For this small mini project I wanted to focus on the photos which I think had the strongest emotional impact on the viewer and the largest negative representation of mankind. This is a clear representative of an image you wish did not tell the truth. This is an image to which you do not want to show a reflection of man kind and belive in the cruelty that lies behind what the image contains. In the modern day many people ignore what is not around them or what they can be on screen. So capturing a harsh truth of humanity in order to represent  what their ignorance and carelessness has done and effected others around the world. Children are viewed by the large majority to be innocent. They are not responsible for their own decisions and yet have to face the consequence pf what adults tell them to say and do. The life of a child is held high than that of an adult. Because of this these images speak louder than anything anyone could ever say. It highlights such a horrendous political situation that people ignore, but faced with the reality they see such innocent people affected it should change their mind. these images are not sublime. There is no beauty in this image other than masses of pain and outrage. This image should not be seen as just shocking but should be seen as though provoking for change within the world.

The way to which the photographer with the body in such a lifeless condition is the most painful part of this image. There is a complete lifelessness and it removes all sense of hope. Children should be seen as playing and happy, the lack of eye contact and a boy lying face down. tHe headline for this article was a syrian boy who has drowned brings migrant focus into attention.

There are so many aspects to this image which make it wholly disturbing. First of all the boy of the child is almost translucent, his bones clearly ripple throughout him and their is no substance of life and embodiment to his should. His small figure in such a composition that has connotations of defeat, His lack of eye contact and oblivion to his lack of life is reflected through his face down on the door, not having enough energy to even lift his head. Birds of prey live and eat off the weak and the dying, because of this it is evident that the starving child is so close to death. The bird is equally centered in the composition as it immortalised the figure of death behind the boy himself.

From these observations I have learnt that, somethings people expect or anticipate the truth to not be true, or perhaps in circumstances they wish it want. So many people spend their times purposely ignorant to others than themselves as then nothing is seemed to be their problem. However these actions of doing nothing still consequences in the deaths ad suffering of many.through photography telling the truth such as these then there would never be any cause for change within the world.I believe in society everyone carries an instinct within themselves to help others, perhaps this is seen through a maternal or paternal outlook on wanting to care for children. I believe that once again the effect of this image being a child will in turn create a much larger impact altogether rather than just that of a person. You cannot blame the child as it is an adults duty to care and to be responsible for the outlook and loving of a child, to raise and let them live in a life which they are happy and health. This sheer amount of malnourishment is consequently a factor that even in the worst states of poverty within the us or England would never happen. It shows how for a child to be in this help. this poor of a condition and people wanting to help, how little everyone around the child has, and no ones ability to help. This narrative documentary tells so much of as story and would hopefully speak some truth to people, It has not been a deception of an act as this is evident within the posture and lack of life within the young boy. It deems how we need to urge those with money to help, not just those close to them, but the ones who need it most. Because of this the large exploitation of the image itself, it allows so many to see a sit that only a few have seen in person. The though of poverty has finally been out into . appreciable consequence of their inhumanity. The change has sparked many and hundreds of campaigns, for starvation around places such as Africa, yet this will never reach everyone who needs it.Within the article itself speaks about the photographer and his intentions and what he saw. After spending many days in a village in south Africa he headed out to the bush. He heard ‘whimpering’ and come across an ’emaciated’ toddler. This little boy had collapsed whilst attempting to make a trip to the feeding center. the photographer was not allowed to touch the victims due to to disease. After 20 min of gaining back energy the little boy continued to the feeding center.

The irony within the image conceptually is how well fed the vulture is, this harsh juxtaposition posses the thought hat the vulture has been eating off the well nourished who has sadly died. It shows the harsh reality and inability for people being deprived of what they need for survival. The New York times ran this photo, there was much debate on what happened to the child and the irony of peoples concern when they themselves have done nothing to help this boy. However while telling this truth, many questioned the photographer for taking the picture and not helping to the aid of the child instead. This lead to many debates on a photographers duty to intervene. However sadly it comes out 14 years later around when the child was 16 he died of malialsial fever. Although winning awards and spreading awareness of crucial and dark situations such as this, he has never been able to forget that day and says ‘ i am haunted by the vivid memories of killing and corpses anger and pain’ Technically the image has a strong composition both focusing on the irony and well being of the bird towering over the fragility of the boy, this conceptual shows the weakness of mankind and how we have been reduced to animals when having nothing to eat and no longer thriving as a community. I believe there is such a core importance of showing images such as these otherwise nothing and no change would ever come of anything. Not because people don’t want to help, but they might be ignorant to the thought of something as terrible as this happening within the world.

There is such a strong sense of propaganda within these images. these images being used by the media as a weapon against governmental regimes. When an image is in a newspaper there is a certain reliability that is dependent on the paper for being truthful. this weapon too needs to have such a pivitol point to encourage patriotism and promote national interests. If this image wasn’t so upsetting, people would forget about it and move on with a new paper the next day.

I was told to study Tim Waker as I decided I wanted my images to be incredibly interesting and always have an important view to each and every photo developed. Because of this I was told to study Tim Walker and the way his images are full of such strong imagination and could possibly say the sublime. Walkers photographs have entranced the reader of many vogue magazines rapidly month after month, for over a decade now. His images are viewed as extravagant and a typically seen being staged and through romantic motif and character how are deemed to be unrecognisable by style and hugely inflectional to fashion and the way in which photography is developed.  His concentration on photographic stills for 15 years enabled himself not to be moving on to making short films and movies. To be this is of great importance because it poses the ideas of how photography can also be viewed though a sense of cinematography, and the ways in which I could make a short movies showing the sense of the sublime through my own images. walker was born in England in 1970, and his interest in photography  began in the London library where he was able to work on the Cecil Beaton archive for a year before university. After a three-year BA Honors degree in Photography at Exeter College of Art, Walker was awarded third prize as The Independent Young Photographer Of The Year. This was a monumental moment fro him as it allowed himself t be power done by his own ambitions and form a relationship of what he is doing is successful.

Walker worked as his own freelance photographic assistant in London before moving to new York. When he arrived in New York he became the assistant to Richard Avedone. Walker use to have a strong concentration on his woe being more primarily filled of portraiture and documentary work for the British Newspaper. Although not long after he had his first shoot with vogue and with many editors and soon he was taking in conversational cues and stray bits of wisdom with a mind that whirs incessantly, much like the camera he carries wherever he goes.And that may be why, as he stood gazing seaward during a shoot last year on the northern coast of England, he was all ears when Kristen McMenamy, his model and muse, confided that she had long been enchanted by mermaids. She told Mr. Walker, as he recalled, “This is the one character I’ve never been able to play,”I believe his work is whole unique and extravagantly innovative. He has an ability to capture so many styles and narratives within a piece especially evident within his recent works, which can currently available in somerset house. Yet he has soon moved onto a new styles encapturing more fantasy aspects of fashion using his works to tell a story.Oddly, his tendency to obscure clothes in favour of elaborately staged, dreamy narratives has only endeared him to the art and fashion set. His works are in the permanent collections of the Victoria & Albert Museum and the National Portrait Gallery in London.

This piece is wholly magical and a substitution to that of the pain of what is expected to be only beautiful. The mermaid itself is a purely fantasised and fictional character, yet walker has bought her into this world  filled with that of reality and the inspiration from fantasy and na altered reality. He combines an interesting new attitude that . constitutes what sublime is and can be formed into something less expected. I think it is quite innovate that he uses a address with scales in order to evoke the mermaid and fish texture, as this allows his fashion forward ways to be used and effectively present within the composition. The mermaid is not overall sexualised and I belive this is important as otherwise This would not be possibly viewed as sublime but would be seen as too perfect and not allowing a sense of pain to come through the image. The way in which he body is held is also an interesting way to view this image as you can almost see a sense of pain within the image itself, the way the hands are surrounding the face connotes attitudes and relations to fear and escapism. Interestingly many of the colours are ether faded or pushed back, this has implementations  of a focus point in the image itself, however contrary to many sublime images it does not have the sensory of colour, however these grey undertones could possibly aspire a more solemn and possibly painful mood to the image but still conveys themes of sublime but presented in a more abstract an divided manner. I believe this image is perhaps too staged and slightly tablo for what i want to incorporate into my work at the moment, however I think the overall themes could be interesting to work with. 

To my mind this piece does capture a more fashion stylistic outlook on what purposes that of the sublime. I belive the contradiction fo the ballgown to that of the industrial and rustic looking stairwell posses that of the pain and reality of a set and yet still hold a composition to display such a beautiful dress. This composition and overall isolated surrounding is perhaps more sublime. There is such a strong contradiction of beauty and also pain and suspended alteration within the image thatI believe would work well and successful come into and under my themes of my work. The stance of the image could be seen as very high fashion in the way of the leaning over the railing and the long exaggeration of how tall she is. The concentration of light also illuminates specific angles to the image and brings shadows to those sections that are more dingy. This shoot has somewhat inspired me to do a photoshoot in an abandoned area, and perhaps also add in an aspect of beauty within the area itself, as this division of ideas would shows aspects of the sublime.

The sublime, reality and surrealism to evoke emotion.

After reconsidering what would be most effective for my shoot I decided it  would be effective if I were to decided a more clear narrative and narrow all my ideas into one plausible theme which would successfully be made into the  final  presentation of a book. So after much deliberation I have recognised that the sublime will be my main point of interest. The sublime and how it links to deep emotions of fear and pleasure and how this in turn creates a conceptual narrative. This means When taking my photos I will do so with the intentions of creating conceptual art that does not have a linear narrative to the end, but purposes the same constant idea expressed throughout abstract and surrealism shoots in order to capture and represent the sublime. These conceptual images from a narrative of emotion, because of this i have decided It would be effective for me to do more bodily photoshoot of hands and forms capturing peoples emotions and even doing so capturing the emotions of the sea and such through the power they contain, I do not want to make this project about the emotions that i have as i do not feel this would be worthy of me doing so as I do not have any deep passions of pain. However I do think will still be able to capture a personal emotion through the people choose to take photos of.  The sublime also has a clear connection to that of politics and the overruling theme of political landscapes throughout the deep past and structure of it being formed on the basis of romanticism. romanticism is based of a power and love within a landscape and how people idealised the movement and love that they hold for a section of land.

My first shoots of experimenting with the sublime, will be spoken about more in my next piece but originally will focus on the water and the notion of being trapped and essence of beauty within the water but the threat of death due to the hanging of being submerged in water and not being able to breath.I believe the most important value to these images will be the incorporation of emotional value within them.  Due to my images not having the strongest lineal narrative motion there needs to be a strong contextual factor to each and every image chosen, due of this the emotional side is of great importance. I will capture this my the bodily form, colour and the concentration of what is their surrounding and how this also effects the image to being more sublime. I believe the distorted narrative of the conceptual of emotion allow myself to Pieces together the project and from the reflection of what i wish the audience to feel. As the emotion is not a personal reflection fo what I am feeling I can create  and piece together an expansion of a story throughout all of my work. I really think it is of great importance to start going deeper and taking more challenging and complex imagery and this will really incorporate the sublime itself. I believe a new large interest will be how emotion can and should be evoked through colour and how I can further contextualise my images through this.To do so in a more interesting manner i will take photos within and outside a studio. To further this ideal I believe the sublime does not always need a person within it in order to cause an effective, so more of my images from now on will be without the presence of a model, or just not in the picture itself. Artists I will further look into consist of mack and Torbjorn, hopefully their influence will allow myself to be more creative when coming to my following shoots.