“RED STRING” – Yoshikatsu Fujii

• Book in hand: how does it feel? Smell, sniff the paper.

One of the most prominent aspects of this photo book is the physical feel of it. The material which has been used to create the cover is a soft and plush felt in an of white cover, arguably being symbolic of the protection which the parents of this book’s author provided her with.

• Paper and ink: use of different paper/ textures/ colour or B&W or both.

There is a multitude of different papers used within this book, mostly made up of regular matte finish paper, yet we see inserts of paper which are much thinner and the initial two images are printed on gloss. Color also plays a huge symbolic factor in this book, there is a variation between color and B&W images in the book. The inserts which have been secured to the inside of the book are done so with red washi tape, which reflects the color of the red string and therefore the title.

• Format, size and orientation: portraiture/ landscape/ square/ A5, A4, A3 / number of pages.

The photo book has been created in an A5 format with a variation of image sizes being used throughout the book, both landscape and portraiture with a wide variation of sizes and placements. The book consists of a total of 92 pages.

• Binding, soft/hard cover. image wrap/dust jacket. saddle stitch/swiss binding/ Japanese stab-binding/ leperello

Instead of a traditional soft or hard paper cover, the author has instead chosen a felt like material for the cover, creating a totally new experience for the viewer. The layout is also very unique, when opening the book, it splits into two separate sections, with both sides being very unique. The narratives are different too, covering the stories of the mother and father. The overall book is held together by Japanese stab binding using the very recognizable red string. The split binding allows the reader to page through one side and then the other, but the powerfulness comes from pairing both halves together. In this delicate and personal family album, Yoshikatsu Fujii ties the memory of his family back together with the cultural metaphor of red string.

• Cover: linen/ card. graphic/ printed image. embossed/ debossed. letterpress/ silkscreen/hot-stamping.

The cover of the book is covered in a very soft felt material and sew together by a red string which ties together both the overall theme and title off the book.

• Title: literal or poetic / relevant or intriguing.

According to the Japanese legend, this thread emanating from the heart doesn’t end at the tip of the finger. It continues in the form of an invisible red string, which ’’flows’’ out of your pinkie and goes on to intertwine with the red strings of other people — connecting your heart with theirs.

Two people who are connected in this way are bound together by Fate itself. Sooner or later, they are destined to meet, no matter how far apart they live or how much their life circumstances differ. And, when it happens that encounter is certain to profoundly affect both of them. The strings can sometimes stretch and become tangled, which could postpone the fateful meeting. But those ties will never be broken.

• Narrative: what is the story/ subject-matter. How is it told?

“I received a text message. “Today, our divorce was finalized.” The message from my mother was written simply, even though she usually sends me messages with many pictures and symbols. 
I remember that I didn’t feel any particular emotion, except that the time had come. 
Because my parents continued to live apart in the same house for a long time, their relationship gently came to an end over the years. It was no wonder that a draft blowing between the two could completely break the family at any time.”

• Structure and architecture: how design/ repeating motifs/ or specific features develops a concept or construct a narrative.

Throughout the book there is repeated symbolism of family and nostalgia, the photos reminisce the days of when the author was a child, unassumingly enjoying her adolescent life. In a way it can be argued that these images get progressively more cold and sorrow as the happy family dynamic fades out just like the marriage of the author’s parents did. This can also be denoted by the fact that the images on the left hand portion of the book are in black and white possibly noting feelings of sorrow and a lack of love within the man’s heart towards his wife.

• Design and layout: image size on pages/ single page, double-spread/ images/ grid, fold- outs/ inserts.

An interesting aspect of this book is the unconsistent layout and spread. The left hand portion of the book includes images which are both colour and monochromatic, she played out in single spreads and some in doubles. The fold outs within this portion are also attached by the red string, adding to the continuity of the title and providing the reader with a constant reminder of the motif of this colour. Contrary, on the right hand side, the images are all monochromatic and lack colour. Interestingly there are also no fold outs in this portion showing the lack of emotion the father may have.

• Editing and sequencing: selection of images/ juxtaposition of photographs/ editing process.

The author of this book has likely utilised a large portion of family photo archives in order to create this photo book as we see a variety of images of different time periods within this book. There is again a large juxtaposition in this book with the lack vs prevalent use of colour within the left and right hand potions of the book. Moreover, another point of contrast is the lack of inserts within the right hand portion of the book.

• Images and text: are they linked? Introduction/ essay/ statement by artists or others.  Use of captions (if any.)

The ways in which these images are linked are through the repeated use of archival imagery and the text which goes along it. Most noteworthy is the poignant quote, “today the divorce was finalised”, along side a family portrait. This book undoubtedly is a reflection of this family’s time together and the way in which a marriage grows apart. The split binding representing the ways in which these two people grew apart.

ORIGINALS:

The original, images witch I have created do have the intended “nostalgic” feel to them with the use of film within the photoshoots. In order to add some points of contrast and interest it would be suitable to do some editing with them, wether that be adding filters or using various other editing techniques in order to create further meaning within these images.

In order to carry forward this theme, I will continue to use film throughout my other photo shoots as this will fit in well with the theme of my photo book which I intend to make by hand. I feel as though these images belong in a medium which isn’t perfect and printed by a machine as it would contrast too much with the images. The themes which I am tackling with these images also tie together with poverty meaning that it would only be appropriate that the book is no made in a way which is clean and sharp.

EDITS:

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INTENT/EFFECT:

As the graininess and warmth nature are two aspects which I enjoy a lot about the photos and think is very effective, I have firstly played around with a simple trace and drag technique to the images. With these edits, I have simply traced around the images and dragged the outlines slightly to the sides in order for them to be clearly viewed. I find that this was very effective in terms of adding another point of interest to the images. These lines provoke ideas of fragility and childhood as they are rugged and un neat. As I intend to work in a similar way as the photos in the photo book “red string”, these messy edits would fit in perfectly with the theme, giving them a hand made feel with the imperfect line work.

PHOTO SHOOT PLAN:

• 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. 

SUCCESSFUL IMAGES:

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IMAGE ANALYSIS:

VISUAL:

I find that the overall visual appeal of this image comes from the film which I developed, having a grainy texture and golden overcast which provokes feelings of nostalgia as if the image was taken by your relatives in the 80’s. Visually and on a surface level the image is not extraordinary, capturing a very mundane scene, but adding the contextual information means that there is more to the image than the eye can see. The first thing which strikes the viewer is the dark and dingy scene of the garages and dustbins on the outside, the ye being drawn to the bright white writing on in the center of the image. Another major aspect of this image is the light. The sun is hitting from the top right side of the image, totally illuminating the sky and casting a deep shadow on the left hand side of the image.

TECHNICAL:

This image is a physical print copy of the film which I developed using a disposable camera, the overall aesthetic aspects of film meant that I had wanted to work with it for a long time. It is a difficult medium to work with for three reasons. Firstly taking the images is like a shot in the dark as you cannot see a preview up until the images are printed. Secondly there are restriction as to how many images you are able to take due to the use of film, I for instance could only take 39 images meaning that each shot had to be planned and meaningful as it would be wasteful to take any old shot, and even with careful planning some shots were unusable as they were either too dark or over exposed. Lastly the cost factor of creating these images was also a large part to the difficulty as disposable cameras can be quite pricey depending on the quality, mine being £11, also costing £9 to develop the images meaning it is not a viable source of images if images need to be taken quickly and efficiently.

CONCEPTUAL:

Going back to the theme of nostalgia and wanting to home in on this, Using film was an effective way to achieve this. When looking at the image, one of the first feelings which is provoked is nostalgia with the grainy, warm nature of the final prints, looking like family archival images which have been taken from the attic, dating back to the 80’s. I want to to retain this feeling throughout my images as it is a different approach to modern digital photography. Using a medium such as film makes me appreciate photography on a deeper level by making me consider each shot before taking it due to the material restraints of using film. Each shot has to be planned and considered as this isn’t a priority anymore when using digital photography. Even if each shot is not perfect, I will be including each shot as this will reflect the “take what you can get” approach of housing as people will, in desperate times, take whatever comes their way.

CONTEXTUAL:

States figures suggest the elderly, younger people and smaller families are struggling to find suitable and affordable accommodation in the private sector. A reflection of this struggle can be seen within the social and low cost housing of Jersey. Currently demand outweighs supply therefore the need for affordable housing is in more need than ever.

EDITING IDEAS:

An idea which I found to be quite interesting in terms of the visual aspects of the image is tracing the outlines within the image and then moving this traced layer to one side, creating a sort of child like drawing which can be seen a top of the original. Although not directly linked to any contextual information to the image, I find that this editing technique is an effective way to give an image a stronger focal point and to draw interest.

Add Essay questions

Opening quote

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.

SHOOT 1:

• 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. 

SHOOT 2:

WHERE: Going forward after my first photo shoot, I will be conducing these within the rental properties which are available in Jersey. Mostly focusing on property in St.Helier as this tends to be the area with the largest concentration of immigrants and affordable housing.

WHEN: In order to achieve quality imagery, I will attempt to capture the images during daytime, retaining natural lighting within the images.

WHO: Much like the first photo shoot, I will be focusing on places rather than people so therefore my imagery will be solely focused on the interior of properties. Looking at small details such as the kitchens, bathrooms, bedrooms etc.

WHY: 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.

HOW: Taking into mind the logistical problems associated with capturing and developing film, for the remainder for my shoots I will be using a digital camera in order to capture my shoots. Although it may not be authentic, there are methods which can be used with editing techniques which can give the same aesthetic qualities as print film.

SHOOT 3:

Repeating the steps taken in shoot 2, I will be conducting further shoots taken within rental properties which will allow me to gain a variety of resources and use these in order to create a narrative and conclude what I have seen.

SHOOT 4:

Repeating the steps taken in shoot 2 and 3, I will be conducting further shoots taken within rental properties which will allow me to gain a variety of resources and use these in order to create a narrative and conclude what I have seen.

SHOOT 5:

In my final shoot I will be focusing on my own home, taking the same approach of documentary photography as in shoot 2,3 and 4. This shoot will allow me to create a cyclical narrative, using the internal, external and personal narratives within my personal study.

INTERVIEW QUOTES:

“Maybe, but it’s more complicated: maybe for him the endless encounters with what can be infinitely reduced occurrences, the tireless recording of them, often without looking through the viewfinder, maybe that process got to the point it did because he was in a state of recognition that “occurrences” themselves are a single sort of thing – brief concentrations of human or animal energy forming erratically through often in structured spaces, and in the presence of a recording device.”

‘it seems that Winogrand was flirting with the side that the photographic act will always and inevitably transform things into a picture and that “composition” is entirely secondary to this phenomenon.”

“The “weak” claim reflects or expresses a certain ambivalence about art that was characteristic of the avant-garde, or the avant-garde period. But things have moved from there and ow there’s less reason to want to undermine art, especially “Art”, and more reason now to want to preserve it as a possibility since it is to an unprecedented extent threatened with a kind of dissolution into a mass culture of a global culture.”

LIFE AND CAREER:

To date, little has been written about Hedges or the Shelter photographs. Previously overlooked as a subject for academic study, the Shelter photographs have, until recently, remained out of the public eye and consciousness. Showcased in high-profile exhibitions and reviews at the time of their making in the late 1960s and early 1970s, the photographs have since been somewhat forgotten, and to a certain extent written out of, the history of British photography. Primary source material on Hedges and his work has, until now, focused on his other photographic projects, notably his study of factory workers entitled Born to Work (made between 1976 and 1978)18, his documentation of religion, entitled I’m A Believer (made between 1976 and 1977), and his study of the North Shields fishing industry in 1979. The two former series focused on the West Midlands, Hedges’ birthplace. After obtaining an Arts Council grant in 1982, Hedges was subsequently able to publish the Born to Work photographs, accompanied by a text written by Huw Beynon, in a book entitled Born to Work: Images of Factory Life. These photographs were the subject of a large exhibition of the same name held at Wolverhampton City Archives between 4 October and 21 December 2013.22 They were also featured alongside the work of photographers John Bulmer and Peter Donnelly in the exhibition Black Country Echoes. (Hall, A, The University of Birmingham, 2015, p.6,7)

PROMINENT IMAGES:

IMAGE ANALYSIS:

VISUAL:

In terms of the visual aspects of this image there are multiple aspects which can be looked at. Firstly the scale is important as the people in the foreground of the image are overshadowed by the towering block of flats in the backdrop. The black and white color scheme is also important to the overall emotive aspects of the image as they monochromatic nature of the images provokes a sense of depression and melancholy. It is quite a dynamic image in terms of the sense of movement which is gained from the action of the children playing within the enclosed space between the buildings. The light within this image is also an important factor as the light coming in from the the central top half of the image casts a dramatic shadow upon the buildings which adds to the overall depressing tone of the image. There is a sense of repetition in this image with the rows upon rows of windows leading the eye to the center of the image. A theme which also comes through when looking at this photo is control and encasement with portrayal of the courtyard between the high rise of flats, the children playing on concrete rather than an open field with soft grass.

TECHNICAL:

In terms of the technical aspects of this image, conceptually it is know that these images were taken between the 1960’s and 70’s by hedges, at which point the only photographic aperture were film cameras. For this fact we can see that the image has a grainy effect, in black and white and is traditionally conformist to what images looked like within this time period. The combination of the grain and monochromatic color scheme means that the image provokes feelings of nostalgia and childhood as if you’re looking through your own archival history.

CONCEPTUAL:

” Most cities in Britain manage, or try, to hide away any tragedy that is endemic to them. But in Glasgow the tragedy is apparent as you roll slowly thought what remains of the Gorbals towards Central Station. It is apparent in the number of times disaster hits the city, every year some tragic event reinforced its reputation upon the rest of the country. A tenement fire, a gas mains explosion, a football crowd disaster, the shipyard crisis, the unemployment rate, another fire disaster; the list is endless….. One thing I couldn’t find was soul, identity, character – but you cannot plan for this, it happens by chance, it grows through shared experience and by necessity through shared hardship as well as happiness. That’s how I see it. I could well be wrong; I could well be wrong to bother about identity or character. East Kilbride had many virtues which I found lacking in other new developments I visited, but I couldn’t live there it would have been so dull. I do know that most of Glasgow families I’d seen would have moved there as soon as they were able, and that’s the most important judgement.” ( http://www.shelterscotland.org/lifeworthliving/about/nick-hedges, Shelter 2015, Scotland)

CONTEXTUAL:

Little has been published about Shelter as an organisation, and such writing that does exist does not feature Hedges, or his photographs, as a topic of study. The main sources of information are two books, both written by Des Wilson who was the Director of the charity between 1966 and 1971. The first, entitled I Know it was the Place’s Fault, was published in 1970. 44 The second, entitled Memoirs of a Minor Public Figure, is an autobiography published in 2011.45 Both texts are useful in their provision of an historical, if one-sided, account of Shelter’s formation and activities. The earlier text is particularly interesting in its discussion of the charity’s groundbreaking media campaigns, constructed around Hedges’ photographs. Although it features twelve of Hedges’ photographs as illustrations, there is no discussion of them, or how they were made. The second text features two of Hedges’ photographs as illustrations, but is equally devoid of any direct engagement with them. Perhaps it is not surprising that the photographs, although central to Shelter’s campaigns, are somewhat overlooked. The focus of Wilson’s accounts is the establishment and success of the charity, not an analysis of photographic meaning. Equally, both texts are written from Wilson’s perspective: one, a personal account of his role as Shelter’s Director, the other, an autobiography. Whilst central to an historical understanding of the charity, Hedges’ photographs have little bearing on Wilson, or an account of his life. Hedges’ own relative silence regarding the Shelter photographs and their lack of public exposure may also have contributed to Wilson’s disinterest in them.

• Essay Question

• In what way does Nick Hedges portray a sense of state discrimination and hopelessness through his monochromatic imagery?

• Opening quote

” You’ve only got to read any autobiography by anyone who’s grown up in unfortunate circumstances to understand the significance of their childhood and its impact upon them. ” (Hall, A, The University of Birmingham, 2015, p.74)

• Introduction (250-500 words): What is your area study? Which artists will you be analyzing and why? How will you be responding to their work and essay question?

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.

HARVARD SYSTEM OF REFERENCING:

EXAMPLE:

Sherman, C, Published: 2006, Retrospective, New York: Thames & Hudson Inc.

~~~~~own writing~~~~~ (critic/art historian etc.) says: “Drawing on feminism as well as phenomenology, I also suggest here that Sherman’s work participates in a particular mode….” (Sherman, 2006, 33 (page No.)), ~~~~~comment/state opinion on what the author has said~~~~~

POIGNANT QUOTES:

“Daguerre’s technique gave a unique image: it could only be copied by being rephotographed – something that already suggests photography’s complicated relationship with reality.” (Bright, S. and Van Erp, H. 2019: 17)

“for the lack of human subjectivity makes it an example of ‘true reality’.” (Bright, S. and Van Erp, H. 2019: 18)

“The binding principle of photography, however, remains its relationship to reality, especially when at question is documentary photography or a picture in the news media.” (Bright, S. and Van Erp, H. 2019: 18)

“One can then ask: what are the differences between reality and witness and points of view?” (Bright, S. and Van Erp, H. 2019: 18)

“The appeal of this work lies in the use of documentary elements in combination with the artist’s obsession and the sense of voyeurism that this evokes.” (Bright, S. and Van Erp, H. 2019: 18)

“Initially described as a means of capturing freezing ‘real life’, it has gradually taken on an ever more ambiguous, complicated and fraught character as our ability to modify and share images has exponentially increased.” (Bright, S. and Van Erp, H. 2019: 18)

Harvard system of referencing:

Bibliography:

Sherman, C, Published: 2006, Retrospective, New York: Thames & Hudson Inc.

~~~~~own writing~~~~~ (critic/art historian etc.) says: “Drawing on feminism as well as phenomenology, I also suggest here that Sherman’s work participates in a particular mode….” (Sherman, 2006, 33 (page No.)), ~~~~~comment/state opinion on what the author has said~~~~~

if longer than 4 lines:

~~~~~own writing~~~~~ (critic/art historian etc.)

“~~~~~indented work of author~~~~~”

online sources:

authors name, year of publish, title of the article/work, place of publication (websites place of operation i.e London), URL address