For this photo shoot, I am going to take photos of people who are close to me (friends and family), and have them do specific things in which I can alter them to show how I represent mental health.
An original idea I had was to write words which are a typical response when people are asked ‘how are you?’ or ‘how are you feeling?’. So on their hands I wrote ‘I’m OK’. I feel like this is powerful as it has a connection to mental health, due to being used so much when talking about opening up.
The reason I used their hands as a canvas for my writing as they are easy to maneuver to create more emotive movements and expressions. I have ideas to write them on the fingers and have my model make fists and point them towards the camera in front of him. The other idea I had was to write again on the fingers but this time in a way so that they could be seen when he has his head resting in his hands, or his hands covering his face.
I decided that this photo shoot would be best in a studio as I could adjust the lighting and set up the camera stationary to get the best possible shots of the models.
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.
This is my layout of my photobook so far, including my 6 shoots. I have left blank pages for my quotes and essay, as well as aesthetic. I am planning on printing the colour images in the glossy printer and sticking them on with tape. Some of my images aren’t central others are, I went for this un-repetitive structure as it mirrors the period of time where I was going through constant change.
This image by Leif Sandberg is part of a series of images in one of Sandberg’s books called “Beyond The Mirror“. Sandberg has stated in the past that his inspiration for starting photography was due to a cancer scare, which had several lasting effects on his mental health. Many of his images in this series revolve around anxiety, panic attacks, depression and the omnipresent nature of death. The Image I have chosen represents not only Sandberg’s style, but also the conceptual themes and ideas mentioned previously which are common throughout his catalog of many images. The image uses several photographic techniques, combining multiple exposures and a slow shutter speed to create a ghost like appearance.
This is also a way to help show show the intangible nature of emotion and this image definitely shows all of the emotions that Sandberg says he wants to portray. Sandberg’s use of shadows and shading helps to make the subject more anonymous (which was most likely an intentional decision by Sandberg), and not only opens it up for interpretation to the reader, but also adds to the idea of aging and the thoughts that surround it, making the subject look decayed and rotting. This can be linked directly to the Vanitas still-life paintings of the 17th century, especially in the way it tackles the somewhat taboo topic of death.
Sandberg’s images feature heavy elements of surrealism (which is connected to the forward thinking avant-garde movement), as they try to explore ideas around the mind and emotions which cannot be traditionally photographed, but rather must be represented in other ways such as through objects and concepts. Sandberg’s image could be interpreted as a representation of death itself, and how his cancer scare made him come “face to face” with it.
Image 2
This image is taken from Sandberg’s first book “Ending” which focuses more on the emotions surrounding life before death, instead of the more abstract concepts which feature in his second book “Beyond The Mirror“. This means that his images from this series are much more grounded in reality. Despite this, Sandberg still creates emotions and feelings which cannot be traditionally photographed. This photo contrasts the previous image as it is much more personal than the first picture as it focuses on Sandberg’s own mental state, rather than exploring concepts in a specifically abstract way.
This image feels more personal than the previous photos, as you can fairly clearly identify the man in the photo as Sandberg, where as the other image is up for more interpretation and encourages people to think and question themselves, rather than view the images as Sandberg’s personal experience. Location also grounds this photo in reality, as opposed to the indeterminable blackness of the first image. This helps create a sense realism which is missing from the other photo, and which can be described as completely surrealist, however despite having surrealist elements, it is clear to see how this image is meant to be a retelling of events from Sandberg’s life, or perhaps more accurately, feelings from his life.
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].
Bright, S. and Van Erp, H.(2019), Photography Decoded. London: octopus Publishing House
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.
In my second photobook layout, a few of the spreads have been rearranged and sequenced so colourful images are presented in the beginning of the book and gradually the images become black and white. Text has also been added to pages 3 and 7 describing the beginning of what happened in Operation Hardtack 28. The panorama image on pages 16 and 17 from the first layout has been removed and will be printed individually to be applied as a fold-out in the final photobook on pages 14 and 15.
Double page spreads of coastlines have been included in the book to show the landscape which the bunkers were defending.
I have Decided to include two small paragraphs which provide context on what operation Hardtack 28 was, this is crucial for the viewer as I am basing the commando mission as the beginning of my story.
The reason behind the spread showing an establishing shot and detail shot of one of the bunkers located at Fort Henry, paired with a pitch black photograph showing a spotlight is to signify what role the bunker took when defending the Island from allied forces.
