In terms of the layout of my photo book, I was aiming to keep the inside fairly simplistic and plain to harmonize well with the subtle imagery which goes inside it. My choice of front cover was deliberately the most simple and subtle images as I felt this was important when adding text onto the image for a front cover. The images both tie in well together due to the small light rays coming in horizontally through the window and casting beams within the room. They tie in well together due to their settings, composition and light. For my front cover, I also chose to keep the title in white as this emphasizes the sophisticated style of the images and keeping in within the color scheme. The back cover is very much similar, being very profound and uncomplicated in nature. Both of these images had been edited in order to add noise and increase the contrast to make them fit in better with the film imagery which can be seen within the other images.
As for the inside layout of my book, there is a combination of both single and double page spreads which again goes well within the simplistic layout and stylistic features of the front cover. There is a also a combination of both film and digital imagery which has been manipulated in order to look film-like by adding noise and increasing the tones of red and yellow within the images to make them warmer. As a start, I will be including my film images and adding a padding of 100 in order to make them sit central within the image, adding this padding I feel stylistically fits with the flow of the book and provides a point of continuity.
EXAMPLES OF IMAGES I WILL BE INCLUDING:
In terms of the selection process for my book, I took the approach of ‘does this fit the massage I am wanting to portray?’, in the sense that does it showcase an inequality in the Jersey housing market, between the price of the properties versus what the condition of these homes is actually like. Stylistically I also consider weather these images fit well together and if there is a flow to the narrative. The images combine a good range of the prospectus of the state of St.Helier, social housing and also the interior of these homes. The three aspects which I was hoping to capture from the very start. Taking a documentary photography approach to this subject, my work IS 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, it can also be said 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 its 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 poor housing.
WHERE: Within my personal study, I will be focusing on 3 main areas of study , personal, external and internal. The persona aspect of my project I will be looking at my own personal journey and the ways in which my family has occupied Jersey, capturing images of my own home. The external aspect of my project will be focusing on the exterior aesthetic o low cost housing within Jersey. Lastly the interior aspect of my project will done within empty properties, arranging viewings with estate agents in order to do so.
WHEN: in order to capture the exterior photo shoots, I will be attempting to capture them during more gloomy and overcast days as I feel this will add to the themes associated with the topic at hand which is all about control and institutional discrimination.
WHO: My project will be focusing less on people but rather places, I will be using documentary style photography in order to carry out my shoots, focusing on the state of the housing market and the truth of affordable housing.
WHY: The topic at hand is personal to both me and a large population of Jersey. Immigrants, young people and the elderly, making it almost out of reach to buy or rent property which lives up to suitable standards.
HOW: I will be using a mixture of both film and digital photography in order to carry out my photo shoots. A theme which I also want to convey through my work photography as it will be linking to the impacts of trauma and childhood.
In order to approach my personal study, I will be focusing on three main concepts, the housing crisis, nostalgia and control. A topic which I am highly interested in and 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 suitable housing in Jersey. There is an extreme lack of affordable housing for low income families and young people alike, who start out on a low-income, 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.
SUCCESFUL OUTCOMES:
CRITICAL ANALYSIS:
Aesthetically focusing on this image, there are few aspects which make it a conventionally “good” image, my project is very much looking at the contextualization and stories of the people who live in this housing, in this specific photo shoot I have focus on the property of one of my family friends who is also Latvian, capturing the small details of their home, and the very mundane life style. The depiction of these various aspects of their home is important as the depiction of the mold on the walls was a big concern which they expressed to me, becoming much more than a simple inconvenience in their life but more a health hazard. I decided to capture small details of their home such as their personal possessions as I thought this was a good chance for me to be able to add some personal insights into people’s lives who live close to the poverty line. With my image making, I am much less focused on the pictorial aesthetics but rather just a documentation which clearly reflects the inequity between housing prices and the property conditions. Further, this investigation led me to posit as a prospect buyer, yet my intent was purely image taking, which lead to my work being rather up front and raw, simply taking an image as it first appears. Not only taking into account the housing conditions, this property is located near Springfield Stadiums which is socially considered as a rather dingy and hopeless area to live in due to the concentration of social housing and migrant communities.
EDITING PROCESS:
In order to create images which had more aesthetic integrity, I decided to create some edits which the images which I previously took, adding colored overlays in order to do this. Taking different gradients, adding these to the images and decreasing the opacity in order to be able to see the image below the overlay. I also experimented with the layout of these images, making some of them overlap and cross over as I felt this gave some variation and would be a good addition to my photo book which included a lot of simple layout styles.
In what way are portraits by Paul Strand and Edward Steichen seen as examples of high modernism.
Introduction:
“The process of manipulation starts as soon as we frame a person, a landscape, an object, or a scene with our cameras: we chose a portrait or landscape format”(Bright and van Erp.2019:18).
I am going to explore how having a change of event in your childhood can affect the way you have been brought up, and how you view your past. This interests me because it’s something which I can relate to and have experienced firsthand. I will be investigating how portraiture was an integral part of Paul Strand’s and Edward Steichen’s work and consider their position as exponent of modernist photography. I will also be analyzing and discussing the way and how a particular modernist aesthetics can be attached to their works. As a response I will be re-editing and re-contextualising images of my childhood and upbringing from a photo album put together by my Social Care Worker. This new selection of images will be constructed as a new story about my life.
Historical Context:
Modernism as a set of ideas emerged alongside the Industrial Revolution from 1760s onwards. Even though photography was discovered later in 1839 as a scientific tool predominantly used in botany and archaeology. Modernism itself explored questions around the nature of art and human experience. Photography helped shape modernism and was itself an invention of modernism. New York became a hub for photographers in early 20th century, due to its radical architecture, and mass population. Most modernist photographers tried to challenge the fact that photography didn’t rival painting, herefore by doing this they could see the potential for originality. Modernism also saw photographers experimenting in creating something new. They did this by cutting up, marking, or combining images together leading to early examples of photo montages and collages, as seen in Dadaist’s works such as Russian Avant Garde artists Alexander Rodchenko. This era also let photographers to explore viewpoints as the number of handheld cameras increased. They were able to explore different angles of making interesting compositions. Rodchenko, who used different viewpoints said, that he wanted to “challenge the viewers perception and delay recognition” (Rodchenko in Johnston 2004:112). This is evident in his image of Shukhov Tower, where he has photographed the tower looking up at it instead of straight on deadpan approach. By doing this he has managed to capture the sharp lines of the tower. Rodchenko pointed out, that “everybody has been photographing from Centre to Centre, for years: not just 1 but the majority of photographers ought to be taking pictures looking up from below or down from above” (Rodchenko in Johnston 2004:112). Modernism allowed artist to explore this as photographers started to reject the older styles of photography, meaning they were becoming more creative.
Blind Woman – Paul strand
“It is in the organization of this objectivity that the photographer’s point of view towards life enters in”(Strand in Johnson 2004:128). With this statement Paul Strand is referring to the way he took images in their natural surroundings compared to other modernist photographers. Strand was instrumental in developing Straight Photography. He did this by experimenting with several techniques at the time, such as using candid camera techniques. A commentator has explained Strand being; “driven to document his city with complete photographic objectivity, he created a means of shooting his subjects candidly. He worked out that by screwing in a false lens to one side of his camera pointing ahead while concealing the real lens under his arm facing his subjects” (AnOther, n.d.). This meant that he could take images without people realizing they were captured on camera. One of his successful photos was of a Blind Street Beggar in 1916. At this time, he developed a more interest in this type of photography and began to make pictures in a lot more detail capturing every curve in the image. In the image above you can see a woman where she has a sign saying Blind. You can also see that she is wearing a tag around her neck this shows us that she is a licensed beggar in New York. This image was taken in monochrome. It also captures the details on her face, the light is hitting off her forehead and she is look away from the camera, this shows that she is not aware that she is being photographed.
Edward Steichen – Gloria Swanson
Edward Steichen is an American photographer; whose works were published in Alfred Stieglitz magazines Camera Work he was also known for his fashion photography. In the image above you can see a picture of a woman who is known as Gloria Swanson, who was a famous silent movie star. In the image she is looking straight at the camera, you can also see that she is wearing a headband. The picture is taken in monochrome, over the image you can see a piece of fabric covering her face identified as being lace. This was significant as Steichen merged the words of portraiture and fashion together. On the cloth you can see outlines of flowers and leafs. Gloria Swanson was a leading actress and this image was later used to publicize the film Vanity Fair. You can see in this portrait that the light is directed slightly to the right of the face.
I feel that portraits by Edward Steichen and Paul Strand are examples of high modernism, as they both look at different viewpoints. For example, Edward Steichen said “The mission of photography is to explain man to man and each to himself”(Steichen in Johnson 2004: 92). This signifies that you have to explore your own history to understand yourself. This is what I was focusing on to try and portray in my project about my childhood. In the image below, I have tried to recreate the famous image of Gloria Swanson where he has put lace on top of her face. For my recreation I used an overlay of another textured image in Photoshop on top of my self-portrait. By doing this I have been able to catch the emotion of the image. Edward Steichen is also a good example of high modernism as he made sure that when he took images, they were precise capturing a lot of fine detail. This is evident in his image of George Washington Bridge where he has got the everything parallel to each other, emphasizing perspective. It was taken in high clarity and you can also see that the light is hitting one side of the bridge whereas the other side is dark. In Steichen’s image of the bridge the lines are parallel, this was an integral part of modernism. “A Portrait must go beyond the almost universal self-consciousness that people have before the camera”(Steichen in Johnson 2004:92).
Edward Steichen – George Washington bridge.
My response Edward Steichen
When Paul Strand said “Your photography is a record of living, for anyone who really sees”(Strand in Johnston 2004:96) and I believe that this true, as everything you take images of goes in the history books for years to come people look back and will see what it was like in this time. In the image below I have attempted to recreate what Paul Strand did when taking portraits. I have taken the image in a naturalistic background and have also turned the image into monochrome as Paul Strand’s images were mostly in black and white. Some of Strand’s images are an example of high modernism because he also explored abstraction. For example, in the image Wall Street (New York) the photograph has elements of both realism and abstraction. For example, in the image he has used symmetry, as in the black openings in the architecture in the background. Strand also captured men in suits the financial heartland of America (Wall Street), therefore symbolically showing us America’s wealth and prosperity before the Wall Street crash in 1929. The suited men also represent symmetry and repetition of figures in the front of the image. You can also see the same shapes between the shadows and sharp light. “For it is precisely here that honesty, no less than intensity of vision, is the prerequisite of a living expression” (Strand in Johnson 2004:96) This quote supports Strands ideas of capturing people in their natural environment.
Wall Street New York – 1915 by Paul Strand
My response to Paul Strand
Conclusion:
There are similarities in the way Edward Steichen and Paul Strand make portraits, however, they explore different aesthetic styles and approaches. They both use the street as setting to make images. They both include a lot of emotion in the photographs, meaning that the audience can connect to what they are trying to communicate. Modernism allowed photographers to achieve the different emotions they wanted. Both Photographers have strong connections between the subjects in the images, As a story narrative I have tried to reconstruct my life as a child therefore have done this by getting a couple of pictures of me when I was younger and making them into a double page. Therefore, it would make effective for the reader to see what I was like as a child, but I also added some text to my book to explain my childhood for example, I have added some song lyrics I wrote, which explains my point of view of being fostered for 11 years. I hope to make this narrative easy for the reader to understand, when I have explored different aspects from my childhood to me growing up and comparing the photographs from the younger to the older me.
Bibliography:
Bright, S. and van Erp, H.(2019).Photography Decoded.London:Octupuss Publishing House.
the book cover was done as a reference to the folder that i received the archive images in this frot pages gives and intro and shows a pic of each of them there is more backstory on this page with a picture of each of them then on the right there is a picture of gorey pier where they met another landscape of gorey pier images of them and the backs of the images and it gives info on them this image is of the area where he fished and a story about his fishing on the left is an image of my the last boat my grandad had and on the right is one of him with the back of the image toosomewhere my grandad used to fish somewhere my grandad used to fish this image shows where my grandmother worked and a photo of her this image is under gorey pier where fishing boats unload at lower tides this is my grandads id card from the occupation my grandmother was too young to have one at the time this image is of the stairs down under the pier with a lobster pot and a fishing boat this is from under the pier again but is of lobster pots which he used in his time this page just had images of the pair an image of the bay area these are two different images of gorey castle this is the view from albert pier where the liberating boat came in an image of albert pier where their relationship started this is the final page of the book after my essay and shows a photo of them fishing in later life and a picture i took of their wedding rings
Link to final layout (missing inside dust jacket covers):
These are the images I have chosen to get printed off and framed. I have chosen 2 images from a photo shoot with Bob Le Sueur, 5 from the bunker project, 11 from my personal study, and 7 from various object photo shoots. I have organised them into A3, A4 and A5 folders for easier printing, but have taken the screenshot before doing so in order for all the images to be visible.
This is the final layout I have decided on for my prints. I have chosen to have the bottom image and the top image laid out like this because the bottom image is much darker while the top half of the top image shows as white, so it blends in better at the top with the board in the background. I then decided to leave the two smaller A5 images within the center as a sort of in between in contrast of the two other images, while also showing bunkers in a much further away and broader look rather than the close ups or specific parts of the bunkers.
