Essay

 How has chronic illness inspired people to document their story through photography as a way of healing?

The persistence of illness has affected the majority, if not all people at some stage in their life, whether they are the person suffering or they are emotionally close to the person suffering. Crucially, all different sufferings are dealt with in unique and specific ways in order to accept and embrace chronic illness, however, the mechanism of treatment I am analyzing is the use of documentation. Based upon the historic processes of photojournalism or documentation photography, the focal point is to record chronicle events or environments, a factor I attempt to stay true to throughout my work as I portray the environment my subject does live in, thrive in, cry in, as well as the spontaneous actions in between which reinforce his condition. The photographic documentation of my younger step-brother and his ADHD has allowed me to cope with my own suffering of the illness, as well as me adopting a mentor or role model figure in order to aid how he deals with himself. This level of personal experience gives me an inclination and interest to the work I look to convey, leading me to study and explore the productions of other photographers who have captured chronic illness as a healing method. In researching and studying chronic illness, I discovered the work of Phillip Toledano, a British photographer who captures the deteriorating life of his father in the photobook “DAYS WITH MY FATHER”. Of paramount relevance, Toledano described how his relationship with his deceased father is “without embarrassment”, a factor which is true to my work also because as I’ve experienced and documented the suffering of my step-brother, we have become closer, more comfortable and vocally liberal. Toledano expanded by explaining how he was “very grateful” for the fact he could spend time with his father, embracing and analysing his deterioration as it brought the couple together in a unique way, demonstrating how documentation has aided the healing process of dealing with his father’s death. Simiarly to Toledano, the work I have and am continuing to produce is very individual to any assignment or photo-based objectives I have ever completed previously, as not only have I tried to include family, a factor I usually avoid due to the invasive needs for making a successful piece, I also turn the camera onto myself. Although it is not directly facing me, the camera often metaphorically portrays the struggles I once suffered, reincarnating Noah as a younger version of my own self due to our almost identical suffering. Much like Noah, I frequently found it hard to fit in during primary school and was penalized for my behavior as it was disturbing and distracting for the rest of the class. Due to children’s nature, I was then often singled out for being different or annoying, a feeling which Noah has carried on through his elementary studies, however, like Toledano, it has brought me and Noah closer. The invention of “Photo-Therapy” by the collaboration of photography duo Rosy Martin and Jo Spence in 1984 pioneered a new mechanism of healing and accepting self-image, which is a unique method I would like and have attempted to incorporate into my own imagery by exposing the ugly truth, and how there can be beauty in the verity.

 

 

Introduction- draft 3

How do Phillip Toledano and Laia Abril explore notions of change, fate and absence in their work?

“Photographs are the story we fail to put into words.”- Destin Sparks

Photographs can be seen as the story-telling companions of time, they direct the gaze of the spectator to look at the past, allowing us to reflect on our own lives and the lives of others. Photographs allow the ability to communicate and capture small moments in time when particular emotions are felt. As said by Alfred Eisenstaedt “It is more important to click with people than to click the shutter.” It is this I explore in my personal study as I consider the change, reflecting on the past and the present of my Granddad’s life after a tragic event, which has changed his life forever. I have looked at and particularly been inspired by the work of Phillip Toledano, a photographer who is probably best known for his work dedicated to his father’s final chapter.

In this essay, I will be focusing on the ways that Toledano and Abril explores change, fate and absence in their work, particularly focusing on his project entitled ‘Days with my Father’ and her project entitled ‘The Epilogue.’ I will  be creating links to my own personal study, which also investigates and reflects upon the fate, absence and specifically change within my Granddad’s life. Having looked at archival photographs through my own personal family photo box, it has allowed me to discuss memories of his life, which I have used to inform my current photographs with the purpose of exploring the change and absences which have taken place. These absences and change are seen in various ways throughout the project as the two words form a relationship with the images to tell a story. Examples of the absences displayed is loved ones or friends my granddad had for many years passing; the ability to walk and the absence of his sight, shown through photographs of  his glass eye and eye patch. When referring to change, my granddad as a person has changed dramatically, he doesn’t really talk much and does not have the same sense of humour, which is something we miss greatly. All of these factors were the result of growing old and the two strokes he experienced ten years ago. I am aiming to explore the similar styles of photography within the work of Phillip Toledano and cross-reference the work of Laia Abril; looking into which artist I believe represents the concept of absence and change in the best way by investigating their style and what informed their projects. The genre of work I have focused on is documentary and narrative photography due to the style of photographs I am making in my own project and both Toledano and Abril make work across both genres as visual story tellers. Laia Abril particularly looks at archival imagery as well as making new photographs of objects and people within her project. Abril inspires me as she takes a different approach to the theme of loss/absence and change, which is different to Toledano’s approach but both of which I used within my own project. She specially looks at archival images, which gives the viewers an insight of Cammy’s life previously giving us an understanding of her background. She also included images of her family and close friends while giving them a voice about the subject by including conversations she had had with them, which is a technique I have myself used. My own images will follow this style of documentary photography to give a realistic insight into my Granddad’s life. Straight Photography, which is closely related to realism is the historical context of this style, which will inform my analysis and development of my own images. It believes in the camera’s ability to record objectively the actual world as it appears in front of the lens. This veracity of the photographs has been challenged by critics, claiming that the photographer’s subjectivity challenges this idea opening up many new possibilities for both interpretation and manipulation. Photography is a medium that possesses the precious ability to influence and transcend past, present and future. An image produced by Phillp Toletano show that we are capable of documenting the present as the raw emotion is captured within the moment, which is easily comparing the past of how his dad used to be and predicting the future of where his illness will take him. With the conclusions drawn from this analysis, I can hopefully proceed to evaluate whether my work has accurately portrayed issues of change, absence and fate shown through photography. “One soul, One body, One destiny”

 

 

 

 

Sources of Information about Artists for Personal Study

For my personal study, it is important that in my essay, I have several quotes from my included artists to provide content, body and talking points as well as evidence to discussions etc. To do this, I need several different sources of information in which I can receive direct quotes from the artist themselves. I will be using the Harvard System of Referencing to embed each quote I use into my essay when appropriate in order for the source of the quote to be known. I have previously used the Harvard System of Referencing in photography but also in English Language AS so this will benefit my ability to use it properly.

Below are the sources from which I feel I can retrieve quotes from to use in my essay to back up any comments or statements I make regarding Eich and Frazier’s photo books.

Matt Eich

Website, About 

FotoRoom, Interview w/ Matt Eich about ‘I Love You I’m Leaving’

Photographic Museum of Humanity, Interview w/ Matt Eich about ‘I Love You I’m Leaving’

LaToya Ruby Frazier

Website, About

The New York Times publication on LaToya Ruby Frazier’s ‘The Notion Of Family’

UNDERSTANDING PHOTOBOOK DESIGN

To enhance my understanding on photobooks and how to design and make my own i need to do some research into published photoboooks and research into how photographers have successfully made photobooks and what makes a good photobook. After reading Colin Pantall’s article on creating a narrative to a photo book the main point i have taken away is that i need to have a clear story to my photo book. Pantall states that we should be able to describe what our photo book is about in three words and if we are unable to do this then we may not have a clear idea of what out photo book is about. This needs to come before the sequence because the sequence then underlines the meaning of the book and emphasising this meaning.

Colin Pantall: Identifying the Story: Sequencing isn’t narrative

Simply taking a bunch of photographs and putting them into a sequence does not create a narrative it is the meaning or message that we decide to portray before we even capture the images which creates the narrative. Furthermore, Understanding Photobooks: The Forms an Functions of Photobooks written Joerg Colberg, a poetic photobook critic outlines the many focal points we need to consider when produces a photobook. Colberg agrees with Pantall and says that photobooks are complex and cannot just be created without any thought. The book discusses many examples of how to think about editing and sequencing. But it also tackles less commonly discussed aspects such as what different bindings actually do.

HONG KONG UMBRELLA – MICHAEL WOLF//LAM YIK FEI

Michael Wolf’s ‘Hong Kong Umbrella’ is rich in culture and highlights the importance of having a freedom of choice. In Wolf’s photo book he focuses on a specific protesting event which took place in Hong Kong in 2014. The photo book captures images which represents the event of the protester, a young man, who raised a yellow umbrella to protect himself and others around him from the onslaught of pepper spray being shot at innocent people from the Hong Long Police right at the very start of the students protests in late September of 2014. The yellow umbrella which was held up at the beginning of the students protests quickly became the symbol of the protests by the thousands of students who were standing up for political freedom. This simple object which is used by which ever class you come from whether rich or poor  was the students symbol of universal suffrage “and the right to vote for their own leader.” The final elections plans were having to be approved in 2017 making the images and the story which is portrayed through the images still very current and a relevant matter in international news. The very real narrative which is told by these images shows the dedication to the young citizens of Hong Kong who where using the yellow umbrellas as a way of making their place in history as a voice of a generation wanting freedom of choice.

Michael Wolf shows this very real story through his documentation of Hong Kong during these events. I think that this makes his images extremely significant as the rawness of the images comes from the fact that he was not able to stage the images of the actual protest as it was compleatly happening at that moment in time and he was simply acting as a photojournalist documenting the nature of events. These truth holding images are connected with images from all over the city of umbrellas and the simpleness of their mechanism but the huge impact they have and the variety of jobs they can be used for.  The photobook shows the vast amount of umbrellas that are contained within the city and i think that this is trying to imply the mass  support the student movement, for wanting freedom of choice, had. He turns his attention to countless umbrellas in the Back Alleys of the metropolis, whether they be literal umbrellas or drawings of the symbol of an umbrella is showing that it was a huge protest which impacted many. The genre of Wolfs approach is street photography yet in a documentation style. the photo book shows upstaged images of people drawing umbrellas or holding them up showing their support for the campaign. The images show Wolfs photo journalistic style as many of his images including people are as if he is looking down on the events which are happening documenting the people naturally and not placing them in a certain position to make maybe the perfect image.

When considering who the photographer made the book for, we must consider possible audiences as well as who he may want the message/meaning of the photographs to reach. For the ‘Hong Kong Umbrella’ i think that Wolf had the intention of presenting his book to the students and the citizens of Hong Kong showing the vast support the movement had in a way of telling them not to give up and to keep fighting for their desire for freedom of choice. The book may have also made made as a way of highlighting to the government the support that the protest had. Wolf may have wanted the government to change their structure of election so that students had the right to vote for the leader which they desired as they are part of the community and should have the right to freedom of choice.

When deconstructing the book the first thing i look at is the front cover as this is the first part of the photo book we see and it is what we base out initial thoughts on. Straight away people create an opinion on a photo book from the way it presents itself. ‘Hong Kong Umbrella’s’ initial impression on me was that it stood out in a sea of photo book i wanted to pick it up and was intrigue by it die to its bright colour. The yellow colour of the photo book cover is striking and draws the audiences attention to it ad i think that this is the impact Wolf wanted as he wanted people to look through the images and take notice to its important message. The yellow cover is also relevant to the events which occured, as the young man in the crowd of protesters held up his yellow umbrella. The texture of the book also makes the photobook unique as it is a fabric, this could  symbolise the texture of an umbrella highlighting the story further of the symbol of the protest further. The title on the front cover also brings us intrigue as we can guess that the photobook is going to be about umbrellas as the front image also shows an umbrella but it leaves the deeper message to our imagination. When you open the photobook the images are presented on A5 pieces of quality photopaper however the photographs only take up just about half of the page. This may be to have the message that the images are intricut and delicate. The proportion of the white border being nearly equal to the image size also draws a lot of attention to each image which i think is very clever. The colours in the first few papers all link in rythm as they share similar components. The images are from the back streets of Hong Kong, with key being a underlying colour tone in all the images however they are all sparked with colour by the vibrant umbrellas in each image. This has a powerful impact on the audience and makes them intrigue to find out more.

The next section of Wolfs photobook is what made his photobook stand out to me more than any other book. He cleverly reveals the meaning sotry behind his images by splitting up the book with a series of yellow pages. On these yellow pages, made out of a different textured paper to make them stand out, he has included a written statement which reveals the events of the student protesters fighting for their right for freedom of choice. With this small background to the events which took place in Hong Kong in 2014 now help the audience to understand the story he is telling with his photobook. The use of coloured paper shows that it is a bold statement and he wants the audience to take notice and read the information on these pages. also linking to the idea of the yellow umbrella which became the symbol of the protest and united students of Hong Kong. The flow of the photobook now makes more sense to the audience and the whole series of images all link together adding to the story and revealing more about the events as the photo book progresses. After the yellow pages the events of 2014 are then shown in documentation form rom Wolf as he act as a photojournalist taking tilted down shots showing the mass support for the protest.

Introduction – Draft 1 (Personal Study)

How have the photographers Matt Eich and LaToya Ruby Frazier explored themes of attachment and detachment in their own family through their work and, in particular, their most recent projects looking at family?

“As photographs give people an imaginary possession of a past that is unreal, they also help people to take possession of a space in which they are insecure.” (Sontag 1977:9)

My interest in photography derives from how raw and truthful an image or series of images are. I achieve satisfaction from photographs which show everything as it is without removing any factor of reality; it as it this point at which imagery loses my interest. I believe that this relates to the beauty that comes from images created from the insecurity from the person behind the camera. Within my own work, I attempt to do this. The space in which I am insecure encourages an emotional and physical urge and a sometimes unwanted force to venture into a neighbouring space in which I feel less comfortable but more willing to experience more challenging emotions. It is with my camera and in my project looking at the reality of feeling attached yet isolated, that I can explore this feeling of lonesomeness. I am using my mum and dad’s divorce thirteen years ago as a starting point for the generation of my series which centers around my experiences with the people closest to me. As I grow into an ever-maturing yet still sensitive man, I struggle to find myself in this fast-moving, fragile world; I find myself unknowingly becoming detached from the people who should be my most dear. I see this project as a way of building lost relationships. Using a subject close to my heart, I have been able to capture a view that feels very poetic, like that of Eich and Frazier’s work. My aim is to make the intangible, tangible by collaborating closely with my subjects to create a meaningful insight into my family with room for interpretation by the viewer – an aspect I have been focusing on heavily for my project – to create something for the audience to interact with (the book) and content the audience can relate with. Taking inspiration from photo-books of several artists, others including JH Engstrom and Anders Peterson and their use of images of several formats and styles, I have generated an immense interest in putting aside much of my time and effort to create a professional and suited book, paying close attention to design, font and other marginal details. My project is an exploration into my family and myself for personal satisfaction and as a visual documentation to cherish and keep, providing that very possession of a moment in time that can be so easily be forgotten. “Memory is fragile” (HARVARD SYSTEM OF REFERENCING) said Eich in his statement for recent body of work, I Love You I’m Leaving. It is with my photographs that memories become realised and documenting my own familial circle, like Eich and Frazier, I can provide a structure to my family’s memory.


Below is the same introduction paragraph as above but with some minor tweaks to improve the overall quality of how it read. After going through the paragraph with my teacher, I realised there were a few alterations I could make to improve the vocabulary and grammar. Below is the same paragraphs with those alterations, highlighted in bold.

How have the photographers Matt Eich and LaToya Ruby Frazier explored themes of attachment and detachment in their own family through their work and, in particular, their most recent projects looking at family?

“As photographs give people an imaginary possession of a past that is unreal, they also help people to take possession of a space in which they are insecure.”

My interest in photography derives from how raw and truthful an image or series of images are. I achieve satisfaction from photographs which show everything as it is without removing any factor of reality; it as it this point at which imagery loses my interest. I believe that this relates to the beauty that comes from images created from the insecurity from the person behind the camera. Within my own work, I attempt to do this. The space in which I am insecure encourages an emotional and physical urge and a sometimes unwanted force to venture into a neighbouring space in which I feel less comfortable but more willing to experience more challenging emotions. It is with my camera and in my project looking at the reality of feeling attached yet isolated, that I can explore this feeling of lonesomeness. I am using my mum and dad’s divorce thirteen years ago as a starting point for the development of my series which centers around my experiences with the people closest to me. As I grow into an ever-maturing yet still sensitive man, I struggle to find myself in this fast-moving, fragile world; I find myself unknowingly becoming detached from the people who should be my most dear. I see this project as a way of building lost relationships. Using a subject close to my heart, I have been able to capture a view that feels very poetic, like that of Eich and Frazier’s work. My aim is to make the intangible, tangible by collaborating closely with my subjects to create a meaningful insight into my family with room for interpretation by the viewer – an aspect I have been focusing on heavily for my project – to create something for the audience to interact with (the book) and content the audience can relate with. Taking inspiration from photo-books of several artists, others including JH Engstrom and Anders Peterson and their use of images of several formats and styles, I have generated an immense interest in putting aside much of my time and effort to create a book, paying close attention to design, font, concept and other marginal details. My project is an exploration into my family and myself for personal satisfaction and as a visual documentation to cherish and keep, providing that very possession of a moment in time that can be so easily be forgotten. “Memory is fragile; the moments are fleeting and have to be wrestled into a permanent state.” (Eich 2017: http://fence.photoville.com/artist/love-im-leaving/)  said Eich in his statement for recent body of work, ‘I Love You I’m Leaving’. It is with my photographs that memories become realised and documenting my own familial circle, like Eich and Frazier, I can provide a structure to my family’s memory that can be built to last instead of a moment in time being brushed aside when forgotten within the busier, more active momentous of life. It is the little moments that require time to step back and appreciate that we should treasure; when I release the camera’s shutter, is an acknowledgement that a moment is significant…

Paragraph 1- draft 1

Straight photography as we see it today captures an image of a scene as we see it in reality, often using sharp focus, wide depth of field and refraining from image manipulation. This style of photography relates to my own project that I am working on, as well as the artists’ work I am exploring. In my own study of my Granddad I wanted to capture a realistic insight into his life, struggles and illness, by taking photographs in a documentary style creating a true story and shows that a large amount of manipulation of images is not needed to express this.  I have used a snapshot approach as I wanted the photographs to be raw and true, with hints of the vernacular present throughout. This reflects a closeness, a familiarity, intimacy and every-day connection. It is not staged.

However, some images in my book have been converted to black and white or even cropped, but these are very simply and is not manipulated enough for the image to be untrue. Realism is about giving “the observer a feeling of intrusion on privacy when looking at it.” This is another aim of my own project as well as the artists.

Phillip Toledano’s work for example gives outsiders a personal view of his father’s last days as he has photographed him experiencing everyday life inside his home, which people who are on the outside of their life would not be able to witness, if not for Toledano’s photography. This notion is what inspired me to follow a similar aim in my own photographs. For example, accessing archival imagery of my granddad is something which can be seen as something very personal and as a photographer, putting these images into to my own project gives outsiders a taste of his personal life behind closed doors previously as well as showing more recent photographs of his life now, letting the viewers make a comparison and detect change between then and now. On the other hand, the photographs produced by Phillip and myself can also be seen as narrative photography as the sequence of images are made to tell a story to the viewers through the pages and images produced. Narrative photography can be both documentary style photography or tableaux photography, both myself and Toledano use narrative photography in a documentary style. This means it’s more of a story of true events and situations compared to tableaux, which are staged and made up photographs, however, they can be based on a real event. Another example of a artist who uses both documentary and narrative photography is Laia Abril, who is a well-known photographer, which I have researched previously for this specific personal study. She investigated and documented how the family coped with the aftermath of losing their daughter to bulimia. Separating the work into sections allowed her to approach different aspects through different platforms, not only in the multiplicity of perspectives but also in a constantly evolving visual stimulation. All three projects ‘Days with my father’, ‘The Epilogues’ and my personal study entitled ‘The Aftermath’ all tackle emotion subjects, specifically change, absence and fate.

 


Paragraph 2 and 3 will be more investigation into the 3 key words, which are ‘fate,absence and change.’ I will also insert images in between these paragraphs to reinforce the text. I will also include influences for both my own work and also Phillip’s work as well as analysing his work as well as cross-referencing the work of Laia Abril to help support my text and ideas.

draft

How does subjectivity affect the authenticity of photographs representing third world countries?’

 

‘Documentary photography constructs representations of reality according

to someone’s view, their desire to see.’

 

 

In my personal study I will be investigating how subjectivity affects the authenticity of photographs which attempt to represent third world countries. Third world countries such as India and Africa have been a subject to the photographic world for decades. The colourful cultures which contrast with the heart-breaking issues of poverty and disease have been seen as a popular topic for many documentary photographs. This is due to the powerful messages and stories which can be conveyed through photographs of these captivating areas. However it has come into question whether photographers are allowing their own subjectivity to affect the authentic of their photographs documenting third world countries. Photographers such as Steve McCurry have been questioned on the amount of truth which his photographs portray. Photographic critic, Teju Cole, says that ‘The pictures where staged or made to look as if they were’ creating ‘a too perfect picture’. All photographers allow their images to become subjective due to their minds eye, which leads every individual too represent an issue or matter in a different way. Whilst investigating this matter further I am going to pin point the reasons that subjectivity does have an effect of the authenticity of representing counties and how the amount of truth can be weakened. I will explore the realism movement and the inside vs outside approach which can have direct impacts on the authenticity of documentary photographs. I will use the works of photographs ….. and Steve McCurry, analysing and contrasting their works looking at the different ways they represents third world countries and

Essay Introduction – 45mins

In this lesson you will write a draft essay introduction following these steps:

  1. Open a new Word document > SAVE AS: Essay draft
  2. Copy essay question into Essay titleHypothesis > if you don’t have one yet, make one!
  3. Copy your specification written before Xmas and use it as a template to build upon
  4. Identify 2 quotes from sources using Harvard System of Referencing.
  5. Use one quote as an opening quote: Choose a quote from either one of your photographers or critics. It has to be something that relates to your investigation.
  6. Add sources to Bibliograpphy > if by now you don’t have any sources, use  S. Sontag. On Photography Ch1
  7. Begin to write a paragraph (250-500 words) answering the following questions:
    Think about an opening that will draw your reader in e.g. you can use an opening quote that sets the scene. Or think more philosophically about the nature of photography and and feeble relationship with reality.
    You should include in your introduction an outline of your intention of your study e.g.
    What are you going to investigate.
    How does this area/ work interest you?
    What are you trying to prove/challenge, argument/ counter-argument?
    Whose work (artists/photographers) are you analysing and why?
    What historical or theoretical context is the work situated within. Include 1 or 2 quotes for or against.
    What links are there with your previous studies?
    What have you explored so far in your Coursework or what are you going to photograph?
    How did or will your work develop.
    What camera skills, techniques or digital processes in Photoshop have or are you going to experiment with?
  8. Look at an opening sentence.
  9. You got 45 mins to write a draft and upload to the blog!

Photo Book Investigation (Matt Eich – I Love You I’m Leaving) – Deconstructing the Book

For my investigation into a photo book, I will be observing in detail, then discussing the features of Matt Eich’s photo book entitled ‘I Love You I’m Leaving’. I have chosen this book to research because it is the book I will be using in my personal study and Matt Eich is a photographer I have paid close attention to throughout my project thus far. His images are so very poetic and it is a style of documentary photography I am aiming to replicate in my project. The following few blog posts will be dedicated to the research into this photo book and will include discussion surrounding the narrative and features of the book as well as who Matt Eich is and my own options on the book. 

Deconstruction of the physical and narrative features of the book:

Book in hand
The book in hand feels very light and small – it can be handled easily and doesn’t feel too heavy.
The cover has a very smooth texture yet a little rough and feels almost like plastic.
Book is a small portrait format.

Paper and ink
The paper is the same throughout – matte paper with solely black and white images printed throughout.
There is no text / captions in the book
There is a coloured image of photographers grandfather at the beginning and the end as it is dedicated to him.

Format, size and orientation
There are 64 pages and 46 photographs.
The edition is softcover with an exposed spine.
The dimensions are 22 x 17 cm.
It is portrait and features images of all sizes.

Design and layout:
Within the book, there are no captions or texts alongside the images. However, there is a poem at the end next to the image where we the wife on the floor in what seems like a breakdown as she looks very uneased by something with her hands on head. I am not certain on what the poem means or who it was written by but it describes driving away from the one you love on a 10th wedding anniversary and feeling a sense of remorse.
Neither are there any fold-outs or inserts.
Landscape Images: 18
Portrait Images: 14
Full Bleed Images: 11
Tipped In Images: 2
Blank Pages: 5

Rhythm and sequencing:
The book starts and ends with very similar images; the first image of the project is of Eich’s daughter sat at a park bench with the light reflecting on her body and she has her eyes closed as she leans on the table. This image image is again shown as the last image to conclude the book but this time with her eyes open and the shadows reduced.
The second image introduces Eich and his wife in a self-portrait where we see Eich, sat down, learning his head against his wife’s bare abdominal as she stands. This is a very powerful image to introduce the wife and husband.
From this point, it seems as though every juxtaposes one another in the sequence they have been printed. There doesn’t seem to be an order yet that all work in conjunction with one another.
It is as though we physically take a journey through the busyness of family life as the husband and wife spend time with their children and as we are introduced to new characters throughout.

Structure and architecture:
The book, unlike other photo books simply consist of solely images which often don’t seem to have nay relation to one another and so it may, at first be difficult to derive nay meaning from the imagery and decipher the story which is wanting to be represented which is what I experienced at first . However, there seems to be a running theme of finding a balance between emotions, events and feelings. It starts at an equilibrium which seems to gradually crumble and become an imbalance of emotions within all family members and this is presented in the photographs as we people confiding in one another, and more serious facial expressions, if we see any at all because often, faces are covered with hands to hide the sadness. People seem to be less involved in their familial circle and daughters, the wife and Eich’s parents seem to become isolated from what once was an equilibrium.

Narrative:
The story is told from the perspective of Eich himself as a father, son and husband and focuses on all 3 of these elements of family life to tell a narrative of love, connections and detachments. Eich, although at the centre of it all, does not make this clear and instead focuses on the presence of his family members and how this provides a base for he life they all lead. Eich himself states that the book follows his documentation of what he experiences within his own familial circle as he, on regular basis makes connections with his daughters through his love for his wife and this welcomes an interaction between himself and his parents. The narrative can also tell a story of generations and how this is, even though very broad from elderly to youth, can actually connect a family through the relationships that build over this concept of ‘knowing our place in this fragile world’ as Eich states. This is shown in the image which includes the book where we one of Eich’s daughters sat by the coffin of Eich’s grandfather and even though this man is not present in the book’s content through, it reiterates the importance of remaining close because without that knowing of belonging, people can become so easily isolated which I explore in my own project through the main body looking at belonging; it provides an underlying guilt of not being present and instead being contained within yourself, something I have recently become a victim of and I am attempting to include this emotion in my project as I have become much more aware of my own feelings since starting this book. I see my own project as an experiment of truth and showing everything as it is – by not covering anything for the lens or presenting anything false for the camera. My aim and intent is for this to make my project more raw and real by not altering things to make them more “acceptable” because then photography does not become interesting and it removes that ability to connect with imagery once the rawness of what you are capturing has been discarded.

In Eich’s project, he does not attempt to tell a story of sorrow or upset and instead looks to simply present his family and the rawness of their respect and love for each other – this what I get and feel form looking and flicking through his book.

Title:
The title is literal but it is also poetic. The title ‘I Love You I’m Leaving’ I imagine was carefully chosen by Eich but once chosen would have been easily imagined because of it’s compete literal meaning. The story follows the split of his mother and father after over 30 years of marriage and how this break-away coincides with the departure if Eich and his newly formed family to a new city. It looks forming a new identify from what Eich used to be – from his mother and father’s careful nurturing to raise Eich to the man he is now has benefitted his ability to build his own relationships, however, occurring at the time of what once was a happy family’s physical and emotional detachment as he moves away, leaving his mother and father suffering on their own, also away from one another. The title, knowing this synopsis of the project, seems very suited and it does work very well. It also connotes the popular phrase of what people say to one another if they are about to leave an event or situation etc. but don’t rally want to and it is not out of their own will – people often say ‘I’ll love you and leave you’ as they say goodbye and this essentially what Eich is doing. It does very intrigue the audience because it opens the door to what is to come. 

Images and text: 

Image result for matt eich i love you i'm leaving

There is one piece of text throughout the hole book, excluding the two texts at the beginning and end which dedicates the book to Eich’s grandfather and this is the pome towards the latter of the book (shown above). It is a poem on a blank page next to a full bleed image of Eich’s wife lying on the floor. There are no captions or anything else apart from this four verse poem. I am not actually fully sure of the meaning of the pome and or what it’s intent on the audience is or who’s perspective it is actually from. However, I am imagining it is either rom Eich’s perspective to his wife or I thin that the most likely option is that it is written by Eich about his father’s divorce from his mother as it follows a story of leaving the said and feeling some sense of remorse but still a sense of love. I also believe the title of the poem is ‘X’ – most likely connoting a kiss in text talk.

 

Understanding photo books- analysing a photobook

I have chose to analyse the work of Phillip Toledano, I feel this makes sense as my essay question is discussing his work in relation to change, fate and absence. Phillip has made two book, which particularly inspire me in relation to my own personal investigation. I will be particularly focus on ‘Days with my Father.’

I have already looked into the story and the narrative of the book as it was one of my artist references so therefore I have some background information on Phillip and his work. Days with my father was made after his mothers death and he realised how severe his fathers memory loss was. He recorded the final chapter in his father’s long life, his sense of humour, his struggle with memory loss and above all his unfailing spirit. He particularly reflected on his father’s changing state. It shows the change but also the relationship between father and son and also how this has changed as a result of his memory loss. The genre of this is documentary photography, this is because he is photographing his dad doing things he might normally do, showing every emotion he has felt throughout the time he was photographing. Although in some of the images he might know he is being photographed and they could be seen as a bit posed they are naturalistic images, which to me feels like a documentary style book. He documents his father doing regular things but brings an element of emotion and connection within the photographs, which is reinforced my small sections of text explaining different aspects of his fathers life, conversation, feelings etc which relate to the image aside it. I feel this is almost a celebration of his fathers life as well as revealing his struggles, which I feel is extremely powerful and meaningful. This is an emotional rollercoaster of discovering long hidden details, of moments of genuine laughter, and of the intense sorrow and helpless emptiness of seeing the parent slowly deteriorate and finally die. This is extremely personal and heart-warming, which is clearly shown to the readers through each page in the book. I feel like the book was made to create a different and deeper relationship with his father as well as providing support to him in times where he was struggling with grieve as well as his illness (memory loss). The book would have been for himself as well as giving other viewers an insight into what living with memory loss is like, almost educating community on this, as well as maybe giving people relief who are going through the same thing as they know it isn’t just them.

The book itself is a small landscape size book and is a hard back, which has a card cover over it that has an image of his dad on the front, with the title ‘DAYS WITH MY FATHER’ on the back of the paper cover there is another image of his father’s toothbrush on a glass. Inside there are two pieces of text- one in the inside at the front and one at the back, which describe the book. The small well put together book feels precious as it feels small in your hands and you know it is a sentimental book. The book does not of anything in particular, just smells of good quality paper. The pages are all the same size and the same thickness, which I really like. The paper is thick and has an almost matte finish, which makes the paper feel smooth.` The images themselves are in colour throughout and he as no use of black and white images. All of the images are landscape and all but 2 are full bleed, which means there is no broader around the photograph to frame it. the others are portrait images on a landscape page, which creates a white blank space. The book and the photographs within the book are of an A5 size and there are 47 pages within the book. Throughout all of the book there is always a double page spread, for the majority of the book there is a white page on the left, which is either left blank or has text on it to marriage with the image of the right. There is one double spread page, which has two images on both the left and the right, one being full bleed and the other being a portrait, which takes up half of the page on the right. There were no grids, fold-outs or inserts, it is a very tidy and smart looking book. The images are all edited in the same way, which provided a rhythm and sequence to the book. The images were all high in contrast and they all had low lighting, which created shadows in the images. The title ‘Days with my father’ is relevant to the book and the story line and is taken quite literal as he explains it was his fathers last days. The text written next to the images link to the overall narrative and the images along side them, they told stories or created emotion and almost described the images.


My Book specification

I would like to make my book through BLURB so that it has a hard cover, which will protect the pages within the book. This is something I found quite important as the images themselves are extremely precious to me. I would like the book to be small and landscape, which is similar to Phillips book about his father. I would like my design and layout to be similar to Phillip’s in that most of the way through there will be little notes or quotes next to specific photographs, but I would also like some images to take up two pages (double page spread) to empathise that particular image and also have some images full bleed as for most of my book I would like a broader around my images to act as a frame. The photographs within the book will be a mixture of black and white images and colour, which will be spread out over the book. I would also like to experiment with overlaying and grid my images on a page, however I am not sure how this will look.  I would like to play around with the order of the images, but for now I don’t want my images to be in any particular order. My order will be what looks the most aesthetic and also of course fits my theme of Absence, Fate and Change.  My narrative is exploring my granddad, showing how his life has changed dramatically from illness, which started from a stroke, leading to other illnesses impacting his life. I am also exploring absence within my work, particularly within my archival aspect of my work. I will be using both documentary style photographs and archival photographs to show elements of change. I will be including text in the book as I mentioned before, including quotes, stories and small explanation as well as my essay, which is tackling ‘How does Phillip Toledano explore notions of change, fate and Absence in his work? I would like the paper to be a matte finish and I would like all the paper to be the same size within the book. This might change when I come to making the book. I would like the paper where I am going to insert writing to be white and the ink be black in a basic font. I would also like the pages to smell of my granddad by spraying his aftershave on the pages, although I know it will not stay on the pages for long.  Finally, my title for my book will be: ‘The Aftermath’, which I would like to have in bold text and in capital letters. I researched into photobooks and also looked on the website blurb to gain ideas and inspiration for my book.