Art Movements & Isms

PICTORIALISM

time period : 1880s – 1920s

Key characteristics/ conventions : To make photography an accepted art form. Saw photography a quick and easy process. the point of photography was democratic. The technology at the time was the camera make called kodak. kodak invented a camera called a box camera that were cheap so anyone could buy it.

Daguerreotype was the first publicly available photographic process.

Photography was invented for a scientific purposes.

Artists associated: George Davison, Hugo Haneberg, Alfred stieglitz, Henry peach Robinson

Key works:

Methods/ techniques/ processes: There were many different scientific process, Smearing Vaseline on the camera lenses, used chemicals in the process of the printing. Scratching the negatives

Influences:

EXAMPLES:

REALISM / STRAIGHT PHOTOGRAPHY

Time period: 1920 –

Key characteristics/ conventions : To photograph things as they are without any manipulation. To produce sharply focussed images without manipulating it to change colour or shape.

Artists associated: Paul stand , Alfred Streepridges, walker Evans, Edward westerns

Key works: Family of Man by Bernice Abott, MOMA by John Szarkowski, The Steerage by Stieglitz, Hale Country by Walker Evans, Cubism, Fauvism.

Methods/ techniques/ processes: Explored the ideas of Cubism – Picasso. Soft/crisp focus, wide depth of field, digital photography.

Influences: pictorialism, cubism

EXAMPLES:

MODERNISM

Time period: 1900s – 50s

Key characteristics/ conventions : Photographers began to embrace its social, political and aesthetic potential, experimenting with light, perspective and developing, as well as new subjects and abstraction. Coupled with movements in painting, sculpture and architecture , these works became known as ‘modernist photography’.

Artists associated:  Edward Weston, Ansel Adams, Imogen Cunningham, Minor White, Ernst Haas, Saul Leiter, Aaron Siskind, Henry Callahan, Frederick Sommer, Paul Strand.

Key works: Harry Callahan and Chicago (1948), Frederick Sommer and Three Grazes (1985), Paul Strand and Porch Shadows (1916).

Methods/ techniques/ processes: Makes references into photographic techniques inside the art itself such as the form, composition, medium, material, skills, techniques, processes, etc.

Influences:

POST-MODERNISM

Time period: 1910s – 2000s

Key characteristics/ conventions :  Used by Postmodernists/Architects who went against the international style of modernist architecture, relativism, used by postmodern artists to explore the way that society proposes the traditional hierarchy of cultural values/meanings, explores power and economic/social forces which shape identities of individuals/cultures, used by female photographers and artists in the 1980s, represents seriality and repetition

Artists associated: Cindy Sherman, Barbara Kruger, Sam Taylor-Wood, Corrine Day,

Key works: : Chapter 5 in ‘Intimate Life’ in which is Charlotte Cotton’s book The Photograph a Contemporary Art, Barbara Kruger and Untitled (Your Body is a Battleground (1982), Corrine Day and Diary (1997), Sam Taylor-Wood and Soliloquy I (1998).

Methods/ techniques/ processes: Postmodernists use text, speak in one voice, photographs/other works consists of having one meaning, the photograph is reproducible and adaptable, blown up, cropped, blurred, used in other medias,

Influences:

LEWIS BALTZ

Lewis Baltz was born in Newport Beach, California, he studied at the San Francisco Art Institute, and received an MFA from the Claremont Graduate School in 1971. He worked as a freelance photographer in California and taught photography at various institutions, including the California Institute of the Arts, the University of California (Riverside and Santa Cruz), Yale, the École Nationale Superieure des Beaux-Arts, Paris, and the Art Academy of Helsinki. His work has been included in major exhibitions, including New Topographics at the George Eastman House in 1975 and Mirrors and Windows at the Museum of Modern Art in 1978. Baltz, who received National Endowment for the Arts grants in 1973 and 1977 and a Guggenheim Fellowship in 1977, has produced many projects on commission, among them The Nation’s Capital in Photographs for the Corcoran Gallery of Art and Near Reno for the Nevada State Arts Commission. He has been based in Europe since the mid-1980s and travels extensively.
Lewis Baltz produces photographs in series focused on a particular theme.

• 

• 

• 

In 1204 King John lost the Battle of Rouen against the French King Philippe-Auguste. The defeat signalled the loss of continental Normandy, united with the English Crown since the invasion of England by William the Conqueror in 1066. The Channel Islands, part of the Duchy of Normandy for more than a hundred years at that point, might have been expected to align themselves with the French King in 1204 but they were persuaded by a combination of carrot and stick to side with King John instead.

Among the privileges which the King granted Islanders was the right to be governed by their own laws and he instructed them to select their 12 best men as Jurats who, sitting with the Bailiff, became the Island’s Royal Court.  A warden, later to become governor, was appointed by the King to organise the defence of the Island.

The Crown Dependencies are three island territories in the British Islands that are self-governing possessions of the British Crown: the Bailiwick of Guernsey, the Bailiwick of Jersey, and the Isle of Man. They are not part of the United Kingdom (UK) nor are they British Overseas Territories. They have the status of “territories for which the United Kingdom is responsible”, rather than sovereign states. As a result, they are not member states of the Commonwealth of Nations. However, they do have relationships with the Commonwealth and other international organisations, and are members of the British–Irish Council. They have their own teams in the Commonwealth Games.

Each island’s political development has been largely independent from, though often parallel with, that of the UK, and they are akin to ‘miniature states with wide powers of self-government’.

As the Crown Dependencies are not sovereign states, the power to pass legislation affecting the islands ultimately rests with the King-in-Council (though this power is rarely exercised without the consent of the dependencies, and the right to do so is disputed). However, they each have their own legislative assembly, with the power to legislate on many local matters with the assent of the Crown (Privy Council, or in the case of the Isle of Man in certain circumstances the lieutenant-governor). In Jersey and the Isle of Man, the head of government is called the chief minister. In Guernsey, the head representative of the committee-based government is the President of the Policy and Resources Committee.

“The Crown” is defined differently in each Crown Dependency. In Jersey, statements in the 21st century of the constitutional position by the Law Officers of the Crown define it as the “Crown in right of Jersey”, with all Crown land in the Bailiwick of Jersey belonging to the Crown in right of Jersey and not to the Crown Estate of the United Kingdom. Legislation of the Isle of Man defines the “Crown in right of the Isle of Man” as being separate from the “Crown in right of the United Kingdom”. In Guernsey, legislation refers to the “Crown in right of the Bailiwick”, and the Law Officers of the Crown of Guernsey submitted that “The Crown in this context ordinarily means the Crown in right of the république of the Bailiwick of Guernsey” and that this comprises “the collective governmental and civic institutions, established by and under the authority of the Monarch, for the governance of these Islands, including the States of Guernsey and legislatures in the other Islands, the Royal Court and other courts, the Lieutenant Governor, Parish authorities, and the Crown acting in and through the Privy Council.” This constitutional concept is also worded as the “Crown in right of the Bailiwick of Guernsey”.

The Bailiwick of Jersey consists of the island of Jersey and a number of surrounding uninhabited islands.

The parliament is the States Assembly, the first known mention of which is in a document of 1497. The States of Jersey Law 2005 introduced the post of Chief Minister of Jersey, abolished the Bailiff’s power of dissent to a resolution of the States and the Lieutenant Governor’s power of veto over a resolution of the States, and established that any Order in Council or Act of the United Kingdom proposed to apply to Jersey must be referred to the States so that the States can express their views on it. There are a few political parties, as candidates generally stand for election as independents.

Inferences

---

PICTORIALISM

Time period :1880s – 1920s

Key characteristics/ conventions : attempting to make images which resemble paintings

Artists associated: Clarence H. White, John Everett Millais, Paolo Veronese, JMW Turner, Peter Harvey Emerson

Key works:

Methods/ techniques/ processes: painting over photos, smearing Vaseline on lenses, scratch the negative out on prints,

---

REALISM / STRAIGHT PHOTOGRAPHY

Time period: 1880-1920s

Key characteristics/ conventions : Picture meant to look the way it looked through viewfinder, no image manipulation, framing more specific,

Artists associated: Walker Evans, Paul Strand, Dorothea Lange, Ansel Adams

Key works:

Methods/ techniques/ processes: Framing, collections,

---

MODERNISM

Time period: 1830

Key characteristics/ conventions: celebrates unity,

Artists associated: Olive Cotton, Alfred Stieglitz

Key works:

Methods/ techniques/ processes:

---

POST-MODERNISM

Nialistic reaction to modernism, result of ww2, Postmodern photography is characterized by atypical compositions of subjects that are unconventional or sometimes completely absent, making sympathy with the subject difficult or impossible

Time period: “arose in the second half of the 20th century”

Key characteristics/ conventions : celebrating difference rather than unity,

Artists associated:

Key works:

Methods/ techniques/ processes: Abstract,

PICTORIALISM

Time period: 1880s – 1920s

Key characteristics/conventions: To make photography an accepted art form. People saw photography as being too easy because all you did was click a button, which was so much different that going to school for years and learning how to be a “real” artist.

Influences: Their ideas came from the history of painting, more specifically: allegorical painting. Peter Henry Emerson’s naturalistic photography. Julia Margaret Cameron used her family and created spiritual images.

Artists associated: Alfred Stieglitz – Heinrich Kuhn –

Key works:

Methods/ techniques/ processes: They would use vaseline on the lenses to make the photographs blurry and painting like. Scratching the negatives. They used chemicals in the printing process to manipulate he colour of the photographs.

REALISM / STRAIGHT PHOTOGRAPHY

Time period: 1920s

Key characteristics/ conventions: To capture things as they were without any manipulation. To emphasise the quality of photography. The photographs differed depending on the photographer’s eyes. Abstraction as a genre was born in this period.

Influences: Inspired by the pictorialisms and cubism (Picasso and Braque).

Artists associated: Ansel Adams – Edward Weston – Alfred Stieglitz – Paul Strand – Walker Evans

Key works:

Methods/ techniques/ processes: To produce sharply focused mages without any manipulation and relay on the camera to record things as they are.

MODERNISM

Time period: 1900s – 1940s

Key characteristics/ conventions: Photojournalism, emphasised the truth/materiality of a work of art, believed meaning was embedded in work/created by the artist themselves (not interested in context), tried to produce timeless pieces that did not link to history/tradition, rejected older concepts + movements,

Influences: Against the enlightenment (pro science and technology), Dadaism (Hannah Hoch), expressionism, surrealism

Artists associated: Margaret Bourke-White, Ansel Adams

Key works:

Methods/ techniques/ processes: Form, composition, focuses on object rather than content

POST-MODERNISM

Time period: 1970 – current

Key characteristics/ conventions: It explores power and the way economic and social forces exert that power by shaping the identities of individuals and entire cultures. It has a sceptical and political approach to the world. It has no rules or manifesto. This type of photography also often features surrealism, expressionism or other similar themes.

Influences: Themes and ideas came from the modernism period (to reject it). Technology also had an impact.

Artists associated:  Lee Friedlander, William Eggleston, Jeff Wall, Andreas Gursky and Cindy Sherman.

Key works:

Methods/ techniques/ processes:

• Eclecticism – mixing art forms, mixing cultures, mixing styles
• No Value to the worth of Art – mixing high art with pop culture
• Intertextuality – Including the work of others, the “quoting” of others work
• Collaboration – Creating work with others
• Pastiche – copying an original
• Parody – imitating in order to ridicule, ironically comment on, or poke some fun at
• Recycling – re-using the same material more than once
• Refiguration – re-structuring of an original
• Bricolage – deconstructing and then restructuring existing materials in a new, exciting and inventive way

Pictorialism

Time period: 1880s- 1920s
Key characteristics/ conventions: Was to try and make photography an art style rather than a scientific convention. Pictorialism reacted against mechanization and industrialisation. They abhorred the snapshot and were also dismayed at the increasing industrial exploitation of photography and practices that pandered to a commercial and professional establishment.

• 

• 

• 

Influences: Allegory is a figurative mode of representation conveying meaning other than the literal. Allegory communicates its message by means of symbolic figures, actions or symbolic representation. The underlying meaning has moral, social, religious, or political significance, and characters are often personifications of abstract ideas as charity, greed, or envy. Allegorical painting was dominant in Italian Renaissance art in 16th and continued to be a popular up until the Pre-Raphaelite Brotherhood in the mid 19th century.

Artists associated: Paul Strand, Julia Margaret Cameron, influenced by Peter Henry Emerson. there was a movement called the Vienna Camera Club, included artists such as Hugo, Henneberg, Heinrich Kurn, Hans Watcek. F Holland Day, Frank Eugene, Sally Mann and Clarence H White are also some examples. Key works include Paolo Vernese (1556), John Everett

Methods/ techniques/ processes: Put Vaseline on camera and used new chemicals, would scratch negatives after they were created, this was to create texture and more depth to the images.

• 

• 

• 

• 

• 

• 

• 

• 

Realism/ Straight Photography

Time period: 1920s
Key characteristics/ conventions: Straight Photography were photographers who believed in the intrinsic qualities of the photographic medium and its ability to provide accurate and descriptive records of the visual world. These photographers strove to make pictures that were ‘photographic’ rather than ‘painterly’, they didn’t want to treat photography as a kind of painting. Realism photography grew up with claims of having a special relationship to reality, and its premise, that the camera’s ability to record the actual world as it appears in front of the lens was unquestioned.

• 

• 

• 

Artists associated: Walker Evans: Often considered to the leading American documentary photographer of the 20^th century. He rejected Pictorialism and wanted to establish a new photographic art based on a detached and disinterested look. He most celebrated work is his pictures of three Sharecropper families in the American South during the 1930s Depression. Alfred Steiglitz: In 1907 Stieglitz took this picture inside the boat, The Steerage and thereby rejected Pictorialism’s aesthetics and became in favour of what Paul Strand called ‘absolute unqualified objectivity’ and ‘straight photographic means’. Stieglitz and Strand was also influenced by European avant-garde art movements such as Cubism and Fauvism and some of their pictures emphasised underlying abstract geometric forms and structure of their subjects. 

• 

• 

Social Reform Photography: The rural poor or the urban environment were not subjects for Pictorial photographers. But when A Danish immigrant , Jacob Riis published his book, How the Other Half Lives’ about the slums of Manhattan a new kind of realism was born with a socialist dimension. A number of photographer’s such as Lewis W Hine and Dorothea Lange began to document the effects of industrialization and urbanization on working-class Americans. Their work brought the need for housing and labour reform to the attention of legislators and the public and became the origins of what we now call photojournalism.

• 

• 

• 

Modernism:

Time period: Early 1900s through to the 1960s
Key characteristics/ conventions: The move from early photography to Modern Photography is distinguished by a departure from the language and constraints of traditional art, such as painting, and this change in attitude was mirrored by changes in practice.
Artists associated: Edward Steichen, Alvin Langdon Coburn, Gertrude Käsebier and Clarence H. The most well-known discourse of photographic modernism now is the one initiated in the USA by Alfred Stieglitz. Developed around his New York based journal Camera Work between 1903 and 1917, this version is characterized by the “straight” photograph.

• 

• 

• 

• 

Key works: Edward Steichen A Bee on a Sunflower c.1920 The Sir Elton John Photographic Collection, Edward Weston Nude 1936 The Sir Elton John Photographic Collection, Tina Modotti Bandelier Margaret de Patta Ice Cube Tray with Marbles and Rice 1939, André Kertész Underwater Swimmer 1917 The Sir Elton John Photographic Collection and André Kertész Underwater Swimmer 1917 The Sir Elton John Photographic Collection.

• 

• 

• 

Methods/ techniques/ processes: Modernist photography celebrated the camera as an essentially mechanical tool. Critic Sadakichi Hartmann’s 1904 ‘Plea for a Straight Photography’ heralded this new approach, rejecting the soft focus and painterly quality of pictorialism and encouraging straightforward images of modern life.

Post- Modernism

Time period: Late 20th century
Key characteristics/ conventions: In Western philosophy, a late 20th-century movement characterized by broad skepticism, subjectivism, or relativism; a general suspicion of reason; and an acute sensitivity to the role of ideology in asserting and maintaining political and economic power. The main focus of modernism as a philosophy, postmodernism rejects concepts of rationality, objectivity, and universal truth. Instead, it emphasizes the diversity of human experience and multiplicity of perspectives.

• 

• 

• 

• 

Artists associated: Andy Warhol, Carolee Schneemann, Maria Abramovic, Barbara Kruger, Cindy Sherman, Jeff Koons, and Damien Hirst, Ansel Adams
Key works: Marilyn Diptych (1962) Shuttlecocks (1994) Rhythm 0 / Seven Easy Pieces (1974) Untitled Film Still #21 (1978) The AT&T Building, New York (1984) Untitled (I shop therefore I am) (1987) Apples Trees (1987) Michael Jackson and Bubbles (1988). To create images that would be considered part of the post-modernist you would have to take a lot of street photography type of images.

• 

• 

• 

Identity

I would consider my identity project to be my weakest photographic area of study. Even though the identity project was by far one of my favourite topics, I do also believe that this contained some of my weakest photoshoots compared to my most recent ones. This was the first topic that I ended up getting set on so I was quite unfamiliar with what I was looking to achieve when I took these images.

Within this area of study, I played around with a lot of editing skills such as photoshopping and drawing on top of my images. I experimented a lot with my photographs so that they could display the main area of study for my identity project which I chose to be ‘gender identity’.

Within this project, I really wanted to capture what it truly meant to struggle with the gender norms in society, and to capture a real personal take on the topic itself. This topic was incredibly personal to me as gender plays a massive role in my life and has brought me up to become who I am currently today. The gender norms of society categorise people as either ‘male’ or ‘female’, but there is a vast range of genders and identities that many people in our world explore and live by. I wanted this project to capture just my personal struggles with the area of gender identity and I do believe that my photography has displayed that.

By believing that this topic is one of my weakest projects, I would like to hopefully expand and improve on this topic by basing my personal study mainly on the area of identity again. I would like to follow the route of identity once more but possibly take a slightly different approach by choosing another area to base my study around.

Romanticism – Rural landscapes

I was very satisfied with how my rural photography turned out during this topic. I believe this project to be one of my strongest projects as I was able to produce a variety of photographs that I was very happy with.

During this project, I didn’t use an awful lot of editing methods to improve the overall outcome of my images but I didn’t think that they really needed them. I liked how they turned out by just purely being black and white and having a few basic editing methods put in place for them such as exposure adjustments, shadows and more. I didn’t want to over-complicate the images as they were suppose to just showcase rural aspects of Jersey.

From this project, I definitely learned a lot about Jersey’s rural landscapes by exploring the island and photographing areas of interest that I came across. I also wanted to display the many different textures that can be seen from Jersey’s rural aspects such as the trees that were present and the subtle inclusion of man-made items as well that might have become intertwined with the landscapes.

New Topographic – Urban landscapes

I would also consider my urban landscape photographs to be quite a strong area for me as well. I believe that I was able to capture a good contrast between the urban landscape photography and the rural photography with a complete difference in imagery. The rural photographs containing Jersey’s intriguing textures and scenery, whilst the urban photographs contain the exact opposite of that area, with its man-made buildings and structures that completely take over the more rural aspects of Jersey.

I was very proud of my photographs that I was able to produce from the urban landscape topic. I was incredibly happy with my final outcomes and I just enjoyed the overall effect they were able to give off, as to really showcase what the urban areas look like in Jersey and how much they contrast to the natural areas of the island.

Furthermore, I much prefer the overall aesthetic that the urban photographs give off compared to the rural photographs I captured. I much prefer the different shapes and senses of symmetry that are present within the images as these are man-made buildings. Nature is something that adapts and grows on it’s own so it can come out as being any shape and size, buildings and structures are made with a thought process put in place and a plan of how they’re going to look and be made.

Anthropocene

Personally, I believe the anthropocene project to be my strongest area and it overall was my favourite project that I ended up doing. I chose to pursue the route of capturing Jersey’s deteriorating areas that included decay and deserted buildings or structures.

I wanted to explore Jersey’s deserted areas so that I could really present images of harder to notice aspects of the island. I broke down my anthropocene project into sections such as ‘Dystopia’, ‘Industrial’ and ‘Abstract’. The dystopia series included a variety of images which had to be my favourites as they really presented a good link between Jersey and the term anthropocene. They were able to show that nature was easily taking over the man-made structures that where sitting among the island.

I definitely liked how the ‘Industrial’ and ‘Abstract’ projects turned out as they were still able to present what the anthropocene project was really all about. The ‘Industrial’ project included a range of images of Jersey’s factories, incinerators and overall the industrial structures that the island has to offer. I wanted to include this section into the anthropocene project as I believed it would exhibit that the island is being damaged by these structures being on the island. The incredibly large size of the structures as well is something I wanted to capture, as to really highlight how intimidating and overbearing these can be on the islands condition.

For the ‘Abstract’ project, I wanted to showcase a similar aspect to that of the ‘Dystopia’ theme, but I wanted this one to be more close up as to really display the impact of decay and the overall deterioration of the buildings. The shapes and textures that were manipulated into the structures was something that I really enjoyed the look of and wanted to present them well within this theme.

My rock

This project was one that I thought to be a weak point within my photography topics. I liked quite a few of the images I was able to produce, but I still think this project contained a wide variety of photographs that I deem to be my weakest final outcomes.

During this project, we were given the task of creating ‘joiners‘ and an awful lot of them turned out to be unsuccessful and didn’t turn out the way that I imagined they would. This was one of my successful joiners, but the majority of the ones I produced, I wasn’t very satisfied with. I didn’t really like the process of making the joiners just because there were a lot of components that had to be taken into account in order to make them. I much preferred the outcome of a digital joiner than a physical joiner, just because it looked a lot cleaner and sharper.

Here I have a few examples of my best works from the ‘my rock’ project. I still think that I managed to produce a range of images that I was proud of, but overall the project fell under being one of my weakest.

I did enjoy capturing the raw aspects of Jersey and manipulating the images to make the island seem much more dramatic and textured, but I wasn’t overly interested in the topic overall. It wasn’t my favourite area of study but I still thought it was an interesting on as a way to showcase what the island has to offer with his geology and coastlines.

Editing techniques

During all of my projects, I visited a variety of different editing techniques as ways to enhance my photography and make the final outcomes stand out. I manipulated the photographs in a range of ways such as creating digital joiners, using editing techniques inspired by photographers, photoshopping and more.

— Joiners —

I already mentioned about the use of joiners being included in the ‘my rock’ project that I was tasked to do and that involved a lot of technical aspects to it. I had to automate a variety of images that would all combine together to produce one complete image. Although this technique was definitely interesting to experiment with, it wasn’t my favourite technique to use for final photographic outcomes.

Here I have some examples of more successful joiners that I was able to produce during the time of this topic. I was happy with how they turned out, but once again it is not an area that I would like to revisit for my personal study.

— Keld Helmer Peterson —

Here we have a range of my images that were inspired by the photographer Keld Helmer Peterson. We learnt how to adapt to this editing style by first changing the images to black and white and clicking on the ‘Threshold’ setting, we then had to adjust the image to our liking until we were able to capture the perfect effect that was similar to Helmer Peterson’s.

These were my versions inspired by the photographer and I enjoyed learning this technique. Although it is not something that I would like to adapt into my personal study, I do still believe it was a good technique to use and I liked how these images turned out.

— Multi-exposures —

These images I took, containing the use of multi-exposures, in my opinion aren’t photographs that I’m particularly proud of. Even though I don’t like the final outcome for these images, I was still glad that I tried out this editing technique as it can be a very useful tool to embed into photographs. I was able to control the opacity of one image that was layered overtop of another, so that both images came through. 

Most successful photographs

Research –

• Rut Blees Luxemburg is a German-born British Photographer.
• She began studying photography in London College of Communication and furthered studied at the University of Westminster for her BA.
• Her photography style is unique, this is because she uses a long exposure in her photographs which allows her to use natural light sources from the street in office block or street lights.
• Her photographic style holds a nocturnal and urban theme which can be seen clearly throughout her work.
• She has published many books showcasing her photos, as well as having her work featured in many different exhibitions.

It’s another kind of street photography. Or maybe “street” isn’t even important. “Public” photography is better.

Rut Blees Luxembourg

---

3 Quotes from the interview –

“And here a very golden quality to water as it is lit.”

I decided to select this quote from the interview which I analysed with Rut Blees Luxemburg because I think that it successfully shows how photography can be so much more than what you can see in the photo. This is because I agree with how she states how there is a golden quality within the water which can be used to signify happiness due to the colour and create a sense of warmth and security when water, such as the sea, can be seen as dangerous and unwelcoming to others.

“This image is also very much about absence.”

I decided to select this quote from the interview with Rut Blees Luxemburg because it links well to the photo that I am going to use in my image analysis. This is because I agree with the statement that the image can also be linked towards absence because it can be a key part of her photographic style, which focuses on urban life yet showing how there can also be a strong sense of absence in the cities and places which she explores and photographs.

“You see the footsteps on the mud? They are expressive of something that runs right through the Liebeslied series,”

For this quote which I have selected, I agree with the comment because it is used as a contrast to Flaneur Baudelaire photographs through the footsteps in the mud which are seen in the photo below. Baudelaire uses a Flaneur in his work, a Flaneur is a poet who’s relation to the city is pleasurable or of a diversion and his wandering is more about an encounter. Therefore this creates a distinct contrast between Luxembourg’s work, and this specific series where the photo is from as she focuses on absentness. This is achieved through photographing different urban landscapes, such as in cities or towns, creating a contrast to a busy area of life within her life that is now empty and creates the sense of these areas being abandoned in her photographs.

Image analysis –

For this image which I have chosen for my image analysis of Rut Blees Luxemburg’s work, is apart of a project called ‘Liebeslied‘ called ‘In Deeper’ which was published in 1999. I decided to give this image a further analysis conceptually and contextually, this is because I think that it successfully shows how there is a main focal point of the photo (even though it isn’t immediately seen) is the footsteps which follow down the stairs to the end of the path. This shows that there was a previous form of a person who was here but has since let, as we aren’t able to tell the time period between them, therefore it gives the photo an eerie feeling as there is a reminiscence of life but we aren’t exactly sure from where or how long ago. The glow of the water also creates this welcoming and calm atmosphere with the photo because it is used to illuminate the rest of the photo, which is seen to be dark and gloomy and this creates a distinct contrast because even thought the water symbolises warmth and comfort the rest of the photo symbolises dark and gloominess. To me, this photo symbolises how there is always light and happiness around no matter how dark the context in which you are in is, as the warm golden glow on the water can act as a symbol of hope and not to be afraid as it is guiding and reminding you that there are still more things to come, meaning that you shouldn’t focus on the dark and bad aspects of life.

Michael Marten is a seascape and landscape photographer with an interest in tides, seasons, and other natural phenomena.

Born in London, Michael Marten started taking photographs as a teenager and has been involved with photography ever since. His first job was caption writer at the Camera Press photo agency. In 1973 he was one of a group who published ‘An Index of Possibilities’, an alternative encyclopedia of ideas. In 1979 he started the specialist photo agency, Science Photo Library. He has co-authored several books of scientific imagery, including ‘Worlds Within Worlds’ (1978) and ‘The Particle Odyssey’ (2002).

Since 2003 Michael has concentrated on landscape photography. His first major series was ‘Sea Change’ (2003-12). A second project, ‘Godrevy’, was exhibited and published in 2015.

I chose some of his photos which could link to areas of Jersey. This means I can create a similar look to his work.

• 

• 

• 

• 

• 

• 

This photo in particular reminds me of the boats going out to Elizabeth Castle

Susan Meiselas is an American documentary photographer. She has been associated with Magnum Photos since 1976 and been a full member since 1980. Currently she is the President of the Magnum Foundation. She is best known for her 1970s photographs of war-torn Nicaragua and American carnival strippers. – Wikipedia

Meiselas photography links into my personal study as she is know for documenting events from behind the scenes which is what i plan to do with motorsports events in jersey.