What am I photographing?

Incorporating the idea of experimentation, I wanted to show the items that the adolescents may use, but avoiding documentation of them using it. Some things I’m aiming to photograph are:

Alcoholic bottles and cans, which will show the obvious experimentation youth do with alcohol.

Drug paraphernalia and Pills. Adolescents can often be seen trying to achieve altered mind states as they are not aware of the full risks or have a sense of immortality. They often feel that the risks behind illegal drug use apply to everyone else but not to themselves. Rolled currency notes have connotations of being used for drug use and so I may incorporate this into the shoot.

Tobacco, Skins and Filters. Much of today’s youth are renowned for smoking and so I’ve considered showcasing the use of tobacco in my project. Additionally photographing smoking skins and filters will further develop this.

Vape devices. Vaping is a fairly new and inventive way to consume nicotine, first emerging in 2003 and becoming popularised around 2014. Because of this, the devices are highly applicable to the youth today. The development of nicotine-salts created new addictions in both smoking and non-smoking teens. Especially after the invention of flavoured Juuls. Vapes are no longer seen or used to cure nicotine addiction, but as a ‘healthier’ way to create new ones.

Where am I photographing this?

How am I photographing this?

Having set up the personal studio, I plan to use natural light to highlight the props. I planed to use the infinity curve I created below to photograph my objects. However, a lot of my objects are dark, so I am experimenting with white and coloured paper to see the different outcomes

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Images:

Shoot: Black infinity curve

Edited images:

To edit these images, I used the editing software in both Lightroom and Photoshop. I started by editing the images in my catalog, decreasing the exposure where necessary and increasing the saturation of black in the photos. This allowed for an even black background, so that the objects would become isolated. For the images that still needed further work to reach this stage, I transferred them into photoshop and used both the pipette and the brush tool to get the desired background

The Narrative

Rebels, Rejects and Outcasts.

The photo-book is to be a self commentary about myself and the people I surround myself with; documenting the mischief and mishaps we experience as the modern youth. The book aims to capture the rebellious temperament of youth in the modern age. By incorporating a rejection of societal standards and the governing law, the project will show a depiction of the liberating and care-free nature our youth has and the sense of immortality that they approach life with. I want to change the view of the typically ‘corrupt’ lifestyle that society labels many young individuals as living by granting the audience with some insight into the modern youth culture of today. A theme of rebellion is to be presented throughout the book by presenting the sense of release felt from rejecting typical social standards, giving the reader an insight into the subjects’ hedonistic and rebellious subculture.

The book should impact those of all ages but resonate particularly with individuals who are of a similar age to the subjects within the book. However, the emotions and nature of the subjects may be shared with older generations, who may have previously expressed their identities in similar ways in their own youth. The book aims to present a youth subculture that expresses different attitudes to the standard accepted beliefs and values that older generations hold.

Design

For my photo-book, I want the general feel to be similar to that of a scrapbook. I’m planning to have physical inserts and ephemera, such as: Polaroids, parking notices, old debit cards. Furthermore, I plan to incorporate physical handwriting into the project, as inspired by Corrine Day’s ‘Diary’, adding captions and labels where I feel necessary.

FRONT AND BACK COVER:

I will begin this colour theme on the front cover. The cover is to have a visually striking combination of red and black, conveying a sense of power that the subjects inside have. Layering the images on the front cover straight away gives the reader an insight into the scrapbook-nature of the book and the overall messiness and complicated nature of the subjects’ lives.

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I plan to produce a portrait photo-book, allowing for the placement of establishing landscape shots comfortably over two pages. Additionally, a portrait book is similar to that of diaries, portfolios, sketchbooks and other personal items one might own or carry around with them. I aim for the book to be larger than a standard novel but small enough to make it portable. My reasoning for this is to have something that allows for a clear depiction of the photographs inside but can be stored or carried about with ease.

Furthermore, the cover of the book is to be a matte hardcover. A physically hard cover is durable, depicting the strength of the relationships within the book, as well as the strength of each of their characters and personalities. A matte finish means the cover can collect swirls, scratches and other imperfections over time which can make the reader feel as though they’ve added to the genuinity of the book, in turn physically linking them with the subjects in the book.

PAPER:

My choice of paper was one that adds an organic feel to the photobook. I decided against glossy paper as it would make the book look and feel more artificial and synthetic, both of which are concepts I’m aiming to avoid. The eggshell paper I favoured provides a rustic element to the feel of the book. As it is textured, it allows the reader to engage with the book with a sense of touch. This ties in nicely with the scrapbook design I intend to produce. With a mixture of interactive inserts alongside the textured paper, the book as a product has more authenticity and feels unique, giving the reader a privileged insight into the lives of the subjects inside. This, in turn, encourages the reader to handle the book delicately and with sentiment.

TITLE:

For the title of the photo-book, I decided on ‘Passing Youth‘. This links to the content of the book, as it is a double entendre. Firstly, the title relates to the depth of the youth subculture and the type of characters found within. The first meaning behind the title is that it stands for ‘the passing of youth’, which represents how youth itself is a short period of time; one everyone experiences that is extremely fleeting. This momentary period in everyone’s life is precious and is often what people look back on in their older years, making my photobook nostalgic for older groups as well as making those of a younger age want to take advantage of their freedom during this period. Secondly, ‘Passing Youth’ can also place the reader in the shoes of someone who is physically observing these adolescents. This gives the reader the option to view the subjects the same way a passerby might, looking at the reckless and careless nature of the characters and judging them on a superficial level, as society might do. In response to this judgement, I hope that the hedonistic images and physical inserts will alter the way these youths are perceived, by granting insight into their lives, their emotions and their actions, therefore removing the societal judgment teenagers are often greeted with and instead replacing it with a new understanding which may have previously been overlooked.

ARCHITECTURE:

As previously mentioned, physical inserts play an important role in the architecture of the photobook. They allow the book to become interactive, giving the reader the option to physically connect with the narrative. Firstly, a parking notice conveys reckless and careless driving. This particular piece of ephemera is large enough to take up a substantial amount of space within the book. I will designate it a singular page to which I will juxtapose with either an image depicting a car boot filled with alcoholic paraphernalia (to convey careless driving) or against a portrait of the individual who received the notice, which grants insight into the type of character and, more specifically, the type of driver the subject is.

Another important physically element I am incorporating into the book is a debit card. So as to protect my personal data, the card has been cancelled and is therefore void. A major association with cards in the youth subculture is the ingestion of illegal substances. Cards, whether it be a driving license, credit card or gift card are used to crush up pills or divide up portions of a substance. This association adds to the recklessness of adolescents and the adaptation they take in order to carry out their hedonistic lives.

Finally, by incorporating polaroid pictures taken by the subjects themselves it amplifies the personal aspectof the book. The polaroid images have been physically handled and taken by the subjects, therefore adding another physical link to the characters in the book. This extra insight into the characters presented creates a greater rapport between the reader and the subjects within.

SEQUENCING:

I want the first image the reader sees to be a hedonistic image, so as to establish the overall tone of the book. By choosing an image with a strong, positive emotion, I can convey the type of experiences the modern youth culture seek out. I plan to open the photobook with a portrait of a subject covered in spray-paint from one of my shoots. This begins the narrative ambiguously, due to the lack of context as to why the subject is covered in the paint.

Adversely, I may use a debit card as the first thing the reader sees, placing it on the right page of a double page spread. Placing this insert first leaves the significance of the card up to interpretation by the reader as they progress through the book. The context of the card, as well as the paint, will be unravelled later on through establishing shots so as to encourage the reader to flip back through the book with knowledge of the context. Alternatively, I may place the debit card insert next to the image associated with it, so as to give the reader a physical connection to the moment captured in the image beside it.

Design: Moodboard

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MODERNISM

Time period: late 19th and early 20th century

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Key characteristics/ conventions :

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.

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GROUP F. 64

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.

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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.

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POST-MODERNISM

Time period: mid- to late 20th century

Key characteristics/ conventions :

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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:

METHODS/TECHNIQUES/PROCESSES:

Postmodern artists have a multitude of different approaches when constructing their art work. Examples include:

1. Eclecticism,
2. Collaboration (through intertextuality for example)
3. Pastiche (imitating or appropriating others work),
4. Parody (ridicule, incorporate irony to convey a powerful message),
5. Recycling (reusing the same material)
6. Reconfiguration (recondtructing of an original)
7. Bricolage (deconstructing and reconstucting existing materials in a new and inventive way).

PICTORIALISM

Time period: 1880-1920

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Pictorialism is an internation style and movement originating in the 1880s and majorly influencing the work of photographers up until 1920s. Pictorialists were concerned with making art out of their images, rather than documenting what the camera would’ve picked up. They did this in an attempt to get society to recognise photography as a form of art.

The main convention of pictorialism was to transform photography into a hand-made process like the other arts. To achieve this they manipulated their images to resemble painting, with many images incorporating female figures as part of their composition. Methods used to alter images include: Scratching the negatives or painting chemicals onto the prints. Some also adjusted the focus of the scene or used a special lens to produce a softer image.

REALISM / STRAIGHT PHOTOGRAPHY

Time period: 1915-1930s

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This particular approach was created in response to pictorialism. The style rejected the soft focus and painterly essence of pictorialism and encouraging candid images of modern life. Photographers, such as Paul Strand, took advantage of the fact that the camera could capture shapes and forms sharply and in focus. They did not manipulate their images and faced reality head-on by having their images in full focus. Many focused on abstract for but some common characteristics of realist images include clean lines, sharp focus and repetition of form.

To acheive their desired outcome, realist photographers made sure their images represented the real world as accurately as possible, taking the image only once it was in sharp focus. Their final image is untouched; It isn’t manipulated through chemical processes and is an exact replica to what the photographer would have seen through the viewfinder.

Brett Weston

Brett Weston was the son of Edward Weston, who was renowned for his intuitive and sophisticated sense of abstraction. He engaged in ‘layered space’, an artistic style more often seen among the abstract expressionists and other modern painters.

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During his career, Brett had even influenced his father. He had introduced semigloss gelatin silver paper into the Weston studio, a material fundamental to the sharp focus demanded by the new style with which Edward had been experimenting.

What is the deadpan aesthetic?

First appearing in 1927, the term ‘deadpan’ was coined by the New York Times magazine to describe the work of Buster Keaton, an American actor, comedian, film director, producer, screenwriter, and stunt performer.

A deadpan photograph is often described as being ‘devoid of emotion’, which is prevalent in the Keaton’s work. A deadpan image is considered to be seemingly empty, existing merely as a subject and photograph. There is a clear lack of joy, sorrow or any other emotion on the subject’s face and the deadpan is often considered a mood of its own. The aesthetic of deadpan is that the photographer is entirely detached from the subject being photographed, the subject is indifferent and the image produced is objective.

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The visual language of the deadpan
aesthetics is mainly built on the absence of a photographer’s emotional input.

THEORETICAL AND PHILOSOPHICAL BASIS OF
THE DEADPAN AESTHETICS
Peter Lančarič

Modern deadpan photography can be seen in the works of photographers such as Rineke Dijkstra and Alec sloth, whose images are highly engaging yet seemingly disengaged with the subjects.

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Soth’s photography consists of a mix of still lifes, portraits and landscapes, presenting the world in a completely unbiased way. His images have “a sense of distance is so tangible you can almost feel it” according to a New York Film Academy article in 2014. The portraits Soth produces show, in full, real people who have real stories and hobbies and so forth, yet his images are completely objective and present them no further as a body and a face. What you see is what you get; his subjects are not posed or dressed for the shoot and are presented as honestly and as accurately as possible. They are presented as though this is how they would appear if you were to walk up to them in real life.

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The detached and unemotional style of deadpan photography is rooted in the development of the ‘New Objectivity’ (Neue Sachlichkeit) movement of the 1920s. This style was pushed forward in the 1970s by Bernd and Hilla Becher, who photographed large water tanks and other industrial landscape features in a formal manner and producing high quality objective images and typologies.

Thomas Ruff

He captures perfectly the identity issues that his generation may have faced following WWII. Despite having no direct involvement or responsibility for the carnage of the war, the topic is still conflicting for each of the subjects- Should they, or should they not, feel guilty for the war crimes committed by their country?

Incorporating this into my project:

For the portrait sections of my photo-book, I’m aiming to incorporate the deadpan aesthetic into my images. These photos will introduce all of my subjects objectively, with no insight into their personality, character flaws or narratives within their lives. The portraits will be juxtaposed by still life images of objects that are often considered taboo. This will create a strong contrast between the ordinary and regular nature of the portraits and the negative connotations surrounding the objects, which could not have been achieved if the portraits presented the use of these objects or showed the emotions of my subjects. Placing these two types of images together also begins to create a narrative of it’s own, making the viewer question why each object is significant to the subject beside.

I’m also considering photographing the body parts of my subjects and juxtaposing this with the still-life shots. Photgraphing scars, tattoos and other distinguishing features ads depth to the narrative and gives an insight into the types of people presented throughout the book.

Ryan Mcginley: The Kids were Alright

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Ryan McGinley is an American photographer, renowned for his self-published book ‘The Kids were Alright’, which depicts his hedonistic teenage years. It was published in 2017 and focuses on youth in the 90s and, more specifically, documenting himself and his group of friends as they explored themselves through experimentation with sexuality, drugs and other physical pleasures. The images were taken between 1998 and 2003, consisting of portraits, old polaroids and portraits of his group.

Mcginley was declared “the most important photographer in America.” in a 2014 GQ article. His work is applauded due to its themes of emancipation and indulgence. His images dissolve the anxiety surrounding adolescents’ consumption of illicit drugs and risky sex by presenting it as a vision of a free and rebellious alternative life. Mcginley achieved this by documenting his group’s debauched lifestyle. They were presented as grating and fearless individuals, hyper-focused on moments of pleasure. Their main focus was to carry out self-indulgence.

You can read more about Ryan Mcginley here

Photo Analysis

In Ryan Mcginley’s ‘Tree #3’, he presents how a group of people have embraced nature as a site of freedom, and in this particular piece, he captures a sense of gaiety and freedom. The individuals are completely nude and exposed, showcasing the vitality and vulnerability of humans in regards to nature’s grandeur and sublimity. It presents an expression of liberation and bliss in connection with nature, which is often an experience missed out on by many due to social expectations and the shame/embarrassment regarding nudity and public displays of bareness, despite it being our most natural form.

The raw setting of this image is highly impactful. The photo depicts a massive tree, which McGinley claims one of his subjects scaled during the process of the shoot. This inspired him, but he didn’t photograph it, however, as he felt that one person in a tree wasn’t an effective enough image. He returned the next day to clear out the branches in the tree, allowing for it to accommodate a larger group of individuals, which he felt would create a beautiful image. The photo has been taken from a low angle, with no visible ground within the frame. The effect of this gives an aspect of danger and recklessness, amplifying this sense of vulnerability. Additionally, the lack of placement and reasoning behind the nudity suggests a larger narrative, one which creates ambiguity and leaves the imagination up to the viewer.

Though Mcginley altered the tree and expressed what he wanted for the shoot, it is an arguably informal image. McGinley states that he cannot pose people for pictures, that ‘Everything has to be free…. I like to think of my photo shoots as happenings.’. He’s created a suitable environment for his subjects to experiment with. His image shows, in essence, the concept of the decisive moment, with the event itself being fleeting and spontaneous.

Nighttime and darkness often symbolise an absence of God’s presence and faith plays a huge part in McGinley’s work. Having studied religious art, Mcginley claims that Michelangelo’s ‘The creation of Adam’ had a huge impact on his photography. He states it was the first sighting he’d had of a naked man’s body. Michelangelo’s worship of the human body is reflected in McGinley’s portraits and particularly in this image. The juxtaposition between the deprivation of God (photographing at night), and this imagery of Adam (presented through nudity) creates a strong, almost ethereal image.

https://believermag.com/an-interview-with-ryan-mcginley/

https://www.theguardian.com/artanddesign/2020/apr/21/ryan-mcginley-photographer-satan-brad-pitt-beyonce

Raised by Wolves

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Jim Goldberg is an American documentary photographer, who creates long-term and heavily weighted collaborations with overlooked, neglected or underground/outcasted populations. His work is politically charged, often questioning and investigating the “American Dream” and other relevant myths about class, status, and happiness.

Goldberg’s ‘Raised by wolves’ both documents and follows the lives of adolescent runaways living on the streets of San Francisco and Los Angeles between 1987 and 1993. In creation of the project, Goldberg photographed and interviewed his teenage subjects, their social workers and the police. This adds dimension to the troubling picture of American street life and, adversely, Goldberg’s approach dives into the institutional culture surrounding street life.

Raised by Wolves’ narrative also highlights love and friendship as a key theme. The compassion Goldberg approached his subjects with revealed and reflected the kindness they showed each other, which is often overlooked and blocked out in the average person’s encounter with the destitute. The narrative is gripping, encouraging the reader to question, rather than to judge the lives of the homeless. It challenges the generalisations previously made about these homeless groups in America, in turn leaving the reader with questions about the survival of these teenagers, and what they might be motivated to survive for. This response leads to the questioning of the faults within America’s institutional society that resulted in the fateful lives of these adolescents.

http://cargocollective.com/danielshires/Reflections-on-Raised-by-Wolves

Statement of intent

Theme: Social Commentary

I’d like to capture the rebellious temperament of modern adolescents and incorporate a rejection of the governing law and societal standards as a whole. The project will show a depiction of the liberating and reckless nature the current youth has and the sense of immortality that they approach life with. I want to document the care-free and typically ‘corrupt’ lifestyle that society labels many young individuals as living. I’d aim for it to be relatable to all age groups (excluding that of children) as puberty and adolescence is a stage in life that all of humanity has gone through. It is often an age where experimentation with alcohol, sexuality and illicit substances is normalised and often encouraged through peer pressure and through a lack of understanding and experience.

In order to do this, I’m aiming to carry out still-life photography. Using a home-made studio, I will photograph the objects and substances that are often associated with (and used by) teenagers and young people who are in the process of experimentation. Objects such as alcohol, cigarettes, condoms etc. will represent the corruption of a child’s purity as they mature and try out new experiences. Additionally, I will incorporate a sense of documentary photography which will provide an accurate representation of the modern youth. The ideas behind some of my images may be staged but the actions of my subjects won’t be forced. For example, I would like to incorporate the use of coloured spray cans into some of my shoots as graffiti, vandalism and the spray paint used to create it is often associated with troubled youth and teenagers in general rather than adults. To capture the perfect image in this shoot, I will record on my camera, import the film into premiere and choose the stills that are the most effective.

Presenting the theme of REBELLION through a lack of respect and remorse for the law and the norms of society further allows me to incorporate a theme of liberation. I want to present the sense of release people feel from rebelling against what is socially acceptable. I want to present the exuberance of my subjects when the idea of restraint is removed.

Additionally, I am taking a deadpan approach to the images of my subjects within this project. I will juxtapose these images with the photos from my still life shoot, creating a narrative between the typical use and abuse of these objects and the ordinary and regular aesthetic of the portraits. In between these pages, I plan to incorporate more wide-shot, documentary-style images to develop the narrative and present this theme of debauchery. A plan of the format can be seen below: [O= Object (still life), P= Portraits (deadpan), N= Narrative (wide-shot).]

New inspiration from the themes Love & Rebellion:

For my new personal investigation, I want to explore the theme of REBELLION, and specifically focusing on the sub-genres of: Rebels, Rejects and Outcasts.

Initial inspirations

Karen Knorr:

A rebellion of youth

In the project ‘A rebellion of youth’, Karen Knorr worked with Olivier Richon to create this joint photographic project, which documents the newly emerging punk movement in London during the 70s. The project showcases numerous black and white images, which highlight the contrast between the dark clothing and the pale faces of these ‘punks’. Their aim with the project was to explore rebellion and adolescence, showing the new youth’s rebellion against typical cosmetic beauty and standard societal expectations.

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They aimed to be different in their process of photographing. Their intimate approach to their project separated them from the normal style of photography at the time. They commented:

“We chose a direct confrontation with our subject. This is why our pictures are posed, affirming our presence instead of eluding it. We attempted to achieve such a formal approach in order to emphasise punk symbolism and to make it more readable.”

Joseph Szabo:

Almost grown

In his 1978 publication of ‘Almost grown’, Szabo presents his documentation of the ‘rebellious youth’ in America. The project began by him initially photographing his teenage students within the classroom. Eventually, after gaining the trust of many, he branched out to photographing them on the school grounds, Jones beach and eventually even at their parties.

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“…in Szabo’s hands, the camera is magically there, the light is always available, the moment is perceived, seen, and caught.”