There is clear differences between these photographers and some less obvious similarities. Firstly, all of Claude Cahun’s images are very monochromatic and faded grey tones, where as Zarita Zevallos’ images are extremely bright and colourful. Both photographers are exploring identity and escaping the labels others have given them. Claude Cahun pushes gender boundaries and explores sexual identity by giving herself multiple identities in her images. However, Zarita Zevallos is exploring race and using the barbed wire and the edited image in the bottom left corner to show the men in the images are trying to break free from the stigma that has wrongfully been surrounding black men for years. Claude Cahun created some of the most startlingly original and enigmatic photographic images of the twentieth century, she brought more attention to gender fluidity and sexuality and has been referred to as being ‘years ahead of her time’. Zarita Zevallos, through her hyper-reality portraiture expresses what is going on in a specific community or society in general. Her goal is not only to denounce, educate and create awareness but to incite a movement/change. Both photographers were using their photographs to express their views.
Claude Cahun was a French lesbian photographer, sculptor and writer. Who is best known for self-portraits.
Cahuns work was both political and personal, she continued to take photos of herself throughout her early years and didn’t believe in having a gender.
She was largely written out of art history until the late 1980s ,when her photographs were included in an exhibition of Surrealist photography in 1986. She is known for her self-portraits that portray her as ambiguously gendered.
Some examples of her work and photographers;
analyzing an image;
technical- The lighting is mostly dark with some very light areas and shadows. The dark areas and light areas contrast very well and sharp against each other as both tones are very different. The lighting doesn’t look natural but the reflection on the glass suggests that some sort of sunlight is coming through to create that shadow. The image is very sharp and focused as the photo isn’t blurry.
visual- The image is black and white with a mixture of different dark and light tones that contrast each other. The glass around the womans head creates a 3D effect as the reflection on the glass circles around her. The composition of this image is very well done as her face is directly in the center of the image and it grabs the viewers attention directly at her. There’s not much happening in the background either which really makes her the main focus of the image.
conceptual- I think that this image has a very powerful meaning and idea behind it. Claude Cahun was trying to figure out what her true identity is herself and maybe by photographing a woman locked in this glass is trying to show how she felt when she didn’t really know how she truly felt about who she was and felt like she was trapped behind this identity crisis which is being presented by the glass is this image. The image also being in black and white creates a sad mood and negative perspective as the woman’s facial expressions don’t look to happy either.
The photographer I chose to look at is Jack Davison to inspire my photoshoots for lack of identity.
Jack Davison (b. 1990) is a London-based photographer. Davison studied English Literature at Warwick University but spent most of the time experimenting with cameras. Since the age of 14 he has continuously photographed those around him.
I chose to look into his photography because I like the way he finds many different ways to cover the face and mask the identity of someone. All of his images are very interesting and gets you to think how you see that person and the way you view them.
analysing one of his images;
unknown
technical- the main tone and lighting in this image is extremely dark and the background is completely black. The light used on the eye however does look natural as its very soft. The lighting on the eye being a lot lighter than the rest of the image draws your attention directly to the eye and the flower shape it has been edited into. This is very similar to Claude Cahun as the womans face is also directly in the middle and the center of the image where the light is a lot lighter. The image is very sharp as the details of the eye is very clear and the image isn’t blurry which means the shutter speed wasn’t on a low setting.
visual- The photograph is taken or has been edited in black and white with a completely black background surrounding the eye. The photo has been edited into a cut out of a flower which looks like a tulip and only the models eye has been used. The eye is directly in the center of the photo making it the first thing that grabs your attention and by making the background completely black the eye stands out the most. The eye contrasts with the dark background very well as the two tones (light and dark) look very sharp against eachother which defines the flower shape even more.
conceptual- The image being only the eye gives off an idea that the person wants to hide their identity completely and not show their face. Editing it into a flower shape may also link it to the person in some way and maybe they have a story about their life that links with it.
Comparing Claude with Jack – Both photographers take or edit their images in black and white which creates a sad or mysterious mood- it depends how you see the photo. Claude looks at identity different than David through photographing himself and exploring his own identity whereas Jack photographers other people and tries to mask or hide their identity in different ways such as editing parts of their faces into shapes or he has other photos where the models shake their heads to create a blurry look or they put their hands out in front of their faces to cover them.
Henri Cartier-Bresson was born on August 22, 1908 in Chanteloup, France.His theory that photography can capture the meaning beneath outward appearance in instants of extraordinary clarity is perhaps best expressed in his book (The Decisive Moment). Cartier-Bresson’s rise as a photographer was rapid. By the mid 1930’s he’d shown his work in major exhibits in Mexico, New York, and Madrid. His images revealed the early possibilities of street photography.
Henri Cartier-Bresson: The Decisive Moment examines Cartier-Bresson’s influential publication, widely considered to be one of the most important photobooks of the 20th century. It was to develop its emphasis on the photograph itself as a unique narrative form. The exhibition details how the decisions made by the collaborators in this major project have shaped our understanding of Cartier-Bresson’s photographs.
Bruce Gilden, an American street photographer best known for his candid close-up photographs of people on the streets of New York City. Gilden and Cartier-Bresson both have very similar photography techniques and outcomes.
Claude Cahun (1894-1954) was a French surrealist photographer known for her highly staged self-portraits exploring gender and identity. Cahun experimented with photographing herself in clothing that was not conventionally feminine or masculine, she was born ‘Lucy Renee Mathilde Schwob’ and in 1919 chose the pseudonym Claude Cahun as it was more sexually ambiguous. In 1937 Cahun settled in Jersey, disguised as a non-Jew, and during WW2, being passionately against war, produced anti-German fliers and placed them in soldier’s pockets secretly. It is clear that Cahun’s beliefs undermined the authority and society at the time as she went out of her way to disrupt ‘normality’ in her images. Additionally, Cahun’s androgynous appearance reflects her views on how identity and gender are just ideas formed by society, not set rules everyone needs to follow. Many of Cahun’s works can be found in The Museum of Modern Art in New York, the Museum of Fine Arts in Boston and the San Francisco Museum of Modern Art, along with many others.
Julian Germain
Julian Germain is a British photographer who studied photography at The Royal College of Art in London. Germain’s project ‘for every minute you are angry you lose 60 seconds of happiness’ is a series of photographs made over 8 years of the quiet, contemplative existence of Charles Snelling, an elderly man living alone in a small house in Portsmouth, shown alongside pages from Snelling’s own photo albums. Germain met Snelling in 1992, he describes how his subject lived in a very unique house full of colours like orange and yellow- it was unlike anything he’d seen before. I really love this particular project of Germain’s because of it’s beautiful message depicting how the most important things in life cost nothing at all, he wanted to show people with a profound understanding of who they are and what they stand for, something that cuts across all cultures. I believe this holds a strong link to ‘identity’ as Germain captures the individuality of his subject in an environment important to him. This project really stood out to me when deciding on initial ideas because of it’s close link to family also, I hope to take images of a similar standard in my study.
Julian Germain | For every minute you are angry you lose sixty seconds of happiness | 2005
Image Comparison
Although Cahun and Germain’s style of photography does not focus on the same concept of identity, these 2 images hold many visual and technical similarities. For example, the composition of each image is extremely similar as both subject’s are looking away from the camera with their bodies angled side-on to the lens. In Germain’s image, this may symbolise his subject’s bright view on the world, as if he is looking out of a window and seeing it’s beauty, furthered by his smiling facial expression. However, in Cahun’s image this composition creates a more closed-off atmosphere, suggesting Cahun has a more negative view on the world and on society. In addition, both images seem to have similar lighting coming from the right of the photo, which creates the main highlights on the front of the subject’s face. This lighting also produces similar shadows in the images, falling behind the subject’s neck and across the left side of their face. Nevertheless, it is clear that Cahun has used a more harsh artificial lighting and that Germain has made use of natural sunlight through a window to capture these images. This sharp lighting in Cahun’s image initiates a more intense dramatic atmosphere whereas Germain’s creates a soft cheerful mood. Another difference between these images are the photographer’s choice of background. Cahun is positioned in front of a dark blank background, possibly symbolising their views on how society’s minds are blank to new ideas and beliefs revolving gender and identity. Contrastingly, Germain’s subject is stood in front of a highly patterned background. The repetition in the wallpaper could suggest the subject has a large family, with the repeated shapes representing family members like a family tree. Furthermore, both of the image’s subjects have similar facial features. Cahun portrays themself with conventionally masculine attributes, such as short hair, in order to disrupt gender norms and go against what society expects. Germain’s masculine subject has a very similar hairline to Cahun, showing that certain facial features or hairstyles are not reserved for a certain gender.
“Self – portrait (shaved head, material draped across body) – Claude Cahun (1920)
“à la plage (at the beach)” – Carolle Benitah (2009)
Carolle Benitah and Claude Cahun share both differences and similarities in their works. The theme of identity is an iconic similarity between the two pieces of work, however these artists display them in different ways. Claude Cahun focuses on the idea of self-expression in terms of identity, whereas Carolle Benitah displays how her identity has been formed through childhood and the cultural tradition of embroidery.
Both pieces also have a vintage aesthetic to them, with the use of the monochrome tones and the grainy appearance of the images. Claude Cahun’s self-portrait was taken in 1920, and as the use of colour photography was not widely accessible, all of Cahun’s photos lack colour. On the other hand, although the original images used by Carolle Benitah are also monochromatic, she adds colour physically through sewing and embroidery.
In terms of the actual photography used, Claude Cahun often uses herself as the model in her images, meanwhile Carolle Benitah uses old family photos which display her relations as well as herself. Carolle Benitah’s work could be argued as whether or not they are photography or art as Benitah did not physically take the images herself. The depth of field in both images are difficult to determine as the background consists of empty, negative space.
Another difference between the two images is that Carolle Benitah’s images are often heavily edited, whether it is digitally or physically. This contrasts to Cahun’s work as there is a sense of rawness to them, as digital editing was impossible and there is no evidence of Cahun physically editing her images after printing. However there is an obvious, large time gap between the images being produced, so Carolle Benitah had the accessibility to digitally edit her photographs.
I am going to focus my work on telling a story in way in which I explore identity in terms of feeling a loss of identity by feeling like an outcast to society but finding identity by fitting into a sub culture.
In my opinion, identity is the definition of who you are. This can be shown through appearance, behaviour, hobbies and many other factors. Your identity is formed throughout your lifetime and can be affected by upbringing and the person’s specific influences
In photography, the use of colour, clothing and editing can be used in order to represent someone’s personality to the outside world. The setting of the photograph can also allow us to get to know the person’s identity deeper.
Carolle Benitah
“La vague” (The wave) – Carolle Benitah (2012)
Carolle Benitah, born in 1965, is a French visual artist who combines her old family photos with physical editing techniques such as embroidery to reform her own history. The images Benitah edits are from her past family albums, 40 or so years before she brought them back up to learn more about who she was and how she became that person. Carolle Benitah explains that she uses embroidery and other craft techniques in the editing of her images as those activities were seen as “feminine”, as women were expected to learn to embroider and sew in order to comply to the ‘perfect wide’ stereotype. Benitah previously worked in fashion for 10 years before returning to photography in 2001. Her work has been published in magazines such as Leica World, Lens Culture, Shots Magazine and many more. Carolle Benitah’s series ‘Photos-Souvenirs’ was also selected to exhibit in FotoFest’s 2014 Discoveries of the Meeting Place showcase of past Biennial portfolio reviews.
Analysis of Carolle Benitah’s work
“Pomplondin” – Carolle Benitah (from series ‘Photos-Souvenirs’ published 2016)
This image, named “Pomplondin”, is gently lit using natural lighting. The sunlight may be slightly overcast as the image has a lot of grey, dark tones. The light is coming from behind the people in the photograph as the shadows are cast in front of them. The brightest part of the photograph is the white-washed water flowing in the background.
The thin, red lines embroidered onto the image outline the family in the middle third of the photograph, proving them to be the focal point of the image. The organic, curving lines of water can be seen as leading lines as they direct the viewers eyes from one side of the image to the other, with the placement of the family in the middle.
There is no strong sense of repetition in this photograph, however the ripples in the waves can be seen as a form of echo, as they create a rhythmic pattern.
All the shapes in the image are organic and unorganised. This creates a sense of realism to the photo as the features are not artificially placed and the image is taken more in the spur of the moment, although the family is posing for the photo, there is no precise set up to the image.
There is a strong sense of depth in this photograph as it displays a shallow depth of field. The family, being the focal point, are in focus which contradicts the blurry background. The background can be seen as a somewhat empty space, as there is little detail to objects in this area. The only objects filling this space is the occasional person swimming in the background.
The photograph displays a mainly smooth texture due to the reflections in the water and the smooth flow of the waves. However this is contrasted by the rugged rocks in the background of the image, as the sharp edges juxtapose the gentle waters.
There is a range of tones from dark to light in this image which contradict eachother. For example, the lightest tones in the photograph can be seen in the foamy waves or the clothes of the people, and the darkest areas of the image can be seen in the background and foreground in the rocks and shadows.
In the image itself, there is no use of colour. However this is juxtaposed by the thin, red lines put in place by Benitah to create contrast between colour and monochromatic themes.
There is little arrangement in this photograph as the family in the foreground of the photo are posing for the photographer, however it is not formally arranged for a purpose. The scene seems moderately balanced as the focal point is placed in the middle third with rather equal amounts of background either side. There is no geometrical shaped imposed in the image although the rule of thirds is used.
The character or personality of an individual/the relation established by psychological identification.
Identity is who you are, the way you think about yourself, the way others view you and the things that make you unique to others, characteristics that define you. It is also the beliefs, personality, looks and/or expressions that make a person.
There are multiple types of identity which are the following: cultural identity, professional identity, ethnic and national identity, religious identity, gender identity, disability identity and psychological identity. A psychological identity relates to self-image (a mental model of oneself), self-esteem, and individuality).
Alec Soth is an American photographer born and based in Minneapolis, Minnesota. He has published over twenty-five books. In 2008, Soth created Little Brown Mushroom, a multi-media enterprise focused on visual storytelling.
Alec’s debut, Sleeping by the Mississippi , was first published in 2004 and contained photos, of local people, places and things, taken along the Mississippi river during several road trips between 1999 and 2002.
His documentary images leave you wondering about the story behind them. Each photograph has an element of exploration and familiarity, studying middle America and the lives of people.
Fort Jefferson Memorial Cross, Wickliffe, KY, 2002
Johnny Cash’s Boyhood Home, Dyress, AK, 2002
Alec Sloth’s images based on the theme of identity incorporates the home town of people (place) to show that peoples identity can be defined through their culture and life. The images above have an aspect of the peoples jobs or hobbies which can also influence someone as a person. The images of the objects/locations indicate a more simple or hidden identity isolated from the people. For example the houses seem more intimate and more meaningful then the other images as they seem to tell a story of the past.
I would like to photograph places in jersey which relate to me or my family and have meaning. when taking the photos I want to take the concept of isolation and interpret it by having a single small focal point and an empty sky/background around it.
To make my final outcomes more personal to me I would like to take old pictures of places from my parents towns (England, Broxborne and France, Le Harve) to show parts of my family’s history and culture and try and do some sort of collage with the new photos I will take from where our home is, Jersey.
Claude Cahun, from Nantes and moved to Jersey, is a French writer and plastic artist-photographer. Her life is closely linked to that of another artist of Nantes origin, Suzanne Malherbe, her companion. She photographed in the period of surrealism.
Rania Matar is a Lebanese/Palestinian/American documentary and portrait photographer. She photographs the daily lives of girls and women in the Middle East and in the United States, including Syrian refugees.
The book A Girl and Her Room (published 2012 and various shoots between 2009 and 2010) reveals the lives of girls from the U.S. and Lebanon. Set in the girls’ bedrooms these portraits offer an insider’s perspective of not just who these young women are, but the physical spaces that are extensions to their identities.
Photos from A Girl and Her Room:
Rania Matar’s series of photos from the Middle East and in the United States comparing the home lives and lifestyles of young women around the same age shows how the identity of people is reflected in their rooms. It also reflects the juxtaposition between location and how people are brought up/live differently.
I would like to take pictures of me in my room or with objects that relate to my identity, things to do with my hobbies or personality.
Yoshikatsu Fujii, born and raised in Hiroshima City. He often looks at historical themes and memory in contemporary events. Fujii’s project “Red String,” his hand-made limited edition photobook was highly inspired by his parents’ divorce.
Yoshikatsu fujii’s photos relate to objects or people that make us who we are and are part of our life. I like how the relationship between people is portrayed in the photos of people and how they are showing their everyday life and culture.
I would like to take photos similar to the ones with objects or places with a isolated mood but also showing that there is life in the photos. The photos with the people i would also like to take them similarly with different people to show that people act differently. I could also find old photos of me with people and compare them by creating a sort of collage.
PRACTICAL WORK: This term you have 6 weeks to complete all work, including essay and photobook or film. This include all relevant blog posts demonstrating your knowledge and understanding of: RESEARCH > ANALYSIS > PLANNING > RECORDING, EXPERIMENTATION > PRESENTATION > EVALUATION.
DEADLINE: MUST complete final photo-shoots/ moving image recordings by end of January 2022
ESSAY: We will continue to spend 1 lesson a week every Wednesdays on CONTEXTUAL STUDIES where you will be learning about critical theory, photo history and contemporary practice as well as developing academic study skills to help you writing your essay. However, it is essential that you are organising your time effectively and setting aside time outside of lessons to read, study and write.
DEADLINE: Essay MUST be handed in Mon 31 Jan 2022
PHOTOBOOK / FILM: For the whole month of January you will be developing and designing your photobook which will include your essay and somewhere between 40-60 images sequenced to tell a story. For those making a film you will spend January editing moving images and sound in Premiere.
MOCK EXAM: 7 – 14 Feb 2022 3 days controlled test (15 hours) Groups: 13B: MON 7 – WED 9 FEB 13C: THU 10 – MON 14 FEB
DEADLINE: Completion of photobook or film LAST DAY OF YOUR MOCK EXAM.
PLANNER – Download and save in your folder. Make sure you monitor and track your progress.
Week 15: 5 – 9 Jan Essay writing: Academic study skills Contextual Study: Decoding Photography
Wed: Literary Sources
Research and identify 3-5 literary sources from a variety of media such as books, journal/magazines, internet, Youtube/video that relates to your personal study and artists references .
Begin to read essay, texts and interviews with your chosen artists as well as commentary from critics, historians and others.
It’s important that you show evidence of reading and draw upon different pints of view – not only your own.
Take notes when you’re reading…key words, concepts, passages
Write down page number, author, year, title, publisher, place of publication so you can list source in a bibliography
Here is a BLOGPOST with links to relevant literary texts as pdfs from a variety of sources, such as books and online journals, newspapers and magazines.
Bibliography
List all the sources that you have identified above as literary sources. Where there are two or more works by one author in the same year distinguish them as 1988a, 1988b etc. Arrange literature in alphabetical order by author, or where no author is named, by the name of the museum or other organisation which produced the text. Apart from listing literature you must also list all other sources in alphabetical order e.g. websites/online sources, Youtube/ DVD/TV.
Quotation and Referencing:
Why should you reference?
To add academic support for your work
To support or disprove your argument
To show evidence of reading
To help readers locate your sources
To show respect for other people’s work
To avoid plagiarism
To achieve higher marks
What should you reference?
Anything that is based on a piece of information or idea that is not entirely your own.
That includes, direct quotes, paraphrasing or summarising of an idea, theory or concept, definitions, images, tables, graphs, maps or anything else obtained from a source
How should you reference?
Use Harvard System of Referencing…see Powerpoint: harvard system of referencing for further details on how to use it.
https://vimeo.com/223710862
Here is an full guide on how to use Harvard System of Referencing including online sources, such as websites etc.
Thurs: Essay Question
Think of a hypothesis and list possible essay questions
Below is a list of possible essay questions that may help you to formulate your own.
Fri: Essay Plan Make a plan that lists what you are going to write about in each paragraph – essay structure
Essay question:
Opening quote
Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?
Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian.
Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
EssayIntroduction In this lesson you will write a 45 mins draft essay introduction following these steps:
Open a new Word document > SAVE AS: Essay draft
Copy essay question into Essay title: Hypothesis > if you don’t have one yet, make one!
Copy your essay introduction (from Essay Plan) which will give you a framework to build upon and also copy your Statement of Intent.
Identify 2 quotes from sources identified in an earlier task using Harvard System of Referencing.
Use one quote as an opening quote:Choose a quote from either one of your photographers or critics. It has to be something that relates to your investigation.
Begin to write a paragraph (250-500 words) answering the following questions below.
You got 45 mins to write and upload to the blog!
Think about an opening that will draw your reader in e.g. you can use an opening quote that sets the scene. Or think more philosophically about the nature of photography and 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?
Use 500 words blog post you produced before Christmas in relation to Art Movement and Isms as a basis for this paragraph
Select at least two qoutes from your literary sources (see list below) that you can incorporate into your paragraph.
Your paragraph must include visual examples of artists making work within that art movement that is relevant to your Personal Study.
Complete Paragraph 1 and upload to the blog at the end of lesson
Paragraph 1 Structure (500 words): Use subheading. This paragraph covers the first thing you said in your introduction that you would address.The first sentence introduces the main idea of the paragraph. Other sentences develop the subject of the paragraph.
Content: you could look at the following…exemplify your hypothesis within a historical and theoretical context. Write about how your area of study and own work is linked to a specific art movement/ ism. Research and read key text and articles from critics, historians and artists associated with the movement/ism. Use quotes from sources to make a point, back it up with evidence or an example (a photograph), explain how the image supports the point made or how your interpretation of the work may disapprove. How does the photograph compare or contrast with others made by the same photographer, or to other images made in the same period or of the same genre by other artists. How does the photograph relate to visual representation in general, and in particularly to the history and theory of photography, arts and culture.
Include relevant examples, illustrations, details, quotations, and references showing evidence of reading, knowledge and understanding of history, theory and context!
WED 12 JAN: CONTEXTUAL STUDIES Decoding Photography • Select one of the questions listed • Read text in detail, make notes and identify 3 quotes • Select one image from examples mentioned in text and apply your own interpretation of the photograph by applying theory and critical thinking • Incorporate the 3 quotes above into your interpretation of the image and make sure you comment on the quotes.
RECORDING: Bring images from new photo-shoots to lessons and follow these instructions
EDITING:
Save shoots in folder and import into Lightroom
Organisation: Create a new Collection from each new shoot inside Collection Set: PHOTOBOOK
Editing: select 8-12 images from each shoot.
Experimenting: Adjust images in Develop, both as Colour and B&W images appropriate to your intentions
Export images as JPGS (1000 pixels) and save in a folder: BLOG
Create a Blogpost with edited images and an evaluation; explaining what you focused on in each shoot and how you intend to develop your next photoshoot.
Make references to artists references, previous work, experiments, inspiration etc.
Prep for photobook design: Make a rough selection of your 30-40 best pictures from all shoots. Make sure you have adjusted and standardised all the pictures in terms of exposure, colour balance.
EXPERIMENTING:
Export same set of images from Lightroom as TIFF (4000 pixels)
Experimentation: demonstrate further creativity using Photoshop to make composite/ montage/ typology/ grids/ diptych/triptych, text/ typology etc appropriate to your intentions
Design: Begin to explore different layout options using InDesign and make some page spreads for our newspaper (format: 280.5 (h) x 420 mm (w)
Alternatively design a photo-zine. Set up new document as A5 page sizes. This is trying out ideas before you begin designing photobook.
Make sure you annotate process and techniques used and evaluate each experiment
EVALUATING: Upon completion of photoshoot and experimentation, make sure you evaluate and reflect on your next step of development. Comment on the following:
How successful was your photoshoot and experimentation?
What references did you make to artists references? – comment on technical, visual, contextual, conceptual?
How are you going to develop your project from here? – comment on research, planning, recording, experimenting.
What are you going to do next? – what, why, how, when, where?
THURS/FRI: 13 – 14 Jan PRESENTATION – Work-in-Progress
PRESENTING: Prepare a 3-5 mins presentation on something that you are working on right now in your project. For example:
An idea An image A photo-shoot An experiment An inspiration New research New development
Use blog posts to present in class. As a class we will give constructive feedback on how each student can develop their work and project.
PHOTOBOOK: Produce a number of blogposts that show evidence of the following:
1. Research a photo-book and describe the story it is communicating with reference to subject-matter, genre and approach to image-making.
2. Who is the photographer? Why did he/she make it? (intentions/ reasons) Who is it for? (audience) How was it received? (any press, reviews, awards, legacy etc.)
3. Deconstruct the narrative, concept and design of the book and apply theory above when considering:
Book in hand: how does it feel? Smell, sniff the paper.
Paper and ink: use of different paper/ textures/ colour or B&W or both.
Format, size and orientation: portraiture/ landscape/ square/ A5, A4, A3 / number of pages.
Title: literal or poetic / relevant or intriguing.
Narrative: what is the story/ subject-matter. How is it told?
Structure and architecture: how design/ repeating motifs/ or specific features develops a concept or construct a narrative.
Design and layout: image size on pages/ single page, double-spread/ images/ grid, fold- outs/ inserts.
Editing and sequencing: selection of images/ juxtaposition of photographs/ editing process.
Images and text: are they linked? Introduction/ essay/ statement by artists or others. Use of captions (if any.)
UNDERSTANDING PHOTOBOOKS: NARRATIVE, EDITING, SEQUENCING, DESIGN, FORM, FUNCTION
Earlier in the academic year we looked at narrative in photography. Let’s refresh our memory and revisit some of the theories around visual storytelling.
Narrative is essentially the way a story is told. For example you can tell different narratives of the same story. It is a very subjective process and there is no right or wrong. Whether or not your photographic story is any good is another matter.
Narrative is constructed when you begin to create relationships between images (and/or text) and present more than two images together. Your selection of images (editing) and the order of how these images appear on the pages (sequencing) contributes significantly to the construction of the narrative. So too, does the structure and design of the photo-zine or photobook.
However, it is essential that you identity what your story is first before considering how you wish to tell it. Planning and research are also essential to understanding your subject and there are steps you can take in order to make it successful. Once you have considered the points made between the differences in narrative and story complete the following:
CASE-STUDIES: Let’s explore some examples of images used in photo-essays and photobooks and see if we can identify the story as well as examine how narrative is constructed through careful editing, sequencing and design.
PHOTO-ESSAY: The life of a country doctor in Colorado’s Rocky Mountains
“A photo is a small voice, at best, but sometimes – just sometimes – one photograph or a group of them can lure our senses into awareness. Much depends upon the viewer; in some, photographs can summon enough emotion to be a catalyst to thought”
W. Eugne Smith
W. Eugene Smith compared his mode of working to that of a playwright; the powerful narrative structures of his photo essays set a new benchmark for the genre. His series, The Country Doctor, shot on assignment for Life Magazine in 1948, documents the everyday life of Dr Ernest Guy Ceriani, a GP tasked with providing 24-hour medical care to over 2,000 people in the small town of Kremmling, in the Rocky Mountains. The story was important at the time for drawing attention to the national shortage of country doctors and the impact of this on remote communities. Today the photoessay is widely regarded as representing a definitive moment in the history of photojournalism.
Here is a Powerpoint with more information about how to construct a Traditional Picture Story that includes individual images such as:
Person at Work
Relationship Shot
Establishing Shot
Detail shot
Environmental Portrait
Formal Portrait
Observed Portrait
Here is a link to an entry for Percival Dunham considered Jersey first photojournalist for a very brief period in 1913 and 1914, when he worked for Jersey Illustrated Weekly and then the Morning News, the main competitor for many years for the Evening Post (now the Jersey Evening Post and the island’s only daily newspaper for over half a century). Try and identity individual images as above from a selection of prints from the Societe Jersiaise Photographic Archive that holds over 1000 images by Percival Dunham in their collection.
Select somewhere between 12-15 images from the set and edit and sequence them to construct a specific narrative.
Record an image of your sequence and produce a blogpost where you describe the above process.
PHOTOBOOKS: In October of 1958, French publisher Robert Delpire released Les Américains in Paris. The following year Grove Press published The Americans in New York with an introduction by American writer, Jack Kerouac (the book was released in January 1960).
Like Frank’s earlier books, the sequence of 83 pictures in The Americans is non-narrative and nonlinear; instead it uses thematic, formal, conceptual and linguistic devices to link the photographs. The Americans displays a deliberate structure, an emphatic narrator, and what Frank called a ‘distinct and intense order’ that amplified and tempered the individual pictures.
Although not immediately evident, The Americans is constructed in four sections. Each begins with a picture of an American flag and proceeds with a rhythm based on the interplay between motion and stasis, the presence and absence of people, observers and those being observed. The book as a whole explores the American people—black and white, military and civilian, urban and rural, poor and middle class—as they gather in drugstores and diners, meet on city streets, mourn at funerals, and congregate in and around cars. With piercing vision, poetic insight, and distinct photographic style, Frank reveals the politics, alienation, power, and injustice at play just beneath the surface of his adopted country.
Since its original publication, The Americans has appeared in numerous editions and has been translated into several languages. The cropping of images has varied slightly over the years, but their order has remained intact, as have the titles and Kerouac’s introductory text. The book, fiercely debated in the first years following its release, has made an indelible mark on American culture and changed the course of 20th-century photography. Read article by Sean O’Hagan in The Guardian
MORE PHOTOBOOKS: A few photobooks dealing with memory, loss and love
Yury Toroptsov:Deleted Scene
On a mission to photograph the invisible, with Deleted Scene photographer Yury Toroptsov takes us to Eastern Siberia in a unique story of pursuit along intermingling lines that form a complex labyrinth. His introspective journey in search of a father gone too soon crosses that of Akira Kurosawa who, in 1974, came to visit and film that same place where lived the hunter Dersu Uzala.
Yury Toroptsov is not indifferent to the parallels between hunting and photography, which the common vocabulary makes clear. Archival documents, old photographs, views of the timeless taiga or of contemporary Siberia, fragments or deleted scenes are arranged here as elements of a narrative. They come as clues or pebbles dropped on the edge of an invisible path where the viewer is invited to lose himself and the hunter is encouraged to continue his relentless pursuit.
Rita Puig Serra Costa: Where Mimosa Bloom
https://vimeo.com/124694405
Dealing with the grief that the photographer suffered following the death of her mother, Where Mimosa Bloom by Rita Puig Serra Costatakes the form of an extended farewell letter; with photography skillfully used to present a visual eulogy or panegyric. This grief memoir about the loss of her mother is part meditative photo essay, part family biography and part personal message to her mother. These elements combine to form a fascinating and intriguing discourse on love, loss and sorrow.
“Where Mimosa Bloom” is the result of over two years work spent collecting and curating materials and taking photographs of places, objects and people that played a significant role in her relationship to her mother. Rita Puig Serra Costa skillfully avoids the dangerous lure of grief’s self-pity, isolationism, world-scorn and vanity. The resonance of “Where Mimosa Bloom” comes from all it doesn’t say, as well as all that it does; from the depth of love we infer from the desert of grief. Despite E.M.Forster’s words – “One death may explain itself, but it throws no light upon another” – Rita Puig Serra Costa proves that some aspects of grief are universal, or can be made so through the honesty and precision with which they are articulated.
Yoshikatsu Fujii:Red Strings
https://vimeo.com/102344549
I received a text message. “Today, our divorce was finalized.” The message from my mother was written simply, even though she usually sends me messages with many pictures and symbols. I remember that I didn’t feel any particular emotion, except that the time had come. Because my parents continued to live apart in the same house for a long time, their relationship gently came to an end over the years. It was no wonder that a draft blowing between the two could completely break the family at any time.
In Japan, legend has it that a man and woman who are predestined to meet have been tied at the little finger by an invisible red string since the time they were born. Unfortunately, the red string tying my parents undone, broke, or perhaps was never even tied to begin with. But if the two had never met, I would never have been born into this world. If anything, you might say that there is an unbreakable red string of fate between parent and child.
Before long, I found myself thinking about the relationship between my parents and . How many days could I see my parents living far away? What if I couldn’t see them anymore? Since I couldn’t help feeling extremely anxious about it, I was driven to visit my parents’ house many times. Every day I engage in awkward conversation with my parents, as if in a scene in their daily lives. I adapt myself to them, and they shift their attitude toward me. We do not give way entirely to the other side, but rather meet halfway. Indeed family problems remain unresolved, although sometimes we tell allegorical stories and share feelings. It means a lot to us that our perspectives have changed with communication.
My family will probably never be all together again. But I feel without a doubt that there is proof inside of each of us that we once lived together. To ensure that the red string that ties my family together does not come undone, I want to reel it in and tie it tight.
Laia Abril: The Epilogue’
‘The Epilogue’ is the book about the story of the Robinson family – and the aftermath suffered in losing their 26 year old daughter to bulimia. Working closely with the family Laia Abril reconstructs Cammy’s life telling her story through flashbacks – memories, testimonies, objects, letters, places and images. The Epilogue gives voice to the suffering of the family, the indirect victims of ‘eating disorders’, the unwilling eyewitnesses of a very painful degeneration. Laia Abril shows us the dilemmas and struggles confronted by many young girls; the problems families face in dealing with guilt and the grieving process; the frustration of close friends and the dark ghosts of this deadliest of illnesses; all blended together in the bittersweet act of remembering a loved one. Read more here on Laia Abril’s website
Week: 18-19 -20: 24 Jan– 11 Feb MOCK EXAM 3 days (15 hrs) Mon 7 – Fri 11 Feb Design your Photobook & Complete Essay
In the next three week focus on beginning to edit and collect all your images, archival material and texts, including finishing writing your essay needed to complete your photobook.
ESSAY: Lesson time (Fri) • Complete conclusion, bibliography, proof read and hand in draft essay no later than Mon 31 January.
INTERIM DEADLINE: FRI 4 FEB DRAFT PHOTOBOOK LAYOUT
You want to aim for a draft layout and hand in draft version of your essay before your Mock Exam day, then use that day to fine tune design and complete essay.
1. 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
A sentence
A paragraph
Design: Consider the following
How you want your book to look and feel
Paper and ink
Format, size and orientation
Binding and cover
Title
Structure and architecture
Design and layout
Editing and sequencing
Images and text
2. Produce a mood-board of design ideas for inspiration. Look atBLURB online book making website, photo books from photographers or see previous books produced by Hautlieu students on the table in class.
3. Create a BLURB account using your school email address. With Blurb you have different options on how you design your book:
a) Using Lightroom to design your book which is integrated with BLURB. Only for use on school computers, unless you have LR at home on your own laptop.
b) Download Bookwright via Blurb onto your own laptop and work offline at home and you can work indecently of school. Here you have full control of layout/ design features. Once completed, you upload photo book design to Blurb
c) Choose online option if you want to work directly online. Very limited layout/design options (not recommended!)
For those who wish to make their own hand-made photobook using Indesign follow the same steps as below in terms of documenting and annotating your design process. or if you want to customize your Blurb book see me for more details on how to do it.
4. Using Lightroom make a rough selection of your 40-50 best pictures from all shoots. Make sure you have adjusted and standardised all the pictures in terms of exposure, colour balance/ B&W, contrast/brightness etc.
5. Print a set of small work prints (4 to one A4 page) on the Laserjet, cut them up in guillotine and lay them out on the big white table for editing.
6. Decide on format (landscape, portrait) size and style of your photo-book. Begin to design your photo book, considering carefully, narrative, editing, sequencing, page spreads, juxtaposition, image size, text pages, empty pages, use of archival material etc.
7. Add your illustrated essay at the end of your photo book, including title, any captions (if needed), bibliography, illustrations of artists work (incl data) and images of your own responses. Think carefully about font type, size and weighting.
8. Produce screen prints of layout ideas as you progress and add to Blog for further annotation, commenting on page layout/ narrative/ sequencing/ juxtaposition of pictures.
9. Make sure all blog posts are finished including, research, analysis, experimentation, annotation and an evaluation of final outcomes.
9. Final prints: Select a set of 5-6 photographs as final outcomes and evaluate – explaining in some detail how well you realised your intentions and reflect on what you have learned in LOVE & REBELLION project.
10. Save final prints in our shared PRINT folder (no later than 15:00 end of your Mock exam day) in a high-resolution (4000 pixels on the long edge.) Save each images in your name i.e. first name_surname_title_1, and 2, 3 and so on.
M:DepartmentsPhotographyStudentsImage TransferPRINTINGA2 Coursework Prints Spring 2022
Born in 1961 in Morocco and Londoner since 1973, Hassan Hajjaj, lives and works since then between two countries. He is also influenced by cultural and musical scenes London, only by its northern heritage African. His artistic universe translates its ability to build bridges between these two cultures. Large coloured compositions, adopting the codes of photography contemporary fashion and pop art, they cross styles, universe and icons.
What I want to create
I come proudly from two different cultures .Indeed I’m Austrian and Mexican, two completely different cultures. This is part of my identity because I grew up with these two different origins and I made it in my own. So I wanted to take pictures that represents my two origins. What I find pleasant in Hassan Hajjaj’s photography is that he shows his cultures very proudly. I love the colours, the poses, the clothes and its makes me smile.
