Cindy Sherman’s Untitled Film Stills comprises of over seventy black and white photographs made between 1977 and 1980. When thinking about this series, some aspects of her entire body of work immediately come to mind: disguise and theatricality, mystery and voyeurism, melancholy and vulnerability. The artist initially started these series in her apartment, using her own interior as setting for the scenes. Soon however, she moved her camera and props outside and shot in urban and rural landscapes as well, requiring a second person to assist her in taking the photograph. The artist Robert Longo, with whom she lived at that time, assisted her for a while, as well as her father, other family members, and friends.
What is Cindy Sherman’s message?
Sexual desire and domination, the fashioning of self-identity as mass deception, these are among the unsettling subjects lying behind Sherman’s extensive series of self-portraiture in various guises. Sherman’s work is central in the era of intense consumerism and image proliferation at the close of the 20th century.
Deconstructing “Woman”
Started when she was only 23, these images rely on female characters (and caricatures) such as the jaded seductress, the unhappy housewife, the jilted lover and the vulnerable naif. Sherman used cinematic conventions to structure these photographs: they recall the film stills used to promote movies, from which the series takes its title. The 70 Film Stills immediately became flashpoints for conversations about feminism, postmodernism, and representation, and they remain her best-known works.
Sherman is able to change her identity by adopting performative behaviours that have come to define femininity. Through the photographic series I have examined, Sherman’s photographs visually describe the feminist social constructionist argument that there is no natural identity behind the mask of gender. Women affirm their gender identity through performative behaviour; gender is constituted through the ongoing and repetitive assemblage of female representations depicted in culture. These behaviours position the male as a spectator, fixing his gaze on the sexualized female. Sherman’s photography is a depiction of the different ways culture defines “woman.” Her art plays on the feminist idea that gender arises exclusively within culture and deconstructs dominant gender ideologies, representing the underside of popular culture’s definition of “woman.” She exposes the arbitrariness of performativity and presents a variety of female identities that are found within popular culture, and reveals that these are nothing more than constructions. Behind each character there is no central identity. Each is a series of manipulations according to cultural conventions. There is no essential femininity; the whole self is an imaginary construct that can be changed through performativity.
The series features Sherman posing as various female stereotypes from generic black and white Hollywood B films of the 1950s. She is unrecognizable from one photo to the next, changing her appearance as she tackles the different identities, each an illustration of a cultural representation of women. Sherman plays the role of a young woman studying her own reflection. The photo visually portrays a woman assembling her identity, caught in the act of construction. It implies the lack of a fixed identity. Though Sherman is both the woman in front of the lens and behind it, she appears masked through make-up and costume, disguised to resemble familiar female stereotypes; her women are images of women, “models of femininity projected by the media to encourage imitation and identification” As in her other works, Sherman adopts the format of stereotypical female roles. However, her characters are unlike those found in magazines. “Instead these women suggest awkward adolescents or young women uncomfortable with their sexuality”. She interrogates the format and photographic genre of the centrefold and aims to destroy dominant notions of beauty and eroticism. The spread offers no context before or after the image, meaning that audiences must construct their own narrative, generally based on texts already embedded within popular culture.
She is not perpetuating the stereotypes but is assuring female audiences that there is no fixed femininity. Defending Sherman, Mulvey argues that as the gaze behind the lens, she is not perpetuating the objectification of women, but rather subverting the gaze. In each photograph, Sherman explores contemporary ideas about female identity – one being the trope of a sad female longing for a male companion. The male spectator engaged in scopophilia pleasure should feel as though he has interrupted a private movement. As the woman behind the lens, Sherman exposes the role of the male gaze in an attempt to make those who objectify the constructed woman feel like the violators they are.
“I’m disgusted with how people get themselves to look beautiful; I’m much more fascinated with the other side,” She stated in 1989
At the time, images of ailing bodies were painfully on view in the news during the AIDS crisis; these added poignancy to her investigation of the grotesque and of various types of violence that could be done to the body. In these series and throughout all of her work, Sherman subverts the visual shorthand we use to classify the world around us, drawing attention to the artificiality and ambiguity of these stereotypes and undermining their reliability for understanding a much more complicated reality.
Image Analysis
This image stood out to me the most as she is interpreting the stereotype of a woman. This could link to her message of ‘ Deconstructing a woman’, within this image there is a sense of objectification and housewife aesthetic. I state this because the image depicts a domestic scene in which the character – seemingly a housewife – stands at her kitchen sink. The construction of the picture hints at a number of possible narratives and is open to a range of analyses. Though almost cropped from the picture, the woman’s gaze – out of frame and away from the viewer, accentuated by eye makeup surely unnecessary in her own kitchen draws my attention. For me, though the image offers a portrait that I read as a stereotypical representation of a housewife from the late 1950s or early 1960s. Sherman’s gaze indicates an awareness of the world beyond the confines of the frame; the way her hand rests protectively on her stomach suggests the possibility that this is not without threat, creating a tension within the image. I think this image is a mirror due to the fact it is reflecting as of the artist herself. I also think it is a mirror as she is trying to intend an element and theme of gender roles within society during this time, but how she feels about it. She is also wearing an apron to emphasize the role she is playing. As well as this, the photo is set up to take an image of herself. It is obvious it is a staged approach due to the unfocused saucepan pointing directly at her, and the placement of the camera, clearly being on the counter to see from a lower angle. Furthermore, the gaze away from the camera also tells us it is a staged photoshoot and is not natural in any way, purely to reflect the artist. I think this image is a subjective expression, as in a way every viewer could have a different take on it. For example, as she is portraying gender roles in society in the late 1950’s she could not be intending to express herself, but how women as a whole felt during this time through a sense of reality. Therefore, she would be expressing the external world during this time. This brings to the debate is the only natural thing in this image herself? Therefore, this famous image of Cindy Sherman, reflects her as an artist, however meanwhile reflecting stereotypes of women in the 70’s. Sherman in my opinion, is sexualizing herself and playing the role of the ‘ house wife’ to execute the theme of stereotypes successfully as women in that time were seen only to make children and be there for the husband.
Another image analysis
This image has slight similarities but a few differences. A main difference to me is that the previous image was of Sherman, and also taken by Sherman, or so we assume. However, this image is not Cindy Sherman and is possibly taken by Cindy Sherman. The main factor that effectively stood out to me was the apron and the gaze. This is similar to the previous image as this woman is also portraying the role of the ‘ house wife’ which is a typical stereotype of women. Although, this image has a different setting. This one does not tell much and shows a dirty door. From what I personally get from this image, could be waiting for the husband to come home or putting coats back, I assumed this through the coat pegs. This in my opinion, is ‘deconstructing women’ as a women’s role in the 1950’s was to look after their home. The image of American women in the 1950s was heavily shaped by popular culture: the ideal suburban housewife who cared for the home and children appeared frequently in women’s magazines, in the movies and on television. Another effective factor that significantly got my attention was the female gaze. The subject is looking away from the camera, possibly looking at the male in the household or to something else. Either way, this creates a sense of objectification as women were only seen to be makers of the household. The black and white is used in almost all of Sherman’s images which I like as it keeps the older aesthetic which is relevant as Sherman’s images were in the 70’s, however it also creates an element of mystery and keeps people analysing images and attempting to find a story.
Image Analysis
This image stood out to me because of context and time lines. Cindy Sherman took her images between the 70’s and 80’s. This time line was when it was expected or stereotypical for women to be the house wife. Being the house wife normally meant for the female to be waiting at home meanwhile the husband was at work and looking after the children. Males were seen to be the educated ones and women not. This is proved through the second wave feminism movement took place in the 1960s and 1970s and focused on issues of equality and discrimination. Starting initially in the United States with American women, the feminist liberation movement soon spread to other Western countries. This allowed equal education for male and females. This image does not focus on the role of the house wife but instead of education. This significantly links to Sherman’s message of ‘ Deconstructing woman’ as Sherman has taken a self portrait of her in the library, grabbing a book. This is relevant to the timeline as this would of been a new acceptable thing for women to learn themselves equally to men. Not only this, women were seen as weak and nurturing to their children which was the only objective women were expected to do. One element that catches my eye is the female gaze, like every other one of her images. She is always looking away from the camera, potentially objectifying herself in the others, but possibly not this one. The purpose of the ‘female gaze’ becomes to connect with the female viewer via the female creator, coming together in a way that serves them, and upholding the idea that women are powerful and can control their own destiny. That is why one of the most notable differences between the male and the female gaze is intent.
Originally being a fashion designer for a period of ten years, in 2001 Carolle Bénitah began to make herself known as a French Moroccan photographer whose work was largely concerned with themes of memory, nostalgia, family and the passage of time. Her work was a form of reinterpreting herself and her own history as a daughter, wife and mother; defining her own identity. Bénitah tends to incorporate embroidery, beads, ink and collaging into her work through pairing these different art mediums with old family snapshots, or images taken during her childhood.
HER WORK:
These selection of images are taken from her three-part series entitled ‘Photos-Souvenirs‘, created between 2009 and 2014, intending to explores the memories within her Moroccan family and adolescence by reworking these images into a new form, creating heavy contrast, texture and depth into her work. Her work focuses on Freud’s concept of the uncanny; representing the suppression of emotions and perceptions alongside incoherent experiences during her life. While the images that she used were taken from approximately 40 years ago at the time, it meant that she could turn her attention to her own history and decipher what occurred at the time to allow her to express the emotions she may have not been able to portray at the time due to her being a child with a good perception of the world, as children do. Through this series, it enabled her to unravel the fears and secrets of her inner child that have constructed her into who she was as an adult, using those experiences who formulate her identity and differing perceptions of the world that would become more realistic and conscious. The concept of nostalgia is evident throughout this series where her images of her as a young girl would convey the sense of relativity whilst seeming so distant and unknown, creating tones of strangeness and comfort, juxtaposing each other.
Embroidering is perceived as a majorly feminine activity due to the fine work and precision it requires because of its delicacy, leading on to symbolise the way that traditionally, this is linked to the mother and daughters of the family taking up sewing and embroidery whilst waiting for the ‘man of the home’ to return. As Bénitah was born in 1965, she stated that:
‘Embroidery is intimately linked to the milieu in which I grew up. Girls in a “good family” used to learn how to sew and embroider — essential activities for “perfect women”. My mother embroidered her trousseau.’
Through utilising the expressions and insights practiced within her childhood, this gives her the ability to symbolise these developing opinions by pairing embroidery with old family archives. I like the concept behind this because whilst the image and the embroidery is supposed to represent these traditional roles at the time, it makes the snapshot have movement within it, adding direction and form into something that is old in order to formulate a new fresh piece. This could be representative of all of the ever-developing perceptions of life within society.
This reflection back onto childhood experiences confronts Bénitah to face her own inner conflicts and past repressions, whether they she may be consciously aware of them or able to use this as an aid to overtly face unpleasant memories in her subconscious. This would enable her to understand her current identity through being able to come to terms with what has occurred in her life as these experiences would have shaped her outlook on life, regardless of the emotions they convey. As well as this, the consistent use of the same shade of red in the images ensures that they all collaboratively link up to guarantee that the viewer can identify the story here and be capable of forming their own personal narrative through interpreting Bénitah’s story in their own perspective. This allows the viewers of her work to make a more personal and intense adaptation to draw their own conclusions and ideas based off of factors in their own lives. This can be a very powerful technique because it leads people to resonate with her work, for example if a parent of a young child sees this they may recognise a similar story from their own childhood, and begin to attempt to make sure similar things don’t occur for their child.
I would like to incorporate the methods of Carolle Bénitah into my own personal study about my experience of growing up with a brother who has Bipolar disorder because I feel that the concepts of our work, while not the same, correlate clearly. I think this use of an obscure metaphor in order to portray a story of loss is very effective through the ambiguous format that the lines move in. It is a way of visually expressing a story that the picture alone wouldn’t be relevant to or able to reveal. Because my intention behind my personal study is tapping into the human psyche as it concerns topics of psychological change, behavioural differences and the impact this has on a family dynamic, I feel that this will be a good starting point for me to experiment with and develop upon in order to make my work very metaphorical and symbolising. This idea of “performing a kind of exorcism of inner demons and past repressions” connotes a tone of liberation which could be very compelling in my work, and allow me to freely express myself, the concept and message that I am trying to send.
ANALYSIS OF HER WORK:
This specific image from Carolle Benitah’s series of Photos Souvenirs, engaging with her childhood constraints and anguish, particularly caught my eye. Upon initial sight, it is evident that this image was taken from around the 1970s to the 1980s from the overall tone of the archived image of Benitah’s family being a more yellowed tone due to age; instead of it just being black and white, the film has gained a cast of discolouration as well as a large crease in the top left corner from being folded. This connotation also stems from the aesthetics of the individuals in the image, wearing respectable and modest apparel that was very common in the 70s, whereas in the 21st century, children may be wearing more casual clothing such as a tracksuit, instead of such a humble appearance. As well as this, the different hairstyles portrayed in the image highlight the large contrast in generational trends to successfully demonstrate how old this image is. For example, the woman on the right holding the baby has had curlers in her hair in order to create a feathered look, which was the general choice for women in the 70s. As the embroidery string used is red, this immediately makes the image become eye-catching and more visible due to it juxtaposing the original image’s more vintage, recessed tone. Benitah has embroidered an empty silhouette around each person within this family image at an angle that is slightly off – the silhouette isn’t accurately outlining each individual. As this series is Benitah’s form of establishing her identity, this could be representative of looking outward herself, picking apart each family member and therefore, making her have an almost ‘out of body’ experience by revising over her past life events. This metaphor stems from the distance that the silhouette has with each person. Because this uses ambiguous shapes, this creates dynamic lines within Benitah’s work that add a sense of direction, causing the viewer to scan the image for a reasonable response. I feel that Benitah’s concept behind this can be perceived as forcing the viewer to become familiar with her family and really have to look at each individuals face and demeanor in the image. This would assist her in trying to portray a story of her childhood as it allows the viewer to gain an initial impression of what that person is/was like. Leading on from this, Benitah has formulated a randomised pattern of plus signs or crosses over four of the individuals faces. I feel that this may be a obscure metaphor for absenteeism and loss, hiding the faces of the people behind these markings. It adds a sense of anonymity, creating questions as to why these people have been concealed within their own family image. Because family snapshots kept as memories and keepsakes, this may be symbolising that the four people within the image have became part of an unpleasant memory that Bénitah desperately wants to forget and ignore instead of coming to terms with it. This evokes tones of mourning, deconstructing the myth of an ideal family and altering an image to hint at a personal secret behind it. Due to the needle piercing the image during the embroidery, this has left small holes and tears in the image that are only visible if the image is truly explored in detail. The violent nature of the needle stabbing the image, almost looking explosive, may suggest conflict, drama and/or pain because of the aggressive nature behind it – in this case, pricking the archived outlines of family members to erase their identities from being in the saturated image. Because of this image imitating the ‘snapshot aesthetic’, when the archived image has been photographed, there are slight patches of the light bouncing back off the image. This reflection, possibly from the cold artificial lighting from photographing this image again at a ‘birds eye’ angle, could be interpreted as a sort of ‘calm after the storm’. What I mean by this is that this reflection of like may act as a symbol for her own person growth by creating this study, healing some sort of unresolved trauma from her childhood that was gained from events that occurred relating to this image, due to brightness tending to correlate with cleanliness or holism.
Nancy Goldin is an American photographer and activist. Her work explores in snapshot-style the emotions of the individual, in intimate relationships, and the bohemian LGBT subcultural communities, especially dealing with the devastating HIV/AIDS crisis of the 1980s.
Mood board of her work
Her roles in portraying power dynamics within gender roles-
In 1985, Nan created The Ballad of Sexual Dependency, a photo series about the struggle between autonomy and dependency and the power relationships between men and women that put her in danger.
The artist’s visibility grew, and she photographed herself with her face wounded by her boyfriend’s punches. He couldn’t stand who she was and what she saw. “My photos in which I look battered were what prevented me from returning,” she says. Many women in her situation were able to talk about it because they saw the photos. I haven’t found Nan to define herself as a feminist, nor Laura, but the only seconds in the film in which they speak as a duet take place when Nan says that when her boyfriend tried to destroy her eyes with his fists, at least she didn’t have the “ballad” slides on her screen — and here comes the double take: “Because he would have destroyed them.” The artists both say. The women who know that their eyes are their voice speak.
Comprising almost 700 snapshot-like portraits sequenced against an evocative music soundtrack, Nan Goldin’s The Ballad of Sexual Dependency is a deeply personal narrative, formed out of the artist’s own experiences around Boston, New York, Berlin, and elsewhere in the late 1970s, 1980s, and beyond. Titled after a song in Bertolt Brecht and Kurt Weill’s The Threepenny Opera, Goldin’s Ballad is itself a kind of downtown opera; its protagonists—including the artist herself—are captured in intimate moments of love and loss. They experience ecstasy and pain through sex and drug use; they revel at dance clubs and bond with their children at home; and they suffer from domestic violence and the ravages of AIDS. “The Ballad of Sexual Dependency is the diary I let people read,” Goldin wrote. “The diary is my form of control over my life. It allows me to obsessively record every detail. It enables me to remember.” The Ballad developed through multiple improvised live performances, for which Goldin ran through the slides by hand and friends helped prepare the soundtrack—from Maria Callas to The Velvet Underground—for an audience not unlike the subjects of the pictures. The Ballad is presented in its original 35mm format, along with photographs that also appear as images in the slide show. Introducing the installation is a selection of materials from the artist’s archive, including posters and flyers announcing early iterations of The Ballad.
“My work has been about making a record of my life that no one else can revise.”
Nan Goldin’s photographs are like pages of a diary, sharing at once the intimacy of ordinary connections, the isolation of abuse, and the joyful abandon of being with friends. Upending typical art hierarchies, she showed her work in her loft and in New York City nightclubs and bars in the late 1970s and ’80s, where the audience consisted “entirely of the people in the slide show, my lovers and friends.” Goldin would often reorder her slides, and her restless images capture scenes in the middle of things; they are “fragments of life as it was being lived.” Most of her career has also been defined by activism within her community: first, in the late 1980s, around the AIDS crisis, and then, beginning in 2017, around the opioid crisis.
The intense realism of her photographs—and their accumulation in slideshows, books, and films—introduces a frank and riveting narrative. You get the sense, as the artist once said, that “the camera is as much a part of my everyday life as talking or eating or sex;” her photographs capture all three activities. Often garishly lit by a sudden flash, Goldin’s images offered a stark contrast to that of other emerging photographers in 1980s New York, who gained renown for posed and conceptual compositions. “I knew about those photographers who were doing media-related stuff, from Cindy Sherman, whose work I love, to Sherrie Levine and Laurie Simmons and all those other ones,” Goldin said, “but I was never part of any movement, and I never read theory. I think that was to my benefit.”
Image Analysis
Buzz and Nan at the Afterhours, New York City1980
This image stood out to me out of all of her work. This is because it is at a very natural, normal setting which I assume to be a nightclub or a bar. Nan Goldin’s nostalgic snapshots depict intimate moments of bohemian sex, transgression, beauty, spontaneity, and suffering. Her frames are marked by unflinching candor, rich hues, and a keen sense of empathy and lyricism. The main thing that stood out to me in this image was mannerisms and posing positions. This is because I personally got from this image that the male is more interested and could potentially be searching for intimacy that the female may not want. I gathered this theory through the male gaze and his body turned slightly towards her with his eyes faced to her neck possibly at her necklace or skin. To emphasize this, the female in the image is very faced frontally, facing her body away and instead towards the camera meanwhile not maintaining eye contact with the male. Her eyes are facing down at herself possibly to avoid intimacy. This interests me as it portrays gender roles and power dynamics within gender. This is because of the stereotype of males being dominant and confident, whereas a female having to avoid if not interested considering the sterotype of females being gentle, naive sexually inexperienced, soft and accepting. The female also has her arm up on the table potentially signalling an uncomfortable element or putting a barrier to prevent intimacy. Another way Nan Goldin portrays power dynamics within gender is through this image.
This image portrays the same theme as this is Nan Goldin trying to get awareness of domestic abuse between her and her boyfriend. However, there is a difference as this image shows violence within relationships specifically Nan Goldin within the bravery of sharing her own experiences. This image shows power dynamics and the stereotypes of men and women linking to the image above.
Originally from Texas, Dotson graduated from Austin community collage and worked as a art director and taught art and design at the Austin community collage and the Texas state technical collage as a curriculum advisor. As an avid traveller, Dotson has carried a camera across the world in places like India, above the artic circle in places like Greenland and of course, his home turf of the US. Currently residing in Nashville, Tennessee he is enjoying the live music, southern food and the beauty of the world around him.
As a contemporary photographer specialising in black and white images, Dotson drawn to and creates beautiful images of landscapes, cityscapes and abstractions of nature. his images have been displayed in may places across the US. Dotson has also authored books about photography: Unloved and Forgotten: Fine Art Photographs of Abandoned Places, published in 2019, and The Wheeling Portfolio, published 2022, and has also had his work featured in Ken Burns’ important 2022 book Our America: A Photographic History.
He believes the landscape has a spirit that’s shaped by its aesthetics, weather, geography, topography, history, and human activity. His photos allow for the beauty of things that wouldn’t normally be seen. for example, Dotson’s backside of a sunflower. This piece looks at a side of the sunflower that people wouldn’t normally look for.
Keith Dotson has a talent for picking out the decerped, abandoned and broken giving some longevity to them, giving them a new life as a gorgeous picture to be adored. There is a certain chill around his images that cause them to remain in the mind for a long time, they are not disturbing or unsettling but beautifully haunting.
Philip-Lorca diCorcia uses a lot of still, dull, no emotion photos that involve a lot of loneliness throughout his photos.
There is a specific photo he uses which is called ‘Bruno. 1993’. I think this photo resembles the ‘Ophelia’ photo which many artists have recreated before.
I think his photos are all staged with having a constant theme of odd-looking people stood or sat down by themselves, or showing loneliness in their house or their environment, but with his ‘Bruno. 1993’, photo I think it was his version of Ophelia.
With the grass, forest theme all around and with the person in the middle lying on their back with there arms either side, maybe it’s trying to show they died, or passed away peacefully, but diCorcia used a baby instead of a women to show his take on this recreation.
Use this simplified list to check that you are on task. Every item on the list represents one piece of work = one blog post. It is your responsibility as an A-level student to make sure that you complete and publish appropriate blog posts each week.
AUTUMN TERM
WEEK 1: 4 – 8 Sept 1. Research & Context: Jersey’s maritime history and cod-trade 2. Research & Context: St Helier Harbour history and mood-board
WEEK 2: 9 – 15 Sept 1. Planning & Recording: Visit to SJ Photo-archive and St Helier Harbour 2. Editing & Developing: St Helier Harbour photoshoots
WEEK 3: 16 – 22 Sept 1. Essay: Origin of Photography > Deadline: 30 Sept 2. Planning & Recording: Visit to Maritime Museum and St Helier Harbour 3. Editing & Developing: St Helier Harbour photoshoots
WEEK 5: 30 Sept – 6 Oct 1. Zine: Research & Mood-board 2. Zine: Design & Layout
WEEK 6: 7-13 Oct 1. Zine: Final design & Evaluate 2. Zine: Print & Bind
DEADLINE: Zine > Fri 11 Oct
WEEK 7: 14-20 Oct 1. Talk: Steve Carter, Art Director – Mon 14 Pd 3 in the Hall 2. Windows & Mirrors: Written assignment 3. Windows & Mirrors: Photo assignment
WEEK 8: 21-27 Oct 1. Personal Study: Review & Reflect
Half-term: 28 Oct – 3 Nov Windows & Mirrors: Assignments Complete work and improve blogposts, or begin tasks below
WEEKS 9: 4-10 Nov 1. Personal Study: Mind-maps & Mood-boards
WEEK 10: 11-17 Nov 1. Personal Study: Artists Case-studies x 2
WEEK 11: 18-24 Nov 1. Personal Study: Statement of Intent
WEEK 12: 25 -30 Nov 1. Photo-shoots: Planning & Recording x 3-4
WEEK 13: 1 – 8 Dec 1. Essay: Hypothesis, Essay plan and Introduction (draft)
WEEK 14: 9 – 15 Dec 1. Photo-shoots: Editing and Developing
DEADLINE: Essay draft introduction > Fri 13 Dec
WEEK 15: 16 – 18 Dec 1. Group critical: Presentation – work in progress
XMAS BREAK 19 Dec – 6 Jan Photo-shoots: Produce at least 2-3 photoshoots Essay:Read key texts for essay and write an essay draft
The gaze, as a visual act, generates modes of power, domination, and control. It has the ability to categorize people, generate feelings of shame, and assert one’s superiority. The gaze of the superior and privileged person, specifically directed toward oppressed and less privileged groups of people, is one type of the manifestation of power and control. The camera lens is another demonstration of a powerful gaze, referred to as the photographic gaze, simulating the gaze of the naked eye. Indeed, the former could even be more powerful than the gaze of the naked eye due to photographic permanence. Janina Struk defines a photograph as: “a two-dimensional object, a fraction of a second framed and frozen in time” (4). Susan Sontag in On Photography notes that “photographs are a neat slice of time, not a flow” (17). It is the stillness of a photograph that gives it power and makes it more effective than television broadcasting or film. Photography, then, has the ability to capture in “still time” the expression of oppressed subjects as the camera gazes at them.
To understand what is meant by the photographic gaze, explore Daniel Chandler; Notes on ‘The Gaze’: ‘The gaze’ (sometimes called ‘the look’) is a technical term which was originally used in film theory in the 1970s but which is now more broadly used by media theorists to refer both to the ways in which viewers look at images of people in any visual medium and to the gaze of those depicted in visual texts. The term ‘the male gaze’ has become something of a feminist cliché for referring to the voyeuristic way in which men look at women (Evans & Gamman 1995, 13). My aim here is to alert students to existing material and frameworks which may assist them in their own investigations of the issue of the gaze in relation to media texts.
Forms of gaze
In the case of recorded texts such as photographs and films (as opposed to those involving interpersonal communication such as video-conferences), a key feature of the gaze is that the object of the gaze is not aware of the current viewer (though they may originally have been aware of being filmed, photographed, painted etc. and may sometimes have been aware that strangers could subsequently gaze at their image). Viewing such recorded images gives the viewer’s gaze a voyeuristic dimension. As Jonathan Schroeder notes, ‘to gaze implies more than to look at – it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze’ (Schroeder 1998, 208).
Several key forms of gaze can be identified in photographic, filmic or televisual texts, or in figurative graphic art. The most obvious typology is based on who is doing the looking, of which the following are the most commonly cited:
the spectator’s gaze: the gaze of the viewer at an image of a person (or animal, or object) in the text;
the intra-diegetic gaze: a gaze of one depicted person at another (or at an animal or an object) within the world of the text (typically depicted in filmic and televisual media by a subjective ‘point-of-view shot’);
the direct [or extra-diegetic] address to the viewer: the gaze of a person (or quasi-human being) depicted in the text looking ‘out of the frame’ as if at the viewer, with associated gestures and postures (in some genres, direct address is studiously avoided);
the look of the camera – the way that the camera itself appears to look at the people (or animals or objects) depicted; less metaphorically, the gaze of the film-maker or photographer.
In addition to the major forms of gaze listed above, we should also note several other types of gaze which are less often mentioned:
the gaze of a bystander – outside the world of the text, the gaze of another individual in the viewer’s social world catching the latter in the act of viewing – this can be highly charged, e.g. where the text is erotic (Willemen 1992);
the averted gaze – a depicted person’s noticeable avoidance of the gaze of another, or of the camera lens or artist (and thus of the viewer) – this may involve looking up, looking down or looking away (Dyer 1982);
the gaze of an audience within the text – certain kinds of popular televisual texts (such as game shows) often include shots of an audience watching those performing in the ‘text within a text’;
the editorial gaze – ‘the whole institutional process by which some portion of the photographer’s gaze is chosen for use and emphasis’ (Lutz & Collins 1994, 368)
James Elkins offers ten different ways of looking at a figurative painting in a gallery (Elkins 1996, 38-9):
You, looking at the painting,
figures in the painting who look out at you,
figures in the painting who look at one another, and
figures in the painting who look at objects or stare off into space or have their eyes closed.
In addition there is often the museum guard, who may be looking at the back of your head, and
the other people in the gallery, who may be looking at you or at the painting. There are imaginary observers, too:
the artist, who was once looking at this painting,
the models for the figures in the painting, who may once have seen themselves there, and
all the other people who have seen the painting – the buyers, the museum officials, and so forth. And finally, there are also
people who have never seen the painting: they may know it only from reproductions… or from descriptions.
Looking at someone using a camera (or looking at images thus produced) is clearly different from looking at the same person directly. Indeed, the camera frequently enables us to look at people whom we would never otherwise see at all. In a very literal sense, the camera turns the depicted person into an object, distancing viewer and viewed.
We are all familiar with anecdotes about the fears of primal tribes that ‘taking’ a photograph of them may also take away their souls, but most of us have probably felt on some occasions that we don’t want ‘our picture’ taken. In controlling the image, the photographer (albeit temporarily) has power over those in front of the lens, a power which may also be lent to viewers of the image. In this sense, the camera can represent a ‘controlling gaze’.
In her classic book, On Photography Susan Sontag referred to several aspects of ‘photographic seeing’ which are relevant in the current context (Sontag 1979, 89):
‘To photograph is to appropriate the thing photographed’ (ibid., 4);
‘Photographing is essentially an act of non-intervention… The act of photographing is more than passive observing. Like sexual voyeurism, it is a way of at least tacitly, often explicitly, encouraging what is going on to keep on happening’ (ibid., 11-12);
‘The camera doesn’t rape, or even possess, though it may presume, intrude, trespass, distort, exploit, and, at the farthest reach of metaphor, assassinate – all activities that, unlike the sexual push and shove, can be conducted from a distance, and with some detachment’ (ibid., 13).
The functions of photography can be seen in the context of Michel Foucault‘s analysis of the rise of surveillance in modern society. Photography promotes ‘the normalizing gaze, a surveillance that makes it possible to qualify, to classify and to punish. It establishes over individuals a visibility through which one differentiates and judges them’ (Foucault 1977, 25). Photography was used in the second half of the nineteenth century to identify prisoners, mental patients and racial types (Tagg 1988). However, looking need not necessarily be equated with controlling (Lutz & Collins 1994, 365).
Looking is not indifferent. There can never be any question of ‘just looking’. John Berger, Ways of seeing, 1972
John Berger, Ways if Seeing, BBC episode 1, 1972John Berger, Ways if Seeing, BBC episode 1, 1972
In Ways of Seeing, a highly influential book based on a BBC television series, John Berger observed that ‘according to usage and conventions which are at last being questioned but have by no means been overcome – men act and women appear. Men look at women. Women watch themselves being looked at’ (Berger 1972, 45, 47). Berger argues that in European art from the Renaissance onwards women were depicted as being ‘aware of being seen by a [male] spectator’ (ibid., 49).
Berger adds that at least from the seventeenth century, paintings of female nudes reflected the woman’s submission to ‘the owner of both woman and painting’ (ibid., 52). He noted that ‘almost all post-Renaissance European sexual imagery is frontal – either literally or metaphorically – because the sexual protagonist is the spectator-owner looking at it’ (ibid., 56). He advanced the idea that the realistic, ‘highly tactile’ depiction of things in oil paintings and later in colour photography (in particular where they were portrayed as ‘within touching distance’), represented a desire to possess the things (or the lifestyle) depicted (ibid., 83ff). This also applied to women depicted in this way (ibid., 92).
Writing in 1972, Berger insisted that women were still ‘depicted in a different way to men – because the “ideal” spectator is always assumed to be male and the image of the woman is designed to flatter him’ (ibid., 64). In 1996 Jib Fowles still felt able to insist that ‘in advertising males gaze, and females are gazed at’ (Fowles 1996, 204). And Paul Messaris notes that female models in ads addressed to women ‘treat the lens as a substitute for the eye of an imaginary male onlooker,’ adding that ‘it could be argued that when women look at these ads, they are actually seeing themselves as a man might see them’ (Messaris 1997, 41). Such ads ‘appear to imply a male point of view, even though the intended viewer is often a woman. So the women who look at these ads are being invited to identify both with the person being viewed and with an implicit, opposite-sex viewer’ (ibid., 44).
We may note that within this dominant representational tradition the spectator is typically assumed not simply to be male but also to be heterosexual, over the age of puberty and often also white.
As Jonathan Schroeder notes, ‘Film has been called an instrument of the male gaze, producing representations of women, the good life, and sexual fantasy from a male point of view’ (Schroeder 1998, 208). The concept derives from a seminal article called ‘Visual Pleasure and Narrative Cinema’ by Laura Mulvey, a feminist film theorist. It was published in 1975 and is one of the most widely cited and anthologized (though certainly not one of the most accessible) articles in the whole of contemporary film theory.
Laura Mulvey did not undertake empirical studies of actual filmgoers, but declared her intention to make ‘political use’ of Freudian psychoanalytic theory (in a version influenced by Jacques Lacan) in a study of cinematic spectatorship. Such psychoanalytically-inspired studies of ‘spectatorship’ focus on how ‘subject positions’ are constructed by media texts rather than investigating the viewing practices of individuals in specific social contexts. Mulvey notes that Freud had referred to (infantile) scopophilia – the pleasure involved in looking at other people’s bodies as (particularly, erotic) objects. In the darkness of the cinema auditorium it is notable that one may look without being seen either by those on screen by other members of the audience. Mulvey argues that various features of cinema viewing conditions facilitate for the viewer both the voyeuristic process of objectification of female characters and also the narcissistic process of identification with an ‘ideal ego’ seen on the screen. She declares that in patriarchal society ‘pleasure in looking has been split between active/male and passive/female’ (Mulvey 1992, 27). This is reflected in the dominant forms of cinema. Conventional narrative films in the ‘classical’ Hollywood tradition not only typically focus on a male protagonist in the narrative but also assume a male spectator. ‘As the spectator identifies with the main male protagonist, he projects his look onto that of his like, his screen surrogate, so that the power of the male protagonist as he controls events coincides with the active power of the erotic look, both giving a satisfying sense of omnipotence’ (ibid., 28). Traditional films present men as active, controlling subjects and treat women as passive objects of desire for men in both the story and in the audience, and do not allow women to be desiring sexual subjects in their own right. Such films objectify women in relation to ‘the controlling male gaze’ (ibid., 33), presenting ‘woman as image’ (or ‘spectacle’) and man as ‘bearer of the look’ (ibid., 27). Men do the looking; women are there to be looked at. The cinematic codes of popular films ‘are obsessively subordinated to the neurotic needs of the male ego’ (ibid., 33). It was Mulvey who coined the term ‘the male gaze’.
References: Berger, John (1972): Ways of Seeing. London: BBC/Harmondsworth: Penguin Burgin, Victor (Ed.) (1982a): Thinking Photography. London: Methuen Caughie, John, Annette Kuhn & Mandy Merck (Eds.) (1992): The Sexual Subject: A Screen Reader in Sexuality. London: Routledge Evans, Caroline & Lorraine Gamman (1995): ‘The Gaze Revisited, Or Reviewing Queer Viewing’. In Burston & Richardson (Eds.), op. cit., pp. 13-5 Dyer, Richard ([1982] 1992a): ‘Don’t Look Now: The Male Pin-Up’. In Caughie et al. (Eds.) op. cit., pp. 265-76; also in Dyer (1992b), op. cit., pp. 103-119 Elkins, James (1996): The Object Stares Back: On the Nature of Seeing. New York: Simon & Schuster Foucault, Michel (1977): Discipline and Punish: The Birth of the Prison. New York: Pantheon Fowles, Jib (1996): Advertising and Popular Culture. Thousand Oaks, CA: Sage Lutz, Catherine & Jane Collins (1994): ‘The Photograph as an Intersection of Gazes: The Example of National Geographic‘. In Taylor (Ed.), op. cit., 363-84 Messaris, Paul (1997): Visual Persuasion: The Role of Images in Advertising. London: Sage Mulvey, Laura ([1975] 1992): ‘Visual Pleasure and Narrative Cinema’. In Caughie et al. (Eds.), op. cit., pp. 22-34. Also published in: Mulvey 1989; Mast et al. (Eds.) (1992), op. cit., pp.746-57; abridged version in Bennett et al. (Eds.) (1981), op. cit., pp. 206-15; originally published in Screen16(3): 6-18 Schroeder, Jonathan E (1998): ‘Consuming Representation: A Visual Approach to Consumer Research’. In Barbara B Stern (Ed.): Representing Consumers: Voices, Views and Visions. London: Routledge, pp. 193-230 Sontag, Susan (1979): On Photography. Harmondsworth: Penguin Tagg, John (1988): The Burden of Representation. Amherst: University of Massachusetts Press Willemen, Paul ([1980] 1992): ‘Letter to John’. In Caughie et al. (Eds.) op. cit., pp. 171-83; originally published in Screen 21(2): 53-65
Tasks/ Assignments/ Activities – see photopedagogy
How does the gaze function active vs passive within social media, popular/ celebrity culture at large, such as our desire for gossip, tabloid journalism, post-truths, AI generative content? Who controls what we are looking at? How can we manage/ curate our own information and what we are looking at, or directed towards Images = knowledge = power =control = consumerism = money = power.
The A-level coursework consist of two modules, Personal Investigation (practical work worth 72 marks) and Personal Study (written work worth 18 marks) which are interlinked and informed by each other. All the work that you produced (both coursework and mock exam) in Yr 12 also contributes towards A-Level coursework and overall equates to 60% of the total marks and the remainder 40% accounts for the External Set Assignment (Exam) in 2024. The Personal Investigation accounts for 48% and the Personal Study accounts for 12% of the total coursework marks. Final DEADLINE is Mock Exam 3-5 Feb.
What is a Personal Study?
The aim of this unit is to critically investigate, question and challenge a particular style, area or work by artists/ photographer(s) which will inform and develop your own emerging practice as a student of photography. The unit is designed to be an extension of your practical work in your Personal Investigation module where the practical informs and develops the theoretical elements and vice versa of your ongoing project.
Your Personal Study is a written and illustrated dissertation, including a written essay (1000-3000 words) and a lens-based body of work (either stills photography or moving image) with a number of final outcomes produced from your Personal Investigation unit.
PRESENTATION: The choice is between making a photobook; exploring a subject and theme in depth using photography as a tool for visual storytelling, either through observation (documentary) or staging (tableaux) a series of photoshoots. Making a film might be more in line with your creative skills set and offer other elements to storytelling, such as combining moving image and sound. Either option offers its own unique set of challenges and opportunities for you to express yourself creatively as A-Level Photography student.
Explore Shannon’s blog posts to learn more about her Personal Study into patriarchy and women’s traditional role
What it says in the syllabus (Edexcel)
BLOG: In addition, you are expecting to produce an appropriate amount of blogposts that demonstrates your ability to research, analysis, plan, record, experiment, present and evaluate. DEADLINE: BLOG >
PRINTS: You are also encouraged to print and present a number of images from your practical work as final outcomes. DEADLINE: PRINTS >
The personal study will consist of a critical and analytical written piece of a minimum of 1000 words and maximum of 3000 words of continuous prose, making links to the student’s own practical investigations, supported by contextual research. Through the personal study, students will demonstrate understanding of relevant social, cultural or historical contexts. Students will also express personal interpretations or conclusions, and use technical and specialist vocabulary. The focus of the personal study can be any concept, movement, person, people, artefact(s), or other source of reference. However, it must be related to their own ideas, investigations and practical work. The personal study can take any form but must: ● be presented as a separate piece in writing ● be a minimum 1000 words on the chosen subject ● be written in continuous prose ● be in a presentable format for assessment ● include a full bibliography, citing all references.
Students will need to consider: ● critical and analytical content ● expression of personal interpretations and conclusions ● contextual research and understanding ● links between research, analysis and own investigations ● use of specialist terminology and vocabulary ● clarity of expression and language ● appropriate structure and presentation.
The personal study must be the student’s own work, forming an essential part of their independent investigations. Development of the personal study may be supported through presentations to the class, discussions and individual tutorials. Teachers can also help students to focus their ideas for the personal study by asking them to produce a proposal or an outline of their intentions. Students may support their progress in writing the minimum 1000 words with visual examples of their own work and the work of others, sketchbook annotation, notes from visits, exploration of materials and the development of their own ideas. Any references to others’ writing should be acknowledged through a bibliography. Internet sources should be cited with a brief description of the source material.
To summarise: ● supporting studies will help to prepare for both practical work and personal study ● the practical work(film, photobook, prints and supporting studies) and personal study(essay) may be approached in any order, or progress simultaneously ● the outcome for the personal study must form a separate presentation ● work must not be added to or altered once submitted for assessment ● the practical work will be marked against all four Assessment Objectives, equal to 48% of all coursework marks. ● The personal study comprises 12% of the final qualification and is marked out of 18.
How to get started
How to get started: Link your chosen area of study to your previous work, knowledge and understanding based upon your chosen themes of ‘OBSERVE, SEEK, CHALLENGE‘.
Up until now you have explored the theme of ‘OBSERVE, SEEK, CHALLENGE‘ focusing on visiting tourism, heritage and industrial sites, such as St Malo, Societe Jersiaise, Maritime Museum and St Helier Harbour producing three different outcomes; A3 page-spreads, photo-zines and final prints. All these outcomes are exploring a sense of place and cultural identity through storytelling. It’s up to you to decide how you want to explore the theme of ‘OBSERVE, SEEK, CHALLENGE‘ further and choose a medium that you enjoy most and feel will give you the best chance at producing a quality final outcome. This project will be the final chance you have to improve your coursework marks and grades!
For example, some of the subjects or issues you wish to explore within the theme of ‘OBSERVE, SEEK, CHALLENGE‘, you may have explored previously in Yr 12 projects based around the theme of ‘NOSTALGIA’, that included PORTRAITURE and FEMINITY vs MASCULINITY and LANDSCAPE and ANTHROPOCENE and STILL-LIFE and FORMALISM Or, you may wish to develop new ideas around COMMUNITY and FAMILY. It may be useful for you to revisit some of the projects you have already covered in your coursework, so far (see below).
PRACTICAL WORK: You have 4 weeks in lesson time in the remainder of the Autumn term, and at Christmas another 2 weeks to complete principal shoots and make new images. This include all relevant blog posts demonstrating your knowledge and understanding of: RESEARCH > ANALYSIS > PLANNING > RECORDING, EXPERIMENTATION > PRESENTATION > EVALUATION.
PHOTOBOOK: Returning after Christmas we will be spending the whole month of January developing and designing your photobook, which will also include your essay and somewhere between 30-50 images sequenced to tell a story.
FILM: If you are making a film, then you will be spending January editing your footage, including both visual (moving image/ still-images) and sound (ambient sound, voice-over, sound effects and music scores). Your essay will be published as a separate blog post.
DEADLINE: MUST complete 4-5 new photo-shoots/ moving image/ sound recordings this AUTUMN and SPRING TERM that must be published on the blog by WED 22 January.
ESSAY: We will be spending minimum 1 lesson a week on CONTEXTUAL STUDIES where you will be learning about art/photo history, critical theory and contemporary practice as well as developing academic study skills to help you writing your essay. However, it is essential that you are organising your time effectively and setting aside time outside of lessons to read, study and write.
DEADLINE: Final Essay MUST be published on blog: Fri 31 Jan 2025
MOCK EXAM: 3 – 5 Feb 2025. 3 days controlled test (15 hours) ALLGroups: 13A. 13C & 13D.
DEADLINE: Completion of photobook or film LAST DAY OF YOUR MOCK EXAM.
Week 8: 21 – 27 Oct Introduction to Personal Study Review and Reflect
Lesson task Mon: Choose one Personal Study project from past students and evaluate against assessment criteria using official mark sheet
For photobooks, look through sequence of images carefully and study their supporting blog posts.
For films, watch film saved in shared folder here and study their supporting blog posts.
M:\Departments\Photography\Students\Image Transfer\LOVE & REBELLION\FILM\Personal Study
Present their project in class and comment on the book, or film’s quality, with reference to: Concept > ideas and meaning behind project Narrative > a sense of a story or subject being explored Editing > consistency and quality of imagery Sequencing > the order of which images appear on the page or in the film to tell a story Design > layout of images and choices of format, size, front-cover, title and other design elements Aesthetic > how something looks and overall beauty (or lack of) of final product.
Make an assessment using the mark sheet below and calculate a grade.
Lesson task Tue:Personal Study Read the essay and comment on its overall written and interpretative quality as well as its use of critical, contextual and historical references, eg.
Does the essay address its hypothesis?
Does it provide new knowledge and understanding?
Is the essay well structured with a sense of an introduction, paragraphs and a conclusion?
Use and flow of language, prose, punctuation, spelling.
Use of specialist vocabulary relating to art and photography.
Analysis of artist’s oeuvre (body of work) and key work(s).
Evidence of wider reading with reference to art history/ theory, political discourse and/or socio-economical context.
Use of direct quotes, summary or commentary from others to make an informed and critical argument.
Use of referencing system (eg. Harvard) and a bibliography.
Use of illustrations with captions listing name of artist, title of work and year of production.
Make an assessment using the mark sheet and calculate a grade.
Lesson Task Wed-Fri: Review and Reflect complete the following blogpost
Objective:Criteria from the Syllabus
Essential that students build on their prior knowledge and experience developed during the course.
Develop your written dissertation in the light of your chosen focus from the practical part of previous coursework and projects.
From all the coursework (Personal Investigation) that you have produced write an overview of what you learned so far (both as Yr 12 and Yr 13 student) and publish on the blog.
1. Describe which themes (Observe, Seek, Challenge, Anthropocene, Home, Feminity/ Masculinity/ Identity etc,) medium (photography, film), approaches (documentary, tableaux, conceptual), artists (incl contextual references to art history, movements and isms) and photographic skills, processes, techniques and methods (incl learning new software) inspired you the most and why.
2. Include examples of both previous and current experiments and imagery to illustrate your thinking.
HALF-TERM 28 Oct – 3 Nov: Read mock exam paper: ‘OBSERVE, SEEK, CHALLENGE’ and make notes. Begin to research and explore themes > gathering images, writing initial ideas, record images with your camera that can be used to produce mindmap and moodboard.
Week 9: 4 – 10 Nov Explore themes of ‘OBSERVE, SEEK, CHALLENGE’ and produce MINDMAP and MOODBOARD complete the following blogposts
Assessment Objectives
Definition in dictionary:
You should provide evidence that fulfils the four Assessment Objectives: AO1 Develop ideas through sustained and focused investigations informed by contextual and other sources, demonstrating analytical and critical understanding AO2 Explore and select appropriate resources, media, materials, techniques and processes, reviewing and refining ideas as work develops AO3 Record ideas, observations and insights relevant to intentions, reflecting critically on work and progress AO4 Present a personal and meaningful response that realises intentions and, where appropriate, makes connections between visual and other elements.
a person who watches or notices something.”to a casual observer, he was at peace.
a person who follows events closely and comments publicly on them.”some observers expect interest rates to rise”
a person posted in an official capacity to an area to monitor political or military events.”elections scrutinized by international observers”
SYNONYMS: spectator, onlooker, watcher, voyeur, looker-on, fly on the wall, viewer, witness, eyewitness, bystander, sightseer, commentator, onlooker, reporter, blogger, monitor.
SEEK
VERB
attempt to find (something):“they came here to seek shelter from biting winter winds” SIMILAR: look for, be on the lookout for, search for, try to find, look about for.
ask for (something) from someone:“he sought help from the police” SIMILAR: ask for, request solicit, call on, invite, entre, beg for
(SEEK SOMEONE/SOMETHING OUT)search for and find someone or something:“it’s his job to seek out new customers” SIMILAR: discover, detect find (out), unearth, uncover, disinte
CHALLENGE
NOUN
a call to someone to participate in a competitive situation or fight to decide who is superior in terms of ability or strength:“he accepted the challenge” SIMILAR: dare, provocation, summons
a call to prove or justify something:“a challenge to the legality of the banning order” SIMILAR: opposition, defiance, ultimatum, confrontation with.
VERB
invite (someone) to engage in a contest:“he challenged one of my men to a duel” · “organizations challenged the government in by-elections” SIMILAR: dare, summon, invite,bid, throw down the gauntlet, to defy someone to do something
definition: Binary opposition: a pair of related terms or concepts that are opposite in meaning.
Theory of binaries. According to French philosopher, Jacques Derrida, meaning is often defined in terms of binary oppositions, where “one of the two terms governs the other.”. An example would be the white/ black binary opposition in the United States, the African American is defined as a devalued other. An example of a binary opposition is the male-female dichotomy, where male is the dominant gender and women are subservient (patriarchy).
Patriarchy: a system of society or government in which men hold the power and women are largely excluded from it, both within family, workplace and government.
Synonym: a synonym is a word that means the same or nearly the same thing as another word
Antonym: a word of opposite meaning. The usual antonym of good is bad.
Binary opposition & narrative: Claude Levi-Strauss was a French anthropologist and ethnologist who developed the theory of structuralism and structural anthropology. Levi Strauss theory on binary opposition talks about how narrative can be split into opposites, such as Good and Evil, Man and Woman, Rich and Poor, etc. Due to having these opposites, when together it creates the conflict in the narrative story and this becomes the central climax. Read more here.
How to start
Read the Exam Paper thoroughly, especially pages pages 4-5 and page 25-28 which details specific starting points and approaches to the exam theme – make notes! Look up the word in the dictionary, synonyms and etymology (the study of the origin of words and the way in which their meanings have changed throughout history.)
Brainstorm your idea and research artists listed – look also at starting points in other disciplines e.g. Fine Art and Graphic Communication etc.
Begin to gather information, collect images, produce a mind-map and mood-board
Write a Statement of Intent that explains how you interpret the themes and wish to develop your project.
Make plans for at least 3 photoshoots – you MUST produce ONE PHOTO-SHOOT over H-Term as an initial response to themes/ ideas etc.
Each week you are required to make a photographic response (still-images and/or moving image) that relates to the research and work that you explored in that week. Sustained investigations means taking a lot of time and effort to produce the best you can possibly do – reviewing, modifying and refining your idea and taking more pictures to build up a strong body of work with a clear sense of purpose and direction
Prior to the timed MOCK examination you must produce and submit preparatory supporting studies which show why and how the supervised and timed work takes the form it does. You must produce a number of blog posts 15-30 that charts the development of your final piece from conception to completion and must show evidence of:
Development of your thoughts, decisions, research and ideas based on the theme
Record your experiences and observations
Analysis and interpretation of things seen, imagined or remembered
Investigations showing engagement with appropriate primary and secondary sources
Experimentation with materials, processes and techniques
Select, evaluate and develop images/ media further through sustained investigation
Show connections between your work and that of other artists/ photographers
Critical review and reflection
Controlled conditions 5/15 hrs over one/three days: (Final Outcome)
This time is for you to fine tune and adjust your final images for print using creative tools in Lightroom/Photoshop and/or complete a final edit of your photobook, film or video in Premiere. Your final outcome(s) must be presented in a thoughtful, careful and professional manner demonstrating skills in presenting work in either window mounts, picture frames, foam-board, and/ or submit pdf of photobook, or embed (from Youtube upload) moving image and video based production to the blog.
IDEAS > INTERPRETATIONS > ARTIST EXAMPLES from pages 4 & 5 in exam booklet
Caves of Altamira
After having visited the caves of Altamira, Picasso famously said:
In 15,000 years we have invented nothing.
Pablo Picasso and his African masksPablo Picasso and CollagesBanksy, Cave Painting Removal
The Russian avant-garde reached its creative and popular height in the period between the Russian Revolution of 1917 and 1932, at which point the ideas of the avant-garde clashed with the newly emerged state-sponsored direction of Socialist Realism.
Exhibition at The Museum of Modern Art (MOMA) Covering the period of artistic innovation between 1912 and 1935, A Revolutionary Impulse: The Rise of the Russian Avant-Garde traces the arc of the pioneering avant-garde forms after Socialist Realism was decreed the sole sanctioned style of art. The exhibition examines key developments and new modes of abstraction, including Suprematism and Constructivism, as well as avant-garde poetry, film, and photomontage.
Varvara Stepanova, The Results of the First Five-Year Plan, 1932 (State Museum of Contemporary Russian History, Moscow)
Ai Weiwei
Ai Weiwei’s colored vases: Clever artwork or vandalism? read article here
51 ancient Chinese vases covered with brightly colored paint
Exhibition visitors have expressed feelings of uneasiness or even pain and nostalgia when seeing Colored Vases by Ai Weiwei1. The 51 vases that make up the artwork are originally treasures from the Neolithic Age (5000–3000 BCE) and the artist has dunked them in common industrial paint.
Why did Ai Weiwei do it?
By doing this, he commented on the devastation caused by the Chinese Cultural Revolution2 and the disregard for centuries-old craftsmanship3. By covering the surfaces, the history of the vases is no longer visible but still there, beneath the dried layer of industrial color. Some viewers have felt provoked by this audacious act, in their eyes destroying something rare and precious instead of safeguarding and worshipping it.
Conclusion
Like many other works by Ai Weiwei, he uses irony to challenge viewers’ assumptions and perspectives. As China’s most notorious artist, he finds himself in constant confrontation with the Chinese authorities, and Colored Vases is an essential piece in his rebellious oeuvre.
Ai Weiwei, Study of Perspective
Study of Perspective is a photographic series produced by Ai Weiwei between 1995 and 2017. Throughout the series, viewers see Ai’s left arm extended forward with the middle finger raised to significant institutions, landmarks and monuments from around the world. These pictures mimic tourists’ photos and encourage people to question their adherence and acceptance towards governments, institutions and establishments. This series speaks out about Ai’s beliefs regarding freedom of speech, empowerment of the people, and democratic values and showcases his activist side in true colors.
Sunflower Seeds 2010 consists of millions of individually handcrafted porcelain sunflower seeds. The work has a volume of nearly ten cubic metres, weighing approximately ten tonnes. The artist has stipulated two different configurations for the work. In the first, the seeds are arranged in a continuous rectangular or square field to a depth of ten centimetres. This ‘bed’ of seeds conforms to the dimensions of the display space, with walls confining the work on three sides. Alternatively, the work is presented as a conical sculptural form, approximately five metres in diameter. In this second configuration, there is no containing structure or support for the conical form, which is installed by carefully pouring the seeds from above to form the shape. Any uneven edges can be adjusted by hand at the time of installation.
This work is derived from the Eleventh Unilever Series commission for Tate Modern’s Turbine Hall for which Ai created 1-125,000,000 2010, a bed of ceramic sunflower seeds installed across the floor of the space. The Unilever Series commission was the first time Ai Weiwei presented this multitude of sunflower seeds as a continuous rectangular field to create a ‘unique surface’, and the first time he proposed an interactive element, in which the public was invited to walk on the seeds. In the event, after the initial days of the exhibition, it was not possible for viewers to interact with the work by walking on it due to the health risks posed by the resulting dust.
The fabrication of the seeds was carried out in the city of Jingdezhen in northern Jiangxi, a region of China south of Beijing. Historically famous for its kilns and for the production of imperial porcelain, this region is still known for its high quality porcelain production. The sunflower seeds were made by individual craftspeople in a ‘cottage-industry’ setting, rather than in a large-scale factory, using a special kind of stone from a particular mountain in Jingdezhen.
The symbol of the sunflower was ubiquitous during the Cultural Revolution in China in the 1960s and 1970s, and was often used as a visual metaphor for the country’s Communist leader Chairman Mao (1893–1976) and, more importantly perhaps, the whole population. In Sunflower Seeds Ai examines the complex exchanges between the one and the many, the individual and the masses, self and society. Far from being industrially produced, the sunflower seeds are intricately and individually handcrafted, prompting a closer look at the ‘Made in China’ phenomenon commonly associated with cheap mass-produced goods. The myriad sunflower seeds – each unique yet apparently the same – can be seen toevoke the quest for individuality in a rapidly transforming society.
In his proposal for the Unilever Series Commission, Ai commented on the significance of the sunflower seeds:
[In] the times I grew up, it was a common place symbol for The People, the sunflower faces the trajectory of the red sun, so must the masses feel towards their leadership. Handfuls were carried in pockets, to be consumed on all occasions both casual and formal. So much more than a snack, it was the minimal ingredient that constituted the most essential needs and desires. Their empty shells were the ephemeral traces of social activity. The least common denominator for human satisfaction. I wonder what would have happened without them? (Ai Weiwei, unpublished proposal for Tate Modern Unilever Series, March 2010.)
Ai’s practice is increasingly driven by issues facing contemporary China, such as the exercise of autocratic power, the disappearance of Chinese cultural and material history, and concerns about human rights, hard labour and poverty. Sunflower Seeds explores the complexity of the Chinese individual’s relationship with society, the authorities and tradition.
MIND-MAP and MOODBOARD
RESEARCH > It it is paramount that you explore the themes of ‘OBSERVE, SEEK, CHALLENGE’ in a personal and unique manner. Having studied exam paper thoroughly, especially pages 4 & 5 and, produce a mind-map and mood-board of ideas/ interpretations/ starting points working in small groups of 2-3 students and feedback to the class.
Some of you may wish to continue to explore ‘stories’ within Jersey’s maritime heritage or your own connection with the sea. For example, Doug Ford mentioned several female historical figures, such as diver … whose story is not represented in the island maritime history. Or, those mothers, wives, sisters who stayed behind and looked after the family home, farm and businesses when men engaged in the cod-fisheries left for Newfoundland or Gaspe in the spring every year. Equally, some of you or members of your family or friendship groups may use the leisure or sport, such as surfing, swimming, sailing, or simply enjoying Jersey beaches and coastlines. Fortifications and German bunkers are scattered all around the island and as architectural features in they landscape they would make for a thorough photographic study. Individual bunkers and sites also has specific occupation stories that may be linked to grandparents or great grandparents who fought in WW II.
Week 10: 11 – 17 Nov INSPIRATIONS: Artists References complete the following blogposts
THEORY > ANALYSIS ARTISTS REFERENCES:
Objective:Criteria from the Syllabus
Select artists work, methods, theories and art movements appropriate to your previous coursework work as a suitable basis for your Personal Study.
Investigate a wide range of work and sources
ARTISTS REFERENCES: Read pages 25-28 in the Exam paper with specific starting points relating to photography. You can choose artists references listed here or select work from artists/ photographers, filmmakers that have inspired your work in the past, and that you would like to research in depth as a basis for your Personal Study. It’s essential that you choose 2-3 artists as a basis for case studies. Compare and contrast their practice and work following these steps:
Produce a mood board with a selection of images and write an overview of their work, including methods, style, approach and subject matter.
Select at least one image from each photographer and analyse in depth using methodology of TECHNICAL > VISUAL > CONTEXTUAL > CONCEPTUAL.
MEANING & METHODS: Identify meaning and methods behind selected artists/photographers work and research at least 3 different literary sources (online articles, books, YouTube clips) that will provide you with different critical perspective and views other than your own.
The literary sources will also provide you with something to read for further contextual understanding and critical thinking in preparation for writing your essay. Make sure you save hyperlinks photocopies etc in a new folder: Academic References.
Incorporate quotes and comments from artist themselves or others (art critics, art historians, curators, writers, journalists etc) using a variety of sources such as YouTube, online articles, reviews, books
Make sure you reference sources and embed links to the above sources in your blog post.
For more help and guidance see blog post here which suggest different artists in response to themes of ‘OBSERVE, SEEK, CHALLENGE.’
EXTENSION: CONTEXTUAL STUDIES1 Conversations on Photography: As a case study read one interview, identity 3 quotes and apply theory to a analysis of one image.
Week 11: 18 – 24 Nov > Statement of Intent complete the following blogposts
STATEMENT OF INTENT
Write a Statement of Intent of 250-500 words that clearly contextualise;
What you want to explore?
Why it matters to you?
How you wish to develop your project?
Which form you wish to present your study (photobook, film, prints etc)
When and where you intend to begin your study?
Make sure you describe how you interpret the themes of ‘OBSERVE, SEEK, CHALLENGE’ and any specific subject-matter, topic or issue that you wish to explore, including references to artists, art movement and any other inspiration. Revisit your mind-map and mood-board and hone in one or two ideas. For example, you may wish to consider:
How you wish to photograph places, people, objects – carefully selecting your point of view (framing), composition and lighting.
Will you be making images outside or inside, shooting on locations or use the studio.
Will your images be documentary (windows, observational), or tableaux (mirrors, staged) in your approach, style and aesthetic look?
What will you include?
What will you leave out?
How will you present these images to the viewer?
In a book, a film, or prints on the wall?
With or without accompanying text?
In a grid, typology study or a linear sequence?
Will you be manipulating images using montage/ collage techniques or apply AI technology?
Will you be using any specific photographic techniques, processes of software (Photoshop, Premiere, Audition, Blurb online book making)
What difference do these decisions make to the meaning of your project and the images you will be making?
Week 12: 25 – 30 Nov PHOTO-SHOOTS: Planning & Recording complete the following blogposts
PRACTICE > RESPONSES PHOTO-SHOOTS
PLANNING: Produce a blog post with a detailed plan of at least 3-4 photoshoots that you intend on doing in response to analysis and interpretation of your Artists References above. Make sure photo-shoots relates to the ideas on how you intend to develop your project as set out in your Statement of Intent. Follow these instructions: what, why, how, when, where?
There are three photographic genres that you could consider when developing ideas and planning photoshoots, they are:
LANDSCAPE > PLACE > GEOGRAPHY > ENVIRONMENT > GEOLOGY – familiar vs unfamiliar – ordinary vs extra-ordinary – vernacular vs spectacular PORTRAIT > PEOPLE > IDENTITY > CULTURE > COMMUNITY – individual vs collective – explore the photographic gaze STILL-LIFE > OBJECT > HISTORY > MEMORY > FAMILY – private vs public
RECORDING: Complete planned photo-shoot and bring images with you into class. Begin to edit and show experimentation with images using Lightroom / Photoshops/ Premiere as appropriate to your intentions. Make sure you annotate processes and techniques used.
Produce a blog post from each shoot with careful selection, adjustments and editing of images in Lightroom. Review and evaluate shoot for further development and experimentation. Your first photo-shoot MUST be published on the blog by Fri 13 Dec.
EVALUATION: Upon completion of photoshoot and experimentation, make sure you evaluate and reflect on your next step of development. Comment on the following:
How successful was your photoshoot and experimentation?
What references did you make to artists references? – comment on technical, visual, contextual, conceptual?
How are you going to develop your project from here? – comment on research, planning, recording, experimenting.
What are you going to do next? – what, why, how, when, where?
Week 13: 1 – 8 Dec ESSAY: Hypothesis, essay plan and introduction (draft) complete the following blogposts
MON: Academic Sources
Research and identify 3-5 literary sources from a variety of media such as books, journal/magazines, internet, Youtube/video that relates to your personal study and artists references .
Begin to read essay, texts and interviews with your chosen artists as well as commentary from critics, historians and others.
It’s important that you show evidence of reading and draw upon different pints of view – not only your own.
Take notes when you’re reading…key words, concepts, passages
Write down page number, author, year, title, publisher, place of publication so you can list source in a bibliography
Bibliography
List all the sources that you have identified above as literary sources. Where there are two or more works by one author in the same year distinguish them as 1988a, 1988b etc. Arrange literature in alphabetical order by author, or where no author is named, by the name of the museum or other organisation which produced the text. Apart from listing literature you must also list all other sources in alphabetical order e.g. websites/online sources, Youtube/ DVD/TV.
Quotation and Referencing:
Why should you reference?
To add academic support for your work
To support or disprove your argument
To show evidence of reading
To help readers locate your sources
To show respect for other people’s work
To avoid plagiarism
To achieve higher marks
What should you reference?
Anything that is based on a piece of information or idea that is not entirely your own.
That includes, direct quotes, paraphrasing or summarising of an idea, theory or concept, definitions, images, tables, graphs, maps or anything else obtained from a source
How should you reference?
Use Harvard System of Referencing…see Powerpoint: harvard system of referencing for further details on how to use it.
https://vimeo.com/223710862
Here is an full guide on how to use Harvard System of Referencing including online sources, such as websites etc.
TUE: Essay Question
Think of a hypothesis and list possible essay questions
Below is a list of possible essay questions that may help you to formulate your own.
Essay Plan Make a plan that lists what you are going to write about in each paragraph – essay structure
Essay question:
Opening quote
Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?
Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian.
Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
Bibliography: List all relevant sources used
Wed-Fri: Essayintroduction In this lesson you will write a 45 mins draft essay introduction following these steps:
Open a new Word document > SAVE AS: Essay draft
Copy essay question into Essay title: Hypothesis > if you don’t have one yet, make one!
Copy your Statement of Intent from previous blogpost.
Identify 2 quotes from your literary sources using Harvard System of Referencing.
Use one quote as an opening quote:Choose a quote from either one of your photographers or critics. It has to be something that relates to your investigation.
Begin to write a paragraph (250-500 words) answering the following questions below.
You got 45 mins to write and upload to the blog!
Think about an opening that will draw your reader in e.g. you can use an opening quote that sets the scene. Or think more philosophically about the nature of photography and its feeble relationship with reality.
You should include in your introduction an outline of your intention of your study, e.g.
What are you going to investigate?
How does this area/ work interest you?
What are you trying to prove/challenge, argument/ counter-argument?
Whose work (artists/photographers) are you analysing and why?
What historical or theoretical context is the work situated within?
What links are there with your previous studies?
What have you explored or experimented with so far in your photography project?
How will your work develop.
What camera skills, techniques or digital processes have you used, or going to experiment with?
Below is link to a blog post which will provide you with helpful guidelines if you are struggling to structure your essay or writing paragraphs.
Week 14: 9 – 15 Dec PHOTO-SHOOTS: Editing and Developing complete the following blogposts
EDITING:
Upload new images from camera card and save to folder on the M:drive
Import images from M:drive into Lightroom
Organisation: Create a new Collection from each new shoot inside Collection Set: PHOTOBOOK
Editing: select 8-12 images from each shoot.
Experimenting: Adjust images in Develop, both as Colour and B&W images appropriate to your intentions
Export images as JPGS (1000 pixels) and save in a folder: BLOG
Create a Blogpost with edited images and an evaluation; explaining what you focused on in each shoot and how you intend to develop your next photoshoot.
Make references to artists references, previous work, experiments, inspiration etc.
EXPERIMENTING:
Export same set of images from Lightroom as TIFF (4000 pixels)
Experimentation: demonstrate further creativity using Photoshop to make composite/ montage/ typology/ grids/ diptych/triptych, text/ typology etc appropriate to your intentions.
Make sure you annotate process and techniques used and evaluate each experiment
EXTENSION: Design a photo-zine. Set up new document as A5 page sizes. This is trying out ideas before you begin designing photobook.
EVALUATING: Upon completion of photoshoot and experimentation, make sure you evaluate and reflect on your next step of development. Comment on the following:
How successful was your photoshoot and experimentation?
What references did you make to artists references? – comment on technical, visual, contextual, conceptual?
How are you going to develop your project from here? – comment on research, planning, recording, experimenting.
What are you going to do next? – what, why, how, when, where?
Week 15: 16 – 18 Dec GROUP CRIT: Work in progress complete the following blogposts
Mon 16 & Tue 17 Dec > Work-in-Progress
Prepare a 2-3 mins presentation on something that you are working on right now in your project. For example:
An idea An image A photo-shoot An experiment An inspiration New research New development
Use blog posts to present in class or print images or any photographic experiments as visual reference material. As a class we will give constructive feedback on how each student can develop their work and project.
XMAS BREAK 19 Dec – 6 Jan PHOTO-SHOOTS: Produce at least 2/3 photo-shoots ESSAY: Read key texts for essay and begin to write an essay draft
PLAN > RECORD > As a creative response to initial ideas set out in your Statement of Intent plan a relevant photoshoot during the Christmas break that provides you with some visual material to develop your project further in the New Year. There are three photographic genres that you could consider when developing ideas and planning photoshoots, they are:
LANDSCAPE > PLACE > GEOGRAPHY > ENVIRONMENT > GEOLOGY – familiar vs unfamiliar – ordinary vs extra-ordinary – vernacular vs spectacular PORTRAIT > PEOPLE > IDENTITY > CULTURE > COMMUNITY – individual vs collective STILL-LIFE > OBJECT > HISTORY > MEMORY > FAMILY – private vs public
Produce a blog post from each shoot with careful selection, adjustments and editing of images in Lightroom. Review and evaluate shoot for further development and experimentation. Your photo-shoots MUST be published on the blog by Fri 10 JAN 2025.
USEFUL RESOURCES
DOCUMENTARY vs TABLEAUX PHOTOGRAPHY
CONTEXTUAL STUDIES > 1 blog post. Describe the genres of documentary photography and tableaux photography and highlight the differences and similarities in the style and approach of the image-making process. For example: What do we mean by a photograph that is ‘documentary’ in style. How does a staged tableaux image construct a narrative different from documentary photography? Which of the two genres are best at representing truth? Or, is photography now unreliable as ‘evidence’ or ‘bearing witness’ and be a ‘window’ onto the world due to new technology, such as AI and other digital image manipulation software. In order to answer these questions fully, you may want to refer to your earlier essay; Photography and Truth: Can a photograph lie? See more here:
Aim to write 500-1000 words and include images to illustrate both genres of photography and show evidence of reading by including direct quotes from sources and referencing using Harvard system.
RESOURCES > First, Look through both these PPTs to get a basic understanding documentary photography and tableaux photography.
Photographer Rob Hornstra on documentary, storytelling and slow journalism
Rob Hornstra and writer Arnold van Bruggen spend five years working in the Sochi Region where the 2014 Winter Olympics where held. Here is a link to The Sochi Project
British documentary photographer Chloe Dewe-Matthews
Jeff Wall, Insomnia, 1994, Transparency in lightbox, 172,2 x 213,5 cm
Stranger than Fiction: Should documentary photographers add fiction to reality? Documentary photography belongs to the realm of truth, yet some photographers are testing the boundaries between reality and fiction in a bid to reach a public that is accustomed to these narrative forms in the literary and cinematic worlds. In contemporary photography today your have what some people call Fictional Documentary (similar to TV genre such as doc-drama) where you interpret real or historical events through fiction. This is often expressed through a personal and artistic vision which are operating somewhere between fiction and fantasy with some elements of truth or historical data that has been re-imagined.
See the work of: Cristina de Middel (Afronauts, Sharkification, This is What Hatred Did), Max Pinckers (Will They Sing Like Raindrops or Leave Me Thirsty), Vasantha Yogananthan (A Myth of Two Souls), Ron Jude (Lick Creek Line), Eamonn Doyle ( i ) Paul Graham (Does Yellow Run Forever), Yury Toroptsov (Fairyland, House of Baba Yaga, Divine Retribution), Gareth McConnell (Close Your Eyes), Joan Fontcuberta
EXTRA READING: For a contemporary perspective on documentary practice read photographer, Max Pincher’s Interview: On Speculative Documentary To read this interview you must access it online from home as it is blocked from internet filter in school.
AO1 – Develop your ideas through sustained and focused investigations informed by contextual and other sources, demonstrating analytical and critical understanding.
To achieve an A or A*-grade you must demonstrate an Exceptional ability (Level 6) through sustained and focused investigations achieving 16-18 marks out of 18.
Get yourself familiar with the assessment grid here:
To develop your ideas further from initial research using mind-maps and mood-boards based on the themes, OBSERVE, SEEK, CHALLENGE you need to be looking at the work of others (artists, photographers, filmmakers, writers, theoreticians, historians etc) and write a Statement of Intent with 2-3 unique ideas that you want to explore further.
ARTISTS REFERENCES
Research and analyse the work of at least 2-3 (or more) photographers/ artists. Explore, discuss, describe and explain key examples of their work relevant to your project and intentions. Follow these steps:
Produce a mood board with a selection of images and write an overview of their work, including methods, style, approach and subject matter.
Select at least one image from each photographer and analyse in depth using methodology of TECHNICAL > VISUAL > CONTEXTUAL > CONCEPTUAL.
MEANING & METHODS: Identify meaning and methods behind selected artists/photographers work and research at least 3 different literary sources (online articles, books, YouTube clips) that will provide you with different critical perspective and views other than your own.
The literary sources will also provide you with something to read for further contextual understanding and critical thinking in preparation for writing your essay. Make sure you save hyperlinks photocopies etc in a new folder: Academic References.
Incorporate quotes and comments from artist themselves or others (art critics, art historians, curators, writers, journalists etc) using a variety of sources such as YouTube, online articles, reviews, books
Make sure you reference sources and embed links to the above sources in your blog post. Make a bibliography where sources are listed in alphatical order.
STATEMENT OF INTENT
Write a Statement of Intent that clearly contextualise;
What you want to explore?
Why it matters to you?
How you wish to develop your project?
When and where you intend to begin your study?
Make sure you describe how you interpret the exam themes; OBSERVE, SEEK, CHALLENGE, subject-matter, topic or issue you wish to explore, artists references/ inspirations and final outcome – zine, photobook, film, prints etc.
AO3 RECORD IDEAS, OBSERVATIONS AND INSIGHTS RELEVANT TO INTENTIONS, REFLECTING CRITICALLY ON WORK AND PROGRESS
PHOTO-SHOOTS
Each week you are required to make a photographic response (still-images and/or moving image) that relates to the research and work that you explored in that week. Sustained investigations means taking a lot of time and effort to produce the best you can possibly do – reviewing, modifying and refining your idea and taking more pictures to build up a strong body of work with a clear sense of purpose and direction
PLANNING & RECORDING: Produce a number of photographic responses to your exam theme and bring images from new photo-shoots to lessons:
Plan at least 3-5 shoots in response to your ideas and artists references. What, why, who, how, when, where?
Save shoots in folder on Media Drive: and import into Lightroom
Organisation: Create a new Collection from each new shoot inside Collection Set: PERSONAL STUDY
Editing: select 8-12 images from each shoot.
Experimenting: Adjust images in Develop, both as Colour and B&W images appropriate to your intentions
Export images as JPGS (1000 pixels) and save in a folder: BLOG
Create a Blogpost with edited images and an evaluation; explaining what you focused on in each shoot and how you intend to develop your next shoot.
Make references to artists references, previous shoots, experiments etc.
EXPERIMENTING:
Export same set of images from Lightroom as JPEG (4000 pixels)
Experimentation: demonstrate further creativity using Photoshop to make composite/ montage/ typology/ grids/ diptych/triptych, text/ typology etc appropriate to your intentions
Zine design: Begin to explore different layout options using InDesign and make a new zine/book. Set up new document as A5 page sizes.
Photobook design: Make a rough selection of your 40-50 best pictures from all shoots.
Make sure you annotate process and techniques used.
EVALUATION: Upon completion of photoshoot and experimentation, make sure you evaluate and reflect on your next step of development. Comment on the following:
How successful was your photoshoot and experimentation?
What references did you make to artists references? – comment on technical, visual, contextual, conceptual?
How are you going to develop your project from here? – comment on research, planning, recording, experimenting.
What are you going to do next? – what, why, who, how, when, where?
For more help and guidance on image analysis go to Photo Literacy
Photography Agencies and Collectives World Press Photo – the best news photography and photojournalism Magnum Photos – photo agency, picture stories from all over the world. Panos Picture – photo agency Agency VU – photo agency INSTITUTE – photo agency Sputnik Photos – photo collective made of Polish and East European photographers A Fine Beginning – photo collective in Wales Document Scotland – photo collective in Scotland NOOR – a collective uniting a select group of highly accomplished photojournalists and documentary storytellers focusing on contemporary global issues.
Below are inspirations and artists references exploring the exam themes of OBSERVE, SEEK, CHALLENGE.
See page 25-28 in exam booklet which provide creative starting points that may help you form ideas. Use them as a source information or produce your own individual response to the theme. Make sure you read the whole paper as any section, eg. Fine art or Textile design or Three-dimensional design may provide you with inspiration.
PEOPLE / PORTRAITS > OBSERVE, SEEK, CHALLENGE
The exam paper offers a number of creative starting points that may help you form and develop ideas. You can follow them closely, use them as a source of information or produce your own individual response to the theme. Please read the whole exam paper as there may be other sections apart from Photography, such as Fine Art, Graphic Design or Textile Design that may provide you with inspiration.
On page 25 in the exam paper specific starting points for Photography begins with a quote by writer, critic and artist, John Berger.
This quote by John Berger from his radical 1972 book and TV series ‘Ways of Seeing’ criticised the ‘male gaze’, arguing that it has an indirect influence, forcing women to unconsciously ‘self-police’ their own behaviour.
John Berger, Ways of Seeing, BBC episode 2, 1972
Berger asked some important questions related to art. For whom are paintings made? Who is supposed to look at them? Who is supposed to enjoy them? Where, when, and under which circumstances was an image looked at and how does that influence the way it’s perceived?
Read here an article on the influence of Berger’s work in its 50th anniversary year. The quote by John Berger is in chapter 3 of Ways of Seeing. Here is a pdf of his book. To learn more about the theory of the photographic gaze, click below.
Read also recent article She’d Got the Look in Aperture magazine 253 on the theme of DESIRE (winter 2023) that discusses how a generation of women photographers, drawing on feminist art of the past, reconsiders the dynamics of being seen. Artists mentioned includes, Sophie Thun, Tarrah Krajnak, Talia Chetrit, Tokyo Rumando, Nydia Blas, Karla Hiraldo Voleau, Whitney Hobbs and B. Ingrid Olson
Sophie Thun, Wild nights
In her early work Cindy Sherman explored the conventions and stereotypes of how women are portrayed in films and TV.
Film Stills (1977-1980)
Cindy Sherman works play with female stereotypes. Masquerading as a myriad of characters, Cindy Sherman (American, born 1954) invents personas and tableaus that examine the construction of identity, the nature of representation, and the artifice of photography. To create her images, she assumes the multiple roles of photographer, model, makeup artist, hairdresser, and stylist. Whether portraying a career girl, a blond bombshell, a fashion victim, a clown, or a society lady of a certain age, for over thirty-five years this relentlessly adventurous artist has created an eloquent and provocative body of work that resonates deeply in our visual culture.
Go this sites Art21 where you can view several interviews from their series Transformations where Cindy Sherman is discussing how she is creating her female characters and alter-egos using mannequins, props and fashion. Below is another short film about her work and its meaning with interview by Hal Foster, art historian and critic.
For an overview of Sherman’s incredible oeuvre see Museum Of Modern Art’s dedicated site made at a major survey exhibition of her work in 2012.
This exhibition surveys Sherman’s career, from her early experiments as a student in Buffalo in the mid-1970s to a recent large-scale photographic mural, presented here for the first time in the United States. Included are some of the artist’s groundbreaking works—the complete “Untitled Film Stills” (1977–80) and centerfolds (1981), plus the celebrated history portraits (1988–90)—and examples from her most important series, from her fashion work of the early 1980s to the break-through sex pictures of 1992 to her monumental 2008 society portraits.
Sherman works in series, and each of her bodies of work is self-contained and internally coherent; yet there are themes that have recurred throughout her career. The exhibition showcases the artist’s individual series and also presents works grouped thematically around such common threads as cinema and performance; horror and the grotesque; myth, carnival, and fairy tales; and gender and class identity.
Sherman’s ground-breaking photographs have interrogated themes around representation and identity in contemporary media for over four decades. Since the early 2000s, Sherman has constructed personae with digital manipulation, capturing the fractured sense of self in modern society—a concern the artist has uniquely encapsulated from the outset of her career. As critic and curator Gabriele Schor writes on her process, ‘Sherman’s complex analysis of her face and her subtle employment of expression indicates that the working method of making up and costuming the self enables two processes: an intuitive and fluid process motivated by curiosity, and an intended process whose stimulus is conceptual and which has a ‘subject matter’.’
See and read about Cindy Sherman’s latest work here
Nancy Honey used the format of groups of three photographs linked by colour in her book Woman to Woman. Explore her work here
In this body of work I set out to define and separate the various strands that make up my sense of my own femininity. How does sexuality manifest itself in me and what is the difference between what I feel and the ubiquitous stereotypical mass cultural images that surround me? How conditioned are my responses? Nancy Honey
As a challenge to stereotypes of male behaviour, Sam Taylor-Johnson created a photographic series called Crying Men, which showed male actors breaking down in tears.
Forest Whitaker Laurence FishburneJude Law
LOOKING AT LOOKING: THE PHOTOGRAPHIC GAZE
The act of photographing people involves a process of observation, scrutiny and looking. At times photographers remain detached and anonymous. Other times they are complicit, directing their subjects and encouraging specific actions and poses. Sometimes the gaze is returned, and sometimes it is denied. The power of the gaze can create complex relationships between the subject, the photographer and the audience.
From people observed in a crowd, to surveillance photographs from war zones, and images that ‘split’ our gaze, the exhibition will present the work of a range of photographers who have explored ideas of looking. It includes international and Australian photographs drawn from collections at the National Gallery of Victoria in Melbourne, Australia, and features works by Brook Andrew, Chi Peng, Anne Ferran, Ashley Gilbertson, Charles Green and Lyndell Brown, Bill Henson, John Immig, Thomas Struth, and David Thomas.
In the museum photographs Thomas Struth (website) elevates an apparently informal event to the scale of a religious painting. Arresting a fleeting moment, he evokes the passage of time and gives the scene an enduring presence. He asks those who look at his work to spend time with his images, just as the people in his photograph do with the paintings they are looking at. In exploring the activity of viewing, Struth invites us as spectators to become aware of our own role as viewers. Read more here
Brook Andrew: Gun Metal Grey
Australian artist, Brook Andrew’s interdisciplinary practice ranges across installation, performance and museum intervention, interweaving Wiradjuri language and actions of memory and history with the imagery and devices of museum practice. Unpacking racist stereotypes is an important aspect of Andrew’s practice. Andrew’s work has often featured shiny, sensuous materials: from the glistening night sky in Kalar Midday (2002–03), to the Swarovski crystals in Hope and Peace (2005), and the metallic leaf in Gun Metal Grey (2007),The Island (2008) and AUSTRALIA (2013). Here, as in many of his works that have followed, Andrew alerts the viewer to the power structures that shape society. Explore his work here
Anne Ferran, Longer than Life, Digital C-types and gelatin silver photograms, various dimensions, 1998. Explore her work here
Melbourne-born Ashley Gilbertson has crafted a career from his human, empathetic approach to photojournalism, most recently channelled through his images of New York City in 2020, when the metropolis was in the deepest throes of the COVID-19 pandemic. Gilbertson’s astute eye captured both sadness and moments of joy. Explore Ashey Gilbertson’s creative practice here
One of Australia’s landmark collaborative artistic duos, LYNDELL BROWN and CHARLES GREEN have worked together since 1989. A fundamental characteristic of Brown & Green’s work is their bravura compositions, painted with astonishing trompe l’oeil methods. Created through the layering, modifying and copying of found images, the artists select their source material specifically for its visual charge and historical context. Art, culture, and turmoil are three large, related themes that reoccur in their work. Brown and Green make art for our troubled world. Read more here
Bill Henson is one of Australia’s leading contemporary artists. His powerful and edgy photographs approach the painterly and the cinematic, bringing together the formal and classical with the gritty, casual dramas of the everyday. Henson defines and redefines his subjects with a rigour that is inseparable from his technical command. He is a master of the use of light and dark in the tradition of the great European masters. Beautiful, confronting, and unforgettable his images capture a universal essence and enliven our own sense of being.
John IMMIG, No title (T.V. images) from the Vietnam series 1975-76
I pull from archival images to see subjects from the past, then with new images change the viewers’s perception of what they knew. These complicated, complex and challenging histories need to be brought forward.’
Brooklyn artist Mickalene Thomas (website) is best known for her elaborate, collage-inspired paintings, embellished with rhinestones, enamel, and colorful acrylics. Her depictions of African American women explore a spectrum of black female beauty and sexual identity while constructing images of femininity and power. She also produces photographic collages, film and video. Here is a selection of her work.
Thomas’s production is informed by the classical genres of portraiture, landscape, still life, and the female nude. She combines careful borrowings from historical painting with contemporary popular culture, taking cues from such artists as Romare Bearden, Gustave Courbet, David Hockney, Édouard Manet, and Henri Matisse. In combining traditional genres with African American female subjects, Thomas makes a case for opening up the conventional parameters of art history and culture. Among the pieces on view are contemporary riffs on Courbet’s Origin of the World and Manet’s Le Dejeuner sur l’herbe.
STAGED PHOTOGRAPHY > PERFORMING IDENTITIES > ACTING OUT
Claude Cahunplay with gender identities. Born Lucy Schwob, Claude Cahun was a French photographer, sculptor, and writer. She is best known for her self-portraits in which she assumes a variety of personas, including dandy, weight lifter, aviator, and doll.
In this image, Cahun has shaved her head and is dressed in men’s clothing. She once explained: “Under this mask, another mask; I will never finish removing all these faces.”1 (Claude Cahun, Disavowals, London 2007, p.183)
Cahun was friends with many Surrealist artists and writers; André Breton once called her “one of the most curious spirits of our time.”2(See Guardian article below by Gavin James Bower, “Claude Cahun: Finding a Lost Great,)
While many male Surrealists depicted women as objects of male desire, Cahun staged images of herself that challenge the idea of the politics of gender. Cahun was championing the idea of gender fluidity way before the hashtags of today. She was exploring her identity, not defining it. Her self-portraits often interrogates space, such as domestic interiors and Jersey landscapes using rock crevasses and granite gate posts.
I Extend My Arms 1931 or 1932 Claude Cahun 1894-1954
The Jersey Heritage Trust collection represents the largest repository of the artistic work of Cahun who moved to the Jersey in 1937 with her stepsister and lover Marcel Moore. She was imprisoned and sentenced to death in 1944 for activities in the resistance during the Occupation. However, Cahun survived and she was almost forgotten until the late 1980s, and much of her and Moore’s work was destroyed by the Nazis, who requisitioned their home. CaHun died in 1954 of ill health (some contribute this to her time in German captivity) and Moore killed herself in 1972. They are both buried together in St Brelade’s churchyard.
For further feminist theory and context read the following essay: Amelia Jones: The “Eternal Return”: Self-Portrait Photography as Technology of Embodiment – pdf Jones_Eternal Return
In 2017 the National Portrait Gallery in London brough the work of Claude Cahun and Gillian Wearing together for the first time. Slipping between genders and personae in their photographic self-images, Wearing and Cahun become others while inventing themselves. “We were born in different times, we have different concerns, and we come from different backgrounds. She didn’t know me, yet I know her,” Wearing says, paying homage to Cahun and acknowledging her presence. The bigger question the exhibition might ask is less how we construct identities for ourselves than what is this thing called presence?
Behind a mask, Wearing is being Cahun. Previously she has re-enacted photographs of Andy Warhol in drag, the young Diane Arbus with a camera, Robert Mapplethorpe with a skull-topped cane, hard-bitten New York crime photographer Weegee wreathed in cigar-smoke. Among these doubles, you know Wearing is in the frame somewhere, under the silicon mask and the prosthetics, the wigs and makeup and the lighting. Going through her own family albums, she has become her own mother and her father. It is a surprise she has never got lost in this hall of time-slipping mirrors, among her own self-images and the faces she has adopted. Wearing has got others to play her game, too – substituting their own adult voices with those of a child, putting on disguises while confessing their secrets on video.
Cahun has been described as a Cindy Sherman before her time. Wearing’s art undoubtedly owes something to Sherman – just as Sherman herself is indebted to artist Suzy Lake. Looking back at Cahun, Wearing is both tracing artistic influence, and paying homage to it, teasing out threads in a web of relationships crossing generations.
Clare Rae came to Jersey in 2017 and made a series of work, Never Standing on two Feet in response to Claude Cahun
Find more images and information here on Clare Rae’s website.
Exhibited in Entre Nous: Claude Cahun and Clare Rae at the Centre for Contemporary Photography, Melbourne Australia 22 March – 6 May 2018, and subsequently at CCA Galleries in Jersey, UK, 7–28 September 2018.
Narrative photography, also referred to as Tableaux photography often have an element of performing for the camera. See artists such as, Duane Michaels, Tom Hunter, Anna Gaskell, Jeff Wall, Gregory Crewdson, Philip- Lorca diCorcia, Sam Taylor Johnson (former Sam Taylor-Wood), Hannah Starkey, Tracy Moffatt, Vibeke Tandberg. Read also page 26 in exam booklet that lists other artists, Sandy Skoglund, Carrie Mae Weems, Deana Lawson and Laurie Simmons who are using photography to create complex narratives using staged events and artificial set ups. The historical context of this type of photography is Pictorialism – make sure you reference this in your research and provide examples from this period of photographic history and experimentation.
Duane Michaels: photo-stories eg. The Bogeyman, The Spirit Leaves the Body. A self-taught photographer, Duane Michals broke away from established traditions of the medium during the 1960s. His messages and poems inscribed on the photographs, and his visual stories created through multiple images, defied the principles of the reigning practitioners of the form. Indeed, Michals considers himself as much a storyteller as a photographer.
Tom Hunter: Headlines, Life and Death in Hackney Since 1997, Tom Hunter has turned his camera on his surrounding neighbourhood of Hackney, showing empathy without being polemic. He is known for a remarkable blend of political commentary, history of art and the technicalities of photography. Working to create photographs that are the result of an exaggerated link between newspaper headlines, paintings from The National Gallery’s permanent collection and Hackney lifestyle, Hunter often seems to ask more questions than he can answer visually.
Read more here about Tom Hunter’s work in The Guardian
Anna Gaskell crafts foreboding photographic tableaux of preadolescent girls that reference children’s games, literature, and psychology. She is interested in isolating dramatic moments from larger plots such as Lewis Carroll’s Alice in Wonderland, visible in two series: Wonder (1996–97) and Override (1997). In Gaskell’s style of “narrative photography,” of which Cindy Sherman is a pioneer, the image is carefully planned and staged; the scene presented is “artificial” in that it exists only to be photographed. While this may be similar to the process of filmmaking, there is an important difference. Gaskell’s photographs are not tied together by a linear thread; it is as though their events all take place simultaneously, in an ever-present. Each image’s “before” and “after” are lost, allowing possible interpretations to multiply. In untitled #9of the wonder series, a wet bar of soap has been dragged along a wooden floor. In untitled #17 it appears again, forced into a girl’s mouth, with no explanation of how or why. This suspension of time and causality lends Gaskell’s images a remarkable ambiguity that she uses to evoke a vivid and dreamlike world.
Anna Gaskell
Jeff Wall
Gregory Crewdson
Philip-Lorca diCorcia
Sam Taylor-Johnson
Tracy Moffat
Untitled – May 1997 1997 Hannah Starkey born 1971
Vibeke Tandberg
MIRRORS and WINDOWS
The exhibitionMirrors and Windows, anexhibition of American photography since 1960, opened at The Museum of Modern Art, New York (MoMa) in July of 1978. The curator John Szarkowski’s attempted to categorise photographers whose work largely reflected the subjectivity of the artist in comparison with those whose work largely sought to see outside themselves. Szarkowski wrote in the catalogue essay that accompanied the exhibition:
“The two creative motives that have been contrasted here are not discrete. Ultimately each of the pictures in this book is part of a single, complex, plastic tradition. Since the early days of that tradition, an interior debate has contested issues parallel to those illustrated here. The prejudices and inclinations expressed by the pictures in this book suggest positions that are familiar from older disputes. In terms of the best photography of a half-century ago, one might say that Alfred Stieglitz is the patron of the first half of this book and Eugène Atget of the second. In either case, what artist could want a more distinguished sponsor? The distance between them is to be measured not in terms of the relative force or originality of their work, but in terms of their conceptions of what a photograph is: is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?” — John Szarkowski, 1978
MIRRORS AND WINDOWS has been organized around Szarkowski’s thesis that such personal visions take one of two forms. In metaphorical terms, the photograph is seen either as a mirror – a romantic expression of the photographer’s sensibility as it projects itself on the things and sights of this world; or as a window – through which the exterior world is explored in all its presence and reality. Go to blog post below for more information.
Photography is a way of seeking out what normally goes unnoticed. At first sight Rinko Kawauchi’s photographs of soap bubbles may seem ordinary. However, the combination of narrow depth of field, compositional rhythm, and the sense that there is a portal through the bubble to another place hints at spiritual possibilities, linking to her belief in Shinto philosophy.
In 2001, Rinko Kawauchi published three astonishing photobooks simultaneously—Utatane, Hanabi, andHanako—establishing herself as one of the most innovative newcomers to contemporary photography. Other notable monographs include Aila (2004), The Eyes, the Ear (2005), and Semear (2007). Now, ten years after her precipitous entry onto the international stage, Aperture has published Illuminance, the first volume of Kawauchi’s work to be published outside of Japan. Kawauchi’s work has frequently been lauded for its nuanced palette and offhand compositional mastery, as well as its ability to incite wonder via careful attention to tiny gestures and the incidental details of her everyday environment. In Illuminance, Kawauchi continues her exploration of the extraordinary in the mundane, drawn to the fundamental cycles of life and the seemingly inadvertent, fractal-like organization of the natural world into formal patterns.
Clare Gallagher, William Eggleston and Josef Sudek also seek out beauty and truth in the quiet, the mundane and the overlooked.
William Eggleston: Photographing the Mundane
Hot Sauce
Artists see the world through different eyes to most people; they see the beauty in things that may be considered boring or mundane, and there are no photographers who capture this beauty as well as William Eggleston. Eggleston is a pioneering photographer and is credited with introducing colour to art photography in the late 1960s. To understand how avant-garde this was, it must be acknowledged that most art photography at the time was shot in black and white, and colour was considered to be ugly; no serious photographer would photograph in colour.
The reason behind art photographers shooting in black and white is summed up best by John Szarkowski, writing in the introduction to the book “William Eggleston’s Guide.” He stated”
“For the photographer who demanded formal rigor from his pictures, color was an enormous complication of a problem already cruelly difficult. And not merely a complication, for the new medium meant that the syntax the photographer had learned – the pattern of his educated intuitions – was perhaps worse than useless, for it led him toward the discovery of black-and-white photographs. Most serious photographers, after a period of frustrating experimentation, decided that since black and white had been good enough for David Octavius Hill, Brady, and Stieglitz, it was good enough for them. Professionals used color when they were paid to, doing their very best, without quite knowing what they meant by that.”
Below is a photograph by Eggleston, taken before he started shooting in colour.
Eggleston before colour
Eggleston was born in Memphis, Tennessee, and it is here that he has done the majority of his work. According to his wife Rosa, when he was first getting started in photography he told his friend that in Memphis everything was ugly and he didn’t know what to photograph; his friend responded “well, photograph the ugly stuff.” So this is exactly what he did. He began photographing otherwise unremarkable subjects yet achieving remarkable results.
Troubled Waters
He has been said to photograph democratically, where he treats everything he sees equally and produces pictures out of nothing.
His subject matter could be described as banal, boring, mundane and everyday, however he shoots it with such beauty, and what at first seems simple turns out to show quite a complex message where nothing in the frame can be taken for granted. His wife has said, “One thing that I will never forget in my mind what Bill did say to me earlier on when he was talking to me, ‘Now you must not take anything for granted when you are looking at a picture. Never do that. Every single little tiny space on that page works and counts.”
Southern Suite
Eggleston has gone on to achieve great recognition, however, in the beginning of his career he had a show at the Museum of Modern Art (MoMA) in New York City and one art critic deemed it “the most hated exhibition of the year.” There were a lot of negative reviews by critics who simply did not get what it was he was doing. Another critic stated that it was “totally boring and perfectly banal” which is ironically the intention of the exhibition, and something that he went on to become recognised for.
Dust Bells
In the documentary “William Eggleston-Imagine,” he said in response to his critics at his MoMA show, ““I think it was wonderful having a first major show at MOMA, of all places. It got tremendous recognition, great amount of it—-negative. I really felt sorry for them, because it was so obvious –-it was like they had the wrong time. They didn’t understand what they were looking at. And their job was to understand it. Modern art, it is the museum of modern art. And, they wrote pretty stupid things. Then it became known all over the world, so, the critics who wrote all that stuff later apologized [laughed] that they were wrong.”
Eggleston is truly great at what he does and his photographs are a joy to look at. What might be considered as mundane by some, his images transport us to a time where we are stuck in the moment that each photograph was taken. Despite living in an “ugly & boring” place, he has transformed it through his photography, and he is truly a master of his art.
Los Alamos
To conclude, here is a great quote by Eudora Wetley that perfectly sums up the work of Eggleston, “The extraordinary, compelling, honest, beautiful and unsparing photographs all have to do with the quality of our lives in the ongoing world: they succeed in showing us the grain of the present, like the cross-section of a tree. The photographs have cut it straight through the center. They focus on the mundane world. But no subject is fuller of implications than the mundane world!”
Los Alamos
More recently, Anastasia Samoylova constructs intricate installations from images of nature. Have a look at her Landscape Sublime and read an interview here where she talks about her new work. Check out some of her other work on her website too.
10 questions with Anastasia Samoylova Anastasia answers questions and discusses her project, Floodzone.
Anastasia Samoylova moves between studio practice, observational photography, installation and public art projects. Although her work takes many forms, a central concern is the place images occupy in our understanding and misunderstanding of the world. The epic project FloodZone, photographed in the Southern United States, reworks our expectations of coastal paradise into a psychological portrait of communities faced with rising sea levels.
Photography’s rich and experimental history paves the way for many to think about objects – both as subject matter ad as finished products – in provocative ways. For example as a simple idea you can explore objects in your home environment where you live; kitchen utensils, food (fruit/ vegetables), tools etc exploring shapes, colours, textures in your home. Another idea is to empty your cupboards and a make still-life arrangement of its content – recording details, up close, shadow / light, reflections etc.
On page 27 of the exam paper it provides creative starting points for those of you who wishes to make a film or work with moving images. It says that movies do not always needs words or a traditional story.
The 1982 film Koyaanisqatsi by Godfrey Reggio is an hour long observation of the natural and man-made world. Without dialogue it uses time-lapse and slow-motinon shots of America with minimalist music by Philip Glass
It is influenced by earlier films, such as the inventive Man with a Movie Camera, made by Soviet-Russian director Dziga Vertov, edited by his wife Elizaveta Svilova. It cover a day in the life of a Russian city from sunrise until sun set, but it is much more than that. This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, stop motion animations and self-reflexive visuals (at one point it features a split-screen tracking shot; the sides have opposite Dutch angles)
A major work by New York–based artist Christian Marclay, The Clock mines the history of film for moments from everyday life and thrilling only-in-the-movies events that indicate the passage of time. Synchronized with local time, cinematic and actual time run parallel in a 24-hour montage.
DOCUMENTARY APPROACH TO: OBSERVE, SEEK, CHALLENGE
On page 28 of the exam paper the starting point is about photographers who show a lengthy commitment to a particular idea, whether recording a place, a group of people, or a story. This approach is often adopted by photographers who work within a documentary practice where a story is developed over time.
Beans and Chips 2, Tower Promenade, 1990
Tom Wood (website) has spent decades photographing the community where he lives in Liverpool. He observes life on the streets, at work, in clubs and at home, always showing respect, compassion and wit. In Beans and Chips, the humour of the photograph is complemented by skilful use of scale, light, shadow and colour.
Explore some of his other photo series, such as Looking for Love and Bus Journeys photographed over several decades.
A contemporary of Tom Wood is Martin Parr who also uses humour to challenge what Britishness in his series The Last Resort: Photographs of New Brighton on the Merseyside near Liverpool.
GB. England. New Brighton. From ‘The Last Resort’. 1983-85...GB. England. New Brighton. From ‘The Last Resort’. 1983-85.
Leisure, in all its manifest forms, has occupied Martin Parr for his entire career. But from funfairs to food to flower shows, nowhere is the pursuit of pleasure more nakedly apparent than on the beach. “The beach is always going to be an integral part of what I do – it just goes on and on,” says Parr. “I’m off to the beach tomorrow.”
Parr’s most enduring photographs of the British coast were taken between 1983 and 1985, when he visited the Liverpool beach resort of New Brighton. His now characteristic use of saturated color and on-board flash illuminated a country in a state of decay, but still finding pleasure where it could. The deterioration of the British economy—and society as a whole— seemed to be writ large in the litter-strewn, concrete promenade of New Brighton.
Contemporary photographers with a similar commitment to observing peopleinclude Vanley Burke, Sunil Gupta, Rhiannon Adam, Nan Goldin, Ryan McGinley, Soumya Shankar Ghosal and Alec Soth.
Vanley BurkeRyan McGinleyRyan McGinleyNan GoldinRhiannon AdamSunil GupRyan McGinleyNan Goldin and to the right Diane Arbus
Alec Soth: For over two decades, Alec Soth’s images – of disenchanted youth, religious fervour and rural poverty – have come to define our image of contemporary America. In a recent book, I Know How Furiously Your Heart Is Beating, sees him bring his distinctive eye away from the great outdoors and into the privacy of the bedroom, photographing friends and acquaintances in a project that explores how we as humans connect with one another.
“When I started again I didn’t want to do a big American project, a complicated narrative and all this stuff coming together,” he explains. “I just wanted to be a photographer. I really wanted to strip everything down to just being in a room with another person. I wanted to get away from this feeling of exploitation and all those ethical quandaries you have to work out on the fly.”
See also his other long-term projects, Sleeping By the Mississippi, Niagara, Broken Manual, Songbook – all conceived and published as photobooks. On his website you can read and study his work more in detail, including several video podcasts, such as Pictures & Words, Real Time vs Storytime where Soth talks about the art of photography, storytelling and photobook making.
On portraiture and photographic storytelling
Alec Soth tells the story of Charles — a subject he encountered during the making of his celebrated body of work “Sleeping by the Mississippi.”
A simple and direct approach to portrait photography can be very powerful. August Sander was a very influential photographer who made hundred of portraits of citizens in Cologne (Germany) where he lived and worked all his life. People of the 20th Century presents the fullest expression of Sander’s lifelong work: an endeavor to amass an archive of twentieth-century humanity through a cross-section of German culture. Here is a link to the entire set of images (619 in total) that he classified into 7 groups, The Farmer, The Skilled Tradesman, The Woman, Classes and Professions, The Artists, The City and The Last People.
The FarmerThe Painter’s WifeThe PastrycookThe Young FarmersThe BricklayerMother & Daughter
The Married Couple
The Catholic PriestThe IndustrialistThe PainterThe Girl in FairgroundThe Student
Sander photographed subjects from all walks of life, capturing bankers and boxers, soldiers and circus performers, farmers and families, to create a catalog of the German people, arranged by their profession, gender, and social status. First imagined in the 1920s, he pursued the project for more than fifty years during a politically charged and rapidly changing time, fraught by two world wars and the devastating repercussions of Nazism. Sander never finished the seven-volume, forty-nine portfolio magnum opus, continually refining and shaping it to convey an understanding of the world in which he lived. The photographs, remarkable for their unflinching realism and deft analysis of character, provide a powerful social mirror of Germany between the wars and form one of the most influential achievements of the twentieth century.
The influence of August Sander’s series of portraits was a major influence (incl. Karl Blossfeldt’s studeis of plants and Albert Renger-Patszh images of German industry) on Bernd and Hilla Becher developing the concept of Typology – see more examples of this under ideas for Place / Landscape. Watch shirt film here where renowned German fashion and portrait photographer Jürgen Teller discusses Sander’s work
Environmental portraits: Sander mainly made formal and environmental portraits, often photographing his subject frontally using a deadpan approach meeting the gaze of the camera in a direct and straight forward manner. For more ideas and suggestions of activities around environmental portraits – see link here to Yr 12 task that you explored last year.
Key features to consider with formal/ environmental portraiture:
Locations: inside and outside
Environment: choose a location or setting that can add context to your portrait > tell a story about the sitter, eg. lifestyle, social class, gender etc.
Framing: full length body / three quarter length / half body < angle > low angle / deadpan / canted angle
Lens: standard lens (50mm) / wide-angle lens (35mm)
Camera setting: Aperture priority f/5.6 – f/8 – camera will adjust shutter speed automatically. < camera shake > minimum 1/60 sec, otherwise increase ISO to allow for faster shutter speeds. < ISO > outside 100-400 ISO / inside 400-1600 ISO < White balance > outside daylight / inside either daylight or tungsten/ tube light – depending on light conditions. If in doubt, choose AUTO.
Lighting: Use natural light where possible and direction of light from the side/ 45 degree angle. < Inside > use window light where possible < Outside > be aware of the position of the sun and harsh shadows, better to shoot in overcast weather as clouds acts as soft box and diffuses the light. < Avoid frontal and back light.>
Pose: formal (posed) / informal (natural, un-posed) /neutral pose and facial expression / no smiles
Gaze: eye contact / engagement with the camera
Props: Consider using objects, such as personal items, tools of the trade etc. that can add further context to the portrait and ‘story’ about the subject. Hands can act as props and add real value to a portrait – be creative!
Here are others suggestions of photographers influenced by August Sander and the deadpan approach to portraiture where the sitter is presented in a simple manner often using minimal gestures, pose, expression, props, location and lighting.
Richard Avedon: When renowned New York City fashion and portrait photographer Richard Avedon agreed in late 1978 to take on a commission from the Carter to create a portrait of the American West through its people, he was filled with uncertainty about whether the project would succeed. The following spring he went to the Rattlesnake Round-Up in Sweetwater, Texas. That weekend he created six evocative portraits that would set the tone and bar for five more years of photographing. In these sittings, he discovered people who conveyed through their faces, clothes, and postures not merely hard living but the full embrace of existence. Read article here
Director Helen Whitney and photographer Richard Avedon share their experiences collaborating on a documentary, “Richard Avedon: Darkness & Light,” about Avedon’s life and career.
Matthew Finn: When artists find inspiration in a muse, it’s usually a wife or a lover – but for photographer Matthew Finn it has always been his mother. Read article here in The Guardian where Finn talks about photographing his mother over a 30 year period.
Over a thirty year period, from 1987 onwards, Matthew Finn collaborated with his mother, Jean, to document her everyday life through a series of portraits taken in her home in Leeds. This is a record of the ordinary, of a daily routine with which we are all familiar. It is also a record of the gradual shift from middle age to old age, and, in Jean’s case, to the onset of mixed dementia and a move from the family home into residential care. It is a poignant body of work, filled with warmth yet conscious of the fragility of life. Quiet domestic interiors act as a stage for life’s everyday details, and though the focus is on the individual the bond between mother and son is a powerful constant, even as the balance of that relationship begins to change.
Jitka Hanzlová: is a Czech artist who lives and works in Essen, Germany produced a series of photographs, entitled ‘Female’, showing a compilation of approximately 50 portraits of women of various ages. The series was created between 1997 and 2000 and shows a multifaceted portrait of contemporary female identity.
In her photographs Jitka Hanzlová percieves everyday and incidental events. For this series she photographed women she met on her various travels to European and American cities. The images often arose spontaneously at the place of the meeting, or by appointment the next day. The women are portrayed as individuals with specific irregularities and facial features, which do not allow for stereotypical classification. The people we meet in these portraits are anonymous. In most cases the title only mentions their first name, in some instances even this has been left out. The identity, the profession and the living conditions of these models remain unknown to us. Even when Hanzlová seemingly reveals some biographical details about the subjects she observes, her images never become voyeuristic. On the contrary, as an artist she has the utmost respect for the women she portrays and cautiously tries to capture their self-assertion on film. Though the emphasis is on the women, they are always related to mostly urban surroundings, its colours and atmospheres. Subject and background interact directly. This synthesis gives each of Hanzlová’s photographs a unique expression.
Roni Horn: A girl’s luminous face rises again and again from the hot springs of Iceland. Watch the slight changes of her expression. Observe closely the face’s opaque surface that will not yield the soul. An enigma without solution. You know nothing about her. All you can see are her ever shifting moods and the water. It’s always the same face and yet never alike. Like the weather. Always changing and beyond meaning. A surface that invites you to project your own desires, thoughts, and dreams; and yet it will always resist the power of your gaze. Like the sky, the clouds, the rain.
‘These photographs were taken in July and August of 1994. For a six-week period I traveled with Margrét throughout Iceland. Using the naturally heated waters that are commonplace there, we went from pool to pool.’
Horn’s first photographic installation, You Are The Weather (1994-1996), a photographic cycle featuring 100 close-up shots of the same woman, Margret,[17] in a variety of Icelandic geothermal pools, deals with the enigma of identity captured through a series of facial expressions dictated by imperceptible weather changes.
Photo-shoot > Suggested activities Produce a series of portraits (full-body/ half-body) of your family members/ or friendship group using deadpan approach (straight-on) meeting the gaze of the camera in a direct manner. Make a variation and produce a second series of headshots/ profile shots from the side and a third set where you get up-close and frame only parts or areas of a face. You can follow instructions and guidelines here from previous headshot task from Yr 12.
Photobooks to study where a theme or narrative is explored in subtle vairiations
Sophie Calle: The Address Book In the early nineteen-eighties, the French artist Sophie Calle, who is known for projects that involve immersing herself in the lives of strangers or allowing strangers a view of her own life, found an address book on the street in Paris. Before mailing it back to its owner—a filmmaker called Pierre D.—she photocopied the contents and then proceeded to call each person listed in it to ask questions about him. “I will try to discover who he is without ever meeting him, and I will try to produce a portrait of him over an undetermined length of time that will depend on the willingness of his friends to talk about him—and on the turns taken by the events,” she wrote. She turned her encounters into short pieces, which were published almost daily over the course of a month in the newspaper Libération. When Pierre D. discovered what Calle was doing, he threatened to sue her for invasion of privacy, and she agreed not to re-publish the work until after his death. Siglio Press has just brought out the project—consisting of Calle’s writings and accompanying photographs—as a book, giving readers the chance to peer, along with Calle, into the touchingly elusive figure at the center of her investigations.
W. Eugene Smith: photoessay – classical storytelling Although he was only a member of Magnum for four years between 1955 and 58, acclaimed photographer W. Eugene Smith had a lasting impact on both the agency and photojournalism in general. Smith compared his mode of working to that of a playwright; the powerful narrative structures of his photo essays set a new benchmark for the genre. His series, The Country Doctor, shot on assignment for Life Magazine in 1948, documents the everyday life of Dr Ernest Guy Ceriani, a GP tasked with providing 24-hour medical care to over 2,000 people in the small town of Kremmling, in the Rocky Mountains. The story was important at the time for drawing attention to the national shortage of country doctors and the impact of this on remote communities. Today the photoessay is widely regarded as representing a definitive moment in the history of photojournalism.
Anders Petersen: Café Lehmitz, a beer joint at the Reeperbahn, was a meeting point for many who worked in Hamburg’s red-light district: prostitutes, pimps, transvestites, workers, and petty criminals. Anders Petersen was 18 years old when he first visited Hamburg in 1962, chanced upon Café Lehmitz, and established friends that made an impact on his life. In 1968 he returned to Lehmitz, found new regulars , renewed contact and began to take pictures. His photographs, which we first published in book form in 1978, have become classics of their genre. Their candidness and authenticity continue to move the viewer. The solidarity evident in them prevents voyeurism or false pity arising vis-á-vis a milieu generally referred to as asocial. The other world of Café Lehmitz, which no longer exists in this form, becomes visible as a lively community with its own self-image and dignity.
Read article here in The Guardian where Anders Petersen talks bout his famous photobook
Raymond Meeks: Halfstory Halflife Every summer, since as long as anyone in the area can remember, groups of teenage boys and girls have been congregating by a single-lane bridge that spans the tributaries of Bowery and Catskill Creeks in the Catskill Mountain region of New York. Just below it, in the wilderness, a waterfall drops sixty feet above a pond. Those daring enough to take the leap usually take a small run-up before flinging themselves off the precipice. Within the act of the jump and its timeless ritual lingers the last fleeting moments of youth, of endless summer days and reckless abandon. Beyond that, the unknown.
Known for his slow-burning chronicles of rural America, Raymond Meeks turns his attention to Furlong and its intrepid summer dwellers in his most recent book Halfstory Halflife. Sketching out his local area with a sensitive lyricism, Meeks observed its energy and atmosphere over the course of three years; the spectacle of the wait, the anticipation of the climb and the final leap into darkness, where time comes to a standstill as bodies are frozen in motion. These everyday experiences and rituals, simple and carefree in their nature, gain a weight and significance through the lens, as the bodies fall somewhere beyond the threshold of youth and into adulthood.
Read interview here on Lensculture with Raymond Meeks
Theo Gosselin: Sans Limites Deliberately cinematic, Gosselin’s photography reveals friends in the act of escaping from their regular lives into newly enticing and perilous modes of existence, ever in search of the persistent though elusive idea of freedom. The result of the photographer´s most recent road trips across the US, Spain, Scotland and native France, Sans Limites presents a significant evolution of Gosselin´s long term project; photography sur le motif (“of the object(s) or what the eye actually sees”) and his attempt to communicate the actual visual conditions seen at the time of the photographing.
At times, Gosselin´s work approaches something akin to poésie bucolique; his photographs representing modern day pastoral landscapes that resemble 21st century equivalents of Poussin’s Et in Arcadia ego, Manet’s Déjeuner sur L’herbe or Cézanne’s Les Grandes Baigneuses. At other times, his images capture moments more resonant of Bacchanalian scenes painted by Titian, Rubens or Levêque.
EXPERIMENTAL FILM > VIDEO ART > PLAY > CHANCE . REPETITION
Andy Warhol: The films Andy Warhol made in the 1960s are among the most significant works in the career of this prolific and mercurial American artist. In the short span of five years, from 1963 through 1968, Warhol produced nearly 650 films, including hundreds of silent Screen Tests, or portrait films, and dozens of full-length movies, in styles ranging from minimalist avant-garde to commercial “sexploitation.” Warhol’s films have been highly regarded for their radical explorations beyond the frontiers of conventional cinema. With works such as Empire (1964), his notorious eight-hour film of the Empire State Building, My Hustler (1965), a social comedy about gay life on Fire Island, and the double-screen The Chelsea Girls (1966), the first avant-garde film to achieve extensive commercial exhibition, Warhol redefined the film-going experience for a wide range of audiences and attracted serious critical attention as well as much publicity. In 1970, the artist withdrew his films from distribution; for the next twenty years, most critics and scholars could only reconstruct these works from reviews and other verbal accounts.
Yoko Ono, Fly (1971)
Marina Abramovich: Art Must be Beautiful
Since the beginning of her career in Belgrade during the early 1970s, Marina Abramović has pioneered performance as a visual art form. She created some of the most important early works in this practice, including Rhythm 0 (1974), in which she offered herself as an object of experimentation for the audience, as well as Rhythm 5 (1974), where she lay in the centre of a burning five-point star to the point of losing consciousness. These performances married concept with physicality, endurance with empathy, complicity with loss of control, passivity with danger. They pushed the boundaries of self-discovery, both of herself and her audience. They also marked her first engagements with time, stillness, energy, pain, and the resulting heightened consciousness generated by long durational performance.
Martha Rosler: Kitchen Semiotics, 1975
In this performance Rosler takes on the role of an apron-clad housewife and parodies the television cooking demonstrations popularized by Julia Child in the 1960s. Standing in a kitchen, surrounded by refrigerator, table, and stove, she moves through the alphabet from A to Z, assigning a letter to the various tools found in this domestic space. Wielding knives, a nutcracker, and a rolling pin, she warms to her task, her gestures sharply punctuating the rage and frustration of oppressive women’s roles. Rosler has said of this work, “I was concerned with something like the notion of ‘language speaking the subject,’ and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity.”
Bruce Naumann: early video works For more than 50 years Naumann has worked in every conceivable artistic medium, dissolving established genres and inventing new ones in the process. His expanded notion of sculpture admits wax casts and neon signs, bodily contortions and immersive video environments. Coming of age amid the political and social upheavals of the 1960s, Nauman never adhered to rigid distinctions between the arts, but rather has staked his career on “investigating the possibilities of what art may be.
Anthro/Socio (Rinde Facing Camera), 1991
Nauman’s 1991 Anthro/Socio (Rinde Facing Camera) is one of his most powerful works. Rinde is seen in closeup, repeating three phrases: “Feed me/Eat Me/Anthropology”, “Help me/Hurt me/Sociology” and lastly “Feed me/Help me/Eat me/Hurt me”. In a surprising essay in 1999, British painter Bridget Riley talks of the intelligence and humour in Rinde’s face, and that it “ensures that the work is not experienced as either menacing or threatening”, and she describes the polyphony created by Rinde’s classically trained voice, overlayed and competing with itself as it chants the one-man roundelays: “rather like a madrigal resounding in the space of a cathedral.”
Bruce Nauman: “Poke in the Eye/Nose/Ear”
Bruce Nauman discusses his video work “Poke in the Eye/Nose/Ear” (1994). The artist filmed himself poking his face and then slowed the footage down, forcing viewers to pay attention to the formal qualities of each frame. Nauman reflects on how fellow artists such as John Cage, Merce Cunningham, and Andy Warhol also reconsidered time and duration. Bruce Nauman finds inspiration in the activities, speech, and materials of everyday life. Working in the diverse mediums of sculpture, video, film, printmaking, performance, and installation, Nauman concentrates less on the development of a characteristic style and more on the way in which a process or activity can transform or become a work of art.
John Baldessari: Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts)
Andy Warhol was a leading figure in the Pop Art movement. Like his contemporaries Roy Lichtenstein and Robert Rauschenberg, Warhol responded to mass-media culture of the 1960s. His silkscreens of cultural and consumer icons—including Marilyn Monroe, Elizabeth Taylor, Campbell’s Soup Cans, and Brillo Boxes—would make him one of the most famous artists of his generation. “The best thing about a picture is that it never changes, even when the people in it do,” he once explained. Born Andrew Warhola on August 6, 1928 in Pittsburgh, PA, he graduated from the Carnegie Institute of Technology in 1949. Moving to New York to pursue a career in commercial illustration, the young artist worked for magazine such as Vogue and Glamour. Though Warhol was a gay man, he kept much of his private life a secret, occasionally referencing his sexuality through art. This is perhaps most evident in his drawings of male nudes from the 1950s, and later in his film Sleep (1963), which portrays the poet John Giorno nude. In 1964, Warhol rented a studio loft on East 47th street in Midtown Manhattan which was later known as The Factory. The artist used The Factory as a hub for movie stars, models, and artists, who became fodder for his prints and films. The space also functioned as a performance venue for The Velvet Underground. During the 1980s, Warhol collaborated with several younger artists, including Jean-Michel Basquiat, Francesco Clemente, and Keith Haring. The artist died tragically following complications from routine gall bladder surgery at the age of 58, on February 22, 1987 in New York, NY. After his death, the artist’s estate became The Andy Warhol Foundation and in 1994, a museum dedicated to the artist and his oeuvre opened in his native Pittsburgh. Today, his works are held in the collections of the Art Institute of Chicago, the Whitney Museum of American Art in New York, and the Tate Gallery in London, among others.
Andy WarholRobert Rauschenberg
William Klein is an American artist known for his unconventional style of abstract photography depicting city scenes. Although similar in subject matter to other street photographers such as Diane Arbus and Saul Leiter, as well as fashion photographers Irving Penn and Richard Avedon, Klein’s images break from established modes. “I came from the outside, the rules of photography didn’t interest me. There were things you could do with a camera that you couldn’t do with any other medium—grain, contrast, blur, cock-eyed framing, eliminating or exaggerating grey tones and so on,” he reflected. “I thought it would be good to show what’s possible, to say that this is as valid of a way of using the camera as conventional approaches.” Born on April 19, 1928 in New York, NY, Klein studied painting and worked briefly as Fernand Léger’s assistant in Paris, but never received formal training in photography. His fashion work has been featured prominently in Vogue magazine, and has also been the subject of several iconic photo books, including Life is Good and Good for You In New York (1957) and Tokyo (1964). In the 1980s, he turned to film projects and has produced many memorable documentary and feature films, such as Muhammed Ali, The Greatest (1969). Klein currently lives and works in Paris, France. His works are held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Art Institute of Chicago, among others.
“No image-maker has fed on the energy and chance of the urban scene with quite the same appetite as William Klein,” David Campany in his recent book On Photographs.
In Painted Contacts (published by Delpire Éditeur on October 15), Klein upends the notion of archives as fixed and inviolable. He playfully defiles them with bright colors and graphic reframing that refocuses the viewer’s gaze, making the reupholstered contact sheet a new art form in and of itself.
During the late 1980s, Klein was commissioned to do a series of short films on photography. In a post-script to Painted Contacts, he explained his idea was to “have a camera track along a strip of contacts, stopping at the chosen image with the commentary of the photographer explaining why for him that frame was ‘successful’… As the camera moved you’d see the misses, the nothing photos and then the hit.” This approach—no… no… no… not yet… YES!—created a remarkable feeling of anticipation, in the viewer and even in Klein himself. “As the frames rolled by, a certain excitement would develop and if you knew my work you could guess what was coming and a suspense would build up,” he noted. “The red grease pencil marks started to appear and the camera would slow down and stop.”
Niall McDiarmid: Crossing Paths, Town to Town, Via Vauxhall
PLACE / LANDSCAPE: OBSERVE, SEEK, CHALLENGE
PHOTOGRAPHY AND COLOUR > SHAPES > GEOMETRY
Following on from William Kleins’s Painted Contacts and Niall McDiarmid’s street portraits colour as a focus could be explored further in the urban environment.
Sigfried Hansen: Hold the Line Street photography exists as a genre in incredibly many facets and manifestations. It is always about the right time to release the shutter, at a moment that captures and accurately reflects what is fleeting and coincidental. For Siegfried Hansen, street photography is not so much in the nature of reportage and documentation. What he is interested in is graphic elements, shapes, interwoven lines and structures that, when harmoniously related to oneanother, yield an abstract image. Whereas in the photographs of such prominent role models as Henri Cartier-Bresson and André Kertész people play a major role, in the works of this Hamburg photographer faces and people are only suggested and are at best only dimly visible. No more is shown than is needed to create an interesting and balanced combination of people and objects.
Ricardo Cases:el porque de las naranjas At first sight, reality appears chaotic and anarchic. If events have any kind of logic to them, it lies well hidden behind an overlay of banality so thick as to make it invisible. And yet, at certain exceptional moments, life slackens and reveals itself. The automaton allows its innards be glimpsed, and its mechanism becomes momentarily evident as the logic of chaos.
In his new work, El porqué de la naranjas, Spanish photographer Ricardo Cases does not document the surface symptoms of reality, but instead renders the non-visible, the mechanistic. In his immediate surroundings – the fertile region of Levante in Spain – the photographer reveals ephemeral moments that might otherwise go unnoticed. Out on the streets he sets out to make visible the laws that regulate the universe, hunting down the elementary participles in the same vein as a nuclear physicist attempting to identify the Higgs particle. Cases uses the landscape as a laboratory, a place where these mechanisms can manifest themselves freely. The work is not a portrait of Levante itself, but of the spirit of Levante, and thus of the spirit of Spain as a whole.
Historical context: In the 1948 Danish photographer Keld Helmer Petersen published his ground breaking photobook 122 Colour Photographs. A decade later Saul Leiter roamed New York streets and made iconic colour photographs often exploring reflective surfaces. Later in the 1970s William Eggleston in Memphis and Stephen Shore on numerous roadtrips across America made colour photographs that were to influence a whole new generation of photographers, such as Joel Sternfeld, Richard Misrach and Martin Parr, one of UK’s most celebrated colour photographers exploring British culture.
Ray K Metzker – graphic monochrome street photography Metzker was born in 1931 in Milwaukee and attended the Institute of Design, Chicago–a renowned school that had a few years earlier been dubbed the New Bauhaus– from 1956 to 1959. He was thus an heir to the avant-garde photography that had developed in Europe in the 1920’s. Early in his career, his work was marked by unusual intensity. Composites, multiple-exposure, superimposition of negatives, juxtapositions of two images, solarization and other formal means were part and parcel of his vocabulary. He was committed to discovering the potential of black and white photography during the shooting and the printing, and has shown consummate skill in each stage of the photographic process. Ray Metzker’s unique and continually evolving mastery of light, shadow, and line transform the ordinary into a realm of pure visual delight
Typology means the study and interpretation of types and became associated with photography through the work of Bernd and Hilla Becher, whose photographs taken over the course of 50 years of industrial structures; water towers, grain elevators, blast furnaces etc can be considered conceptual art. They were interested in the basic forms of these architectural structures and referred to them as ‘Anonyme Skulpturen’ (Anonymous Sculptures.) Each industrial structure was photographed from eight different angles on an overcast day with light grey sky mimicking the detached white background in a photographic studio. Their aim was to capture a record of a landscape they saw changing and disappearing before their eyes so once again, Typologies not only recorded a moment in time, they prompted the viewer to consider the subject’s place in the world.
The Becher’s were influenced by the work of earlier German photographers linked to the New Objectivity movement of the 1920s such as August Sander, Karl Blossfeldt and Albert-Renger-Patzsch.
August Sander
Karl Blosfeldt
Albert-Renger-Patzsch
See also the work by Americans, William Christenberry and Ed Ruscha’s photographic works on types e.g. Twentysix Gasoline Stations (1964). Every building on the Sunset Strip (1966). Or Idris Khan‘s appropriation of Bechers’ images.
Ed Ruscha, 26 Gasoline Stations
Ed Ruscha: Every building on the Sunset Strip
William Christenberry
Idris Khan
Not least of the Bechers’ legacy is their lasting influence on subsequent generations of artists who use the photographic medium today, most notably the students taught by Bernd Becher at the Düsseldorf Art Academy between 1976 and 1996. Among his most renowned students are Andreas Gursky, Candida Höfer, Thomas Ruff, and Thomas Struth.
Andreas Gursky
Thomas Struth (b. 1954) Ferdinand-von-Schill-Strasse, Dessau 1991 1991
Thomas Ruff
Candia Hofer
Contemporary approaches to views of horizons between sky and sea, see inspiration from Japanese photographer Hiroshi Sugimoto whose monochrome images are minimalist and spiritual in their expression.
If you intend to explore sea landscapes you must do contextual research in relation to the art movement of Romanticism – see below. Technically you must make images exploring diverse quality of light, expansive views and weather patterns at different times of the day. Make sure to use a tripod, cable release and apply exposure bracketing and experiment with HDR techniques in post-production. Other techniques such as panoramic images and Hockney ‘joiners’ and Typology studies are also appropriate.
Jersey west coast has unique identity and geography. For many it is place of refuse from work, school and where they go for relaxation, leisure, beach, surfing, walking. If we think about Jersey and an island surrounded by water and with a one of the fastest tidal moments in the world you can look at photographers who has explored the notion of sea or water in interesting ways.
Michael Marten: Sea Change Excellent use of diptych and triptych and exploring low vs high tides to see how it changes a landscape scene
Mark Power: The Shipping Forecats Intangible and mysterious, familiar yet obscure, the shipping forecast is broadcast four times daily on BBC Radio 4. For those at, or about to put to sea, the forecast may mean the difference between life and death. In The Shipping Forecast, Mark Power documents the 31 sea areas covered by the forecast,
Roni Horn: Dictionary of Water Water is a series of photographs of the surface of the Thames. It is ever-changing: now swirling, now scrunched like black tin foil, now in Turneresque lemon and flame colours, now plucked up into dune shapes. Each is annotated with tiny numbers, which refer to footnotes. The footnotes, hundreds in total, worry away in small type under the images – they happen, in other words, under the surface, and concern what the water suggests and conceals. (“Black water is sexy. / What is water? / What do you know about water? Only that it’s everywhere differently. / Disappearance: that’s why suicides are attracted to it. / You can’t talk about water without talking about oneself. / Down at the river I shot my baby.”)
[no title] 1999 Roni Horn born 1955
Robert Adams: Summer Nights, Walking
Kyler Zeleny: Out West
Helge Skodvin: 240 Landscape
Thom and Beth Atkinson: Missing Buildings
Daniel Stier: A Tale of One City
Tom Wood: All Zones off Peak – Using public transport as a method of exploration
Explore some of the ideas here in Constructed Landscape by Photopedagogy, or revisit artists, ideas and photographic tasks from Anthropocene project in Yr 12
‘The Great Wave’, the most dramatic of his seascapes, combines Le Gray’s technical mastery with expressive grandeur […] At the horizon, the clouds are cut off where they meet the sea. This indicates the join between two separate negatives […]Most photographers found it impossible to achieve proper exposure for both landscape and sky in a single picture. This usually meant sacrificing the sky, which was then over-exposed. Le Gray’s innovation was to print some of the seascapes from two separate negatives – one exposed for the sea, the other for the sky – on a single sheet of paper.
This ongoing body of work consists of staged landscapes made of collaged and montaged colour negatives shot across different locations, merged and transformed through the act of slicing and splicing […] ‘Constructed Landscapes’ references early Pictorialist processes of combination printing as well as Modernist experiments with film […] the work also engages with contemporary discourses on manipulation, the analogue/digital divide and the effects these have on photography’s status.
The Great Wave … sunlight breaks through the clouds above the waves at Sète, France, 1856–59 Illustration: Gustave le Gray
Dafna Talmor: This ongoing body of work consists of staged landscapes made of collaged and montaged colour negatives shot across different locations that include Israel, Venezuela, the UK and USA. Initially taken as mere keepsakes, landscapes are merged and transformed through the act of slicing and splicing. The resulting photographs are a conflation, ‘real’ yet virtual and imaginary. This conflation aims to transform a specific place – initially loaded with personal meaning, memories and connotations – into a space that has been emptied of subjectivity and becomes universal.
In dialogue with the history of photography, Constructed Landscapes references early Pictorialist tendencies of combination printing as well as Modernist experimental techniques such as montage, collage and multiple exposures. While distinctly holding historical references, the work also engages with contemporary discourses on manipulation, the analogue/digital divide and the effects these have on photography’s status and veracity. Through this work, I am interested in creating a space that defies specificity, refers to the transient, and metaphorically blurs space, memory and time.
Tanja Deman is a Croation artists who was Archisle’s International Photographer-in-Residence in Jersey in 2017. Her art is inspired by her interest in the perception of space, physical and emotional connection to a place and her relationship to nature. Her works, incorporating photography, collage, video and public art, are evocative meditations on urban space and landscape. Observing recently built legacy or natural sites her work investigates the sociology of space and reflects dynamics hidden under the surface of both the built and natural environment.
Tanja Deman Fernweh
Fernweh series explores the concept of a modernist city through its extreme relations to the landscape. The images are placed on a blurred line between a past which reminds us of a future and a future which looks like a past. Scenes are referring to the modernist ideas and aspiration of a man conquering the natural wild land and subordinating it to the rational order, and the consequences of those aspirations, which switched into the longing for an escape from urban environments.
Tanja Deman Collected Narratives
Collective Narratives is a series staging a moment of contemplation of nature and built environment. Natural spectacles, framed in theatrical space are contemplated by an audience. These constructed images consolidate: geological formations; a projection of an urban environment; an arena; a deep chasm; a theatre and a crumbling slag-heap through a very active kind of watching. Deman says about her work, ‘while making the series ‘Collective Narratives’ I was interested in different types of spectatorship and architectural settings in which they are taking place. Moreover, the notion of a ritual in which a large group of people gathers and participates in order to experience something together by observing, intrigued me. I see these spaces for cultural and sports spectacles, as zones of pure potential, where the world must be rebuilt or re-imagined every time they are in use. Having liberated them from their utilitarian, commercial restrains, and the environments in which they were created, I allow them to cross the boundary of reality. Together these scenes examine time and the strange modes of spectatorship attached to the inanimate world. A collective witnessing of phenomena that are usually experienced in private atmospheres.
ARCHIVES: In the Photographic Archive at the Society Jersiaise there are significant works by early Jersey landscape and architectural photographers such as Thomas Sutton
Remains of ruined coastal defence tower, Tour du Sud, La Carrière, St Ouen’s Bay, Jersey. Plate from Souvenir de Jersey, published 1854.
Other photographesr in the Photo-Archive who explored Jersey landscapes, topographical views, town, countryside, build-environments etc . Samuel Poulton, Ernest Baudoux, Albert Smith , Edwin Dale, AK Lawson, Paul Martin, Godfray, Frith (put in surnames first for searching online catalogue here.
Baudoux, Ernest. View of Victoria College, St Saviour, with boys standing informally outside
NATURE: In their most recent collection of work, The Meadow, photographers Barbara Bosworth and Margot Anne Kelley explore the connections and relationships formed between humans and the natural world. Over the course of a decade, the two have taken numerous photographs of an area of land in Carlisle, Massachusetts. Combined with Kelley’s writing, the collaborative project resulted in this uniquely-crafted work. The land they have chosen serves as an ideal subject, composed of paths and abandoned farmland reclaimed by the vibrant foliage.
Embodying a diaristic style, the final product has the feeling of a handcrafted scrapbook recollected from someone’s bookshelf. Tucked as if by accident between the pages are small booklets bearing the photographers’ experiences, and the occasional fold-out triptych which embellishes the arts-and-crafts vibe. A detailed appendix documents the numerous foliage, fungi, and pebbles found during the exploration of the meadow. They even transcribe the logs of the previous property owner, who chronicled day-to-day the teeming life he discovered on a series of wooden doors.
As part of our ROCK project and last year as part of your HERITAGE project you make a series of different still life images. It may be useful for you to re-visit some of these projects and also produce blog posts on the historical context of still-life paintings developed in Dutch/ Flemish 17th century.
Anna Atkins was an English botanist and photographer. She is often considered the first person to publish a book illustrated with photographic images, British Algae. Photographs of British Algae was published in fascicles beginning in 1843 and is a landmark in the history of photography. Using specimens she collected herself or received from other amateur scientists, Atkins made the plates by placing wet algae directly on light-sensitized paper and exposing the paper to sunlight. Her nineteenth-century cyanotypes used light exposure and a simple chemical process to create impressively detailed blueprints of botanical specimens.
See how contemporary artist, Tom Pope has responded to Anna Atkins plant studies and work with cyanotypes, uncovering her family links with plantation economy in the Caribbean and slave ownership during British colonial history in his ongoing research and performative work, Almost Nothing But Blue Ground
Karl Blossfeldt: Art Forms of Nature
Wolfgang Tillmans is a German photographer. His artistic work is based on an irrepressible curiosity, intensive preparatory research and continual engagement with the technical and aesthetic potential of the medium of photography. His visual language is characterized by a close observation that opens up a deeply humane approach to our surroundings. Familiarity and empathy, friendship, community and closeness can be seen and felt in his pictures.
Tillmans’ is also a prolific photobook maker and has made many (40+). One of his most celebrated is Concorde which was published by Walther König, Cologne. The photographs were taken at a number of sites in and around London, including close to the perimeter fence at Heathrow airport. consists of images of the Concorde flying over Tillmann’s home in west London. Study his series here at Tate Modern which has also been exhibited in various museums as an installation.
Michael Wolf, Hongkong books
Lorenzo Venturi: Dalston Anatomy
Lorenzo Vitturi’s vibrant still lifes capture the threatened spirit of Dalston’s Ridley Road Market. Vitturi – who lives locally – feels compelled to capture its distinctive nature before it is gentrified beyond recognition. Vitturi arranges found objects and photographs them against backdrops of discarded market materials, in dynamic compositions. These are combined with street scenes and portraits of local characters to create a unique portrait of a soon to be extinct way of life.
His installation at the Gallery draws on the temporary structures of the market using raw materials, sculptural forms and photographs to explore ideas about creation, consumption and preservation.
Mark Dion:Archeaology Archaeological excavations aren’t limited to ancient Egypt or Stone Age villages. In 1999 during the Tate Thames Dig artist Mark Dion and volunteers collected found objects from the river bed and displayed in the cabinets.
Tate Thames Dig 1999 Mark Dion (b 1961)
See previous work by students Matt Brown who explored Bouley Bay using normal camera, drone photography and underwater photography and Megan exploring La Motte / Green Island collecting objects and experimenting with cyanotypes
My idea is to make a photobook in which I explore the area Bouley Bay, overall I want to capture the activity, views, and close ups of key feature such as rocks, shells, heritage, the hill climb, and the bay. I could also look into the history of the bay and the Jersey Folklore, involving the Black Dog. It is important to me as I grew up in that area, and have many memories of it. And I hope to capture it in the same way in which remember it. I wish to develop my project by exploring the bay and collecting lots of objects to photograph in a studio, and also to take long exposure, aerial, and underwater of the bay, as I have been inspired by many photographers, such as, Martin J Patterson (@ mjplandscapes on Instagram), Jaun Munoz (@ drjuanmdc on Instagram), and David Aguilar (@ davidaguilar_photo).
I started my project with the intention of exploring issues of pollution and plastic specifically, taking inspiration from the photographer Mandy Barker and experimented in my first shoot by taking images with string infront of the lens looking at rules of manipulation. I then found the photobook ‘The Meadow’ by photographers Barbara Bosworth and Margot Anne Kelley which is what first interested me in photographing and exploring specific areas, as well as gathering objects and photographing them. I also discovered the photographer Chrystel Lebas and her photobook ‘Field Studies: Walking through Landscapes and Archives’ which is where I read about the changing environment. She compared her modern images to the photography of Edward James Salisbury in the early 20th century and walked in his footsteps, going to the same areas he did to explore how the environment had changed over 100 years. This is where I decided that the concept for my project would be looking at how the natural environment had changed over 90 years at the location La Motte. I found archival images from this area and thought i would build my photobook around them, comparing and contrasting them to my own images. I noticed Lebas’ influences from sublime ideologies by Edmund Burkina his book ‘Enquiry into the Origin of our Ideas of the Sublime and the Beautiful’,with her images being vast and other-worldly, which is an aspect I wanted to reflect in my own work. From then on, I did an additional five shoots where i went and took landscape images of La Motte and at the same time gathered natural objects that i found on the island and the beach i.e. rocks, seaweed, flowers. I did multiple shoots where I photographed these objects formally with plain background and edited them to reflect the work of early botanists where they used light sensitive paper to create photograms. I did this as i thought it would give my project and photobook a scientific appearance and reflect that of an investigation into a specific area. Towards my final shoots, I walked around La Motte and tried to find man made objects that I could photograph to perhaps represent how the natural landscape had changed.
In the final version, I changed the cover images to what was originally the first pages in the book. I felt that these images were more powerful in portraying my ideas as well as captivating the essence of my project.
I summed the topic of my project in one word being ‘Waste’ as it reflects the three concepts behind my work:
The ‘Waste’ featured in the images
The action behind humans throwing away the things they do not consider important.
The consequences of disposing items to ‘Waste’ away.
The title is written sideways to give a ‘scientific document’ feel.
I repeated the same pattern of images throughout the book, to give an organised aesthetic. The circle images are placed alongside their close-up comparisons to show the detail in the items depicted. I chose to make many of my images full scale, as they all have dark backgrounds. Black is used in a minimalistic style to emphasize the items, as well as being associated with darkness and negativity to reflect the topic of pollution.
James Casebere pioneering work has established him at the forefront of artists working with constructed photography. For the last thirty years, Casebere has devised increasingly complex models that are subsequently photographed in his studio. Based on architectural, art historical and cinematic sources, his table-sized constructions are made of simple materials, pared down to essential forms. Casebere’s abandoned spaces are hauntingly evocative and oftentimes suggestive of prior events, encouraging the viewer to reconstitute a narrative or symbolic reading of his work.
Caspar David FriedrichJames Casebere
While earlier bodies of work focused on American mythologies such as the genre of the western and suburban home, in the early 1990s, Casebere turned his attention to institutional buildings. In more recent years, his subject matter focused on various institutional spaces and the relationship between social control, social structure and the mythologies that surround particular institutions, as well as the broader implications of dominant systems such as commerce, labor, religion and law.
Thomas Demand studied with the sculptor Fritz Schwegler, who encouraged him to explore the expressive possibilities of architectural models at the Kunstakademie Düsseldorf, where Bernd and Hilla Becher had recently taught photographers such as Andreas Gursky, Thomas Struth, and Candida Höfer. Like those artists, Demand makes mural-scale photographs, but instead of finding his subject matter in landscapes, buildings, and crowds, he uses paper and cardboard to reconstruct scenes he finds in images taken from various media sources. Once he has photographed his re-created environments—always devoid of figures but often displaying evidence of recent human activity—Demand destroys his models, further complicating the relationship between reproduction and original that his photography investigates.
PHOTOGRAPHY AND FOUND IMAGERY
Mishka Henner, Trevor Paglen and Doug Rickard all use found images from the internet, Google earth and other satellites images as a way to ask questions and raise awareness about our environment, state operated security facilities, social and urban neighbour hoods and prostitution.
Mishka Henner, Levelland Oil Field- Texas
US oil fields photographed by satellites orbiting Earth.
Mishka Henner Dutch Landscapes
Mishka Henner: I’m not the only one, 2015 Single channel video, 4:34 mins
Photographer Trevor Paglen has long made the advanced technology of global surveillance and military weaponry his subject. This year he has been nominated for the prestigious The Deutsche Börse Photography Foundation Prize which aims to reward a contemporary photographer of any nationality, who has made the most significant contribution (exhibition or publication) to the medium of photography in Europe in the previous year. The Prize showcases new talents and highlights the best of international photography practice. It is one of the most prestigious prizes in the world of photography. Read more here
Trevor Paglen
Doug Rickard is a north American artist / photographer. He uses technologies such as Google Street View and YouTube to find images, which he then photographs on his monitor, to create series of work that have been published in books, exhibited in galleries.
PHOTOGRAPHY AND MOVEMENT > TIME > SPEED
Eadweard Muybridge was the man who famously proved a horse can fly. Adapting the very latest technology to his ends, he proved his theory by getting a galloping horse to trigger the shutters of a bank of cameras. This experiment proved indisputably for the first time what no eye had previously seen – that a horse lifts all four hooves off the ground at one point in the action of running. Seeking a means of sharing his groundbreaking work, he invented the zoopraxiscope, a method of projecting animated versions of his photographs as short moving sequences, which anticipated subsequent developments in the history of cinema.
British-born Muybridge, who emigrated to the United States in the 1850s, is one of the most influential photographers of all time. He pushed the limits of the camera’s possibilities, creating world-famous images of animals and humans in motion. Just as impressive are his vast panoramas of American landscapes, such as the Yosemite valley, and his documentation of the rapidly growing nation, particularly in San Francisco. His dramatic life included extensive travels in North and Central America, a career as a successful lecturer, and the scandal of his trial for the murder of his wife’s lover.
This exhibition brings together the full range of his art for the first time, and explores the ways in which Muybridge created and honed his remarkable images, which continue to resonate with artists today. Highlights include a seventeen foot panorama of San Francisco and recreations of the zoopraxiscope in action. His influence has forever changed our understanding and interpretation of the world, and can be found in many diverse fields, from Marcel Duchamp‘s painting Nude Descending a Staircase and countless works by Francis Bacon, to the blockbuster film The Matrix and Philip Glass’s opera The Photographer.
Animal LocomotionHuman Locomotion
Etienne-Jules Marey (French, 1830–1904); Chronophotography Unlike the motion studies of Eadweard Muybridge, who depicted movement as a series of discrete moments on separate, sequential negatives, Marey’s analyses of motion are characterized by multiple exposures on a single photographic plate. In this photograph, Charles Fremont, a civil engineer who assisted Marey in his laboratory, used Marey’s method to study blacksmiths at the anvil; the dynamic synthesis of their arced blows traced the pattern of manual effort involved in the task. Fremont’s photographic investigations into the conservation and expenditure of energy during human labor established principles that laid the foundation for modern industrial production.
ARCHIVES
Henry Mullins is one of the most prolific photographers represented in the Societe Jersiase Photo-Archive, producing over 9,000 portraits of islanders from 1852 to 1873 at a time when the population was around 55.000. The record we have of his work comes through his albums, in which he placed his clients in a social hierarchy. The arrangement of Mullins’ portraits of ‘who’s who’ in 19th century Jersey are highly politicised.
Henry Mullins Album showing his arrangements of portraits presented as cartes de visite
Henry Mullins started working at 230 Regent Street in London in the 1840s and moved to Jersey in July 1848, setting up a studio known as the Royal Saloon, at 7 Royal Square. Here he would photograph Jersey political elite (The Bailiff, Lt Governor, Jurats, Deputies etc), mercantile families (Robin, Janvrin, Hemery, Nicolle ect.) military officers and professional classes (advocates, bankers, clergy, doctors etc).
His portrait were printed on a carte de visite as a small albumen print, (the first commercial photographic print produced using egg whites to bind the photographic chemicals to the paper) which was a thin paper photograph mounted on a thicker paper card. The size of a carte de visite is 54.0 × 89 mm normally mounted on a card sized 64 × 100 mm. In Mullins case he mounted his carted de visite into an album. Because of the small size and relatively affordable reproducibility cartes de visite were commonly traded among friends and visitors in the 1860s. Albums for the collection and display of cards became a common fixture in Victorian parlors. The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons.
Here are examples of excellent Personal Studies from past years from students exploring personal stories and mature subjects in relation to identity/ people, family/ memory, objects/ childhood, place/ community etc.
Within my photobook I want to convey themes of comfort, security and warmth – an ethereal display of locations where I feel at ease within nature and/or areas at home. My narrative will tell the story of my imagination, a dreamlike collection of images in a Pictorialist style that get disrupted by waves of anxiety being represented by darker colder images. My narrative will consist of juxtapositions, comparing the feeling of unease to instant comfort – the photobook will be a journey through ‘Wonderland’ (representing a world where anxiety is calmed but reality isn’t quite real, certain comforts may feel a little too perfect). With landscape images being broken up by still-lives of flowers and objects, it is as if this perfect world of calm and tranquillity is breaking down to reality; escapism can only be a comfort for so long before reality hits.
My photobook narrative will present the story of how my grandparents put their family first and worked hard to provide them with a comfortable life. This photobook will use both old and new photographic images to retell the stories that are often not mentioned in my family, such as the dedication of my grandma to help bring up my grandad’s siblings after their parents moved away, as well as my grandad’s tireless work ethic that persisted through various economic struggles. It will also touch on my family’s Mancunian roots and their move from there, for my grandad’s job. In essence, this photobook is a form of appreciation to the older generations in my family for the comfortable life and opportunities they have proved me with, as well as celebrating our strong bond and love for each other.
My photo-book is based around my Grandfather. He died 30 years ago and so I never got the chance to meet him. I wanted therefore to find out more about him and develop an understanding of what he may have been like if I had got to know him. This project was therefore very much about exploring and investigating the theme of absence, a story based around someone who is no directly part of it. I photographed off and on for 9 months to create this project, re-tracing my Grandfather’s steps and using photography to express my findings. Archival resources in particular have played a huge part in my project, especially through the access I have had from the Société Jersiaise Photographic Archives, and the resources I have found play as much a part in this story as does my own responses. I wanted to make my images and narrative feel as simplistic and personal as possible and so I constructed my photo-book by hand, I style I believe gives my work a quirky, old-fashioned feel.
The theme for the personal study is ‘Nostalgia’. Nostalgia is about a sentimentality for the past. It’s a sentimental yearning for return to a past period. The feeling of nostalgia is often triggered by a familiar smell, sound, or keepsake. So, I want to centre my focus around my childhood and upbringing, while also acknowledging my heritage. I want to do this as I believe this will communicate a sense of self and allow me to explore and piece together aspects of my ancestry unfamiliar to me.
By taking inspiration from previous projects (home, identity, etc) I will be taking portraits of family and photographs of significant objects, as well as occasional landscapes. These will be accompanied by some images from my family archives, to show my early childhood as well as my heritage which are relevant. I’ll include photographs of my family and pictures of me in Madeira when I was little. My personal study will explore my dual nationality, portraying both my English and Madeiran heritage from each of my parents. I want to gather a collection of meaningful photographs while in Madeira over the Christmas holidays, capturing familiar landscapes from trips when I was younger, like family homes for example. I’ll also capture pictures of family, street photography, environmental portraits, etc in a documentary-type style.
For my project, I would like to explore my family, specifically my grandparents, Krystyna and Zbigniew Dziwisz. My grandma sadly passed away on the 29th of August 1992, which left my grandad a widower and my mum without a mother at just 16 years old. Despite never meeting her, it has always felt as through something is missing from my mum’s side of the family. Her loss has been a very significant event in both of their lives, and I would want to create my project about. This project will explore life when my grandmother was alive, compared to how it is now, over 30 years later.
EXAM PROJECT: In her exam Julia produced another photo book, which achieved the highest marks. We recommend that you have a look at her project as it is great example on how to make significant improvement from one book to another.
An exploration into my father’s connection to the ocean. My photo story will consist of a combination of archive and new imagery aiding me to document the past life of my father in photo form. The story will have a focus on my dad and his attachment to the sea. Imagery differing in age will be used to give viewers a deeper understanding into this relationship and how his love for the sea has shaped relationships among my family.
I want to explore the story of my dad’s long and continued relationship with the sea and surfing. I will focus on how it has impacted his life and relationships as a whole, as well as my own life as his daughter. This subject is important to me because it is essentially the reason I am here, because my parents met when my mum learned to surf and my dad was her instructor. For this reason, my whole family has been involved with the sport ever since and it affects my life every day. I plan to ask my dad questions about how he started surfing, what draws him to it everyday, and how he feels about the sport. I will also use archived images from family albums from my dad’s life in Newquay as a young surfer and then from my parent’s history together.
The theme of Nostalgia is very extensive and it gave us the chance to do what we wanted with the theme we were given. I think the reason why I wanted to do this project on Vienna Bakery was because I had always wanted to find out more about the processes that the bakery uses, especially since I’ve grown up around the bakery. In this project, my main influence was Mitch Epstein’s book Family Business, this documentary photography style of working when documenting something you are closely related to really inspired me on this project. Using the same point of view as Mitch Epstein, I used my insider access to my advantage as I know a lot of the workers because I live near the bakery, meaning I grew up around a lot of the workers, and work within the bakery.
My plan for my photo book is to produce a detailed and insightful exploration into my family life, with me centered within the middle. This is the running theme throughout and I hope to show it through poetic, still images of landscapes or objects which may have no direct meaning at its face value but has a deeper meaning once inferred. As well, the portraits in my project are intended to be collaborative and intimate to show the relationships I hold with the people in my life but the portraits are intended to show the emotion of each being as well. I have contrasted yet shown the similarities of my mum and dad’s relationship when they were together to that of my relationship with Lucy now and the overall look I hope to achieve is that of a fun, vibrant, light-hearted but quite solemn and sombre image-based diary about how I am still developing through the events if life and the attachments I have built from the event which shaped my life – my mum and dad’s divorce. I want their to be an obvious existence of the theme of attachment but also an underlying theme of detachment. Although these themes are the main focus for my book, they are underlying themes which are subtly hinted at every now and then by a sequence which develops upon the understanding of love. Memory is fragile and I use this notion as a driving force for my project made up of diaristic photographs, which, when come together, create an album of moments in time which in-turn lend themselves to never be forgotten. I have attempted not to avoid the subject of my mum and dad’s divorce but felt it easier to express this and my feelings towards it through other subject matter, being my relationship with my girlfriend and the other people in my life, such as my individual relationships with my mum and dad and how I view them in solitary opposition to one another.
The research of both these artists informed and influenced my personal project, which focused on the life of my mother who is currently diagnosed with metastatic breast cancer. She was originally diagnosed with breast cancer in Easter 2014, but when the cancer has spread to other parts of the body, it is called metastatic cancer. The liver, lungs, lymph nodes, and bones are common areas of spread of metastasis. Using art and physical materials, I wanted to draw into and edit the photographs I take in order to illustrate my emotions and what my mother is going through. The physical art would be a visual guide to the audience, telling a story regarding the illness. This is something that I was excited to do, given my passion and abilities in art and design. I can draw, scratch or edit the photograph using chemicals and other kinds of destructive methods. This can demonstrate some kind of investigation into the relationship between traditional art and Photography as mediums. This is something that I touched upon for my AS project.
Shrinking Violet stemmed from a short film that I created as part of my project of my mother. I made a film based around an interview that I did with my mum and made it up of archival images as well as documenting her everyday life. Part of the interview sparked my interest when she said ‘I’m not one of those shrinking violets in the work place’. This caught my attention as I see her role as simply doing what is expected of her, something that I want to challenge through my photographic work. This brought on the idea for creating a parody shoot where I dress as a persona, similar to my mum, and pose around the house mimicking the role I see my mum portray. I wanted this photo book to embody the traditional role of women our society perceives and for spectators to view the images I have created to recognise themselves, their mothers, their sisters and their wives. Gender defines everyone and, at times, can be limiting. It makes us feel that we need to belong and conform to the expectations placed on us at birth solely on whether we were born male or female.
Explore research, ideas, experimentation on the her Blog
During my personal study I enjoyed having freedom to explore my own ideas and take inspiration from artists and photographers that I am interested in. I was very inspired by Cindy Sherman’s work, I wanted to explore themes such as masquerade, costumes and stereotypes which are very present in Sherman’s studio portraits. When first collecting ideas as to what I should base my project on I decided I wanted to explore female stereotypes through costume and studio portraits. However, with so many stereotypes existing within my gender I decided to create a series of portraits depicting stereotypes from each decade of the 20th Century. As I was born in 1998, I was looking at these stereotypes with a retrospective. I also kept feminist theory in mind, relating my stereotypes to important movements in feminist history including the three main waves as well as smaller social victories for women. I felt that this project was very successful and that each decade was well planned and executed and that the nine image work well as a series.
“Good friends make you face the truth about yourself and you do the same for them, as painful, or as pleasurable, as the truth may be.” – Corinne Day
An autobiography is an account of the life of a person written by that person. In other words, it is the story that a person wrote about themselves. My inspiration for this study came from memories that are forgotten, and the ‘things’ that re-jog our brains to remember them. These could be objects from a childhood collection box or a set of images from a blurry holiday. For this piece of work I attempted to join two ways of memory revival into a book as well as a layout presenting some of my final images.
My body image project is about capturing a physical representation of hidden emotions. My book “Inside Out” includes images of subjects posing in a certain way that represents a specific emotion such as pain or happiness. The title Inside Out, concludes what the series is about in a very simple way. The book contains images where I’ve focused on particular body parts, such as the face or the hands. I’ve captured them in a creative way where the shapes and movement that they create represent certain emotions. The book contains a certain aesthetic that flows throughout. It has a very contemporary feel because of the way of using the human body and also the use of the bright colours and abstract visions. The book contains a variation of sizes of images, ranging from half page images to full page spreads. I decided to use a portrait orientation for the book because it was the best way to display my images. Although I didn’t want to categories my images into different sections of the book, I also didn’t want a completely random structure and sequencing. I therefore displayed images together that linked in some way, to do with colour or subject.
Read more on her BLOG to learn about her research and experimentation
My book Wabi Sabi is about the freedom of viewing the world in our own unique way. Its about capturing the insignificant details that we would usually ignore or not notice, and appreciating the pure and spiritual elements of the imperfect details of our lives. The Japanese term, Wabi Sabi fully explains what the series is about in a simple way. The definition of the term, “a way of living that focuses on finding beauty within the imperfections of life and accepting peacefully the natural cycle of growth and decay” concludes the project well. Throughout the book I focus closely on the tiny details of objects and scenes that we witness all the time. An example of scenes that I’ve included is the Sky at evening time, and the movement of the sea. Within these scenes Ive focused on and framed particular elements that interested me. My aim was to fragment specific details that were insignificant yet beautiful.
I decided to portray mental illness throughout my photobook. When I started this project I knew I wanted to tackle the subject of mental health, but it took me a while to figure out the best way to go forward with it. Originally i though of using landscapes as a way to convey emotion, however eventually decided to turn the camera on myself for a set of self-portraits. I feel as though this decision really helped me open up and put as much personal experience into the book as possible. After the original self-portrait shoot, i wanted to continue with creating a really unique and personal narrative in which i can show both my own emotions and feelings that i have been through, but leave parts of it ambiguous enough to be interpreted by other people in their own way.
I then decided to focus on my personnel experience surrounding prescription anti-depressant drugs, or more specifically SSRIs ( Selective serotonin reuptake inhibitors ) which are used when, for whatever reason, there is a lack of serotonin being produced, with it’s aim to boost serotonin levels in the brain. This element was quite difficult to capture, as most of the time you don’t notice anything different, which is why i decided to use a gradual build in saturation inside the book to show the slow but steady changes, however I did want to make sure to capture aspects of medication not working, and the task of changing medications and gradually building back up until it works. I represented this component in my book by showing the rise in dosage levels in text at the bottom of the page.
My book is a mixture of images of the people, places and objects that hold meaning in my life. Looking back and how the growing up in Jersey a place in where there is a significant lack of diversity regards to the black in the community. Also that my parents have separated and I live with my mother, how this has effected my relationship with my father and if in some ways that I have rejected that side of my life so I became less connected to him.
My idea is to make a photobook in which I explore the area Bouley Bay, overall I want to capture the activity, views, and close ups of key feature such as rocks, shells, heritage, the hill climb, and the bay. I could also look into the history of the bay and the Jersey Folklore, involving the Black Dog. It is important to me as I grew up in that area, and have many memories of it. And I hope to capture it in the same way in which remember it. I wish to develop my project by exploring the bay and collecting lots of objects to photograph in a studio, and also to take long exposure, aerial, and underwater of the bay, as I have been inspired by many photographers, such as, Martin J Patterson (@ mjplandscapes on Instagram), Jaun Munoz (@ drjuanmdc on Instagram), and David Aguilar (@ davidaguilar_photo).
This is the final layout and design for my book titled ‘Preserved Consumption’. The book includes three different sections including production, product and waste, all of which link into the theme of consumption and its permanent scarring on the landscape (hence the title preserved). Within I have included a variety of different page layouts such as double spreads, boxed in imagery and centred photos, all of which I have experimented with along the way, helping me to conclude which layouts are most effective at accompanying the previous and next photo. Regarding certain images I have included a white border due to it preventing the photo from becoming too overpowering and out-of-place, only really doing so for the larger pieces. For the majority of the pages I have used a white backdrop as I found that it complimented the images the most, stopping any attention being drawn away from the images and to the colours, something I made sure to do from the beginning. Before each category I made sure to add a title page to inform the viewer of the subcategory in the book, giving the layout a narrative as a result which I found is one of the key characteristics of the entire book. Finally I added my essay in the end pages of the book, this was because I wanted to allow the readers to interpret the topic of the book before actually reading about what I had to say about regarding it, with images depicting the studied photographers works and my responses alongside them.
Stanley Lucas set of 3 books for his exam books: Hue, Form and Motif
Overall these are the final layouts for each of the books, Motif, Form and Hue. The three books contain a different theme within each looking at colour, texture and pattern, all of which come under my topic title of abstraction and the variety of ways in which it can be portrayed through the camera. Within the books I have included a variety of different page layouts consisting of double spreads, single images and triple photos, all of which I have previously experimented with so that they can transition between the different photos inside s effective as possible. Regarding certain images I have made sure to include a white border around each photo due to how it effectively boxes in the pieces, separating them from the next and creating contrast between the pages which I have used a white backdrop for all pages except the covers. The use of a white backdrop I found was the most effective outcome I could produce due to it not taking away anything from the images like a coloured backdrop would, instead adding definition and that needed bit of contrast on the monochrome imagery. In creating the book I wanted to go straight into the theme portrayed on the covers of each, this meant that the first pages would include my best image from each section so that it set the pace and theme for the rest of the spreads.
In the final version, I changed the cover images to what was originally the first pages in the book. I felt that these images were more powerful in portraying my ideas as well as captivating the essence of my project.
I summed the topic of my project in one word being ‘Waste’ as it reflects the three concepts behind my work:
The ‘Waste’ featured in the images
The action behind humans throwing away the things they do not consider important.
The consequences of disposing items to ‘Waste’ away.
The title is written sideways to give a ‘scientific document’ feel.
I repeated the same pattern of images throughout the book, to give an organised aesthetic. The circle images are placed alongside their close-up comparisons to show the detail in the items depicted. I chose to make many of my images full scale, as they all have dark backgrounds. Black is used in a minimalistic style to emphasize the items, as well as being associated with darkness and negativity to reflect the topic of pollution.
I decided the title of my book ‘ A State of Contentment’ when i was actually in Burkina Faso completely submerged in the situation that i was in. The idea came to me when we were on the building site discussing the local community and thinking of all the things we are grateful for that we were getting to go home to. It was evident to us that we would only be in Africa living a minimalist life for a few weeks whereas the reality for the local community was that they would be experiencing this hardship for the most of their lives. Although this seems like a harsh thought we had all noticed that even though the community had so little they were utterly content with what they had and i said during this discussion that it seemed as though they were in a state of contentment, because the community truly were in a state of peaceful happiness. I put the title and my name on the cover so that the writing did not take away from the cover image.
The subject of the book is abandoned buildings and night life in Jersey, that is linked to my youth. As a child I always went and explored abandoned places and old German bunkers and castles. I believe this could shows my curiosity to explore the unknown and look at places that are unnoticed. I also want to give the person who is looking at my photos the feeling of nostalgia. My main inspiration is the work of Troy Pavia who used ‘painting with light’ techniques in the deserts of California, Navada, Arizona, Utah and finally Texas.
In my design specification I stated ”Some images will be best as full page spreads (single or double), some images will look best with boarders and some will look best grouped together, and therefore I am not going to limit myself by completely sticking to one uniformed layout and will instead lay out my photographs in the way which I believe individually best suits them…The sequencing of images in the book I intend to follow a narrative of how surveillance is evolving/developing. So as the book continues the images represent closer and more personal forms of surveillance, such as surveillance through our own devices. Whereas in the beginning it will look at visual forms of surveillance (birds) and then early forms of technological surveillance (CCTV etc.)” This, as I said, was something which I definitely followed up on and stuck to.
For the majority of my coursework, I focused primarily on my first photo book by capturing and sifting through 1600 images, editing the ones I thought best-suited my project and then becoming accustom to the online book publication ‘Blurb’. In retrospect, I struggled with this particular project as I found the content rather intrusive and the self-reflection into my own feelings was an intrinsic exposure I had never experienced before. However, I am glad I studied what I did as I believe I have become more self-aware as well as starting to make a conscious effort into helping my step-brother through the process I had once undergone. I steered my attention to my socio-economic surroundings in my early life by capturing Noah in his current environment, giving the perception Noah is a reincarnation of my younger self. When I began the project, my teacher had requested I focused on something thats personal with depth and meaning, and when it came to the planning stages of my project, I realized I was drawn to capturing former situations which I experienced. By focusing on this subject, I believe I created a unique narrative which focuses on what I’m looking at, but the subject of each image I am looking at is reflecting back at me and revealing small but significant elements of my childhood story. Overall, I didn’t enjoy photographing my photography coursework as it invaded my personal emotions and feelings, but in retrospect, I believe that’s what elements are photography about; pushing yourself to identify or explore minor subjects in a unique perception.
Throughout this project I have stuck with my main theme of my childhood memories. However, I have adapted what I wanted to do with my theme. To begin with, I didn’t want to include photographs of people but that changed after I looked through my families archives. I ultimately used a collage of old photographs in order to showcase how we each have our own memories, as well as creating a link to my essay on how photography and memories go hand in hand. To showcase the time of these memories, I made the collage on the back of the book focused on images of my grandparents and their lives while the collage on the front cover focuses on my parents lives.
EXAM PROJECT: In her exam Caitlyn produced another photo book: which achieved the highest marks. We recommend that you have a look at it as it is great example on how to make significant improvement from one book to another.
My aim is to explore the question that I have about people’s identity ; How do you present who you are? I wish to dive into the expressive forms of tattooing, the permanence of a part of who you are. Over the year, I have had the continuous stream of questions like ‘Why would you do that to your body?’ , ‘You know that’s permanent right?’ and ‘I could never do that to myself?’. There has always been a stigma around people with tattoos which upsets me as it can be a beautiful artform to express your identity. In this project I will document my friends’ and families’ tattoos and pair the photos with what they mean to them, either a handwritten note from them or an object/photo that ties in with the meaning behind. I’m exited to do more research into this subject matter, including the history and culture values which i can add to my final piece if appropriate.
On a basic level I believe my exploration into the terms of occupation and liberation went well. The terms were broad and allowed me to consider many different opportunities to explore, but I felt looking at the occupation my Grandparents lifestyle was a perfect fit. At first I was a little worried as I knew my portraits were not always my strong point within photography, but I knew it would allow me to refine and develop me skills within this area of photography. Using artists such as Walker Evans, LaToya Ruby Frazier, Laura Blight and many allowed me to explore different ways to present my Grandparents lifestyle through portraits and landscapes. Initially, I wanted to focus of both my Grandma and Grandad but as my project developed I made the decision to place the central focus on my Grandad due to his higher position within the family hierarchy and how he considers himself the backbone of the household. At first, I looked at just capturing portraits and understood that my narrative of my book would need a change of pace and so I decided to explore the interior and exterior of their house and the relationship between landscape and person. In terms of photographic styles my project follows a documentary style as I try and capture the reality of my Grandparents lifestyle. I often found it challenging to produce reliable imagery as I did not want to ‘intrude’ on my Grandparents, but I felt as the project went along the bond between me and my Grandparents became stronger allowing me to decode their lifestyle more.
The exam brief was to create photos around the words Freedom and Limitations. I made a book with the name Baptism. The reason for this is because when a person is baptized it is a symbolic representation of what God has done in their life. In this we believe God has washed away the old life and this person has started a new life with god. ‘Old’ and ‘New’ are keys words in the context of my book. By using software I was able to change the original colors and intensify them. Giving these photos New Life with New Colors.
Previously I have been studying the spiritual link between color and the soul. I read the book ‘Concerning the Spiritual in Art’ by Wassily Kandinsky, in this he writes about how certain colors can effect human emotions differently. I wanted this to be the case with my book. Baptism is a very spiritual thing and I found calling my book that linked everything together nicely. When a person is baptized the person has the Freedom to start over to begin a new life. Before these photos were Limited by the colors that they were captured in. But I have given these photos the Freedom to change, to be something new, with new colors that effect the soul differently to when the photos were initially taken.
My intentions were always to have a book that explores family and how a belief and faith can connect a family as well as help it. Throughout my book I have placed photos like the one you can see below. This was useful to break up the photos as otherwise it could be considered very repetitive. Many of these family archive photos have been altered in some way or other. A continuing theme was red, this was meant to represent God as in the bible when the text is red it is Jesus talking. These photos are very symbolic. They were inspired by the photographer Jonny Briggs and Carol Benitah. Jonny Briggs is a photographer that actually visited our school. He asked us to manipulate, physically change the images to not be afraid of making mistakes. This opened a whole new realm of creativity for me and it gave me so many ideas of how I wanted to explore this. This played a part in the making of the book.
I started my project with the intention of exploring issues of pollution and plastic specifically, taking inspiration from the photographer Mandy Barker and experimented in my first shoot by taking images with string infront of the lens looking at rules of manipulation. I then found the photobook ‘The Meadow’ by photographers Barbara Bosworth and Margot Anne Kelley which is what first interested me in photographing and exploring specific areas, as well as gathering objects and photographing them. I also discovered the photographer Chrystel Lebas and her photobook ‘Field Studies: Walking through Landscapes and Archives’ which is where I read about the changing environment. She compared her modern images to the photography of Edward James Salisbury in the early 20th century and walked in his footsteps, going to the same areas he did to explore how the environment had changed over 100 years. This is where I decided that the concept for my project would be looking at how the natural environment had changed over 90 years at the location La Motte. I found archival images from this area and thought i would build my photobook around them, comparing and contrasting them to my own images. I noticed Lebas’ influences from sublime ideologies by Edmund Burkina his book ‘Enquiry into the Origin of our Ideas of the Sublime and the Beautiful’,with her images being vast and other-worldly, which is an aspect I wanted to reflect in my own work. From then on, I did an additional five shoots where i went and took landscape images of La Motte and at the same time gathered natural objects that i found on the island and the beach i.e. rocks, seaweed, flowers. I did multiple shoots where I photographed these objects formally with plain background and edited them to reflect the work of early botanists where they used light sensitive paper to create photograms. I did this as i thought it would give my project and photobook a scientific appearance and reflect that of an investigation into a specific area. Towards my final shoots, I walked around La Motte and tried to find man made objects that I could photograph to perhaps represent how the natural landscape had changed.
I want to explore how moving from where I have grown up has impacted my life, whilst also adjusting to and finding beauty in a new place. I want this book to primarily focus on family and my relationships with them whilst growing up.
To conclude, this project has overall been successful in terms of recording and capturing the concepts which I brought into the project, focusing on self identity. Given the titles ‘Occupation Vs Liberation’ I had a large range of work I could explore, however I found the idea that suited best was the liberation of personal identity and the occupation of your own thoughts. Initially I wanted to focus on the destruction of self portraits that would reflect a physical emotion towards these pictures, but through experimentation and photoshoots I created images that reflected an identity. Through my responses to Francesca Woodman and Edward Honaker I was able to combine both response imagery together in which they completed each other and formed a narrative. The narrative being the unwanted identity I was given and how I view myself within those images. Within my final zines I utilised self portraits both archival and new so that it was reflected even as I grew, the sense of unease was consistent.
For my final pieces, I am very proud in how I managed to construct 2 photographic zines, a storage box for them and a mobile for my mounted and hung images. I wanted everything to be done by hand because it was a project about myself and I don’t think something made by a machine would convey the right message.
This project has overall been very successful in terms of recording and capturing the concepts which I brought into this project, focusing on three main concepts, the housing crisis, nostalgia and control. I took significant inspiration from the slum photographer Nick Hedges and used his conceptual and contextual intents within my own work, bringing awareness to the housing crisis here in Jersey. In order to respond to my personal study I employed the use of both a film camera and digital camera. As I used the theme of nostalgia, the use of a film camera is an effective way to display this through the grainy and soft nature of the photos themselves. The subject of my images is the low cost, affordable housing which can be rented in Jersey. I contacted estate agents in order to show the contrast of the way in which housing agents glorify these homes in a way which makes them more commercially appealing, versus what the reality of them are. I focused on small and minor details which distinguish each property such as the flooring, bathrooms and kitchen cabinet. I photographed the exterior of buildings, going around the dingier parts of St.Helier which depict the depressing lifestyle some people face by living in the urbanized town center.
When developing my final book I wanted to have something unique, something I have never done before, and originality that meant my final presentations will be unlike any others. To do so I started off with developing the book. I Knew for my book I wanted to create a black and white tonal book. This soon transpired to having silver and black ink inverted to create glowing images. I also knew that for my narrative of life from birth to death, told through the story of creation, That I would need a long narrative. To do so I first off assigned myself 100 pages, then narrowing down only the best images to around 87 pages in total. Furthermore, to go in hand with his over exaggeration of visual overload due to the volume, I decided to have an image on every single page, so to go hand in hand with this large effect. In the end I was left with an array of different displays, differing from two full bleeds, to some with black boards to full double page spreads. The distorted array not being continually mimicked was very effective and something which Made the narrative of my book, perhaps, more enjoyable, as you are able to take your time when looking through each of the images. As spoken about previously the finality of my book was found within previous books such as Astres Noirs.
For my photo book, the main theme was intimacy and young love. I wanted to explore my relationship with my boyfriend and show a series of different styles of images. I called this photo book “Espera” which means to wait in Portuguese, as this word (besides love) is a word that both Jack and I use frequently. Read more on her BLOG here.
For my personal investigation I intend to create a photo-book project around the theme of documenting the youth of today and our culture, which is rarely portrayed accurately in the media, this may also include certain subcultures that I could decide to delve into. I will try the best I can to capture and achieve a realistic portrait of each individual person. The question then arises, ‘What does a ‘real photo’ even look like: is it something you can hold? Is it something you can see on a screen and alter?’ (Bright, S. and Van Erp, H. 2019: 17.) I hope to answer this question throughout my efforts of trying to capture a ‘real’ portrait of an individual. How much can you really tell about a person through looking at a mere photograph of them?
Jasmin Ross: Handle With Care
I have made a book which is called Handle With Care, it is about the history of St Saviours hospital from when it first opened in 1869 to when it closed. The layout of the book starts from the outside, goes inside then, then you meet 3 patients, it stays inside then it goes outside again to finish the book. My book is 108 pages and it has a combination of text, double page spreads and single image pages. My book is split into two parts of Archival material which was the basis of my work which i went a collected and photographed then next part is of my own images which i made of the outside of the abandoned building.
Overall I have found my personal study project very interesting. Assisting with the wider project in collaboration with the Société Jersiaise Photographic Archive and National Trust has meant that I have been involved with research and discoveries as well as having access to exciting photographic opportunities. I was originally introduced to the collection of Francis Foot’s photographs in October last year while interring at the SJ Photographic Archive and since then have been involved in a lot of work developing a project around it in connection to the building restorations. I started by researching the family and history of the buildings and familiarising myself with the collection by updating the database. One of the most interesting areas of my project was actually visiting the buildings while they were in the process of being restored. This allowed me to connect the knowledge of the past to the present and explore the idea of preserving built heritage in connection to the historical photographic aspect. This relates to my interest in local history and the development of photography as an art form. Having knowledge of the past inhabitants reflects the human side of buildings and memories and traces associated with them. Some of the small details such as the image found behind the mirror and writing on the walls were particularly striking examples of this. It has also been interesting to explore family portraiture throughout time and conduct various shoots with my own family including one specifically connected to the Foot Shops.
Beliefs and superstitions revolving around mythical characters in Jersey, Channel Island are common. The ancient lanes overhung with vegetation look almost like dark tunnels leading into the unknown. Unexplained ruins dotted around the coast add to the air of mystery and Island people with a long and proud history have many stories to tell which have been passed down from generation to generation. In this photo book I have explored three of Jerseys most famous and well-known legends, portraying each one with a series of environmental portraits, studio shots and landscape photographs. The first legend tells the story of the poor Bride of Waterworks Valley, the second shows the demonic presence down at Devil’s Hole and the third looks into the many tales of Witchcraft in Jersey. This project is my response to the provided themes of ‘truth, fantasy and fiction’, as well as the beautiful depictions of myths created by other photographers. My aim for this photo book was to recreate some of our islands most interesting history using beautiful and insightful visuals. By doing this I hope to bring these legends back to life in this colourful yet ominous series.
I produce a large amount of documentary style images revolving around the more shadowed teenage social life. This involves being in a lot of places we shouldn’t be, drinking too much and probably a little more nudity that this blog is ready for. Below is a selection of my project work over the last few weeks presenting a range of locations – from abandoned hotels to out of hours nightclubs – featuring my friends being strange and causing trouble. There are some clear trends in the image I create such as the selective palettes and tight range of colours and the positioning of characters – these images were not directed at all though the figures were of course aware I was photographing them. This photobook was made using bookwright software and will be printed as a portrait A4 project. Many of the design ideas for this projects are inspired from artists and graphic designers I have studied over the last two years such as Lotta Nieminen. Studying the graphic designer’s personal projects. I took particular notice of the image layouts and use of overlapping text. There is a carefully controlled colour palette and minimalistic design which aids the presentation of images in such a publication. Benjamin Koh’s project work again has a strong graphic theme which uses a muted colour palette to emphasize the continued sense of photographic narrative. His pages tend to be uncluttered and minimal which draws attention to the graphic images in each of the carefully constructed double-page spreads. These elements were crucial to my own work, ensuring that images would be easily visible and clearly presented.
There is a consistency of monochrome tones and grainy, heavy contrasted images. Throughout my project I have looked at documentary photographers such as Larry Clark and Jacob Sobol, and upon reviewing their work i have grown a love for their styles. The layout and the order of the images is important as the book needs to flow, almost the same way a story does. I need to find similar groups of images and order them carefully one by one so the book feels as if it has a narrative. I started with a small, shadow filled image of my face as the book is about my teenage life with friends. I followed this by a double sided silhouette of a friend in the school car park leaning up against a car. I wanted to start the book of with images based around friends and our utilisation of cars. These next pages were organised to follow the theme around cars, starting with another image of friends in the school car park between lessons, leading to images in cars at night time.
In terms of my title, I called my book ‘home sweet home?’. This is of course a common household saying, that I have added a question mark to. Due to the fact that my home life is fairly broken and has been on and off my entire life, which makes it far from ‘sweet’. On the first page within my book I write the quote ‘family means no one gets left behind or forgotten’. This is controversial from the start, as my farther had done exactly this from my birth, which is ultimately what stems my thoughts and feelings towards a lot of my family life and the reasons for the decisions made within this book.
Here I feature a stand alone image of an ultrasound of me. This is used to imply that I am the center of this book and that this is my own representation. The inclusion of juxtaposing images, put alongside one another, help to emphasise my emotions towards certain characters within my book.
My granddad is someone who has consistently been in and out of my life, throughout my upbringing. Therefore I feature him alongside a set of spiraling stairs to imply that he has spiraled out of my life.
The first step I took to my project inspired by the work of the artists I have studied and discussed was look at my own archived family photographs. I have a huge selection taken by my parents featuring me and my brother, many appeared very informal depicting me and my brother playing and laughing at each other, which gave the ability to see the relationship between me and my brother and how it has developed. Much like any family album, these photographs share a very personal importance to me. I wanted to use photographs that depicted who I was as well as my brother in my book as a way of a candid reflection of what my childhood was like and how I felt about it. Similar to the work of Carolle Benitah I wanted to make physical alterations to the photographs to further explore the notion of nostalgia, memories and the relationships between family members, in particular between me and my brother. I wanted use their project as a way to further understand myself through the use of memories and photographs to build and develop and understanding of who me and my brother are today and in particular our differences which are created from the notion of ‘nature and nurture’.
I took huge inspiration from photographers such as Thilde Jensen, Jo Spence and Francesca Woodman, these three photographers all explored their illnesses through photography which I thought would help me come to accept my diagnosis. As Jo Spence explained, photography can be used as therapy, “literally using photography to heal ourselves.” Through taking these photographs to document my illness like a diary I came to terms with it and learnt to adapt and slowly started to be able to have a normal life again just at a slower pace than before. For me this was a difficult subject matter to explore as I try and keep it rather private, friends know about it but I try to keep it private from classmates and the general public. I don’t want people to look at me differently and I found I felt rather vulnerable exposing the one thing I do my best to hide.
My personal study is about my mother who immigrated to Jersey in 1987, from a disadvantaged background in the hopes of having a better life. My mother is the eldest child of six, who grow up in a village called Machico on the south east side of the Island of Madeira. After leaving school at the age of 9 to work on the land to provide for her family, she developed a hard working discipline. Currently, she is the breadwinner within my family working in five different jobs all within the domestic area. In my personal study I am exploring how my mum’s role as a breadwinner abdicates from her culture and stereotypical role within a household.
As a photographer, it is important for me to express details about my life to almost create a biography through photographs. I chose to use my dad for my project as his job has impacted my life since day 1. My dad is the Butler for the Lieutenant Governor of Jersey and has enabled me to have an insight into the life of royalty. My dad’s responsibilities are; ensuring the house events run smoothly, he also manages the house staff and liaises with his Excellency and Lady Mc Cole for all their requirements. I have lived in the grounds of Government House all my life and have truly honoured living here. Our tight community has really impacted my life and the way I am, as I also work as a waitress for Government House functions, I have been taught the type of service required for the Governor and his guests by my Dad himself. It was an honour to follow the footsteps of my dad and what he does at work and for the Governor to allow me take photographs of him off duty was a privilege in itself. To me, family is the most important aspect in life, it’s the root to our personality. Family is the single most important influence in a child’s life. From your first moments of life, you depend on parents and family to protect and provide for your needs. They form your first relationships with other people and are your role models throughout life. Researching into the way different photographs express the notion of home was truly inspiring and made me want to produce something that shows how my life has been
I created this photographic book called “Creation Is Destruction” as an outlet to show how not everything we see is the truth. As part of our exam project, I decided to focus on the theme of truth to be able to have a chance of telling my own version of events that have occurred throughout my life. The main theme of my photo book is the sense that when you destroy something, you forget that you are always creating something new. I used that notion to therefore allow myself to create a whole new truth about who I am, where I came from and what it all means to me. I decided to use archival images from when I was a child as well as images taken from family photo albums which I then digitalised and this is when I began my destruction process. I ripped up, stitched together, erased people and added people to my photographs to create a new truth and a new sense of reality that, at that time I still had no idea what it was going to be until I left everything I grew up with behind and started a whole new life in a completely different place.
I have explored how the invisible can be captured and portrayed through the medium of photography. And why memories hold such a powerful influence over our past, present and future. I have looked at what makes a photograph meaningful, what gives a photograph reality and how through photography the memory of a person can live on. My project focused on exploring the invisible through three female generation’s memories; this included my grandmother, my mother and myself. These distinctive viewpoints enabled my project to become more personal and really seek the depths of my grandfather’s life. I think memory is more than simply remembering a once present thought, but it is about connecting with the past in order for it to live on. We are made up of fragmented memories and forgotten dreams. Our entirety rests in the fate of old letters, burnt photographs and meaningless possessions. We never question the invisible, it is as though we are on a relentless pursuit to try and capture what we cannot see. We abide by the rules and limitations that are enforced by the concept of death. But what happens to those who become untouchable, those who are no longer part of the flux. Their existence becomes empty and lost; they are no longer perceptible to the eye. We yearn to cherish the ‘good’ memories and except the restrictions we are faced with, regarding mortality. In doing so, the feeling of life is created; the tangibility of pleasure and pain enters our worlds and consumes us. But, photographs hold heritage and meaning, they have a depth of knowledge and feeling to them.
The title of this work is phrase I would hear both my Scottish Grandparents say almost every time I answered the phone. During this project, I focused on my Scottish Heritage and the difficultly living in Jersey has bought to our relationship with my Grandparents.
Bryony’s exam project:Artificial
Being surrounded and fascinated in the prosthetic world through my parents’ occupation, I felt that this to be an appropriate area to explore under the theme flaws and imperfections. From the moment the idea sprung to mind, I knew this was going to be a challenge, being well aware it would push my abilities as an amateur photographer. However, I was firm in my decision to pursue this, making it my goal to depict the power, strength and determination of amputees, and how in-fact, their ‘imperfection’ or ‘flaw’ as some would call it, is certainly not a flaw at all. Stuart Penn, the focus of my photographs, was such a pleasure to work and a huge inspiration, giving us the powerful message that anything really is possible. I feel honoured to have had the opportunity of taking his photographs and gaining insight into his incredible lifestyle.
Eve Ozouf A Lekker Christmas
For this project I captured the highlights of my family holiday to Durban, South Africa for Christmas 2014. The images were captured in a documentary style, which is my preferred approach as I enjoy capturing family life as well as landscapes where human activity has occurred. The word ‘Lekker’ which I used to describe my Christmas means ‘good’ in the native language of Afrikaans. My photographs show a variety of environments that South Africa has to offer with its vast land including urban built up areas to the deserted African plains. Some images show the ‘Durbanite’ way of life, including where my 14-year-old cousin demonstrates how to use my grandfather’s rifle to shoot the annoyingly noisy ‘Hadeda’ birds. South Africa is full of vibrant colours and textures which I particularly focused on when producing this body of work as a photograph isn’t just about how it looks, it’s how you imagine it feeling. A lot of experimentation was used to bring out different styles of photography including slow shutter speeds to dramatise events such as the bonfire sprites floating towards the sky. For me, these images capture the quality of life South Africa has to offer and should make the viewers want to visit this beautiful country for themselves.
Oliver Sharman You’s Company, Me’s a Crowd
This photo book is in an autobiographical form, whereby I am re-enacting events that occurred in my recent life, venturing from visiting my brother at university and the hungover pain this brough, to partying and hanging out with friends in all manner of ways and the aftermath of this. So, here is an insight into me, often eventful life of a teen in the island of Jersey.
Matt Palmer: I Need A Shovel
This photobook is the story of my Granddad, the house he has lived in since the 1960s and the clearing out of the house as it is now need to be sold. The name of this project came from my Dad. Him and a couple of others when ahead to my Granddad’s house whilst I went with my Aunt to pick my Granddad up. My Dad had the job of removing the upstairs toilet, which, when it stopped working, my Granddad kept on using it until it overflowed. When my Aunt and I arrived the first thing my Dad said to his sister was ‘I Need A Shovel.’ We all found that line funny when we heard it and then that line just stuck with me.
Lots of people can see little bits of themselves when they see my granddad’s hoarding, be it from collecting newspapers, or postcards, or whatever they’ve collected, it can all be related to what my Granddad has done over the past 50 years.
It is a growing problem. The family need to sell the house as the people next door want to buy the house, however, my Granddad doesn’t want anything to go or be moved. I feel that this could be happening to lots of people across not just the UK but the world. This project will speak to lots of families who are facing the same problem.
Matt Palmer: A Little Bit Longer:
Not all disabilities are visible. You could know some your whole life and never know that they have a severe, life-long condition. On Tuesday 14th July 2009, I was diagnosed with an invisible illness; Diabetes Mellitus Type 1, a condition when the pancreas in the body loses the ability to produce insulin independently. Day to day, my life hasn’t changed; however, I have to inject myself four times a day, and manually balance my sugar levels for the rest of my life.
As diabetes is something you cannot see, it was very hard to photograph it. I took inspiration from Elinor Carucci, an Israeli-American photographer who photographed herself with her children from when she was pregnant, through the birth to her children growing up. Her work involves very revealing, close-up self-portraits to capture her emotions. I found this style to be inspiring in capturing one’s self, and adopted this style into my own.
This is the first time I have ever turned the camera on myself. You would think it would be hard, however, it was just like I was being a model for someone else, and since I’m very open, talking about my diabetes, I found it easy to show my emotions. Photographing events from having low blood sugar level in the middle of the night, to a regular check-up at the diabetes Centre, to an eye-screening at the hospital, and the different physiological outcomes I had to injure, all within one week.
Tom Rolls: Angel; The Perfect being?
With this work, I am exploring Angels in relation to the project brief “Perfection/Imperfection” which I chose as part of my A2 final Photography exam. Throughout the project, my aim was to rekindle an idea of the Angelic being in relation to different people’s perceptions; for faith, protection, happiness, balance etc. I spoke with a number of different people about their definition of an Angel and what it meant to them.
I interviewed my local church vicar who gave me a very brought insight into angels in both a religious and personal sense. I came away bewildered at the fact that Angels are a very important part of people’s lives, and realised that there is a whole other dimension to the subject. Having researched and gained enough primary knowledge, I began transforming these different perceptions into my own interpretations and pieced together a visual binding of all the ways in which an Angel spoke to me through others. I made a film which documents my journey in the sense of exploring what angels actually symbolise today, and how its image and meaning has changed over time. I hope you will also find this a journey for yourself and come away reflecting on this inner dimension from your own personal viewpoint. Are angels in fact the perfect being, or is it in fact their imperfections which make them so sacred?CONTEXTUAL STUDIES, PHOTO LITERACY, WRITING
