“The only way to truly understand another culture is to immerse yourself in it, to live it, and to breathe it.”

https://aboutphotography.blog/photographer/jimmy-nelson#:~:text=Jimmy%20Nelson%20is%20an%20acclaimed,are%20often%20overlooked%20or%20marginalized.

Jimmy Nelson was born in the United Kingdom in 1967, and because his father was a geologist, he travelled extensively during his early years. Nelson’s interest in photography was ignited by this exposure to many cultures and environments, which ultimately prompted him to seek a career in photojournalism. He trekked across Tibet with a large-format camera on his first photographic excursion in 1987, when he documented the breath taking scenery and distinctive culture of the Tibetan people. When Nelson began working for magazines and advertising clients in the early 1990s, his professional photography career took off. He travelled all over the world for his projects, recording various cultures and surroundings from Africa to Asia and the Americas. But it was his love of discovering and conserving.

Jimmy Nelson is a British photographer known for taking portraits of indigenous people and documentation of different cultures and traditions. His visually stunning images have fascinated audiences worldwide, highlighting the different cultures that are often overlooked. Nelson’s work has been exhibited globally and has featured in loads of publication, showing his ability to capture he essence f human connection ad cultural pride. The most well-known work by Jimmy Nelson is his extensive, intricate portraits of Native Americans. Vibrant colours, complex compositions, and a feeling of closeness to his subjects are characteristics of his photographic approach. To fully immerse himself in the customs and way of life of the people he pictures, he frequently stays with them for weeks or even months. His ability to connect deeply with his subjects using this method is demonstrated by the depth of emotion in his photographs.

Jimmy Nelson is known for using large-format cameras to capture the intricate details and vivid colours of his subjects. Some of the gear he has used throughout his career includes:

• Linhof Technorama 617S III: A panoramic large-format camera that allows for high-resolution, wide-angle images.
• Hasselblad H6D-100c: A medium-format digital camera known for its exceptional image quality and colour rendition.
• Leica S (Typ 007): Another medium-format digital camera, renowned for its sharpness and dynamic range.

The book “Jimmy Nelson Homage to Humanity” immerses readers in the cultures and customs of indigenous peoples worldwide. This book offers a close-up and respectful look at their environs, traditions, and practices, demonstrating Nelson’s talent for establishing a rapport with his subjects and producing visually arresting photographs. This book serves as a resource for working photographers, encouraging them to discover and capture the world’s diversity and beauty while also providing insights into the value of developing trust and comprehending cultural quirks.

• 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

Essay Question:

In what way are family photographs extensions of our memories as well as our identities?

Family photographs are special to many people because they help us remember important moments and even show who we are. They can capture every little special moment that might not feel like it is special but when looking back you realize it is, special moments like birthday parties, holidays, playing in the park, sitting together for dinner, everyday moments. People don’t realize how special a Family photos can be its not just a random photo from the past but also a reminder of how good the moments were. In this essay. I’m going to explore in what way families photographs extensions of our memories as well as our identities with Sally Mann and Nan Goldin as my references. When looking at family photos, we often have a feeling of warmth and sentimentality and remind us of happy moments with the people we love. Every little moment counts, for example, a photo of a family trip to the beach might make us remember the fun we had building sandcastles and chasing the waves. Taking photos from these little moments fills you up with great joy when looking back at them with your parents. Family photos help us remember the small details we might have forgotten.

Sally Mann, a American photographer, known for taking lovely emotional photos of her own family. She made a book called “immediate family” showing images of her children growing up both in their playful, bright times and even serious, thoughtful times. When looking back at childhood pictures from your family is like reconnecting with the feelings and memories of those times. Just like Sally Mann photos reminds her of who she was and what herself and her family have experiences. Family photos also represent our identities. They show where we come from and who we are connected with but also who were influences by such as our parents, siblings ad grandparents which tells us a story of our family’s history. Looking at photographs of family reunions with generations of family members can make you feel proud of our family’s traditions ad how everything has been passed down, which also might make you understand where you fit in the bigger picture of all generations. Looking back at baby pictures makes you realize how much you have grown and changed over time but still have that special family connection.

Family photos don’t only capture certain moments but also emotions, when you look at old photos you often remember how you felt at that time. Even though as you get older you don’t feel as exited to take photos as when you were younger you always look back at them not regretting anything at all and just thinking about the fun you had while take them which then might make you start to appreciate the importance of these moments. Another American photographer, Nan Goldin, who took photos of her own relationships in a personal way, showing strong emotions with her friends and family, capturing happy and difficult moments. She once said “I want to show people who they are, and I want to show them how they relate to other people, how they relate to their families, how they relate to their friends, how they relate to themselves.” (Reference using Harvard system of referencing) Our family pictures carry important lessons and emotion that help shape who we are and how we remember life.

Sally Mann and Nan Goldin both explore themes of identity, and the human condition, often drawing from their personal lives and relationship. While Mann’s work often centres on her children and family life, capturing memory’s, decay and Goldin’s focus is on adult relationships, sexuality and trauma. Regardless the differences, Both photographers explore sexuality and relationships. In conclusion, photographs are an important aspect of family and our identity that capture special meaningful moments, just like Sally Mann and Nan Goldin photography.

Pg 1: Historical/ theoretical

Historical: Origin, history and development of family albums
developed alongside new technology such as the Kodak Box Brownie
Theoretical: Photography’s relationship with memory

Pg 2: Sally Mann – explore how she made an album/ book about her family. Find an interview her where she talks about the book/ work
also find criticism of her images of her children (naked)

Pg 3: Nan Goldin

Bibliography: Key texts to add to your bibliography about family, memory and childhood. Read them and references them using direct quotes that yo can comment on ie. agree/ disagree and formulate a critical argument

Family in photography:
Bull, S. (2009), ‘Phototherapy: The Family Album and Beyond‘ in Photography. London: Routledge.

There is a set of excellent texts on the photography and family, but there are all too large files to be uploaded on the blog – find text here:

M:\Radio\Departments\Photography\Students\YR 13 OBSERVE, SEEK, CHALLENGE 2024-2025\Essay tools\READING

Howarth, S. (2016) ‘Is My Family Normal?’ in Family Photography Now. London: Thames & Hudson.

McLaren, S. (2016), ‘Thanks for Sharing!’, in Family Photography Now. London: Thames & Hudson

Memory and Photography:
Kuhn, A. (2003). ‘Remembrance: The Child I Never Was’ in Wells L. (ed) The Photography Reader. London: Routledge

Here are a few online articles and photobooks on Photography and its relationship with memory. You should read them and references them in your essay.

Colberg, J (May 28, 2012) Photography and Memory
blogger on Conscientious

Photoshoot 1: Female teenage stereotype

For the first photoshoot I am planning to get a group of friends to drive to a location where we can take photographs in a outdoor setting with good lighting. I will use the school camera to insure I get good quality images rather than using my phone. I am planning to go at a time where the sun is setting but the lighting is still good for images. I also will try and get images in the dark as well after the sun has set.

Teenage Stereotypes

This photoshoot was based in Gorey at around 4-6pm where I took images in a carpark, park and on grass fields. I got a few images which included a group of individual but most images tended to focus on one person as the model. My images also aimed to be inspired by a few of Justine Kurland’s photographs by making the photo based in trees, grass areas and open spaces. The lighting in the images work really well to create a warm and happy feeling to the images. the use of the sunset creates a soft tone and makes the lighting of the images a lot better.

This image above is also one of my favourite images as it brings a sense of happiness to the image and I also really like how the lighting turned out. I think this link really well too teenage stereotypes as it explores the theme of friendships and you are able to see the enjoyment being shown by the face expressions.

1. Research a photo-book and describe the story it is communicating  with reference to subject-matter, genre and approach to image-making.

‘The Americans’ – Robert Frank, Published 1958.

“The Americans” is Robert Frank’s vivid firsthand reportage from the contradictory and out-in-the-open society of America in the 1950s: alienation, social rifts, and chasms between the American dream and reality. Here indeed is the documentation of life, through unpolished, often unorthodox images, with grainy, blurred compositions and odd views where even the emotional intensity is powerfully felt in the visual representation. A documentary style mixes personal vision and brutal facts: an aesthetic deprivation in full strength with a critical, nuanced view of America.

2. Who is the photographer? Why did he/she make it? (intentions/ reasons) Who is it for? (audience) How was it received? (any press, reviews, awards, legacy etc.)

Robert Frank, 1924 – 2019.

Robert Frank created The Americans for a personal, critical view of American society, a reaction to the gulf between glamorized imagery and lived social realities. He was intent on assaulting the conformity of 1950s America, with a special focus on the racial and economic disparities that he believed the country bred. The book was targeted at just about anyone, but especially the people who were in doubt about what postwar America stood for. Reaction was mixed at first: some hailed its innovation, while others spurned it as a false view of America. Over the years, it became one of the most talked about works in the picture world, transformed the documentary photograph, and made Frank’s name as a pioneering visual artist.

Sources:

Robert Frank: The Americans

https://blascontextnarrative.wordpress.com/2016/01/08/robert-frank-the-americans/embed/#?secret=J8QQCj8dFP#?secret=KFk0QbuTtW

https://www.moma.org/artists/1973

3. Deconstruct the narrative, concept and design of the book and apply theory above when considering:

• Book in hand: how does it feel? Smell, sniff the paper. -A book smells like a delicate blend of fresh paper, ink, and time—an earthy, nostalgic scent that mingles the crispness of the new with the mustiness of the old.

• Paper and ink: use of different paper/ textures/ colour or B&W or both. -In The Americans, Robert Frank uses black-and-white photographs printed on textured paper, enhancing the raw, gritty realism of his documentary style.

• Format, size and orientation: portraiture/ landscape/ square/ A5, A4, A3 / number of pages. –The Americans is a large, landscape-format book with 83 photographs spread across 128 pages, allowing Frank’s images to have a wide, immersive impact.

• Binding, soft/hard cover. image wrap/dust jacket. saddle stitch/swiss binding/ Japanese stab-binding/ leperello – The Americans has a hardcover binding with a dust jacket and uses Swiss binding, allowing the book to open flat and display its photographs with durability.

• Cover: linen/ card. graphic/ printed image. embossed/ debossed. letterpress/ silkscreen/hot-stamping. -The cover of The Americans is made of cardboard with a printed image and embossed title, reflecting the raw, simple aesthetic of Frank’s work.

• Title: literal or poetic / relevant or intriguing. – The title The Americans is literal, referring to the subjects of the book, yet intriguing as it suggests a deeper exploration of the complexities and contradictions within American society.

• Narrative: what is the story/ subject-matter. How is it told? -In The Americans, Robert Frank tells a story of postwar America through raw, black-and-white photographs that capture moments of alienation, social tension, and vulnerability, offering a critical and fragmented view of the nation’s complexities and contradictions.

• Structure and architecture: how design/ repeating motifs/ or specific features develops a concept or construct a narrative. –In The Americans, Robert Frank uses a deliberate structure of seemingly unconnected, yet thematically linked, images to create a visual rhythm that reflects the fragmentation and diversity of American society, with repeating motifs such as shadows, reflections, and isolated figures reinforcing the themes of alienation and social disconnection.

• Design and layout: image size on pages/ single page, double-spread/ images/ grid, fold- outs/ inserts. – In The Americans, the design and layout feature a mix of single-page and double-spread images, with varying image sizes that create a dynamic flow, while the use of sparse grid-like arrangements and occasional full-bleed photographs enhances the emotional impact, allowing the viewer to experience the narrative in a way that emphasizes both intimacy and expansiveness.

• Editing and sequencing: selection of images/ juxtaposition of photographs/ editing process. -In The Americans, Robert Frank’s editing and sequencing of images carefully juxtapose moments of stark contrast, such as joy and despair, to highlight the tension and complexity of American life, with each photograph chosen for its ability to convey a deeper narrative, while the overall sequencing creates a rhythm that intensifies the emotional resonance of the book.

• Images and text: are they linked? Introduction/ essay/ statement by artists or others.  Use of captions (if any.) -In “The Americans”, Robert Frank links images through sequencing rather than captions, allowing the photographs to speak universally, while Jack Kerouac’s poetic introduction provides a thematic frame, inviting viewers to interpret the fragmented reality of post-war America on their own terms.

UNDERSTANDING PHOTOBOOKS:
NARRATIVE, EDITING, SEQUENCING, DESIGN, FORM, FUNCTION