LINK TO PHOTOBOOK – ‘A STATE OF CONTENTMENT’

Below is the final layout of my book which i have produced as a part of my personal investigation. Included in my photo book is the essay for my personal study. I have decided to produce a standard portrait book as most of the images in my series are portraits so thy fill the page. I didn’t go for the bigger portrait book as i felt the images would have been too big and the audience wouldn’t of been able to take in the images as well. i had left the front cover till i had finished the rest of the layout to the book because i wasn’t sure what story i wanted to present on the outside of the book. I knew that i didn’t want the front cover to be revealing but i also wanted to to tell a broad story of what my photo book was about. i decided to go with the image below covering both the back and the front as it was taken in the morning whilst travelling to the building site and local community. the hue and inability to see faces in this images leaves a sense of mystery which i liked as its leaving the audience to imagine what the book is going to be about although through connotations of the road, it is as if the reader is about to be taken on a journey. The image wraps round both the front and back cover because it shows that the journey ended the same way it began. the front cover shows going into the community and then throughout the book it looks closer into individuals and then towards the end it begins to show moving away from the community as i am finishing the aid project and then the back cover being the road again symbolic of  how i left the situation, and that i was only an outsider in their community.

I decided the title of my book ‘ A State of Contentment’ when i was actually in Burkina Faso completely submerged in the situation that i was in. The idea came to me when we were on the building site discussing the local community and thinking of all the things we are grateful for that we were getting to go home to. It was evident to us that we would only be in Africa living a minimalist life for a few weeks whereas the reality for the local community was that they would be experiencing this hardship for the most of their lives. Although this seems like a harsh thought we had all noticed that even though the community had so little they were utterly content with what they had and i said during this discussion that it seemed as though they were in a state of contentment, because the community truly were in a state of peaceful happiness. I put the title and my name on the cover so that the writing did not take away from the cover image.

I then decided to put on the first page the title as it would be the first thing you see when opening the book. This then allows the audience to consider further what the book was going to contain. it also leads you into the book. The initial image that you come to in my photo book is a full bleed double page spread as it has the impact of drawing you into the book and the environment. The photograph shows the children helping on the building site which gives initial information to what the narrative is. Together with the girl standing in the image then links into the next image as the photo book then focuses on individuals. All of the images where kept in colour because i believe this created a more realistic representation of the situation whereas when the images were turned to black and white it over dramatized the images creating unrealistic representations which made it look like an unhappy situation.

 Following the initial images which set the scene of why i was there and what was going on, i then moved into individual narratives for a few images before finding an image which then linked to the next scene. My book is constructed in a way as if it tells all the different aspects of the community. For example he pages above and below show education and occupation as well as the sequence of the colours flows. These small selections of images show the diversity of lifestyles that these children have, for example, some of the portraits show children who are lucky enough to have the access the education but then the complete opposite is shown where a young boy is carrying is little brother as he doesn’t have the opportunity to go to school because he has the full time job of caring for his little brother.

As the book continues the double spread image of the cows is symbolic of moving onto another area. the next image still continuing to focus on portraits of individuals now focuses on a women outside of town and how she has her own business of selling cloth in the local market to gather money. The next  following image shows another family also who have their own business but this time selling grain around the local village.

The idea of linking the portraits with an ‘object image’ was that it told more in detail about that certain individual in terms of their job or general life, normally what i managed to find out about that individual through asking general questions either in french if they were adults or more educated or the native language of the village.

I was aware that my book was following the same sequence and including a lot of the same style of images, i therefore decided to take a slightly different approach on this specific image. As throughout the book i focus on specif individuals and provide a bit of insight into their lives i decided to go slightly deeper and focus on one individual which Andrew ‘the trip leader’ has had a connection with him for the last 6 years and has visited him on most of the annual trips to Burkina Faso. He allowed us too look around his home, told us about his job situation and family and then showed us some of his own persona;l archives. As Archival imagery has been a theme throughout our coursework project i decided it would be beneficial to add into the book giving even more background on life in Burkina Faso.

To close my book i considered how a day ended whilst we were over there. The last few images in my photo book show the closing activities for the community. Collecting water was allowed at allocated times when the water supply was turned on to allow for fair distribution of water, this was a job which mostly women did and would occur at around 5. The following image shows the market women after a day of work. The bike then shows the sun beginning to set as the light becomes more orange and a lot more shadows are evident in the image. Finally the closing image, the sunset over the building site. This is symbolic of the closing of a day and also the book and the journey that i embarked on. i think that this brings the photo book to a gentle close.

Also included in my photo book is my personal study. I decided to include my essay into the book at it links to the images i took. The focus of my essay was subjectivity and how it can effect the authenticity of representations of third world countries. Throughout the essay i consider different arguments and end with analyzing some of my works in the photo book and whether my images are raw representations or if i have allowed subjectivity to effect the authenticity of the local African community.

Overall, i have produced photo book which conveys community in a third world country in an authentic manner. The book is what i wanted to produce and reflects the project and the experience that i was able to be involved in, highlighting how each individual is what makes a community. The images which i made which are included in my photo book are ones which i am proud of and think were constructed thoughtfully showing my technical skill as a photographer as well as my ability to put together a photo book which conveys a narrative. I have thoroughly enjoyed this project, both capturing images which i have never had the opportunity to before as well as creating a photo book which was also very new to me at the beginning of the project

To begin my photo book design i looked at all my selected images which i had previously edited from the 4 shoots that i did whilst in Africa. I began by going through these images and selected my strongest images and giving them a green filter and other images which i thought may work in my photo book an orange filter. out of the 40-50 images which i selected i placed them into a separate file and named it Photo book. From here i started to look at the images i had selected and the type of sequence that i wanted to aim for in my photo book. I wanted a selection of wide angle shots which set the scene to be incorporated into my mainly portrait focused photo book showing the individuals from the community.

My plan for my photo book is to start with the cover being a very wide angle shot of a scene going on or use some of the drone footage we captured from above the site area which shows almost the ‘big picture’ of the 10 year project and also the community which i was focusing on capturing images of. Therefore i wanted my first photo page to be a powerful image which sums up the nature of the community and also link in the project that we were over their doing. Its like a zoom in of the above image getting closer into the message of the images. so its gone from the front cover of a a really wide angle shot to zooming in to some of the individuals of the community and as i move through the photo book i will focus on specific individuals. I put this image as a full bleed so that it cover the entire double spread of the page as its my opening photo and draws you into the environment. Also as it is a busy image i think that it needs to be full bleed so that the audience can see all the different components and individuals in the image. I also chose this image as the protagonist (girl standing in the front of the image)  has a really strong facial expression which almost focuses you in on the seriousness of their situation and her stance, which is very grown up, relates to how these young children have to mature very early on.

next i focused on individuals, i included images where the camera angle is straight on avoiding the commercial looking down on the subject of a third world country. This is as i wanted to portray the individuals as equal to me and one another. The white border around they subject creates a frame which focuses the audience in to that individual looking at their clothes, facial expression and the surrounding background. the image is fitted into the frame so that the subject is filling nearly the entire picture showing that it is a portrait. Then on the right of the picture i have included a generic shot of something which relates to that individual and gives them a story to who they are. In the portrait from these to images the young boy is holding a pole from the broken down truck shown in the right image. When i came across the little boy whilst walking around the village he was playing around the truck drawing in the ground with the metal pole. This connotes that these children make use of the materials that they have and even though they don’t have much they are content with making the most of their surroundings.

I have gone with the same theme for these two images again for the same purpose, the framed portrait to focus you firstly on the individual which has been taken as an environmental portrait as the background is very important telling the majority of the story. and then the sacks of rice on the right as this again tells us about the individuals job but also gives an insight into the diet that the community consume. So although the images aren’t directly emphasizing the issues of the community and the hardship by over dramatizing the situation and aesthetizing the images they show connotations of the hardships but show how the individuals are dealing with it and making the most of what they have. i decided to have the right image as a full page image because they aren’t as focused as the portrait they are they to add to the portraits and therefore i works that they are bigger. Between the two images i have also tried to link them into terms of colour so as the first previous image contained the colours green in both images being the initial visual link if you don’t know the immediate reason for them being paired together, the above image contains both orange from the drinks and he rice sacks.

This image slightly breaks the pattern throughout the book where all the portraits are full body shots, but i think this stops my photobook from becoming to much the same. The young boy on the left, Amaday, i could to know really well during my time in Africa. He came to the building site almost every day helped with building and was a huge character. Due to the i feel like the closer up image symbolises that relationships which were formed with the community. This also shows the transition from being an outsider to a photographer on the inside. therefore i think this close up portrait works in my photo book. I linked it with the full bleed image on the right page because it is the same boy with his friend Abadu. The images together symbolise the importance of friendships in all communities but even more so in third world countries. The wider angle shot with the close up portrait works with the theme i was suggesting with the first page of the book where i wanted to zoom into the lives of individuals linking them with images showing more about them.

After doing the same sequence a couple of times i realised i needed to mix it up more and space my images out so that the photo book was so cluttered with images on every page. Therefore i started to find images like the above which which work as a three quarter page spread. I think that this design for this particular image works really well as the subject, the boy on the bike, fits in the left page of the book and the its almost as the story flows onto the next page with the environment moving onto the right side of the page. Due to the  realisation that i needed to space my images out more i decided to add in some double pages where only one image  is on the right page. This always for spacing in the book and making sure that it doesn’t become to cluttered. For example below are some examples of images which i thought were powerful enough to work on their own.

The above images are quite busy portraits so they therefore work on their own as individual images. I’ve have placed images like this throughout my photobook so that they spread out the images leaving space so that the audience can focus on each image as the book inst becoming to busy. Below is a screenshot of the sequence of the pages of my photobook so far.

Also placed into my photobook is a variety of full bleed two page spead landscape images, which are placed throughout the book to link the portraits back to the setting and the community that they live in. I also found the use of these types of images useful when i was stuck with sequencing some images together, if i used a landscape image it immediately linked one portrait with another because it was using the link of that they was from the same community. I have not decided the final layout of my photo book as i am still working on it adding in a few extra images to complete the selection. I am also going to look further into the front cover as i don’t have a definite image for it yet as well as a closing image because i want to end the photo book with a strong image like the one i started it with.

Here is one of my favourite, most successful images from my personal investigation. I took this image whilst i was in Burkina Faso, Africa. The image is of a young boy standing with his younger brother. They are presented in the centre of the image  with the local area behind them. The protagonist of the image is the older boy, he stands in the centre of the frame breaking the rule of thirds, but this is for a powerful purpose. He is meant to be the direct subject of the image showing his strong character even in the harsh society. The framing around the image is equal and proportional to the size of the portrait. I think that this is a contemporary style of portrait is i have use a slightly wider angle and stood further away from the scene so that i am looking upon the scene and not becoming to involved. The equal border gives the image a sense of symmetry and therefore becomes unintentionally aesthetically pleasing. Furthermore depth is created in this image through the individuals being in the foreground of the image and the becoming the initial aspect which the audience  is drawn to but then in the background is the environment this community is living in and begins to create a depth story of what the conditions that the locals live in are but how they cope with it. Moreover i think that colour is very important in this image, the colours are not bright and bold making it a happy seen but vibrant in terms of the tones that are used and the contrast between the pure white tones and the pure black tones, this has the impact that the image is true to the view that i saw and has captured the natually rich colour of the environment. The direction of light in this image is coming from high in the sky but is moving more to the right of the subject which we can tell through the highlighted aspects of the older boys face and the shadow on the toddlers face as he is behind the protagonist.

This photographs is not just a vernacular image which i took whilst i was there. I built up a relationship with the young boy as he came to the building site nearly everyday that we were in africa. He would help to build, lift bricks, and became a friendly face that we saw each day. However the harsher reality of his lifestyle is shown through this image where he is holding his crying younger brother. The meaning behind the image is not hidden and a task for the audience to discover but is presented on the face of the image which is the harsh realities of young peoples lives who are living in poverty stricken societies. Here the younger generations are left to grow up whilst their parents are out at work, meaning that like Abadu in this image, he is left to look after his younger brother. He does not go to school and has had to mature quicker than any child in a first world country would have to. Further connotations of how he has had t mature early is the way he is standing. His posture is strong, with his shoulder back showing confidence. Furthermore his emotionless facial expression emphasises that he is no longer a child playing this is a serious society. The colour pallet of the image are mainly beige with both the clothes and the landscape connoting the simplistic society they live in. This is furthermore emphasised through the uncluttered environment shown in this environmental portrait, they do not have towering buildings are technology, they are living in a minimalist community.

My Judgment of my own image is that it is taking with technical skill. The image is clear and well focused and i have consider the ISO settings as well as aperture so that the individuals are in clear focus and the background is slightly out  of focus creating a frame and border around the subjects of the image making sure that attention is not drawn away from the real meaning of my images. I like the way the i have remained eye level with the subjects so that i am not either looking up or down on the individuals, i like that this gives the image a sense that we are all equal and that i am not being invasive into their community but that i am considering myself as equal to them. The image ahs been edited in a minimal way just to enhance the contrast slightly and bring the most of of the image. Through the use of light room i also lowered the exposure of the sky as in the original image it was over exposed due to the amount of harsh and direct light. But selecting just the sky and using the levels tool to reduce the amount of pure white in the image, i have lost some of the authenticity of the image and this is one of the only critiques i majorly have against my image

My images throughout the personal investigation project link closely to my recent contextual studies of how images should be authentic and objective rather than subjective images which lack authenticity of the real life situation the photographer was experiencing. When taking my image i was keeping in mind how i wanted to stay as impartial to the situation as possible, capturing authentic images of the reality of this community. However as a vernacular photographer as well as an outsider it was hard to gain a compleatly objective view of the situation. It is notable that the subjects are looking into the camera and therefore they new that a photograph was being taken of them however i did not position them to stand the way they are or place them in the location they are. Therefore the portrait is realistic to the situation that i was actually seeing and not altering the situation with a subjective minds eye. Furthermore i have kept the image is colour therefore not trying to beautify the image into a work of art that is so overly aesthetically pleasing that it takes away the true meaning of the harshness of their society. Through looking at the works of Sebatiao Salgado, i didn’t want to change the image to black and white as this had the effect on his images which overly dramatised the situation and became unrealistic representations of the reality of third world countries. Therefore i was sticking the the rules of straight photography and realism in the way that i was avoiding artistic conventions which altered reality as well as trying to represent the subject as truthfully as possible in the way in which the events where occuring

• After compleating the firs draft of my essay i re-read it and considered how i could expand my arguement of subjectivity and my knowledge on the areas which this topic includes. I read works on aesthetics and the politics of photography and constructed this into my essay using useful and helpful quotes to back up my understanding of the concepts, then used these to discuss whether the aesthetics of Salgados work affects their authenticity.

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.’[1]

The authenticity of an image can be impacted by many aspects, one being subjectiveness. Subjectivity is the allowance of the photographer to be influenced by their own personal opinion and view. 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. The representation of these areas of the world has been open to criticism and often critics have highlighted the lack of authenticity portrayed and questioned the rawness of the image. Steve McCurry has gained increasing amounts of criticism over the past decade with photographic critic, Teju Cole, says that ‘The pictures where staged or made to look as if they were’[2] creating ‘a too perfect picture’. Through the exploration of straight photography I will consider whether ever since the beginning of this theory photographers have ever really been wholly objective due to their minds eye always meaning images have some personal influence, even if it is just the angle the camera is positioned at which could exaggerate a story. Furthermore with the consideration of my critical analysis of the key photographer capturing global issues of the century, Sebastiao Salgado I will investigate the impacts of the inside/outside on a photographer’s ability to be objective through the use of Abigial Solamon-Godeaus essay. Taking all of these factors into consideration I will decide whether photographs can ever represent third world countries with a sense of complete rawness of reality because everyone is unconsciously has a desire to document their view.

The idea of representing the visual world and more specifically the third world in an accurate way first emerged in the early 20^th century when photographers such as Paul Strandt and Alfred Stieglitz pioneered Straight Photography. This theory aimed at creating photographs which acted as realistic, descriptive records, as photographs were not to be manipulated but sharply depict the scene or subject as the camera sees it. Straight photography similar to pure photography describes the cameras ability to realistically reproduce an image of authenticity. With these aspects as the basic concept of straight photography we would imagine that all photographers following these principles would create representations of the third world in photographs which are nearly perfect records of reality. However this is not the case. The Objectivity of a photograph was as important as its realism when photographs were being used to represent social, economic and political issues. However photographs began to introduce subjectivity were photography was freer and the images that were being taken were visual representations of a person’s feelings tastes and opinions, showing deeper personal emotion towards a subject. It became known that one photograph could be interpreted differently by different people. Now photographs are being used as persuasion, where mass media is publishing images of different levels of objectivity. Photography which is subjective is being used as propaganda material to persuade people to have a certain belief which the photographer wants. Therefore subjectivity must be effecting the levels of objectivity in photographs representing third world countries. I believe that no matter how objective the aims of a photographer may be they are always going to have a personal opinion of the angle they shoot at the amount the image is cropped and I think this this choice of unconscious manipulation from the photographer is always going to lower the extent to which an image is authentic.

Sebastiao Salgado, a world- renowned photographer, has been captivated by capturing images of environmental and social issues for the past few decades and in his third long term photo series ‘ Genesis’ he focuses on global issues through capturing images of wildlife, landscapes and human communities. The natural areas that he captures show the communities which continue to live in accordance with their ancestral traditions and cultures.  Genesis is a body of work which is regarded as a potential path to humanity’s rediscovery of nature in its true form. Salgados spectacular series of black and white images have the aim of raising public awareness about pressing environmental issues but has he as a photographer allowed subjectivity to affect the authenticity of his images?

Refugees at Korem Camp, Ethiopia, Genesis, 1984 – Sebastiao Salgado

Salgados image from Ethiopia where he captures refugees at the korem camp allows us to interpret and analyse how he captures his image and whether is it noticeable that his images are raw or he has allowed subjectivity to alter the truth behind the scene. The images shows 4 protagonists who tell the story of the image, they are located in the foreground middle and background of the image. Through the creation of layers in the image the depth of field is more appealing creating a more aesthetic image. The extensive depth of field brings all aspects of the image into focus making the audience feel like they are in the situation. This impact is also caused on the audience by the level that Salgado has shot at. By being level with the main protagonist of the image he is creating the feeling that he was a part of the scene. Salgado also skilfully fills the whole frame by having the subjects feel the majority of the picture. This could emphasise that there has been an element of planning gone into taking this photograph as it has been thoughtfully captured. This may suggest that Salgado is a subjective photographer as he has let his own opinion and mind’s eye have influence of the angles which may emphasise the meaning of the image. The arrangement of the image is also clever on Salgados part as the emptiness that surrounds the subject has the direct impact that leads us to believe that these people are lonely and receive little help. The lighting in the image is created by an over cast of clouds which creates a sober tone to the image which seems fitting with its tragic story and exaggerates its argument. Salgado use of the Kodak TRI – X film camera allows him to produce sharp images which reflect the reality of the situation he is in and as well as capture lighting which is characteristically spectacular, with plenty of backlighting and operatic contrasts.. His images are then “carefully worked on in a ‘laboratory’ or in dark rooms” [3]to create images which have vast tonal ranges and high amounts of contrast between pure white and pure black. This technique creates beautiful yet dramatized images which has led to critics such as Michael Kimmelman stating that Salgados “photographs are so stupendously gorgeous that they make you forget everything else while you are looking at them.”[4] Here we see another example of how Salgado may be subjective, as his want to create beauty in the images has drawn him away from emphasising the real subject pf global issues. Therefore subjectivity in Salgados work has affected his ability to represent third world countries authentically.

The meaning of Sebastiao Salgados most recent series of images ‘Genesis’ was to create awareness of Global issues. His image from Ethiopia is an example of global issues in Africa, one of the many countries he travelled too during his project. The image tells the story of possibly a family experiencing the very real issue of famine, poverty and disease. The image tells this story through the use of the subjects. Firstly the clothing that they are wearing are tattered pieces of cloth wrapped around them, this immediately connotes poverty and the lack of resources in this area of the world. Secondly it is noticeable that the main protagonist, the young boy, in the front of the images significance is that he shows that young children are experiences these hardships. The relevance of the child being in the Foreground of the image is that poverty stricken children have a bigger impact on the audience, therefore the image is harder hitting and may encourage more people to contribute to helping with these global issues. However we are unable to justify this as a truly realistic situation because the arrangement of the refugees may have been naturally occurring but Salgado could have also placed the young boy at the front to create this propaganda material which may lead to the image being more shocking to the audience creating more attention for his work and global issues.  

Salgado’s photography is artistically beautiful. The underlying tone of romanticism which is portrayed in his images shows his inability to be entirely object which subsequently effects the authenticity of his images as he is manipulating them to show situations which are more beautiful than what he experienced in reality. Therefore his representations of Third world countries are not entirely honest to reality. In The Telegraphs article ‘Sebastião Salgado: A God’s eye view of the planet – interview’, Sarfraz Manzoor talks to Salgado about his experiences of looking at life from behind the lens. During the interview Salgado admits that he thinks “Photography is not objective,” he continues to tell Manzoor “It is deeply subjective – my photography is consistent ideologically and ethically with the person I am.”[5] Salgado admits that photography is subjective including his own however he states that he is being subject in the way that he is making artwork which are raw realities of the third world. This suggests that as his photographs aim to be didactic and revelatory his images even though subject are authentic representations of the global issues that he captures.

Salgados beautification of global issues may present that he has been influenced less so by straight photography moment and more by the emergence of post modernity into photography. The elements of this movement are the rejection of the aesthetics upon the predecessor. It is hard to label Salgado as a post-modernist as I do not think that he consciously creates narratives in his images, but more is affected by the artistic means of creating aesthetically pleasing images. With the harsh tonal range and the almost perfect composition Salgado creates images similar to that of Ansel Adams. Adams however used aesthetics to create artworks of landscapes, the impact of this beautification of documentary photography has a bigger impact on the whole message behind the images. Has the aestheticization of Salgados images weakened their authenticity? It is evident that Salgado is subject in the form that he wants images with the beauty of paintings; this has the effect of taking away the powerfulness of the true subject of the image. As a photojournalist the implications of Salgado’s aestheticization of suffering Is that it deflects the impact of the images. The viewer is now being distanced from the authentic encounter which salgado has experienced. In ‘The aestheticization of life by photography’, Mariola Sulkowska states that ‘the modus of the contemporary world has become aesthetics’[6]. For photographers documenting matters of the third world these images should possess rawness and be true to the reality however this is becoming less of the subject of photographers.  David Levi Strauss tackles the relation between aesthetics and politics and the effects of this on the authenticity of photographs whilst analysing critic’s comments on Salgados photography. Ingrid Sischy has a negative view on Salgados representations that the aesthetics in his images have become more important than the politics and reality as she states ‘Salgado is too busy with the compositional aspects of his pictures.’[7] Furthermore she emphasises her opinion with that facts that Salgado is obsessed with finding the beauty in the ‘Twisted forms of his anguished subjects.’ [8]Sischy implies that his subjective nature to want visually aesthetic images is destroying the reality of the situation which he experienced and should have been capturing. However Strauss also explores Eduardo Galeano’s contrdictary view of salgados work. Galeano states that ‘Salgado photographs from inside solidarity.’ [9]The two views are so contradictoary it is thinkable that they may be looking at images. Galeana’s impression of salgados work suggests that he thinks his representations of third world countries are not subjective but more so a picture of reality as he is being one from the inside of these cultures and therefore his images are authentic.

Key research, which expanded my knowledge on how subjectivity can affect authenticity, included the works of Abigail Solomon-Godeau, an American art historian. Solomon-Godeau explores in depth the effects of the inside/outside approach. Her essay ‘Inside/out’ thoroughly considers how being an insider vs being an outsider may have different impacts on the representation of images. This can be linked to subjectivity and how it can affect the authenticity of images representing third world countries. Solomon-Godeau says that insiders produce more realistic images as they are experienced in that area. She states “The insider position – in particular context, the “good” position – is thus understood to imply a position of engagement, participation, and privileged knowledge, whereas the second, the outsider’s position, is taken to produce an alienated and voyeuristic relationship which heightens the distance between subject and object.” [10]Here she suggests that as the insider, a photographer who lives in a third world country taking images of the area they live in, has experience and a relationship built with the location and community they are able to represent it in a more realistic way. This implies further that outsiders are then more subjective because they don’t know the traditions of the area and what is reality for these third world countries. They are outsiders going into areas of global issue creating an opinion of what they interpret the situation as being. An outsider photographing the exotic other is more likely to exploit them and represent the situation falsefully. Therefore how can an individual in the “position of total exteriority” [11] represent a third world country objectively? This may in fact be impossible. Is Solamon-Godeau’s final paragraph states a strong opinion that insider/outsider which holds cultural bias is always going to show the truth behind the image. She states that “a truth always veiled that reflects the philosophical divide between seeing and being.”[12] I understand this closing statement to mean that not matter whether the photographer is an insider or an outsider a photograph is never going to be able to be completely objective in representing third world countries because ever photographer is seeing through the camera and trying to capture a moment which can ever really only be realistic if they are being in the situation. Ashley la Grange, critically analyses Solamon-Godeaus photo essay and concludes that “Solamon Godeau presents a logical argument”[13], view areas of the inside/outside approach are considered and studied deeply for how it results in all photographers having different representations.

Abigail Solamon-Godeau’s arguments can be used to critic Sebastiao Salgados work of representing third world countries. Salgado is an outsider and a figure of exteriority in the areas of global issue which he focuses on in Genesis. Therefore after consideration of Solamon-godeaus arguments we portray his images to be subjective because he is looking at a situation which is not natural to him. However Salgados longitudinal project may have transformed him from being an outsider creating subjective images and being influenced by his opinion and want to represent these countries in a way which showed there global issues maybe in an exaggerated way. But by the end of his projects he had spent a significant amount of time in these locations and started to be an insider understanding the cultures of these areas, this may have influenced Salgado to be more objective as a photographer and follow closer to the principles of straight photography capturing what the camera immediately sees rather than what his mind’s eye is seeing. Through my own experience of photographing third world countries I found my photographs were particularly subjective. I found that my images contained a sense of structure and falseness to reality as I had positioned myself to create angles which would tell a specific story and adapted where the subject may have been standing to create almost a commercialised image. Nonetheless I had gone to Burkina Faso, Africa with knowledge of the issues of representation and the problems with that are subjective could have altered the authenticity of my images for representing the poverty and hardship that the community was enduring. Due to this I made sure that although choosing the specific angles and moments which would create the images I wanted, showing my own subjectivity towards photography, I also considered that as an outsider I didn’t want to falsely represent the reality that I was seeing and tried at all times to make sure that the rawness of the situation was never altered. Therefore from my own works I can answer my question that my own desire for the type of images I wanted to create affected the authenticity of my images. However it is possible to still capture images of truth to the situation even when being subjective as long as you do not let your subjectivity over rule the cameras natural ability to capture a situation as we see it.

Subjectivity can affect the authenticity of photographs representing third world countries in two main ways; firstly the photographers allowance of their minds eye to control what they’re capturing. Secondly the influence of the photographer being an insider or an outsider. La Grange sums these findings up in her closing statements when analysing Abigail Solamon- Godeaus, ‘inside/out’ when she states, “In all the examples given there is always a photographer, someone who selects the angle of the view, the subject, the medium…” [14]Here she emphasises on the point that there is always going to be an opinion behind the camera, an individual which is going to interpret their situation due to their beliefs, experience and upbringing. These are the factors in which subjectivity can affect the authenticity of representations of third world countries. I agree with critic Solamon-Godeau that an outsider is always going to be more subjective than the insider. The outsider’s ability to document observations of reality is flawed as they don’t have the experience to truly understand the third world. It is further evident that there is a rigid dichotomy between how the insider and outsider represent third world countries and this may be due to either being unconsciously subjective. Moreover the authenticity of images representing third world countries is weakened by the aestheticization of the subject; the process of creating an aesthetic image is not objective but subjective. Every photograph must be a negotiation with the complex act of communication, for example if you want the message to be powerful you need eye catching images however they must not be to aesthetically composed otherwise this takes away  from the message and impact of the subject. As Susan Sontag states, ‘Beautiful photographs drain attention from the sobering subject and turns it towards the medium itself, thereby compromising the pictures status as a document.”

[1] Photo essay – Mary ellen mark

[2] Teju cole

[3] Paruati Nair – A different light – page 11

[4] Can suffering be to beautiful – Michael Kimmelman

[5] The Telegraph – Sarfraz Manzoor

[6] ‘The aestheticization of life by photography’, Mariola Sulkowska

[7] Ingrid sischy

[8] Ingrid sischy

[9] Eduardo Galeano

[10] Abigial solamon godeau – inside/out – page 49

[11] Abigial solamon godeau – inside/out – page 51

[12] Abigial solamon godeau – inside/out – page 61

[13] Ashley la Grange – basic critical theory for photographers – chapter 6 – page 130

[14] Ashley La Grange – basic critical theory for photographers p130

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

‘Documentary photography constructs representations of reality accordingto someone’s view, their desire to see.’[1]

The authenticity of an image can be impacted by many aspects, one being subjectiveness. Subjectivity is the allowance of the photographer to be influenced by their own personal opinion and view. 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. The representation of these areas of the world has been open to criticism and often critics have highlighted the lack of authenticity portrayed and questioned the rawness of the image. Steve McCurry has gained increasing amounts of criticism over the past decade with photographic critic, Teju Cole, says that ‘The pictures where staged or made to look as if they were’[2] creating ‘a too perfect picture’. Through the exploration of straight photography I will consider whether ever since the beginning of this theory photographers have ever really been wholly objective due to their minds eye always meaning images have some personal influence, even if it is just the angle the camera is positioned at which could exaggerate a story. Furthermore with the consideration of my critical analysis of the key photographer capturing global issues of the century, Sebastiao Salgado I will investigate the impacts of the inside/outside on a photographer’s ability to be objective through the use of Abigial Solamon-Godeaus essay. Taking all of these factors into consideration I will decide whether photographs can ever represent third world countries with a sense of complete rawness of reality because everyone is unconsciously has a desire to document their view.

The idea of representing the visual world and more specifically the third world in an accurate way first emerged in the early 20^th century when photographers such as Paul Strandt and Alfred Stieglitz pioneered Straight Photography. This theory aimed at creating photographs which acted as realistic, descriptive records, as photographs were not to be manipulated but sharply depict the scene or subject as the camera sees it. Straight photography similar to pure photography describes the cameras ability to realistically reproduce an image of authenticity. With these aspects as the basic concept of straight photography we would imagine that all photographers following these principles would create representations of the third world in photographs which are nearly perfect records of reality. However this is not the case. The Objectivity of a photograph was as important as its realism when photographs were being used to represent social, economic and political issues. However photographs began to introduce subjectivity were photography was freer and the images that were being taken were visual representations of a person’s feelings tastes and opinions, showing deeper personal emotion towards a subject. It became known that one photograph could be interpreted differently by different people. Now photographs are being used as persuasion, where mass media is publishing images of different levels of objectivity. Photography which is subjective is being used as propaganda material to persuade people to have a certain belief which the photographer wants. Therefore subjectivity must be effecting the levels of objectivity in photographs representing third world countries. I believe that no matter how objective the aims of a photographer may be they are always going to have a personal opinion of the angle they shoot at the amount the image is cropped and I think this this choice of unconscious manipulation from the photographer is always going to lower the extent to which an image is authentic.

Sebastiao Salgado, a world- renowned photographer, has been captivated by capturing images of environmental and social issues for the past few decades and in his third long term photo series ‘ Genesis’ he focuses on global issues through capturing images of wildlife, landscapes and human communities. The natural areas that he captures show the communities which continue to live in accordance with their ancestral traditions and cultures.  Genesis is a body of work which is regarded as a potential path to humanity’s rediscovery of nature in its true form. Salgados spectacular series of black and white images have the aim of raising public awareness about pressing environmental issues but has he as a photographer allowed subjectivity to affect the authenticity of his images?

Refugees at Korem Camp, Ethiopia, Genesis, 1984 – Sebastiao Salgado

Salgados image from Ethiopia where he captures refugees at the korem camp allows us to interpret and analyse how he captures his image and whether is it noticeable that his images are raw or he has allowed subjectivity to alter the truth behind the scene. The images shows 4 protagonists who tell the story of the image, they are located in the foreground middle and background of the image. Through the creation of layers in the image the depth of field is more appealing creating a more aesthetic image. The extensive depth of field brings all aspects of the image into focus making the audience feel like they are in the situation. This impact is also caused on the audience by the level that Salgado has shot at. By being level with the main protagonist of the image he is creating the feeling that he was a part of the scene. Salgado also skilfully fills the whole frame by having the subjects feel the majority of the picture. This could emphasise that there has been an element of planning gone into taking this photograph as it has been thoughtfully captured. This may suggest that Salgado is a subjective photographer as he has let his own opinion and mind’s eye have influence of the angles which may emphasise the meaning of the image. The arrangement of the image is also clever on Salgados part as the emptiness that surrounds the subject has the direct impact that leads us to believe that these people are lonely and receive little help. The lighting in the image is created by an over cast of clouds which creates a sober tone to the image which seems fitting with its tragic story and exaggerates its argument. Salgado use of the Kodak TRI – X film camera allows him to produce sharp images which reflect the reality of the situation he is in and as well as capture lighting which is characteristically spectacular, with plenty of backlighting and operatic contrasts.. His images are then “carefully worked on in a ‘laboratory’ or in dark rooms” [3]to create images which have vast tonal ranges and high amounts of contrast between pure white and pure black. This technique creates beautiful yet dramatized images which has led to critics such as Michael Kimmelman stating that Salgados “photographs are so stupendously gorgeous that they make you forget everything else while you are looking at them.”[4] Here we see another example of how Salgado may be subjective, as his want to create beauty in the images has drawn him away from emphasising the real subject pf global issues. Therefore subjectivity in Salgados work has affected his ability to represent third world countries authentically.

The meaning of Sebastiao Salgados most recent series of images ‘Genesis’ was to create awareness of Global issues. His image from Ethiopia is an example of global issues in Africa, one of the many countries he travelled too during his project. The image tells the story of possibly a family experiencing the very real issue of famine, poverty and disease. The image tells this story through the use of the subjects. Firstly the clothing that they are wearing are tattered pieces of cloth wrapped around them, this immediately connotes poverty and the lack of resources in this area of the world. Secondly it is noticeable that the main protagonist, the young boy, in the front of the images significance is that he shows that young children are experiences these hardships. The relevance of the child being in the Foreground of the image is that poverty stricken children have a bigger impact on the audience, therefore the image is harder hitting and may encourage more people to contribute to helping with these global issues. However we are unable to justify this as a truly realistic situation because the arrangement of the refugees may have been naturally occurring but Salgado could have also placed the young boy at the front to create this propaganda material which may lead to the image being more shocking to the audience creating more attention for his work and global issues.  

Salgado’s photography is artistically beautiful. The underlying tone of romanticism which is portrayed in his images shows his inability to be entirely object which subsequently effects the authenticity of his images as he is manipulating them to show situations which are more beautiful than what he experienced in reality. Therefore his representations of Third world countries are not entirely honest to reality. In The Telegraphs article ‘Sebastião Salgado: A God’s eye view of the planet – interview’, Sarfraz Manzoor talks to Salgado about his experiences of looking at life from behind the lens. During the interview Salgado admits that he thinks “Photography is not objective,” he continues to tell Manzoor “It is deeply subjective – my photography is consistent ideologically and ethically with the person I am.”[5] Salgado admits that photography is subjective including his own however he states that he is being subject in the way that he is making artwork which are raw realities of the third world. This suggests that as his photographs aim to be didactic and revelatory his images even though subject are authentic representations of the global issues that he captures.

Key research which expanded my knowledge on how subjectivity can affect authenticity included the works of Abigail Solomon-Godeau, an American art historian. Solomon-Godeau explores in depth the effects of the inside/outside approach. Her essay ‘Inside/out’ thoroughly considers how being an insider vs being an outsider may have different impacts on the representation of images. This can be linked to subjectivity and how it can affect the authenticity of images representing third world countries. Solomon-Godeau says that insiders produce more realistic images as they are experienced in that area. She states “The insider position – in particular context, the “good” position – is thus understood to imply a position of engagement, participation, and privileged knowledge, whereas the second, the outsider’s position, is taken to produce an alienated and voyeuristic relationship which heightens the distance between subject and object.” [6]Here she suggests that as the insider, a photographer who lives in a third world country taking images of the area they live in, has experience and a relationship built with the location and community they are able to represent it in a more realistic way. This implies further that outsiders are then more subjective because they don’t know the traditions of the area and what is reality for these third world countries. They are outsiders going into areas of global issue creating an opinion of what they interpret the situation as being. An outsider photographing the exotic other is more likely to exploit them and represent the situation falsefully. Therefore how can an individual in the “position of total exteriority” [7] represent a third world country objectively? This may in fact be impossible. Is Solamon-Godeau’s final paragraph states a strong opinion that insider/outsider which holds cultural bias is always going to show the truth behind the image. She states that “a truth always veiled that reflects the philosophical divide between seeing and being.”[8] I understand this closing statement to mean that not matter whether the photographer is an insider or an outsider a photograph is never going to be able to be completely objective in representing third world countries because ever photographer is seeing through the camera and trying to capture a moment which can ever really only be realistic if they are being in the situation. Ashley la Grange, critically analyses Solamon-Godeaus photo essay and concludes that “Solamon Godeau presents a logical argument”[9], view areas of the inside/outside approach are considered and studied deeply for how it results in all photographers having different representations.

Abigail Solamon-Godeau’s arguments can be used to critic Sebastiao Salgados work of representing third world countries. Salgado is an outsider and a figure of exteriority in the areas of global issue which he focuses on in Genesis. Therefore after consideration of Solamon-godeaus arguments we portray his images to be subjective because he is looking at a situation which is not natural to him. However Salgados longitudinal project may have transformed him from being an outsider creating subjective images and being influenced by his opinion and want to represent these countries in a way which showed there global issues maybe in an exaggerated way. But by the end of his projects he had spent a significant amount of time in these locations and started to be an insider understanding the cultures of these areas, this may have influenced Salgado to be more objective as a photographer and follow closer to the principles of straight photography capturing what the camera immediately sees rather than what his mind’s eye is seeing. Through my own experience of photographing third world countries I found my photographs were particularly subjective. I found that my images contained a sense of structure and falseness to reality as I had positioned myself to create angles which would tell a specific story and adapted where the subject may have been standing to create almost a commercialised image. Nonetheless I had gone to Burkina Faso, Africa with knowledge of the issues of representation and the problems with that are subjective could have altered the authenticity of my images for representing the poverty and hardship that the community was enduring. Due to this I made sure that although choosing the specific angles and moments which would create the images I wanted, showing my own subjectivity towards photography, I also considered that as an outsider I didn’t want to falsely represent the reality that I was seeing and tried at all times to make sure that the rawness of the situation was never altered. Therefore from my own works I can answer my question that my own desire for the type of images I wanted to create affected the authenticity of my images. However it is possible to still capture images of truth to the situation even when being subjective as long as you do not let your subjectivity over rule the cameras natural ability to capture a situation as we see it.

Subjectivity can affect the authenticity of photographs representing third world countries in two main ways; firstly the photographers allowance of their minds eye to control what they’re capturing. Secondly the influence of the photographer being an insider or an outsider. La Grange sums these findings up in her closing statements when analysing Abigail Solamon- Godeaus, ‘inside/out’ when she states, “In all the examples given there is always a photographer, someone who selects the angle of the view, the subject, the medium…” [10]Here she emphasises on the point that there is always going to be an opinion behind the camera, an individual which is going to interpret their situation due to their beliefs, experience and upbringing. These are the factors in which subjectivity can affect the authenticity of representations of third world countries. I agree with critic Solamon-Godeau that an outsider is always going to be more subjective than the insider. The outsider’s ability to document observations of reality is flawed as they don’t have the experience to truly understand the third world. It is evident that there is a rigid dichotomy between how the insider and outsider represent third world countries and this may be due to either being unconsciously subjective.

[1] Photo essay – Mary ellen mark

[2] Teju cole

[3] Paruati Nair – A different light – page 11

[4] Can suffering be to beautiful – Michael Kimmelman

[5] The Telegraph – Sarfraz Manzoor

[6] Abigial solamon godeau – inside/out – page 49

[7] Abigial solamon godeau – inside/out – page 51

[8] Abigial solamon godeau – inside/out – page 61

[9] Ashley la Grange – basic critical theory for photographers – chapter 6 – page 130

[10] Ashley La Grange – basic critical theory for photographers p130

Salgados image from Ethiopia where he captures refugees at the korem camp allows us to interpret and analyse how he captures his image and whether is it noticeable that his images are raw or he has allowed subjectivity to alter the truth behind the scene. The images shows 4 protagonists who tell the story of the image, they are located in the foreground middle and background of the image. Through the creation of layers in the image the depth of field is more appealing creating a more aesthetic image. The extensive depth of field brings all aspects of the image into focus making the audience feel like they are in the situation. This impact is also caused on the audience by the level that Salgado has shot at. By being level with the main protagonist of the image he is creating the feeling that he was a part of the scene. Salgado also skilfully fills the whole frame by having the subjects feel the majority of the picture. This could emphasise that there has been an element of planning gone into taking this photograph as it has been thoughtfully captured. This may suggest that Salgado is a subjective photographer as he has let his own opinion and mind’s eye have influence of the angles which may emphasise the meaning of the image. The arrangement of the image is also clever on Salgados part as the emptiness that surrounds the subject has the direct impact that leads us to believe that these people are lonely and receive little help. The lighting in the image is created by an over cast of clouds which creates a sober tone to the image which seems fitting with its tragic story and exaggerates its argument. Salgado use of the Kodak TRI – X film camera allows him to produce sharp images which reflect the reality of the situation he is in and as well as capture lighting which is characteristically spectacular, with plenty of backlighting and operatic contrasts.. His images are then “carefully worked on in a ‘laboratory’ or in dark rooms” [1]to create images which have vast tonal ranges and high amounts of contrast between pure white and pure black. This technique creates beautiful yet dramatized images which has led to critics such as Michael Kimmelman stating that Salgados “photographs are so stupendously gorgeous that they make you forget everything else while you are looking at them.”[2] Here we see another example of how Salgado may be subjective, as his want to create beauty in the images has drawn him away from emphasising the real subject pf global issues. Therefore subjectivity in Salgados work has affected his ability to represent third world countries authentically.

The meaning of Sebastiao Salgados most recent series of images ‘Genesis’ was to create awareness of Global issues. His image from Ethiopia is an example of global issues in Africa, one of the many countries he travelled too during his project. The image tells the story of possibly a family experiencing the very real issue of famine, poverty and disease. The image tells this story through the use of the subjects. Firstly the clothing that they are wearing are tattered pieces of cloth wrapped around them, this immediately connotes poverty and the lack of resources in this area of the world. Secondly it is noticeable that the main protagonist, the young boy, in the front of the images significance is that he shows that young children are experiences these hardships. The relevance of the child being in the Foreground of the image is that poverty stricken children have a bigger impact on the audience, therefore the image is harder hitting and may encourage more people to contribute to helping with these global issues. However we are unable to justify this as a truly realistic situation because the arrangement of the refugees may have been naturally occurring but Salgado could have also placed the young boy at the front to create this propaganda material which may lead to the image being more shocking to the audience creating more attention for his work and global issues.  

Salgado’s photography is artistically beautiful. The underlying tone of romanticism which is portrayed in his images shows his inability to be entirely object which subsequently effects the authenticity of his images as he is manipulating them to show situations which are more beautiful than what he experienced in reality. Therefore his representations of Third world countries are not entirely honest to reality. In The Telegraphs article ‘Sebastião Salgado: A God’s eye view of the planet – interview’, Sarfraz Manzoor talks to Salgado about his experiences of looking at life from behind the lens. During the interview Salgado admits that he thinks “Photography is not objective,” he continues to tell Manzoor “It is deeply subjective – my photography is consistent ideologically and ethically with the person I am.”[3] Salgado admits that photography is subjective including his own however he states that he is being subject in the way that he is making artwork which are raw realities of the third world. This suggests that as his photographs aim to be didactic and revelatory his images even though subject are authentic representations of the global issues that he captures.

[1] Paruati Nair – A different light – page 11

[2] Can suffering be to beautiful – Michael Kimmelman

[3] The Telegraph – Sarfraz Manzoor

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.