who, what, where, when, how

Photoshoot 1:

who: The photos will be of me, linking to femininity and hysteria.

what: I will also take pictures of the room/ props as I want to take images without me too, creating a more emphasised contrast between me interacting with my environment and the environment without me.

where: I will be completing my first photoshoot at home, downstairs in my cooridor (currently being painted therefore having similarities with the bare rooms Woodman tends to pose in.

when: I will complete this photoshoot on a bright day, so that enough lighting hits the forest floor beneath the trees.

how: I will use a digital camera and a slow shutter speed, causing the photos to have a double exposure, much like Woodman’s images, creating a disturbing mood within the pictures.

Photoshoot 2:

who: The photos will be of me, linking to femininity and hysteria.

what: I will also take pictures of the walls, windows as I want to take images without me too, creating a more emphasised contrast between me interacting with my environment and the environment without me.

where: I will be going to a wood in Trinity, where two abandoned towers are situated, creating an interesting backdrop.

when: I will complete this photoshoot at any time, as it is inside so weather has no effect.

how: I will use a digital camera and a slow shutter speed, causing the photos to have a double exposure, much like Woodman’s images, creating a disturbing mood within the pictures.

About Matthew Emmett

He is a photograher who captures detailed images of abandoned locations and buildings- especially ones with great historical significance. His aim is to rediscover our forgotten heritage through the mean of photographic storytelling. This fascination of his turned into a seven year long project called ‘Forgotten Heritage’. His work takes him into environments that have long been forgotten allowing him to discover first-hand past architectural history. He has photographed many diverse locations like abandoned farmsteads in the arctic circle, vast industrial remnants in northern Europe to crumbling villas and hospitals in Italy. His almost decade long project has won several of the worlds most prestigious international photography awards to date and has been widely published online and in the international press. In 2017, he won the Historic Photographer of the Year award. More recently Emmett has been working with organisations like the National Trust, HLF and various councils documenting restoration projects and running workshops.

In an interview with Emmett, he was asked “what’s the most memorable place you’ve visited?”

“Well most likely the jet engine site mentioned above which was so unique and I am unlikely to see anything like it ever again, it was demolished in 2013. But aside from that, I think it would likely be a large psychiatric hospital in northern Italy. We explored it as the small town beyond its walls woke up. Inside it was so quiet, all you heard were birds, the sounds of your feet against the tiled floors and the hourly clanging of a church bell or passing moped drifting in the shuttered windows. It had a truly magical atmosphere!”

His Work

Here are some examples of his work, which clearly highlight the rich quality that all his images have. The deep tones, harsh shadows and detailed aspects of the images cause the images to perfectly highlight the abstract beauty of each of these places. I have noticed that natural light is something Emmett manipulates to his advantage, for example, using beams of light to further emphasise the rich colours within each picture. His pictures truly help us rediscover these hidden locations, showcasing each place in a way that makes every flaw stand out- yet still looking beautiful.

Image Analysis

This picture is part of his seven year project- ‘Forgotten Heritage’- where he explored a hospital in Italy. His photos captivate the viewer, the atmosphere of the place appearing to be calm despite its previous use.

The image has a deep depth of field, dragging the photograph more and more, far into the long hallways that meet in the centre of the photograph. This causes the photo to have a very interesting composition, having two areas of focus on each side of the image. This composition causes the photo to be very effective in capturing the atmosphere of the building, allowing the viewer to vividly imagine the feeling of the place. The lush greenery seen through the window contrasts with the peeling mustard- coloured paint that coats the walls, as well as the grey leaf- covered floor. The two corridors, one dim and the other bright, could be a portrayal of the hospital itself, its two sides, the duality that hospitals tend to have. Happiness and sadness, light and dark, good and evil could all be themes that this picture incoorperates into itself. The frames on the windows create a pattern or repetition within the image, which adds a geometrical aspect, contrasting with the otherwise bland walls. The image was clearly taken using a fast shutterspeed, allowing lots of light into the picture and therefore resulting in a bright, detailed image that helped capture each bend and curve of the architecture.

Link with the topic

I think Emmett’s work fits in the theme, as observation is a key part of his projects. He observes the way each location looks, and captures each place in a way that is realistic yet adhanced in beauty. He seeks out these forgotten sites, and challanges the norms of ruins being unappealing to look at.

About Francesca Woodman

She was an American photographer who created black and white pictures, mostly capturing herself and other female models in interesting ways. Her photos show herself and other women either in unique outfits or stark naked, in weird positions. The photos mostly appeared to be blurred, since she used a slow shutter speed, letting more light in to create movement in a eerie way throughout her work. She was born on April the 3rd in 1958 and died on the 19th of January in 1981, aged just 22 years old. Despite her dying so young, Woodman has continued to inspire many upcoming photographers, being an icon of self- expression in photography.

She took her first self portrait at the age of 13, and then went on to continue to photograph herself and other women until she died. She attended the Rhode Island School of Design and travelled to Rome as part of its honours program in 1977. In 1980, she shared many of her portfolios with fashion photographs, wanting ‘to make a career in photography’. She was rejected, however, which lead to her becoming deeply depressed and she attempted suicide in autumn of that same year. A breakup with her boyfriend also added to her depressed state. This lead to her having to live with her parents, unfortunately in early 1981, she took her life after jumping out of a window.

Although Woodman used different cameras and film formats during her career, most of her photographs were taken with medium format cameras producing 6×6 cm square negatives. Woodman created at least 10,000 negatives, which her parents now keep. Woodman’s estate, which is managed by Woodman’s parents, consists of over 800 prints, of which only around 120 images had been published or exhibited as of 2006. Most of Woodman’s prints are 8 by 10 inches (20 by 25 cm) or smaller, which “works to produce an intimate experience between viewer and photograph”.

“Am I in the picture? Am I getting in or out of it? I could be a ghost, an animal or a dead body, not just this girl standing on the corner” 

– Francesca Woodman

The ‘Die Young’ Effect

There are always celebrities and other artists that die young, which for some reason always leads to more questions about their short life. Suicide has always been seen as a taboo aspect of our life, but something that draws fascination and interest from the public, especially when it is a famous or talented person. Like many others, Woodman died young and left behind her interesting story along with her unique art. Her photographs were almost like a representation of her short life, the ghostly obscured and intimate photos clearly being a portrayal of her and her personality. Her portraits portrayed her as vulnerable and isolated, but also intense and powerful, creating a interesting contrast.

Hysteria

In relation to hysteria, her work is something that embodies the idea of being hysterical. Hysteria makes one feel unnerved, so i think the way her photos are both unnervering and disturbing is an effective way of showing the things she felt inside. Although a lot of progress had been made since the development of the idea of hysteria, the late 20th century still promoted many stereotypes of women. Perhaps, Woodman didn’t feel truly supported with her mental illness, so her photography was her way of expressing herself and her feelings.

Nudity

Another significant aspect of Woodman’s work is her nude portraits. I think it is important to note the lack of provocativeness in her images, despite her being completely nude in many of her pieces. There is nothing sexual about her art if you truly understand her work- it was her way of showing her true self, without any filters, any clothes- a way of claiming her freedom and control over her own body and mind.

Her Work

Here are some famous examples of her work, where she portrayed herself in many different positions and angles. Every single photo is unique and full of mystery, causing her style to be an inspiration for many. She challenged the idea that the camera captures a single time and space – something that had always been seen as one of the fundamentals of photography. She manipulated light, movement and photographic effects, and used carefully selected props, vintage clothing and decaying interiors to add a mysterious gothic atmosphere to the work and create a new technique of portrait photography. The concept of vulnerability is brought up a lot my critics, and although I do understand that her poses create a sense of vulnerability, her pictures embrace her, a lot of the time naked, body in a powerful manner, showing she is the one in control.

Image Analysis

One of her most iconic photographs, portraying her in a bent over position on top of a mirror, capturing her staring intensely into the camera lens. It is believed that it was a photo she sent to her boyfriend at the time, sending it in advance to her return to the US from Italy.

This photographs composition is very interesting, being taken from a bird eye view angle, capturing her entire body in the shot. The entire look of the photo creates a mysterious mood throughout the image; the black and white causing us to focus more on her face which appears blurry as through she was moving. This along with the wild look in her eyes creates her to have an unhinged appearance, adding to the eeriness of the photo and also her embodying her mental illness. She appears to be naked on the lower half of her body, adding to the weird look of the photo and creating another interesting aspect to the photo, perhaps being something to do with the photo being meant for her boyfriend, Woodman portraying herself in a seductive way and enhancing the sexual representation within the photo, but at the same time lacking in provocativeness, despite being naked. Despite her face not being in focus, it is clearly the area of focus within the photograph, her neutral expression contrasting with her wide- open eyes, causing the viewer to immediately look at them. The mirror creates an interesting shape around her, framing her body and causing us to focus on her even more. Moreover, the dark tone of the wood contrasts again her light skin and clothes, causing her to stand out even more. The mirror creates an idea of other dimension, and her face being blurred creates a sense of timelessness.

Link with the topic

I think Woodman’s work is a perfect embodiment of the theme, as her pictures cause the viewer to observe the way her photos are a portrayal of her emotions and seek the true meaning behind each peace. Her work challenges many societal views, the nude and exposed aspect of her photographs being looked down upon, especially in the 20th century. It also challenges the norms about femininity and mental illness, as she incoorperates both in a beautiful manner, when the two things are typically never seen together.

Hysteria

The name ‘hysteria’ is derived from the Greek words ‘hystera’ which means ‘uterus’ as well as  ‘hysterikos’ meaning ‘suffering of the womb.’

Greek thinkers (like Hippocrates and Plato) believed that when a woman experienced delirium, excessive emotion, and lack of self-control, it was due to her uterus moving freely throughout her body and thus having negative effects on her mental wellbeing. Plato believed that when the womb was empty for too long after puberty, it became distressed and disturbed and started to move around the body out of irritation. This gave the impression that women should be quick to occupy the womb – they were told that they needed to be getting married and carrying babies to anchor the womb, explaining why women were expected to fall pregnant at such a young age. The threat of sexual deprivation and barrenness sending women crazy spurred the myth of the wandering womb, solidifying women’s position as being strictly child-bearers. It also solidified excessive emotion as a feminine emotional condition, and caused women to become the ’emotional gender’. 

On the other hand, male hysteria, as the name indicates, is ‘hysteria for men’. Interestingly, symptoms included extreme behaviour, uncertainty in actions and motives, inclination to substances, for example, alcohol, and neurosis. The ‘disease’ was closely linked to gender stereotypes when men failed to act ‘like men were expected to act’, another feature of the patriarchal and misogynistic views that promoted hysteria.

Link to Project

My project is about feminity and mental illness, so I believe hysteria is a topic that links in perfectly with both. I want my photographs to show hysteria, showing it in a stereotypical and disturbing manner, utilising a slow shutter speed of 1/4 or 1/5 to create movement within the images, portraying hysteria as something that can’t be controlled. My inspiration, Francesca Woodman, was an individual who showed her struggles with mental health through her work. I think her work was an indirect portrayal of hysteria, all her photos having an unnerving feeling to them.

Hysteria’s dual nature makes it a perfect example of both oppression and liberation: although hysteria in itself is a symptom of patriarchal pressures, hysterical symptoms are also an implication of an individual’s increased awareness of patriarchy. This is a theme I want to portray through my photographs.

Sean Tucker is a renowned street photographer based in London, UK. With a background in music and a career in professional photography spanning over a decade, Sean has established himself as a leading voice in the world of street photography. His distinctive style, characterized by poignant storytelling and intimate portrayals of urban life, has garnered widespread acclaim and a dedicated following on social media platforms such as Instagram and YouTube.

Early in his career, Sean faced several challenges common to aspiring street photographers. He grappled with feelings of self-doubt and uncertainty about his creative vision, struggled to find his unique voice amidst a sea of photographic styles, and encountered logistical hurdles while navigating the dynamic and often unpredictable environment of the streets. Additionally, Sean faced the challenge of balancing his passion for photography with the demands of earning a livelihood, leading him to explore various avenues for monetizing his craft.

In my own work, I seek to emulate Sean’s mastery of deep shadows as a means of imbuing my photographs with depth, mood, and emotional resonance. I am fascinated by the transformative power of shadows to obscure, reveal, and evoke a sense of mystery, inviting viewers to engage with the narrative unfolding within the frame. By harnessing the dramatic contrasts and textures created by deep shadows, I aim to evoke a sense of atmosphere and intrigue that transports viewers into the heart of the urban landscape.

Sean adopted a multifaceted approach to address these challenges and propel his growth as a street photographer. He embraced a mindset of continuous learning and experimentation, immersing himself in the work of master photographers, attending workshops and seminars, and seeking feedback from peers and mentors. Sean also honed his technical skills through diligent practice and exploration, mastering the nuances of composition, lighting, and storytelling to create compelling visual narratives.

Crucially, Sean leveraged digital platforms such as Instagram and YouTube to showcase his work, share insights into his creative process, and connect with a global audience of fellow photographers and enthusiasts. Through engaging storytelling and authentic, behind-the-scenes content, Sean cultivated a strong personal brand and established himself as a trusted authority in the field of street photography.

In my own work, I seek to emulate Sean’s mastery of deep shadows as a means of imbuing my photographs with depth, mood, and emotional resonance. I am fascinated by the transformative power of shadows to obscure, reveal, and evoke a sense of mystery, inviting viewers to engage with the narrative unfolding within the frame. By harnessing the dramatic contrasts and textures created by deep shadows, I aim to evoke a sense of atmosphere and intrigue that transports viewers into the heart of the urban landscape.

i aim to capture the captivating interplay between light and shadow within the suburban and urban landscape. my focus lies not only on the architectural beauty of buildings but also on the dynamic shadows they cast, creating a visual narrative that explores the multifaceted nature of our built environment. By leveraging the inherent contrast and drama of shadows, we seek to unveil hidden textures, patterns, and perspectives that often go unnoticed in everyday cityscapes. Through careful composition and selective framing, i intend to evoke a sense of mystery, intrigue, and contemplation, inviting viewers to reimagine familiar urban scenes in a new light. With an eye for detail and a reverence for the subtle nuances of light and shadow, i endeavor to craft a series of images that celebrate the beauty of the urban and natural landscape and its ever-shifting play of shadows.

PHOTOSHOOT ONE

What – Documentary style photoshoot of a series of surfers/waves in motion

Why – To observe the practice of surfing in relation to The Decisive Moment

How – In Water Photography Equipment – Waterproof Camera Housing/Lens Port, Cold water Wetsuit Gear, Flippers

When – Late afternoon, Soft Lighting, Colours, Shadows

Where – Watersplash, St Ouens Bay

Photo shoot 1 – Playing pieces

Firstly, for this photo shoot I plan to take photographs of the board and pieces by themselves, my main idea for it is to simply showcase the games alone while focusing on the lighting and layout.

I would most likely produce this shoot at home using a makeshift studio as to not move all the games around that will be included in the photographs.

Photo shoot 2 – Castle photographs

Secondly, I plan to go to one of the castle’s on Jersey, either Elizabeth or Gorey, and take photos of the playing pieces in the medieval surroundings.

This photo shoot is inspired by my artist reference, Jan Roald, as his project of ‘is the life also a chess play’ did a great job of capturing the viewers attention due to the links between the scenery and the chess pieces.

Photo shoot 3 – Costume photos

For my costume photographs, I plan to have my friend wear a red dress to portray the queen from both chess and cards since red often means power and was even adopted by kings around the middle ages to show their god-given right to rule.

I will most likely be taking my images in my garden due to the grass creating a more natural feel for the images. This shoot will also be inspired by Claude Cahun regarding the expressions and body language that she depicts in her own self portraits.

Photo shoot 4 – Portraits

For these photographs, my main plan is to try and showcase body language while playing a game. To do this, i’m going to have my friend sit down at a game and take photos of her playing the game in order to capture her reactions and expressions.

This shoot would once again be done at my house in order to make my friend more comfortable and give more natural responses. The shoot is also heavily inspired by the chess photographer, David Llada, who aims to capture peoples expressions as they play chess during tournaments.

Photo shoot 5 – Masks

In this photo shoot my aim is to display how we hide our emotions and expressions during games, or in other words how we showcase our poker face. To do this I will have a friend of mine wear a blank mask and have a game set out in front of them or have them simply looking into the camera.

The shoot will be inspired by my artist reference Gillian Wearing who uses prosthetic masks to showcase different meanings within her photographs.

Photo shoot 6 – Elemental photographs

Lastly, I intend to produce some photographs of the playing pieces in different elements, such as fire, earth, water etc. These images would symbolize different parts of game from emotions to different strategies, for example the fire could represent passion while water could represent loss or sadness.

Mood board

About

Gillian Wearing was born in 1963 in Birmingham, England. In Wearing’s photographs and videos she records the confessions and interactions of ordinary people she befriends through chance encounters. Her work explores the differences between many things such as; public and private life, the individual and society, voyeurism and exhibitionism, and fiction and fact.

The work that I plan on focusing on is her masked photographs. In these images, she uses prosthetic masks to alter her appearance, showing how we hide away our identity.

Why I chose the artist

I chose this Wearing as an artist since I plan to display how we hide our emotions during games, showcasing what is commonly known as a ‘poker face’ which is an inscrutable face that reveals no hint of a person’s thoughts or feelings.

In order to achieve this i would masks, while they may not be as detailed or high quality as Wearings due to cost efficiency, they would symbolize how we hide our emotions and allow the viewer to take a more tactical look towards the games we play.

Image analysis

In this image we are able to see the prosthetic mask protruding from the mirror frame, creating a rather unique effect. The fact that we are still able to see her human eyes behind the mask could mean that we often hide our true selves behind false faces, only presenting the parts of ourselves that we deem worthy or perfect to the world in the same way a prosthetic is perfect.

I would definitely like to incorporate the use of mirrors into my own photographs since the idea of refection is a key part in Wearings photographs. I especially like how she incorporated only the mirror frame in this image though, making it gold and shiny in order to draw attention to it and link it with her eyes which are the only other glossy part.

Links

https://www.artnet.com/artists/gillian-wearing/

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

EDITING

Unedited best shots

Edits I have made:

The next 4 I want to keep as a collection so I edited them to be very similar. Unedited:

And then finally, I wanted all of the photographs to be similar colour so I added this pre-set to them all:

FINAL EDITED PHOTOS