I will make one blog post over the course of each week. In each post I will outline my intentions over the week as well as a brief summary of what I got up to. This I hope will be a good way of both planning as well as tracking what I do. I will be flexible to change as I can edit my plan over the course of the week.
I will make 2 posts tomorrow, a completed post from last week (Week 1), and this week (Week 2).
I am still trying to gain a firm idea of how I will go about the course of this project. I will be quite a challenge but I am hoping if I organise what I need to do and break it down I will be easier to tackle.
This is a summary of what I am doing
All in all I will have a lot of work to do. I am going to make the most of the time I have got to make an interesting and worthwile project which is personal to me. Completing the project will be quite difficult, my Nan does worry and get confused a lot (she’s 85). I have to do my best though to work with her in the project and slowly build up photographs of her, and take more risks in what I photograph as she starts to become more comfortable about the idea of being photographed. It might be quite fustrating at times, but I will do my best and work all the time to improve. This project is also new and a challenge for me.
Research and planning will be key. I will use the blog posts to track, plan and monitor. Staying on track will be very important if I want this project to develop and progress.
In most of my blog posts from now on I will try to link back to the project. This will be a good way of making sure that all the extra work I put in is actually relevant to what I need to do in the first place. Otherwise it will be a waste of my time, which I cannot afford to do.
I am just going to go for it and do my best. At the end of the day if it does not work out the way I was hoping, then at least I will have still learned a lot of interesting and revealing information about my Grandfather. I will try to be as creative and experimental as possible, taking risks and developing my own creativity in the process.
This image was taken at a large metal works in Siberia. The photograph is a new topographic styled landscape shot which Bendiksen has clearly taken influence from the work of William Eggleston, known for his dark portrayal of bleak landscapes. The image is very ambiguous because to some degree it shows the factory in a dramatic, romanticized manner, whilst at the same time it depicts the factory as grim and unpleasant. My judgement is that the image is a metaphor for evaluating Communist Russia (1917-1991), which on one hand was highly impressive in terms of what it achieved, but at the same time a regime which was responsible for great atrocities; death, persecution and mass suffering, in particular under the leadership of Joseph Stalin (1922-1953). Specifically this photograph explores the influence Communist Russia had over the industrialization of Russia.
Bendiksen explores this ambiguity by framing to image to showing factory as impressive, by arranging the image in a traditional landscape format. Bendisken still however through the incorporation of a low level of lighting and the red glow, giving an eerie mood, is highlighting the fact that despite this impressiveness, it still has a darker side to it.
The context behind this photograph is that Bendiksen was out photographing landscapes in the countryside. He then came across a piece of scrap metal, which was the left over of a Russian satellite. The two men on the top of the scrap metal are satellite collectors, people who make a living out of collecting and selling these pieces of scrap meatal. Suddenly as Bendisken was about to photograph the two men, standing on the large piece of scrap metal, thousands of butterflies suddenly appeared out of nowhere. Bendisken stated that “things came together .. you had the swarm of butterfly’s, you had the spaceship, you had the farmers, the stormy dark clouds in the background, the sun was just starting to break out. It was just a perfect storm of different elements.”
This photo relates to Herni Cartier Bresson’s theory of the ‘decisive moment’. Bendisken has combined his knowledge of composing photographs with an element of luck, being the light and butterflies. The result an incredibly powerful and raw image, with a sense of peculiarity which captivates the viewer into wanting to find out more about the context, and so delve deeper into interpreting its meaning. I almost find that this photograph is somewhat dream-like and separate from reality. This theme of being being dream-like is effective because it is able to serve as a metaphor for the scrap metal collectors optimists and dreamers, taking advantage of the rich opportunities that selling the remains of these magnificent displays of metal-work have to offer. This is an image which I find to be quite positive and uplifting, an image which symbolises hope in an uncertain future.
The image shows a snippet of a darkened room, with the subject appears to the concentrating on a task. On the television set, the face of former Communist leader Josef Stalin’s face can be shown. The presence of Stalin into the frame is very sinister as a result of this and the glim mood established through the green illumination of low level of lighting, it is a very frightening and unsettling. Without Stalin piercing into the photograph this image would not be as effective because it creates this added suspense.
This photograph directly explores the theme of Russia’s Communist past. Russia under Stalin regime was infamous as a society of excessive social control. Propaganda would appear everywhere. Stalin appearing on the television set symbolises this theme of social control, and serves to unsettle the viewer, reminding them of the horrors of Stalin’s regime and Communism.
Overall I find this type of image to be a more experimental side to Bendiksen’s photography. In terms of composition it is perhaps not the best image however I like the mood and feel that the image establishes.
After finishing his one year internship at Magnum Photos, Bendiskon travelled to Russia in an attempt to pursue a career as a photographer. At this point the USSR had only been abolished as little of 10 years before and the people of Russia were starting to adjust to life away from Communism after over 70 years. Bendiksen decided to photograph different parts of Russia, documenting this tranisition, aswell as remaining traces of the previously exisiting USSR.
Bendiksen begins the narrative with eerie images of the Russian landscape, and silhouette styled portraits of unaware subjects. Straight away within the story the viewer is immediately connected to the theme of loneliness and isolation. Arguably this connects to the context of the narrative, being the documentation of how Russia is adjusting to lfe outside of communism. These types of image are a metaphor for the Russian people’s sense of insecurity and search for a new identity in a time of great social change. The opening images also show Russia in a very glim perspective: showing dark, depressing and cold scenes.
Throughout the narrative, subtle hints to traces of Russia’s Communist past are present. Relative to Bendisken’s poetic style, these hints are very covert. The references to communism, for example the image which include framed photographs of Lenin and Marx, help to build up the context of the story, allowing the viewer to develop a degree of understanding and empathy for the communities he photographs.
As the story progresses, Bendisken photos begin to reveal more about the communities. He starts to include images moving away from a candid style, progressing onto more formal portrait style, in which he engages and interacts which the subjects more. Also Bendkisen begins to include images of the communities engaging in events and activities, such as dancing, hunting and military training. The images gradually become more revealing about the people and the communities in contrast to the initial sense of mystery.
The images are all connected through the theme of community. Oppose to photographing individuals, large masses of people or families, Bendiksen has based the series on photographing small communities throughout Russia. One community in particular that Bendiksen has photographed is a community of Satellite collectors; people who make a living out of selling scrap metal from fallen satellite ships and rockets from the Cold War. The inclusion of this story I find works very well because it links the theme of past and present: the fallen satellites are metaphorically a trace of Russia’s communist past, and the community of collectors symbolise how Russia is moving on from this past, whilst remembering it at the same time.
The viewer is drawn to be empathetic towards the communities. The communities are shown in a very respectable light, seen as honourable for carry on with great optimism and positivity despite the uncertain political and economic times. The series champions the Russian people as brave and resilient, holding on to their patriotic, cultural identity in a forever changing world. Community in Russia is also shown to be fragile and Bendisken documents this vulnerability through the dark and reflective moods he establishes in some of his images, especially early on.
Bendiksen’s unusual style of photographing is apparent throughout the book. His style is very photojournalist and he makes little attempt to interfere with the frame, allowing for a spontaneous and natural flow to emerge through the images. The role of a photojournalist is to document the world from an objective, distant perspective. This sense of distant and separation from his subjects is clearly shown. Bendkisen’s photos are very mysterious, often images of lone, unobserved subjects. As a result, the mood established in ‘Satellites’ is very chilling and dark, reflectingg the grim, barren landscape of Russia. I find Bendiksen’s style to be very subtle and poetic in meaning. In contrast to photographers such as Richard Billigham and Bruce Gilden, who shoot images which are deliberately upfront, snap-shot styles with bold composition: Bendisken has a much more observed and laid back approach. Carefully considered, well balanced composition is key to Bendiksen’s work.
What I find effective about Bendisken’s work in ‘Satellites’ is the way that he is able to balance technical composition with subjective aspects of mood. Bendiksen’s photos still have a structure composition whilst incorporating an natural mood, sometimes photographing in midst and darkness. It is this naturalness, along with visually well executed photographs which enable Bendisken to effectively tell his story in the careful, delicate poetic manner he does so.
The main influence that I will take from studying this series is the style of photography I will use. Recently I have been exploring the work of Richard Billingham, and so my photographic responses have recently been reflective of his style, taking snap-shot style photographs. However in order to create greater subtly in my project I will start to photograph more in the manner of Bendisken, balancing attention to composition whilst still allowing some freedom to create images of bold composition to create a raw and authentic mood.
Jonas Bendikson is another photographer who explores the theme of Community in this work. Like Soth, he is also a Magnum Photographer.
Bendiksen was born in Norway in 1977. Passionate about photography from a young age, Bendiksen gained a one year internship at Magnum Photos’ London Office. His tasked ranged from; mundane tasks such as making tea + coffee, and paging letters; to returning prints and slides to their right places in the archive. Enriched and inspired by this experience which he described as “the best education I could have asked for”, Bendikson decided from that point to dedicate the rest of his life to become a photographer.
After this experience, Bendiksen travelled to Russia, documenting the transition of the Russian people after the collapse of Communism and the USSR 10 years before. He ended up spending several years there, resulting in a body of work that went to make his first book, “Satellites – Photographers from the Fringes of the former Soviet Union”, published in 2006. This series brought Bendiksen extensive critical acclaim.
Bendiksen experiences in Russia profoundly influenced his style and identity as a photographer. The vast majority of work throughout Bendiksen’s career has been related the theme of community, both through the publication of photo-books, as well as through photo-journalistic assignment for organisations such as GEO magazine, Newsweek, Goldman Sach and National Geographic. Dedicated and passionate about mastering his work, Bendiksen explores the communities he photographs in great detail, getting to know the people he works with closely and personally, enabling him to gain trust and build up an extensive body of images which can then go to make his photo-books and assignments. This means that Bendikseen often will spend a number of years on a specific photographic project or assignment, visiting the place a number of times.
Bendisken is a Magnum Photographer, joining the organisation in 2004. Magnum is consdiered one of the most influential and pretistiious photographic agencies, and is run exsucisively by it’s members
Here is a list of awards and grants that Bendiksen has achieved over the course of his career.
This list has been copied directly from Jonas’ official website, www.jonasbendiksen.com/Biography/1/
Selected Awards & Grants
Selected Exhibitions
Books
This image explores the region of Niagara in the cold winter period, depicting a barren, urban landscape. This image very much connects to the themes of isolation and loneliness, due to features such as; the dull skyline, unsaturated colour, malnourished trees and spacious composition. This image arguably serves as a metaphor for the troubles and difficulties of relationships that Soth is attempting to convey within the narrative. When viewing this image, I immediate associate the image as raw and revealing. In juxtaposition with some of Soth’s previous images in the series, this is one of a much darker mood. The inclusion of images such as this in the narrative require the viewer to reflect on what they have previously witnessed in the story line. This photograph is very anti-climactic and forces a much calmer emotional response from the viewer in contrast to the exciting lively scrap-book layout, and hard-hitting portraits of some of the couples. This type of landscape shot is the polar opposite of some of Soth’s dramatic landscape shots of Niagara Falls, therefore establishes a completely different mood and response from the viewer.
This image by Soth is a large family portrait taken at a wedding, entitled ‘The Flexs’. The portrait is composed in a very traditional manner; a basic background; the subjects staring directly into the camera; and the subjects are looking at the camera in a neutral manner, with some of the younger children glimpsing a smile. Composition is a key component that Soth has considered when making this image, and it is clear that Soth has intervened with the arrangement of the subjects, directing them the stand in a straight, up-right position. The balanced composition makes for a visually inviting photograph that displays a sense of warmth. The mood within this image is very positive and upbeat, and the use of soft lighting, excitement apparent on the subjects facial expressions (in particular the children), creates the mood of anticipations. In terms of context, I gain the sense from how the subjects present themselves that they are clearly a very happy family looking forward to a momentous occasion, it is therefore a ‘happy’ photograph.
The photograph, entitled ‘Tricia and Curtis’, shows the young couple lying on the grass, staring directly up into the camera. This image displays a very romantic theme which the young woman resting gently onto the torso of the man. The backdrop of the grass adds to the romantic sense of the image and invites the viewer in with a great sense of warmth. Lighting serves as an important part of this image. Soth uses front, soft lighting. Again, this is done to establish the romantic mood that Soth is attempting to convey.
This is clearly a very raw and emotional image. The fact that the man has his top, helps to portray the young couple in a very intimate and personal manner. The man being topless symbolizes that through this image, that the young couple’s relationship and exposed, and in a sense hints at its vulnerability. I find this image is very effective because Soth has deliberately used lighting and composition to create a certain mood. It is also very honest and revealing which works well in helping to build up a sense of narrative.
This image is a dramatic landscape shot of Niagara Falls. It is a traditional landscape style, and clearly has taken influence from landscape photographers such as Ansel Adams and Edward Weston. The classic style that the photograph has been composed, with a large format camera, slow-shutter speed, tripod and large aperture: creates an image which fits into the genre of formalism. Subsequently the image strongly links to the theme of romanticism, and the intention of this image is to reflect the Soth’s own emotional response to such a visually stunning location. It terms of aiding the narrative, this photograph helps both to document the location, as well as serving as a metaphor which connects to themes of emotion and beauty, therefore reflecting the theme of love which the narrative is based on.
Such an image is a good example of how Soth uses carefully thought composition as a means of shaping the narrative.
In 2006, Alec Soth came up with another series, Niagara. The concept behind this series was that after studying the context of Niagara falls, Soth discovered that what Niagara Falls symbolised has very ambiguous meanings, on one hand in is connected with love, marriage and family memories, whereas it can also have more painful connection; death, suffering and suicide. Soth decided therefore to explore this ambiguity in a poetic gesture, with love as the dominant theme
Niagara is a community based Project by Soth that explores the people that live and visit Niagara Falls and the community around it. Specifically the focus of this project is based on love and relationships. Soth photographs various young couples presumably in their twenties and thirties, who have come to Niagara Falls either on holiday or to get married, or a based in the area permanently. Soth’s photographs focus on; portraits of the young couple’s together; photos of letters the couples have sent to one another; photos; landscape shots of Niagara Fall; still lifes; and landscape shots of the urban environment surrounding Niagara Falls. Effectively ‘NIAGARA’ documents the ups and downs of relationships. The images reflect many different emotions in vary in context.
The narrative starts off very positive and upbeat. This mood is achieved through the way Soth presents the opening few pages of the photo-book, full of outdoor landscape images with soft lighting and well spaced out compositions, as well as a playful scrapbook layout. This careful layout and presentation introduces the subjects, in particular exploring the theme of marriage; in an manner glamorising the prospect as joyous and exciting. The narrative is also very raw and intimate, with Soth photographing nude subjects, a very brave and daring aspect to explore.
Over time as more is revealed about the subjects, and about the location of Niagara, Soth begin to show another side to the place and the subjects. Cracks in the relationships of the subjects start to show, illustated through the letters included. In addition, the landscape is conveyed as less joyful and positive through photographing at night-time, a poetic metaphor connecting the location, as well as the overall structure of the narrative as darker and more sinister then previously shown. This progression is important because it shows a rounded perspective of the Location and the subjects.
The style of photography in ‘NIAGARA’ is very traditional and Soth pays close attention to composition and detail. Soth carefully considers the surrounding environment before taking a photograph, and composition is a deliberate process that Soth attempts to create a well formed and balanced photograph that helps to convey the contexts of the narrative, as well as developing and structures the narrative in a manner which is subtle, reflective and poetic. Soth uses a combination of portraits, still-lifes and landscapes to create his story. What I found was quite clever is Soth’s inclusion of the letters that some of the couples sent to each other. Such a concept is a very clever way of both; providing breaks within the narrative; as well as helping the viewer to gain a deeper insight into the lives of the couples, in a manner which reveals more about them then perhaps a photograph on its own can, but is still personal at the same.
Three things I like about ‘NIAGARA’
What I didn’t like
“I was a really shy person, so it is really strange that I have made a life out of approaching strangers”
Alex Soth is an American Documentary photographer, well known for his extensive photographic projects featuring the mid-western United States. Soth is an extremely successful photographer who has the rare ability to sell photographs as prints for large amounts of money, as well as being able to sell copies of his photo-book in mass quantity. Soth’s work explores social documentary, specfically the sub-genre of community photography, meaning that he is very much required to work from an outsider perspective. He has stated that his biggest success within his photography is being able to shape his “photographic career out of finding chemistry with strangers”, often “loners and dreamers”
Soth was born in 1969 in Minneapolis, Minnesota. An introvert, Soth was extremely shy during childhood and adolescence. His interest in photography began through studying the worrk of portrait photographer Diane Arbus. Orginally, Soth considered himself to be a tableaux photographer – largely because he felt uncomfortable photographing people without their permission. He eventually began to become more interested in social documentary, esacially of Amercian Culture, and so extended his photography to combine photojournalism and tableaux photography.
Soth first won worldwide artist recognition in 2004 with the publication of Sleeping by Mississippi; a self printed book by Soth. The book contists of Soth documentation landscapes and interiors while road trips along the Mississippi river. In 2006 this was followed by Soth’s series ‘Niagara’, using the location Niagara falls as the case-study of the project, exploring the meaning of Niagara Falls for different people. He has since then produced two more books, Last Days of W and From Here to There: Alec Soth’s America. He has also produced commissioned work for The New York Times Magazine.
Soth’s work is included in a number of permanent collections, including those at the Minneapolis Institute of Arts, the Museum of Contemporary Photography in Chicago, the Los Angeles County Museum of Art, and the Israel Museum in Jerusalem. He is represented by the Weinstein Gallery in Minneapolis.
Like the theme of Family, Community is a very difficult to properly define. When looking at different definitions on the internet and in dictionaries there are various different definitions and interpretations of what a community is. These are some of the definitions I came across in my research
The main idea that I developed from the my research is that community is much more broader than family. Community is often a larger group of people, an the relationship shared within that community tend to be less personal than family.
Community is an important part of a person’s identity. Community can be race related, nationalistic, religious, political, or even just a group of neighbours and people who live in an area, who might not even know each other. Nearly everyone to some degree would consider themselves to be a member of community.
Community is one of the most popular types of topic to study in documentary photography. It has lead to some of the most influential bodies of photographic work in the 20th and 21st Centuries. Here are a list of some photograph who have explored the theme of community within their work.
Martin Parr; Think of England
Alec Soth; Sleeping by the Mississippi
Jonas Bendikson; British Wool
Mikhael Subotsky: Die Vier Hoeke
Yuri Toropstov: Marylin and I
