiene (original title: L’Hotel, Chambre 47)
[7]“On Monday, February 16, 1981, I was hired as a temporary chambermaid for three weeks in a Venetian hotel. I was assigned twelve bedrooms on the fourth floor. In the course of my cleaning duties, I examined the personal belongings of the hotel guests and observed through details lives which remained unknown to me. On Friday, March 6, the job came to an end.” (Quoted in Calle, pp.140-1.)
Though my own project has not been so intimate as to be looking at others’ possessions and making photos of them nor can I say that own life “remained unknown to me”. The revelation that comes from looking into the lives of others holds a certain interest and at times fascination for us.
I feel in particular in this case that although her photos are far from exceptional photography she has given us an insightful look into how others behave. The way other people seem to live holds for us a kind of deep interest in the sense that we naturally compare ourselves with others in at times a somewhat conceited way. For me I wanted in a sense to share my circumstances of day-to-day life as a photographic diary. This is not the same as calle’s work but the material she uses is what has provided me with the ideas to do what I have presented in the assignment.
Evaluation of research and how it influences my own photos
Whilst I’m not entirely convinced that looking at and photographing a group of possessions of another person will give any deep insights into the persons personality and predilections, still it does point in some ways to a way of seeing people and what they associate with or identify with. It will tell us something. Also, in Calle’s photos of the hotel rooms we are not seeing people in their own habitat. We could draw more information from seeing their possessions in their place of normal use. A hotel room is sometimes treated as nothing like our own home. Therefore we can only draw limited conclusions from such a set of photos as Calle’s. It was on the basis of this conclusion that I have tried to show things in use in their place. Also, my presentation is tidy and homely whereby Calle’s is clearly a temporary stopping place whereby people will not have the same relationship to the place as their home. However, to give Calle credit, she has I believe inspired the project that I have done, even though the unfolding of it came quite spontaneously and did not require a huge amount of reflection.
My idea has certainly been inspired by Calle who I first discovered in 2015 whilst doing the OCA foundation course. However, I feel that I have taken the ideas that she presents and developed them in a more independent way that gives another feel to the work. So she has influenced what I have done but not overly dictated the outcome. I have allowed myself to explore her original idea in my own way. This was a very enjoyable process, although as I say elsewhere, some of the photos are less than riveting. However, I have created the feel that I wanted to create. The Idea of presenting the photos of things in their places was to emphasise that ‘things’ have a place in space and time. That they are inanimate in one sense, but indispensable to daily life on another.
When in 1983 Calle produced her well-known and highly controversial work ‘Address book’ it seems that she was marking out her territory as an artist and defining her main interest in art. The theme of identity gets explored and constructed and Calle makes contact with the people in the address book that she finds in the street. One thing that I like about Calle is this inventiveness based upon what she comes across in her environment. She seems to have a capacity to be triggered into creativity simply by seeing something that she resonates with. We can see the idea of identity coming out in Calle’s work.
In ‘The Hotel, Room 47’ Calle again is constructing identities albeit this time through possessions rather than phone books. This constructing of identities is an interesting subject although one that has been readily exploited in art. Within a series of photos of people’s hotel rooms we see their belongings. From this Calle creates identities that are visual for us to observe. We naturally start questioning and looking for clues in the possessions as to who the person is and what they are about.
This helped me to develop the ideas of photographing myself via my most frequently used possessions and the places in which I use them. Although initially I thought to shoot the photos with myself present in them, I later decided to simply group the items together and shoot them and then the place, as a way of suggesting my own presence. As to what conclusions the viewer will draw from what they see in the photos, I await to see.
How the exercises have influenced assignment 5 plus Crewdson’s work
A word about viewpoint
Reflection of Burgin’s comment
Photo sample of previous ‘homage’ to a photographer (philip Lorca di corcia)
Rinko Kauwachi’s image
Modes of photography
Reflections on assignment 5
The need for context in photography
Quentin Bajac
Sontag
Analysis of my photos and Evaluation of assignment
*NOTE: Analysis of my images for this assignment and evaluation at bottom of page
1.Where am I at in my photography-2 years study with OCA
To date I’ve completed (nearly) two courses over two years. I’m aiming to do the level 1 courses in 10-11 months so as not to slow down too much. For this I need to put in three whole days study a week and its still feel like I could do more.
I have made a reasonably big commitment in my life to photography and the visual arts and now it seems that it will be the case for a very long time. I have gained immensely from my studies with OCA. The approach suits me as opposed to my previous studies of photography at Espai d árt fotografic. The approach of reflection also works well for me as this is something I am used to doing thorough my other studies and through my life. It makes sense. It has been said that there is nothing more self indulgent than art…a solipsistic pursuit rit large!! However, I only sometimes see it like that. Its not all about me! I find that there is a universal message in the best photos and one that conveys strong feelings can really be effective. If photography was simply about my own process, it might not be so interesting in the long run. As it is, it has a profoundly important place in my life as means of expression and communication. Many people in my life know me directly through my photography rather me as a person in person.
In terms of what I have gained it has been immense. I have gained a great deal technically and visually and artistically. However, I still feel along way from my goal. My goal as a photographer is to produce work. Who doesn’t want to be recognised in some way for the work that they do. But its early days. I think that I am realising that my career will not me predominantly commercial by rather artistic. This means a lot of dedication and time on top of an already full life that I have. But I feel determined to make it happen. My weaker areas are those to do with post production work and knowing those tools with more fluency. I plan to do some more study in that area of the coming months. Having said that I have leaned a lot in that arena as well. Curiously there was on that in the foundation course than with EYV.
2.How the exercises have influenced my project in Part 5
I was inspired by the idea that ‘viewpoint’ is a changeable situation and that there are perhaps as many ways to say something with a camera as photographers. My first instinct in this part of the course was to shoot something more documentary; a document of society from my point of view. However, that project will wait for another time. Instead, following the remit that “in the end it is something that you like…” I decided to photograph my own dwelling space ‘Home’.
From Civil imagination (2012) Ariella Azoulay describes how one should be free to explore photos imaginatively. This fits into the idea of context and might also contradict as well. If the remit is purely to “imaginatively explore” then does the context matter? If what we want is to let the imagination roam we are free to explore photos without knowing the context or intention of the artist…
Exercise 5.1 was a curious example of an exercise that could be interpreted in a variety of ways. I took it to be a question of resonance and as the remit said ’empathy’ with the subject. This helped me a bit in thinking laterally although the frustration around trying to portray a closeness to something that is not a person, was indeed frustrating! So the exercise pushed the boundaries a bit but was not particularly enjoyable for me personally. I ended up interpreting the photo for what it represented and analysed it more as a visual document of something in myself that wants expression. As for the interpreting of the things that were not intentionally wanted in the frame I found that harder.
Exercise 5.2 was useful for contextualising more how I respond to images, by having to respond to an image by another image made by myself. I tend to respond to images that have a strong message rather than just strong composition or aesthetics. This is coming out more as I photograph more and study more in this context. It helped me contextualise my photo in the sense of making me think more clearly about it and what it wanted to say. In particular it made me see that one’s response can be different at different times and perhaps on another occasion I might want to respond differently to the theme.
Artistically I felt that exercise gave me room to explore my own imagination as per the photo that I produced for the exercise. This translated to the ‘home’ assignment that I did in being imaginative about how I portray home or the place that I dwell.
Added April 2017 Crewdson’s influence
Crewdson’s image of Ophelia, the darkened tones in the scene and the lighted areas within the scene were one of the main basis for the way I organised the assignment lighting. I have of course developed that somewhat and used few focal points in the frame, less drama in the characters and a much simpler lighting set up. As I looked more at the photo I saw how the use of lighting creates the particular feel of the scene and that without the lighting methods he would not of created the photo with so much success. In particular the lighting (see assignment 4 page) that falls on Ophelia as she lies dead floating in the water. The whole scene dramatically emphasises how the theme (Ophelia) is brought ‘back to life’ through being placed into a new more contemporary scene. The form of spot lighting that Crewdson uses is very sophisticated compared to what I used to shoot my photos for the assignment. However, the idea that I had pre-visualised was to use the lighting to create emotion (sadness, loss, grief) by isolating the characters in an otherwise darkened scene and placing the light on few elements. The difference was obviously that my scene was somewhat non-literal in the sense that you did not see all of the context where the events were taking place, but more a suggestion. This was entirely intentional.
3. A word about viewpoint
The question of viewpoint has been interesting me more and more recently. As I can or am starting to see the relevance of having one’s ‘position’ clear when taking a photo so that’s its relevance can be seen more clearly and specifically. At the same time photos are often left open for interpretation. In documentary photography there is probably a different outcome than for example with staged photography. Staged photography aims to say something about perception and so does documentary photography. The different would be that documentary is more facts or information oriented in the sense of relaying news or some happening in the world that is political or social or economic or otherwise. Staged photos might also have something to say about those things too. Often they are used to make more psychological statements about how we are as humans or can be.
So one’s point of view is informed by all sorts of factors. I think for me as a photographer I’m interested in an area of communication that is somewhat more difficult to get to, which is the metaphysical and the spiritual. I like to take photos that question values and priorities. I like to see photos that raise up big questions such as. ” what is the purpose of our existence”. These sorts of photos are in my experience not easy to come by. Again, in terms of contextualising the image, the “external context” of [1]Barett (2010) is all important. How does one portray an angle or viewpoint on religion or other existential issues? Can these things easily be misinterpreted?
4. Reflection on Burgin’s comment
[2]“The hackneyed idea of ‘influence’ is not at issue here. I am not interested in the questions of what one artist may or may not have taken from another. I am referring to the universally familiar phenomenon of looking at one image and having another image spontaneously come to mind” Burgin (1986).
This quote from Victor burgin expresses aptly and clearly what I felt I was doing in exercise 5.2. After mulling it over for a while I found myself with a spontaneous image in my mind, all of it as a piece suddenly. Then I got to work with creating the scene to take the photo. I find that this happens more and more as I study more deeply and take more images. Probably there is a momentum of development that is underway that allows the creative imaginative side of the mind to come to play. As with anything that you train, it develops under practice according to the laws of cause and effect.
Burgin’s quote struck a cord because in a way it was a simple and powerful way to say that this human tendency can be put to good creative use. Its not stealing or borrowing, it is one’s own creative process activated in dependance of coming into contact with the senses and then the mind processing that to produce an idea, image or concept. It seems to be the way the mind works, through inference and by association.
5. Photo in homage to Philip lorca di Corcia
This photo I made during my foundation year with a remit to ’emulate and favourite photographer. At the time I was very into and taken by di Corcia. I still appreciate very much his work, often emotionally provocative and charged. This is my attempt to give ‘homage’ to his photo of the girl in the restaurant being looked back at by some boys.
Here is one of my photos of a ‘homage’ to Philip lorca di Garcia.
[3]Image 2. Philip Lorca di Corcia (date unknown)Image 1. OCA foundation photography: Emulating Di Corcia
This is staged photo shot by me, explores the typical light setting that Di Corcia would use, although my light source was a lot cheaper and simpler. The photo I made here has more in common with his series ‘heads’.
6. Rinko Kawauchi’s image from book cover
[4] Image 3. Rinko Kawauchi Iluminance (2009)
Interesting image, It has something but I’m not sure how to explain it. I suppose the title luminance does say it to a great degree. It talks of intensity and awakened states. The awakening of what I’m not sure as I’ve not read the book. Looking into the heart of the image you get a sense that something is in there and is very hot! Its like looking at the sun. After a while the eyes get tired of such ‘overexposedness’ and start to want to rest.
The counter to the intense white light is the soft coloured background that without which might make the whole image a bit unpalatable. As it is, it softens the light.
7. Modes of the camera
8. Reflections on assignment 5
My first instinct to the idea of this project was that it was a bit tame. I mean in the sense of my personally preferred mode of photography which is a bit more gritty and with more ‘punctum’. However, its seemed like an idea worth exploring an and one part of the remit is that it should say something ‘about us’. Therefore I tried to make it a bit more personal and so based the project quite literally close to ‘home’.
If I was re-shooting this sequence would I do something different? That’s a good question and one that I think I could only answer after thinking a bit about it. I might of shot for example myself doing those activities ( in fact in one I did) but I chose to insinuate by showing the thing and the place. Leaving at least a little bit for the imagination to follow up in some way or other.
Sophie Calle’s work, who originally when I first came across it, had no particular effect on me, has over the years started to. In particular, the sense of intrigue of the life of others and how they live, what they do, the possessions that they have and how they relate to things. This is a mammoth topic and Calle gives a really brief almost glancing look at a particular side of how others are. We can’t tell too much about the lives of those people, only that they like to possess certain things or that they hold certain professions and do certain events. How much can really be revealed about people through their possessions is debatable as one can easily mis-interpret the thing.
As such I am reasonably happy with what I have done, although at the same time remain a bit unsatisfied with the type of project that I chose. But that has been an aftereffect. The perfectionist in me wants to do the perfect assignment and project every-time.
Below story boarding for assignment 5.
9. The need for context/reflection
All images make sense in the frame of a context. Without a context a photos is just an image that presents certain facts. It leaves the viewer with no sense of where to go within the photo or how to interpret it. I am struck by Barrett’s idea of “external context” whereby he talks about the way that we gain information partly from a viewing a picture in a location. The photo has to be located somewhere. I was thinking about the internet. For me seeing photos on-line has a plus, but also has many minuses. For a start it often neutralises the context and therefore depreciates what I might otherwise gain from a photos if I was to see it in its proper context i.e gallery wall with information about the photogrpaher, their art statement about the works and knowing something about the photographer themselves. All this helps to get a sense of the photo. If the photo is simply there on the net, this can lead to not fully appreciating that full weight of the image. This is not the case for all types of images. Advertising works well in the context of on-line as the on-line world is so oriented towards advertising.
For artistic photography or conceptual pieces I definitely prefer to see them in some kind of gallery setting or exhibition. They have far more impact on me than they otherwise would. Another interesting place for the external context has been that of seeing photos on the street and relating to that place where the photos are.
10. Quentin Bajac…’view from the judgment seat’
I put this whole quote here by Quentin as I find it extremely useful and would like to keep it at hand for future reference. He vocalises an issue that has often come to mind and at times been a source of anxiety. That, when you step out to shoot a project or do an assignment how much margin does one leave in order to experiment with the original remit or idea? How flexible can we be, whilst being true to out vision? Many times I’ve wanted to step outside of my original idea, but out a sense of duty or something, stay within a safe limit. One of the things that comes up time and again in the art world, or here in this course is about risk taking. Curiously I heard more of that in the foundation course that I am hearing in the level 1 EYV course. But its something that stays relevant to all practicing artists throughout their working lives. Being open to changing one’s idea on the hoof is no easy thing but I believe that it comes with experience and time. I can think of one example when I went to photograph a car scrap yard as part of an assignment in which I wanted to communicate loss of values and meaning in modern life. To me it seemed like it would make a really good addition to a series about wastage and material values being paramount. Then when I got there a guy told me there was no way I could photograph there. He get very nervous. Eventually I persuaded him but he gave me 20 mins to do the photography which was no where near long enough. So I had to make quick judgments and change and adapt my plans because the ‘world got in the way’ of my ideas. I think that this is one example but of course its happening everyday and in every way in all aspects of life.
Sometimes in adapting or changing you actually come up with something better and even more interesting that your original concept. I think that I am more this type of photographer. “Lets have a lookand then lets see if we can do better, take another angle on it”. Not all of the time, but my mind works in this way.
“I agree with you that photography is about perception of the world, even if we talk about photographers who stage work. But let’s focus on what we could call descriptive or documentary practice. The most interesting photographers in that field are those who manage to find a proper balance between perception and the idea. I was talking about this with Paul Graham a few weeks ago, who said that you can set out with the best possible idea, open your door, go outside, and the world changes that idea. And you have to accept that and shift your expectation to accommodate what you observe and evolve with it. What you produce in the end will probably be quite different from the initial idea. This is what photography is about. It is about having an idea at first and accepting that you’re going to be seduced, in the etymological sense of the word, by the world you’re encountering. Some photographers remain really stiff and rigid. They have the idea. They just want to illustrate the idea. And, then you have the opposite: photographers who go out to shoot without any preconceived idea and then, afterwards, try to put all the pieces of the puzzle together and construct something from their images, which is what has happened in photography since the beginning” [5]Bajac (2010).
I have found this quote very useful. Bajac mentions that the best photographers find a balance between the idea and the perception. This reminds me of Sarkowsky when he talks of the important of not only the idea but the clear execution of it in the form of the photo. In general I think that is important to try o be open to not fully knowing what you will end up photographing. It can be disappointing to find out after much planning the subject matter or place or wether conditions don’t come together. So it is important to develop the skills as a photographer of thinking on one’s feet.
11. [6] Sontag and her ideas on aesthetics and how that can veil the reality
When I first read sontag on photography (1977) I was blown away by the accuracy of her perceptions and a bit dismayed about photography as I could see that some of my motivations where more about creating nice aesthetics rather than showing the truth of a situation. She talks about how photography can make even the most appalling situation appear pleasing and beautiful if the “lovely composition and elegant perspective” is handled well. Sontag S. (1977). So how are we supposed to work with this as photographers? what is the ideal or the middle ground? Just about every photograph attempts to potray a particular take or angle of the situation. This may credit or discredit the reality depending on what the intention of the photographer is. So often the photographer seems to go for the wow factor! A bit like being motivated by lesser ideals in some cases rather than actually presenting honestly what we see. But this surly only applies to documentary style photography as in other genres the context is different and one wants to exploit the aesthetic possibilities in the situation.
12. Analysis of my photos-assignment 5
I will analyse these images in groups. Photos 1, 3, 5, 7 and 9 present items in groups. The first photo is a sum total collection more or less of the rest of the things that then get broken into sub-groups after. The only exception are the books which appear as the main feature to the second photo. These images do not have a single focal point. The idea is that the eye is simple led in a random way around the picture to take in all the items in each photo. Separating out the items came to me as an idea through looking at Sophie Calle’s work (references to this found in the research section and the log notes section). Her collection of photos that explore unknown people via their possessions is quite interesting as a sort of outsider’s perspective looking into the lives of others. I have somewhat adapted that, making the pictures more orderly and also obviously choosing what I put in and leave out of the photos. The photos are well arranged in terms of the content and order. Their failing might be that they simply do not stimulate strong holding of attention as there is something repetitive about the sequence although the content differs. I wanted to create this sense of repetition but the reality for me is that it is a little boring to look at.
Photo 2. This image leads the eye to the mirror that is rather too centrally framed now, when I look at it in retrospect. However, I was aiming to compose a certain part of the room without what would of been extraneous stuff, so this is how the composition fell. The device of the man in the mirror, is something that I particularly like. I used this in this way to show the presence of a person (well myself) at least in one photo so as not to make the whole sequence too dry or objective only of facts and things. I had the gaze and direction pointing towards the books to give a sense of connection of this photo to activity of reading or studying which is usually what I do first thing in the morning before getting on with other projects.
Photo 4. Shows the place where I practice yoga. The light effect and somewhat dark tone of the image is intentional(although might seem just underexposed) to create a peaceful feel or atmosphere. I set the room up after much trial and error trying to find an interesting angle to photograph from. I let the light fall onto the main subject, the yoga mat, and decided to find an angled shot to pronounce a little that feature of the room. All the images were shot at 35mm fixed focal length with a mirrorless fujifilm xpro-1.
Photo 6. The kitchen. Again I spent some time looking for an interesting view into the kitchen with a 35mm lens. I chose this image as the select for its balance of left and right side for the frame and bit more depth with the window in the background and the sofa in the foreground. In terms of rule of thirds it also seems better than some of the other images that I took of the kitchen area.
Photo 8. I intentionally left the area (studio) space untidy and looked for the composition within it. I had be working on the other photos of the assignment that morning so just decided to shoot that space as this is often although not always were I work when I am inside photographing. Again I aimed to a balance the frame with the different objects. There are squared, circles and triangles within the picture that make it feel very odd as there is a mix of shapes. However the light is particularly good in this space as I have a skylight above which provides a good even soft light downwards. Its failing might be that there is no one central focal point that engaged the viewer for any length of time. The eye goes to the tripod at first. The light provides a strong visual element in the photo.
Photo 10. I played for hours trying to find a acceptable angle for the bathroom. In the end I chose to home in on the bath. Wether I achieved my aim here I am not certain. In terms of the visuals of the image, there is a leading line towards the ‘products’ of the bathroom. I struggled to be excited by the image as its is so mundane, but there is something useful in this practice of photographing the everyday and putting it into a context like this. The angle of view was chosen to be able to see into the bath rather than just along it, from a further back view with 35mm. I was doing what was possible to capture light that was not flat. The angle of view in some ways is a bit disorientating I feel. It could be of been better to shoot it with a wider lens. However, there were restricting factors in getting into the space and the widest that I have is the 35mm at the moment.
Evaluation of the assingment
I feel that I have taken a creative approach to working with the initial inspiration from Sophie Calle’s work Hotel, room 47 and have explored the theme of personal identity through my daily activities, possessions and places that I do those things. The assignment ‘hangs together’ although there is something that slightly alludes me as to what the photos actually say about myself.
The main thing that I experimented with was angle of view and light in the spaces of the house. I worked only with a 35mm lens as that is the widest that I have. With a wider lens its possible to take more in, but the discipline with the 35mm was a good challenge.
I think that my angles of view are adequate for portraying the spaces of the house. What I was trying to present both with the light and with the camera position is the the feel that the space is lived in and used. In contrast the things are ordered and neat and tidily line up! If I’d of simply photographed the things as a mess or in use only I don’t think that the photo sequence would of made so much sense. What I was trying to say is: ” Here are the things that I use, and look, these are the spaces.” I doubt that If I’d of done it in a more Calle fashion, that I would of been able to do justice to all of the things that I use for each of the activities. In the end it was a question of ordering and organising the frame.
The idea that I had was to show most of the possessions that I use on a daily/weekly basis and then break them down into sub categories and associate them with the places that I use them. It might seem a little clinical in the way that I have presented them, and in some sense this is intentional. The way that Calle presents her photos is more messy and as it’s happening in the moment. I did not set the spaces up especially, where I did the different activities, only the things that I used for doing them. I think that the photos work as a whole (sequence) to portray the meaning of that I want to communicate but the individual images are not the best I have ever taken. They seem a little routine and almost more about information than anything else. Whilst I waited and worked with light conditions in the house at certain times of the day, to give an sense of mood in those spaces, somehow they do not feel as strong as I would of like them to have done. If I re-shot I use use more details of the home, that are in use, rather than simply the things and the places. This might improve the engagement of the photos.
As a sequence my idea was to tac back and forth from place to items used in the place. The sequence follows the routine that I follow in my day. Whilst the sequence itself would not work without this explanation I feel that it does adequately portray something of my life. However, I am still left with a feeling of the impersonal and would liked to have made the photos feel more intimate. Calle, in her various shots of hotel rooms chooses what seem like rather random angles of view. I have ordered my angle of view from above so that a number of items can be seen together in a kind of map fashion. Whilst I contemplated a different angle of view initially, for each of the objects, on reflection it seemed better to go with a pattern as this feels to me like it has more visual acceptability.
“Many thanks for the final assignment and well done on completing the course. I hope you have enjoyed it and it has been a pleasure to see your photography progress over the past few months.”
Thanks, I appreciate your input during the last year, has been very clear and helpful
“In addition, prints were sent by post.”
“I understand that you are submitting for assignment so do contact OCA Head Office for details of how send in your work and the requirements.”
“When you receive the feedback from assessment, use the assessor comments to move your work forward.”
“Wishing you every success with your future photography.”
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
“With this set of images you have again produced a distinct series of work. The influence of Sophie Calle is evident but you are showing that your visual style is emerging. The next courses at Level 1 will allow you to try different approaches and working methods, some of which you will enjoy and others may be more challenging!”
Student name
Steven Young
Student number
513886
Course/Unit
Expressing Your Vision
Assignment number
5
Type of tutorial
Written / Audio-Visual
Written
“Technically some of the flat lays don’t seem to be completely flat and shot form a slight angle – this may be something to look at. The low angle view on the living room space works particularly well with the shaft of light. In comparison the bathroom shot is more awkward – which you write about in your review. The 35mm lens here may be simply too wide for such an enclosed space.”
I’m aware of this. I struggled a bit with the angle of view. I needed a lot of height to take the images from and to avoid putting the legs of the tripod in the frame I had to do some strange maneuverers.
“The strength of the assignment is the consistency in style and approach. This is a working method that will stand you in good stead as you progress to future courses.”
“The print quality and presentation is good. The white border sets the images on the page and is an appropriate size. Do take care with the use of key lines as sometimes prints do not need them.”
Coursework
Demonstration of technical and Visual Skills, Demonstration of Creativity
“The coursework exercises are completed with good detail. The choice of Serrano is interesting and challenging – at the time the image created enormous controversy. Do you think the art world is shying away from such subjects now? Has the shock value of art pieces been lost in the online digital age?”
I think that the art world has lost something of that ‘punctum’ and strength of expression that we were seeing at that stage. Responses to definite issues that are unambiguous and direct are difficult to come by. I find that photography has more of a chance of being an effective voice but there is something lacking. Maybe its the pressure to conform or to get work recognised it has to be of a certain correctness.
“It was good to read your post on Bill Viola and David LaChapelle. I too saw the Viola exhibition at the National Gallery and the pieces of work have stayed with me and he is an artist I often return to time and again.”
This was one of the first pieces of visual art that really made me stop and think. I found it really strong at the time. It was like I’d discovered something looking at those faces and emotions, about myself.
“For reference – can your correct your post on Sindy Sherman to Cindy Sherman. At times there are some small typos in your work and if you have sometime that can look for these as you progress through the courses this would be good.”
“We discussed on the phone, having an ongoing reference post where you summarise sources as you use them. This is much easier to do in real time – so if an approach to adopt on your next course.”
It is good to see updated comments and reflection and reading how your response to Calle’s work has changed over time. I think many students have similar responses to photographers as they pursue their studies.”
Yes its strange how that can change. I’ve used her at least twice as a basis for assignments and yet initially I had a sense of aversion to her photos. It helps to look more closely at the artist and understand where they are coming from. In the end I am a bit of fan of Calle.
“This post also demonstrates that you are engaging with the theoretical aspect of the course. This engagement is becoming a dialogue between yourself and the various sources and is again something to continue.”
“Many thanks for the reference to the Bajac interview – I hadn’t read it before and it has plenty of food for thought.”
Yes I found it really useful for understanding a bit more the current photography world
Suggested reading/viewing
Context
“For complete contrast to the work you have produced and that of Sophie Calle. Do look at Nick Waplington – The Living Room and Richard Billingham – Ray’s A Laugh. Both are documentary books which feature domestic spaces. The images are much more cluttered and seemingly random in approach.”
Pointers for the next assignment /• “Ensure all prints are labelled with name, student number, course and assignment for assessment.”
2.Brief:
To produce 10 images each giving a different view of the same subject. Pay attention to the order of the sequence and how that unfolds.
3.First thoughts and ideas
I take the word ‘view’ from the initial introduction to the the assignment to mean point of view as in my particular take or way of showing something (my perspective) or viewing point in terms of the physical placement of the camera in time and space. I have chosen the theme ‘house’. This could mean the physical location whereby one washes, dresses eats and sleeps, or it could be something more symbolic such as a psychological base of security and a ‘safe place’ from the world. It could be portrayed in many ways. To this end I need to give some thought to how I will present the theme.
For me personally the house is an important place, but not the only space that I occupy in the world. However psychologically it has importance as it represents the base from which my other activities in life are launched from as well as being the centre where I perform many of life’s daily routine activities.
Sophie Calle’s work [1]Hotel, room 47 (1981) has been the vision underlying this assignment of which I say more about in the research section. The idea is to portray something of my own identity through showing things that I do and the places that I do them.
4.’What is it about’? (300 words)
I have not chosen a complex theme for the ultimate assignment. In this sequence of 10 photos, you’ll see where I live and the components of that life that make up a large part of my yearly routine as a photography student and also the other things that I do. Some of these activities are perfunctory tasks and they are necessary to daily existence. I show the photos in the order that I typically do these particular things in any one day. I show both the things that I use, which are part of the ‘living’ process of what I do and I show the places where I do them. In a sense that is it! Within that I have attempted to show the context of my life (not all but a lot) and use the occasion of the assignment to practice elements of photography such as working with light, composition and creating a set of ‘visual ideas’ in the form of photos. I have tried to use the natural light in the different parts of the house to show the mood of that space.
A large part of my weekly activity involves the use of these items and that made me reflect on appendages that we have in our lives that maybe we take for granted. Things that actually make up an essential part of our life activities that perhaps we never give a second thought to. Photographing them in this way, brings out the essential nature of the item to the task, I believe.
Having said that the theme is not a complicated one. From the inspiration of Sophie Calle, there is a context of identity happening. This I would say is most strongly present in the “external context” Barett (2010) in that the ‘home’ provides the container for the images and is the setting for the images. Whilst my own identity is not exclusively tied up with the items or the places in the photos, there is a strong proportion of it in these things and activities.
5.The photos
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6.Contact sheets for assignment 5
references
Calle S. Suite Ventiene (original title: L’Hotel, Chambre 47)Hotel room, 47 (1981).
Over the year I have been to some of the following exhibitions and read these books. This is not an exhaustive list.
Exhibition seen at the IVAM museum in Valencia November-December 2016
With this exhibition which was an exhibition staged by various different artist, the theme was ‘In the city’ a look at the development of Valencia from the 50’s till now. As such it was a historical urban exhibition that showed how various artist had experienced the city and at different times.
Books read during EYV
I had read these books on other occasions but during the course of assignment 4 for EYV they came in particularly useful for their study of light and studio photography. I find Langford a strong touchstone of technical and philosophical knowledge about photography and always appreciate what he has to say.
I both read through the book and watched the youtube documentaries by Berger, the documentaries being more engaging. He had made me think again, a bit like Sontag, of the motives for producing art and the effect of the image in our minds. A very thorough analysis of the image and its place and development through history. He also debunks a lot of the high flying ideas about classical art and its significance. One which I find brings clarity to my own ideas. Thank you Mr. Berger.
Motives are often mixed and I find mine are too, with photography. Whenever you speak to someone and say, “I’m a photographer” the first thing that often comes out in the conversation is how difficult it is to make it as a photographer at pro. level. Later you start getting down to what it is that you like about photography and why it is so appealing. Since the beginning of my interest in photography I’ve always been aware of the slight frustration of both being intrigued by it and what it can achieve as visual medium and the way in which photography can often seem so distant and observed outside of oneself leaving feelings of alienation. The best photos that I have witnessed are those that have crossed that emotional divide and allowed me access to more than just a pretty landscape or a funny moment on the street.
The work of Sebastian Salgado for example is mesmerising in terms of subject matter and the way that it is portrayed in terms of those deep black and white tones, richly illumined and beautifully finished. The light quality in the photos often leaves me with a sense of otherworldliness. Winogrand tells us photos should be just that, the ordinary transformed into otherworldliness, showing the way to another dimension. Himself a street photographer, he and others like him (Bruce Davidson for example) claim to be showing the ‘human condition’. It seems that all of the great photographers aim to show in some way or other, aspects of the human condition. But it makes me think, what of the human purpose? Why is it that photos are so apt at showing us the ‘human condition’ but they sometimes lack the ability to show the reasons that we live and are on this planet? Maybe its better to leave the image open to interpretation and let people have their experience of it.
In this age of loss of morals and to some extent real values it can seem difficult to find images that offer a glimpse of light of hope of the human condition (often characterised by suffering and strife) transforming into an image of growth and development that is more internal and not so external. Very often photos are focused on the externals of a situation. By its nature photography is not easy to work with in terms of the metaphysical. In a sense it comes down to context and showing the photos a way that they can be interpreted or analysed. The human condition which is often documented as poverty, crime or people living under difficult circumstances, is now so common place, so predictable that one wonders wether these types of photos really have any deep impact on people or provoke any real change anymore.
I’m trying to be a photographer (seeing myself on a continuum of development). I believe that there is a lot to learn and everyday I see myself grow more into the discipline. In terms of what my vision is or ‘what moves me to photograph’ it is this feeling that there is something valuable to say about human experience and that it is worth while sharing that with the world. In terms of human communication we are capable of all sorts of different ways of communicating: verbal, non-verbal, visual, gestures, symbols, archetypes, sound (music) and no doubt many other ways that we are not so conscious of. For me photography is about participating in this flow of communicating things that I believe are of worth. Things that hopefully bring a bit of meaning or reflection into the lives of the viewer. However, I think that this is difficult to do. I think that it is difficult because human communication itself can be difficult and that even with words, apparently one of the more obvious explicit form of communication that we have, can be so mis-interpreted. Therefore with seeing also there is the possibility to mis-interpret.
As time goes on I hope to find myself more apt at communicating skilfully with the lens and the camera, the values that for me have importance and have shaped my life and influenced it in positive ways. The act of photographing for me is often a contemplative affair. For me the act of photography is as much about looking and observing and thinking, as it is pressing the button to take the shot with the camera. In the moment of pressing the button its as if I am trying to consolidate all of those things into a moment of pure expression.
OCA log level 1 Photography 