The first set of images I began to experiment with were digital archived images that my parents found of me and my brother, as well as singular images of my brother or with his friends from childhood. I imported these onto the computer from my phone and began to experiment with them in Photoshop using different techniques.
My initial idea going into this was to create adaptations to the images and convey a message of concealing his identity to protect him as these images are of me and him at vulnerable ages, susceptible to different kinds of traumas and the risks within the world that parents try to protect their children from. These images reflect a time of innocence and naivety to connote feelings of nostalgia. A very affluent theme within my personal study is looking at memories, so by making adaptations to these archived images that are associated with core memories from childhood, it changes the meaning behind the images to think back to how my brother used to be before this illness completely changed his identity. This also is representative of how these core memories with my brother are something I think back to all the time and reflect on the person who he used to be in comparison to now where the entire family dynamic has been altered.
However, although I am using family albums in my personal study, I still need to ensure that the image isn’t too under-exposed or over-exposed as I need to ensure I am using effective images.
My first few experiments are inspired by the aesthetic of the ‘unknown user’ profile pictures that people typically use when trying to be anonymous. This is because I think that this is an effective way to show how my brother is not the person who he once was, and demonstrates how he may feel out of touch with himself or like another person because of how much the illness has deteriorated him. This anonymity also contributes to my idea of showing the stigma surrounding men’s mental health in a subtle and muted way as it could be interpreted as hiding away due to a diagnosis due to the perception that men shouldn’t be emotional or speak out about their mental health.
What I began looking at was empty silhouettes of my brothers face, using the Lasso tool in Photoshop to create my selection and delete it to reveal a plain white background. I then added the gradient tool to the white page so that this would be shown through the selection, instead of being this cut out as a block colour as this looked too strange and was very plain.
This experiment didn’t really align with the concept of memory
Whilst I did like this idea of total concealment, I found that the image still looked quite plain and didn’t really convey the message in a clear way. Even though there was a gradient in the image, it still looked very flat and not very interesting, even if I changed the colour it looked quite odd.
I then attempted this again with another image, however this time I included the strands off hair that were laying on his face as this would not only add more texture to the image, but make it look more detailed and intricate rather than being a flat and simplified cut out. I also repeated this method with the same image I used before so that I could see if the images would link together and work cohesively.
Whilst this looked better, I still was unhappy with itAnd this one too due to it looking too false
I preferred the way this looked more, however the cut out still looks very exaggerated and dramatic and I feel like this has the possibility of taking away from the ‘memory’ aspect of the image as it doesn’t have that soft touch to it. However, I may still use these as I feel like it looks like an anonymous user profile picture which I could use to link to the present. However, I am going to have to think about this after I begin taking my other photoshoots to see it aligns correctly with my other ideas.
I didn’t really like these experiments that I created so I decided to try a different approach with this method where his entire body was surrounded instead.
I repeated this process again with another image as I felt that it would work very well with this technique:
I think that this was successful as it balances the aesthetic of the image instead of looking out of place.
I began thinking about the other ways I could represent anonymity and concealing identity in a way that I thought would be not only more accurate to the techniques that people usually use to remain anonymous, but would also have a softer touch to them to keep the same tone of nostalgia and protection as well as the aspect of remembrance. I did this because it means that I can include a variation of these methods in my final photobook.
I began playing around with the idea of pixilation. There wasn’t a tool for this in Photoshop so I began by using the rectangle tool to make reasonably sized squares to begin covering my brothers face. I also used the eyedropper tool to select the different tones of my brothers skin and hair so that the pixels looked accurate. I had to make sure that both the fill (the box) and the stroke (the outline) were the exact same colour so that this wouldn’t look strange and actually looked as if his face had been really pixelated.
I started duplicating them and then changing the colour to make sure that each of them were the same size.
Whilst I was beginning to experiment with this, I realised that the resolution of the image was quite poor, and whilst I am using the snapshot aesthetic, the image was still quite blurry and out of focus. I decided to go back to the image that I used before as I wasn’t too fond of the initial outcome anyway, and the composition of the image was nicer too, for example I’m wearing pink whilst my brother is wearing blue.
I repeated this process continually over my brothers face until I thought that the shape and size of the cluster worked proportionally. This resulted in a large amount of layers:
Experiment 4 – I was really happy with this edit
Similarly…
Experiment 5
I didn’t really like the edits I made on this experiment as I felt that the pixels were too large so I attempted this again using smaller cubes:
I pixelated this image of my dad and brother playing pool on holiday when he was younger. Whilst the resolution isn’t as great as I would’ve liked, I am still going to use this image in my photo-book because it acts as a contextual cue for my images containing the keyring of a pool ball. This way, I can imply how my brother’s mental health restricted him from continuing with his hobbies, and I feel that this will be a very reflective way of what my brothers personality used to be like and his different interests.
I repeated these two methods in several different images to have an element of consistency in my photobook. I also experimented with cutting out just my brothers face and also his body to still keep them differentiated.
Experiment 6
I found a few images of my brother in his football kit so I can enforce the same contextual cues.
I am also going to use these two images to pair them with my second photoshoot that took place at the same beach to show context:
To what extent is Henri Cartier Bresson’s theory of the ‘decisive moment’ a true representation of reality?
To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression – Henri Cartier-Bresson, “Foreword”, The Decisive Moment (1952)
What does photography really capture? Is it the essence of a moment? Is it the emotions of a scene? Or is it simply just an image? Photography as an art is such a subjective genre. Within photography, there is a multitude of different styles of how images are presented, for example, portraits, landscapes, documentary etc. Even these categories have different approaches that can be taken. My project focuses on the documentary style photography. But what actually is it? Documentary photography is a way to tell stories through only an image, it portrays the contrasting lives of the ordinary people around us. Documentary photography can be seen in many different forms such as street photography, photojournalism, reporting and others. My investigation will consist of exploring and documenting the same people/ groups of people, my friends and family – socially and isolated, but in different environments and situations. Although my images will use the same subjects, the photographs will be portraying the different parts of their lives, and in some way reflecting who they are, which is the narrative of my project. I have decided to take my images in the documentary style because I find that these images are the most authentic, however the reason I will be photographing only those close to me, rather than outsiders like street photography does, is to add a personal touch to my project. This way, my images will have consistency as well as being captivating, with each photo you will discover and learn more. This project discusses street photography, photographers whose work is based on street photography, as well as my own interpretations and my own photographs produced. To take good documentary style photographs, you need to be able to observe the environment you are in and decide what would be the shot that will capture people’s attention. This means ensuring the composition, the light, the atmosphere of the scene are all what would make the most aesthetic, perfect image. This process of image making is known as the ‘decisive moment’ by Henri Cartier-Bresson.
Henri Cartier Bresson was a well-known, French artist and photographer, best known for his candid photographs and street photos. Cartier-Bresson grew up in France with a wealthy family and from an early age, was introduced to the arts. This led to his first interest in painting until he discovered photography. Then his passion was solely photography, he saw it as an extension of drawing and an extension of the eye as he could capture exactly what he was seeing. He also used the description, “like hunting but without the killing”, to describe the art of photo taking. He then went on to travel around Europe and Africa to dive into other culture. Which then inspired his view of life which became ‘photography isn’t just about images; it’s about capturing the essence of existence’. This helped him to form his philosophy of the ‘decisive moment’. The decisive moment is the point in time where an image builds itself, where all elements and components come together, the scene is the exact right shot, so you shoot.
Henri Cartier-Bresson Behind the Gare St. Lazare1932
This photo, by Henri Cartier-Bresson, was taken behind the Gare St. Lazare, train station. The image miraculously captures the moment that this man jumped over a puddle of water. Because the man is mid leap, in the air, it is as if the photograph was planned, it almost seems too perfect. However, as we know from Bresson’s line of work, it was not planned which makes the image all the more intriguing. The background and foreground of this shot are also part of the reason that the image is as good as it is. Things such as leading lines, balance, framing and rule of thirds also make this image what it is. The leading lines in this photo can be seen going horizontally, along the gate and the reflection of the gate in the water. The positions of the leading lines guide you your attention, subconsciously to the leaping man as he is in between. Another aspect of the image which leads you to look at the focal point of the image, is the amount of negative space at the top and bottom of the image, this shows that there isn’t too much going on in the image, overbearing the viewers. Also, due to the puddle anything in the background of the image, is reflected causing a symmetrical middle ground to the image. The rule of thirds also adds to this image, this is because the man is in the right side of the frame separating him from other things going on in the shot but also, he is travelling in the same direction adding to the total composition.
I think that the theory of the decisive moment is a clever way of image making, this is because the images that are being produced from it, capture people in moments of ignorance, they are unaware they are being documented, or they are but they are caught off guard keeping their behaviours unchanged. Because of their unsuspecting state, this means the snapshots of them are all natural with no manipulation, making the images seem so genuine causing them to be intriguing. Since you don’t learn anything about what is really happening, you are left with questions that you ponder on or even make up the answers to in your head, making your own storyline to the image. Because of these reasons, I believe that the decisive moment is a true representation of reality as the photographs produced are candid shots, no staging, no manipulation, just the scene and the camera, adding a sense of vulnerability.
Tom Wood has a variety of projects around street photography, photographing people on the street, in pubs, clubs, markets, buses, essentially, anywhere, and everywhere. Wood’s photos portray moments which have not been interfered with or staged, they are all naturally occurring images, meaning they are an authentic representation of the people in the images. Tom Wood spent a lot of his times taking the bus, which is what prompted him to take some of his best-known images. He would sit on the bus and shoot images of the strangers sharing the bus with him or of strangers out of the windows shooting pedestrians, buildings, traffic etc. When describing how he would take his images, Wood said, “I don’t think about it. The whole point is not to think – but more to feel, to be open”. This was his way of having the confidence to photograph these people he never knew, and to get his images pristine.
Tom Wood differs from Henri Cartier-Bresson’s style, the decisive moment, as he described his image making style by saying “I would just put up the tripod, open the lens and then wander around with a flash gun, not knowing how the photographs would turn out”. Whereas the decisive moment is about choosing when to shoot, paying attention to the details and shooting when the scene in front of you is the perfect image. Rather than looking through the lens, observing the details, Tom Wood would shoot quickly and whether or not the shot was good, would depend on chance.
For this project, my photographs are being captured using a mix of both Tom Wood and Henri Cartier-Bresson’s strategies of photography. In most cases, I follow the theory of the decisive moment, I observe my scenery and shoot the image when I think all components have come together. Although, in some environments, I will take a photograph of what is in front of me without looking through the lens for long, I will watch what is happening and take images and decide after the shoot if the photographs turned out how I had hoped.
The second artist I have taken inspiration from is Andrew Kung, whose work is centred around portraying the lives of Asian American people. His specific project that has inspired me is ‘Dreaming on the Hudson’. The photographs from this project are documentary style, capturing the activities of young Asian men. The photographs produced in this project are staged situations of the men, plastered around in different settings of the Hudson River. Although the images were taken in the same location, Kung explored all of the different areas around the Hudson, allowing each individual photograph to be unique in its own way. For example, there are images in a field, the water’s edge, grassland etc. Even though the images are staged, they are taken in a documentary approach as the subjects don’t engage with the camera directly, they let themselves be documented.
Kung’s work and manner of shooting images differs from Henri Cartier-Bresson’s theory of the decisive moment, while sharing little similarities. Unlike the decisive moment, where the images produced are about the unpredictability of the moment, Kung’s image making is the opposite. The photographs are of arranged scenes, creating a cinematic feel to them. Although Cartier-Bresson’s images can have the same feel, his images can also be described as more chaotic, as they are captured in a moment of time that may not be captured again. Another difference between their photography style, is that Andrew Kung’s work is reflecting a message and meaning – “Through my images, my aim is to normalize Asian American beauty, belonging, and individuality. I often investigate themes of masculinity, family, intimacy, and what it means to be American“.
In my own project, I have taken inspiration from the aesthetics of Kung’s images, rather than his message, and have my own meaning behind the images. My aim is to highlight the idea that every individual has their own unique life, and to show a snippet of the lives of those close to me. The photographs taken of my friends are the ones that most reflect Andrew Kung’s images. This is because of the locations used and also due to how I have presented them in the images. In contrast to Andrew Kung, the majority of my images are not staged, I observed my friends socialising as normal, and shot images of them, apart from a few times where I directed them to perform a certain action to capture a better shot.
To conclude, I think that Henri Cartier-Bresson’s theory of ‘the decisive moment’, can be considered as a true representation of reality to a large extent. This is because, what the camera captures in the moment, is the exact scene in front of you. In terms of Cartier-Bresson’s photographs, it is a true representation of reality as he is not manipulating the images, they are authentic. Similarly, Tom Wood’s photographs, even though he didn’t shoot his images with the decisive moment in mind, in certain ways, both techniques share similarities, causing Wood’s work to also be a true representation of reality. However, Andrew Kung’s project consists of staged images, creating a false reality on the surface, but the true reality of the image is the meaning behind it. When taking my own images, during the photoshoots I would take multiple images while a scene unfolded in front of me, the final images produced are the ones where all of the components came together. As discussed previously, my images and procedure of image making have similarities and differences with Henri Cartier-Bresson’s as well as Tom Wood and Andrew Kung. In summary, I followed Cartier-Bresson’s theory of ‘the decisive moment’ to a certain extent, as I ensured all elements of the image were at their prime when taking the image. With Tom Wood’s photographs, my images share similarities in the sense that they were all documentary images, even though Wood didn’t prioritise that the style of his images were documentary, I recorded the lives of those close to me and he reordered the lives of strangers in his town. Although, the difference between my work and Wood’s is that his work is street photography, whereas my work is less of that. Finally, my work is similar to Andrew Kung as a big part of my work is focussed on my friends who are youthful, like the people he photographed in ‘Dreaming on the Hudson’, also I find that the appearance of my images are similar to his. Oppositely to both Tom Wood and Andrew Kung, my final images are presented in black and white, whereas their photographs are bold and bright in colour. Each of these artists have a different approach to photography, and a different reason behind their work. In spite of this, in some sense, they all portray reality through their image, which is what my own photographs are intended to do.
In this photoshoot I wanted to take a more masculine approach, just how Justine Kurland had the girls be more masculine in her book. I took images of my friends fixing/ adding things to there cars. This also relates to my identity and my youth, because my uncle would do this all the time when I was younger and I would watch and try to help.
Contact Sheet
The images that are highlighted green are the images I have chosen to edit, because they have the best composition and lighting.
Edits
I edited this image by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image was slightly less exposed, as the lighting was slightly too harsh, due to the sun.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image has better lighting and is more vibrant.
I edited this image by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the lighting was better in the image.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image was more vibrant.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image was vibrant and had better lighting.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image was slightly less exposed.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the lighting was better.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image is more vibrant.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image is slightly more exposed, so that the lighting is better.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the lighting is better and the image is more vibrant.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image was slightly more exposed.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image is slightly more exposed.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the lighting is better.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image is slightly less exposed, so that the lighting is better.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image is more vibrant.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the lighting is better.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image is slightly less exposed, so that the lighting is better.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image has better lighting.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image is more vibrant.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image has better lighting and is more vibrant.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image has better lighting.
I edited this image, by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image is slightly less exposed and is more vibrant.
These images relate to Justine Kurland’s work, as they have a similar outdoor and more cloudy weather, rather than a bright summers day. The setting of her images is important, as it sets the story of the runaway teens, so I have experimented with a similar setting to her. However, I have also experimented with more sunny images, because in my youth I did more activities when the weather was better, so I wanted it to fit my theme of my own personal youth.
I have also tried to take on board the concept of the ‘runaway’ girls by having a bag as a prop for one of my models to reach into. The bag is all she has and is and has the contents of what she uses in her everyday life.
In Justine Kurland’s images here you can see a suitcase and a backpack, which sets the scene of the runaway girls, which is what I have tried to replicate using the bag in my photograph and the setting of the photograph. The setting of the photograph looks like a place where homeless people would go to get shelter from the cold and rain, so I thought this setting would be a good place for me to try and recreate the runaway narrative.
I also wanted to include my dog in the photoshoot, just how Justine Kurland had dogs in a few of her images. I also wanted to use my own dog, as I have grown up with her and she has been a part of my youth and is therefore a part of my identity.
I also created a similar image to the photograph of the girls running down the road.
How does this relate to the themes of youth and identity?
This photoshoot relates to the themes of youth and identity, specifically my youth and identity, because my models and I visited the beach next to kiosk, which is a beach I used to go to a lot when I was younger. I also still go to the kiosk quite regularly now, so it was a great place for a photoshoot for this topic. I had my subjects pose sat on the bench on the slipway, as this is where we sit during summer, as well as up on the rocks. We also visited the shed that we used to go last summer, but it is now a lot more destroyed than it used to be, probably due to the storm, so we weren’t able to sit in their, but I did manage to get some images of us exploring it now. I also managed to get detail shots of the newspapers that were left there, that date back to 1900, which we all used to look at and found very interested during our youth.
In comparison to Jeff Wall
In this photoshoot I explored more simplistic narratives, similarly to Jeff Wall, such as just sitting on the beach, rather than having my subjects do more complex activities, like climbing trees etc. Instead of focusing on the narrative, I focused more on the visual elements in my photographs, just like Jeff Wall does. An example of a visual element that I focused on was texture. I displayed the texture in the photograph below by using the textured setting of the rocks. I also experimented with the tone and colour in this image as well, especially with my editing, by making it more vibrant.
Analysis of 1 Image
In this photograph there was two types of lighting used in this image, which was natural daylight, as well as the flash on my camera. I had to use two types of lighting, because it had started to get dark when these photographs were being taken. There were also high levels of control in this photo, as I manipulated my subjects, as well as the location and distance I was from my subjects. I did this in order to create the best composition I could. However, I had little control over the setting and the lighting, due to it being a natural environment. There are also a lot of darker tones in this image, due to the darker lighting, but because of the camera flash there were some lighter tones, especially in the clouds, which created contrast between the setting and the subjects.
There are also lots of neutral colours in this image, such as grey, blacks, white and beige, so this image isn’t very vibrant. There is also quite a bit of texture in this image, which can be seen in the shapes of the clouds and the footprints left in the sand, which gives the image a more 3D sense. The main viewpoint of this image is the two subjects in the centre of the frame in the foreground of the image.
This image is similar to one of Justine Kurland’s images from ‘Girl Pictures,’ where two subjects are running down a road. My image relates to the themes of youth and identity, specifically my youth and identity, because I used to visit Kiosk beach and sometimes still do with my friends, which is where the setting of this image is, so this image presents my identity, because it presents a part of who I am and what I enjoy doing in my free time.
Photoshoot Conclusion
Overall, I think this photoshoot went well, because I was able to take images with my subjects, as well as being able to take landscape and detailed images, such as the images taken of the newspapers. This will allow me to be able to have a range of differing images in my photo book, so I can have a more aesthetic layout.
I was also able to explore more activities I did in my youth, or still do, which also allowed me to explore my identity during my youth and my identity and how it has changed now. I also got to experiment with my composition a little bit, by positioning and directing my subjects. However, I would like to experiment with that some more.
In this photoshoot I was also able to experiment with my camera skills, including adjusting my exposure, as it continues to get darker and experimenting with shutter speed to create movement in a few selected images.
In my next photoshoot, I would like to experiment with compositional elements a lot more, such as rule of thirds and more visual elements, such as tone and texture etc. I also want to include more compositional methods that Jeff Wall has used in some of his photographs. Next time, I would also prefer to take photographs earlier on in the day, so it is not as dark, so that the lighting is better in my photos, as I would not need to use the flash.
Both contemporary aspects of photography; documentary and tableaux, are paramount for encapsulating a specific scene which conveys a particular time frame in history. Although, the two photographic techniques maintain a common purpose, the method behind using one is a completely different prospect
Essay plan
Introduction (250-500 words)
This essay discusses and compares two aspects of photography; documentary and tableaux, in their unique ability to entice and seduce the viewer to comprehend the story that is being told. Both photographic methods attempt to convey a story in a historical timeframe; documentary photography is often used in reportage (Tate Gallery) in comparison a photograph that uses tableaux can feel pre-planned and hence reproduced. Although, the two techniques maintain a common purpose, the method behind each one is completely different. More recently it has been argued that some photographers such as Tyler Mitchell and Justine Kurland fuse together both the real with the imaginary.
Essayintroduction: convert draft introduction to final version.
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.
What is documentary photography? Photographing people, events, places etc to create an accurate record or story. Traditionally for highlighting issues and for promoting change (Tate reference). However it can also be used as an art form. It is similar to, though not the same as reportage photography.
What is Tableaux photography? Tableaux photography is staged, often posed, people in the photographs may be wearing costumes, props may be used along with artificial lighting to create a scene. Tableaux photography is an evolution from art, for example Renaissance paintings depicting scenes from the bible or mythology. People in tableaux photographs are staged such that they appear to be absorbed in their actions or surroundings and unaware of the photographer. (Tate and felix pilgrim).
Above – Last Supper painting by Leonardo da Vinci and tableaux by doctors at a hospital in Paris during the Covid pandemic (artnews.com)
How are they similar/dissimilar?
Documentary supposed to show ‘reality’, whereas tableaux is artificial and posed
Documentary used to record events and can be used to try to influence (for example depression era photographers such as Dorothea Lange (smythsianmag.com)) whereas tableaux is often for artistic purposes, but may also be used for social or political purposes.
Subjects in documentary may or may not be aware that the photograph is being taken, however if they are aware there is a possibility their expression and stance may be influenced by the photographers presence (niemanreports.org). Subjects in tableaux are, by definition, aware they are being photographed, and may be instructed by the photographer to pose in a particular way.
Use information gathered in previous blog posts, or use hyperlinks below, in relation to Art Movement and Isms relevant to your artists references and their work.
Select at least two quotes from your literary sources that you can incorporate into your paragraph.
Your paragraph must include visual examples of artists work within that art movement that is relevant to your Personal Study.
Consider content and instructions below
Complete Paragraph 1 and upload to the blog at the end of lesson
Paragraph 1 Structure (500 words): Use subheading. This paragraph covers the first thing you said in your introduction that you would address.The first sentence introduces the main idea of the paragraph. Other sentences develop the subject of the paragraph.
Content: you could look at the following…exemplify your hypothesis within a historical and theoretical context. Write about how your area of study and own work is linked to a specific art movement/ ism. Research and read key text and articles from critics, historians and artists associated with the movement/ism. Use quotes from sources to make a point, back it up with evidence or an example (a photograph), explain how the image supports the point made or how your interpretation of the work may disapprove. How does the photograph compare or contrast with others made by the same photographer, or to other images made in the same period or of the same genre by other artists. How does the photograph relate to visual representation in general, and in particularly to the history and theory of photography, arts and culture.
Above Dorothea Lange ‘Migrant Mother’ – example of documentary photograph taken during the Great Depression in USA during the 1930s. The composition draws your eye to her face, which is tired and shows she is worn out.
Paragraph 1 structure (use subheadings) (historical and theoretical context- how is your area of study links to the specific art movement- read key texts from critics, historians and artists, us quotes, evidence back up if can with photo. Explain how image supports the point made, how does the photo compare/contrast .
First photographer (put one of two or own pictures too)
Tom WoODS
Tom Woods became known as the ‘Photie Man’ as he was often seen around Liverpool and Merseyside in the 80s and 90s taking photographs of the people and events he observed around him. studiointernational.com. Tom Wood’s approach was to document everyday life, normally through candid, street, photography, although in some of his photographs his subjects were aware he was photographing them. Interestingly he says that he is not a documentary photographer, although this is what he has undeniably done: ‘I’m not trying to document anything ….. I’m only interested in good pictures, if it’s a document then it’s a bonus’.
Above – Tom Woods ‘Finding a Pair’ – photograph of women at a second hand shoe stall. use of classic ‘rule of thirds’ composition
Second photographer (put one of two or own pictures too)
paul M smith
Paul M Smith is a British photographer who has produced several sets of images on the theme of masculinity. While his photographs appear to have the theme of documentary they are actually posed, and a large amount of effort has gone into capturing and editing the images in which, he, is often the only person in the photographs. Thus making these tableaux photographs.
It is interesting to juxtaposition images from his ‘Artist Rifles’ series alongside Robert Capa’s iages from taken during the Spanish civil war. In Artist Rifles Paul M Smith takes self portraits of himself dressed as different soldiers and uses digital photomontage to create fictional military scenes (some of which are relatively graphic, such as execution and burials).
Above Paul M Smith photograph taken as part of his Artist Rifle series. In this photograph each of the soldiers is posed by Paul M Smith himself and the image put together as a photomontage. While having the appearance of a documentary image, it is entirely posed and fictional.
Robert Capa was a war photographer who documented the Spanish Civil War and the Second World War, was an acclaimed documentary photographer. One of his most famous images depicts the shooting of a soldier in 1936. A number of claims have been made that Capa’s description of the location where false and the photograph is likely to have been faked. Nytimes.com.
Between the posed images by Paul M Smith and the documentary footage (perhaps posed?) by Robert Capa, the clear definition between documentary and tableaux is blurred. “Art is always manipulation, from the moment you point a camera in one direction and not another,” (Spain’s culture minister, the film director and screenwriter Ángeles González-Sinde) (nytimes.com)
Above Robert Capa’s The Falling Solider, an image taken during the Spanish Civil war in 1936. Supposedly taken exactly at the time the soldier was shot, however there has been controversy over the accuracy of this picture.
neil leifer- sports documentary
Neil Leifer has been documenting key sporting events in America for 60 years and is responsible for many classic sporting images (nielleifer.com). His style is primarily documentary and portraiture. He has taken many posed photographs of famous sports personalities however it is his documentary photographs that this essay will focus on.
Neil Leifer puts his success down to luck and being in the right place at the right time, however he also emphases the need to recognise that a great shot is there and grab it, even when it may be fleeting: “what separates the top photographers from the run-of-the-mill photographers is that when you get lucky a good photographer doesn’t miss.” (npr.org).
One of Neil Leifer’s successes has been getting the camera in the right spot. He says this takes time and planning. For his famous shot of Ali v Williams boxing match at the Houston Astrodome in November 1966 he arrived four days before the match to set up and test his remote camera mounted in the rafters. He then took the film to the developers and waited for it to be processed “most photographers don’t hang around the magazine’s photo labs, but I would go to make sure they didn’t mess up my film”. (theguardian.com/artanddesign)
So for sports documentary it is important to be think ahead and plan and to control what you can, however it is equally important to be constantly on the lookout for ‘the shot’ and ensure you do not miss it.
Philadelphia 76ers center Wilt Chamberlain shoots over Walt Bellamy of the New York Knicks during a game at Convention Hall. Philadelphia, Pennsylvania. March 1966 (neilleifer.com)
Aerial of UCLA center Lew Alcindor (later known as Kareem Abdul-Jabbar ) rebounding during the 1967 NCAA National Championship game against Dayton at Freedom Hall.Louisville, Kentucky. March 25, 1967. (neilleifer.com)
Miami Heat center Shaquille O’Neal goes up against Antonio McDyess and Ben Wallace of the Detroit Pistons during Game 5 of the 2005 NBA Eastern Conference Finals at American Airlines Arena. Miami, Florida. June 2, 2005. (neilleifer.com)
George McGinnis of the Philadelphia 76ers drives to the lane versus Paul Silas of the Denver Nuggets at The Spectrum. Philadelphia, Pennsylvania. March 9, 1977. (neilleifer.com)
Bill Bradley of Princeton University waits for a rebound during a 1964 ECAC Holiday Festival game versus Michigan at Madison Square Garden. New York, New York. December 30, 1964. (neilleifer.com)
Conclusion
COMPARING THE IMPACT OF DOCUMENTARY VERSUS TABLEAUX PHOTOGRAPHY IN TELLING A STORY
both used for telling a story, documentary should be ‘genuine’ whereas tableaux is fictional, but can be used to recreate past events
what is the impact of the subjects knowing there is a photographer present? Does this affect the outcome and impact the documentary photograph?
What if a documentary photograph, claiming to be real, is considered to be fake or influenced by the presence of the photographer?
The best documentary photographs can still require time with planning and control over the process.
Documentary photographers need to be able to rapid assess what is happening in front of them and be able to identify when a great shot is available and grab it.
When photographing tableaux the photographer will normally have more time to set up the shot, and has the benefit of being able to repeat, or change the shot to achieve the desired outcome.
Things to add:
A few of my own photos
Explain why a tableaux photo or documentary photo is better using examples from photos
Find a good quote using blog
Why are telling stories so important to humans – plutons cave paintings
‘The duty thus falls upon the snapshooter not to just ‘save’ moments, but to ‘immortalise’ the people who they photograph’ (Bull 2009:92)
The notion of family is a theme that is closely exhibited within photography from a multitude of perspectives, ranging from the demonstration of healthy relationships, to more negative storytelling through nostalgic cues, being that ‘a photograph can be a site for conflicting memories’ Kuhn (2003:397). Photographers like Yury Toroptsov and Philip Toledano use conceptual methods in their work in order to implicitly give away clues about the events of their childhood. These events are centred around the memory and loss of immediate family, as well as attempts to transform an emotive notion into singular images, for example a visual representation of an intangible feeling. Indexicality is abundant when memorialising family members who have passed away as it conceptualises that the ‘taking’ of a photograph can be thought of as ‘pointing’ to something in the world, being that these photographs are closely related to presence and absence, memory, the past and death. My personal study focuses on the difficulties and struggles of growing up with a family member who, over time, deteriorates from gaining a mental illness, this being my brother who has Bipolar disorder. The family album has been developed in congruency with advancements in technology in order to pass down generational stories in order to commemorate them to serve as souvenirs of the past. My interest stems from how these tributes to past events can be used to evoke emotional stories of personal difficulty.
I find an analysis of Toroptsov and Toledano to be most appropriate here as my work resonates with theirs in a relative manner, allowing me to convey the difficulties of grieving someone who is still alive yet not who they once were. A dominating factor, however, lies in the direct contrast between Toledano’s project of ‘When I Was Six’ against Toroptsov’s work entitled ‘Deleted Scene’. Toledano’s project inhabits a dark tone throughout the photobook where he depicts archival material from his older sister’s life, Claudia, before she died in childhood, and characterises these images through ethereal dream-like images in between to represent disorientated emotions. I found that his still-life images of childhood keepsakes of which belonged to Claudia were able to create tension within his storytelling which is what I aim to do in my own work in order to depict life before my brother fell unwell to enable my viewer to follow the narrative in a chronological way and learn at a vulnerable perspective. Additionally, I wanted to interpret his ethereal images, which can be seen to resemble fluidity of emotion, into a more domestic setting by using a relatively low exposure and low angles. Alternatively, Toroptsov expresses echoes of his father within his home town of Russia in the form of ambiguous images through the formal elements and zooming into the more discrete patterns in his surroundings. I wanted to manipulate this into my work by showing the echoes of my brother in the areas of which we once shared pleasant childhood memories, yet these are sites of nostalgia and grief now. This obscurity that Toroptsov employs will allow me to be subjective and add a morose tone to my images.
The idea ‘snapshots did not reinforce the positive messages of the images, but instead went ‘beyond’ the album to fill in what the photographs did not record: negative memories’ (Bull 2009:94) is something I am also inhabiting in my work through the use of archived images of my brother in childhood and creating digitised alterations to further pursue this idea of change from the person he was remembered as. I looked at the work of Carolle Benitah for this concept as one of my artist references as she redefines herself by using her own archived images from family albums in order to symbolise and hint at different events of her life.
Origin of the family album
The development of the family album has coincided with new advancements in technology throughout history, for example ‘A Victorian album was itself a series of visual novelties, with the portraits often cut up and arranged in decorative shapes and incorporating drawings and other scrapbook items’ (Holland 2004: 128). Beginning in 1900, Eastman Kodak produced the Kodak box brownie, a basic box camera with pre-loaded film. Retailing for $1 at the time, the simplicity and low cost aspect provided specifically the middle and upper-class with the ability to generate snapshots of each other, friends and pets in order to create physical manifestations of family memories. The Kodak box brownie introduced amateur photography, with one hundred thousand of them being purchased during the first year alone, as an alternative from the difficult, lengthy and expensive processes of professional photographers inhabiting techniques of daguerreotypes and calotypes. Its simplicity began to develop and led to Kodak producing a mass of varieties, where ‘working-class people could present themselves to each other, creating a confident working-class identity’ (Holland 2004: 135)
The first commercial photographic process of Carte-de-visite, inhabited by Henry Mullins whose work is one of the most prolific within the Societe Jersiase Photo-Archive, is defined by its close-trimmed portraited aesthetic that was intended as a substitute for a visiting card. This small albumen print was produced through the use of egg whites in order to bind the photographic chemicals to the paper, with the image emerging as a direct result of exposure to light. The typical Carte-de-visite consisted of one or a few people in a studio setting, sometimes holding personal belongings to be remembered by. The cost-effective aspect meant that they were easy to formulate, making cheap copies of the same photo to be handed out to loved ones, being less delicate too so they did not require velvet-lined cases like earlier forms of photography like the Daguerrotype.
Mullins specialised in Carte-de-visites, capturing 9,000 portraits of islanders during 19th century Jersey. His work was highly politicised due to the variations of occupational backgrounds and the containment of the island’s most affluent and influential people at the time. These images consisted of Jersey political elite, such as The Bailiff, mercantile families, military officers and professional classes like doctors or advocates. Mullins gathered all these images and compiled them into an album to document the levels of social class, beginning with the most powerful roles down to the less fortunate.
Now, the idea that “The family album is now being slowly supplanted by the development of social media and the decline of traditional film” is rife within society, being that anyone in the world with access to technology, such as a phone, can practice amateur photography; specifically for the preservation of memories and reminiscence of people and places. These technologies mean that the exchanging of memorial family images is a simpler process now, and is ever-growing in its approach to conserving the loved ones who have passed away or are distant. This chance of amateur photography stems from how ‘Once a technology exists, it may become adapted and introduced into social use in a variety of both foreseen and unforeseen ways’ (Price 2004: 13)
The work of Toroptsov and Toledano use the topics of loss and memory to exorcise personal and internal conflicts in family matters where ‘These silences, these repressions, are written into the album, into the process of its making, and into actual photographs.’ Kuhn (2003:400) in order to express a dark tale for others to relate to.
Yury Toroptsov
This reminiscence is visible in Toroptsov’s work entitled ‘Deleted Scene’ where he ventures out into his hometown within Russia, Vladivostok, to capture the echoes of his father within the formal features of the landscape.
Due to his father passing when Toroptsov was just two-years-old, he aims to unravel the neglected recollection of him as he bears little to no memories of the time he spent with him. This lures Toroptsov out into the external environment in order to get to know his father through the fragments of his memory that are scattered in these locations. Knowing that this time was shared with his father, yet unable to relish in the memories to recollect and rewind, is represented through the mysterious tones that he depicts in this photobook. These distinct patterns in rural areas of nature become cinematic through the high contrast within the composition as this adds drama and solemnity to the image to infer to the viewer that there is a dark concept and story being symbolised through the small pieces that build up the environment, just like there are pieces of Toroptsov’s fathers memory which he must seek out in order to know him. Through the ambiguity of the images, he uses an ominous tone within the images which could be metaphorical towards the difficulty of growing up in a single-parent household as something beknownst is missing to Toroptsov, however at a younger age he may or not been able to acknowledge that his father had passed.
Toroptsov’s image
The sharp contrast is the most eye-catching feature in this image, the comparison of the saturated yellow lake paired with the dark natural landscape of leaves and sticks displays the composition in a bold and vibrant way to catch attention. These sticks and leaves disturb the smoothness of the block-coloured water and adds texture specifically in the foreground as these are spread across more meaning that the viewer can focus on the individuality of each piece, restructuring the initial sense of tranquillity and order. As this saturated tone of yellow is commonly associated with hazardous signs, this adds a cautionary aspect to the image that conveys emotions of unsettlement, not only because of this association but also because of how unusual this composition is, creating a tone of not everything being the way it should be. This can relate to the psychological feeling of the uncanny, where everything appears correct at face value however there is just something slightly off-putting. Reflections of the surrounding trees are echoed into the yellow swamp below, adding an intricate pattern of lines in a variety of lengths and sizes to layer over one another. This creates a textural perspective to layer over this blanket of yellow that was initially thought to be flat, adding greater depth to the image and makes it come to life in a 3D manner. This layering of reaching arms off the branches of the trees can be interpreted as resembling his fathers connection to Vladivostok, being Toroptsov’s home town, and depicting that his heritage is all around him here. This is an obscure metaphor through the delicate pattern that the branches create which look like the veins within the human anatomy, being an accurate representation of how the blood vessels spread out in a randomised order, intertwine and vary in sizing. This could be Toroptsov’s attempt at trying to show that even if he doesn’t recall his father, he has the ability to honour his memory even if he is ultimately a stranger to him. This provides indexicality to Toroptsov’s work, this being tangible evidence of a things existence as he is shooting geographical parts of his home town. This concept is concerned with how the ‘taking’ of a photograph can be thought of as ‘pointing’ to something in the world,
In my own work, I have found inspiration from Toroptsov to explore this ideology of seeking the ‘unseen’ or picking apart the location as a form of obscure metaphors in memorable places that me and my brother shared our childhood in, however I have included this in a domestic environment instead to show the echoes of my brother at home when he has been admitted to hospital again.
My image
This image is taken of my back door next to my brothers room which he uses regularly due to him being a smoker, however I thought that this would make a strong image, specifically because of the diagonal lighting that goes past the window and bounces onto the wall as when it is paired with the darkened shadows, this creates an effect of gloom and mystery. This image is slightly under-exposed, however this was my aim because I don’t want my images to be too bright as this may convey emotions differing to what I am intending, for example it may make the image look more happy as bright images can be commonly associated with lighter feelings, rather than this solemn tone that I am aiming for. As there is natural lighting coming through the window, this creates a glowing effect in the centre of the image that could be interpreted as seeing ‘the light at the end of the tunnel’ due to the darkness that is in the hallway until it reaches this burst of light. As this window acts as a privacy window due to the texture over it, meaning that the end of my garden is reflected through. Because of the objects in my garden, this has created a purple tinge to glow through which I think contributes to this idea of things getting better over time. This image also connotes ideas of being trapped, for example the cat flap acting as if a portal to the outside world even when the door is locked, however it is evidently too small for a human to go through. I feel that this is very representative of this idea of negative mental health making a person feel helpless and trapped within a consistent cycle of breakdown, treatment and healing that has repeatedly had an effect on my brother for years. This darkness shadowing around the image acts confining, as if the back door is holding in all of this darkness. I think this could clearly represent how mental health is not a physical thing, but more like a fever of the mind that is more difficult to treat in comparison to a tangible injury and disease.
These images depict the out-of-place feeling that loss brings into a family, and while the conceptual difference is that my grief is directed towards someone who is still alive, this use of an ambiguous aesthetic allows me to represent the intangible feeling of missing who my brother once was and how his memory reflects off the walls. I like Toroptsov’s approach of minimalism and formalism because it allows the viewer to familiarise themselves with the person that this memorial is for, and allows the viewer to creep into small snippets of their life for moments at a time through these snapshots.
Philip Toledano
However, Philip Toledano takes an altered approach when immortalising the life of his 9 year old sister, Claudia, after she passed away. Being a conceptual visual artist, Toledano creates a narrated photobook entitled ‘When I Was Six’ that is formulated through a concoction of still-life images and atmospheric ‘heaven-like’ images in order to put the viewer into the shoes of his six-year-old self, exploring the human psyche. The way that the photo-book has been pieced together has been done very thoughtfully, thinking about the dream-like images first comes across as some sort of escape from the reality of Claudia’s death for Toledano, imagining these landscapes that connote emotions of peace, vulnerability and freedom from demons in his mind, even as a six year old who wouldn’t be able to process such a devastating concept. How well would a six year old be able to understand death, such a traumatic and disruptive event? Such a trauma to a six year old would be psychologically altering as Philip Toledano wouldn’t of been cognitively ‘ready’ to acknowledge the passing of his sister, giving him the opportunity to meet his sister through the memories of her left behind in a box in the attic, barely spoken about since this ordeal. These still-life images document artifacts from Claudia’s life, her belongings, such as her school pencil, however this also provides documentation of her life too, such as her certificate of death. On the other hand, these ethereal-looking patterns that Toledano incorporates adds form and depth through the changing of direction and movement, representing the fluidity of emotion that could be portraying the loss of control Toledano had over his own at the time of her passing. Toledano ‘placed the photographs with hand-painted, fantasy scenes in order to create narratives of escapism’ (Bull 2009:93) in order to be retrospective of how he felt at the time of the event.
“I don’t have any memories of my life after she died, except for this kind of peculiar fascination with space travel and astronomy. I think it was a way of being somewhere else, far from what had happened.” – Toledano tells Time Magazine
This image particularly resonated with me, capturing Claudia’s school summer dress from when she was nine, placed neatly and cautiously into what seems to be an adult shoe box with the lid off, accustomed by tissue paper underneath. When the image is initially viewed, the high contrast immediately draws the eye due to the tension between the blocked black background and the checked pattern on the dress. This juxtaposition forms an optical illusion as this variance adds drama, making this burst of colour and the textural aspect of the dress look out of place and adds an aspect of solemnity as this looks so awkward. With the box placed just out of centre and pushed off to the side, this adds a sense of the uncanny – the idea that something isn’t quite right. I also find this where the box isn’t placed exactly straight, appearing to have been just pushed into the lens with no real thought behind it. I consider this to be a purposeful action, possibly to symbolise how this box containing all of the objects that are associated with Claudia, including her school uniform, were pushed aside for 40 years unbeknownst to Toledo, only to be discovered once his parents had passed away. The tissue paper behind the dress is crinkled, showing its age as its been discarded for so long. However, I find that this may resemble the memory of Claudia withering away from within the box over the years, specifically due to Toledo stating that ‘I have no memories of my life after my sister’s death for a few years’. What I find is the most motivating factor within Toledano’s image is the lighting technique he has used. This image has been taken from a bird’s eye view using artificial light, however this lighting is in a squared shape, possibly done by using a specific head on the light above or, if he didn’t have the equipment for this, perhaps using different material to create this square outline as it is not entirely perfect. As the lighting has been pushed to the left side to oppose the dress slightly to the right, I feel that this may be reflective of how young Claudia died, explaining why only a partial selection of the dress has been highlighted by this glow. I also feel that this may be representative of that feeling of emptiness and loneliness that we find after a loved one has passed away, as I said before, showing that the beginning stages of grief may lure someone to begin to question their place in the world, what their purpose is. This could be reflective of the shift in Toledano’s family dynamic when he was younger, demonstrating how Claudia wasn’t mentioned much again due to the heartache, making her life slowly disappear into the darkness.
In my own work, I have created similar image types however I wanted to shoot these in locations relevant to my brothers childhood as I feel that this provides more contextual information that is necessary in making my narrative consistent.
I plan to sequence these together, shooting childhood toys outside my brothers old football changing rooms, because I feel that this symbolises the leaving behind of my brothers memory and how the memories of his childhood remain here unobtainable to him due to the severity of his illness at this time. I used opposing angles and distances for these two images and edited them side by side so that I could ensure they had the same tonal range in order to keep congruity. I set them up on this bench as if they were waiting for somebody to collect them, as if they had been lost, in order to represent how I would sit and wait for my brother. I also think that this is effective due to the way the changing rooms look so dull and lifeless when paired with the muted greenery as the entire image looks depressing and lonely due to it being so empty. I think that this has portrayed how segments of both mine and my brothers childhood is left here as if it is left unsolved or unfinished as times changed so quickly once my brother became unwell.
Conclusion
To conclude, the preservation of family memory is interpreted in many different ways in photography. Photographers like Yury Toroptsov use the formal elements to pick apart the environment around them to reveal the hidden echoes of their passed love one that they may encounter in everyday life. By attempting to understand who his father was through death, this offers a fresh approach to the subjects of memory and loss as Toroptsov must try to depict an image of who he was before his passing, and explores how such an abrupt loss at a young age could unconsciously impact him. On the other hand, more subjective photographers such as Philip Toledano incorporate multiple image types; still-life images and fantasy images. This collection of abstract metaphors connotes the suppression and blocking out of painful memories to resist facing a harsh truth of losing a family member. This explores the psychological repercussions of loss and memory. The family album has developed in congruity with technological changes, meaning the way we preserve memories has advanced too.
These concepts have influenced me to be subjective in my work through trying to visually represent an intangible feeling, however it has allowed me to formulate ideas where I can include contextual cues within the background of the environment by going to specific locations that me and my brother share childhood memories at, even if he cannot recall them as easily as me. With 4 photoshoots so far, I initially began with a domestic environment where I used not only different angles of low lighting but also incorporated some of my brothers personal items, using different depths of field, through the inspiration of Toledano’s ethereal images which produced some of my favourite images. I followed this by using objects that relate to my brothers childhood as well as the memories we share with each other and shot these in locations related, using dynamic angles to add drama and solemnity to the images to represent how these memories have been lost and discarded. I feel that this has actively been effective in illustrating how my brother has changed from who he once was as his mental illness has worsened, depicting how it feels so grieve someone who is still present.
Finally, I have used the snapshot aesthetic in my use of archival image experimentation, where I have pixelated and silhouetted my brother. Creating adaptations to the image conveys an effective message of protection at such a vulnerable age for what was about to come in the future where he was susceptible to risks within the world through innocence and naivety. These adaptations change the meaning of the images to compare the past to the present, and represents how these core memories are always thought of.
Holland, P (2004), ‘Sweet it is to scan…: personal photographs and popular photography.’ In: Wells, L. (ed.) (2004), Photography: A Critical Introduction. London: Routledge
Price, D (2004), ‘Thinking about photography: debates, historically and now.’ In Wells, L. (ed.) (2004), Photography: A Critical Introduction. London: Routledge
