Key Themes – Fay Godwin’s work was inspired by the sense of ecological crisis in the late 1970s and 1980s in England. She was part of The Ramblers which is a charity which protect the places people love to walk. They believe everyone, everywhere should be able to experience the joy of walking and have access to green spaces to walk and are against the privatisation of land. Godwin loved to walk and that is what inspired her to start landscape photography.
Path and Reservoir-1977
Content – A picture of the open countryside including hills, fields, a reservoir and sky. Is taken from on top of a hill above the small village in the distance. On one of Fay Godwins walks she has stopped to take a photo. She has titled the image ‘Path and Reservoir‘ which tells us that she wants those two elements to be the main focus, perhaps because she wants us to realise the beauty and importance of the land in this image and that everyone should be able to see it and it should not be privatised as this is what she believed. Before knowing the title of it, it is a normal image of a landscape, but the title and the knowledge of Fay Godwin makes the viewer see the photo differently.
Formal Elements- As the image is in black and white, this creates a high tonal range in the image and creates a high contrasting image, this makes the mood feel dark and gloomy, along with the weather. The natural lighting from the dark grey sky also adds to the dark atmosphere to the image. The image follows the Fibonacci spiral as the path leads the eye from the bottom to the hill tops which then flow towards the village ending at the reservoir. It also contains the principles of the rule of thirds as the horizon is in the top third of the image and the focal point being the reservoir and village in the right side third of the image.
Mood- The image is very atmospheric and creates a sinister feel as the weather is very dark and the location is very open. It seems that it was taken on a windy day in the winter where the weather is depressing.
Claude was a French lesbian photographer born in 1894. She moved to Jersey in 1937 and became active as propagandists and resistance workers during the second world war when the Nazis took over the Channel Islands.
She was sentenced to death in 1945 however it was never carried out due to the Liberation of the Channel Islands from Nazi power. Cahun used photography to express herself and her political views.
Image Analysis
Claude Cahun
The lighting in this image is very dark with areas of very bright light that could be coming from a window and reflecting on the glass of the subject in the image, which then reflects on the black surface underneath . The darkness of the image allows the viewer to focus on the image of the woman in the dome and the actual dome itself. The brightness on the glass allows the woman to look three dimensional and could allow the viewer to sense the mood of the image.
The fact that the image is in black and white allows the viewer to focus on the contrasts in the image. The image in the dome has mainly dark colours which allows the viewer to see them as a happy person however the black background of the image emphasises the fact that her past was quite dark and she was treated poorly in the prison she was sent to in 1944.
The glass dome could highlight the fact that you are only a tiny fraction of the population of the world; you must live your life the way you want, and the way you believe is correct.
The texture of the image is smooth until the dome which allows the viewer to focus straight onto the centre of the image and on Cahun herself.
Edward Honaker
Edward Honaker is a photographer now in his mid-twenties . When he was younger, he used photography to express himself while he was suffering badly from depression.
His images highlight some of the lowest feelings he has had, with the reoccurring theme of feeling like the odd one out and feeling like he didn’t belong in this society/world.
I chose Honaker to inspire me for my work because music is the way i choose to escape reality and the world just like he used photography to take his mind off the depressive thoughts in his head.
Image Analysis
Edward Honaker
This image allows the viewer to understand that Honaker’s brain is never still. His body may seem calm and relaxed however his mind is constantly working, or in his case his brain keeps haunting him. The image also expresses the fact that he doesn’t feel like he belongs. He’s sat in an empty room wearing a suit, this could represent the social anxiety he has or even the fact that he feels all alone in the world with no one there to support him.
Honaker used a slow shutter speed and moved his head to create a blurred effect; this allows the viewer to further understand Honaker’s thoughts and feelings. The dark tones throughout the whole image further represents the fact that Honaker struggles to see the light in the world. It could also represent the fact that he believes the people around him see him as a sad and angry person.
The image is in black and white which allows the viewer to notice how Honaker, in this stage of his mental health, is unable to see any light/colour in his life.
The wallpaper behind the man could represent the fact that there is no moment of silence for him. He feels like he is permanently getting judged.
There is a lot of different textures in the image which allows the viewer to try and understand what the main focus of the image is.
Comparison of images:
Claude Cahun
Edward Honaker
Both of these images are self portraits. Cahun’s is showing the viewer who she is with confidence and showing that she is proud of who she is and doesn’t care what your opinion of her is. Honaker’s however, is the opposite. The image represents the fact that he no longer knows who he is and therefore can no longer recognise himself in the mirror. Both these images send a strong message to the viewer however, the messages contradict each other.
Although both images are in black and white, Honaker’s is clearly a lot darker than Cahun’s. Honaker’s has a shadow covering the mirror representing the depression that has taken over his mind and body. He is unable to look at anything without the dark thoughts taking over his brain.
Cahun’s image is very light with the only dark object being a cabinet behind him. This could represent the fact that Cahun has put all the negative thoughts to the back of her mind and is focusing on the good things in her life and the excitement of what the future holds.
Honaker has blurred out his face which allows the viewer to understand that this disease has created a new person and rather than being able to find the happiness and beauty in his life, the disease has made him isolate from the world and only focus on the negatives. This links to the shadow, representing the depression, creeping over him and slowly removing the happiness from his life.
In Cahun’s image, the reflection is looking back. This could represent the fact that Cahun is looking into the past, now proud of how far she has come in the years of injustice and pain.
Both photographers use a mirror as the main focus of the image which showing that the reflection in that mirror isn’t always the same as what is shown on the surface.
I grouped some similar images into diptychs and triptychs according to colour scheme, physical similarities. I also used similar bordering and presentation methods that J Grant Brittain uses.
The following is an image comparison between one of my pieces and one of J Grant Brittain’s pieces.
J Grant Brittain
Michael Kenealy
The above images both focus on the identity of the subject by portraying their personality through capturing their facial expressions. Both images are desaturated and have high contrast to accentuate shadows around the face and therefore accentuating the facial features of the subjects. Both images are collaged into sets of 9 coinciding images. Both images feature a mixture of compositions where the subject interacts with the lens and some where the subject ignores the camera.
Grants image is shot with fluorescent lighting in a professional environment whereas my composition is shot with natural lighting in a less professional environment. This also creates difference in the texture of the images, mine has a rougher texture whereas Grants image has a smoother texture to it.
For the above composition I shot the skateboarder in front of an urban graffiti background in a skatepark, I focused on showcasing his culture and style like J Grant Brittain. The gaze and side angle shot creates a sense of confidence, control and passion the skateboarder portrays to his environment.
I shot the image in black and white and used high contrast and clarity to accentuate the features of the subject for example the area around his eye feature high contrast and clarity which captures that emotion in his eyes. The high clarity and contrast also gives the image a sharp and rough texture.
I used a wide aperture to obtain a sharp focus on the subjects face and separate him from the background and create a slight bokeh effect. I used the grid on my camera to frame my subjects head in the centre of the shot.
In conclusion I believe I captured the identity through his cultural passion for skateboarding well with stylistic, J Grant Brittain type images and presented them in an artistic way.
Alec Soth ~ Johnny Cash’s Boyhood Home, Dyress, AK, 2002
The lighting use in this photograph is natural light from the outside and is not controlled in any way. The aperture in the image is higher because that way there is more of the landscape in the image, also the image is not over or under exposed and looks like a normal image. There is not much depth of field in this image because the background is just the plain grey sky, this adds an element of simplicity to the image and adds to the isolated mood with the cool tones in the photo. The photo has a range of cool and warm tones coming mainly from the sky and the land in the photo. This creates the centre horizontal split and makes it have more of an impact as it creates a juxtaposition between the two. Overall it is a cooler image as it is darker and the grey sky takes up the top two thirds of the photo. The photo is quite 2D as the land and house is in the foreground of the image and the sky is the background which makes it seem empty and isolated. The building being a house adds an element of character to the photo because it is someone’s home which is the centre of this photo which personalises it. The house being positioned in the centre surrounded by the emptiness creates a sense of calming.
Image 2:
Rania Matar ~ A Girl and Her Room
The lighting used in this photo seems to be artificial lighting because the shadow behind the subject (the girl) is very harsh and the light seems to be white studio lights as they are reflecting off the concrete wall and lighten the room. There seems to be a mix with natural light coming from above the photo. The overall image is bright which is due to the lower aperture which is allowing more light to go into the camera lens creating a bright image. The photo is shallow and has very little depth of field because the image stops at the wall, however the bed and the girl are closer to the camera which creates a difference with the background bringing them into the fore ground and giving the photo more shape. The photo has a large range of tones due to the lighting used as it has created darker and lighter tones. The layout between the objects in the photo and the girl are placed surrounding her but in an overwhelming way like they are controlling her. Linking to the context of identity this image shows a sense of loss of identity or identity theft because the things around her are very simple and dull which creates a gloomy mood. this could also relate to the location of the image as it is taken from a home in the middle east which is a less fortunate, poorer country which cannot necessarily afford things they want or added extras and focus on the most important needs such as food and shelter.
Comparison:
Both photos are quite grey and have a similar dull atmosphere shown in different ways. They both share a sense of isolation, Image 1 is showing isolation as a personality in a more positive way, whereas Image 2 is showing isolation from herself and her identity in a negative way. The depth of field in both are shallow but in different way because Image 1 is a very 2D image and is flat but Image 2 has different shapes and is more 3D because the objects that surround the photo give it shape and the wall has different tones and is not completely flat. Image 1 is spilt into two with a harsh horizon in the centre of the photo, whereas Image 2 is not split and works with all the elements together.
J Grant Brittain is a 65 year old photographer who has shot the skateboarding scene for over 3 decades.
J Grant Brittain
The reason I have chosen to reference his work when completing my project on identity is because he has grown with the culture of skateboarding and he understands how to capture its essence very well. I am also fond of the way he doesn’t limit his work to the conventional action-shot fashion. He broadens his work into a deeper sense to capture the identity of the skaters and their emotions towards the culture of skateboarding. For example the following image captures the identity of the person as it exhibits the subjects emotion and tells a story about the person.
J Grant Brittain
In the above image Grant uses high contrast to deepen the shadows around the subjects face to relay more emotion and definition. This is a way he included themes of identity in his work. The subjects identity is also explored by giving the image context and showcasing the subjects interests and culture he does this by composing the image with the subject holding a broken skateboard. Grant also does a good job of isolating the subject by photographing him with an contrasting background which gives the image a pleasing visual form.
Additionally, when Grant shoots the action shots he doesn’t just focus on showcasing the manoeuvre of the skateboarder but rather their style and environment which many skaters will tell you is far more admirable and important than the tricks you are doing. A skateboarders style and creativity is a what makes up their identity. This creative identity formation is a huge part of the culture of skateboarding and this is one thing that 3 decades of Grants work has made clear.
J Grant Brittain; Claude Cahun Comparison
Claude Cahun
J Grant Brittain
These two images by Claude Cahun and J Grant Brittain both suggest the exploration of Identity. Both images focus on a person and their facial expression and emotion. The compositions both tell a story that we can see behind the eyes of the subjects. The subjects are both photographed with their style being flaunted, the self portrait of Claude her upper body is positions in a confident, striking manner and her chic jewellery and clothing is also seen, the skater in the other composition has a chaotic yet focused style to him with his his creativity shown through his customised helmet which is a visual centre-piece of the composition.
The way the two artists question the theme of identity differs. Claude explores the idea of questioning her identity and her troubles with identity. This can be seen in the above composition with the placement of the mask in the top left corner suggesting notions of multiple identities and is masking her true identity. However on the contrary Grant explores a subject who has found his true identity through the passion of his creative field (skateboarding). Instead of challenging identity he is celebrating the concept through capturing the subject in the moment of passion and expression.
The images both share low saturation and high contrast. This highlights the subject facial features in the two images by accentuating difference in the highlights and darks in the face of the subject.
The images have different textures the self portrait of Claude has a quick shutter speed and appropriate ISO to create a smooth professional portrait texture. This is compared to Grants image which has a slower shutter speed, higher ISO and clarity to show more motion and noise in the image to create a rougher texture.
Arnold Newman was an American – Jewish photographer who was most known for his ‘environmental portraits’. In the photograph above, his subject is Alfred Krupp, a German industrialist who benefited heavily from the use of Jewish slave labour during World War 2. One theme in this photograph is religion and ideals, as Krupp and Newman have ‘conflicting’ beliefs and values, which makes the photograph even more eerie and unsettling than it already appears to be. Further more, Krupp’s face could indicate that he is looking at Newman and not at the camera, as his expression is foreboding and threatening.
Newman has manipulated the composition of this photograph in order to frame Krupp in the middle with the two pillars either side of him, and symmetrical shapes in the background. Additionally, the colours in the photograph are dark and muted as a way to mirror Krupp himself, and the things that he’s done. There is natural light shown from above Krupp’s head, which creates an image of a church or cathedral, which relates back to the theme of conflicting religions and ideals. Also, Newman is looking down on Krupp from his position behind the camera, which could be interpreted to mean that he is figuratively ‘looking down’ on him, as a way to belittle and judge him for the things he did to other people of his religion during World War 2.
Henri Cartier-Bresson was a French Humanist photographer, he was born in 1908 and was considered a master of candid photography. He pioneered the genre of street photography, and saw it as capturing a decisive moment. Cartier-Bresson’s street photography shows a range of different cultures and environments, he uses his camera to catch glimpses of stranger’s lives at random moments. In 1947, following the aftermath of World War Two, Henri Cartier-Bresson, Robert Capa, George Rodger and David Seymour founded The Magnum Photos agency- which represents some of the world’s most renowned photographers.
Mood Board – Key Cartier-Bresson Images
Image Analysis
Henri Cartier-Bresson | Children in Seville, Spain | 1933.
This black and white candid portrait photograph was taken by Henri Cartier-Bresson at the beginning of his career as a photographer. By first looking at this image one might guess it was captured during the Spanish Civil War (1936-1939) due to the broken structures and rubble surrounding the children. However, this image was taken in 1933 before the war, creating a sense of foreboding as children are playing in the destruction caused by a war that hasn’t yet occurred. In addition, the image has an abstract composition as the large geometric hole in the wall acts like a frame on the photo. This connotes the idea that we are only observers looking in on a situation, ripping a hole into other people’s lives without seeing the full picture. Furthermore, the image holds a wide depth of field with the window-like hole creating a tunnel to the background of the photo. It is clear the image was taken during daytime as the natural lighting creates an overexposed skyline in the top centre, forming natural shadows. The darkest points of this image fall on the children’s clothing, faces and bodies which contrast immensely with the bright white walls on the wrecked buildings. Additionally, the harsh black shadow on the crack of the wall creates a clear focal point for the observer, persuading them to look through the void to the centre if the image. Moreover, we can see that Cartier-Bresson has used a fast shutter-speed to capture this photo as some of the children appear to be moving however, they aren’t particularly blurred.
Image Comparison
Henri Cartier-Bresson 1933
Raghubir Singh 1985
This image was taken by Raghubir Singh (1942-1999), an Indian photographer who was most known for his documentary-style images he captured of people in India. Visually, there are many key differences between Singh’s image compared to Cartier-Bresson’s. For example, Singh has captured a colour image, with the dominant colour red repeated in the subject’s clothing and surroundings, whereas Cartier-Bresson’s image is monochrome black and white. This contrast in colouration creates different atmospheres in the images. The warmer tones in Singh’s alludes to feelings of comfort and happiness, supported by the visual closeness of the people being photographed. However, the dark dreary black and white tones in Cartier-Bresson’s image creates a more sombre atmosphere and connotes ideas of sadness and regret. Additionally, Singh’s image has a rougher texture due to the scratches and marks on the surrounding walls, Cartier-Bresson has captured a less busy image with plain white walls enclosing the subjects in. This contrast in texture could symbolise the busy lives of the subjects in Singh’s image, as all of them appear to be moving quickly with purpose, however the subjects in the other image seem to just be playing. Lastly, while both images have natural lighting, it is clear Singh’s image has been taken earlier in the day to Cartier-Bresson’s as the shadows are more prominent and fall to the left of the image.
Nevertheless, there are also many similarities within these images, for example it is clear both images have been captured with a fast shutter-speed as the subjects are clearly moving yet are not blurry. Furthermore, both images have a similar composition as the abstract shape created by the hole in Cartier-Bresson’s image resembles the positions the subjects in Singh’s image are standing in. If you were to trace the cracked shape onto the second image, it would look like the people have created it with their bodies- like a dot-to-dot. In addition, there are similarities within the lines in these images, with Cartier-Bresson capturing the rigid lines of the destroyed wall and Singh capturing the jagged lines of the stairs. These irregular patterns allude to the idea that these people’s lives can take an unexpected turn due to the environments they live it. The messages portrayed in the photographs are very much alike, with both connoting the idea that we are only spectators observing someone else’s life. In my opinion, these images epitomise ‘Street Photography’ as they capture people naturally in their daily lives, letting us imagine their backstories without really seeing the full picture.
In this image, American photographer Arnold Newman has taken a portrait of German industrialist Alfred Krupp. Krupp’s family ran factories during World War 2 making ammunition and weapons for Nazi’s- he insisted on using Jewish prisoners from concentration camps to work at the factories.
In the foreground, Krupp is positioned in the centre of the image between two symmetrical pillars that stand behind him, Newman has deliberately made him the main focus. The camera is angled slightly above Krupp’s eye level and he is looking directly at the camera lens with a sinister expression, giving the impression Krupp is confident. The dark shadows around the perimeter of the image contrast with the natural daylight coming from above through skylights. This casts shadows on his face, particularly around his eyes which makes Krupp look more menacing and mysterious. I believe Newman did this purposefully to paint Krupp as a villain and to give the image negative connotations.
In the background, we can see lots of lineal patterns with repeated shapes along with industrial equipment and what seems to be trains, it is possible the photo was taken in one of Krupp’s factories. It is clear Newman has used a high aperture as the whole image is in focus, allowing us to clearly see the factory’s assets, alluding to the idea that Newman knew the truth about what Krupp and his family had done during the war and that he wasn’t going to hide it from the camera or the world. Furthermore, the repetition of lights above Krupp’s head could symbolize the many lives he ended by being a Nazi sympathizer and providing weapons/ammunition to them.
The image looks a little under exposed with a high contrast and dark tones throughout. There is also a subtle green hue surrounding the image which links to the idea that Krupp is malicious since green is often associated with evil and wickedness. The colours of the image have low saturation and are not the best quality, this suggests the photo was taken with an older camera. The lack of vibrancy creates a dull, lifeless atmosphere, again symbolizing the lives lost by the hands of Nazi soldiers/supporters. I believe Newman portrayed Krupp in this vicious way to expose him for his crimes and to get justice for Jewish people, after all Arnold Newman was Jewish himself so taking this shot let him finally have his revenge and find peace.
Alfred Krupp was a German industrialist and a Nazi sympathiser. He made ammunition and trains for the Nazis during world war two, and his workers were prisoners from concentration camps and prisoner of war camps. Arnold Newman took this image and it could be seen that he took his image to show the world what kind of man he is. Arnold was Jewish so it could be seen as payback on how he treated his culture.
The man is wearing a suit which allows the viewer to believe that he’s a businessman.It looks as though he is wearing an expensive gold watch on his wrist, which could show that he is wealthy and important to his surroundings. The fact that Newman took this image in his place of work creates a sense of hatred towards him as this is where many people were tortured to work long hours for very little pay with practically no breaks.
Newman has taken the image face on and that could be seen as showing Krupp that they are both equal, there is no inferior race or person. Krupp has his hands interlocked to show authority however it also makes him look aggressive and intimidating to others.
The damage on the columns behind Krupp can show that he cares very little for his factory and mainly focused on the money that was coming into his pocket.
The dark edges of the image allow the viewer to focus on Alfred, the lack of light shows that he could be seen as evil and someone you wouldn’t want to be near. However the gap in the ceiling could represent a halo which contradicts him as a person and the mood of the image. It could however represent that he is an angel of death as he worked along side Hitler, who was responsible for millions of people’s deaths, the fact he fueled that also makes him a killer.
The dark colours in the image add to the fact that he wasn’t a nice person and that he shouldn’t be praised or applauded for his work. It also shows the viewer that this image shouldn’t be seen as a nice image, instead it could be seen as justice for all who were tortured by the Nazis.
Arnold Newman was a Jewish/ American photographer who was one of the most accomplished portrait photographers in the twentieth century. Moreover, his portraits where environmental meaning that whatever the main focus of the picture was, the focus was taken a picture of in their usual environment, which in Alfred Krupp’s case was his working place. Also, Alfred Krupp was a businessman who made firearms and bullets etc for the Nazis which could have made this a personal picture for Arnold Newman to take. As you can see in the picture Alfred Krupp is staring straight down into the camera lens which makes this picture eerie, knowing that he done this for the Nazis and having a Jewish photographer take his picture.
Technical:
For the technical sides of this picture, the lighting seems to be natural as the picture is very sharp with all the details being crisp, especially on Alfred Krupp which goes to show how he was the main focus of the picture and the background was slightly blurry.
Visual:
Visually you8 can see that the colouring is natural in the picture which goes to show that this picture is raw and most likely wasn’t edited in terms of colour keeping it realistic. The tone would be in the middle between light and dark as you can clearly see the face of Alfred Krupp however, some of the environment in the background is dark due to not having much light. The form of this picture is 3d as you can clearly see that in the picture the environment has depth into it and stricture meaning it wouldn’t be 2D.
