Jerry Uelsmann – Photo Analysis

This is a photo by Jerry Uelsmann, as you can see its not any ordinary photo, Uelsmann has this strange style of photography and he likes to use layers different editing tools to make his surreal photos. he has mixed possibly 3 or 4 photos in this one as you can see, there is a photo of a hand, of a house, of the clouds and of a person. This is very impressive as he didn’t have software such as Photoshop in his time, he had to use a dark room to create these photos.

Apart from the editing side, the actual photo itself is very impressive, the composition sits well as the figure of a person stands just before the house and lets your eyes follow up from him to the house.  I could try and recreate something like this by using layers in Photoshop with whatever i decide to do, which will be something along the lines of fantasy.

Alec Soth: Looking for Love, 1996

“The history of mankind is rife with love producing illogical and oddball behaviour. Alec Soth’s newest book Looking for Love, 1996 is, in its way, about the search for love guided by the heart and the search of love guided by the eye.”

Jeffery Ladd,  TIME INC. Network

About

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The cover of Alex Soth’s latest book Looking for Love, 1996 published by Kominek Books.

“Love makes people do strange things states Soth. The history of mankind is rife with love producing illogical and oddball behavior. When it comes to photography, falling in love with the medium is hardly an exception.”

For example, Jeffery Ladd from TIME INC. Network states that someone as painfully shy like Soth might find themselves impulsively photographing “strangers” without asking for permission. Or, they instinctively photograph something without any ability to later explain why.  Alec Soth’s book “Looking for Love” (1996) is initially about both— the search for love guided by the heart and the search of love guided by the eye.

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In his brief introduction to the work Soth describes that time as one of working a “miserable job” (printing photos at a large commercial lab) and retreating to a bar to be comforted by “the solitude I found among strangers.” He began to concentrate on his own pictures, slyly using the lab to make prints which he smuggled, concealed under his jeans, out to his car. He writes of imagining one day “a stranger would fall in love with me” – a mantra or a statement he goes by when composing his images.

The first photographs of couples we encounter in Looking for Love cling possessively to their partners and leer at Soth’s camera as if to ask, “this is mine, where is yours?” While his journey takes us through the outside landscape and various social gatherings—the aforementioned bar; a convention hall that seems to bridge religion, spirituality and dating under one roof; poker games; singles parties; high school proms—we can sense as a reader, a young photographer eager to hone his photographic instincts for metaphor and craving the fruits of collaboration between artist, medium and world.

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Bree, Liberty Cheer All-Stars, Corsicana, Texas
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Near San Antonio, Texas

A photo of a flirtatious blonde cheerleader sits on the opposite page of a lone, slightly gothic teen outside a music club. The prom king and queen stand proudly before an auditorium empty but for a few hidden background observers and a basketball court scoreboard. An older man sits phone to ear at a ‘Psychic Friends Network’ booth while a quaffed blonde with a #1 ribbon pinned to her lapel passes by paying no mind. Alongside the underlying melancholy of some of these pictures is also the excitement of a photographer discovering their talent and seeing an affirmation of life stilled in photographs.

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That affirmation makes the parting photograph all the more important. In it we see Soth himself sitting sprawl-legged in a rental tuxedo as if his own prom has just ended. Perhaps it had. I hope the love he may have found, lasts. I thought it was very important to include in my research Soth’s dominating work “Looking For Love” (1996).Soth toys with the idea of teenage sexual desires. ‘Love’ for teenagers stereotypically demises to that of little passion and loss of innocence, yet with the combination of images surrounding this idea of love as a perspective but also an ownership, allows the reader to want to crave it themselves.

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Donna Ferrato

Ferrato is an international photojournalist specifically known for her groundbreaking documentation of the hidden world of  domestic violence.

Ferraro decided in 1979 to move to New York City, where she began to photograph in sex clubs and nightclubs, solely focusing on documenting the heady nightclub culture of the late 1970s and early 1980s at legendary establishments (an example being Studio 54, Mudd Club, Xenon and many more. Ferraro was then contacted to photograph a prominent swinger couple known as Gareth and Lisa. Following this lead, she immersed herself in Gareth and Lisa’s lives (and she even ended up moving in with the couple).

“As time passed, however, I began to realise that Garth was not the benign, devoted husband he had first appeared to be…” – Ferrato

Ferrato witnessed a horrific scene where Gareth attacked Lisa and beat her mercilessly, which then led her to then his herself in the master bathroom. After witnessing this horrific attack, she stated ‘That night changed me forever.’ This therefore led the direction of this project to altar, and gave her a new drive to reveal and expose the unspeakable things that happen being closed doors. It was evident when when the course of her project changed this work was going to be emotionally difficult as well as dangerous (entering these negative and abusive homes). I read in an article of the New York Times from 2012 that she took pictures because of the fact that she knew that if she did not, people would not believed that it actually happened.

Through the next ten yearn of her photography career, Ferrato travelled across the country with the desire to photograph domestic abuse. This even included situations where she would in fact ride in police cars, sleep in  shelters, staying in the homes of battered women and many more.  Her work eventually led  to the book publication of entitles ‘Living With the Enemy’ alongside an expose of the hidden world of domestic abuse. In the end, her book Living With the Enemy went into four printings and, alongside exhibitions and lectures all across the globe, and thus sparked a national discussion on sexual violence and women’s rights. In 2011, Ferrato launched the I Am Unbeatable campaign, which aims to expose, document, and raise awareness of domestic violence against women and children by creating an archive of stories, photographs, video narratives, and by emphasising the fact that these are real stories  of real people.

 

This is probably of of the most iconic photographs taken by Ferrato. It’s not hard to guess what is going on in this image, contextually this domestic case has led to this image of a couple Ferrato was staying with to capture lust and love and in the end, she captures the man (Gareth) hitting his wife (Lisa) , and when researching more into this specific photograph, I found the statement that Gareth stated when Ferrato questioned his motives and after him throwing Ferrato down to the ground, he stated :  ‘I’m not going to hurt her — she’s my wife. I know what my strength is but I have to teach her that she can’t lie to me.’   I find this absolutely shocking and unfortunately, situations like this occur too often. The image itself is visually powerful as you can see her leaned away pose trying to escape the strike of his hand on her face. Even though you can’t see any of their faces, his stance shows his power/status and you can see his anger by his stance, and you can almost see her frightened expression in your own mind and you can sense how scared and powerless she is. This was the image that changed her photojournalistic career as they then solely focused on the hidden aspect of domestic violence.