15 December 2024 Mr Toft Leave a comment
DEADLINE: Essay Introduction-Pg 1 Draft MUST be handed in Monday 20 Jan 2024
DEADLINE: Final Essay MUST be handed in Fri 31 Jan 2025
Copy this essay plan into your own blog post, titled: Essay Draft:
Literary sources: Go to this blog post here: Theory: Literary Sources and copy relevant key texts relating to the subject of your essay and list in alphabetical order in your bibliography. In addition, find your own key texts in relation to artists selected for in-depth analysis in your essay and list these too. These texts could be interviews with the artist, or reviews/ critique’s written by others. See useful online sites/ sources here .
- 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, page number to be used for in-text referencing etc.
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.
possible-essay-questions-to-investigate
Some examples of Personal Study essays from previous students:
Essay Plan
Make a plan that lists what you are going to write about in each paragraph – essay structure
- Essay question: Can truth and realism be shown through photography?
- Opening quote
“Photography is the truth. The moment you capture it, you preserve the reality, but only for an instant.” – Henri Cartier-Bresson.
“To photograph is to hold one’s breath, when all faculties converge to capture fleeting reality.” – Henri Cartier-Bresson. - Introduction (250-500 words):
This quote by Henri Cartier-Bresson (xxx) captures the essence of photography’s power to freeze a moment in time and preserve its reality. However, it also raises a critical question which I will be addressing in this essay – can truth and reality be conveyed through photography, or is it inherently subjective? Photography as an art form, is often regarded as a representation of the truth, and a powerful method to document the world visually and to use these images to further enhance our understanding of the world. Yet, the fact that it is a photograph means that decisions have already been made along the way, including the way photographers choose to frame their subjects, the way they choose to edit, and the stories they wish to convey which can influence the way the truth is captured and preserved. I am fascinated by how closely photography can document reality and how modern photography techniques can uncover further truths.
In this essay, I will explore the work of two influential photographers – Cartier-Bresson and Jeff Wall, to examine how each of them address the notion of truth and realism, from differing standpoints of spontaneous versus staged. In addition, I will demonstrate how their work has influenced my work, with a series of photographs showing an injured basketball player and to what extent his truth can be accurately represented in staged photographs. Cartier-Bresson’s (1952) concept of the ‘decisive moment’ suggests that truth lies in spontaneous, unposed moments of street photography that convey deep meaning and uncover the essence of life. But they too remain filtered through his own personal perspective, his specific eye for ‘the best moment’ which was built on his years of experience.
Jeff Wall uses street photography but he stages all of his photographs.
In contrast to this spontaneous approach, Cindy Sherman chose staged self-portraits which challenged the notion of realism, using photography effectively to challenge and deconstruct identity, demonstrating that reality is not a passive experience but it is actively shaped by human actions, behaviours and interpretations.
By discussing the historical context and by analysing their work, this essay will argue that while photography can preserve truth in an instant, it is still ultimately shaped by the photographer’s own perspective, intention, choices and the viewer’s interpretation. All of which is valid and important work which cannot be underestimated if human knowledge is further challenged and expanded.
Historical/theoretical context
Photography, since its invention in around 1820 (?) was developed from scientific experimentation with early processes like the daguerrotype (??) and the calotype relying on chemistry and optics to capture light and importantly, preserve long-lasting images which had not been able to be done before with success. This scientific foundation positioned photography as a medium capable of recording reality with unparalleled precision like never before. Many early users photographed scientific images, eg microscopic images and photography became a tool combining science and art. It continues to be used today to document science, with techniques such as long exposure to capture lightning strikes or star trails. Ironically, science is now used to study photography and art, using techniques such as infrared imaging, ultraviolet fluorescence and X-rays to reveal hidden details in artworks, popularised by TV programs like BBC Fake or Fortune to authenticate works and uncover forgeries. It’s also used to analyse background data contained in digital photographs for forensic work, often used by police and insurance companies to uncover the truth eg. when a photo was taken and if it has been manipulated. Science in photography therefore has come full circle from its origins to uncover truths never previously seen or proven. Photography evolved from its early origins to be both a documentary tool and also an artistic medium which reflected broader cultural and artistic movements. The Realism movement of 19th century emphasised depictions or ordinary life, not romanticised but raw and gritty, often to highlight injustice or poverty and encourage social reform. Photography demonstrated Realism in works by Jacob Riis (???) who documented New York’s social housing, with the aim of social reform and improved conditions. Following on to the 20th Century, Modernism encouraged more abstract and subjective expression rather than just gritty reality, and is seen in Henri Carter-Bresson’s work which will be explained in more detail in the next section. His work captured reality in an instant through his framing and timing. Another photographer, Walker Evans (??) was a pioneer of documentary photography and he emphasised stark depictions of the American Great Depression, his most famous work being ‘Annie Mae?? add in date/ or. Whilst his work demonstrates the ability to record societies truths, his portraits were staged constructs. By mid 20th century (??) Postmodernism began to challenge photography’s claim to documenting truths altogether. Cindy Sherman, who will be analysed in more detail later, staged self-portraits to deconstruct stereotypes (add in famous work). Sherman showed how photography can manipulate reality, therefore it’s not real at all but an aid to expose hidden ideologies.
Critics and historians use methods such as cultural critiques, formal analysis, and semiotics to study photography. Semiotics, particularly rooted in theories by Roland Barthes (1957) explores how photographs function as integrated systems of signs which can reveal embedded ideologies. This is particularly relevant to my essay question of whether photography can depict truth, because a photograph simultaneous records reality whilst also constructing a perspective. It’s a juxtaposition which I find intriguing and there is no other medium which is able to do this better. The other layer which must be discussed is the way the photograph is received by the viewer – photographs were originally physical items to view but most photographs nowadays are viewed digitally through a screen. We know from debates online (the Blue/Black dress) that viewers receive images on various screens and can interpret them differently so there is no guarantee that a photographer’s intention follows through to what the viewer ultimately receives. - 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. to Be completed
Tableaux
A short PPT on Tableaux Photography
Bull, S. (2009), ‘The Photograph as Art’ in Photography. London: Routledge.
Bate, D. (2016) ‘Pictorual Turn’ in Art Photography. London: Tate Galleries.
a text about how Tableaux has been influenced by Pictorialism.
Cartier-Bresson, H. (2003) Henri Cartier-Bresson – The Mind’s Eye: Writings on Photography and Photographers. New York: Aperture.
“Your first 10,000 photographs are your worst.” – Henri Cartier-Bresson.
“There is nothing in this world that does not have a decisive moment”. – Henri Cartier-Bresson.
‘Behind the Gare Saint-Lazare (1932) – Henri Cartier-Bresson.
‘The Destroyed Room’ – Jeff Wall.
BBC Fake or Fortune – Aviva at the Courtauld Institute.
Walker Evans –
Hoops, Shattered Dreams.
The young girl from Schindler’s list in the red coat.
Guardian ad 1986 – 3 Points of View advert – YouTube.
Metadata – Showing how the photograph was taken, where, when, what time, what specifications were used and set to on the actual camera.
Blind Man- emotional connection
Bruce photos I choose
Blue/Black dress
Jacob Riis
Daguerrotype
Calotype
Essay writing: Here is a link to another blog post which will provide you with guideline about how to structure each paragraph in your essay.
Use of AI / ChatGPT – go to this blog post here for guidelines.