I first began by creating two virtual galleries after completing my ‘Identity Coursework Personal Investigation’, I wanted to experiment with using photoshop to see how my printed images may look when mounted up. I started by taking three images from my Robert Darch inspired shoot and exploring how different layout options may tell different narratives. I wanted there to be a synchronicity between images, as if they follow after each other in a similar location – possibly all taken in the same place but representing the different emotions of anxiety. I experimented with the sizes of each image also, seeing how when I changed the layout so one image was bigger than the other it created a contrasting atmosphere. Nevertheless, the image below is a final display of my first virtual gallery, where I decided to keep a synchronized and cohesive design which fit with the classic style of imagery, a symmetrical layout suited the images best. This was also the decision I came to when exploring my imagery from my Pictorialism/Josef Sudek inspired shoot, where I created a display using the same gallery format to compare how the different techniques of photography created a different mood when presented in the same setting. I think that when mounting up my final prints for this project I will explore a smaller size and layout of my Pictorialism images due to their delicacy and fragility, the images come across as soft and light, so I believe using a more compact layout will contrast the boldness of the Robert Darch imagery well.
Gallery 1:
Gallery 2:
Final Personal Investigation Prints:
Sequence One
Sequence Two
Sequence Three
Sequence Four
Sequence One: After creating and ordering my photobook I made a selection of my final images that I wanted to be printed for display. I planned on printing a range of A3 A4 and A5 sized photos that I could set out in sequences and narratives. I first planned how I wanted to set out some A3 prints; I knew I wanted to use my Robert Darch inspired imagery for my largest prints due to the amount of detail within them, therefore I decided to print four photos that each held different moods and atmospheres from this shoot. The first image was inspired by Darch’s photographic techniques of capturing the warmth and comfort of a surrounding that may otherwise be seen as unnerving, yet it also holds a link to Pictorialism with its soft blurred focus. I wanted to include this image as a contrast to the others, but also as a reminder of this idea of ‘seeing the world through rose-tinted glasses’ that features in the images to come – the perfect world that just doesn’t quite seem real. The other three images are sharply focused, holding small details from reflections and providing an atmosphere of escape and adventure – for me, this sequence is an introduction to ‘Wonderland’ in the way it hints at the anxiety to come, without giving away the completed book’s full narrative. I decided to mount up these images using foam board to create a 3D frame effect, first sticking my image on a piece and using Stanley knife to cut it out, and then sticking this piece on to a larger foam board rectangle which created this frame effect. When I display my images I hope to have them stuck on the wall one after the other, leaving a small amount of space between each one to separate them and keep this theme of a clean look.
Sequence Two: For my second sequence I wanted to create a display of the more ‘nightmare’ style images, having the idea to create a triptych of mirrors and clocks to introduce the idea of ‘anxiety creeping into Wonderland’. I began by choosing three images in an A5 format to print and experiment with, I then played around with the order of images and the layout, deciding to begin with the darkest image. I liked this layout due to its subtle hints towards hope, like a light at the end of a tunnel, with each image holding circular compositions that seem to lead into another world. The first image conveys clouded vision, seeing only part of a solution or problem that has been clouded over by anxiety and worry. The second is what can be seen once that fog has faded, what lies beyond the fear and doubt when we can see clearly into the future. The final part of the triptych is an image of a clock with the reflection of a candle on it, there is a dark blue hue which gets interrupted by the orange candle flame, hinting towards a brighter future or a flicker of hope in the distance. I wanted to print these images smaller than the others due to their boldness and vibrancy, I think that having this pop of true fantasy and this break from reality helps to convey a sense of fluidity between my other sequences, as if they are all somehow linked through the world they are set in. I mounted up this triptych using a long thin strip of foam board as the backing with my images also on foam board so they stuck out from the background. I really like this way of displaying photographs as I believe it gives the impression of a frame, but also allows for artistic expression as we can measure and decide how big or small, what size and orientation we want the frame to be.
Sequence Three: My third sequence is the combination of a singular mounted image with a diptych juxtaposition layout. I wanted to create a separated narrative that holds themes of nature, growth and evolving – allowing me to experiment with how I wanted to display each theme. The sequence begins with a singular display of one of my Pictorialism inspired images, a flower growing over a pond surrounded by the natural environment. Next I wanted to layout a juxtaposition between nature, nature left untouched compared to nature in an unnatural environment – nevertheless I also recognised the juxtaposing ideas between how colder colours would go with the ‘unnatural’ and warmer with the ‘natural’, which is of course not how I edited these photos. I really loved how these ideas contrasted each other and each image, I want the truth to lie in the message of nature in the ‘unnatural’ environment is used to adapting to change, it is able to still thrive after being cut down (holding links to my struggles with anxiety and picking myself back up again etc). The juxtaposition is not necessarily about cold and warm, or sad and happy, but more to do with the change in mood between letting go and continuing to grow. I plan to present these three prints next to each other on the wall due to their similarities in colour, theme, subject and message – there is a softness and innocence that is disrupted by coldness which I believe to be ambiguous in meaning and observing. I mounted these images onto 3D foam board and experimented with whether the diptych should be presented on a landscape or portrait strip – due to my second sequence being on a landscape strip I decided to contrast it with this portrait orientation, also allowing me to set my images out in a cleaner shape.
Sequence Four: I have named my final sequence ‘A Window into Childhood’, having the idea to present four images in a rectangular sequence depicting childhood nightmares and fears. I chose to print these four images in A4 size to set them out on one of the larger pieces of foamboard, again I wanted to use the technique of sticking each image on foamboard before onto the background piece to create a 3D effect like the images are jumping off of the page. I believe this layout and technique worked well when presenting these images as the nightmare-style imagery contrasts the Pictorialism images so much it is useful for a clean and ordered layout to not distract from the chaos on each page. I started by laying out my dark blue images in each corner of the board to set out how I wanted the disruption to occur, next I chose two soft focus images that had connotations of childhood and calmness to juxtapose these images from above, below and on either side. Altogether I wanted to create contrasting ideas of the reality of childhood, anxiety was not a constant state I was in, it fluctuated between strong and weak and it was never something I knew was anxiety at the time. The nightmares are clouded with over-exposed highlights coming from the Pictorialism images and ideas of truth vs manipulation are created – there is a sort of comfort in knowing the extent of how anxiety is effecting the images, it disappears and reappears but it is never constant. I wanted to create a window-type layout as if the observer were looking into the past, nature can seem so different in the light and in the dark, I wanted to create an atmosphere of safety and fear opposing each other so strongly that it seemed unreal – questions as to whether childhood fears were all in our head or actually haunting us daily.
Final Prints – Previous Projects:
Close-up Abstract
Chiaroscuro Portraits
Abstract Saul Leiter Inspired
Abstract Saul Leiter Inspired
The presentation of my previous final prints was important to me as I wanted to create themed responses that related to the project’s themselves. For example the outcomes from my abstract unit, where I captured close ups of flowers and the natural environment, had quite a classic format and style – the black and white filter created a vintage atmosphere around the images. Therefore, when deciding how I wanted to mount up these final prints I experimented with how either a black or white background would make the images stand out – the black background was a similar tone the the darkness surrounding the subjects of each image, so using white foamboard was the obvious choice to create the best effect behind the prints. I explored how making some images more 3D with extra foamboard would contrast others that were flatter, however due to their symmetry and composition I made the final decision to keep every image the same distance of foamboard away from the background. I really like how the black and white of the foamboard frame to the shadows in the images contrast each other, the sharp edges create a triptych with a classic and original style. From my portrait project I chose 3 images that were captured during my experiments with chiaroscuro lighting, I believe they show photographic skill without the need for heavy editing or manipulation. I mounted the first diptych on several pieces of foamboard to create a 3D effect as it complimented the style of photography used and allowed both images to stand out against the bold white. The final image from my portrait project had a mysterious atmosphere surrounding it, I knew I wanted to experiment with creating a window mount for this image so after measuring it and deciding how much boarder I wanted around the image I created this final display. During my abstract unit I also studied the work of Saul Leiter, responding to his images capturing raindrops and experimenting with soft focus and blur. My final two print sequences are mounted on black boards due to their dark surroundings and mysterious atmospheres – I wanted to try and create a window mount display of my ‘umbrella’ images, sequencing the photos in an abstract narrative and using this classic mounting technique to reflect their style. Overall I am extremely happy with my final prints from each project, there is a range of technique and style that shows my strengths and best outcomes throughout the course – altogether I think the mounting up and framing of each image reflects its style and atmosphere successfully.
Below are the images that I will be using for my photobook. All of my images were taken in Drum and Bass events that were upheld in Jersey and the UK. Some of these images where highly edited in the way that the photo has been fully manipulated. Whereas the others are pictures which have not been edited at all.
Write a book specification and describe in detail what your book will be about in terms of narrative, concept and design with reference to the same elements of bookmaking as above.
Narrative: What is your story?
Describe in 3 words?
Drum and Bass
A sentence
Showing outsiders the drum and bass culture from an insider’s perspective.
A paragraph
As an individual who is in the culture of the drum and bass scene. I want to be able to portray the drum and bass culture to outsiders, who don’t understand the drum and bass culture. Furthermore, giving a deeper understanding on drum and bass on what it is and how this culture is even relevant.
Design: consider the following
How you want your book to feel
I want a softcover on the outside and for the book to be glossy so it looks similar to a magazine.
Paper and Ink
I want the ink and paper to be glossy so that the bright colours in my images really stand for people to view.
Format, Size and orientation
My book is going to be a small square with the dimensions of: 7 x 7 in (18cm x 18cm).
Binding and cover
I am going to want the cover to have an image of a crowd of people. This is because I want people to get an understanding on what type of book they are looking at.
Title
My title is going to be called “The Sesh”. This is because some people will understand the slang term and some won’t. For those who don’t understand it, hopefully after looking at the book they will know what it means.
Design and layout
Single full bleed images
Single images non full bleed black border
three images on one page
Editing and sequencing
I want to sequence my images how people usually end up going through a night out, from the start to the end of a night out.
Images and Text
Above is the front and back cover of my photobook. To make it, I put the title “The Sesh” in the middle bottom of the book and included my name and title on the spine. The front and back cover on my book have a full bleed spread of an image of a crowd at one of the drum and bass events. I had to zoom the image out abit in order for it to sit perfectly across the front and back cover.
Above is the finalised layout of my photo book with images of the photo shoot i had taken, with finalised images selected across a sequence. During the creation of this photo book, I have experimented with different page layouts. For example, instead of having one photo on a page, I put three images laid out with two small ones on top and a bigger picture going across the bottom of the same page. In my opinion, this final photo book layout is the best due to the way the pictures are put together on each individual page.
Above is one of the first images that was edited/ manipulated in order to make the image look hallucinogenic. This appears to be an effective edit because I was able to manipulate the picture, in a way which people would believe that’s what it would look like to consume drugs at a drum and bass event. Moreover, this image would give outsiders an idea on the atmosphere to expect at these events being; loud, bright and wavy etc…
The next edited/ manipulated image was only changed from its original colour to black and white. This image is a golden gem to me because the picture was taken in a way where the flash stayed on with the persons face with the camera having a wide aperture. Therefore, the image looks edited however it isn’t and that is amazing because even if I wanted to recreate the image I couldn’t, making it a 1 of 1. Furthermore, the image once again could give off the impression of distortion/ hallucination. Giving people a further understanding on what the experience could be like at these drum and bass events.
Finally, this is an image captured at one of the drum and bass events attended to get images. This image is strong I believe because it wasn’t edited, making the picture fall under the subclass of realism. Moreover, the image is engaging as I was able to capture the coloured smoke in the background of the image. This was effective as it made it engagging to viewers. Finally, the image being realistic is great for outsiders looking in because they are able to see an authentic image of what happens in these drum and bass events. From the atmosphere, emotions, facial expressions, clothing etc…
Above is an image that demonstrates the different types of options you can select in order to layout your pictures. This was great as I was able to move my layouts around to whatever I preferred.
The Outcome
The outcome from the photobook project is a book which reflects the culture of the drum and bass community. It shows what the potential experience of a night out to a drum and bass event could be like, from the start, to the end of the night. Moreover, the book is also meant to show “outsiders” who aren’t involved with the drum and bass community, showing what the community is about, cancelling out any stereotypes that people might assume within the drum and bass culture. For example, because of the what the music sounds like, people assume that people are aggressive at these events, causing fights between the crowd. However, as an insider to this culture, I can say that the people in the crowd are very in tuned with the music. Meaning that everyone is happy and not bothered by any pushing or shoving in the crowd. This is because, people accept that they are in a tight space which is the reason as to why pushing and shoving occurs occasionally on accident. Moreover, everyone in the crows is there for the same purpose which brings the community together as people share similar interests in music and clothing. Furthermore, the occuring themes of garments are sunglasses, bucket hats, costumes/ coordinated outfits and bumbags. Some of these garments such as sunglasses and bumbags, are mainly used so that people can carry drugs with and not have people look into there eyes for suspicion. Drugs are heavily influenced in this culture due to that fact that the audience are mainly young adults. Also, because people want to enhance their experience for a better time, memories and having moments of euphoria.
I wanted to select a group of images that I used in my portfolio, which I made in my own time, so that I could print and mount some of the images.
Firstly, I would like to print these 2 examples of my graphic design skills. For the image on the left I used Blender (3D modelling software) and Photoshop, it was the image that I entered into the Eco Active Competition about climate change. For the right image, I made it in Photoshop and is a strong example of photo manipulation using 3 images.
Firstly, I would like to print these 2 examples of my graphic design skills. For the image on the left I used Blender (3D modelling software) and Photoshop, it was the image that I entered into the Eco Active Competition about climate change. For the right image, I made it in Photoshop and is a strong example of photo manipulation using 3 images.
Secondly, I would like to print these 2 images from my Portfolio, as they are my favourite images from it.
The image of the cat I shot during ‘golden hour’ which gave the eye, the central focal point, a vivid golden effect that emphasises the detail of the cat’s iris. I used a macro lens to get really close to the subject. This created more attention to the eye positioned in the centre of the image, and created a slight soften blur to the nose, whiskers, and the mouth. However it still maintains the detail of the hair and the pattern of the cat.
For the aerial image, I used my drone, a DJI Mavic Mini 2, to fly above L’Etacquerel Fort, one of the many Heritage sites in Jersey. The photo was taken from the cliff path, at a height of 120 metres. I boosted the greens and blues to get a more natural look to the environment. I feel this image works well as the curved lines in the architecture contrast the jagged cliff rocks, showing the footprint of the fort really well.
Finally, the mask mask photo, I wanted to create an old, World War 2 atmosphere. In order to do this I took the shot through a cardboard tube with a ripped end, which created a frame around the subject which gives the appearance that the subject is inside a room and you are on the outside of the door looking in through a peephole.
To showcase my images I will make a virtual gallery in Photoshop, so that it looks like my images have been displayed in an actual gallery.
I used CTRL-T to warp the image so that the top and bottom edges of the photo are parallel to the the floor and ceiling. After all the images matched the perspective of the gallery I used blending options to make the images look real and 3D, such as, bevel and emboss and, drop shadow.
Left: Bevel and Emboss. Right: Drop Shadow.
Overall, I think that these extra images help display my photographic and post production abilities and therefore the main reason which I wanted to include them in the next print job.
NFT Project Image
I also wanted to include the poster image from the NFT project, which looks like this:
I used the same technique to make a gallery in Photoshop, by using bevel and emboss and drop shadow.
It will be printed A3 unless the quality is bad as its 2560 × 1440 pixels. If it can’t be printed A3 then A4 is ok.
I plan to use 4-8 images which strongly summarise my work. Mainly from my recent project of Bouley Bay, the castle in the woods near Bouley Bay, and the two black and white photos from the Jersey Museum trip, of the staircase and the pigeons. And depending on how much space I have left I might include some screenshots of the NFT film.
These are the images that I plan to use:
They are all high definition which is needed to print in the newspaper. (The long edge must be 4000+ pixels)
page 1
page 2
page 3
page 4
To create the newspaper composition in InDesign. I used some the images above to make two pages of a newspaper
I made an InDesign document with the correct dimensions for a newspaper the imported the images into the area I selected with the x tool.
double page spread (featuring Bouley Bay)
1 page of a motorcyclist at Bouley Bay Hill Climb. 1 page of town life in St. Helier.
Above I have thought about a wide range of different design layouts which includes, one page full-bleed image (sunset at Bouley Bay), a sequence of images (multiple images of Bouley Bay), large scale image with a border (Hill Climb Motorcyclist), and a juxtaposition between two images (inside/outside town images).
After rethinking my design layout, I remade the pages so that the images were bigger and had more juxtaposition to create a stronger spread layout.
I removed one of the biker images, as it was too small because it was less then 4000 pixels on the long edge, so I replaced it with a rock to create a focus on the close up studio shoots I got of small features of Bouley Bay. I ended up contrasting it with a granite heritage building.
However, I still thought I could include more contrast between the landscapes and objects.
I felt that there was a good amount of varity and juxtaposition between my images.
So I decided to package the document and save it into the shared folder where the newspaper editor (Mr Toft) can access it.
The main reason I wanted to create another photo shoot was because I needed a strong image for the front cover. My plan was to get a wide drone shot of the whole bay mainly focusing on the L’Islet.
This is a contact sheet of all the images I got for the shoot:
These are my favourite images after images after editing:
The first image has the most potential for a front cover. Whereas, the panoramic photos would be good for a double page spread. There was a panoramic setting on the drone which I utilised. I add to merge them together in Photoshop using the merge feature to create one image. After, I used my normal editing techniques, which includes a camera-raw filter.
I edited all my images in Photoshoot after choosing what images I wanted to use by marking them with tags on my laptop. This image was a landscape, however I cropped it to make a more interesting composition and remove all of the distractions. Then a used a Camera-RAW filter to colour grade the image and do basic adjustments to contrast, temperature, and shadows. I also used 2 gradual filters to emphasis the orange form the sun and, blue for the water. I used a radial filter on the L’Islet to increase the shadows to that the L’Islet is more prominent.
Overall, this photoshoot was successful, as I got a good front cover image, however it can’t be a full wrap image only a front cover image. Although by doing this extra photoshoot I was able to produce an extra page in my photo-book. The final outcome was different to what I imagined in my head. I planned to go when it was high tide, sunny, and not windy or rainy. However after waiting a few weeks the conditions were never prefect so I decided to go during a mid tide and at sunset. This actually worked out better than I expected, as the orange and blue contrast is really strong and one of my favourite colour combinations.
This blog post is for the images that I took whilst on other photoshoots that don’t fit into the category of the shoot, and general images of Bouley Bay.
I think these two images fit in with the project, I really like how the right image shows the playful, fun aspect of the bay. Plus, the composition works well as the rocks create a good “frame” around the paddle boarders.
Bouley Bay Hill Climb
For these photos I used a 100-300mm telephoto lens to allow me to fill the frame with the subject. I used a technique called panning to create motion blur.
These are the best edited images that I produced during the photoshoot. I made this extra photoshoot so that I could introduce character of the are into the photo-book, as Bouley Bay Hill Climb is an event which most people in Jersey know about.
Overall, this photoshoot was very successful. I was able to produce strong images and I managed to capture a panning image, which I had to match the shutter speed to the speed of the bike, whilst doing a panning motion.
How can photography capture and explore an environment, and accurately record it’s atmosphere to a viewer?
Introduction
“I am interested in the influence of place, and the shape of it around us, as we follow in the footsteps of those who came before.” (anna-Katrina Jędrosz, Isle, 2019).
Environmental documentary photographer Hanna-Katrina Jędrosz said this is how she experienced and encountered a place. She is an influential photographer to my project as I’m studying the environment surrounding Bouley Bay in Jersey. I plan to investigate different features, like Fort Leicester, the Islet, and boats, and other elements of the bay through different methods of photography, such as long exposure, aerial photography, and minimalistic close ups in a studio. This location is especially important to me as I grew up in that area, and regularly went to the beach in the summer. There are many memories that brings cheerfulness, for-instance meeting my friends at the pontoon in the bay, and many barbeques in the hot summer evening. I know this area extremely well and is relishing the opportunity to explore it from different perspectives and viewpoints. Using a selection of photos I have produced, I plan to prove that using photography you can accu depict an environment in detail. I plan to look at photographers Hanna-Katrina Jędrosz and Robert Adams as they document landscape environments well in in a clear way that captures the area in detail. I am using historical context of the bay from the Societe Jersiaise, because they have images and in-depth information on the history of the bay, which I can use in my project to juxtapose time. There are a few links to my pervious projects, such as the Anthropocene project, and how I linked it to water pollution by capturing images around Bouley Bay, which I used to create a photo manipulation from in Photoshop. I have also taken photos at Bouley Bay in other projects, for example, long exposure of the mini waterfall, and a slow shutter speed of waves crashing on the rocks near the L’Islet. For my current project I would like to develop long exposure photography of the bay, and it’s smaller features, also aerial photography to capture unique angles that showcases the bay that aren’t accessible to the average beachgoer. It would be displayed via a photobook that consists of images of the bay, the history of the bay and, images relating to the bay. All of the images that I will use in the photobook I will edit them in Photoshop, mainly using the camera-raw filter as it works extremely will since I only shot in RAW which, produces a .CR2 image. This helps me bring back shadows, highlights, and colour in post production as there is greater dynamic range. Compared to a JPEG file which uses compressed data as there is less information in the image file, so recovering and editing the images is more challenging. The processes I use the most in Photoshop are gradual and radial filters, spot healing brushes, and the clone stamp tool.
Historical/ theoretical context within art, photography, visual and popular culture
There are four main art movements and isms in photography and, they are, Pictorialism, Realism/Straight Photography , Modernism, and Post-Modernism. I plan to look at modernism, creating images inspired by Robert Adams and, Ansel Adams.
Pictorialism
Firstly, pictorialism was most popular in the time period 1880-1920, and the goal of it was to make photographs look like art, and to make them look handmade. There were many methods of creating this effect. The main two ways were to rub Vaseline on the camera lens to blur parts of the picture. Scratch the negative, and use chemicals to create an interesting print, information from The Genius of Photography. (Archive, 2007). Alfred Stieglitz was later dubbed Hill “the father of pictorial photography” and featured his and Adamson’s photographs in his publications and at the Little Galleries of the Photo-Secession in 1906. (TheArtStory, 2018).
Realism and Straight Photography
Realism and Straight photography was effective approximately around the time period 1915, and its purpose was to use the photographic medium and it’s ability to provide accurate and descriptive records of the visual world, information from The Genius of Photography. (Archive, 2007). Gustave Courbet was the first artist to self-consciously proclaim and practice the realist aesthetic. After his huge canvas The Studio (1854–55) was rejected by the Exposition Universelle of 1855. (Britannica, 2020).
Modernism
Modernism is what relates to my project the most, and I what Robert Adams fits into, as he is most know for taking photos of the American West, which is the same objective that Ansel Adams had, who is considered the most important landscape photographer of the 20th century. (Britannica, 2020). Ansel Adams and Robert Adams are both environmentalists and use photography as a tool to highlight areas of the natural world that they care about. However, Ansel focuses his lens on the beauty of nature and he produces romanticised images, compared to Robert, who photographs the man-made world in the American West.
Modernism is characterised intellectually by a belief that science could save the world and that, through reason, a foundation of universal truths could be established. The common trend was to seek answers to fundamental questions about the nature of art and human experience. (The Genius of Photography, 2007). To get answers to their questions they would have to view the situation from a different angle, the quote sums it up nicely. “Our vision will be changed because we can see the world from unfamiliar viewpoints, for instance, thought a microscope, from the top of high buildings, from under the sea.” (Photography: A Critical Introduction, 1988: 19) This implies that by viewing the situation differently, there is a whole new way of thinking that introduces new ideas and new concepts, as it was a whole new notion, “modernism aimed to produce a new kind of world and new kinds of human beings to people it. The old world would be put under the spotlight of modern technology and the old evasions and concealments revealed.” (Photography: A Critical Introduction, 1988: 19). This is explains the changes in art movements and, how people are focusing on the future by putting the old movements behind them, however not completely forgetting them, which would help embrace the future and, what it holds.
Postmodernism
Finally, Postmodernism is the newest art movement and ism, and it has been in place since the second half of the 20th century. “Writers on postmodernism postulated the idea that modernity had run its course”. (Photography: A Critical Introduction, 1988: 21). Meaning that there was a new way of work, which allows new artist to take lead and express themselves.
Postmodernism is relativism, and it is the belief that no society or culture is more important than any other. It explores power and the way economic and social forces exert that power by shaping the identities of individuals and entire cultures. (The Genius of Photography, 2007). It gives everyone a fair chance as, “no longer governed by, so called, ‘grand’ or ‘master’ narratives.” ((Photography: A Critical Introduction, 1988: 21), which allows people to embrace the full chance of freedom, so they can create what they ideal.
There are many examples of post-modernistic art, however the most recognised founder of the Postmodernism movement is Jacques Lacan, who was a prominent French psychoanalyst and theorist. His ideas had a huge impact on critical theory in the twentieth century and were particularly influential on post-structuralist philosophy and the development of postmodernism. (Tate, 2017). A good example of Postmodern work would be “The Destroyed Room” that was created by Canadian artist, Jeff Wall in 1978.
This image shows exciting and vibrant colours that contrasts the abandoned, destroyed room. It aims to explore themes of violence and eroticism inspired by Eugène Delacroix’s monumental painting The Death of Sardanapalus. (Gagosian, 2018). The emotion that Wall is trying to express within his artwork is the anger and hatred after a breakup from a relationship. This explains why the main colours in the image is red, because red represents violence and blood. However, red is also the main colours that dominates Delacroix’s painting, along with the skin tones of the women in the painting. Therefore, I believe that Wall has created a modern version of Delacroix’s painting by taking inspiration form it, however instead of focusing on people and their emotions, he has focused on objects and belongings to visualise a heartbreak .
Robert Adams
The first photographer I have decided to study is Robert Adams, as he is a historical photographer who has documented the extent and the limits of our damage to the American West, recording it in over fifty books of pictures, both reasons to despair and to hope. (Fraenkel Gallery, 2012) His work is very well known and he fits into the modernism art movement, as his photos embrace its social, political and aesthetic potential, experimenting with light, perspective and developing?, as well as new subjects and abstraction. (Tate, 2016). Adams study on the American West link to my project in the same way that Jędrosz’s work does. This is through the study of an environment within an area. After reading a small section in Robert Adams book, “Beauty in Photography”, Adams describes how an image is meaningful even if it isnt the best image in the world. “For a picture to be beautiful it does not have to be shocking, but it must in some significant respect be unlike what has preceded it (this is why an artist cannot afford to be ignorant of the tradition within his medium). This is quote is from Adams influential book Beauty in Photography (which provides a theory on his approach to landscape photography), and it means Adams feels that for an image to be good it must be different and unique compared to what other people have captured.
When analysing one of Adams many books, “Beauty in Photography” he started the essay off with the quote, “The beautiful places to which we journey for inspiration surprise us by the melancholy they can induce.” (Adams, 1996: 13). A reviewer said, “I found this to be an interesting statement and one I can agree with. I am not really a landscape photographer myself, I can appreciate a good image but I often feel uninspired in my own attempts.” (35mmc, 2020) This really shows how Adams produces exceptional photographs which have the ability to inspire other people, which is why he is considered one of the most important and influential photographers to capture the American West. By Gilman (the reviewer) being inspired to practice photography herself, means that Adams has had a strong influence on her, however when Gilman realises that she is not a master at photography, it makes her more appreciative of Adams work. Many people may agree to the statement, “I often feel uninspired in my own attempts.” (35mmc, 2020). And the main reason is because they are not decided to photography in the same way that Robert Adams is, therefore the work they have produced seems bad and less important when being compared against Adams work.
When Adam’s was asked in an interview, “How do you go about finding the photograph you want to take?”, he spoke about how Ansel Adams pre-visulises all the details and specially plans the photoshoot, however Robert Adams doesn’t take the same approach and he said, “You do try to get as much as you can right there on the spot when you make the exposure, but there are a lot of surprises in photography. If you’re not interested in surprises, you shouldn’t be a photographer. It’s one of the great enlivening blessings of the medium.” (Art21, 2017). This shows how Robert Adams has a natural eye for photography and is very good at improvising according to his surroundings. It also shows how Adams had patience as he would have ended taking more photos than he planned and each exposure would have taken a long time. Finally Adams is also saying how unique and different each shoot can be, by using the word, “surprising”, this is the way to get the best photographs, which Adams described as the, “blessings of the medium.”
These are two of his photographs that I picked from a wide range of Adams work in Western America.
These two images where both taken by Robert Adams. The image on the left shows temporary caravan housing which contrasts with the mountain in the background, as the rectangular lines on the caravans clash with the smooth nature lines from the mountains on the horizon. The bottom half of the image being congested creates a busy, active, loud atmosphere that creates a conflict in emotion with the tranquil, clam, peaceful mountains and clear sky. Despite the cameras not being as advanced, this image is very clear and contains lots of details.
The image on the right is a more zoomed in shot to create a deeper personal connection. This effect is achieved by focusing in on the drive way of the house. The image is slightly under exposed, which makes the highlights more noticeable, therefore making the car a focus point. Adams commonly makes the 50/50 split in the image rather than using the rule of thirds, but in both of these image it works out well.
Hanna-Katrina Jędrosz.
The second photographer I’ve decided to study is Hanna-Katrina Jędrosz. She is a contemporary photographer who does documentary work with places, people and the environment in focus. In 2017 she did a photo series on the Rummu quarry. It stands as a remnant of the cold war. She highlighted the recent trials of refurbishing the area into something more beneficial to the nearby society. (Academy, 2021). This links with my study on a geographical point, such as Bouley Bay. I can study how Jędrosz has captured the quarry in a way which makes the viewer see the historical value of the site, before it is destroyed. Jędrosz uses several photographs from different vantage points to represent the location. Doing so she creates unique and interesting angles that reflects the areas age and emotion. The shots consist of a variety of close ups of walls with iron rods in them, barbed wire fences vanishing into the horizon and, a low squatted building on a frozen lake. All of the images have been shot during winter, and what seems to be a single photoshoot. This gives the collection of images a general look, which is a cold atmosphere, however it would have been nice to see the location in different seasonal states, as it would have give the quarry a whole different look. Although, after research, this aproach of showing the area in different lighting, seasons and, moods goes against Jędrosz’s way of work as this question in an interview was asked, “What influenced your photography?”, and she replied, “The people and places I photograph have the biggest influence on my photography. I try not to impose too much, and to respond to what’s happening in front of me in a genuine way, to make photographs that are a documentation of an encounter.” (Academy, 2021). This is evidence that Jędrosz likes to capture the initial, untouched environment, and how she doesn’t want to manipulate the location, as it wouldn’t produce an authentic image. This would take some of the meaning away from the final image.
Jędrosz fits into the contemporary documentary photographer category, which is a style of photography that provides a straightforward and accurate representation of people, places, objects and events. (Tate, 2017) These are my two favourite images from the Rummu Quarry photo collection, and they are an accurate representation of place, as she has used the quarry landscape to set the scene. Photos captured for contemporary documentary purposes, like Jędrosz’s images, are often used in reports such as, in the newspaper and on the news. Jędrosz’s images of the quarry were useful as the Rummu Quarry was being assessed for redevelopment, therefore she documented the quarry before it was repurposed or destroyed.
The image on the left is my favourite image. It shows the area in a wider perspective, and Jędrosz has made an extremely powerful composition by including small hints of the side of the cliff, which creates depth to draw the eye into the middle of the image, where the building is located. The spacing between the building and the land is mostly consistent, which adds to create a visually appealing composition. The building having the same colours as the rocky cliffs around it means that the blue, frozen ice emphasis the focus on the building. The blue ice constructs a balance between the light blue, hazed sky, which makes the viewer notice the brown areas more, this is because blue and brown are the main two colours in this image. Overall, the vantage point Jędrosz has taken this image from and inspired me to use high pinot to take images from to get the aerial photo type look.
The photo on the right is extremely different to the other image. It doesn’t show the general area that is surrounded by miles of trees, instead it show the security measures in place and provides a more realistic representation of what it would of been like to work at the quarry when it was open during the rein of the Soviet Union. The meaning changes when you look into the historical context of the quarry. “The workers were drawn from the near by Rummu Prison” (Hanna-Katrina, 2010?). Knowing that prisoners use to work at the quarry creates links to the barbed wire fences, and the graffiti, which could have been done by the released prisoners or street artists.
Conclusion
In conclusion, both Jędrosz and Adams capture an environment in detail and, they accurately recreate the atmosphere as if the viewer was there. The main similarities between both photographers, is that they both include a wide variety of shots from the same location to provide more infomation about the place. For example, a wide angle view of the location, and a close up shot of objects in the environment. On the other hand the main difference is that Adams shoots in black and white, where as Jędrosz shoots in colour.
For Adams only being able to shoot in a monochromatic format, the image he produces often contains a more moody atmosphere which creates stronger emotions, as there is a greater contrast between certain elements in the image. Plus, shooting in black and white can removed some visual distractions by removing distracting colours to simplify the final image. Without colour, it is sometimes easier to make out the photographic camera techniques used in an image such as, framing, form, positioning and, surface texture. Robert Adams once claimed, “Black and white are the colours of photography,” (NYTimes, 2012) meaning that Adams feels that he doesn’t need colour to create the perfect image. On the other hand, colour is an important variable in landscape photography. It creates a visually appealing image which draws the viewer into the image where they can notice smaller details, which might have been missed if the image was in black and white, as colour in landscape photography can help differentiate depth and detail in an image. Colour can be used to convey emotion such as, cold and warm, it can also show emotion using the lighting conditions and the weather.
Another difference is that Adams composition in his images seem more precise, compared to Jędrosz. The main reason I think this happened is because Adams uses a large-format camera which is much slower to operate and can only make one exposure at a time, whereas Jędrosz uses a digital camera, so she can quickly and efficacy capture images. The large format camera was the best camera at the time for taking landscape images, as it had incredible detail and focus, a shallow depth of field and, interchangeable lenses. Both photographers capture different environments in their own style, and affectively showcase a whole geological location with a selection of images.
MT: You need to redo the way you reference sources as it doesn’t make sense. Use Harvard system of referencing
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.
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. Photojournalism, environment
Write down page number, author, year, title, publisher, place of publication so you can list source in a bibliography
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
2. Essay Question
How can photography capture and record an environment, and accurately depict its atmosphere?
How can photography capture and explore an environment, and accurately record it’s atmosphere to a viewer?
3. Essay Plan
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
4. Essay Introduction
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! How can photography capture and explore an environment, and accurately record it’s atmosphere to a viewer?
Copy your essay introduction (from Essay Plan) which will give you a framework to build upon and also copy your Statement of Intent.
STATE OF INTENT My idea is to make a photobook in which I explore the area Bouley Bay, overall I want to capture the activity, views, and close ups of key feature such as rocks, shells, heritage, the hill climb, and the bay. I could also look into the history of the bay and the Jersey Folklore, involving the Black Dog.
It is important to me as I grew up in that area, and have many memories of it. And I hope to capture it in the same way in which remember it. I wish to develop my project by exploring the bay and collecting lots of objects to photograph in a studio, and also to take long exposure, aerial, and underwater of the bay, as I have been inspired by many photographers, such as, Martin J Patterson (@ mjplandscapes on Instagram), Jaun Munoz (@ drjuanmdc on Instagram), and David Aguilar (@ davidaguilar_photo). Using these images I can look into topics such as, beach pollution, environment and beach life. Hanna-Katrina Jędrosz and Barron Bixler have studied environments, so it would be interesting to analyse them and their work.Identify 2 quotes from sources identified in an earlier task using Harvard System of Referencing.
4. 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.
You say that you are “interested in the influence of place, and the shape of it around us, as we follow in the footsteps of those who came before.” Could you please elaborate on what this means to you as a photographer and how it influences you’re thinking when picture making?
1.
“This is about how I experience and encounter a place, and I feel that’s important to me when I’m taking photographs. I listen as much as look and am emotionally present when I photograph.”
In-text citation: (Isle, 2019)
Refrence: “I am interested in the influence of place, and the shape of it around us, as we follow in the footsteps of those who came before.” Jędrosz, H.K. (2019) Isle. Avaible at: https://www.isle-stories.co.uk/hanna-jedrosz (Accessed: 12 January 2022).
Foreworld – 9 Truth and landscape – 11 Beauty in photography – 21
2.
“With the help of a camera we can recognize and enjoy an unnamed New Mexican mesa or the Delaware Water Gap. Although we are not as naive as we once were about the accuracy of the pictures, we continue to value them initially as reminders of what is out there, of what is distinct from us.” page 14 beauty of photography
3.
“f64 is the smallest aperture available on most view camera lenses; by its use the depth of focus is maximized, and the most precise possible rendering of detail is achieved.” page 27
4.
“For a picture to be beautiful it does not have to be shocking, but it must in some significant respect be unlike what has preceded it (this is why an artist cannot afford to be ignorant of the tradition within his medium). p27
5.
“A photographer can describe a better world only by better seeing the world as it is in front of him.” p 26
5. Add sources to Bibliograpphy
6. Begin to write a paragraph (250-500 words) answering the following questions below.
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 its 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 how are you going to respond photographically? How did or will your work develop. What camera skills, techniques or digital processes (post-production) have or are you going to experiment with?
Essay Introduction Draft
How can photography capture and explore an environment, and accurately record it’s atmosphere to a viewer?
Introduction
“I am interested in the influence of place, and the shape of it around us, as we follow in the footsteps of those who came before.” (anna-Katrina Jędrosz, Isle, 2019).
Environmental documentary photographer Hanna-Katrina Jędrosz said this is how she experienced and encountered a place. She is an influential photographer to my project as I’m studying the environment surrounding Bouley Bay in Jersey. I plan to investigate different features, like Fort Leicester, the Islet, and boats, and other elements of the bay through different methods of photography, such as long exposure, aerial photography, and minimalistic close ups in a studio. This location is especially important to me as I grew up in that area, and regularly went to the beach in the summer. There are many memories that brings cheerfulness, for-instance meeting my friends at the pontoon in the bay, and many barbeques in the hot summer evening. I know this area extremely well and is relishing the opportunity to explore it from different perspectives and viewpoints. Using a selection of photos I have produced, I plan to prove that using photography you can accuracy depict an environment in detail. I plan to look at photographers Hanna-Katrina Jędrosz and Robert Adams as they document landscape environments well in in a clear way that captures the area in detail. I am using historical context of the bay from the Societe Jersiaise, because they have images and in-depth information on the history of the bay, which I can use in my project to juxtapose time. There are a few links to my pervious projects, such as the Anthropocene project, and how I linked it to water pollution by capturing images around Bouley Bay, which I used to create a photo manipulation from in Photoshop. I have also taken photos at Bouley Bay in other projects, for example, long exposure of the mini waterfall, and a slow shutter speed of waves crashing on the rocks near the L’Islet. For my current project I would like to develop long exposure photography of the bay, and it’s smaller features, also aerial photography to capture unique angles that showcases the bay that aren’t accessible to the average beachgoer. It would be displayed via a photobook that consists of images of the bay, the history of the bay and, images relating to the bay. All of the images that I will use in the photobook I will edit them in Photoshop, mainly using the camera-raw filter as it works extremely will since I only shot in RAW which, produces a .CR2 image. This helps me bring back shadows, highlights, and colour in post production as there is greater dynamic range. Compared to a JPEG file which uses compressed data as there is less information in the image file, so recovering and editing the images is more challenging. The processes I use the most in Photoshop are gradual and radial filters, spot healing brushes, and the clone stamp tool.
Historical/ theoretical context within art, photography, visual and popular culture
There are four main art movements and isms in photography and, they are, Pictorialism, Realism/Straight Photography , Modernism, and Post-Modernism. I plan to look at modernism, creating images inspired by Robert Adams and, Ansel Adams.
Firstly, pictorialism was most popular in the time period 1880-1920, and the goal of it was to make photographs look like art, and to make them look handmade. There were many methods of creating this effect. The main two ways were to rub Vaseline on the camera lens to blur parts of the picture. Scratch the negative, and use chemicals to create an interesting print, information from The Genius of Photography. (Archive, 2007). Alfred Stieglitz was later dubbed Hill “the father of pictorial photography” and featured his and Adamson’s photographs in his publications and at the Little Galleries of the Photo-Secession in 1906. (TheArtStory, 2018).
Realism and Straight photography was effective approximately around the time period 1915, and its purpose was to use the photographic medium and it’s ability to provide accurate and descriptive records of the visual world, information from The Genius of Photography. (Archive, 2007). Gustave Courbet was the first artist to self-consciously proclaim and practice the realist aesthetic. After his huge canvas The Studio (1854–55) was rejected by the Exposition Universelle of 1855. (Britannica, 2020).
MT: You need to redo the way you reference sources as it doesn’t make sense. Use Harvard system of referencing
Modernism is what relates to my project the most, and I what Robert Adams fits into, as he is most know for taking photos of the American West, which is the same objective that Ansel Adams had, who is considered the most important landscape photographer of the 20th century. (Britannica, 2020). MT: explain the difference between Ansel Adams and Robert Adams. They are both environmentalists and use photography as a tool to highlight areas of the natural world that they care about. However Ansel focuses his lens of nature beauty and produce romanticised images, compared to Robert who photograph the man-made world in the American West.
Modernism is characterised intellectually by a belief that science could save the world and that, through reason, a foundation of universal truths could be established. The common trend was to seek answers to fundamental questions about the nature of art and human experience. (The Genius of Photography, 2007)
Finally, Postmodernism is the newest art movement and ism, and it has been in placed since the second half of the 20th century. Postmodernism is relativism, and it is the belief that no society or culture is more important than any other. It explores power and the way economic and social forces exert that power by shaping the identities of individuals and entire cultures. (The Genius of Photography, 2007). There are many examples of post-modernistic art, however the most recognised founder of the Postmodernism movement is Jacques Lacan, who was a prominent French psychoanalyst and theorist. His ideas had a huge impact on critical theory in the twentieth century and were particularly influential on post-structuralist philosophy and the development of postmodernism. (Tate, 2017)
MT: provide an example of a postmodern work of art – within contemporary photography. For example, Jeff Wall
Hanna-Katrina Jędrosz.
The first photographer I’ve decided to study is Hanna-Katrina Jędrosz. She is a photographer who does documentary work with places, people and the environment in focus. In 2017 she did a photo series on the Rummu quarry. It stands as a remnant of the cold war. She highlighted the recent trials of refurbishing the area into something more beneficial to the nearby society. (Academy, 2021). This links with my study on a geographical point, such as Bouley Bay. I can study how Jędrosz has captured the quarry in a way which makes the viewer see the historical value of the site, before it is destroyed. Jędrosz uses several photographs from different vantage points to represent the location. Doing so she creates unique and interesting angles that reflects the areas age and emotion. The shots consist of a variety of close ups of walls with iron rods in them, barbed wire fences vanishing into the horizon and, a low squatted building on a frozen lake. All of the images have been shot during winter, and what seems to be a single photoshoot. This gives the collection of images a general look, which is a cold atmosphere, however it would have been nice to see the location in different seasonal states, as it would have give the quarry a whole different look. Although, after research, this aproach of showing the area in different lighting, seasons and, moods goes against Jędrosz’s way of work as this question in an interview was asked, “What influenced your photography?”, and she replied, “The people and places I photograph have the biggest influence on my photography. I try not to impose too much, and to respond to what’s happening in front of me in a genuine way, to make photographs that are a documentation of an encounter.” (Academy, 2021). This is evidence that Jędrosz likes to capture the initial, untouched environment, and how she doesn’t want to manipulate the location, as it wouldn’t produce an authentic image. This would take some of the meaning away from the final image. These are my two favourite images from the Rummu Quarry photo collection.
The image on the left is my favourite image. It shows the area in a wider perspective, and Jędrosz has made an extremely powerful composition by including small hints of the side of the cliff, which creates depth to draw the eye into the middle of the image, where the building is located. The spacing between the building and the land is mostly consistent, which adds to create a visually appealing composition. The building having the same colours as the rocky cliffs around it means that the blue, frozen ice emphasis the focus on the building. The blue ice constructs a balance between the light blue, hazed sky, which makes the viewer notice the brown areas more, this is because blue and brown are the main two colours in this image. Overall, the vantage point Jędrosz has taken this image from and inspired me to use high pinot to take images from to get the aerial photo type look.
The photo on the right is extremely different to the other image. It doesn’t show the general area that is surrounded by miles of trees, instead it show the security measures in place and provides a more realistic representation of what it would of been like to work at the quarry when it was open during the rein of the Soviet Union. The meaning changes when you look into the historical context of the quarry. “The workers were drawn from the near by Rummu Prison” (Hanna-Katrina, 2010?). Knowing that prisoners use to work at the quarry creates links to the barbed wire fences, and the graffiti, which could have been done by the released prisoners or street artists.
Robert Adams
The second photographer I have decided to study is Robert Adams, as he is a photographer who has documented the extent and the limits of our damage to the American West, recording it in over fifty books of pictures, both reasons to despair and to hope. (Fraenkel Gallery, 2012) His work is very well known and he fits into the modernism art movement, as his photos embrace its social, political and aesthetic potential, experimenting with light, perspective and developing?, as well as new subjects and abstraction. (Tate, 2016). Adams study on the American West link to my project in the same way that Jędrosz’s work does. This is through the study of an environment within an area. After reading a small section in Robert Adams book, “Beauty in Photography”, Adams describes how an image is meaningful even if it isnt the best image in the world. “For a picture to be beautiful it does not have to be shocking, but it must in some significant respect be unlike what has preceded it (this is why an artist cannot afford to be ignorant of the tradition within his medium). This is quote is from Adams influential book Beauty in Photography (which provides a theory on his approach to landscape photography), and it means Adams feels that for an image to be good it must be different and unique compared to what other people have captured. These are two of his photographs that I picked from a wide range of Adams work in Western America.
These two images where both taken by Robert Adams. The image on the left shows temporary caravan housing which contrasts with the mountain in the background, as the rectangular lines on the caravans clash with the smooth nature lines from the mountains on the horizon. The bottom half of the image being congested creates a busy, active, loud atmosphere that creates a conflict in emotion with the tranquil, clam, peaceful mountains and clear sky. Despite the cameras not being as advanced, this image is very clear and contains lots of details.
The image on the right is a more zoomed in shot to create a deeper personal connection. This effect is achieved by focusing in on the drive way of the house. The image is slightly under exposed, which makes the highlights more noticeable, therefore making the car a focus point. Adams commonly makes the 50/50 split in the image rather than using the rule of thirds, but in both of these image it works out well.
Conclusion
In conclusion, both Jędrosz and Adams capture an environment in detail and, they accurately recreate the atmosphere as if the viewer was there. The main similarities between both photographers, is that they both include a wide variety of shots from the same location to provide more infomation about the place. For example, a wide angle view of the location, and a close up shot of objects in the environment. On the other hand the main difference is that Adams shoots in black and white, where as Jędrosz shoots in colour. MT explain what effect the difference between monochrome and colour has on landscape images.
Another difference is that Adams composition in his images seem more precise, compared to Jędrosz. The main reason I think this happened is because Adams has to setup a massive tripod and allow a lot of time to take the image (MT Adams uses a large-format camera which is much slower to operate and can only make one exposure at a time – research this in more detail)
, whereas Jędrosz uses a digital camera, so she can quickly and efficacy capture images. Both photographers capture different environments in their own style, and affectively showcase a whole geological location in just a few images.
MT, Overall I feel the essay has a lot of potential, but you have not done enough research, especially around Robert Adams. You need to discuss more details and bring in different points of view. There are many interviews with Adams and many reviews of his work. For Jędrosz you need to reflect on her work in relation to how contemporary photographers work within a documentary landscape tradition.
Read this article and incorporate into your analysis
Write a Statement of Intent that clearly contextualises; What you want to explore? Why it matters to you? How you wish to develop your project? When and where you intend to begin your study? Make sure you describe your chosen theme (IDENTITY & COMMUNITY), subject-matter (topic, issue), artists (inspirations, references) and final outcome (photobook, film).
Statement Of Intent
The discussion of teenager’s mental health is growing in everyday society, some disregard it and some understand it’s increasing prominence; I wish to create a study on the theme ‘Identity’ surrounding the topic of anxiety. I have personally suffered from generalised anxiety disorder from a young age, it has always been a part of my life and I am still learning to deal and live with it, however it is not something I am ashamed of. I am grateful for the knowledge I have that I am not alone on this journey, many of my friends and family are also affected by it so can understand and help each other through any days or moments in life that are particularly difficult. I really want to use photography as a medium to explore how I have coped with anxiety throughout my life, focusing on the idea of finding safety and comfort in certain places around my home, family member’s homes and areas around the island that have always made me feel less anxious. The whole concept of anxiety has been quite normalised in today’s society, having both positive and negative effects, as some feel less alone while others feel less seen. Highlighting this topic, by studying the positive areas of life where I have felt most safe, is very important to me; what matters to me most is creating a truthful display on a personal topic. My ideas for the development of this project are to capture some still life images around my home, using windows in many compositions with reflections of sunlight being a reminder of hope. An artist that has interested me while researching this type of imagery is Daniel Blaufuks, whose are naturalistic yet orchestrated scenes in his images hold questions around memories and nostalgia. Additionally, I have really connected with the work of Robert Darch and his project ‘Vale’, where he documents rooms in and around his home that he has lived in isolation with throughout his struggles with illness. I would really like to develop my project by taking inspiration from Darch’s photography, possibly capturing moments of countryside walks I would go on when feeling anxious during lockdown or visiting the woodlands I would explore as a child – highlighting the idea of ‘escaping reality’ through made up stories and games to keep my mind away from getting worried or scared. I aim for my final outcome to be a photobook that is able to capture and focus on the positive memories dealing with anxiety, where I’ve felt safe and loved by those around me while also showing moments of fear and realism to contrast.
