After editing the images from my 5th photo-shoot, I was able to come up with the following images as final results:
After editing my final images and comparing them with the images that I had already included in my book, I came to the conclusion that both the second and 3rd image (above) do not match the colour scheme of my book. I was unable to find a place that these two images would fit in, as especially regarding the 3rd image, my photo-book has a theme of cool colours, black and with imagery, with a theme of deep red continuing throughout the book. I felt like the 3rd image from my 5th photo-shoot was too warm to be included in the book, and so after editing, I decided to reject this image. Furthermore, I felt that the first image (of the spanner) was not strong enough to be presented on its own (on a single page with a blank page next, or on a double page spread), and yet I could not find a place where the image would fit next to another image. I felt like forcing this image to be included would disrupt the narrative of the book, and so I rejected both of these images, and kept the 2nd image (fists) in the book. I found that the 2 images that I rejected were valuable experimentation, but did not work in my final book.
Below is the contact sheet for my 5th photo-shoot:
GREEN: box = final image, tick = possible final image RED: line = rejected image, E = over/under exposed, F = poor focus, C = poor camera angle
I will be using the first image of the dress as a possible front cover for my book, and so the editing process for this image can be found in my Book layout experimentation blog-post.
GREEN: box = final image, tick = possible final image RED: line = rejected image, E = over/under exposed, F = poor focus, C = poor camera angle, S = subject in wrong position
GREEN: box = final image, tick = possible final image, squiggle = unsure RED: line = rejected image, E = over/under exposed, F = poor focus, C = poor camera angle, S = subject in wrong position
After selecting the images I wanted to edit, I uploaded the images onto Photo-shop and began the editing experimentation:
For the first image, I increased the contrast of the image (causing the background to disappear, which was also the desired effect). I also changed the colour to monotone in order to draw attention to the overall texture and shapes, rather than the colours of the image.
I further increased the contrast of the image, and used the lasso tool to cut certain areas of rougher skin, placing them on the knuckles and using the eraser tool to soften the edges, to give the knuckles a slightly bruised effect.
Above is the final image. I feel like the bruising represents a tougher, more masculine approach, whereas the rings on the finger indicate that the subject is female. These 2 contrasting concepts, along with the hostile position of the hands, represent a move from traditional femininity towards masculinity, with the bruised hands representing defence of ones self.
For my second image, I decided to make a statement about a merge between femininity and masculinity, focusing on the delicacy of masculinity (taking inspiration from Phoebe Jane Barrett’s work)
For this image, I used the selective colour tool to increase the brightness of the white in the background. After several attempts I was able to present the background as completely white, which was the desired outcome for the image. I also increased the contrast of the image to show the contrast between the different colours of glitter, and the harshness of the metal on the spanner.
I feel like this final image gives an obvert example of the merge between feminine and masculine qualities, with the simplicity of the glitter providing such a contrast to the masculinity of the tool. I feel like this is a good example of just how strict society can be when it comes to the presentation of gender, as even a change as small as glitter creates a completely different opinion within the viewer when judging the object.
For my final image, I used the same process as the image above, increasing the contrast of the image, anodising the selective colour tool to reduce the pinkness in the hands of the subject (to keep the continuity of the colour scheme). Below is the final image:
I feel like this image is a simple yet effective rebellion against gender norms, as the masculinity of the subject is shown through his jacket and can of beer, and yet the inclusion of painted fingernails warps the view of the viewer when looking at the image, and they judge the subject based on this one small break from their understanding of gender and masculinity.
For my 4th photo-shoot, I have decided to directly respond to my artists Cindy Sherman and Phoebe-Jane Barrett, by creating photography that overtly have their influence in them. My previous photo-shoots have all contained influence from these artists, however I felt that in order to best reflect the influence I have gained, I should attempt to recreate their imagery and concepts in my own way. In order to do this, I used a subject for the 2 different styles of shoot, conducted in the same place. The contact sheet can be seen below:
RED: line through: rejected image, S: subject in wrong position, E: too over/under exposed GREEN: tick: possible final image, box: final image
RED: line through: rejected image, S: subject in wrong position, E: too over/under exposed GREEN: tick: possible final image, box: final image
RED: line through: rejected image, S: subject in wrong position, E: too over/under exposed GREEN: tick: possible final image, box: final image
Both of the above contact sheets were created with the intention of developing images that reflected the overall style and concept of both Sherman and Barrett’s work, with the first sheet representing an approach to Barrett’s more emotionally driven, soft focus work that reflects the hardships of expressing the same gender identity as the one that is expected of you, and the second sheet making reference to Sherman’s bold, brash approach to gender stereotypes and the exaggeration of feminine features.
After selecting my final images from the contact sheets, I moved on to editing the images:
For my image in which I took inspiration from Phoebe Barrett, I initially cropped the image to place the subject as the centre focus, and to remove the edge of the image which captured the bedside table (I found that the darkness of this corner removed attention from the subject in the centre of the frame).
Selective colour setting, focusing on increasing the cyan shades in order to give a soft, almost washed out effect to the image.
I also increased the contrast of the image in order to show the contrast between the dark shades of the subjects clothing, and the light bedspread in the background.
I added a range of elective colour edits in order to perfect the washed out, soft blue hue that I was going for in the image
The above images show the ways in which I edited the colours of the image in order to give a overall blue/cyan hue to then image in order to soften the image and its harshness. Although Barrett focuses on black and white imagery in her masculinity work, I decided that the image would look better in colour, but still made efforts to stick to the overall soft theme of Barrett’s work.
Above is the final image from this part of the photo-shoot. I feel like it accurately reflects the concept of Barrett’s work, while not copying it directly. I have used this photograph to convey emotion to the viewer, with the bright, sparkly and outgoing attire of the subject contrasting their solemn, fed up look, as if to convey that their emotions and personality does not match the way in which they convey themselves to the world. I feel like this is an example of what the pressure of conforming to gender stereotypes can do to a person, removing their ability to express themselves freely, and thus they develop an emotionless, solemn outer shell, protecting them from society’s judgement. I feel like this is a very important aspect of Barrett’s work, and therefore I attempted to recreate this concept in my own photo-shoot.
I then made edits to the other part of the photo-shot, in which I recreated an image made by Sherman, reflecting the bold and brash gender stereotypes of women I the media, and making a satirical comment on how these features actually look. Below is the process of how I edited my final image:
Initially, I increased the contrast of my image in order to copy the very bold, striking colours of Sherman’s work, in which the high contrast oranges, blues, reds and yellows make her work recognisable and eye-catching.
In order to individually increase the contrast and tone of the hair (so that the hair did not come off in the same pink hue as the face), I used the lasso tool to copy and paste the hair of the subject onto a different layer, and increased the contrast separately to stop this from happening.
The above image has a background that did not match the subject in the foreground, therefore I covered the background with black, and cut the subject out in the foreground, below was the final result:
I feel like this final image accurately reflects the concept and theme of Cindy Sherman’s work. I feel like the pose of the subject is over exaggerated and fake, giving the image an overall exaggerated and satirical feel (which follows the theme of Sherman’s work). Furthermore, I feel like the extreme contrast within the image, along with the extreme and rough make-up, gives the image a fake and heavily edited feel to it, which in turn helps to reflect the same satirical, over the top reflection of female gender presentation in the media that Sherman reflects in her own work. Altogether, I find that this image successfully conveys the concepts and themes of Sherman’s work, while not directly copying it.
On top of these two images, I also experimented with some of the images I took that did not directly reflect the work of the artists I was studying, but I felt would suit the style and concept of the book regardless. Below are 2 of the images that I also decided to use, after editing:
I feel like the second image above also reflects Cindy Sherman’s work and concepts very overtly, although the colour scheme and editing makes this less obvious (although the attitude/pose of the subject is closely related to Sherman’s satirical approach to photography). The first image above is, however, more conceptual its approach, as it shows a subject presenting a huge, over the top smile, while makeup runs down her face. I feel like this evokes the same raw emotion as Barrett’s work, while visually presenting in a bold way (like Sherman).
The aim of this further experimentation is to re-edit my imagery in order to convey different conceptual representations of my work. I am going to be editing the images in a simplistic and minimalistic way, in order to explore my imagery following my projects aesthetic as well as taking a more contemporary route to manipulating my photographs, using photo shop to do so. Taking the original edit will allow a comparison to be created between the old and new, and doing this will hopefully make my imagery stronger and produce outcomes to which I will want to use in my photographic book. In addition, this will allow me to showcase my ability to creatively manipulate my work in order to create an intended effect. I am planning on taking my top imagery, which I believe could look better in a different variation, from a couple of my photo shoots that I have conducted and will produce two edits of the same image.
Experiment 1:
Original Edit:
In the original photographic edit of the hand and the pen, I used Lightroom to adjust the white balance, white, blacks, shadows and contrast in order to showcase detail on his skin and the pen, allowing contextual representations about my Grandad’s job and age to be illustrated. The simplicity of the edit allows the image to follow my aesthetic which has been upheld within my project. With this edit I am wanting to create a more contemporary approach as well as a black and white version of this edit.
Design 1:
Below showcases the steps I took in order to achieve the final effect. To start the edit off, I opened up the hand picture into photo shop and using the quick selection tool I selected the hand and pressed layer via cut. Then opening a new photoshop page, I placed this layer onto the document, duplicating this layer allowed this hand pattern design to be created. I then merged all these layers into one layer. Opening up the photograph of my Grandad at work and then I placed this hand layer onto, adjusting the size to fit the page (ctrl + t). I then turned down the opacity of the hand layer to around 40% which allowed the affect below to be created. Personally, I really like the way in which this final outcome looks as it allows the conceptual representation of my Grandad being a hard and dedicated worker within the finance industry to be illustrated, as well as showing how this hard work has been developed into his retirement. Visually, the piece is interesting to look at due to the busyness of the frame and the contrast of monochrome and colour within the composition of the frame.
Design 2:
Taking a more simplistic route which follows my projects aesthetic, I decided to experiment with this outcome in black and white. Using Lightroom I got the original image and made the it monochrome. I then looked at adjusting the contrast, shadows, blacks and whites until I was happy with the overall effect. I wanted the photograph to show clear detail on the hand, allowing a clear tonal contrast to be created, in order to conceptually represent his hard work and dedication to his work life which is illustrated through the formal element of texture due to his skin. I believe this is my strongest outcome as it clearly represents my intended concept of the project, as well as following the stylised features of my other photographs.
Experiment 2:
Original Edit:
For my next experimentation I decided to explore with the photograph of my Grandad getting ready in the morning as he looks into the bathroom mirror. I wanted to take a contemporary route in order to conceptually and contextually represent his age and inner thought. In the original edit I used Lightroom to adjust the white balance, white, blacks, shadows and contrast in order to showcase detail on his skin and the pen
Design 1:
For my first contemporary edit I decided to explore using the burn, smudge tools in order to create texture within the image. To achieve the effects simply went round the outline of the back of my Grandad and smudged him which represent decay and his age, suggesting retirement and his peaceful lifestyle. Adding to this I used the burn tool in order to blend the smudge and make it look more naturalistic. I really like the way in which the photograph edit has turned out as it clearly showcases conceptual and contextual representations through distortion of my subject.
Design 2:
In my next edit of the same photograph I wanted to stick to the same contemporary route. I decided to use the quick selection tool to cut out the face of my grandad. Then using the transformation tool I placed the face in the mirror, looking directly at him, and turned down the opacity making it blend in. Doing this conceptually represents a more intimate approach to himself and his lifestyle, it suggests how he is always criticising himself to do better in the sense of work. It also showcases how perfection has followed him through his lifetime. Personally, I really like this outcome as it showcases my Grandad in a new limelight which is more intimate and informs us more about him, however I prefer the aesthetic of the outcome above.
Experiment 3:
Original Edit:
In this original edit of a photograph inspired by LaToya Ruby Frazier, I wanted to produce another simplistic edit as well as a more contemporary edit in order to illustrate conceptual meaning within the imagery. In the original edit I wanted to have my photograph monochrome, to match the stylistic features of LaToya Ruby Frazier. I wanted to showcase the formal elements of detail, space and form, which was clearly showcased by the composition and the way in which I adjusted the structure, whites, black and shadows. I believe that this outcome is strong but want to explore with the photograph in colour to make a comparison.
Design 1:
For the colour variation of the photograph I wanted to make the image showcase the same conceptual and contextual representation as the monochrome version of the outcome. To achieve this I simply adjusted the sliders to the same as the other variation. I then slightly adjusted the lights and darks in order to showcase detail on their skin and still illustrate the sense of space within the composition. comparing the two outcomes, I much prefer the monochrome version as I believe the contextual elements of the work is much clearer in presenting itself, due to more detail being showcased and the closer links with the artist the photograph was inspired by.
Design 2:
Utilising the black and white outcome of this photograph, due to my personal preference, I wanted to withstand the simplicity of the outcome but add a more contemporary stylistic feature towards it. Simply using the quick selection tool I cut out both of my Grandparents and moved them slightly from their original positioning, allowing a black outline of them to showcased. Conceptually, I was trying to illustrate how their past is leaving them as they become older how their lifestyle habits have changed and how their personality is changing due to situational factors presented in their lifestyle today. Personally, I really like the way in which this outcome has turned out as it creates a interesting piece to look at through the rule of thirds and the subtleness of the black outline.
Experiment 4:
Original Edit:
For my final experimentation I used another photographer from my LaToya Ruby Frazier photo shoot. In the original edit I wanted to have my photograph monochrome, to match the stylistic features of LaToya Ruby Frazier. I wanted to showcase the formal elements of detail, space and form, which was clearly showcased by the composition and the way in which I adjusted the structure, whites, black and shadows. I believe that this outcome is strong but want to explore with the photograph in colour to make a comparison. My third edit will still follow the simplicity as I feel if I take a contemporary route to it, it will ruin the strong conceptual values the imagery holds.
Design 1:
For the colour variation of the photograph I wanted to make the image showcase the same conceptual and contextual representation as the monochrome version of the outcome. To achieve this I simply adjusted the sliders to the same as the other variation. I then slightly adjusted the lights and darks in order to showcase detail on their skin and still illustrate the sense of space within the composition. comparing the two outcomes, I much prefer the monochrome version as I believe the contextual elements of the work is much clearer in presenting itself, due to more detail being showcased and the closer links with the artist the photograph was inspired by.
Design 2:
For my final variation of this outcome, I took the black and white version of the edit, due to it being stronger in presenting my conceptual and contextual representation. I experimented with adjusting the hue of the photograph in order to make it have a more orange/yellow sepia tone which helps to emphases the contextual element of the time period they were raised which influences their lifestyle of the male of the house hold being more dominant. Although I like this outcome, I feel you loose the texture and detail on my Grandad’s skin which takes away from the conceptual elements.
Evaluation:
To evaluate these further exploration, I feel I have been able to successfully use Lightroom and photoshop to create image which take a minimalistic and contemporary route to producing conceptual and contextual elements of my photographs. I have been able to demonstrate my skills of using the different tools on photoshop and justify why artistic decisions where made in order to illustrate my photographs. Moving forward, the stronger variations of the outcomes, which follow my minimalistic aesthetic I will look at using and implementing into my photographic book, in order to allow the sequence of my images to flow my easier. To conclude, this further exploration process was useful in the sense that I have been able to make my outcomes stronger in representation.
I went to my cadets training as usual but this time i brought a camera with me to take some photographs to show how i’m working with my unit to become a part of the navy after i’m 18. so i asked for permission to take photographs of my unit (Marines Unit) and just took photographs of my unit while in training and this is what i came out with:
Unfortunately due to the lack of time i didn’t have any time to keep adjusting the camera setting as i had to do drill and take photographs in the same time so a lot of photographs where out of focus. But luckily i did manage to get some good photographs and on top of that some of the photographs that were out of focus are actually usable because the fact that they were blury gave them some meaning as in this is how you would be able to see in a war
This book is a large sturdy book with a hard back cover. It is a relatively heavy book which connotes quality as well as time and effort spent in the production of the book. The pages inside are glossy and smooth to the touch. This slight sheen helps to enhance the images within and brings out the natural colours of the photographs. The title ‘Sans limites’ translates to ‘without limits’, clutivating the mood of the book from the very beginning that freedom is almost a state of mind.
Content and Imagery:
The images are all full bleed, double page spreads with a landscape orientation. They are all high resolution, colour printed images focusing on landscapes and scenes captured on a road trip with friends. The scale of the images helps incorporate the concept of being in the limitless outside world, out in nature. The book focuses on the idea that the world is beautiful and shows the meaning of true freedom and memory making with our chosen families. The images are all literal, yet they posses some poetic feel to them as they are supposed to carry a message and emotion of how it felt to go on this breathtaking journey. The sequencing of the image follows Gosselin and his friends on a chronological journey, showing the different aspects of the road trip, focusing at points on the car journey itself, and the driving, or a run along an empty road in the middle of a beautiful countryside.
Conducting a sixth photo shoot for my personal investigation has allowed me to obtain more imagery which explores different aspects of my Grandad’s lifestyle which I have not previously captured. Regarding my narrative, my Grandad was and is the ‘head of the house’ and head of the family hierarchy, thus I decided to dedicate this shoot to him, in order to capture strong imagery of him which will help this narrative be illustrated in my photo book. In my initially stages of this investigation I talked about my Grandad being religious and a business man, and so I wanted to capture these elements, as well as produce imagery which breaks the boundaries of intimacy in order to reveal more about his lifestyle and personality. I decided to photograph my Grandad in his bedroom, bathroom and office, which are considered his ‘private chambers’, where he spends a lot of time alone. Doing this will allow me to gain a clearer understanding and showcase his personality and how his lifestyle has affected his traits. With regards to camera settings I intend to keep it naturalistic to maintain authenticity within my outcomes, ie my shutter speed will be quick, ISO low etc. In addition I intend to just use the artificial lighting found in these rooms stated above in order to present a naturalistic setting and ambience towards my outcomes.
Edits:
First Edit – Flagged
Second Edit – Star Rating
Third Edit – Colour Rating
Final Outcomes:
As like previous shoots, I decided to keep the edits simplistic by editing my outcomes into black and white or in colour. I decided not to take a more contemporary root to editing as I felt meaning and reality to the imagery would be lost, loosing the point of the photographs. In order to achieve these outcomes below I simply adjusted the white, blacks, shadows, contrast and structure in order to achieve my intended affect. Along side this, I explored with the idea of slightly desaturating an image in order to create a vintage feel towards the imagery. The photograph this is done on is the one of him working at his desk, this affect works as it contextually shows how he has been working all his life in order to create a happy and luxurious lifestyle for his family, showing his motivation and hardworking qualities, I believe this edit clearly showcases this through the desaturation.
Analysis:
The photograph above is my top outcome from this photo shoot. Conceptually, the photograph represents my Grandad’s Christian belief through him praying on the bed. He has always been a Christian and has been raised around the idea of their being a ‘God’ and how this figure created life on earth and life in an afterlife. Being regular attendants at their local church, they explore their reasoning for their existence and look for hope in the future. The line in the bible ‘Love our neighbour as much as we love ourselves’ is one drive which he stands by. He believes that everyone should be treated with equality and fairness, and that a neighbour isn’t just the person who lives next door but all the disadvantage people around the world. Due to this thought him and his wife intend to help all through many different ways, for example volunteering every Friday at he hospital with the tuck shop going round the different wards. Contextually, religion has been with my Grandad from a young age, due to the popularity of it during the 1940’s when he was born and raised. He has reflected his beliefs onto his offsprings by teaching them moral lessons he has learnt at church, and by providing them with prayers which they say nightly.
Visually, we are presented with my Grandad who is leaning against his bed with his eyes closed na d hands joined together. In this he is saying his nightly prayer where he thanks God for all that has happened today and asks for a successful day the following day. Taken at a straight on angle the formal elements of tone, shape and texture is clearly presented through the composition of the frame. The photograph itself is presented in black and white, which allows for a higher tonal contrast as well as a more serious atmosphere to be created, illustrating the importance of religion on his lifestyle. The background of this image is of a bedside table and a door to the rest of his house, which suggests a sense of safety and intimacy as his room is a place where he can speak to God. The way in which the photograph is taken showcases the rule of thirds due to the positioning of my subject. Technically, the imagery has used a quick shutter speed and slightly higher ISO, due to no intended blur but some noise being presented due to the sensitivity of the lighting. An aperture of around f/5.6 was used in order to create a slight narrow depth of field and allowed enough light in. In addition, artificial lighting was due to the naturalism of the scene, as I was capturing his reality.
Evaluation:
To evaluate, I believe I have produced strong imagery which breaks this boundary of intimacy. The photographs capture him on a more personal level, creating vulnerability allowing a higher impact on conceptual representation. Capturing him in his bedroom, office and bathroom, has allowed more conceptual elements of his lifestyle to be illustrated, such as religion, working and his personality towards his luxury lifestyle. Making there artistic decision to just capture my Grandad, allows the sense of authority and top of the family higher archery to be with stained, which allows my narrative and aims of this investigation to remain focused. In terms of ability, I have been able to provide further evidence for my ability to capture high quality imagery as well as use Lightroom to effectively edit the photographs for intended effect. In addition, I have shown further exploration by experimenting with the saturation of my imagery. In conclusion, I believe this photo shoot was successful as I have produced intimate imagery which allows the narrative to flow, while reinforcing my capability to capture and edit imagery.
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)
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 Evans’ 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. These two photographers attempt to capture reality through portrait, but the validity of the imagery is reduced as the photographer is either insider looking in, or an outsider looking in which suggests a personal attachment to the subject or a vivid understanding of their situation, reducing the reliability of documentary photography. In my project I am considered an insider looking in, due to my subject being close to me both physically and emotionally, creating a more subjective view towards their reality, thus creating biased photographs.
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 invented 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, n.d.). 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.” (The Art Story, n.d.). 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 capture my subject, 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 debate on the extent to which documentary photography accurately portrays reality, has been ongoing since the 1930’s. In 1936, Arthur Rothstein claimed that he “moved the skull a few meters in order to obtain a more dramatic pictorial effect” (Photography: A critical introduction, 1996; 72), suggesting in the early forms of this style of photography, photographers were strategically manipulating the frame and subject in order to gain a certain effect, reducing the reliability of the imagery. During the Victorian era, cases of manipulation for effect was still present; “In 1876 the philanthropist Dr T.J. Bernardo appeared at a hearing, having been charged with deceiving the public” (Photography: A critical introduction, 1996: 71) – suggesting how photographers can not accurately portray reality as an image is only a snapshot in time, a pseudo-presence to what actually occurred. This topic is still debated in present day, where Ashley La Grange regarded a photograph to “only show the surface” (La Grange. A, 2005; 34) – which implies that the frame may showcase reality but the interpretations of the imagery reduces the reliability as viewers can only see a snapshot of an event leading to misinterpretations.
Walker Evans – 1936 – ‘Allie Mae Burrough’
Walker Evans’ ‘Let Us Now Praise Famous Men’ photographic series explores the exploitation of Tenant farmers in Alabama during the Great Depression, through the medium of documentary portraits. With close analysis to the ‘Allie Mae Burroughs’ produced in 1936, the portrayal of the narrative clearly illustrates the dire conditions to which these families are subjected to, and draws upon the ideology that they do not know life any differently to the life they live now. “The essence is done very quietly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking. After knowing what to take, you have to do the editing.” (Evans, n.d.) – Evans suggest that although his photographs are trying to capture reality, manipulation of capturing or editing still effects the photographs and the way in which it truthfully presents the Tenant’s pejorative lifestyles. In an article, published by the Guardian, the author describes Evan’s imagery to accurately present reality, “You can’t sniff the stink of the quilts in the Evans pictures, nor itch with the lice in the pillows. The foul beds take on a Shaker dignity of form. A gasoline pump on the porch of a post office metamorphoses into sculptural permanence within the fixed focal length of Evans’s lens.” (Rule.V, 2001). His positive critique to Evans’ imagery emphasises how accurately he managed to capture the raw living environments of the tenant families, which allows viewers to sympathises for these families, as we understand that they do not know life any differently, which contradicts the viewpoint of Evan, but who are we to believe more? Simplicity in the composition allows an accurate reliable source to be illustrated. Evan’s subject is placed in the centre of the frame, and using naturalistic lighting he captures the subject gawking into the lens as if they are asking for mercy. The presentation of the subject does not put her in a position of respect, in the sense of her appearance and the tonal contrast emphasising her lower class within society. However, this it allows the subject to be elevated and placed into the limelight, presenting the conceptual elements making her more respectful in present day and towards viewers. He captures the subject in their naturalistic environment allowing the authenticity of his imagery to be upheld, and allows reinforcement for the sympathetic connection to be between the subject and viewers. Technically, he uses a large depth of field, due to the whole frame being in focus, suggesting a small aperture and slower shutter speed. It is recorded that Evan has four different variations of his ‘Allie Mae Burroughs’ which reduces the reliability of his work, due to manipulation of his subject in each image, which can lead to us not fully conforming to believe in this social implication, as it not being a reliable source due to several versions of the same image, with only one outcome being used. This is illustrated in Susan Sontage’s Essay entitled ‘On Photography’ where she writes “taken dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film.” (Sontage. S, 1977; 6). In my response, I captured my Grandparents outside of their homes, in locations where they spent the most time when outside, or the areas in which they felt illustrated their lifestyle. Similarly, using a small aperture and slow shutter speed, I used a tripod in order to produce detailed and well structured portraits. The natural light source from outside and naturalistic environment, allowed me to maintain the authenticity of my imagery allowing for a reliable source presenting my Grandparents lifestyle. In terms of concept, I captured my photographs mainly outside using simplistic backgrounds illustrating their lifestyle, but I also decided to explore this connection of subject and location with the interior of my Grandparents house, as they spend more time inside than out. In addition to this, archival material will allow for me to systematically show the connection between my subject and the outdoors.
My Response
LaToya Rudy Frazier – ‘ The Notion of Family’ – 2014
LaToya Ruby Frazier photographic series ‘The Notion of Family’ aims to tell the narrative of her African-American family whom are struggling to come to terms with oppression (prolonged cruel or unjust treatment or exercise of authority) in Braddock, a suburb of Pittsburgh, and the negative physical and psychological effects of the city’s steel industry on their home life. Furthermore it looks at the impact of racism in the small suburb as well as the decline in the community and family, showing her personal and political viewpoint towards this topic. In this she explore three generations of her family who have lived through these issues: her grandmother, mother and herself which reinforces the personal attitudes towards her imagery, making a subjective and unreliable presentation of this issue. “I am obliged to document and counter this reality, and ultimately re-imagine and rewrite it myself.” (Campany, 2014) – Frazier refers to her imagery as a way of documenting reality literally, and re-imagines her lifestyle through the pejorative metaphors presented throughout the series, this clearly presents biases to this social situation, leading to misleading and inaccurate imagery of reality. In an interview with Frazier she made the comment “We need longer sustained stories that reflect and tell us where the prejudices and blind spots are and continue to be in this culture and society,” (Campany, 2014) – the connotations implied is that Frazier views her embodiment of work as a clear way of illustrating these social issues, and suggests that the camera is a “weapon” (Campany, 2014) of exposing reality, suggesting high reliability within the imagery. In contrast, the photographic series is a personal response to an issue relevant to the her, insider looking in, which means biases of the way in which the imagery will be composed to create meaningful representations. This ideology of being an insider looking in is reinforced by critique when he says “Ms. Frazier reimagines the tradition of social documentary photography by approaching a community not as a curious or concerned outsider but as a vulnerable insider.” (Berger, 2014). In specific analysis to the imagery above we are presented with two member of Frazier family at a straight on angle, one in the foreground looking to the right of the frame with her eyes lightly closed and a female in the background looking direct into the camera, creating an emotional connection between the viewer and subject. The positioning suggests the female in the background is seeking help or obeying to the female in the foreground creating a sense of power and family structure, this implies an artificial positioning of the subjects reducing the reliability of showcasing reality. The presentation of the subjects allows cultural context to be illuminated, through the wig caps, patterned and plain clothing which also suggests low socio-economic status, which increases the emotional impact of the conceptual message on viewers. The use of a narrow depth of field and low aperture allows focus on the subjects, and allows the background to compliment the conceptual and contextual elements through the African pattern stylised curtains. The naturalistic environment contradicts the artificial composition and creates a more reliable source of reality for presenting Frazier’s family. The low ISO being utilised and artificial lighting, allows a soft ambience to be illustrated, which juxtaposes the chaos in their lifestyle, suggesting more biases from Frazier due to the lighting, reducing the reliability of this piece of documentary photograph. Critiques imply that the photographic series is “a cautionary tale and a force for educating the public and motivating reform.” (Berger, 2014) – due to these external motives connotes a reduction in reliability due to wanting social reform, she was aware that she had to create imagery which provoked emotion in order to achieve a reform. In my response to Frazier, I captured my grandparents in their home in places which suggested their ameliorative and luxurious lifestyle. Through the manipulation of the composition and positioning of my subjects, I created imagery which implied family structure and gender roles, which shows how the 1940’s has influenced my Grandparents lifestyle. The positioning of my subjects creates a sense of power and authority towards my Grandad as my Grandma in the background looks at him and his high family status. Similarly, the naturalistic lighting and low ISO will allow me to create a similar soft and welcoming ambience allowing my conceptual representation of lifestyle to clearly be illustrated within my work, allowing my documentary stylised photography to be considered reliable in portraying reality.
My Response
To conclude, both Walker Evans and LaToya Ruby Frazier provide documentary portraits in order to raise particular social issues relevant to the subject and environment they live in. Focusing on raising the issue through portraiture, allows an emotional connection between the image and viewers in both artists work to be formed, making the social issue more impactful, allowing the imagery to act as “indisputable evidence” (Sontage. S, 1977; 9)- illustrating the effect the issue has on society, allowing the reliability of the image to be increased due to an accurate representation of the social issue and the impact it’s had on the subject’s lives. LaToya Ruby Frazier’s work is captured by an insider looking into the social issue, which creates a bias to the imagery, as she is more likely to manipulate the frame in order to illustrate her family in a more pejorative situation in order to play up on the emotional response of viewers making the issue seem way worse than what it actually is. Where as Evan’s is an outsider looking in which stops biases, however the reliability of his work is reduced due to many variations of one image, creating selection bias. Although, both artists have a sense of authenticity within their work, no documentary style photographs can be 100% accurate. This is because manipulation can occur through the framing, editing and selection by the artist in order for them to achieve their intended effect; “Even when photographers are most concerned with mirroring reality, they are haunted by tacit imperatives of taste and conscience” (Sontage. S, 1977; 6).
Bibliography:
Berger, M. (2014). LaToya Ruby Frazier’s Notion of Family. [online] Lens Photography, Video and Visual Journalism. Available at: https://lens.blogs.nytimes.com/2014/10/14/latoya-ruby-fraziers-notion-of-family/?mtrref=www.google.com&gwh=9D64C6B52E292A5A637A20017A9D54AA&gwt=pay&assetType=REGIWALL [Accessed 24 Jan. 2020].
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Campany, D. (2014). So present, so invisible. 1st ed. Italy: Contrasto, pp.61-68.
Evans, W. (n.d.). Photography Quotes by Walker Evans. [online] Photoquotes.com. Available at: https://www.photoquotes.com/ShowQuotes.aspx?id=196&name=Evans,Walker [Accessed 24 Jan. 2020].
La Grange, A. (2005). Basic critical theory for photographers. Oxford: Focal Press, pp.30-35.
Rule, V. (2001). Review: Let Us Now Praise Famous Men by James Agee and Walker Evans. [online] the Guardian. Available at: https://www.theguardian.com/books/2001/aug/18/historybooks.highereducation [Accessed 15 Jan. 2020].The Art Story. (n.d.). Straight Photography Movement Overview. [online] Available at: https://www.theartstory.org/movement/straight-photography [Accessed 24 Jan. 2020].
Photography: A critical introduction. (1996). 3rd ed. London: Routledge, pp.71-72.
Sontage, S. (1977). On Photography. London: Penguin, pp.1-23.
