Opening quote: “It’s imperative we tell our own stories, controlling the framework, content and narrative” (LaToya Ruby Frazier, 2018)

Introduction (250-500 words): What is your area of study? Which artists will you be analysing and why? How will you be responding to their work and essay questions?

Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your study area. Make links to art movements/ isms and some of the methods employed by critics and historians. 

Pg 2 (500 words): Analyse the first artist/photographer about your essay question. Present and evaluate your images and responses.

Conclusion (250-500 words): Draw parallels, and explore differences/ similarities between artists/photographers and the work that you have produced

Bibliography: List all relevant sources used

In what ways has LaToya Ruby Frazier represented identity between generations of women?

In this essay, I will discuss how photograph LaToya Ruby Frazier has represented generational identity between women. I have chosen this female artist as they explore the topic of female identity through generations in unique ways. For example, research into their work has enabled me to gain different perspectives on the role of feminism in photography, the influence of female role models through generations, and how women are represented in photography. These elements have formed the central points of this essay. Growing up with a single mother and solely women in my upbringing have influenced my interest in my essay topic and led to my research in historical portrayals of women, historical family roles and subsequently the choice of Ruby LaToya Frazier as my critical artist. Her photobook “The Nation of Family” has had a significant influence on the development of my project. In this photo book, Frazier uses poignant images of multiple generations of women in her family. These images highlight the history of her family and the plight they have faced as working-class African American women in an Ex – mining town in rural America. The intimate, deeply personal portraits in this photobook create thought-provoking sentiments about the ideas of womanhood, the modern of women in the family and female identity throughout multiple generations. She considers her work a “conceptual documentary”,(Harris, 2014), and she uses her work not only to show that of familial relationships, but “as a vehicle for both social change and aesthetic possibility: beauty, in her work, does not preclude protest any more than education presumes awareness.”. These techniques further influenced my interest in Frazier’s work – I have a personal interest in documentary photography and journalism, and this is something that I like to use in my work. Frazier’s documentarian approach creates more insightful images, with heavily contextual images detailing the struggles of those whose voices often go unheard: not only women but working-class, African American women.

To respond to my selected artists, I am using archival images as well as new images of myself, my mother and my grandmother, drawing inspiration from archival material: I plan to compare feeling, pose and appearance between new and archive images (taken from photo albums), to produce a thoughtful commentary on how female identity changes through three generations. I will explore this mainly through photomontage and collage, a method that I have used successfully in the past and want to develop in this project. Subsequently, in this essay, I will discuss the historical representation of women: in art, photography, and families and reference my key artist and her work in relation to female identity and generations of women.

Throughout many periods of history, both in society, culture and art, the portrayal of women, the ‘role of a woman’ and family structures are presented in many different ways. Throughout historical western society, women have been consistently presented as the primary caregivers, both for their children, for the home and their husbands. This can be seen in sculpture and art dating back to as early as the 1500s. Women in art around his period and up until the late 20th century were presented as fragile and soft and as a “passive object, and the receiver of an active male gaze” (Kaufman, A: “Undoing the Patriarchy in Art” 2005.) For example, in the Italian renaissance, women were, like women of the middle ages, denied all political rights and considered legally bound to their husbands. Women were considered merely housewives, and if not married were not allowed to live independently. During this period, women were presented in art as vain, and self-obsessed figures were presented only for the pleasure of the male onlooker. For example, in Giovanni Bellini’s 1515 painting “Young Woman at her Toilette”, the nude female subject is presented as a symbol of wealth, with Bellini using rich green tones and the feature of a Venetian landscape to her left. This painting connotes a sense of calm and softness, which further highlights the way women were represented during the renaissance period.

With the invention of photography in the early 19th century, the representations of women were seemingly unchanged. Male photographers dominated the art, with the majority of images extremely serious and posed. Family portraits at this time were the same: mothers were pictured holding their children, with the father standing above with a stern look on his face. Even this layout highlights the place women had in society in the time in victorian society, at the time of the invention of photography. The identity of women represented in these early images was that of a mother, a housewife, and an inferior figure to her husband, who loomed above her, somewhat threateningly, demonstrating power and control. Another sub-genre of these early portraits was the so-called “Hidden Mother Photography”, which was a genre that included portraits of young children, with their mother present, but hidden in the photograph. This genre grew more popular due to the long exposure times of early cameras, and the need for mothers to hold their children still for long periods. These images are somewhat chilling – despite their seemingly innocent nature, they show how mothers were seen as objects and merely useful for parenting – the concealment of the mothers’ bodies and faces creates a sense that “The mothers seem to have been aiming to create an intimate bond between the child and the viewer, rather than between themselves and the child.” (Nagler, Early victorian family portraits and the disappearing mother, 2013). This subscribes to the mother wanting to please the viewer, creating a perfect picture of her child for those looking at the image, a polished ideal of the relationship and identity that exists between a mother and child. This manipulation shows the early presence of the male gaze and its influence on representations of female identity in photography.

Moving into the 20th century, as women had more and more freedom and a louder voice within society, many female photographers began to document their identity in their own words – not in the words of men who have controlled the media and the role of women within the media for decades. The male gaze has become more and more redundant in recent years, with developments in all of the areas of the visual arts that lean towards more of the female gaze – images that do not solely exist for the visual pleasure of the male onlooker – “Woman as image, man as bearer of the look”. Instead, as the influence of feminism has become more visible in photography, many female photographers have produced images and series that depict their own identity, for themselves, or the viewing of other women – these can be powerful, as they depict female voices within the arts that have been silenced and altered for centuries. For example, Carrie Mae Weems created an iconic photograph which represents an intimate portrait of motherhood, through an understated kitchen depiction of a mother and daughter with makeup. This depiction of a mother-daughter relationship contrasts violently with the silenced mothers in the “Hidden Mother” portraits of Victorian mothers, whose relationships with their children were censored and removed from the images. The image below highlights the struggle that women in visual art, especially photography, have experienced to create work that represents them as the women they are today.

African – American photographer LaToya Ruby Frazier’s images are crucial pieces in the development of the modern media’s representations of women. She considers her work closely related to sociology, documenting the struggles of working-class African American American women. The media and its’ representations are central to frazier’s work. The fact that Frazier considers her work sociological is important to the context of her images – her work is not journalistic, as she seeks to separate her narratives from that of the media, drawing a line between her personal experiences, and the media’s representation of such: “If I were a journalist, I would not be able to edit and frame my photographs. I look for a narrative or context that will amplify the voices of the marginalised…and the current issues we face.” (Frazier, 2018). This quote of Frazier’s signifies how taking a sociological approach to her subjects allows her to tell her own story, without bias and as she wishes – not as society wishes, for a journalist. In her work, Frazier not only documents social issues, but the generations of women in her family. In her highly acclaimed project, “The Notion of Family”, she creates unique documentary images in which she features herself, her mother and her grandmother. Through her work, Frazier herself documents her own family and their surrounding stories. She seeks to dismantle discriminatory ideas of women and disadvantaged communities like her own in Braddock, Pennsylvania and creates unfiltered and stark images of her female relatives, which create an eye-opening reality of her family’s experiences. Frazier’s work subsequently has strong links to feminism – as a woman she uses her work as a tool of resistance against stereotypical representations of black women. Her images are heavily contextualised, each subject with their own stories and experiences told within the project, dismissing the female stereotype of vanity, and shallowness, as projected by the male gaze: “An endlessly reproductive imitation of surface” (Phelan, 1993). Instead, Frazier’s imagery appeals to the female gaze, rejecting surface level depictions of women, and creating her own narrative. Her modern depictions of female identity and marginalization are completely opposite to the historical depictions mentioned above – Frazier disproves the historical preconceptions of women, and creates a modern display of female power and experience in her work.

This image of Frazier’s is from “The Notion of Family”project. The photograph is black and white, which creates stark contrast – for example, the middle has a large concentration of black tones. This creates a clear division between the two parts of the composition this could signify a dividing factor in the family which drives the two subjects apart. This could be a reason as to why Frazier chose this composition. This black-toned area of the photograph matches the black of the t-shirt of the subject to the left, creating a link between these two areas of the photograph. This image uses the rule of thirds which can be seen in all parts: in the left the start of the black doorframe, creating the first third, the whole of the doorframe creating the centre third, and the rest of the image to the right creating the last. The focal point in this image is the door, which creates a high contrast with the different tones of the white towel. It could be said that the inclusion of separation in this image, with the door, could reference separation between generations – it may signify turbulence within their relationship. This separation is intriguing, as it could have many different meanings. It is possible that the photographer composed her image in this way to force the viewer to question what they think about the photograph, and what they think the work relates to. The composition raises the questions of the posing of the image, and the context, something personal to Frazier and her mother. Additionally, The exclusion of faces and the body language of the two subjects could signify tension between the two characters or unsettled feelings. The inclusion of dark spaces in this photograph suggests trouble or problems within the family – in this context the plight of Frazier’s family as former steel miners, suffering the consequences of a failed industry. Within the image, there is a sense of nostalgia, helped by the presentation of the two subjects but also the aesthetic qualities: it was shot on film and in black and white which creates a more sentimental image of family. As seen throughout “The Notion of Family”, Frazier’s use of a film camera and “20th Century documentary aesthetic” (Frazier, 2014) is used to document the lives of three generations of women, whose lives “parallel the rise and fall of the steel mill industry”. Frazier uses film and ‘old-fashioned’ methods to relate her work to the time in which the steel-milling industry began to fail, the late 20th century. The collapse of this industry had a direct effect on its workers, leaving them without income and subsequently developing severe health problems. By using photographic processes popular at the time, Frazier creates a link between the surface-level elements of her photograph the technical processes), with the plight of her subjects.

CONCLUSION

Overall, Latoya Ruby Frazier’s project “The Notion of Family” is a powerful display of female identity, documenting the plight of African American women in modern America. Her work represents generational identity with unfiltered images of her family, unravelling the stereotypes of women seen throughout historically: through art, racism, the media, and sexism. This influences Frazier’s sociological approach to her work, examining the contextual problems behind her work instead of purely aesthetics. Frazier’s unique approach to her work has therefore influenced my own project: rather than looking purely at technical things such as composition and framing in my image, although still important, I have began to arrange and compose my images in a way that creates a narrative – creating intimate images of myself and my family. These images tell a story of lineage, generational change and identity. In my project, like Frazier, I have sought to create meaningful portraits of women, delving below surface level stereotypes.

Bibliography

Phelan, P (1993)Unmarked: the politics of performance, Routledge, Oxfordshire.

Hirsch, M, (1997) Family Frames: Photography, Narrative and Postmemory. Harvard University Press, Massechusets.

Jansen, C (2017) Girl on Girl: Art and Photography in the Age of the Female Gaze, Laurence King Publishing, London.

Mulvey, L (1973) Visual Pleasure and Narrative Cinema in Screen, 1975.

Harris, J (2014), The Paris Review, https://www.theparisreview.org/blog/2014/10/07/the-notion-of-family/, accessed 30th January 2023

Representation of Women in Art Through the Ages, Google Arts and Culture, https://artsandculture.google.com/usergallery/representation-of-women-in-art-through-the-ages/jwKisGWJM5SWKA, accessed 31 January 2023

“Women in the Renaissance”, in The Italian Renaissance, Sparknotes, https://www.sparknotes.com/history/european/renaissance1/section9/, accessed 31 January 2023.

Kaufman, A (2005), Undoing The Patriarchy in Art, https://serendipstudio.org/sci_cult/courses/beauty/web4/akaufman.html, accessed 30th January 2023

Bischoff, C (2010). Masterpieces of the Picture Gallery. A Brief Guide to the Kunsthistorisches Museum, Vienna, https://artsandculture.google.com/asset/young-woman-at-her-toilette-giovanni-bellini/dQE6qBYljWU39A, accessed 1 february 2023

Monet, C (1875) Camille Monet and a Child in the Garden in Argenteuil,[digital image of painting], www.arthistoryproject.com, accessed 31st January 2023

‘Timeline of Women in Photography’ (2018) Wikepedia, https://en.wikipedia.org/wiki/Timeline_of_women_in_photography, accessed 31st January 2023

Hughes, K (2013). Early Victorian Family Portraits and the Disappearing Mother, https://www.telegraph.co.uk/culture/photography/10475137/Early-Victorian-family-portraits-and-the-disappearing-mother.html, accessed 31st January 2023

‘Hidden Mother Photography’ (2018) Wikepedia, https://en.wikipedia.org/wiki/Hidden_mother_photography, accessed 30th January 2023

Curl, J (2022), Women’s Photography as a Tool of Resistance, https://hyperallergic.com/765431/womens-photography-as-a-tool-of-resistance/, accessed 5 February 2023

RYAN MCGINLEY

Ryan McGinley is an American photographer living in New York City. McGinley began taking photographs in 1998 at age 20, creating his first photobook ‘The Kids were Alright’ a collection of 1600 shots made between 1998 and 2003, taken mainly of himself and his friends. Using a Yashica T4s and a film Leica R8s, McGinley captured what is inherent in abandonment, sex, use of drugs and parties in New York amongst youth. His subjects are young and adolescent who embody a sense of freedom from the “wild” attitude. McGinley’s work is cinematic and has been influenced by Terrence Malick’s film, Days of Heaven and has rewritten the imagery of advertising campaigns for brands such as Levi’s and Wrangler. Reoccuring themes in McGinleys work are hedonism and liberation, the life that is celebrated in its intensity, where even the scenes of sex and drugs are immortalized without censorship and prejudice and describe a youth in an underground environment without rules.

McGinley spent the majority of his time around his subjects, particularly graffiti artists, between 1998-2003. Whilst working on his collection, he would follow them to places such as subway tunnels, roofs, bridges and underpasses to give an accurate day-to-day life account of youth growing up in New York, capturing the hedonistic and reckless lifestyle they lived. Later on in his career, after the release of The Kids were Alright, McGinley’s photographing style wou;ld take a different route as he began to recruit models and photograph his subjects in nature such as in forests or sea, capturing his images with an ethereal, almost dreamlike style. His photobook titled ‘Way Far’ represents this in a collection of images taken at dawn in wide, open spaces captured with colourful, vibrant lighting and subjects that embody the same freedom and atmosphere as in The Kids were Alright.

McGinley’s work inspires me because much like Jim Goldberg, he portrays youth culture through a collection of stills yet his images have so much movement and narrative behind them that you feel personally connected with the subjects in his photographs. Unlike Goldberg, whose images are for the most part candid, McGinley makes his subjects pose but there is an element of freedom behind it, he controls the camera but ultimately his subjects control the outcome and express emotion through a variety of headshots, close ups and images combining the elements of human and nature which i feel makes a photo more special and interesting to look at. I am also inspired by his use of lighting and viewpoint in his work e.g the image above.

IMAGE ANALYSIS

This image is taken from McGinley’s 2004 photobook, Whistle for the Wind and features his friend, Dakota, drinking out of a cup in a moving car. The wind is blowing her hair forward as she leans over her drink. The colours in this photo are vibrant, much like the others in this collection – the natural lighting rests primarily on her face and body, gradually becoming shadows as the image progresses. The landscape in the background is blurred from use of a low shutter speed, and the subject is positioned directly in the middle of the image, therefore setting her as the viewpoint and focus for the photo. I think this image represents the freedom and liberation McGinley aims to convey in his work, as the image has a main focus and doesn’t feature any surroundings that draw your eye. The focus is on Dakota and her freedom within the moment.

Photoshoot 1 | Photoshoot 2 | Photoshoot 4 | Photoshoot 5

My only aim for this photoshoot was to take some portraits of me and my friend. I decided to go to the studio and use a dark background for the shoot because white can be quite distracting and I wanted us to be the main focus of the images. I experimented with different shutter speeds, which is why some images are blurrier that some and look like the camera has moved. I used a low shutter speed for my Identity Project and found it very interesting and enjoyed it, which is why I wanted to try it out again.

Overall, I wouldn’t call the shoot successful as it was hard photographing without a plan and any props, but I did manage to get some images that I think will be helpful when creating my photobook. I also enjoyed using the setup in the studio as I haven’t been able to use it for a few months and I am now more confident in using it.

Contact Sheet:

In this essay I am going to compare two movement photographers. The first being Eadweard Muybridge who pioneered capturing speed in photography. I will also discuss the impact that he had on the photography community.  The second is George Marriot who is a local photographer in Jersey who works on all types of photography but primarily photographs sport, specifically football and horse racing. I will discuss the technical aspect of photographing movement including how the technology has changed from Eadweard Muybridge’s time of work to present day.

The art of photographing movement has been made far more accessible with modern camera technology. For Example, when Muybridge created his photos, he had upwards of fifteen cameras called a zoopraxiscope set to take an image at a specific time. With modern technology however it is possible to set a camera to take continuous photos when the trigger button is pressed. This feature is called a motor drive. The term motor drive in the field of photography originated in film cameras where high end cameras would use an electric motor to spin the film reel once an image was taken unlike regular cameras where the user would need to use a manual lever. Shutter speed is probably the most important aspect of photographing moving objects. Shutter speed is the amount of time the shutter is open exposing the sensor. The two most important parts of movement photography depend on the speed of the shutter being perfect. These parts are light and blur. For the photographer to reduce blur in his image he must have a very fast shutter speed. However, if the shutter speed is too quick the sensor will not have time to collect enough light and the image will be too dark. This is also applicable in an opposite scenario. If the shutter speed is set too high. There will be plenty of light, yet the moving object will be blurry as is has moved a significant amount in the time she shutter is open. This is what makes movement photography so challenging as the photographer mut find the perfect balance between light and blur.

Eadweard Muybridge was an English photographer from the 1800s who made a name for himself in 1878 when he produced and published his most famous set of images. He showed the movement of a horse running using photographs. This photoshoot made use of a rig containing upwards of fifty cameras all set to trigger at the perfect time as the horse was in the centre. After researching Muybridge’s project, I found that the project was funded by Former California Governor Leland Stanford who wanted the photographs to settle a bet that horses have all four hoofs off the ground at the same time at one point in their gallop. After the success of his first photoshoot Eadweard began to experiment with photographing the motion of different objects. Using his stop-motion method he spent a lot of time photographing fencing. These images were incredibly interesting as they allowed people to see the details of actions, they would not be able to see with their naked eye. Eadweard Muybridge said “Only photography has been able to divide human life. into a series of moments, each of them has the value of a complete existence.” He said about how each one of the movements has the value of its own existence. This truly shows how passionate he was about his work as well as about his models. He also said that only photography has been able to divide human life. This could be meant in the literal sense being that the images are divided. I think that it is meant on a more metaphorical scale where the persons life can be divided into frames like a movie. Over the next few years Muybridge continued experimenting with stop motion photography.

George Marriot is a local jersey photographer who works for the jersey bulls. He has worked on many projects, personal and business, involving movement such as, rally, horse racing and football. George uses a canon EOS 750D as well as a canon 70-200mm telephoto lens. This setup is great for movement photography. The camera has a motor drive meaning he can take multiple consecutive photos in a very short period. This allows him to ensure he can capture a moment with a very short window. Additionally, the telephoto lens gives the ability to capture high quality images of subjects that are further away.

There are many similarities and differences between these two photographers. They are similar in the way that they are both showing movement in photography as well as using multiple images in sequence. It is their methods of creating the images that really separates them as photographers. Firstly, Muybridge used upwards of fifteen cameras mounted to a rig. This set up would be extremely expensive as well as very complicated to use as each camera would need to be reset with film.  Marriot however uses a single camera that takes multiple images. This method is a lot faster to set up and a lot less costly, as new cameras do not require film and do not take any time to reset. I find Muybridge photography to be more interesting due to it showing movement in multiple images rather than just the one that Marriot creates. This is because it is a much more unique style of presenting images. On the other hand, Georges images are much easier to present and look out as the viewer does not need to think. It is interesting that Muybridge decided to present his images as a collage rather than a single image. He could have layered the images to make an interesting holographic effect. That however would have been difficult due to the limitations of technology.

Bibliography

Animals in motion – Muybridge Eadweard, 1955, Dover Publications

Photography: A Cultural History, Marien, Mary Warner, 2006, Laurence King Publishing

https://en.wikipedia.org/wiki/Eadweard_Muybridge

https://www.britannica.com/biography/Eadweard-Muybridge

‘Skateboarding is powerful enough to change one’s vision of the world – concrete is no longer simply a building material, a bench is no longer just for sitting, and stairs and accompanying handrails are no longer simply devices to aid one in descending or ascending from one level to another. The urban world is a massive and intricate playground to be explored, full of potential.’ In this study I am going to investigate how the world of skateboarding can be portrayed through photography, capturing photographs from unusual angles that you do not usually see in skateboarding photography. I have been skateboarding from the age of 13 and have always been interested in the media side of skateboarding, whether that is filming or photographing skateboarding. I want to show in this study how the world can be portrayed through skateboarding and how differently the world is seen through a skateboarder’s eyes. 2 photographers pop up in mind when I think about my intentions with this study, Tristan Still and Fred Mortagne. These certain photographers portray the world of skateboarding in their own unique ways, with Fred Mortagne even being nicknamed ‘Frangle’ – the unusual angle only he sees. Both artists have been documenting skateboarding since the 1990s, when skateboarding first started gaining popularity, capturing genuine and gritty shots of early skateboarders. This study could be linked with my previous urban photography work, as skateboarding is all about finding new spots within urban areas to experiment different tricks with. In this study I have explored finding new unused angles within the urban area of jersey as well as the skatepark to capture unique photographs of skaters. My work has developed from just taking my camera out with me every time I go for a skate with my friends, taking photographs of them as we skate about to create this photobook. Different digital processes were used to create some of my final images, such as Adobe Photoshop and Lightroom editing.

How have Martin Parr and Mark Power explored the concept of the weather in their work?

“I was looking for pictures that were visual metaphors for the spoken words” – Mark Power in an online interview with Joanna Creswell.

The study of weather in photography is situated within the genre of landscape but can be linked with the theory of the Sublime, pictorialism and realism. This suggests how the concept of weather is used in photography and art to transform the outcome of images. These images can appear through dark and gloomy days where the sun hides away, or bright and overexposed on days when the sun is gleaming high above in the sky. Martin Parr and Mark Powers make photographs in different ways, but both pay attention to the weather, which can be viewed as a British obsession. This is seen in Parr’s work and his project ‘Bad Weather’ where he takes a documentary approach to image-making, whereas Power’s project ‘The Shipping Forecast’ focuses of the metaphorical concept of weather and how the radio broadcast (of which his project originated from) can be helpful and creates a sense of comfort for those who are listening. This exploration of different landscapes is vital and important within Jersey because it raises awareness of places people may not have seen before such as Fern Valley or Swiss Valley – places which are unlike the coasts that Jersey is most known for such as St. Brelades Bay or St. Ouen’s. Therefore,  the concept of weather plays a major part in the outcome of images because it alters the way woodland areas appear; some are muddy and wet whereas others are relatively dry. But this did not impact the way that nature still carries on in unique ways which can romanticise the landscape, such as fungi taking over the forest floor, or the way that leaves wrapped around a tree and reflections of the nature in puddles of water.

The concept of weather in realism and pictorialism photography

The concept of weather in photography can be seen in the theory of the Sublime, developed by Edmund Burke in the 18^th Century. This theory focuses on how the Sublime is viewed. On the Tate website, it states ‘He [Burke] defined the sublime as an artistic effect productive of the strongest emotion the mind is capable of feeling.’ (Tate, n.d.) This is used to show how Burke defined the theory of the Sublime into different feelings such as terror and fear, obscurity and power. These categories are used to describe how an artistic image can create the strongest feelings of emotion which the mind can produce and how these will always be products of the Sublime within art and photography. The Sublime is used within the genre of landscape as it influenced early painters, such as J.M.W. Turner’s work of sea storms and different mountain scenes as well as the German painter, Caspar David Friedrich such as his painting “The Sea of Ice” made in 1823-24. The use of the Sublime is viewed as a path into the development of Pictorialism in photography, this originated during the 1880s-1920s and it focuses on how photography was a process similar to creating a piece of art using techniques that would mimic painterly effects, whereas Realism, depicted how photographers captured the accuracy of the real world through the optic camera. In an online article, Lauren Adolf writes, “It was naturalistic and real, rather than ethereal and modified. The images were minimal, however beautifully composed.” (Adolf 2021) This explained how photographers were beginning to move away from Pictorialism and focus on creating natural images through different landscapes, architecture and objects alongside the concept of weather. Many people criticised Straight Photography, claiming that it does not show the artistic and photographic process celebrated within Pictorialism, but many photographers have shared elements of these ‘isms’ within their works. This is because many people claimed how Realism did not hold the same manipulation techniques as Pictorialism, which included using soft-focusing, smearing Vaseline on the lens to give it a painterly effect, the use of different filters, and allegorical forms. There are a variety of photographers who were influenced by the theory of Sublime within their work and experiment with both Pictorialism and Realism. This is shown in the work of the photographer, Alfred Stieglitz. Stieglitz wrote how ‘the works could express pure emotion, paralleling the artist’s own inner state.’ (The Alfred Stieglitz Collection, 2016) This describes the inner process in which Stieglitz carried out to create many of his works as they represented his thoughts and feelings following the theory of the Sublime, which can be seen in works such as his ‘Equivalents’, a series of images produced in 1923. This is of images regarding clouds during different weather conditions and how they are used to provoke different emotions within a person’s mind, showing the theory of Sublime. In comparison, the theory of Sublime within the genre of landscape photography can be shown in both Caspar David Friedrich’s work which is mentioned above, as well as Alfred Stieglitz’s work. This is because Friedrich’s painting “The Sea of Ice” shows how the ice is used to represent the fear and terror that can be created by these ice formations which evokes a sense of power of how the painted image can manipulate the way your mind perceives reality. This painting holds similarities and differences to Stieglitz’s work in ‘Equivalents’ provokes the feeling of obscurity due to the formation of the clouds and how Stieglitz uses this to create a sense of fear due to how the clouds holds a dark colour within them. Therefore, both images represent the genre of landscape as they can be viewed within a theoretical framework of the concept of the Sublime and how this is linked towards the change from Pictorialism to Realism in art and photography.

Martin Parr

Throughout Martin Parrs work, he represents a documentary approach when photographing weather which is more associated with photojournalism and editorial photography. Parr has used a variety of techniques over time. In an online article titled ‘How does Martin Parr take a photo?’ it describes all the different techniques he used, from the 1970s in early black and white photography to the mid 2000’s where he switches to digital photography. For example, by 2017 he is using a wider-angle lens which allows him to observe a scene from a larger perspective. This can be seen in Parr’s early project called ‘Bad weather’ where he experiments with the concept of weather within photography. ‘Bad Weather’ is labelled as a project which focuses on the British obsession with the weather, as it is a topic of conversation that many of us discuss daily. Although many photographers tend to avoid photographing in bad weather, Parr decides to discuss it through his photography. On the website ‘The Photographers Gallery’, it states “He feels that bad weather often creates an atmosphere lacking in bright, sunny weather, has gone out to see how bad reveals the character of the things we see.” (thephotographersgallery.org.uk, n.d.) and this quote reveals how Parr imagines that the weather, whether it is good or bad, represents the characteristics in which we cannot see and how it creates an atmosphere depending on the weather, whether it is windy or rainy. One of the photographs from ‘Bad Weather’ called “Jubilee Street Party Elland, Yorkshire” taken in 1977 is said to be one of the most popular images from Parr’s series, (Huxley-Parlour Gallery, 2013). This is because it shows a deserted street of where there once were celebrations taking place which was destroyed and abandoned due to the change of weather. This creates an element of juxtaposition within the photo as the table is still laid formally with cakes and plates although the tablecloths are seen to be blowing within the wind and the rain is seen to be lashing down, showing the happiness of celebrations but contrasted with the dreary and glum from the bad weather, as if it wants to ruin it. This creates an eerie atmosphere within the photo. This is because it shows how the weather ruins scenes where people were enjoying themselves, but in a comical and humorous way due to how the scene remains as it were and no one has bothered to tidy up, as if they were expecting it to happen, or even waiting for it.

Mark Power

Mark Power’s is another British photographer, who focuses on the metaphorical concept of weather within photography. Power has produced a book called Shipping Forecast that follows a journey of the British institution of ‘The Shipping Forecast’. This is a broadcast that runs four times a day on BBC Radio 4 and is used to help mariners know what weather to expect when they are out on their boats, which is crucial in life-or-death situations, as it splits the waters of Western Europe into 31 sea areas, from Dover to German Bright. The broadcast is also listened to by many because it holds a soft, poetic voice which many find comforting as it creates these whimsical images of places many of us only imagine, while describing if it is raining, snowing and so on. In an online article from Magnum Photos, Power’s explains his intentions for the project when he states, “The project was about those of us – and we are in our millions – who, through the Forecast, experience a reinforced sense of ‘Britishness’.” Powers uses this comment because it shows how he used the concept of weather in his photography. This is because the weather is a British obsession, stated previously by analysis of Martin Parr’s work, and is used by many British people in conversations as it is a topic which many of us discuss when we talk to one another which reinforces that sense of identity within the theme of ‘Britishness’ as it creates a community in which we can all relate too. Another comment is made by Joanna Cresswell, the producer of the online article about Power’s work. She states “Power’s photographs – black and white, enigmatic and brooding – offer a complementary dichotomy of romance and threat; oscillating between whimsy and foreboding as storm clouds merge above the people he photographs.” (Cresswell, 2018) and this describes the overall theme of juxtaposition, showing the safety the broadcast provides but the lingering threat of the dangers at sea, that Power has created for ‘The shipping forecast’. One of Power’s images called TRAFALGAR depicts the vision of this quote from Cresswell, because the photograph represents that ‘threat’ of what sea creatures are lingering beneath the sea. This is using the shadowed figured, which gives a contorted look due to its position. It could represent a sea monster and the uncertainty of not knowing what may be in large areas of the sea that many of us are yet to explore. On the other hand, the photograph could also represent the ‘romance’ of travelling around and not knowing what you may stumble across as the picture is in black and white, which could be used to represent places that have not been visited before and the uncertainty behind it, which romanticises the fear of the unknown as it makes us excited. Therefore, Power’s work links well within the concept of weather in photography because his work represents the uncertainty of what we may encounter when we are travelling around by boat at sea, but his work also creates the comfort and security which many people feel when listening to ‘The Shipping Forecast’ on BBC Radio 4.

Conclusion

Martin Parr and Mark Power’s share both similarities and differences within their work. The differences within their work are evident, this is because we can see how Martin Parr takes a documentary approach within his work as he records the British obsession of weather, and how it can completely change the outcome of a scene and the atmosphere which is being created due to the weather. In Power’s work it is shown that he takes a metaphorical approach within his work where he uses his photographs to create an imaginative story of what may lie within the sea boundaries and its maritime communities within. There are also some similarities which they share within their work, and this is seen through the concept of how they both view weather as a British phenomenon and how they understand that many photographers avoid photographing in weather conditions such as rain, windy, damp, but Parr and Power see this as a British way to create a sense of identity and focus on ‘Britishness’ as well as how unusual yet unique the characteristics of bad weather can be and what stories they can create. In my own work, I wanted to encapsulate the concept of weather within nature, unlike Parr and Power because I think that the impact of weather can completely change the way it effects nature such as leaves, trees and plants to represent Power’s influence on my work, where it contains a comforting yet whimsical effect. In both Power’s and Parr’s work they have also used people within their photographs to create a further sense of story and narrative. This is an element which I have carried through my work as well when I have been out for walks with my family and our dog. I think that this element of people and animals, although it may only be a few, adds a feeling of comfort to my images as it makes them seem more homely and carries that assuring feeling that I have wanted to create throughout my photobook.

Examples of my work –

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Bibliography

• Nast, C. (2022). Vanessa Winship recounts her wanderings through the winter landscape. [online] Vogue. Available at: https://www.vogue.com/article/vanessa-winship-recounts-her-wanderings-through-the-winter-landscape [Accessed 11 Jan. 2023].

• Adolf, L. (2021). AH 331 History of Photography Spring 2021 Compendium: Pictorialism versus Straight Photography: An Argument of Artfulness. [online] AH 331 History of Photography Spring 2021 Compendium. Available at: https://scalar.chapman.edu/scalar/ah-331-history-of-photography-spring-2021-compendium/lauren-adolph-essay-3 [Accessed 12 Jan. 2023].

• The Alfred Stieglitz Collection. (2016). The Alfred Stieglitz Collection | Straight Photography. [online] Available at: https://archive.artic.edu/stieglitz/straight-photography/ [Accessed 12 Jan. 2023].

• Tate (n.d.). Sublime – Art Term. [online] Tate. Available at: https://www.tate.org.uk/art/art-terms/s/sublime#:~:text=The%20theory%20of%20sublime%20art [Accessed 19 Jan. 2023].

• The Nature of Writing. (n.d.). Edmund Burke on the Sublime | Literary Theory. [online] Available at: https://natureofwriting.com/courses/literary-theory-1/lessons/edmund-burke/topic/the-sublime/ [Accessed 19 Jan. 2023].

• www.rmg.co.uk. (n.d.). How does Martin Parr take a photo? [online] Available at: https://www.rmg.co.uk/stories/topics/how-does-martin-parr-take-photo [Accessed 23 Jan. 2023].

• thephotographersgallery.org.uk. (n.d.). Martin Parr: Bad Weather | The Photographers Gallery. [online] Available at: https://thephotographersgallery.org.uk/whats-on/martin-parr-bad-weather [Accessed 23 Jan. 2023].

• Huxley-Parlour Gallery. (2013). Bad Weather – Huxley-Parlour Gallery. [online] Available at: https://huxleyparlour.com/critical-texts/martin-parrs-bad-weather/ [Accessed 24 Jan. 2023].

• Cresswell, J. (2018). The Shipping Forecast • Mark Power • Magnum Photos. [online] Magnum Photos. Available at: https://www.magnumphotos.com/arts-culture/society-arts-culture/mark-power-the-shipping-forecast/ [Accessed 24 Jan. 2023].

• Diaz, A. (1981). Robert Adams Beauty in Photography. www.academia.edu, [online] pp.20–36. Available at: https://www.academia.edu/33248645/Robert_Adams_Beauty_in_Photography [Accessed 27 Jan. 2023].

‘How is the theme of Anthropocene explored through the photography of Lewis Baltz and Richard Misrach?”

“I’ve come to believe that beauty can be a very powerful conveyor of difficult ideas. It engages people when they might otherwise look away”– (R.Misrach, Look at this if you love great photography, 2021)

Throughout my personal study I would like to explore to theme of Anthropocene, looking at how the growing population has affected our natural environment and utilised our natural landscapes to build housing and support the islands economies, such as the finance district and the recycling centre. The relevance of Anthropocene today has elevated my interest in this concept and highlighted the importance of our climate surviving. It is imperative to consider the impact that the growing population previously had on the planet and how this issue only increases. As stated in my opening quote, I will be attempting to analyse how Anthropocene helps bring positive attention towards “difficult ideas” and how photography has highlighted issues of urban expansion. Throughout my project my main aim is to highlight the severity of our current climate crisis and look back at how artists such as Lewis Baltz and Richard Misrach have explored Anthropocene in their work. To illustrate this, I will be going into detail regarding modernism and post-modernism approaches to photography, in particularly how the celebrated work of Ansel Adams and his contemporaries in Group f.64 influenced a new group of post-war landscape photographers who was put together in the landmark exhibition in 1975, New Topographics held at the George Eastman House’s International Museum of Photography.

Lewis Baltz was in this select group of photographers and in this study I will investigate what motivated himself and Richard Misrach to turn their camera on man-made landscapes. In Fotogalleriet Oslo’s book ‘Conversation on Photography’, Baltz states ‘Whether being legitimate or illegitimate, photography was still a product of the industrial revolution.’ (Baltz 2018:74). This quote could be considered controversial as the revolution had a strongly negative impact on our landscape, but without this advancement in technological thinking, the camera may have not been created for Baltz to use. Despite Baltz and Misrach appearing in two different movements, I think they complement each other well. This is because I would like to merge their styles of photography together, using simple compositions and then editing images and colours in subtle ways. I will be responding to their works be recreating some of their images using different photographs from my La Marais and St Clement photoshoot. These will then be edited in monochromatic, to reflect Lewis Baltz’s work, or, manipulated using the ‘invert’ colour tool in Photoshop. The hypothesis above, which addresses how Anthropocene has been explored by Baltz and Misrach will be developed by taking images of highly industrialised areas with natural formations still occurring throughout and surrounding them. This will help me demonstrate that Anthropocene is a constant change in the environment, despite the human population destroying the planet, there is some hope that any natural life can still flourish.        

 

    

The historical context and development surrounding the concept of Anthropocene is one that is very detailed and complex. It all began with the renowned photographer Ansel Adams and his celebrated images of the American west. Throughout his photographic research, Robert Adams states in David Bate’s book, Photography The Key Concepts that ‘photography can be spilt into four stages; Experimental, Factual, Pictorialist and the New photography’ (D, Bate. 2009: 97), along with ‘Pictorialism’ being the term given for disputes regarding whether photography was an expressive form or art of a scientific study. Later, the concept that photographs could be facts were introduced, and during the 1970’s, the ‘New Topographic’ movement started to emerge, with artists such as Robert Adams and Lewis Baltz (among others) involved in making new images responding to changes in the natural and man-made landscape. Photography was not only regarded as art, but as a way of recording how the environment was changing too. This is a key factor in my project as this was a major turning point for photography, as Robert Adams was vital in making sure that these photographers work was not disregarded as ‘recordings’ but was also important art works. Focusing on landscapes which were man-made but now considered part of human’s natural cycle meant that understanding the importance of the gradual change in the landscape was vital. As the landscape changed; so, did photography. For example, the term ‘picture perfect’ started to be considered, as this wouldn’t have occurred without the development of technology of landscape.        

It is evident that throughout Robert Adams’ work he would as a modernist artist, including formal characteristics such as stark lines and dark shadows. There is also an aspect of minimalism in this image above as aesthetically it is increasingly interesting, it could be interpreted that this photograph reflected how industrial features and increasing levels of housing was now becoming a mundane and repetitive feature of society. With the condition of the late 1960’s appearing to be one which Robert Adams has shown as ever-changing, the relevance of modernism fades as more aspects of new ways of thinking about art and culture in general, the term ‘post-modernism’ begins to emerge. The conditions in which post-modernism formed are some which could have been previously predicted, as this new interpretation of photography was build on the foundation that modernism was preoccupied by the vision of a utopian world that could be captured through art, and as photography can be an illusion, creating a dreamlike world through the lens. The consequence of this was the next era being more focused on idealism and reason, whilst suspicion still occurred surrounding the fact that post-modernism left less area for creative thought and higher perspective. Despite post- modernism supposedly being a contemporary mindset in which art was formed, it could also be said that post-modernism is filled with too many dark and serious themes.

Lewis Baltz was a contemporary photographer who focused on adapting the American environment and how the concept of Anthropocene began to emerge in the American west where lived and worked. His explorations led him through California, Nevada and Park City. In 1975 Baltz took part in a travelling photography exhibition inspired by a minimalist approach to landscape photography, the ‘New Topographics: Photographs of a Man-Altered Environment’. He was given the opportunity to show his images from ‘The New Industrial Parks’ and the aim of this exhibition was to illustrate that the industrial revolution had come to an end. This exhibition was a major turning point in his career and it identifies the shift from his ‘conceptual photography’ to ‘minimalism’. The main purpose of his images, in his words, was ‘searching for beauty in desolation and destruction’ (https://www.metalocus.es/en/news/beauty-desolation-and-destruction-work-lewis-baltz-photographer) as he states in and this refers to the destruction that human life had caused. The US population had increased from around 23 million in 1850 to approximately 150 million in 1950. This is vital to consider as it demonstrates how the climate would change to such a state of ‘destruction’. By looking at Baltz’s images it can be interpreted that he enjoys photographing urban infrastructure and this is one way in which he likes exploring Anthropocene. Additionally, he has explored many different geographical areas, this demonstrated his passion for photography and how this translated through to the many different types of images he created.

Pictured above is one image from Baltz’s Nevada collection. I think this is one of his most influential pieces as it is the most visual representation of the reaction to Ansel Adams’ and Edward Weston’s work, an adequate representation of Anthropocene. The layout of the image itself illustrates how Baltz explores Anthropocene throughout all of his work, this is because the type of photography attempts to communicate the message that human habitation has little regard for the natural landscape. The house being placed in the foreground and the hills being very dark in the background could suggest that Baltz was exploring how Anthropocene had changed not only the environment but humans mindsets too. This may be because consideration for preserving the landscape was decreasing, as the increasing population needed to use up these precious areas for themselves as the light within this image highlights the house and not its surroundings, meaning that the focus was now catering for human life and its needs. Baltz has discussed that architecture has been a huge part of his work, in Remi Coignet book Conversations, Baltz says that ‘I have a curiosity and interest for architecture because I am interested in the world. And architecture is the largest. most durable part of the manmade world, so that not too mysterious’. This comments helps us to unwind the reasons why Baltz began his work to begin with, but additionally shows that his interest in the world may have been why his work regarding Anthropocene has been so successful and reveered in the contemporary photography world. Furthermore, this provides evidence that Baltz has approached the concept of the planet changing in a way which focuses not on the decrease of natural landscape still available, but the increase of architecture and how much space humans have immersed in.

‘In life, you’re in motion on a path somewhere. There’s always momentum, but a photograph defies that linear quality of time; it stops us so that we can contemplate something we normally wouldn’t pay attention to.’- on Landscape and Meaning (Misrach 2021: 26). From the perspective of Richard Misrach throughout the 1970’s, he explains that a vital part of life is being on a so called “path” and this is a metaphorical representation of how he perceives his photography. This is demonstrated in some of his work like the image above taken in Arizona. This path is just one example of how his words are reflected in his work. Misrach’s first project depicted homeless residents of Telegraph Avenue in Berkeley, California but it had limited success. This is important and it highlights a turning point in his career because without this failure he may not have begun his longest and more developed project; Desert Cantos. Beginning in 1979, Misrach focused on taking photographs of natural life such as cacti, and took wide-angled images of the desert both in the day and night. It can be interpreted that Misrach explores the theme of Anthropocene because of his amorality for natural life and structure when he states that the reason for this project was: “I was in search of the miraculous” Misrach 2021: 26) as this quote identifies the motivation behind his passion for landscape photography.

After considering the origins and reasoning behind his desire to photograph the western American environment, the question of why he Misrach engages in exploring Anthropocene begins to emerge. This contemplation is one which can be explained through Misrach’s awareness of the deterioration the planet has been undergoing. He states that ‘photographs are reminders that they is no way to avoid the stark realities the viewer may wish to ignore, ranging from the cost environment of nuclear testing to the harm caused by industrial development and petrochemical production’ (Padley 2021: 195). This explains that Misrach interprets photographs as a method of educating people by communicating that our current climate crisis cannot be ignored. Misrach’s work is a visual representation of these ‘stark realities’, and it could be interpreted he is aware of the influence his work has on his audience. Publishing such damaging photographs of the plummeting environmental conditions may be his way of exploring Anthropocene as this method is identifiable and direct.

Overall, the exploration of Anthropocene throughout Lewis Baltz’s and Richard Misrach’s work is a very interesting journey. The main aspect to highlight would be the fact that Baltz and Misrach takes very different approaches to their photography. For example, Misrach focused on photographing natural landscape which has been negatively effected by mankind, whilst Lewis photographs natural areas which have been transformed into beautiful architecture, as he attempts to illustrate that these forms are the new ‘natural’. This highlights a very significant difference between the two artists as the way in which they geographically explore Anthropocene means that there is a noticeable difference in their interpretation and visualisation of this concept. They both physically explore very effected areas, but with Baltz exploring California and Misrach exploring Arizona’s deserts, this allows for a lot of creative freedom and difference between their style of work and its objectives. It is evident that Baltz was searching for beauty in the destruction of the world, and Misrach was attempting to make more people pay attention to the destruction that was occurring around them where they lived. I think this holds a lot of importance as both artists have conveyed Anthropocene as a subject which is undergoing constant change, whilst individually highlighting that the destruction occurring throughout our planet is an idea which needs to be addressed with more sensitivity and less misconduct.

I have included a visual example of my work throughout my own project which focused on Anthropocene. This image demonstrates alongside the work of Baltz that industrial areas are a great way to explore the topic of Anthropocene, as they provide lots of areas that catch the viewers eye, along with lots of detail throughout the infrastructure of the building. Both my example and Baltz’s work include detail in metal work, with plain backgrounds to contrast the structure and draw attention to the focal point of the image: the construction. However, this piece could still be comparable to the work of Misrach as the warm lighting is very much like this work. Furthermore, I can relate my work more towards the mindset and thought process behind that of Richard Misrach, this is because he believes that he’s “…come to believe that art is a really important way of communicating, not only with current generations, but future generations.” (https://news.artnet.com/art-world/richard-misrach-art21-1946853). I fully support this concept and it relates back to the purpose of my whole personal study, with me attempting to communicate and bring awareness to what has been happening to the climate.

Bibliography

• Baltz, L. (2010) Lewis Baltz Texts. Germany: Steidl
• Baltz, L. (2001) PHOTO PHAIDON 55. New York: Phaidon Press
• Campany, D. (2018) Conversation on Photography. Rome: Contrasto
• D, Bate. (2009) Photography. New York: BERG
• Misrach, R. (2021) on Landscape and Meaning. New York: Aperture
• Jones, K. (2014) Remi Coignet Conversations. Paris: The Eyes Publishing
• Misrach. R/ Orff. K (2012) Petrochemical America. New York: Aperture
• Padley, G. (2021). Look at this if you love great photography. London: Ivy Press.
• S, Verlag. (2009) New Topographics. University of Arizona: CCP
• Szarkowski, J. (1966) The Photographers Eye. New York: The Museum of Modern Art
• Respini, E. (2009) into the sunset PHOTOGRAPHY’S IMAGE OF THE AMERICAN WEST. New York: The Museum of Modern Art

Websites:

• sparknotes [Online], Modernism in the visual arts and architecture, Modernism – Modernism in the visual arts and architecture | Britannica, [Accessed 20th January 2023]
• Jeanne Willette [Online] arthistory unstuffed Postmodernism and The Trail of the Floating Signifier | Art History Unstuffed [Accessed 24th January]
• Lewis Baltz- Wikipedia [Online] Lewis Baltz – Wikipedia [Accessed 25th January 2023]
• Caroline Goldstein [Online] ‘It Just Keeps Haunting You’: Watch Photographer Richard Misrach Document the Beauty and Horror of the US-Mexico Border (artnet.com) [Accessed 1st February]

The plan for this photoshoot is on this blogpost.

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Editing

Contact Sheet

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To start editing, I narrowed my image selection down by using the ‘Pick’ and ‘Reject’ tool on Lightroom.

I then used the Star Rating feature to further narrow it down.

Out of this selection, I selected the 3 images that I gave a five star rating, as these would be the best images out of the set.

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Final Edited Images

These are the best three images from this photoshoot after being edited:

I have also made some black and white versions of these images:

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Comparison to Biró’s work:

As I was inspired by this image in particular, I tried to make my images resemble this one as much as I could, I used a coloured (blue) background to mirror the pink in Biró’s image, I used a white board with ‘plants’ poking through, creating some similarities between the two. However, I tried to make my image differ from Biró’s as much as I could: first, I made my images appear colder using the cold light, giving it a far less welcoming aesthetic. Biró’s image depicts a whole plant in a pot poking through the white board, however my image depicts many parts of a plant (leaves, flowers, stems, etc.) poking through in an erratic fashion, with some lying on the floor, mirroring themes of destruction and death of plant life. I made use of harsh lighting to create shadows, giving my image more contrast and a far darker look.

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Evaluation

I think this was a successful photoshoot as I was able to mimic the style of Biró’s work, while also applying my own style and ideas onto it, creating something unique in the process. I am not the most experienced when it comes to object/studio photography so this was a good way to improve my skills in this area, I think my ability to create a set to photograph has improved as well. I have matched my success criteria for this shoot well, my idea for putting a twist on Biró’s work by making the lighting more intense has been executed successfully, giving the shoot a more serious tone, which will fit nicely into this project’s theme.

What went well:

I think the final images for this shoot are strong, and will fit into my project involving humanity vs nature, as the images provide an artistic, painterly feel of older still life photographs, as well as a darker, slightly more surreal tone. I like the way these images look similar to a still life painting, with the scene purposely created and not found, which perhaps acts as another way to make the images appear even more unnatural. Even though the colours in these images are darker than what I would normally do, they are still very much present in these images, which gives them a more vibrant sense of life.

How I can improve:

For this photoshoot I only used one piece, with the only difference being some ink smeared on the board to give it more colour/shapes, if I were to do something similar to this in the future, I could try and create another piece to create more variety. I could have also made use of gels to give the images more colour as a means of experimentation.

Photoshoot 1 | Photoshoot 3 | Photoshoot 4 | Photoshoot 5

For my second shoot I decided to take some pictures of myself and some of my mum. The first part of the shoot consisted of me recreating three images from our family album. The second part were some self portraits of me doing things my mum usually does, like washing the dishes, eating etc. I tried dressing similar to how she usually does when she is home. At the end of the photoshoot, I took some pictures of my mum sitting by the window and doing what she usually does after work, that I can compare to the images I took of myself. The process of the photoshoot wasn’t that bad, but I didn’t like recreating the images with myself because I couldn’t get it right. I did however enjoy taking pictures of my mum.

Contact Sheet:

Essay Questions

–Think of a hypothesis and list possible essay questions–

“How does Kalafatis use the ocean used a means to portray the loneliness of archipelagos/ islandness/island living?”

“How is the ocean used as a means to portray the loneliness of archipelagos/ islandness/island living?”

“How does Sugimoto use photography to evoke “a calming sense of security, as if visiting an ancestral home””

“How can photography evoke feelings of calmness & security around specific subjects”

Harvard System of Referencing

Bengal, R. (2020), Justin Kurland: Girl Pictures. New York; A Aperture

In Text Referencing

In her book on the island of Jersey, Dingle writes ‘

Essay