The desire for a photo graphical image to reflect and resemble a painting spurred the onset of pictorialism. Early pictorialsim portrayed romantic and religious themes, Reflective of the art forms of interest at the time. Women were mostly photographed due to the idea at the time being that males were seen as higher earners than women due to the gender pay gap, so therefore, Men were rarely the subjects of images and woman were therefore the subjects as a result as the men would typically be out working, whereas the women would typically be at home taking care of the children and doing household chores.
Structural elements of typical pictorialism, such as the joining together and combination of different images to form a composite image as a result. The recreation of atmospheric effects in nature are also a predominant feature and there is a heavy focus on tonality and focus within images. Pictorialism inspired works are typically framed and displayed in an aesthetically pleasing manner
This image, By Sebastian Geithner, Depicts a man on horseback, flanked on both sides by very large trees. The size of the trees is being utilised here to present the idea of the sheer mass and power of nature, and the darker tones within the image almost convey an idea of pending doom when compared to the bright white of the horse and the minuscule size of it in comparison to the surrounding landscape
Street Photography 1930s- Present Day
Street photography is a photographical movement that arguably changed the course of portrait photography as we know it, by essentially capturing one off candid moments of people in urban environments. Street photography is said to have roots in Paris, With photographers such as Henri-Cartier Bresson being pioneers within the movement itself. Street photography aims to explore the human figure itself and Humanity’s interaction with everyday life and situations within an urban environment. Many street photographers also tend to interact with their subjects as a form of gaining context to a persons background and the situation being photographed. Street photography has been used throughout the years as a platform to adress issues to the public, such as homelessness, poverty and racism. Street photography aims to be spontaneous and capture a moment in time, with the prime purpose of telling a story and highlighting the subjects interaction with their environment. Street photography can also be classed as documentary photography dependent on the approach of the photographer. If a photographer is less spontaneous and more precise with capturing images with the sole intent of telling the story of the subject, then Street photography can fall into the bracket of documentary photography.
This image, taken by Martha Cooper, Depicts children in an extremely rundown area of New York City playing with old discarded car tires. The image presents to us an idea of freedom within a world of poverty and oppression, as well as the innocence of children in contrast to the harsh reality of poverty. This image in particular portrays poverty due to not only the rundown area in the background, but also the attire of the children themselves, wearing tattered shorts and generally looking dirty and grubby. The idea that they are entertaining themselves with items that are considered as not of use to the average person and discarded as rubbish further highlights the theme of poverty within the image
The Red String was a book produced by a man named Yoshikatsu Fujji. The first page we are confronted with a separation between 2 striking images. The first picture on the left, is of his young father with a him as a baby whilst the one on the right is his mother holding the same child in the same environment.
Right from the beginning, we are presented with an element of separation which is what Fujii is trying to incorporate through the split of his parents. Right from the beginning, the separation is evident. Already the mother and father figure in the photo are also separated but the child stays In both pictures.
What follows on the inside is a well thought out, properly constructed, book to capture the theme of separation and how and why it affected him the way it did. Flipping through each page contains a meaningful archival image either his parents wedding images, family photos, snapshots from his youth and objects with sentimental value. Fujji having done some interviews on this piece of work once said ” “My family will probably never meet all together again. But I can feel without a doubt that there is still proof inside each of us that we once lived together.”
As Fujii explains in the text at the back of the book, there is a Japanese legend that says predestined lovers are tied together by an invisible piece of red string, from the moment they are born. While that red string between his mother and father was apparently sundered, Fujii offers his Red String as a way to bind these losses back together.
Thus, the structure and layout of the book, combined with the fascinating mix of photos (old, new, black and white, color, abstract) blend together perfectly, offering an intimate artistic experience. It is exactly the kind of experience that is the unique province of this ever-changing, but loosely bound together thing we call the photobook
To what extent can we trust documentary photography to tell the truth about reality?
“The process of manipulation starts as soon as we frame a person, a landscape, an object, or a scene with our cameras: we choose a portrait or landscape format” (Bright, S. and Van Erp, H. 2019; 18)
The quote above raises a valid point on how artists are constantly manipulating photographs, even when they are not aware, in order to create a captivating images for viewers. This point allows us to consider how photography is a form of secondary data, making our analysis of what seems to be reality within the image unreliable, creating the argument of how documentary photographs do not truthfully depict reality
My personal investigation looks at my grandparent’s lifestyle and how it has been influenced by the time period they grew up in, the 1940’s. I have explored the influence of religion and spirituality, gender roles within the family structure and social norms during this time period which are still present in their lifestyle to this day. Holding strong connections with my grandparents led me to want to base my project on them, as I know I will be able to easily retrieve useful insight into their lifestyle, enhancing the imagery I produce, on top of forming a piece of work in which my family will cherish. In this essay I aim to discuss the extent to which documentary photography accurately portrays reality, with reference to two documentary style photographers, Latoya Ruby Frazier and Walker Evans. In this essay I will be referring to Walker Evan’s photographic series entitled ‘let us now praise famous men’ and Latoya Ruby Frazier’s photographic series ‘The Notion of Family’. Analysing photographers who captured imagery in two different periods of time, contextual and contemporary comparison, allows me to illustrate whether the reliability has changed overtime or stayed consistent, providing a valid argument.
The art movement of realism and straight photography looks at creating imagery which showcase life how it is, this emerged in the 1840’s. Artists who work within this area look at raising social and cultural issues relevant within society at that time, in order to make the audience aware of this issue in hope something can be done to make a change. This area looks at documentary photography and photojournalism to document the events which are occurring. Artists stick to the original techniques and purpose of photography, the use of photography for science, to create detailed, sharp images showcasing real life. Henry Fox Talbot created the calotype, which is said to be the basis for how photography is practised today in documenting everyday life. The calotype was done by creating a paper negative, exposing a sheet of paper coated with silver and chloride to a light source. His photographs used a short exposure time and allowed multiple prints to be produced through one negative. He believed that photographs were the cause of light, the influence of nature, on a paper negative and is illustrated through optical and chemical means. Artist Louis-Jacques Mandé Daguerre, also shared this ideology behind image making and stated that photography “consists in the spontaneous reproduction of the images of nature received in the camera obscura, not with their colors, but with very fine gradation of tones.” (Daguerre Mandé, L-J. 1838). This illustrates how this art movement allows nature to present itself showing the reliability of imagery, which is then contradicted as it states its a spontaneous reproduction suggesting the accuracy of the imagery is reduced. Artist Frederick Henry Evans’ ‘A sea of a step’ clearly presents realism through the composition and use of the formal elements of light and space. Conceptually, the imagery portrays the climbing up the stairs, as if the stairs lead towards a euphoric feeling. “He drew on the Symbolist manner of using objects to directly express esoteric ideas.” (The Art Story – need help referencing this please). This use of symbolism creates a subjective perspective reducing the reliability of this art movement. Paul Strand took a different approach to capturing objects, using a macro technique with clear focus on light and shadow and the contrast between the two in order for the work to “be brutally direct; devoid of all flim-flam; devoid of trickery and of any ‘ism’; devoid of any attempt to mystify an ignorant public, including the photographers themselves.” (need help again referencing). This suggests how Strand’s work produces a more objective narrative which clearly depicts reality illustrating how this art movement can be truthful. Looking closely towards documentary photography, a style of photography which places into this art movement, artist Walker Evan’s and Latoya Ruby Frazier use portraiture to showcase the lifestyle of the subjects presented in the frame in their natural environment, somewhere familiar to them that they have a relationship with, but to what extent does these photographers accurately portray the subjects lifestyle? With my topic being based in my grandparent’s lifestyle, I felt that using documentary photography would be the most appropriate to showcase this, as well as the project looking social issues of family structure and gender roles being raised, thus drawing connections with realism and straight photography.
‘A Sea of Steps’ (1903) – Frederick Henry Evans
‘Bowls’ (1917) – Paul Strand
‘The Notion Family’ – Latoya Ruby Frazier
Allie Mae Burroughs, Hale County, Alabama (1936) – Walker Evans
Bibliography:
Bright, S. and Van Erp, H.(2019), Photography Decoded. London: octopus Publishing House
INTRODUCTION In order to approach my personal study, I will be focusing on 3 main concepts, the housing crisis, nostalgia and control. A topic which I am highly interested in and am willing to explore is the housing crisis which affects a large population of Jersey, not only the immigrants but young people and the elderly all face institutional discrimination which makes it extremely difficult to get on the property ladder or be able to find housing in Jersey. There is an extreme lack of affordable housing for low income families and young people alike, who start out on the bottom earning minimum wage at the start of their careers. With the use of film, an older method of photography, I am hoping to capture images that capture a nostalgic and reminiscing feel. The fuzziness and grain which can be captured using this flash provokes ideas of the old and outdated, much like the housing in Jersey, lacking houses and slats which are safe and regulated for people to live in.
A prominent photographer which links to my area of study is Nick Hedges, photographing and recording of social housing in post WW2 Britain in the 60’s and 70’s. Mikhael Subotzky is also a photographer who closely ties in with the topics which I will be tackling, taking striking images of a high rise, low cost housing in the heart of South Africa. Using both candid photography and the surrealism of the architecture of the building, creating a photo book tackling the subject. The themes and subjects which both these photographers tackle closely tie in with the overall focus of my personal project, taking a documentary style, biographical approach to their work.
In order to respond to my personal study I will be employing the use of both a film camera and digital camera. As I will be using the theme of nostalgia, the use of a film camera will be an effective way to display this through the grainy and soft nature of the photos themselves. The subject of my images will be of the low cost, affordable housing which can be rented in Jersey. I will be contacting estate agents in order to show the contrast of the way in which housing agents glorify these homes versus what the reality of them are. I will be focusing on small and minor details which distinguish each property such as the flooring, bathrooms and kitchen cabinet. I will also be photographing the exterior of buildings, going around the dingier parts of St.Helier which depict the depressing lifestyle some people face by living in the center.
PG 1: HOUSING CRISIS:
According to a report from Statistics Jersey, shortages are now predicted for every size of flat and house, with the exception of a small surplus (70) in the number of large homes of four or more bedrooms. And the situation has worsened considerably since the last Future Housing Needs report was issued, covering 2015-2018, with almost twice as many more homes now needed. The gap between the number of people looking for homes and the number of homes available widened by 90%. I will be investigating the state of social housing, their conditions and the impact which it has on individuals for whom this is their reality, specifically interviewing my mother who intersection-ally falls under a migrant and single mother. I will be examining the personal impact which the housing crisis has on my family.
Taking a documentary photography approach to this subject, my work will be following the conventions of realism. The idea that picture knowledge could be universal relates to what is known in philosophy as the ‘realist’ approach. Realism is the idea that a photograph of an object or a person bears a close relationship to that object or person. There is a link between the object or person photographed, and the photograph. The photograph, in other words, is a trace of something real. Because it was necessary for the object or person to be present at the moment of photographic recording, we can also say that there is a link between the photograph and the events, objects, people, etc., it depicts. Examining the work of Nick Hedges, there is a clear link between my own personal study and the depictions which I aim to imitate in terms of contextual aspects and intent. I will be comparing two works from Nick Hedges, from the exhibition ‘Make Life Worth Living’, It was commissioned by Shelter, a charity working against homelessness to raise consciousness about the poor living conditions many Britons experience. The photographs were taken between 1968 and 1972 and are an intimate glimpse in to the human cost of bad housing.
Pg 2: NOSTALGIA:
Due to the contextual time period of these images, a sense of nostalgia is provoked through the critical use of lettering and composition. By displaying the photograph alongside related images and Shelter publications, it is possible to expand its narrative. A richer understanding of the final print is made possible. It is also interesting to see how the charity used Hedges’ photographs in their publications, and how they framed them with case studies which included interviews with subjects. A comparison between the contact print and the final print raises questions about the nature of photographic truth, and how the photographer’s intentions shaped his representation of the homeless. The significance of the formal qualities of the final print as it appears in the Shelter report (it is much grainier than the contact print, and has a heightened contrast) is also relevant to a discussion of the photograph’s semiotic effect creating meaning from the contextualization of the images. By including excerpts from interviews in interpretation panels, details about subjects are made accessible, despite remaining anonymous (Shelter used pseudonyms in their campaigns). The biographical information about the subjects of the Shelter photographs, published in reports and displayed in exhibitions, is fundamental to the kinds of narrative generated by Hedges’ photographs.
Pg 3: Your responses
Conclusion
Bibliography
Paragraph 1 Structure (500 words): Use subheading. This paragraph covers the first thing you said in your introduction that you would address.The first sentence introduces the main idea of the paragraph. Other sentences develop the subject of the paragraph.
Content: you could look at the following…exemplify your hypothesis within a historical and theoretical context. Write about how your area of study and own work is linked to a specific art movement/ ism. Research and read key text and articles from critics, historians and artists associated with the movement/ism. Use quotes from sources to make a point, back it up with evidence or an example (a photograph), explain how the image supports the point made or how your interpretation of the work may disapprove. How does the photograph compare or contrast with others made by the same photographer, or to other images made in the same period or of the same genre by other artists. How does the photograph relate to visual representation in general, and in particularly to the history and theory of photography, arts and culture.
Joanna is a polish photographer born in 1985 in Warsaw, now based in London. In 2013, she gained a Master Of Fine Arts from the Royal College of Art in London. Not long after in 2014 she created ‘Frowst’ as her first debut, which is a series of staged family portraits in a large black and white format, this collection went on to win the first book Award the same year.
‘FROWST which means stuffy or stiffly, captures the paradoxical nature of a home. Warm and cozy, a frowsty space can also feel airless and uncomfortable. The space of intimacy is often suffocating, but its comfortable security might trap us inside longer than we wish. It allows us to manifest our vulnerabilities and weaknesses under the safe roof of domestic convenience.’
The book is comprised of twenty-five photographs, arranged in a minimalist way, usually a photo per spread. I take inspiration from this as I want to have a few blank pages to create tension between images. Her images are tableaux as as she sets them up deliberately, creating mise-en-scene. At first sight they are simple, casual pictures but soon reveal the surgical precision of the staged situation.
Her images first striked me as uncomfortable, the way a fully grown woman was sitting on an older mans lap. The theme throughout the book is consistent as she recreates relations within a household. She uses domestic settings such as a kitchen or bedroom as the background for these unsettling images. The black and white adds to the sense of reminiscing and remembering a time in which we were young and certain situations weren’t awkward or weird at the time. I am going to use black and white for the majority of my images as they represent memories from my past. The book highlights the carelessness of being a child, the lack of social consciousness we had at this early stage of life. I am going to use her concept to recreate memories from my childhood for images in my photo book. Her theme of family fits perfectly into my book which surrounds the theme of divorce. In her book she creates forts out of cushions and chairs as you did as a child and places the subject underneath them. These images create a sense of playfulness and reminiscing, but there is more depth to their meaning. “The shelter is like a fortress for our bodies, an extension of our selves. It is about how we choose to live, what we’ve surrounded ourselves with,” she says. “It’s also a little absurd that an adult is building this temporary, fragile structure. It isn’t really giving us any protection because it’s so ad hoc.” Joanna is taking a childhood past time and relating it to our behaviour as adults and how anything we do has a effect on us. The forts we once made weren’t just for fun, they were security we build for ourselves.
