I wanted to move onto portrait photographs after looking at ones created by Bill Henson and Todd Hido. Who both used portraiture as a way to build on the narrative of the photograph, often their work is psychologically charged and designed to connect the viewer to their own experiences. I plan on using my brother Ryan as a model, in the past he has proven very good for taking photographs and his slightly mysterious persona and ambiguous expression is perfect for the role.
There is a particular mirror in my house which allows you to see the reflection of someone without actually seeing them. With the correct lighting I plan on creating eerie photographs evoking a sense of human presence which both Henson and especially Hido’s work convey. I also plan on using this shoot to convey a feeling of enigma, engaging the audience to think about the character in the photo and what might be happening within the photograph.
I plan on using a tripod and creating a long exposure shot as I will be using a very low light source. I have found blue Christmas lights which I will place above the staircase, meaning light will come and reflect our of the mirror. Using this type of lighting means i will have a lot of control over the amount of light in the frame, unlike when i have worked with natural lighting. I plan on removing distracting features from the frame such as paintings to leave the viewer more focus on the figure, lighting and the mirror.
I also plan on responding to Bill Henson’s dark and jarring portrait photographs. I plan on taking these outside using the built in flash on my camera and a very quick exposure time with a low ISO to replicate the dark and high contrast tones in Ryan’s complexion, this will also mean I don’t haft to worry about over shaky images that come from using a slow exposure. I plan on using makeup such as red and blue powder to exaggerate the fleshy tones in his skin.
Similar to the previous shoot, I used a tripod and took a selection of photographs to create HDR photographs. For these night photographs I needed to take extra care when taking photographs as I needed to take photographs with a longer exposure, some as long as 8 seconds long to fully capture as much light as possible. Similar to the previous photographs I kept all of these at the same 5×7 ratio. Unlike much of Todd Hido’s work, all of these photos are in landscape as I found worked better with the HDR and the composition. Hido often works with portraits to creates sense of isolation and keep a single house in the frame, but I think working in landscape creates a more cinematic effect. Similar to Hido’s work I only used the light that was available.
In the first one above there was a variety of different lighting, the largest being from the two windows to the left. I wanted to capture the green tones from the window and the green walls which evoked a fairly spooky undertone. In the second, I wanted to retake a photograph I had taken before, which was taken in overcast daylight, making the image flat and mundane, the cool, low lighting contrasted to the warm light in the foreground made added a compelling effect.
These two photographs were the most difficult to take with many of the photos being out of place, meaning the HDR could not work fully, this being said I am still really happy with the results. I liked the composition of the first with how depth was created with the light from the glass door in the foreground, this being the brightest part of the photograph made it the first thing the viewer will notice, secondly the light from the garage added depth in the mid ground and lastly the natural light created a silhouette of the trees in the background. In the second I also like the two different light sources. The contrast of colour such as the yellow with the blue adds and interesting effect.
The two photographs above are the most interesting from the selection as well are the best at evoking a Todd Hido style of narrative. Considering composition, the high angle enables only the house and sky to be in the frame, creating an isolated, dramatic effect. Using HDR gave the first image a really interesting texture on the wall. On both photographs, the warm light contrasted the cool blue tone from the sky. The most intriguing part about these images is the light coming from the windows. In the first, the TV light created a low, purple light which reminded me of cinematic, 70’s style light, this also evoked a sense of mystery. Again with the second image, I like how there is only one window light on, which adds contrast and mystery.
Considering the exam theme and my starting point, the natural aspect comes from the low lighting and how it changes the whole ambiance of the image and how this affects the narrative and how the viewer feels towards the photograph. This is then added with the man-made structures and street lights, creating a harsher more dynamic effect within the environment. The last four photographs were a direct response to Todd Hido’s work with the subject matter as well as use of available lighting.
Night photography using HDR is something I plan on exploring more thoroughly in my work as well as using the light available within a scene rather then adding my own light.
The Crow Speaks 1986, 1991 Hamish Fulton born 1946 Purchased 1993 http://www.tate.org.uk/art/work/P77616
Bill Henson
Bill Henson
After the previous successful shoot I wanted to explore the same area and challenge myself to make more HDR images using dynamic and dark lighting, similar to that of Bill Henson’s dark nocturnal landscapes. I decided to take photographs from a time beyond dusk where there was very low natural lighting and use man made lighting that was available in the scene to add intensity and narrative. After the previous shoot I noticed there were a lot of different light sources such as motion censored lights as well as lights from windows. Similar to the previous shoot I plan on using HDR techniques and multiple exposures to emphasize areas that lacked light. I plan on referencing Todd Hido’s work with his use of lights from windows and using the composition to isolate houses in the frame. I also plan on creating edits using the images similar to Hamish Fulton by adding text and filters over the image in Photoshop.
Edward Ruscha is an American artist who explores language and West Coast culture and well as taking inspiration from Hollywood to create compelling yet perplexing pieces of art.
I was inspired to explore his art after wanting to look at artists who use text and language to elevate the meaning of their work. He has also published a lot of books featuring his work which is something I plan on looking at for my final piece.Similar to Todd Hido, his work is about the viewers interpretation and how the viewer builds their own narrative. His work also explores how text and phrases is so overused in today’s society especially with such an over-saturated media world.
I plan on responding to his use of published work and creating my own book as well as referencing his use of abstraction and carefully composed enigmas. Similar to that of Misrach and Hido, his work explores mundane subject matter in a whole new and dymanic light.
A huge part of my project is travelling and finding interesting subject matter that inspired me to photograph around Jersey so I wanted to explore a similar artist who’s work is based on travel ad the narrative evoked from this. Hamish Fulton is a British artist and photographer from London who’s photography is inspired by the long walks and treks he has done all over the world, he often does about 30 to 50 miles every day with his camera. Another key part of his work is the use of typography over his photographs who emphasize how he felt and what his experience was while he took the photograph.
His work and use of text over images shows its own sense of aesthetic with its fairly distinctive and easy to read font which boldly expresses the visual elements but in a more forward way. Much of his work is highly conceptual which often refers to how people view nature and how people connect with their surroundings.
His work also pays close attention to the key theme of ‘journeys’ which I think is an important part of transformations and focuses closely on the idea that ‘life is about the journey, not the destination’. Hamish Fulton has also made the composition more interesting with the use of text to evoke a more aesthetically pleasing photograph.
A huge part of his work is how it is presented, he has done a variety of exhibitions but most importantly are his books and published work. I personally think his work works very well in a book format especially with the use of simple text and imagery. His work mixed with the use of landscape to portray a sense of connection and journey have inspired me to use text and words over some of my own work to emphasize a sense of meaning.
His work is very focused on the environment and how he fits into this and its influence on him. In comparison to my project, the juxtaposition comes from the effects of him in this environment, this contrast between man and his surroundings and how they change and influence each other. I plan on incorporating how he combines words into his work and how they elevate and add meaning into his work as well as giving context to his photos. I plan on directly responding to his work by creating a selection of text and work based photographs using pictures from my photo-shoots. I also plan on using it in the book I plan on creating featuring my work. This will involve using Photoshop to add text as well as use layers where necessary.
After taking the first set of images which features a very overcast time of day, I wanted to take more of the same area due to how flat and dull the images looked. My intentions for the first set of images was that I wanted to look at the clash between nature and people and the beauty that was evoked from this, but this was not effective in the first set of images which made them flat and similar to that of an informational or documentary style of image. I wanted to explore other times of day and its effects on the ambiance and the narrative of the environment. I knew that taking photographs such as this would be difficult with just a single exposure photograph. In our AS work we practiced photo-manipulation techniques such as HDR where we could combine photographs with different exposures to create a more vivid, compelling photograph.
I went back to where I had previously taken photographs. I used a tripod and took a selection of about 5 different exposure shots for each photograph. I picked features where the light created interesting reflections and shadows. All the photographs feature a 5×7 ratio and are all landscapes.
I was drawn to the scenery in the first photograph where there was a reflection of light off of the painted industrial box as well as the orange light that reflected in between the boats and cars onto the gravel. The second photographs were then because of the light that shone through the tunnel, I also liked the table featuring objects such as a mug and a walking stick, which I feels adds a sense of narrative and character to the photograph.
The above photograph was taken for the interesting texture from light was bounced off the wall, I also liked the contrast between the cool shadows and vivid yellow/orange light. I positioned the window central in the frame to make the viewer also focus on the light that reflects off of it, emphasizing its importance in the photograph.
In the above images, I wanted to look at the more subtle reflections such as from the window in the top right corner in the first photographs and the yellow light that bounces off the wall in the second photograph features centre. I also really liked the white walls and the blue tones in the shadows, this use of colours evokes a romantic effect.
I was really intrigued by the vivid yellow light streaming from the shed and how it reflected off the wall to the left, contrasting with the colors in the sky. I positioned the camera to the viewer could see the streaming light from the building as well as the tractor in the foreground. There is a huge sense of narrative evoked in this image such as how part of the building is left unseen, leaving a sense of mystery to the viewer, raising questions such as why it may be open or who is using it. This mix of natural and unnatural lighting shows the juxtaposition between natural and artificial.Other objects such as the tractor add a sense of mystery and story line to the image. Using HDR techniques to change this image enabled both the sky and light from the building to be seen evenly.
After experimenting with HDR I plan on using this for more of my photo shoots to enable a better more dynamic image. I also plan on exploring the romantic themes within ordinary and everyday subject matter.
In the above photographs the light and sun flared evoked a very atmospheric effect to very mundane subject matter, making them look compelling and scenic. I also experimented with black and white images which leaves more focus on the vivid textures created. This also reflects a more romantic style of photograph similar to that of Ansel Adams. I created a vivid, high contrast image by increasing the contrast and clarity levels whilst decreasing the highlights to create a more intense texture. This worked really well with areas where light reflected or bounced off surfaces such as through the grass in the first photograph and the white wall in the second.
After the first photo shoot where I explored the rural/suburban countryside I was dissatisfied with the photographs especially the lighting which made the photographs appear flat. After looking at the photographs of Todd Hido and his use of dynamic lighting which could elevate and add narrative to an image I wanted to explore how I could use lighting from my surroundings to create a compelling photograph. I plan on looking at a more suburban area which will feature a more dynamic range of lighting such as streetlights as well as the natural light available. I plan on picking a time where the lighting is lower around six o clock onwards, this will give me a small window of time for me to take photographs as the light will be constantly changing during this time. I will also need to use a tripod as I will need to create long exposure photographs to work with the low light.
Technology used
Using long exposure
Due to there being a variety of different lighting sources I will need to take multiple exposure photographs and will combine them in Photoshop using HDR techniques. I have picked a location nearby to enable easy access to the area so I can get the best timing. I also know this area very well so already have photographs in mind I can take. I also plan on returning to this location to take different shots and build a consistent narrative which I could combine together to make a published book. Similar to Todd Hido’s and Bill Henson’s use of using people in his work I plan on using models in my work to build another level of narrative. This can also help explore ad expand on my initial idea of looking at peoples relationship with their natural surroundings and this contrast of nature and civilization. Creating atmosphere is crucial to this shoot. I plan on enhancing what is already present in the photographs to create a sense of mood and ambiance in the photograph.
Below are some tester shots of the locations I plan on using for my shoots. As I have discussed before I plan on picking a time of day where the lighting will give the images a very mysterious, cinematic effect. There are some features I may have to move out of the frame as they may be distracting or create an overly cluttered look, but I plan on trying to keep the photographs as authentic as possible.
Bill Henson is a contemporary art photographer from Australia. He has created a multitude of photo books including Lux et Nox (2002) and Mnemosyne (2005). His psychologically charged work is a reflection of the human condition and its interaction with nature. With his use of enigmatic and dark tones to give candid portrayals of topical themes such as youth and loneliness. The twilight period between night and day is an iconic theme in his work used to provoke a rawer, much darker narrative.He has been featured in the 2006 compilation of Twilight: Photography in the Magic Hour, which shows just a taster to his compelling portraits and landscapes.
I was inspired to explore his work after looking at the work of American photographer Todd Hido who explores similar concepts in his own work, in particular the notion of the magic hour and how that can build a compelling new sense of narrative. Hensons work shares a lot of similarities with my starting point with the juxtaposition of rugged and crumbling dark landscapes with blunt portrayals of the human condition. His landscapes show natures tug between man and nature.
Lux et Nox
Lux et Nox was published in 2011, featuring a selection of Henson’s work which explores in particular humanistic themes of youth and vulnerability with a dark and honest undertone thru ought. Work word Lux et nox is Latin for day and night, referring to how the photograph were taken in between the transition between these. I like the use of Latin in his title which is something I could possibly use in my own title for my nook, this use of hidden meaning adds a very cryptic layer to his work, evoking a more active response from the viewer. This juxtaposition of day and night also elevates the meaning and narrative in his work.
The provocative subject matter often featuring semi nude figures often depicted doing rebellious actions such as drinking alcohol or being intoxicated adds a controversial nature to his work. The pale and bruised complexion of the figures as well as the distressed expressions adds a sense of vulnerability and misery to his work, this again evokes a narrative. Henson has used this as a way to create an active response and connect his work with the viewer to make the viewer draw on their own experiences and feelings.
“Henson has always prioritized composition and visual beauty, even when his pictures seem to depict pain, despondency and the results of violence. He has often concentrated on youthful subjects, and in recent years he has tended to depict young naked people who seem desperately unhappy, and console themselves with sex and drugs” – Metapsychology Review
Untitled # 115, 2000-03,
Caravaggio and Tenebrism
After looking and analyzing Henson’s work I saw similarities between is work and the style of Tenebrism and in particular the Italian Renaissance/Baroque artist Caravaggio.
Tenebrism is a very dramatic style of art featuring a harsh chiaroscuro style as well as often evoking drama, intensity and most importantly tells a narrative. This is very present if Henson’s work with the use of black negative space and dramatic tones. There are a lot of similarities between his and Caravaggios work both visually and conceptually. Caravaggio’s work highly scandalous during his time and has been referred to as the ‘succès-de-scandale’ or the ‘antichrist of painting’. His work was highly acclaimed during his early years for his high skill level and was often commissioned such as by the Contarelli Chapel in the church of San Luigi dei Francesi. The controversy came from how he would often depict religious figures in highly realistic, approachable manor, stripping the figures from a sense of power and their religious properties and instead portraying them as vulnerable, emotional and most importantly their innate human nature, this is similar to what Henson’s was displayed in his work.
An example of this in Caravaggio’s work is his famous painting The Taking of Christ which was commissioned in 1602 by the Roman nobleman Ciriaco Mattei, the painting depicts the crucifixion of Christ. the composition shows exaggerated movements to give the painting a sense of story line and give the viewer a sense of what is happening. Similar to a portrait by Henson, there is very little in the background leaving the viewer to focus on the figures. Another similarity between Caravaggio and Henson is the use of expression on the figures faces which create a sense of despair as well as evoke an uncomfortable feeling from the viewer. Most crucially the figures are depicted as very everyday and almost lifeless, Caravaggio makes you feel as if you were present withing the harrowing scene as opposed to an idealized fantasy version. Caravaggio and Henson capture the vulnerability and reality which connects to the viewer on a deeper level. I like his use of dark colours and use of aesthetic, he also experiments with white balance to eokve narrative. His photos represent a huge use of engaging visual beauty.
Art remains the one great constructive bridge between the subconscious and the conscious world – Bill Henson (Ocula.com)
I like his use of translucent appearing skin tones which show a psychologically charged atmosphere, they are both mature and yet unsettling. Similar to Hido his work explores a feeling of loneliness and vulnerability. Another similarity is that he also creates a lot of published work which is something I plan on looking at for my final piece. I plan on creating a published book as a final outcome.
In class I studied the 2006 photography book Twilight : photography in the magic hour by Kate Best and Martin Barnes. It is a compilation of 8 photographers and artists who’s work centers around the alluring the transition between night and day.The book was based on the 2006 exhibition hosted at the Victoria & Albert Museum (V&A) in London.
I could go into detail and the logistics of the book as I was lucky enough to see an physical copy. The books orientation is landscape and A4 size, this is a good layout for the photo book as landscape works best for many of the photographs featured in the book which often feature scenery. The first page features a small title in the top left corner in the font Times New Roman which is use thru ought the book. I like how they’ve used the same font thru ought as it adds a sense of consistency, using the same font is something I’d like to incorporate into my own book. After the title on the first page it then jumps into a photograph by American photographer Gregory Crewdson. For the next 30 pages there are four essays by Martin Barnes, Emily Winterburn, Steven Connor and Kate Best which discuss different aspects of art, psychology and literature through history relating to the theme of twilight.
The front cover is an intriguing dark landscape photograph from French born photographer Chrystel Lebas. This photograph fully captures the enigmatic ambiance and sense of mystery that twilight photography can cultivate. The centre of the photograph features a mysterious warm light which evokes an enigma for the audience, drawing them in and making them wonder what is happening within the photograph. The title made in Times New Roman is then places small along the bottom of the cover. The sub title and the names of the authors are smaller then the main title which is a typical convention of a book cover. It is done in a font that matches the wrest of the book cover.
The book is cut into sections with the use of a black left page and white right page. I like this simplicity and this use of juxtaposition is something I plan on using in my own photo book, I also plan on using text in between to add another element to my work. Almost all the images are placed central on the right page and is never opposite a black page. There are a few images which are accompanied with another similar image as a diptych but most are left with a blank page such as Ori Gersht. This creates a sense of simplicity, evoking how the image would be in a contemporary gallery surrounded by white walls, leaving room for the viewer to focus on the context and subject matter of the photograph, this also leaves focus on the narrative. None of the photographs exceed the page, which leaves the photograph in the original ratio.
The photographs are presented in a formal manor with the photographer who created them. The simple style of the book allows the individuality of each artists work to shine through. Often the narrative of the photographs is evoked through the single photographs, a lot of the photos were designed to share their own individual narrative and affect the viewer in different ways. I would like to do something similar in my own book by sectioning off photographs into their own certain style then arrange them into an order which evokes narrative, these sections will tie together to show a more longer more complex narrative, the use of works will also elevate and give more context to the viewer. There was also a use of archived images which was referenced in the essays. This gives context to the reader to help further their understanding of what the writer is talking about.
Each section starts with a black page and a work from the photographer on the left, there is then a contents page to the right explaining details about the images such as name, size, and type of print. This is an easy and beneficial way to catalog each image for the photographer. The minimal layout and classic font type gives the book a very contemporary, formal appearance which is beneficial for leaving the viewer to focus on the photographs themselves.
“The hour of twilight also evokes haunting moods and provides scope for narrative intrigue and psychological depth” p9
The first essay, The Gloaming by Martin Barnes, discusses the history of twilight photography and how it develops and changes as well as the pioneers of this genre of photography. It discusses how technology has developed to create better and more experimental photographs exploring this subject. For example from the early years of early photography it was difficult to take a photographs with the correct exposure, often taking several ours just to take a single exposure. The essay brushed over subjects such as 19th century art, Phenomenalism and scientific observation. He also made reference to classical Romanticist painter Caspar David Friedrich who explored how natural lighting could elevate the landscape. e also discussed photography pioneers Nicéphore Niépce, Louis Daguerre and Henry Fox Talbot.
In summary the book explores themes and concepts evoked from the atmosphere created by the twilight period.The contemporary photographers look at how this period can create a psychologically charged, enigmatic and cinematic narrative. They also explore a sense of human influence and presence on the land.
Todd Hido is a photographer and artist based in San Francisco. His work tends to capture the darker more ‘unscenic’ side of suburban American, that is both captivating and unconventional. Hes worked with an array of photographers such as world famous photographer Larry Sultan and Harvey Denge. He is also a professor at California College of the Arts.
A huge part of his work is the human presence and its effects on the landscape and the American Environment. I was originally drawn to his work with its compelling yet eerie presentation as well as its use of natural and man-made lighting to evoke an intriguing and jarring narrative. Hido has discussed in interviews how he only uses the lighting that was already present in the scene, adding to the authenticity of his work. Much of his work is an observation of what is around him as opposed to something he was created, much of his work is unplanned and instead he travels with his camera, searching for something to photograph.
Lighting is a crucial part to what makes his work so compelling, the lighting evokes a very different form of ambiance into his work by adding depth and mystery such as the piece above to the right, the eerie green glow of the window implies there are people living inside the home and the street light adds depth. Man-made lighting is used in Hido’s work to reflect a sense of human presence.
Landscapes
Landscapes is a series of photos in a large portfolio featuring a selection of photos taken over the years. A selection were taken from inside his car, adding another sense of depth and perspective to his work with the use of internal and external viewpoints. The use of the window as a second lens adds a complete new texture to the image, often adding a dreamy yet distorted, claustrophobic feel, this creates an intentional disconnection between the viewer and the landscape, building on the narrative of traveling, being stuck in a car, in a constant limbo from destination to next.
This series of work reminds me of the romantic landscape painter J. M. W. Turner with Todd’s use of washed colours and emotionally charged tone and texture. An example of this is Turner’s famous painting ‘The Slave Ship’ painted in 1840.
This is similar in the case of Hiddo’s work where the subject matter often reflects something very mundane, but then with the use of lighting and timing he has added energy, ambiance and meaning, evoking a deeper narrative that is personal to the individual viewer and their own experiences. Both Hiddo and Turners work is based around a sensation felt by the viewer and how our surroundings effect us.
HOMES AT NIGHT
Houses at night is his second portfolio featuring various houses from all around the American country. A lot of this work can be seen in his books ‘House Hunting’ and ‘Outskirts’. This series is by far the most compelling to me in terms of how well they can evoke such a enchanting yet personal and complex narrative with the use of lighting and composition of very basic every day landscapes.
“I believe that all those signs from your past and all those feelings and memories certainly come together, often subconsciously, and form some kind of a fragmented narrative” Interview : Todd Hido, Ahorn Magazine
The subtle imagery such as just a simple depiction of light pouring from a window builds a mystery, leaving the audience to their own imagination to what might be occurring within the house. The soft glow from streetlights and harsh shadows adds an uncanny ambiance to the photographs. It is so easy for the viewer connect with his work due to how common or mundane the subject matter is, considering most of us see this suburban, built-up environment every day.
‘I take photographs of houses at night because I wonder about the families inside them,’ Hido tells me. ‘I wonder about how people live, and the act of taking that photograph is a meditation.’House Hunting, therefore, is more question than answer. A rumination without resolution. Katya Tylevich
House Hunting, 2001
Outskirts, 2002
Roaming, 2004
A Road Divided,
Between The Two, 2007
Monographs
Hido has created a selection of books from his work, his first being the enchanting book from 2001 named ‘House Hunting’, featuring a selection of houses as well as abandoned interiors from around America, such as the photographs I have mentioned from his ‘Homes at night’ portfolio. The series focuses on America from a very candid perspective, viewing how people thrive in a country struggling from the effects of the economy, in this way it shares a slightly political motif, making a statement about the welfare of the American people. His next book, Outskirts, shares a very similar theme wit his firs book, featuring ominous images depicting the darker side of suburban america.
He then moved into a different style of landscape images with his next two books ‘Roaming’ and ‘A Road Divided’, where he also explored portraiture. These pieces shared a very different genre to his previous work, featuring softness as well as warm tones that comes across more harmonious and even poetic.
Pages from his book ‘Roaming’
#2514-a, 1998
The above image really stood out with its dramatic and almost sinister ambiance. The photograph depicts Hido’s trademark focus on the suburban landscape. The cinematic harsh lighting protruding from outside the scene creates dark shadows evokes a very mysterious and sinister ambiance. The grey background adds depth and sense of space to the image whilst also showing the viewer the silhouettes of the trees. The dark shadow on the right side of the house leaves a bigger contrast for the viewer to see the light from illuminating from inside the house, another trademark feature of Hido’s work. The window suggests to the audience that someone is present in the house, thus evoking a narrative similar to Roland Barthes enigma, where there is a sense of mystery, enticing the viewer to question what might be happening or what will happen next. The overgrown surroundings and decaying old cars evokes stereotypes of run down, unsafe areas, which then adds to the feeling of fear evokes by this photograph, which again evokes the cinematic, spooky narrative of the photograph. Another iconic feature of this piece is Hido’s use of composition where he’s used a portrait frame for a landscape image, he does this to evoke an sense of isolation, creating a disconnection between this house and the surroundings.
“Yes, I do often use the vertical format. With the houses I do it quite a bit, and the reason for it is that often times I just wanted to get a single home in the frame. The place seems more isolated that way. Also it was easier to focus the viewer’s and my attention onto a single home.” – Ahorn Magazine interview
In relation to my exam coursework and project theme, his work ties in with the notion of conflict that happens between unchangeable forces such as the change from night to day and the growth and the changes the environment create around the buildings and structures such as the trees and rust that forms on unkempt constructions we have built. His work looks at the implied human presence within the environment and how this evokes narrative, this is a big part of my project which is also shown in the work of Richard Misrach who looks at the beauty evoked by this.
Part of Hido’s portfolio is a selection of portraits which he uses to compliment his landscape photographs as well as evoke peoples effects and influences within the landscape, this is something i plan on incorporating into my projects which is also similar to the work of Bill Henson who incorporates portrait photographs next to his landscapes. Using people in my photographs is something I plan on exploring later on in my project.
Richard Misrach
Border Cantos By Richard Misrach
#5845-A by Todd Hido
#8869 By Todd Hido
Bill Henson
Bill Henson
There are a lot of similarities of Hido’s work to the work of Richard Misrach who I have explored previously. Both Misrach and Hido’s work is an observation of the surroundings. Their work explores the beauty evokes in the mundane and often overlooked surroundings such as a dark alleyway or an aged wooden wall. Their work then elevated the surroundings with its use of carefully timed lighting, which enhances the colours and sense of depth in the photograph, giving it ambiance, mood and most importantly narrative. This use of everyday surroundings give the viewer a bigger feeling of connection with the scenery as it draws out their own experiences or memories as well as their own subconscious thoughts and emotions.
I believe that all those signs from your past and all those feelings and memories certainly come together, often subconsciously, and form some kind of a fragmented narrative. Often you’re telling your own story but you may not even know it. Ahorn Magazine interview
I plan on taking a lot of inspiration from his work with how he uses lighting and mise en scene to add emotion and a cinematic narrative. I plan on looking at the sense of human presence within the landscape as well as the notion of nocturnal life and how it builds narrative such as how Hido uses streetlights and light from inside buildings to create ambiance and narrative. I also like how he doesn’t stage his photographs and instead, travels, waits and observes to find the perfect photograph using light from the surroundings. I also plan on using techniques to elevate the photographs, living them a new level of life such as by using HDR to create a more dramatic exposure as well as slow shutter speeds to work well in dark lighting.
Another huge influence I have taken from Todd Hido is his use of published books to show his work, which is another way to create narrative. I plan on using creating my own book inspired by Todd Hido.
Tenebrism is a very dramatic style of art featuring a harsh chiaroscuro style as well as often evoking drama, intensity and most importantly tells a narrative. This is very present if Henson’s work with the use of black negative space and dramatic tones. There are a lot of similarities between his and Caravaggios work both visually and conceptually. Caravaggio’s work highly scandalous during his time and has been referred to as the ‘succès-de-scandale’ or the ‘antichrist of painting’. His work was highly acclaimed during his early years for his high skill level and was often commissioned such as by the Contarelli Chapel in the church of San Luigi dei Francesi. The controversy came from how he would often depict religious figures in highly realistic, approachable manor, stripping the figures from a sense of power and their religious properties and instead portraying them as vulnerable, emotional and most importantly their innate human nature, this is similar to what Henson’s was displayed in his work.
The first essay, The Gloaming by Martin Barnes, discusses the history of twilight photography and how it develops and changes as well as the pioneers of this genre of photography. It discusses how technology has developed to create better and more experimental photographs exploring this subject. For example from the early years of early photography it was difficult to take a photographs with the correct exposure, often taking several ours just to take a single exposure. The essay brushed over subjects such as 19th century art, Phenomenalism and scientific observation. He also made reference to classical Romanticist painter Caspar David Friedrich who explored how natural lighting could elevate the landscape. e also discussed photography pioneers Nicéphore Niépce, Louis Daguerre and Henry Fox Talbot.
