Julian Germain is a british photographer born in London in 1962. He became interested in photography while studying at Trent Polytechnic in Nottingham. Germain is a successful photographer, publishing numerous books including ‘Steel Works’, ‘The face of the century’ and ‘in soccer wonderland’. ‘Steel Works’, his first book published in 1990 included both images he had taken and historical images. He did this to try and show the whole story of the closure of the Consett Steelworks and the wider issues of industrialisation. This became a process and method that he carried over into other works. In his book ‘For every minute you are angry you lose sixty seconds of happiness’ he uses both images he has taken of the main characters and as well as images from photo albums that the main characters owns to tell the whole story and add to the dramatic impact.
‘FOR EVERY MINUTE YOU ARE ANGRY YOU LOSE SIXTY SECONDS OF HAPPINESS’
Analysis
TECHNICAL: This image was most likely shot on film as these images were taken from 1992 to 2000. A wide aperture was used as the Charlie is in focus and the background is out of focus. Germain has used natural light in this image. The curtains on the window have been opened slightly to let light spill on the wall behind but the rest of the room is still dark. He has also exposed for the face which is much brighter than the room making the image feel very dark.
VISUAL: By directing the light onto Charlies face by only opening the curtains slightly keeps the majority of the room in the dark with some light spilling onto Charlies face and the wall behind. This adds a lot of contrast to the image. The small amount of light spilling onto Charlies face highlights his smile. Germain does this to emphasise Charlies happiness with the things he has. The light projecting onto the back wall shows some pictures hung up, some of them are of the landscape and nature and I assume one of them is of his wife. This also highlights the things he loves and is happy about.
CONTEXTUAL: This image is from the series “For every minute you are a angry you lose sixty seconds of happiness’. The series is about an elderly gentlemen called Charlie Snelling. Germain describes him as being ‘a simple, gentle, man’. Charlie loved flowers and colour as well as his wife who had passed. He loved colour and surrounded himself with it which is evident in the book as the wall of his house are yellow and orange. Charlie lives by himself in a two up two down terraced house on a street with other two up two down terraced houses.
CONCEPTUAL: The idea behind this image and many images other images in the series is to show the premise of the title of the book. ‘For every minute you are angry you lose sixty seconds of happiness’. Julian Germain named the book this because he wanted to show the belief that Charlie had which was that the best and most important things in life don’t cost anything. Charlie was a happy person and found joy in nature and getting out and about. In this image and many others he is smiling. He is content with his life and is happy with the things he has.
Why I am Studying Julian Germain
Julian Germain has a much more stylistic and technical approach to his photography which suits my preference and the way I like to photography. He focuses on the story but also spends a lot of time making his images look good as well. Using shallow depth of field , lighting, composition and knowledge of focal lengths and angles he not only tells a good story but also creates beautiful images.
Modernism emerged as a reaction to the age of enlightenment. The age of enlightenment aimed to understand the world on its own rather than through the teachings of the church. It was shift away from religion and the belief of god and a move towards the scientific revolution. Modernism aimed to change the approach of mankind to culture, leading to the creation of surrealism, the development of psychology through Freudian’s psychoanalysis and the development of liberalism, socialism and Marxism within politics.
Modernism made reference to the things inside of the art work such as form, composition, medium, material, skills, techniques, process etc.. It is concerned with object rather than subject and the form of the images rather than the content. Modernism focuses more on the creator rather than the spectator.
In art, Modernism hold a belief in the individual genius of the artist, a desire to be original, a desire to be new and has respect for the art object. Avant-garde movements include that of fauvism, dadaism, realism, and straight photography.
GROUP F. 64
In the 1930s, Group f.64 was founded. It consisted of a group of eleven photographers, including the well-known Ansel Adams, Imogen Cunningham and Edward Weston.
Group F.64 were brought together through their desire to move away from the pictorial period and their desire to photograph life as it really was- through straight photography.
Their images were characterised by a clear, sharp-focus aesthetic, focusing on accurately exposed images of natural forms and found objects. This style opposed the romantic images that were fashionable at the time, created by maniuplating images during or after printing.
As cameras became more sophisticated, different effects could be achieved quite simply. By closing the aperture on the lens (like the iris of an eye), the focus of a picture was sharpened. The name f.64 refers to the smallest aperture on a camera, used by the group because it provided the greatest depth of field, allowing for much of the photograph to be in sharp focus. Perhaps the overarching vision of the group was their belief in the camera as a passive observer of the world, better able to depict life as it really was because it did not project personal prejudices.
METHODS:
Rayographs:
The technique of creating photographic prints without using a camera was originally referred to as photograms and can be traced back to the origins of photography itself. The technique emerged in avant-garde contexts such as modernism in the early 1920s. Renowned artist, Man Ray, coined the term ‘Rayographs’ to describe his images that appeared as series of swirling abstract shapes, which had been created without a camera by exposing objects to light when placed on sensitized paper.
Man Ray
Gy?rgy Kepes 1906-2001
Man Ray
Solarisation:
Discovered by Lee Miller and Man ray, solarisation became a technique in modernist photography to escape from the banal aesthetic. Solarisation was acheived by partially or wholly reversing the tone of images that had been recorded on a negative or on a photographic print. The darker areas of the original image would appear light and vice versa.
POST-MODERNISM
Time period: mid- to late 20th century
Key characteristics/ conventions :
Postmodernism emerged as a response to modernism and a reaction to the age of enlightenment. Modernism had been based on idealism and an idyllic vision of human life and society. It made the assumption that specific universal truths such as those formed by religion or science could and should be used to understand the nature of our reality. Postmodernism, however, was built on scepticism and suspicion. It aimed to challenge the idea that there are universal certainties or truths; embracing the complicated and contradictory meanings of images. Postmodernism is focused on the context of its art by making references to things outside of the art work itself such as political, psychological or cultural issues. It focuses on the reception of the artist’s work by their audience.
CINDY SHERMAN:
Photographers associated with the postmodern movement include Cindy Sherman, produced self-portraits in various different imagined roles, often commenting on gender stereotypes. Sherman uses a theatrical process to embody her different roles, as well as utilising props incorrectly so as to present her lack of attempt in hiding her efforts: “often her wigs are slipping off, her prosthetics are peeling away, and her makeup is poorly blended. She highlights the artificiality of these fabrications, a metaphor for the artificiality of all identity construction.”
METHODS/TECHNIQUES/PROCESSES:
Postmodern artists have a multitude of different approaches when constructing their art work. Examples include:
Eclecticism,
Collaboration (through intertextuality for example)
Pastiche (imitating or appropriating others work),
Parody (ridicule, incorporate irony to convey a powerful message),
Recycling (reusing the same material)
Reconfiguration (recondtructing of an original)
Bricolage (deconstructing and reconstucting existing materials in a new and inventive way).
Larry Sultan born July 13th 1946 in Brooklyn, New York was an American photographer. He grew up and spent most of his life in San Fernando Valley, California. He studied at the University of California in Santa Barbara and then graduated with a bachelor’s degree in political science. He also studied at the San Francisco Art Institute where he received his master’s in fine arts.His career started in the 1970’s, he was a conceptual photographer. He created a series of images called ‘Pictures from home’ this was his pioneering book. The project was created over around 10 years. The project is about his parents and their retired home life. He explores the relationship that his parents have with each other and tries to capture those unique moments. He also published many other photo books which included ‘Evidence’ from 1977, ‘the Valley’ from 2004 and ‘Here and ‘Here and Home’ from 2014.
‘PICTURES FROM HOME’
Analysis
‘My Mother Posing for me.’ – Larry Sultan.
TECHNICAL: The woman in the photo is in focus but the back of the man’s head is slightly out of focus meaning a wide aperture may around f4 or f5.6 was used. From looking at the image it looks like there was no artificial lights used and the photographer has just used natural window light which appears to be coming from the right hand side. The image would have been taken on film as the images were taken in the 1980’s and 90’s this will have an impact on the images as film can have a very different look to digital photos.
VISUAL: The first thing I think when I look at this image is how flat and filmic the image looks. There is very little contrast in the image only from the shadows behind the woman and behind the plants and curtain. The green wall brings casts onto the image giving it that ‘cinematic green tint’ without completely changing the colour of the other elements of the image. Also the colours in the image make it feel old and vintage. The main colours in the image are a green and purple, these colours are opposite to each other on the colour wheel meaning they compliment each other well. The unsaturated look of the image helps to show the age of the image aswell.
CONTEXTUAL: This image is from Larry Sultan’s photobook ‘Pictures from home’ the images in the book are of his parents at home and the life that they have. The images were taken over a 10 year span and were a mixture of stages images as well as documented images of the relationship and daily life between his mother and father. The staged images were created to try and replicate film stills from home movies as well as involving writings, fragments of conversation and other memorabilia. As a result the book seems to blurr the lines between documentary photography and staged images.
CONCEPTUAL: This image can be interpreted in different ways. A popular perception of this image is that this image shows a sense of patriarchy and misogyny. This is because of the composition and placement of the subjects in the image. The two people in the image are the parents of the photographer, in the image the father is watching the Tv by himself while the mother just stands to the side looking like she doesn’t know what to do. This creates a sense of patriarchy as the man of the house is stereotypically watching sports on the TV while the woman is not joining him. The woman’s body position seems uncomfortable like she doesn’t know what to do or is nervous. However, because of the name of the image ‘My mother posing for me’ I interpret this image as being a staged image where the mother has seen the camera and quickly tried to pose therefore looking awkward.
Why I am studying Larry Sultan
I chose to study Larry Sultan and specifically his book ‘Pictures from home because I like the way he has dones his project and the idea I have for my book is a similar feel his book. I want my project to be a documentary of the here and now but to include memories and archive footage from when my grandad was alive.Larry Sultan’s work links well to my project because he documented his parents in their house in the 80’s, some of his images were staged and some were natural. The style of his images is similar to how I want to document my Nan who still lives here and the house where her and my Grandad live.
PRACTICAL WORK: This term you have 6 weeks to complete all work, including essay and photobook or film. This include all relevant blog posts demonstrating your knowledge and understanding of: RESEARCH > ANALYSIS > PLANNING > RECORDING, EXPERIMENTATION > PRESENTATION > EVALUATION.
DEADLINE: MUST complete final photo-shoots/ moving image recordings by end of January 2021.
ESSAY: We will continue to spend 1 lesson a week every Wednesdays on CONTEXTUAL STUDIES where you will be learning about critical theory, photo history and contemporary practice as well as developing academic study skills to help you writing your essay. However, it is essential that you are organising your time effectively and setting aside time outside of lessons to read, study and write.
DEADLINE: Essay MUST be handed in Fri 29 Jan 2021
PHOTOBOOK / FILM: Returning after Christmas we will be spending the whole month of January developing, designing and printing the photobook which will include your essay and somewhere between 40-60 images sequenced to tell a story. For those making a film you will spend January editing moving images and sound in Premiere.
MOCK EXAM: 5 – 11 Feb 2021. 3 days controlled test (15 hours) Groups:
FINAL DEADLINE: Completion of photobook/ film with final essay Thurs 11 Feb 2021 .
EXAM (ESA): Exam Paper and preparation begins Fri 12 Feb 2021.
EXAM (ESA): Controlled Conditions 4 – 5 – 6 May and 12 – 13 – 14 May 2021.
Week 16: 4 – 10 Jan Essay writing: Academic study skills Contextual Study: Decoding Photography
MON: Academic Sources
Research and identify 3-5 literary sources from a variety of media such as books, journal/magazines, internet, Youtube/video that relates to your personal study and artists references .
Begin to read essay, texts and interviews with your chosen artists as well as commentary from critics, historians and others.
It’s important that you show evidence of reading and draw upon different pints of view – not only your own.
Take notes when you’re reading…key words, concepts, passages
Write down page number, author, year, title, publisher, place of publication so you can list source in a bibliography
Bibliography
List all the sources that you have identified above as literary sources. Where there are two or more works by one author in the same year distinguish them as 1988a, 1988b etc. Arrange literature in alphabetical order by author, or where no author is named, by the name of the museum or other organisation which produced the text. Apart from listing literature you must also list all other sources in alphabetical order e.g. websites/online sources, Youtube/ DVD/TV.
Quotation and Referencing:
Why should you reference?
To add academic support for your work
To support or disprove your argument
To show evidence of reading
To help readers locate your sources
To show respect for other people’s work
To avoid plagiarism
To achieve higher marks
What should you reference?
Anything that is based on a piece of information or idea that is not entirely your own.
That includes, direct quotes, paraphrasing or summarising of an idea, theory or concept, definitions, images, tables, graphs, maps or anything else obtained from a source
How should you reference?
Use Harvard System of Referencing…see Powerpoint: harvard system of referencing for further details on how to use it.
https://vimeo.com/223710862
Here is an full guide on how to use Harvard System of Referencing including online sources, such as websites etc.
TUE: Essay Question
Think of a hypothesis and list possible essay questions
Below is a list of possible essay questions that may help you to formulate your own.
WED 6 JAN: CONTEXTUAL STUDIES Decoding Photography • Select one of the questions listed • Read text in detail, make notes and identify 3 quotes • Select one image from examples mentioned in text and apply your own interpretation of the photograph by applying theory and critical thinking • Incorporate the 3 quotes above into your interpretation of the image and make sure you comment on the quotes.
THUR: Essay Plan Make a plan that lists what you are going to write about in each paragraph – essay structure
Essay question:
Opening quote
Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?
Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian.
Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
Bibliography: List all relevant sources used
FRI: EssayIntroduction In this lesson you will write a 45 mins draft essay introduction following these steps:
Open a new Word document > SAVE AS: Essay draft
Copy essay question into Essay title: Hypothesis > if you don’t have one yet, make one!
Copy your essay introduction (from Essay Plan) which will give you a framework to build upon and also copy your Statement of Intent.
Identify 2 quotes from sources identified in an earlier task using Harvard System of Referencing.
Use one quote as an opening quote:Choose a quote from either one of your photographers or critics. It has to be something that relates to your investigation.
Begin to write a paragraph (250-500 words) answering the following questions below.
You got 45 mins to write and upload to the blog!
Think about an opening that will draw your reader in e.g. you can use an opening quote that sets the scene. Or think more philosophically about the nature of photography and and feeble relationship with reality.
You should include in your introduction an outline of your intention of your study e.g.
What are you going to investigate.
How does this area/ work interest you?
What are you trying to prove/challenge, argument/ counter-argument?
Whose work (artists/photographers) are you analysing and why?
What historical or theoretical context is the work situated within. Include 1 or 2 quotes for or against.
What links are there with your previous studies?
What have you explored so far in your Coursework or what are you going to photograph?
How did or will your work develop.
What camera skills, techniques or digital processes in Photoshop have or are you going to experiment with?
Use 500 words blog post you produced before Christmas in relation to Art Movement and Isms as a basis for this paragraph
Select at least two qoutes from your literary sources (see list below) that you can incorporate into your paragraph.
Your paragraph must include visual examples of artists making work within that art movement that is relevant to your Personal Study.
Complete Paragraph 1 and upload to the blog at the end of lesson
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.
Include relevant examples, illustrations, details, quotations, and references showing evidence of reading, knowledge and understanding of history, theory and context!
RECORDING: Bring images from new photo-shoots to lessons and follow these instructions
EDITING:
Save shoots in folder and import into Lightroom
Organisation: Create a new Collection from each new shoot inside Collection Set: PHOTOBOOK
Editing: select 8-12 images from each shoot.
Experimenting: Adjust images in Develop, both as Colour and B&W images appropriate to your intentions
Export images as JPGS (1000 pixels) and save in a folder: BLOG
Create a Blogpost with edited images and an evaluation; explaining what you focused on in each shoot and how you intend to develop your next photoshoot.
Make references to artists references, previous work, experiments, inspiration etc.
Prep for photobook design: Make a rough selection of your 40-50 best pictures from all shoots. Make sure you have adjusted and standardised all the pictures in terms of exposure, colour balance.
EXPERIMENTING:
Export same set of images from Lightroom as TIFF (4000 pixels)
Experimentation: demonstrate further creativity using Photoshop to make composite/ montage/ typology/ grids/ diptych/triptych, text/ typology etc appropriate to your intentions
Design: Begin to explore different layout options using InDesign and make some page spreads for our newspaper (format: 280.5 (h) x 420 mm (w)
Alternatively design a photo-zine. Set up new document as A5 page sizes. This is trying out ideas before you begin designing photobook.
Make sure you annotate process and techniques used and evaluate each experiment
EVALUATING: Upon completion of photoshoot and experimentation, make sure you evaluate and reflect on your next step of development. Comment on the following:
How successful was your photoshoot and experimentation?
What references did you make to artists references? – comment on technical, visual, contextual, conceptual?
How are you going to develop your project from here? – comment on research, planning, recording, experimenting.
What are you going to do next? – what, why, how, when, where?
FILM: (Lesson time (Mon, Tue, Thurs & Fri)
RECORDING: Produce a number of photographic response to your Personal Study and bring footage from video/ audio recordings to lessons:
EDITING: • Save media in folder on local V:Data Drive • Organisation: Create a new project in Premiere • Editing: begin editing video/ audio clips on the timeline • Adjusting: recordings in Colour / B&W appropriate to your intentions.
EXPERIMENTING: • Video: experimenting with sequencing using relevant transitions and effects • Sound: consider how audio can add depth to your film, such as ambient sound, sound fx, voice-over, interview, musical score etc. • Title and credits: Consider typography/ graphics/ styles etc. For more creative possibilities make title page in Photoshop (format: 1280 x 720 pixels) and import as a Psd file into your project folder on the V-Data drive.
EVALUATING: Write an evaluation on the blog that reflects on your artistic intentions, film-editing process and collaboration. Include screen-prints from Premiere and a few ‘behind the scenes’ images of the shooting/ production for further annotation. Comment on the following:
How successful was your photoshoot and experimentation?
What references did you make to artists references? – comment on technical, visual, contextual, conceptual?
How are you going to develop your project from here? – comment on research, planning, recording, experimenting.
What are you going to do next? – what, why, how, when, where?
THURS/FRI: 14 – 15 Jan PRESENTATION – Work-in-Progress
PRESENTING: Prepare a 3-5 mins presentation on something that you are working on right now in your project. For example:
An idea An image A photo-shoot An experiment An inspiration New research New development
Use blog posts to present in class. As a class we will give constructive feedback on how each student can develop their work and projec
By contradicting flatness and space, by underscoring the importance of perspective, I hope to confuse the objective with the subjective in a larger sense. As opposed to resolving issues, I want to increase a perception of tension, to dwell in that which is uncertain.
—Richard Koenig
Richard Koenig is an American photographer born in 1960. These set of images shown above are part of his “1999 Pearl Street” collection. Koenig works on layering images on top of one another to create an optical illusion, he tends to work in private spaces or intimate moments inset within a public space. It makes you think of memories that places and building may evoke on to you as memories are not always built around people but rather the places and object we frequently used.
Previous works include photographing “construction of the railroad as a landmark industrial achievement that shaped the course of American history.” Koneig is said to covey “the expansiveness of the tracks (the Central Pacific Railroad traverses 690 miles and the Union Pacific Railroad covers 1,086 miles) by using a panoramic lens to show an epic landscape, as if from the viewpoint of a passenger, while highlighting changes made to the land to accommodate its creation.”
“Richard Koenig completed his BFA from Pratt Institute, Brooklyn, New York (1985) and his MFA from Indiana University, Bloomington (1998). Solo exhibitions of his work have been held at Riley Gallery, Notre Dame University, South Bend, IN (2018); Kansas State University, Manhattan, KS (2013); and Richmond Center for Visual Arts, Western Michigan University, Kalamazoo, MI (2008); among many others. He is currently the Genevieve U. Gilmore Professor of Art at Kalamazoo College.”
Image Analysis:
This photograph follows the artist returning back to his childhood home and photographing rooms and parts of the house in which Koenig feels he has a strong connection to. I think these photos are very important as it not only helps the audience to think back to their childhood home and think of all their good and bad memories that has shaped the way we are today. I think that the emptiness of the image is also important as I am sure that when he was a child the house was filled with family and items like toys and furniture and now the emptiness helps to symbolise a piece that is missing, this could be due to the fact that a member of his household has dies or simply the fact that he has moved out and now only the memories is what remains. I think that having the image being in black and white is important as it brings up the contrast between the lights of the windows and the darks of the door frame, I helps us to focus on the patterns on the wall as they stand out as. The pattern on the wall also helps to give the image texture, which is also shown in the wooden panels on the floor. The eye is first lead to the door then around the clear image and then around to the out of focus part on the outside.
The fact that this is a image within an image allows the photograph to be more interesting as it looks 3D and makes the audience wonder why they chose to do it this way. My first thought is the similarity of the idea that he is hanging up the washing and putting the image in plain sight for the audience to see; however one might wonder if the artist is trying to hide something behind this image closest to us. It may also be down to personal preference and “contradicting flatness and space“. I think the artist works well with his aims of increasing “a perception of tension, to dwell in that which is uncertain.” as the images don’t have much context and can therefore help to leave a lot to the imagination. I think the use of two simple pins holding the image up can serve as a metaphor to show how fragile childhood memories are due to natural ageing as the older we get the more faded our childhood memories become as our brain uses the space for newer memories. The fact that the outside is out of focus also helps to symbolises this as it adds to the idea that we can’t remember all our memories or the whole memory as some parts may be forgotten about.
Carolle Bénitah is a French-Moroccan photographer; she is known for working as a fashion designer for 10 years before switching to photography in 2001. Here her work mainly explores the ideas of memories, passage of time and family. She uses old family pictures and alters them slightly using different coloured threads and sometimes even cutting parts of the image out. She also tries to reinterpret the memories as a mother, daughter and wife. She is said to do these all these alterations to her images in order to help her understand her current identity.
She is mainly known for going back into her old photos and altering them through the use of red and gold thread, beads and glitter. She says that her work “leads to more open subjects such as family, desire, loss, mourning and confinement and touch on the universal.”
Her work has been published in various magazines such as Leica World, Shots Magazine, Photos Nouvelles, Spot, Center for Photography Houston, Foto Noviny, and Lens Culture and more.
Carolle Bénitah was originally born in Casablanca in Morocco, as a student she graduated from the Ecole de la Chambre Syndicale de la Couture Parisienne (Paris); where she was selected for an exhibit with her work titled “Photos-Souvenirs” (shown above) in FotoFest’s 2014 Discoveries of the Meeting Place showcase of past Biennial portfolio reviews.
Analysis
Technical: Here the photographer has seemed to use flash lighting in this image which is shown through the highlights at the center of her face; however, it could also be outdoor lighting due to the reflection onto the wall behind her. Here there is a short depth of field onto her which is shown as that is the sharpest part of the image comparing to the background. Her image has a slightly higher sensitivity shown through the use of an old image which would have been taken with an older camera. Here the colours seem to be leaning on the warmer side due to brown wallpaper and the her skin tone. The image is 16.5 x 24 in. and is said to be an Archival Pigment Print.
Visual: Visually the colours of the photograph are quite toned down due to it be an older photo and not having the colour quality of many of today’s cameras; furthermore this highly contrasts between the rich red silk thread which has been used to alter this image. Texture is present through the use of thread and the over laying that has been creating as she used long pieces of thread, which I think gives her a unique style as I have not seen anything like this amongst other photographers which I think is quite important. Here once again due to the use of red string the image becomes 3D as the string is physically coming out of the photograph to recreate this image and show the models thought processes. The eye is first lead to the models eyes as that’s where all the thread starts and is lead down and onto the photo frame and back up to the top of the image to create a sentence.
Contextual: Here Bénitahs work is all about going back to her old memories and reinterpreting them so that they fit her current expression and help the audience to be aware of how she now views these childhood memories which she presents in a more vivid format. The red thread creates a semantic field against her other photographs showing how they all once represented Carolle Bénitah and her younger life. Here every of her images are different creating a more distinct image with the addition of the thread to more clearly show her thought processes behind the image.
Conceptual: Here the Red Silk Thread vividly shows the models tears; they are lead to a phrase in french saying “il ne dit pas que je suis jolie” which reads “he doesn’t say that I am pretty”. This may well be the reason why she is crying. I love this idea as this might be her recurring thought whilst this image was taken. Here the image itself may be her trying to keep things altogether and not showing emotion however through the use of thread here emotions are now more visible and clear. Once again the fact that the red thread is the recurring theme helps tie all her images together showing how she is leaving her mark behind the image and allowing the audience to now see the Bénitahs inner thoughts to each and every photo.
