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Images from Canon Prima AS-1 Film

From my point and shoot camera, the Canon Prima AS-1, I have developed my first roll of film and the images achieved from the roll of 36 exposures were both successful but unsuccessful considering this is the first time I have used the camera – a handful of the images were not of good quality as the flash was stunned in images where it didn’t need to be, resulting in low quality images where subjects are washed out. However, most of the images came out very well, including the ones below, which I intend to use in my project as diptychs. I will use this first experience with my retro camera as a learning curve where I was getting use to how it works and what the best settings were, even though it is a point and shoot. I will, next time, use the flash on lesser occasions to get sharper and clearer images.

The roll of film developed was used gradually over the period of about 3 months and of these 36 exposures, quite a few were from mine and my girlfriend’s trip to Sark, our neighbouring island for a couple of days. The first 4 images you see below are from this trip and are 4 images I hope to use in my project to represent an aspect of mine and my girlfriend’s relationship.

The first set of images consists of two photographs, a portrait of Lucy on the sunny day it was with a seascape as the background. The second image of this particular diptych is of the seascape alone where you can see a couple of rocks within the ocean and, in the foreground, some greenery from the cliff we were on. I believe these two images work well together as it shows a portrait and then the landscape which as originally partly blocked by the portrait – this I s why they work well together as they include the same colours and same content. The two images below are full of vibrant colours as well as shadows and dark contrasts.

The two images below act as my second diptych from our time in Sark, however, this time, the subject I myself and it follows the same sequence as before. The first image is a portrait of myself, taken by Lucy and it is a side profile of me looking out to a landscape, on a different day to the above occasion.

The second image below the portrait is of the landscape I ma looking out at. It follows the same concept as the above images where the portrait is the primary image and then the full landscape is revealed.

As to as taken on a different day to the above images, the colour palettes and temperatures are different and this time, the look is more gazed – as if the colours are more faded out and there was less sun on this day as it looks more foggy and misty but this adds a different mood to the diptych – one which presents a variety of washed out neutrals of beige, white and greys in the sky bit also in the sea.

I believe that the images below can also work in a diptych, however, they may look better presented separately considering they are of two different scenes.

The first is an image, taken on a day out to Tamba Park with my sister and girlfriend. It’s an image which includes myself and my sister at the top of a slide in the park. You can see myself looking, smiling at Minnie while she pulls a cheesy grin to the camera.

The second image includes Lucy and Minnie both mid-laugh as Minnie slides down the fireman’s pole – an image I love but could do with cropping a little. They both, again, show relationships between us all – my relationship with Minnie and Minnie’s relationship with Lucy. The sense of intimacy as well as fun and playfulness is the underlying theme in thee two photographs and they work well to show the notion of being young again and enjoying yourself – youth prevails. It can also be a metaphorical reverse of my childhood when I used to play in parks with my parents. Now, me being the adult, I find myself being a child again with my own sister at such a tender age she is at – she reminds me of myself and this is representative in the first image of myself looking at her as we prepare to launch ourselves down the slide.

This was another image I came across from the roll of film developed which I had forgotten I had taken but shows the process of when myself, my mum and my step-dad moved house form St Brealde’s to Grouville. The image frames the pick-up truck we used to transfer old and unwanted furniture to the dump. It is an image which may useful when encapsulating the use of loss at the very start when looking at my mum and dad’s divorcee – as we pack up our belongings and prepare to lead a new life somewhere else with new surroundings. We are getting rid of unwanted things and it reiterates the idea of being attached to something so dearly but eventually, you have to let go of that thing which was so important in your life – a house or a partner.

These images remind of that of Arno Brignon’s from her series focusing on her daughter, Josephine due to the graininess which I achieved from the film camera and the vibrant yet hazed colour palettes with observations of darkened contrasts.

Plan for Constructed Realities Exhibition

For the exhibition which takes place at The Jersey Arts Centre on 27.11.17 entitled ‘Constructed Realities’, I have decided to not use images made thus far from my ‘relationships’ project for my coursework, and instead, use the images I produced from my tableaux shooting which I focused on the concept of childhood memories.


The exhibition’s synopsis is on the Arts Centre website and explains the purpose of the exhibition:

“This exhibition brings together work by Hautlieu School A-Level Photography students including their responses to a series of inspirational workshops, masterclasses and lectures delivered by Archisle International Photographers in Residence 2017 Tanja Deman and Jonny Briggs. The classes have been hosted by Hautlieu School in partnership with the Archisle educational programme and represent a range of multi-media creative outcomes inspired by the themes of family and environment.” 

The exhibition takes place from Monday 27th November to Saturday 23rd December.


I have been using the last month of my studies to construct my own personal study surrounding the ideas of relationships in my own family. In my previous blog posts, I have given a justification of what my project is about and what it encapsulates, as well as its purpose and I have been busy producing images to eventually come together to provide the main body of my project which wull also be accompanied by text and transcriptions from interviews with my parents. The project is kick-started by my parents divorce when I was 4 years old and this then branches out to a much wider topic of relationships – relationships which I have built with people who I have come to grow up with in my life during the time in which I have matured and become more knowledgeable of the world around me. From a divorce, I have experienced two different relationship with both my parents and this has affected myself as a human and the young man I am now – from which, I have built my own relationships and experienced my own interpretation of love. I now have a half-sister who is currently 4 years old and I also have a girlfriend – my first love and this concept of relationships and love, as well as underpinning topics of loss, lust, attachment and fear is beginning to make for an interesting narrative where I tell the story of my life from a child to a young man – a narrative in which I am the center point.

However, this narrative is not yet constructed enough to tell a cohesive story as I have not been working on it for a long enough period of time to feel as if I can show this as a catalogue of work which the audience can connect with. As well, because the project is based around a range of different divisions made up of the starting point of my mum and dad’s relationship, their divorce, my relationship with both of them and then leading onto my relationship with both my sister and girlfriend, I have so far, only got a mixture of these different aspects – adding to the idea of telling a confused and dislocated narrative, difficult to understand at this point. This is why I have chosen to exhibit my previous work using the relationship between people and objects to show childhood memories as this relates to how I am working now and it also shows my journey to where I am now.

I have again, shown this series of work in a previous blog post so will not explain it here and instead, this will be done more concisely and poetically in my artist statement which will be present at the exhibition for my audience to get an idea of what the work is. However, I feel like the series of work I will be showing is still very strong and does portray a message – a message of nostalgia which my viewers can all relate to and I believe that the use of portraits as well as objects, provides an interesting juxtaposition which is also accompanied by a very powerful image of a note each of my subjects wrote to explain their choice of ‘memory’. As well, the use archives is reliable to what I am doing now as I will be looking further into the idea of old memories which bring back either good or bad thoughts. I feel like delving into your onw personal, family archive can generate so many emotions and the showing the relation between this memory and the person it is related to tells an interesting story.

Therefore, for the exhibition in a couple of weeks, I have created a couple of digital versions of potential layouts I can achieve to show my images on a large scale.


In Photoshop, I created a couple of mock up displays of what I may produce for the real exhibition in which my images will be displayed on. Below is the first display I created, but realised, this may be difficult to achieve due to the lack of space we each have to present our work.

The second mock-up I produced took into account the space I am allowed and this is the display I am most likely to use. As you can see, I have also put in my images to the same set out to see what it would look like.

I intend to have each diptych below one another, creating a stair-like display as ach diptych will not be placed directly underneath and instead, to the side. Next to each diptych will be the note the subject handwrote which I then photographed in their hand. The diptychs will be A3 and the notes, A5. I hope for the outcome to be very contemporary and visually pleasing. As well as telling a story of memories as a whole, each combination of the portrait, object and note tells its own story of the subject.

 

From the original images I had of the handwritten notes by each of my family members relating to the meaning behind their chosen object, I have altered them to be in black and white as I believe this looks much more effective because of the contrast available to me – I increased these when editing so that there is a clear contrast between illuminated whites and darkened blacks to create shadows against the white paper held in their hand.


Here is my artist statement which will go alongside my series of work at the exhibition:

3 Diptychs Representing a Childhood Memory

The brain is a magical organ of our body; it has the ability to hold limitless information, thoughts, ideas and memories from times forgotten. Taking inspiration from Rita Puig-Serra Costa, these 3 diptychs come from a series encapsulating the notion of childhood nostalgia. For most of us, our memories from childhood are a certain haze which, as we grow older, becomes more and more of a distant recollection of a time which is hard to understand the details of.

In this catalogue of works, I have explored the relationship we have with memories from our past – whether happy or upsetting, they exist and are sometimes consigned to an archive in our brain to be forgotten. Memories generate an emotion which may be difficult to describe but easier to visually portray. Using my Nan, Mum and Girlfriend, I have created a collection of juxtapositions between portraits and still-life object-imagery which represent their own childhood reminiscence.

A photograph is often a fragmentation of the truth and represents a one dimensional perspective but I have attempted to create a decryption of what is often hidden in this series. Each diptych is accompanied by a handwritten note from each subject explaining the context of their choice of memory.

 

Philophobia / Autophobia

As I have been generating ideas for my personal study surrounding the idea of relationships within my own life and my own family, I have also generated a few ideas which I believe I could draw into the study at some point to accompany other main ideas.

Although not familiar with the phobia as no one I know has this particular phobia, I believe it to be a very interesting concept which may work quite well as an underpinning theme throughout my project; I have started to research into the phobias of love and lonesomeness and I feel may be able to express these a ceratin way through my own interpretation of them – as this is only what I can do as I don’t know anyone with the fears but believe their relation to my main theme of ‘relationships’ could go hand-in-hand quite well as the two phobias are often scientifically linked with one another also.  Although, I don’t have to directly or explicitly make it obvious or known that I am addressing the phobia in my own interpretation of it, it can be a concept that the audience eventuality realise as they progress through the book – or a concept that may be evident to certain people depending on the way they read visual prompts or it may only be noticeable to myself, however, would like to, in some way, represent what I believe a fear of love/loneliness may look like.

However, if I was going to show these phobias in some way in my project, I would have to be careful not offend anyone who may have it but would address it very carefully and very subtly to contrast the idea of cohesion and unity between the people you love – I first came up with the idea after realising the divorce of my parents would make an interesting starting point for a story about love and relationship. Love is such a strong concept that can unify people in ways which we like to think cant be broken but eventually, may become broken – in the process of breaking the people involved in the relationship whether it be romantically or emotionally with a relative. My efforts to re-build a relationship which feels like it has been somewhat lost with my dad also links to this idea.


(Words from fearof.net) The fear of love (or falling in love) phobia is known as Philophobia. The word originates from Greek “filos” which means ‘loving or beloved’. Individuals who suffer from this phobia fear romantic love or forming emotional attachments of any sort. Often this phobia is known to have cultural or religious roots, where the person may have been committed to an arranged marriage and hence fears falling in love.

Image result for phobia of love

This phobia is more common in women than in men. The condition can greatly affect one’s life to an extent that it becomes difficult to commit or form healthy relationships. Such people tend to live their lives in solitude.

Philophobia is an unwarranted and an irrational fear of falling in love. Sometimes, the sufferer does fall in love but it causes an intense emotional turmoil in his/her mind. There are many theories why this could happen. Therefore, there is a possibility of falling in love when you are a sufferer of this fear but it may still remain in your mind – the idea that you fear to form any sort of emotional connection with a partner and this may hinder your relationship as a result.

Symptoms may include:

Some people are so afraid of love that they cannot open up to anyone. They do have committed relationships, but cannot maintain any of them.

Their well being often depends on the responses they receive from the person they love. This can keep them high strung and anxious all the time. They may be extremely possessive or, conversely, they may drive away their loved ones with their detachment.

One also experiences severe anxiety owing to the pressures of commitment: restlessness, shallow breathing, rapid heart rate, nausea, chest pains etc are a few physical symptoms that can be attributed to Philophobia.

Panic and anxiety attacks are also common. These can be terrible since the sufferer often feels dizzy, or feels like running away, crying, shaking or sweating profusely or even feels as if s/he is fainting.


Autophobia, also called monophobia, isolophobia, or eremophobia, is the specific phobia of isolation; a morbid fear of being egotistical, or a dread of being alone or isolated. Sufferers need not be physically alone, but just to believe that they are being ignored or unloved.

Image result for phobia of being alone

Autophobia can be associated with or accompanied by several other phobias such as agoraphobia. This means people might be afraid of going out in public, being caught in a crowd, being alone, or being stranded.

Persons suffering from autophobia are unable to do many simple tasks that most can do easily. The fear of being alone also leads to bad relationships as the individual prefers abuse to being left alone – the area in which I believe I can link relationships with these two fears.

Physical symptoms:

Feeling unsteady, experiencing lightheadedness or dizziness

Feeling of choking

Rapid heart rate, palpitations or pounding heart

Sweating

Chest pain and discomfort

Nausea or gastrointestinal distress

Trembling or shaking

Numbness or tingling sensations

As this seems to be a more severe phobia in which sufferers may become suicidal or may begin to self-abuse themselves, OI feel like this may not be as very suitable concept to follow through with and may focus mainly on ‘Philophobia’ as I feel like I could represent this in a more interesting and abstract manner by using my knowledge of love and its power and then transferring this to a direct oppostite.

A Discovery into my Mum & Dad’s Relationship

A couple of days ago, I went to collect a ‘box of memories’ from my dad’s flat to help me with my research into my mum and dads relationship as well as their divorce. He has previously told me about this shoebox he has filled with memories he has form his time with my mum. This includes postcards my mum sent from France when she 18 and my dad was 20. This was in the very early stages of their relationship when they had only been going for about a year, yet the postcards were filled with very cute and sincere messages telling my dad that she missed him and she can’t wait to see him. These are resources I intend to use for my project where I will photograph them against a blank background to achieve a studio effect where all you are focusing on is the object. These postcards were from my dads memory box as I said and he keeps it in his garage shoved underneath all his other junk and is often forgotten about until discovered when rummaging through the mess every year or so but I an glad I have got my hands on this to use the appropriate resources suitable for the story I want to tell. The postcards sent by my mum to dad will help to show the relationship the once had by using physical information – a love letter essentially. However, this, I intend to photograph very soon. Meanwhile, I have come across a new object which has sparked my interest to talk about.

Retrieving the special box of my dad sparked a thought that my mum might also have one of these, even though she has never talked or mentioned it or something similar before, as well, I had never seen something like it before, I believe this to be because my mum now has a very strong relationship with a new man which is a prominent figure in my life also who has been present in my life for now thirteen years, however, I asked my mum if she had something similar and she told me “yes”. This was great news and I was eager to get my hands on it to see what was inside and if there was anything that went hand-in-hand with that f what I found in in my dad’s collection of good memories from their time together. As well, everything I found was also new to me as I was very young when they split so remember nothing apart from myself speaking to dad about it. All the objects were new and it was great for me to see them and learn the stories behind them. However, when we went looking in the loft for the box my mum thought she had  kept in this particular place, we could not find it and we emptied the whole oft and looked through each and every box, yet the collection of nostalgic objects was not there. My mum, as well as myself, was mortified as it many I could not retrieve nay physical information and evidence form mum’s behalf of the great times my mum and dad had together apart from hundreds of photos of us as a family from me as a baby to me at 4 years of age. SAs well, it meant tat mum had lost this box she treasured and cherished because it was filled with memories from her youth – in the most happiest times of her life – when she met her first love, she married him and had a child with him – this was all gone. However, mum did have some images and cards from their wedding hidden somewhere else and this was where I made my amazing discovery which is perfect to begin the project/book.

Mum began to take all of these images of her and dad at their wedding out this small bag and within that bag, she picked out two cards – one form her to dad the day before their wedding and one from my dad to mum also on the before the wedding, and, by chance, the happen to be the exact same cards they both have to each other! I was shocked but also overjoyed at this because I knew it would be a great way to begin my project, epically after reading inside at what they had both written.

I believe this gesture from both of them and coincidence of this one in a million chance of them both giving the same card to each other, just with a different heart-felt message to one another shows the true meaning of love – that the two of them were in sync with one another and it shows tat perhaps they both knew what they other half would like – they both saw the card in shop and picked it up knowing that it represented them two as a couple and this coincidence shows the concept of love displaying the essence of unity.

I was desperate to photograph the two cards together and make some sort of image out of them! I wanted to create a diptych or one image of the two of them side by side and, although not yet finalised, I’ve got an image I quickly took of them together but the lighting is poor and the image above will not be my final due to the ‘slapdash’ finish of it. I also managed to get an image of the message inside each card. As well, for my final edit of this, I wish to have images of developed exposures from their wedding day alongside the one image of the cards to show the ‘starting chapter’ as such.

Inside the cards, both my mum and dad wrote a very loving and quite emotional message that came from the heart. In the card, they expressed their love for one another and their excitement to begin a new chapter in their life together – this idea of a ‘chapter’ is expressed not only from their words about their life, but it will make-up a ‘chapter’ in the book also.

My dad has never been one for being emotional with his words and is not the best at articulating himself, which I have grown to realise as I have grown up with him and his card was not as in-depth as my mums, which made me chuckle a little because this has not changed. However, although his straight-to-the-pint words are limited in comparison to my mum’s I had an idea to transcribe one statement/comment/sentence form each of their cards and insert this into the book along with the images.  My inspiration for this idea came from Yoshikatsu Fujii’s book of his own parents divorce where he includes transcribed statements from his mum and dad to tell a story more visually.

Below is my mum’s card to my dad:“TO MY DARLING ALEX,

REMEMBER IT’S JUST YOU + ME – THAT’S ALL WE NEED TO KNOW. WE HAVE BEEN TOGETHER FOR 8 YEARS AND TOMORROW WE ARE STARTING A WHOLE NEW CHAPTER IN OUR LIVES – THERE HAS NEVER BEEN A DOUBT IN MY MIND THAT THIS IS WHAT I WANT – YOU + ME TOGETHER ALWAYS, I KNEW THAT SINCE I WAS 16.

YOUR MY NUMBER ONE IN THE WORLD MY LITTLE ONE. 

SEE YOU TOMORROW, DON’T BE LATE!

ALL MY LOVE + KISSES

KATHERINE 

XXX”

The statement I believe I will use due to its significance is the point at which my mum says “you + me together always, I knew that since I was 16.” I think I would choose this statement because, for me, it is actually very relatable as I actually fell in love when I was 16 – my girlfriend now is my first love and this was the same for my mum dad – they were both each others first love so there is an uncanny similarity here.

Below is my dad’s card to my mum:

“TO MY DARLING KATHERINE

I LOVE YOU

HERE’S TO FRIDAY

THE BIG DAY

GOOD LUCK

HERE’S TO THE REST OF OUR LIVES TOGETHER

ALL MY LOVE, ALEX

XXXXXX”

From my dad’s card, I think I will choose to transcribe the statement, “here’s to the rest of our lives” because this was their plan and any other lover’s plan when they are about to marry each other and especially commit their lives to one another but it is a shame that at some point, the love does break down – not in all relationships, but many relationships end in a love which distances and becomes very difficult to express so this statement is very significant. However, I may not choose to transcribe any of dad’s statements from his card as the one from my mum speaks a lot.

The print on the card reads:

IN A WORLD OF RUSH AND CRUSH AND CROWDS,

IT ALL COMES DOWN TO THIS — A TENDER WORD, A GENTLE TOUCH, A SMILE, A LOOK, A KISS…

IT ALL COMES DOWN TO FAITH AND TRUST,

IT ALL COMES DOWN TO WHETHER WE’RE GOING IT ALONE OR KNOW WE’RE IN THIS THING TOGETHER,

IN A WORLD OF HYPE AND HURRY,

IN A WORLD OF PUSH AND SHOVE, 

IT ALL COMES DOWN TO YOU AND ME,

IT ALL COMES DOWN TO LOVE

The print on the card alone is very sentimental and is very heart-felt and it sums up love – that no matter what, you will always have on another – act as thought it is just you two in the world and nothing can stop you because love conquers all. I believe in this concept very much and hoe to show it clearly in my project.

 

Further Planning (Format of Project and Visual Diagram)

Over the past couple weeks, I have been producing a couple of handwritten documents/diagrams addressing the content I wish my project to outline and how I will go about this. Discussing and laying out directly the plan and format for my investigation helps not only myself, but the audience to understand my primary thought processes and the hopeful outcome of the project. 


This diagram shows how I wish to set out my project and what I wish to show in the order stated; The project will be based and will revolve around myself as the centre point and then this will branch out into the starting point which consists of my mum and dad; relationship when they were together until I was 4 years old, I will then briefly explore this divorce but then move onto experimenting the experiences I have had with both of my parents and how this is different. This will begin form when I was young and then gradually progress to the stage I am at now with my life and how the experiences I’ve had as a child have shaped me now – which is what the latter of the book will consist of – me as a young adult and the relationships of built independently with other people, including my girlfriend, my sister and my friends.

I have previously mentioned all of the below but I decided to put it into a diagram to make it clear for myself but also the audience. I intend to include other aspects, as well as portraiture and environmental imagery, such as self-portraiture of me with my girlfriend, and I will look at the project by Alec Soth called ‘Looking For Love’, as well as transcribed conversations or statements from the subjects and participants of my book. Over the course of the project, I intend to make a mini ‘behind-the-scenes’ film which shows the processes I go through to make the project which will consist of myself talking to the subjects and the discussing with me their memories they may have chosen as special, in particular, my mum and dad. However, this is just an idea and will finalise this when necessary.


The document below is a handwritten, essential hypothesis by me which outline the format of my project.

Although showing a cohesive narrative filled with the underpinning topic of relationships, I wish to in some way, segment and divide my boo into different parts but I may not do this for the final outcome as I may come to realise that it doesn’t look good and instead, the different images accumulated from each relationship in my life may look better merged together but, right now, I feel like I will be able to tell a better story if I was to physically split each part; my mum and dads romance, their divorce, the relationships with both parents and how I have two different experiences, one being a close relationship, the other being unwelcomingly distant. This will then branch out to my relationship with my sister, Minnie and I will bring in the concept of friendship in this part by showing the contrast between my mature relationships with my mates and Minnie’s very delicate and potential false relationships with her friends as they are still unaware of true friends which are meant to be built up over the years in which you grow and this could be an interesting concept to show – the fun-filled lives of kids the same age as Minnie which are worlds apart from min but in many ways, similar. I will then conclude the project with my relationship with my girlfriend, Lucy and this will show my interpretation of love in comparison to that of my mum and dads and may conclude the project with the same question/concept as that at the beginning – ‘what is love?’ or ‘the tenderness of relationships.

In this part, I will include self-portraits of myself and take inspiration from Alec Soth as well as LaToya Ruby Frazier and hope to show the similarities as well as differences between my current relationship to that of my mum and dads, using archival imagery as sources of inspiration.

 

Non Government Organisations

In my previous post i researched the differences that foreign aid can have and how when you split it up into government and non government organisations you can see the differences which emerge between how much they actually help. I came to the opinion that non government organisations although they don’t have the ability to make a differences on a big scale they are able to make a more positive contribution to the community and help on a better level improving the economy rather than weakening it.  However as these non government organisations are usually smaller charity the question is brought about how they make there funding and get a team of people to usually go over and help in third world countries.

A lot of the time funding comes due to promoting the work and the help that they are giving to people who have it a lot worse then ourselves. Non government organisations aswell as government driven ones will often play on the fact that innocent people are dying, suffering and struggling to survive to make people feel guilty and then they will often contribute in forms of donations or actually volunteering their help. The part that is linking this area of foreign aid to my photographic personal investigation is the fact that photography and video are often used as promotional material to receive funds and volunteers. For government organisations they tend to have famous, world known professions photojournalists to capture images which are often propaganda material, i will return to this style of promotion in later posts where im interested in researching the truth behind documentary photography.

attached are a few examples of foreign aid websites which include a variety of promotional material. most through the use of potography:

Many of foreign aid organisations use forms of documentary photography to promote the areas which people who donate will be helping. The typical approaches used are to either show traumatic/ emotionally erousing images due to them portraying the true harshness of life or the aftermath of what the help is doing, for example happy smiling children because ‘you’ are helping them to have clean water and survive. Non Government organisations which don’t receive such great amounts of funding tend to use vernacular images to promote their organisation.

Vernacular photography are photographs which are usually taken by amateur photographers who when are attending these aid trips capture ordinary natural images of the communities everyday life.  They focus on common things as subjects and is closely related to found photography. Non government organisations use this form of amateur photography to capture just whatever they are seeing at that present time and then when they return from the aid trip may look through images they gathered at the time and just put them into a website or leaflet to promote what they have been doing. Furthermore the point is that they have gone with no intention to take any photos and maybe this may mean that the photos are more realistic and therefore thruthful as they do not have the purpose of propaganda like professional phtoographers for government organisations may do.

When initially researching the background of the burkina faso freedom organisation i was looking through archival images of photographs which had been taken on previous trips and could notice that the only photographs that were being captured over there of the community and project where vernacular images, most often of the children smiling.

i started thinking about how is this the best way to promote this organisation. The images are plain ordinary images of children seeming happy and smiling. i dont think that they include the powerful message which they possible could. The images are showing the happy state that the community is in due to the project and the compassion project which we are linked to which offer huge amounts of help. However it seems as if they may not need anymore help. i think that they may recieve more funding from people wanting to help if the images where environmental portraits of the area focusing more on specific individuals with straights faces and m,aybe a background which creates a story which shows the individual struggles these family may be going through.

Vernacular images although provide truthful images of this happy community in the leaflet used to promote the Burkina trip, may not always be truthful and representative of the harshness of society over there. This leads me onto looking at the inside outside approach to photography. The approach is simple to understand as it basically means if you’re an inside photographer you are taking pictures of your local area and community and if you are an outside photographer you tend to be photographing in a different country and you are an outsider looking in to photograph these areas. It is known that inside and outside photographers will capture different images maybe portraying different messages. For example, the images taken above have been taken by previous team members, as they are from jersey and do not live in the local area they are capturing photographs of what they see and imagine life to be like out there again linking back to vernacular photography. whereas a photographer from/living in Burkina Faso may capture compleatly contradicting images because they experiences the community, culture and environment in a different way and there images often tell a different story.

Florent Mazzoleni

Florent Mazzoleni, is a local photographer in Burkina Faso, therefore taking the inside approach photographing an area he knows well. Although Mazzoleni focuses on a different type of photography i did find his story and photographs inspiring and they will have an impact on the style of portraits that i take when i go away to Africa. He focuses on documenting the cultural scene of reminiscent.

Florent Mazzoleni captured portrait images of young males and females in his home town, Bobo Dioulasso, one of the largest cities and cultural capital of Burkina Faso. The portrait images he captured where of ordinary people, sometimes family and friends and he used a 20 or 30 rolls of film to produce his staged portraiture. Although he has a different concept and focusing on capturing different cultural and social issues to what i am focusing on with my project about aid trips and the way they help. i still found it interesting to look at and analyse how an inside photographer of Burkina Faso captured images and the way he presented them. What i find most interesting about the portraits above is the amount of planning and sense of placement is involved in the images. the images have been structured and staged to look the way they do. This has the impact of focusing us on only what the subject looks like, what they are wearing and maybe the way they have positioned themselves. We try to create a story in our minds of who that individual is. Whereas so far images i have looked at include background making them environmental portraits as this tells the audience about who we are looking at.

Mazzoleni’s photography has inspired me to consider a different approach whilst i am over there, and i am now considering focusing a shoot around the individuals of the community capturing photographs of them against a plain background, holding a straight face as i feel this makes a successful portrait. i then have the idea to add text to the image. I want to speak to the members of the community i am photographing and find out o=about there life their aspirations, the struggles they may be experiencing in everyday life, as this will add a deep meaning and context to my images.

Furthermore from this research on a photographer from Burkina Faso, the area i am visiting on my aid trip i have started to be influenced on the types of images that i want to capture out there and the deeper meaning of getting pictures with text maybe linking to how they feel the work that we are doing in the community is either benefiting them or harming there community.

 

 

 

Do overseas organisations actually help third world countries?

A huge conspiracy which has surrounded the thinking and research of many economic specialists is whether foreign aid is actually helping third world countries is mass poverty or whether is it just trying to modernise them to quickly and the fact that government organisations may actually be harming rather than helping. I feltlike this linked into my personal investigation because i am going on a small non government organised trip and i will be able to see the impact that the work that is being done through this charitable work is making slow progress to the community and reducing illiterate rates and decreasing poverty. However it has been argued by the newest winner of the nobel prize in economics that big foreign aid organisations may be having the reverse effects to what small selfless charities are doing. Angus Denton is an economist at Princeton university and has studied poverty in both Indian and south america. His ideas about foreign aid are particularly provocative as he argues that “by trying to help poor people in developing countries, the rich world may actually be corrupting those nations’ governments and slowing their growth.” 

It is understandable that this view has caused mass debate and a lot of upst due to the amount people give to charity and yes it can be argued truthfully that aid organisations have a massively positive impact on the poverty and disease which is causing monstrous death rates in third world countries and have decreased the amount of poverty and death rates due to starvation has decreased aver the last couple of decades. This has been through organisations set up and run by the government installing fresh water, providing vaccinations and in some areas a place to live. However i am interested in Deatons argument as it is a revisionist view and has become increasingly studied. Although he wasnt the first to  economist to challenge assumptions that foreign aid helped, over the past two decades his arguments began to receive great amounts of attention because he was finding secure evidence for his reasoning. Deaton’s skepticism about the benefits of foreign aid grew out of his research, which involved looking in detail at households in the developing world, where he could see the effects of foreign aid intervention.

“I think his understanding of how the world worked at the micro level made him extremely suspicious of these get-rich-quick schemes that some people peddled at the development level,” – Daron Acemoglu

Federal Nigerian troops walk along a road to the frontier with Biafray, Oct. 13, 1968. On the roadside two emaciated Nigerian boys suffer from starvation and malnutrition. (AP Photo/Dennis Lee Royle)

The first lot of evidence for his and others research was the fact that altho the level of foreign aid in africa soared in the 80’s and 90’s the african economies were actually doing worse which isnt what youd expect to see. Economic growth has not been being produced through these aid organisations. A correlation has been made between the increasing rate of foreign aid coming into a country with a lower economic growth. therefore this leads to the question of why this is occurring ad why aid organisation may lead to negative impacts to countries instead of what they are intended to do which is help. Researchers came to a conclusion of why this reverse effect may be occurring; so the idea is that in order to have the funding to run a country, this specific country needs to be collecting taxes from its population. As the people hold the ropes they in some sense have a certain amount of control over the government through the way that if the government dont provide people with the certain services they promise then the people can cut them off/ not give taxes. Deatons main arguement against foreign aid is that it weakens this relationship betweeen the people and government.

“My critique of aid has been more to do with countries where they get an enormous amount of aid relative to everything else that goes on in that country,” Deaton said in an interview with Wonkblog. “For instance, most governments depend on their people for taxes in order to run themselves and provide services to their people. Governments that get all their money from aid don’t have that at all, and I think of that as very corrosive.”

Therefore the genral idea is that if the people are getting the services they require, such as food, clear water, medication, health care and housing from foreign aid they arent going to be paying taxation to the government who weren’t able to provide them with these services. this weakens the relationship and furthermore the economy, leaving these third world countries in a worsened economic state than they originally were. Moreover other arguements have began to appear about the fact that big foreign aid organisations are also modernising third world countries to the point that when the aid leaves them the countries cannot keep up with the moderness as they dont have the resources or funding and are not accomodated to this new modern way of life. This can be seen as distrupting local communities way of life. For example, a foreign aid organisation may visit and poverty stricken area in Africa, provide the children with vaccinations and medication, but what happens when these run out, they don’t have the resources, knowledge or technology to remake medication. Therefore although it is seeming that in promotional adverts these organisations are helping they are giving them the final outcome rather than building communities up to be able to cater for themselves and be independent without further requiring on these charities.

This leads me onto the difference between government organisations and non government organisations. I believe that the area which i am going to, Bobo, has been transformed in a positive way which hasn’t worsened the economy. The money that is raised goes towards the compassion project which educates the communities children and provides them with cooking skills and basic health and hygiene lessons which allows them to reduce the chances of disease. The Burkina Faso freedom project which i am taking part in also aims at building up the community at a low level with basic classrooms, medical centers and toilet blocks which aim to improve their way of life in a slow manor which they can kept up with and will continue to grow at a rate which is right for them.

 

Burkina Faso

Burkina Faso is a country in the west of Africa which is landlocked by surround by 6 other countries including Mali and Niger. It covers an area of around 270,000 square kilometres with its captial being Ouagadougou. it has an estimated 18.9 million people living in it with the official language of the government and the majority of the people being french, this was due to the migration of french americans in the post colonial times. During the early 16th century the Songhai conducted many slave raids into what is today Burkina Faso. During the 18th century the Gwiriko Empire was established at Bobo Dioulasso and ethnic groups such as the Dyan, Lobi, and Birifor settled along the Black Volta.

In the late 1800’s military officers fron britain, france and germany made attempts to claim parts of burkina faso. After a complex series of events Burkina faso in 1896 became a French protectortate however french control remained uncertain between the end of the 1890’s.

The Franco-British Convention of 14 June 1898 created the country’s modern borders. In the French territory, a war of conquest against local communities and political powers continued for about five years. In 1904, the largely pacified territories of the Volta basin were integrated into the Upper Senegal and Niger colony of French West Africa as part of the reorganization of the French West African colonial empire. The colony had its capital in Bamako. The language of colonial administration and schooling became French. The public education system started from humble origins. Advanced education was provided for many years during the colonial period in Dakar.

Modern day

Political freedoms are extremely restricted in Burkina Faso and human rights organisations have criticized the compaore administration (a structure which decentralized power by devolving soem of its powers to regions and municipal authorities) for numerous acts of state spnsored violence against journalists and other members of society. I think that this is important to know before i land in this country, that in some areas taking images can be seen as an offence, and as it is on the border of Mali, a terrorist active country, high security is inforced in areas near the border where armed guards patrol the area and if you get a phone or camera out they are likely to consider it a terrorist threat and may arrest and contain you until they can prove otherwise.

There has recently been terorist attacks, one around a year ago and then again a couple of months back in the capital which means that military control is extremely tight and i do need to be careful about when i take images.

Another factor to be aware of is that around 60% of the countries population are muslims and due to their religion may not want to be photographed as they do not know what the purpose of the images are. Statistics on relig

ion in Burkina Faso are inexact because Islam and Christianity are often practiced in tandem with indigenous religious beliefs. The Government of Burkina Faso 2006 census reported that 60.5% of the population practice Islam, and that the majority of this group belong to the Sunni branch,]while a small minority adheres to Shia Islam.There are also large concentrations of the Ahmadiyya Muslims.

Burkina Faso’s 18 million people belong to two major West African ethnic cultural groups—the Voltaicand the Mande (whose common language is Dioula). The Voltaic Mossi make up about one-half of the population. The Mossi claim descent from warriors who migrated to present-day Burkina Faso from northern Ghana around 1100 AD. They established an empire that lasted more than 800 years. Predominantly farmers, the Mossi kingdom is led by the Mogho Naba, whose court is in Ouagadougou.

PERSONAL INVESTIGATION // IDEAS & INSPIRATION

After completing my review and reflection of the projects i completed in September looking at both documentary photography and tableaux images, i have decided that i really enjoyed the documenting side of photography and would like to continue this type of photography in my personal investigation. I have been inspired by charity work and a project i will be taking part in africa on an aid trip. The images below are just a few of the images which i found inspired me too want to take similar images over there, however i am going to link it to a wider story and make it specific to the locals and community where i am going.

There are a variety of styles of images below and i would like to keep my options open in this project to capture a variety of images and look at how documentary photography can come in lots of different styles. One of my biggest inspirations is photojournalist Steve McCurry, as i love the intense vibrant coloured portraits that he captures. Although i think it’d be a challenge i definitely want to attempt to capture these story telling portraits.

My personal investigation is going to be based around environmental photography as well as photojournalism. On 27th-13th of November i am taking part in an Africa aid trip to Burkina Faso with a non government charitable organisation, linked with freedom church. The community over there is lively and energetic even though it is in the top five poorest countries in the world. In my photography i want to document the local communities lives focusing on third world countries issues, focusing on truthful portraits and environmental images of the communities daily life, jobs, family etc. Therefore the main focus of the story i am trying to tell through my photographs will be the community, linking into family and looking at similar family styled photographers and how community to them is much closer in their rural villages then it is in our big cities in the modern world where people tend to stick to the blood related families. I would also  like to link into it the story of whether chariable organisation really help these communities or if they just disrupt their local way and try to modernise what shouldn’t be because it has a negative impact.

Burkina Faso Project Info

The Burkina Faso charity project started back in 1999 when Pasteur of Freedom church jersey, met Samuel the Pastor of Temple Elim, Burkina Faso at bible college. The friendship that grew between these individuals has been long lasting and in 2007 the project which linked jersey with Burkina Faso was started. A team has gone out to Africa every year since building toilet blocks, primary school classrooms, a pharmacy and a playground. The impact that this small based charity has made is incredible and nearly 500 of the local children attend primary school. This year the team return to Burkina Faso and i am extremely excited to be one of the twelve members which will be going out there this year to build a nursery. I’m extremely excited to help reduce poverty and illness in the area as well as experience their way of life but also document the community and share some of the locals stories of their past and what family and community really means to them.

Linking to previous work i have done envolving family and looking at family archives and how they tell a story of the past. i have spoken to previous team members who have gathered images of the project in Burkina over the past 8 years. These can now be seen as archival images and i think it is important to know the background of where am going and what to expect to be photographing. Therefore i have also done background research on the country to get a general knowledge of the location and areas history.