All posts by Harrison Cummins

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Reflection

October 4, 2017 Harrison Cummins 2 Comments

In retrospect, it’s clear I have thoroughly enjoyed the photography course as a whole over the past fourteen months. Being given the opportunity to capture images which will be assessed and given critical feedback by professionals is a very beneficial and enjoyable experience.

In Year 12, there was a particular freedom when capturing images which enabled us to work around a camera and explore a multitude of areas in order to find our own photographic style. Through this liberation, I was able to analysis and create my own images in relation to particular photographic genres, for example typologies. Although I couldn’t conjure up a meaningful image to photograph, I really enjoyed that subject which I could follow up in Year 13 but with more knowledge and photographic experience. Furthermore, I enjoyed landscape work that consisted of photographing buildings and suburban areas as I could explore unique angles and pay attention to infrastructure that we usually ignore, opening my eyes to the world around me more. Overall, I believe that was the most beneficial and significant factor about the photography course; opening my eyes to things I never noticed and took for granted. Photography has allowed me to become more open and more appreciative of the world around me.

In this image, I took four typology styled photographs of a garlic from all different angles and cut them up into even pieces of paper and stuck four of them together to create a refaced clove of garlic. I thoroughly enjoyed this hands on approach to photography.

For the future, I am looking forward to creating a collection of subversive photographs in order to create a visual rebellion against the powers that control, or once controlled our society. A focus on religion and death gives me an opportunity to link my three favourite subjects; English Literature, History and Photography altogether and create a memorable and hopefully influential piece of work or series of images, combined with writing which is another passion of mine.

In response to working towards this sense of subversion, I created a mood-board to help depict and draft some ideas together in order to chose the best route to go down to fulfill my photographic potential and to select what would best fit.

Following my drafting, I am contemplating and conjuring up a method of combining the stages of grief, the setting of a church and the services you associate with a church with the struggle of adolescent life and finding identity.

Tony Howell is “one of England’s finest Landscape photographers”, born in 1960 in Plymouth. I stumbled across this photographer whilst researching significant church photographs as his work was a prominent and regular feature in my search. I began to explore him directly and identify Howell’s different images of churches which gave me inspiration to create a church based typology. Admittedly, Howell is a commercial photographer whose main purpose is to sell judging by the information provided on him website, however, you cannot fault his work for this.

St Marys Church, Night

Graveyard Crosses, Locksbrook

http://www.tonyhowell.co.uk/photographsofchurches.htm

I would like to expand on this idea of subversion and inversion by ridiculing the influence and the power of the church. No religion in particular would be targeted but merely objecting against the concept of religious faiths. I’ve considered buying a priest or pope costumes and acting like a struggling or naughty adolescent in their clothing. This would coincide with the stages of grief, especially with the aspect and emotion of anger.

Independent Study, Personal Study

How much is too much?

October 3, 2017 Harrison Cummins 2 Comments

Photographic manipulation has always been prominent within the world of photography since the first picture was taken, dating back to 1826 or 1827 by Joseph Nicéphore Niépce. Although photo-editing programmes, for example, Adobe Photoshop weren’t invented or accessible; image manipulation was achievable by editing and being selective of what you choose to capture or how you processed the image in the light room. Fundamentally, I believe when the image is deferred from what the raw photograph portrays or otherwise known as the ‘truth’, the meaning and concept of the image taken is lost. I comprehend multiple photographs may be used in a combination to form a unique concept; however, I feel this process becomes its own, individual art form and moves away from photography. Crucially, restricted editing is acceptable for the world of photography, manipulating image colour, for instance, putting images into black and white, is an acceptable process as long as the photograph portrays the truth behind the lens.

View from the Window at Le Gras. Click to enlarge.

The work of American photographer Ansel Adams is a demonstration of early photograph manipulation, as he created black and white coloured filters to cover the lens of the camera. The variation of colour enables us to interpret the image in a different manner if in comparison to the coloured version, however, despite the colour difference, the image depiction is still the same but the variation may help the photograph enhance the concept they’re trying to portray. The technique stated is an organic and traditional way of image manipulation, preventing the image from becoming something that it is not, just merely improving a concept. On the contrary, utilizing the modern day software’s of Adobe Photoshop is acceptable as long as the content of the image is not altered. I have frequently used this device for manipulating the colours and enhancing the quality by eradicating slight blurs or cropping the image, however, artists have previously taken it too far and deferred from the truth.

Image result for ansel adams

Another early instance of camera manipulation is the “Man on the Moon” controversy of 1969. It is reported that the United States’s NASA hoaxed the event by setting up a fake studio and destroyed evidence in order to compete and beat the technological advances of the USSR in what was known as the “Space Race”. In this case, I believe that the US have created this staged scenario to create and record a breakthrough event, however, due to the severity of the lie and how this would have fooled people globally, it is morally incorrect. Fundamentally, the principle of changing what the lens of the camera sees is in my opinion, a valid manipulation of photographs, so long as the images portray a specific meaning or concept and maintains the truth of the setting.

Image result for man on the moon 1969

Essay writing

Documentary Vs. Tableaux Photography

September 25, 2017 Harrison Cummins 1 Comment

Both contemporary aspects of photography; documentary and tableaux, are paramount for encapsulating a specific scene which conveys a particular time frame in history. Although, the two photographic techniques maintain a common purpose, the method behind using one is a completely different prospect.

Documentary photography is a recording technique utilized in order to understand and reflect upon either previous or current times, whether this be in either the social or political spheres, or perhaps the combination of the two. Documentary photography attempts to reveal the true, (or as close to true), events that have occurred that could serve as “both significant and relevant to history and historical events as well as everyday life”. The value of documentation is unquestionable as it allows us to understand a fragment of history, whether it be good or bad, and much like the role of a historian, it can warn us over what manoeuvres to make or not take, like an adviser. Documentation can also be clinical in the process of creativity as understanding previous ideas and concepts can influence into creating our own which needs planning and documentation of our own ideas. According to https://www.fastspot.com/publications/why-documentation-is-important/, “Documents can be exciting, inspiring, and creative forms of expression … (and) can be ‘living’ data”. The means of documentation via photography is a concept which keeps key information alive through visual representation, adding another dimension to documentary, which is a crucial factor in understanding the past.

Power house mechanic working on steam pump (1920) by Lewis Hine

Unfortunately, due to the photographic documentation work of misleading photographers like Steve McCurry, we must test whether the photographs we view are authentic and are actual representations of events and environments.

https://petapixel.com/2016/05/06/botched-steve-mccurry-print-leads-photoshop-scandal/

RESUME – READ AND WRITE P2

Practical Task

Tableaux Photography

September 18, 2017 Harrison Cummins Leave a comment

The origin of tableaux stemmed from the multiple translations from the French language meaning either picture, art board, board, slab, writing tablet, canvas or painting. The style of production originated from the again the French phrase ‘tableau vivant’, translating to ‘living picture’. Of course the early sources of tableaux were paintings, particularly of weddings or other holy celebrations.

Image result for A Burial At Ornans

A Burial At Ornans was a painting constructed by Guastve Corbet, which further came to present a change in nineteenth centruy art. The piece holds a certain level of irony as the style of the image is of course that of a tableau, however, the image itself portrays the funeral of the painters great-uncle

Jean – Francois Chevrier was the first to use the term tableau in relation to a form of art photography, which began in the 1970s and 1980s in an essay titled “The Adventures of the Picture Form in the History of Photography” in 1989.

Jeff Wall is a Canadian photographer renowned for his cibachrome approach to photography and his tableaux productions. Wall’s tableaux work has ranged from 1996 to 2013.

Jeff Wall — Tableaux Pictures Photographs 1996–2013

Although Jeff Wall’s tableaux work also has the same basis of topic, all of his images have their own theme as they consist of completely different composites and colours. This coincides with how each photograph has its own story to tell.

Image result for jeff wall invisible man

Following the production of the movie ‘Invisible Man’, Jeff Wall decided to construct a tableaux image as he attained inspiration from it. In the film, an African American man’s color renders him invisible and is forced to live recluse in an underground room wired with hundreds of electric lights, operated by power stolen from the city’s electric grid. The character reflects upon his social segregation flashbacks to his high school experience, depicting the racism still present in America despite moves to try counteract racial discrimination, for example the Civil Rights of 1964.

Jeff Wall’s image is a direct reference to Ralph Ellison’s production, meaning he has not much of a story to reveal for himself. A unique technique of using a story and meaning already invented and created and developing on it, almost acting as a sequel to the movie but in tableaux form.

In relation to the reenactment of a childhood memory in the form of tableaux, I thought it would be important to study the work of Hannah Starkey, a British photographer who specializes in staged settings of women in city environments.

Image result for hannah starkey

Starkey’s lighting seems to an interesting variable in her photographs as although we can clearly see the model, there is elements of shadow that cover her face, which links back to the ambiguity of the plain facial expression in environmental portraits. Note the light is all natural, which is a unique and organic feature of her photographs. When recreating a childhood memory, I would try to use as much natural light as possible.

Instruction, Practical Task

Childhood Memory: “Don’t go Dad”

September 12, 2017 Harrison Cummins Leave a comment

In response to the task set, I delved into my nostalgia in order to recollect memories from when I was a little tiddler. Initially, I thought of my trip to Disney Land Paris for my eighth birthday, or my first day of secondary school or some sporting highlights. However, as my reminiscence developed, I remembered one of my earliest childhood memories but it was a darker recollection than the others.

Somehow, my three and a half year old self remembered the day my father left home. To this day, I remember exactly what he was wearing, the expression on his face and the dialogue exchanged. My then nineteen year old father was sobbing with tears running down his face as I clung on to his right leg and looked up to his face whilst my mother told him to go. He was wearing a blue Henry Lloyd fleece with a Nike tight fit beanie. I have a specific image in my head of me looking up to my father with tears streaming down his face and I said to him “Don’t go dad”. Following this argument, my father never lived with me and my mother again and has definitely changed my life, but not in a necessarily negative way. When I was seven years old, I had a birthday meal at Mano’s, a local restaurant in town in which I was surrounded by the young adults I had grown up with. After several years of conflict, my parents had finally agreed, for me, to both come to my birthday meal. It was great, I had all the lovely adults I had grown up with who had presents for me and good food (I had pasta), but most importantly my parents were in the same room after continuous phone call and text messaging arguments, they were both here, celebrating with me. The main meal passed by and out came my cake, I don’t remember the cake but I remember blowing out the candles shortly after my mum requested me to make a wish. Once all the candles were out and the applause had stopped, one of my mother’s friends asked me what I wished for. The room still silent, I raised my voice slightly higher than normal and said something along the lines of “I wish for my mum and dad to get back together”. Both my mother and father were stood with their new partners with my parents on the opposite ends of the table. A cloud of awkwardness shaded the room yet I was gleaming, it had felt liberating to release how I was feeling for so long. Of course they never got back together and the meal ended rather swiftly after that.

Fundamentally, I captured my dad wearing the exact same clothes he wore the day he left our perfect family trio. He is now in a comfortable and settled home with a new partner which contrasts with what happened the last time I saw him wearing that clothing combination.

Although the clothes are the same, my dad has changed in numerous ways, for example the beard, however, his life has changed to a more settled one but I don’t primarily live with my father.

Photo-Assignment

Environmental Portraits

September 10, 2017 Harrison Cummins 1 Comment

Staying true to my plan, I photographed my step-dad; a Chartered Accountant who works and almost lives in his office. The company he owns himself and tries to keep exterior costs to a minimum, meaning he tries to do the majority of work that a company needs himself. This image displaying him at a desk really coincides with the environmental portrait theme as the model is in his own domain.

I tried to stay loyal to the style of environmental portraits as I instructed the model to maintain a sombre and melancholy facial expression to create this sense of ambiguity. I thought by getting a close-up shot, I was able to depict the stress upon his face; especially his eyes as they glare at the viewer, revealing their own story of what they think its like to be in their environment. The main light source is artificial and rather white, which helps portray the model’s face as pale, connoting a worried and confused impression. The secondary light source is that of the computer as it reflects against the model’s face, drawing our attention to his face like the computer draws the model’s attention, reinforcing how much work ties down the model. Furthermore, the model holds the mouse in his right hand, demonstrating he is in fact at work and does work.

As it was an environmental portrait, I thought it would be important to capture his accountancy qualifications in the background with the model in the foreground. Despite his extremely prestigious qualifications, he still depicts a sombre and unhappy mood, proving that there’s more to life than just work. Due to the positioning of the lighting and the way I positioned his chair, there is a shadow created in the background, almost hanging over him, acting as a burden much like work is. Furthermore, there is a small quantity of shadow on his face, portraying how work has a heavy impact upon adult life and that your occupation can slowly take over who you are.

A hidden feature within the photograph is the clock in the background, which rather obviously, tells the time. It shows 4:51 PM, nine minutes until he gets to leave; a time that most people who work in a banking occupation leave their job. This time adds story to the image as my step-dad would’ve been at work from nine AM and demonstrates the long hours he puts in, adding further strain to his facial expression. I thought that by including the clock which depicts the time ‘9 to 5’, reflected the time period that my step-dad works. However, due to the neutral look, we cannot tell whether he is excited to leave or not, relating back to this sense of ambiguity.

Analysis, Experimentation, Inspirations, Planner & Tracking

Environmental Portraiture

September 9, 2017 Harrison Cummins 1 Comment

Jonathon Bielaski is a Canadian environmental photographer specialist based in Toronto. Although environmental portraits are restricted to often just the place of work for the model in question, Bielaski visits more diverse and a variety of work places. Bielaski’s photographic range gives his collection of work an edge on other environmental portraiture photographers which is also enhanced by the body language of the model. Throughout his work, the model avoids eye contact, creating this sense of ambiguity and the viewer of the image immediately questions the image – does the person enjoy their job? Are they happy?

Image result for jonathan bielaski

Presumably, the man in the image is the butcher, the man who butchered the seven pigs in the image. Although pork is a very popular meat, especially in the UK, to see meat in this formation is quite disturbing and grotesque, perhaps coinciding with the closed body language of the man in the image. The crossed arms, ambiguous side profile, aged skin and grey hair allude to an experienced butcher whose guilt of killing animals has caught up with him as he is surrounded by the corpses of pig bodies. Bielaski would have crafted the image in this way to show the struggles a butcher would face and perhaps the guilt the job accompanies. Alternatively, it may be other factors that are causing this man to be stuck in deep thought during his work hours and this may affect his performance. Perhaps his job is an escape from the strain of everyday life but due to the posture the model holds, the images emotion is ambiguous and open to interpretation, which is the key method to an environmental portrait.

Image result for jonathan bielaski

Following the knowledge I attained from meticulously analyzing Jonathon Bielaski’s environmental portraiture work, I researched and reminded myself of how to take a successful environmental portrait of a family member, to stay inclined with the task and the main topic of family. I used the following links to help me conjure a plan of action…

https://petapixel.com/2016/04/07/8-tips-making-better-environmental-portraits-natural-light/

How to Create Environmental Portraits (Tips and Examples)

5 Tips for Better Environmental Portraits

Larry Sultan was an American photographer who framed his wealthy and prestigious family in the style of environmental portraits. Like many environmental portraits, the blank facial expression depicts a story open to interpretation, giving different dimensions to his photography as it becomes real although it is so clearly staged.

Image result for larry sultan

Initially, I plan to photograph my step-dad, a Chartered Accountant who jointly runs his office with brother. I’m going to tell him to model in the photograph as if he’s writing, on the computer, an image looking away from me and an image looking directly at me. I’m hoping by attaining a variety of images of the model, I am able to select a definitive picture that can portray the stress I see him experience. The working strain usually implements onto our family as it is clear when he is stressed.

Secondly, I want to photograph my little sister either in her bedroom or the garden on the trampoline. For this photoshoot, I’d have to find a perfect angle to get my sister and the objects I hope to capture with it. At the tender age of five, my sisters main aim is to have fun so if I’m going to capture images of her on fun apparatus, I’ll have to instruct her to keep a straight face, which may be a challenge.

Finally, for the environmental portrait study I will encapture images of my friends drinking and playing pool, which seems to be the culture since we’re turning eighteen this year. Personally, I consider my friendship an extension to my actual biological family, which allows me to incorporate them into my work.

Experimentation, Inspirations

Summer Landscapes

September 8, 2017 Harrison Cummins Leave a comment

Over the course of the summer, I took multiple photographs in a multitude of settings and places. I thoroughly enjoyed this freelance approach, photographing what I liked, espeically as each photograph withholds a personal and sentimental meaning.

Reinforcing this sense of inspiration and linking to the topic of environment, I thought I would post this collection of images in order to demonstrate and give a visual representation of the environments I get inspired by.

Inspirations

Inspiration/ Ilham

September 6, 2017 Harrison Cummins 2 Comments

On the dreaded return to school, I was assigned the task of describing what inspired me over the long summer break which served more of a problem than I initially thought. In retrospect, I struggled to conjure up an exact moment in which I felt inspiration as the melancholy Jersey weather really prevented me from wanting to go out or participate in activities as much as I would have liked to, restricting me to exploring the depths of my house and my friend’s houses. However, looking back I can conclude that my primary source of inspiration was attained away from home and actually in the Asian sector of Turkey as my family booked a last minute and spontaneous holiday for the middle of August

Leading up to the family excursion, the weather in Jersey remained very miserable and wet, barely reaching 13 degrees despite being the “sunniest place in the British Isles”, yet the weather reports from Turkey were portraying air temperatures exceeding 35 degrees which provided us and the people I’m closest to, with excitement for what lied ahead.

The process of packing my bag was a very fast yet efficient one as not only was I scrupulous with packing my clothing and delicate belongings but I was packed as soon as I got word of the holiday booking. This attitude was reciprocated throughout my whole family, including my five year old sister who was sure she packed all of favorite toys as she didn’t want to make them miss out either. Our family hadn’t been on holiday together for three or four years as my parents became wrapped up in the mundane Jersey life where work is priority, making it easy to forget what is important.

When travelling through the airports, particularly when boarding and exiting the planes, there was a real sense of ambition and opportunity in the air, as if there was a new start and the stresses that real life provides are irrelevant, although we knew they’d all be returning in a matter of days.

I thoroughly enjoyed the trip on the whole. Exploring and embracing different cultures, different people and different settings really helps put things in perspective for when you’re back home, as if your priorities all become aligned and by embracing the Turkish tranquility whether it be the weather, massages or scenic views really helps you realize what is worth stressing over and what isn’t. Fundamentally, getting away with my family really provided me inspiration and motivation for working hard in school because being successful with qualifications is the only sufficient way I can achieve my life ambitions of seeing as much as possible before I die.

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