Final Images

In comparison to Justine Kurland

For this photoshoot, I borrowed different ideas, concepts and compositions from Justine Kurland’s book ‘Girl Pictures.’ As seen below:

I took inspiration from the activity in this image, because I also used to climb trees with my friends during my youth. However, I had less models in my image and didn’t want to copy her image exactly, so I changed the layout in the image, by standing on the opposite side of the tree and arranging my models differently.

This is not an activity that I usually do, but I wanted to include this activity, as I feel like it is a more masculine activity. I included this, so I could use it to present a range of identities ranging from more masculine to feminine.

I took inspiration from this image, because I have done this quite often, especially in Photography in the past, so it was an easier photo to take and showed a more feminine identity.

I took inspiration from the activity in this image, because I also used to play at the park and play on the swings with my friends during my youth. However, I had less models in my image and the I chose to use the swings at St Ounes on the trees, because I thought it fit the setting of the urban woodslike areas. However, the lighting of this image wasn’t the best, as it was more of a sunny day, instead of a cloudy one.

I took inspiration from this image, as I also had two models run down a long road. However, my setting is more of a modern road, compared to the dirt road.

I took inspiration from this image, because I also used to climb trees in my youth, so these images display my identity.

I took inspiration from this image, because the setting suited the theme well and was a very similar setting to the setting Justine Kurland uses in her book ‘Girl Picture’ and the setting I want to achieve for my images.

How does this relate to my theme of youth and identity?

These images relate to the theme of youth and identity, in particular, my youth and identity. I have explored my youth in these images, because I had my models do the activities I used to do when I was younger, such as playing on the 100ft hill at the sandunes, playing on the swings at St Ounes and climbing trees. I used to do all these activities during my youth, so I wanted to explore that and present it through my work. In doing this, I also explored my identity during my youth, by reminiscing on what I enjoyed doing, what I didn’t enjoy doing and who I did these activities with. I was also then able to compare my identity now to my identity during my youth, because I was able to see if I still enjoyed doing these activities, and see if I still had these hobbies to this day, or not.

I also took inspiration from Justine Kurland’s work and borrowed ideas, concepts and compositions from her to create a wider range of activities to show case. These images relate to the theme if youth, because I have borrowed other activities that Justine Kurland presents as youth to her. I have also used my friends as models in these images, and they are still in their youth, so they present this theme of youth. These images also explore identity, because they portray more feminine and more masculine activities, so this presents to the viewer that they can be whatever they wish to be, no matter if it doesn’t follow social norms. I also presented a range of activities, so that I could present a range of different identities, even though I have used the same models. I have also only used female models in these photos, similarly to Justine Kurland, so that I could explore this concepts of girlhood just how she has in her book, because I relate to this theme of girlhood, because I am living my girlhood right now so I want to present this through my work.

Analyses of 1 Image

In this photograph the lighting used was natural daylight, but there is also a lot of shade in this image, due to the tree blocking the sun. This has caused high levels of contrast, due to the darker tones from the shade, contrasting the highlights, where the sun is coming in through the tree branches. There are high levels of control in this image, as I manipulated the positioning, distance and location of my subjects, as well as myself, in order to create the best composition I possibly could. There are also lots of vibrant colours in this image, including green, brown, blue etc, which creates a range of different warm and cool tones, which creates more contrast throughout the image. The colours are also very complimentary to each other as well, which makes the photograph visually aesthetic.

There is also lots of texture throughout this image, coming from the branches, the texture of the muddy floor and the grass which pulls the viewer into the image even more. The composition of this image has the subjects on the right hand side of the frame. The centre of the tree is in the centre of the image, with the subject sat on the tree slightly off centre and is the main viewpoint of the image.

F Stop: f/11

Exposure time: 1/60 sec

ISO: ISO-100

The narrative of this image is two young girls climbing trees, during their youth. This relates to the themes of youth and identity, specifically my youth and identity, which is what I am exploring through my work, because this is an activity I used to do in my youth. Therefore, this narrative presents my identity during my youth, by presenting what I used to do and therefore who I used to be. This also relates to the work of Justine Kurland, as she also explores the themes of youth and identity, especially in her book ‘Girl Pictures.’ She also created a very similar image of her subjects sitting/ climbing a tree, as she presents the same narrative that I have presented. However, she had quite a few more subjects than me.

Photoshoot Conclusion

I think this photoshoot went quite well, as I was able to explore my youth by presenting different activities I used to do, or still do. I also explored a range of other activities, some similar to the ones Justine Kurland presented in ‘Girl Pictures.’ I was also able to explore the theme of identity, while doing this, because I was able to present my identity during this work, as I displayed the activities I enjoy and what makes me myself.

However, it was the wrong time of day when these photos were taken as it was about 2 o’clock in the afternoon, so the lighting was not how I wanted it to be. Next time, I will aim the take photos at about 4 o’clock in the afternoon instead, so that I can attain a less exposed lighting where the sun is not shining so bright. I want to achieve this lighting, because I think it will best suit my images, but also because this is the lighting Justine Kurland used in her ‘Girl Pictures,’ and it worked extremely well.

I would also like to display more masculine activities in my next photoshoot, so that I can strongly portray that female stereotypes aren’t the only identity choice and that during girlhood my models are ‘trying on boy,’ like in Justine Kurland’s work where she explores a range of different identities. However, I would also like to display more feminine activities just as much, so that I can present a range of identities through my work, so that I can spread the message to the viewers that they can chose whatever identity they wish.

I also experimented with my composition during this photoshoot, by using things such as being in the centre or to the side, or being in the foreground, middle ground and background. However, I do think I could improve my composition for my next photoshoot, by taking inspiration from other photographers and artists, as well as using other compositional tools, such as the rule of thirds, or just using the same compositional tools but better. I also want to experiment more with visual elements, such as texture, colour, tone, light, shape, form, line, pattern and space.

How can the complexities of being a teenager in this generation be portrayed through photography?

‘My only agenda is to bring attention to otherwise ignored and shunned lives.’ Jim Goldberg

The definition of youth from the oxford dictionary is ‘the period between childhood and adult age’.¹ In this essay I will reflect not just on the technicalities of it but also the raw emotions. By using nostalgia I create a relationship between the view of the images and your feelings. My images consist of light and dark, happiness and sadness, correlating with the ever ending roller coaster of youth. Two photographers that inspired me are Jim Goldberg² and Danny Evans³. I resonate with their portrayals of being a middle class teenager. I have used these inspirations to intertwine my work to be something reflective of me and the life that I live. Jim Goldberg is an American artist and photographer whose work reflects long-term relationships with ignored cultures.⁴ He is mainly known for his Raised by Wolves publication, where he was concerned for the risk of homelessness youth in California. Goldberg would find teenagers on the street who were struggling and take candid raw photos of them to portray how action needed to be taken to create a change. ‘Every single immigrant is part of a larger history that needs to be communicated in all its ambivalences and complexities.‘⁵ Goldberg further explains how change is not aimed politically but is for the people. ‘I’m not a politically radical person. In fact, I’m much more interested in being radical aesthetically.’⁶ His book presents teenage culture as hard and alienating through the single snapped shot of raw emotions.

I am going to investigate the position of the photographer being an insider or an outsider. This is a theory to do with the ethics of photography, written by Abigail Solomon-Godeau.⁷ There are some key moral questions that we can ask ourselves when making photographs, for example, ‘does it make a difference whether or not you have a personal relationship with the subject of a photograph?’. ⁸ I personally think that there is a big difference when making photograph on how you portray them depending on if you have a personal relationship with the subject or not. Your own personal enigmas will translate through your imagery, either objectifying your subject to have positive or negative traits. For example, Jim Goldberg has made images of homeless youth in California, although he is not a part of this group. Through the images he made of youth on the streets in Los Angeles, he is portraying them in a empathetic light. Although his position is an outsider looking in he is wanting to help these minority teenagers by portraying a view from the inside. This is because he is within the situation of the community that he photographed and the images created an awareness, by using codes such as a young woman hurting herself⁹. Although the images are depicting the lives of young and vulnerable people in situations, such as sexual activity, drug taking and criminality, which could be seen as morally wrong and intrusive, his empathy with his subject allows for other images of tenderness and understanding thus creating an awareness of street homelessness.

I want to incorporate Solomon-Godeau’s theory within my work as the insider. ‘If it were possible, I’d want no mechanism between me and the moment of photographing’.¹⁰ I want to portray this, by going against the stereotypes of teenage life, and portraying how we actually live. Parents all around the world seem to think that they know what teenagers go through, but realistically they have no idea what it is like to be a teenager now days, having to live up to the impossible ideals of the media and with every growing technology ruining relationships. Jonathan Haidt wrote the book ‘The Anxious Generation’, which describes how growing technology is ruining children’s and teenagers lives. ‘We don’t let preteens buy tobacco or alcohol, or enter casinos. The costs of using social media, in particular, are high for adolescents, compared with adults, while the benefits are minimal. Let children grow up on Earth first, before sending them to Mars.’¹¹

The reason this area of work interests me is due to Stuart Hall’s theory of representation¹². He describes that representations are constructed via codes, and these codes portray key stereotypes. He discusses that these stereotypes can infer that negative traits are natural, for example the trait that all teenagers are inactive and lazy. I want to portray his ideas that stereotypes can be challenged and changed by the use of imagery reflecting key ideas and binary opposites, to go against societies’ myths and ideologies.

I want to prove that teenage life is not what it used to be. I will be making images of my own friendship groups in similar snapshot aesthetic and documentary style to Goldberg. In addition, I will be exploring themes of anthropocene and landscape imagery in relation to concerns about the environment. Global warming is a serious issue that is happening now. Our generation will have to be the ones to clean this up, so in a way I wanted to use my book as representation of this inheritance. I have taken inspiration from Naomi Whites images, ‘Plastic Currents’¹³. She portrays how the simplest things, like buying one singular plastic bag is ruining our environment. I want to portray how male teenage life has an obsession of cars, and how cars are ruining the planet. I will do this through the use of what Claude Levi-Strauss called ‘Binary Oppositions’. ¹⁴ We cannot refer to something without portraying its opposition. I will do this by including images of teens working on cars and driving cars, but then opposing them to imagery of the landscapes and the world around that is ruined by the mass consumption of fossil fuel.

I have also gained some inspiration from discovering Diane Arbus. She was a troubled photographer who took her own life. ¹⁵ She felt at home among the outsiders she photographed. I feel that I have created this feeling for myself, although I am similar to who I photographe age wise, being the opposite gender means that I live in a completely different world to them. This is the reason I wanted to photograph teenage males instead of females, so I can have that opposition to create less of a bias in my imagery. Arbus may have felt an enormous empathy with the people she photographed, but she was not one of them, however much she identified with their outsider status.¹⁶ She said, ‘I wanted to look at those people who were outsiders, like I was‘¹⁷ I want to take images that stand the test of time, no matter who looks at them I want them to feel like an outsider, like they will never understand the true emotion being portrayed because they have not personally lived through it.

I want to create something palpable, something that you can feel close to which will create a tangible feeling. After reviewing his publication ‘Fingerprint’, I have realised that to create a meaningful project I will need to create context. By adding dialogue to my images it will dive deeper into the emotions. Revealing the complex construction of identity itself. ¹⁸ ‘Feeling like an outsider enabled me to evoke stories from the people I worked with because I could relate to them‘¹⁹ Goldberg explains that having people write directly on the images allows an insight to their thoughts. I want to also create this by adding people’s thoughts and feelings along with the images I have created. A key thing Goldberg did to gain feedback was show his models the images and ask them key questions like if they seem right, or like how they are being portrayed. I will also do this and add this to my book to portray my process of representation.

Jim Goldbergs image tend to be in a documentary style, allowing them to be analysed in a contextual way. Through the use of a simple skateboard he can highlight elements such as the worn down wheels or the scratched bottom and tail to portray its use. This can connotate how the teenagers he photographed feeled, due to the reckless connotations of their own belongings we can see how these teens were troubled, allowing themselves to move freely.

Diane Arbus alos uses a documentary style to represent people. By doing this she uses key eye contact to portray raw emotions. This creates a connection between the reader and the character being photographed. This gives an insight into the characters life, allowing a view from the outside too look in. “For me the subject of the picture is always more important than the picture. And more complicated.” ²⁰ She explains how the subject is most important as they are who creates the image, without the subject there would be no room for evaluation. “I don’t press the shutter. The image does, and it’s like being gently clobbered.”²¹

1. https://www.google.com/search?ei=W-laZ5LbHtKdkdUPxO716AU&gs_lp=Egxnd3Mtd2l6LXNlcnAiBXlvdXRoMg0QABiABBhDGMkDGIoFMgsQABiABBiSAxiKBTINEC4YgAQYsQMYgwEYCjIFEAAYgAQyCxAuGIAEGMcBGK8BMgsQLhiABBjHARivATIFEAAYgAQyCxAuGIAEGMcBGK8BMgUQABiABDIFEAAYgARI3QhQnwVYnwVwAXgBkAEAmAFdoAFdqgEBMbgBA8gBAPgBAZgCAqACY8ICChAAGLADGNYEGEfCAg0QABiABBiwAxhDGIoFmAMAiAYBkAYKkgcBMqAHnBA&oq=youth&q=youth&rlz=1C1GCEA_enJE1126JE1126&safe=active&sca_esv=e095c950f9c2c4db&sclient=gws-wiz-serp&surl=1&uact=5&ved=0ahUKEwjS9IGar6KKAxXSTqQEHUR3HV0Q4dUDCBA ↩︎
2. https://jimgoldberg.com/ ↩︎
3. https://www.instagram.com/dannyphoto/?hl=en ↩︎
4. https://www.magnumphotos.com/arts-culture/art/jim-goldberg-raised-by-wolves/ ↩︎
5. https://www.brainyquote.com/quotes/jim_goldberg_585734 ↩︎
6. https://www.brainyquote.com/quotes/jim_goldberg_585734 ↩︎
7. https://www.photopedagogy.com/uploads/5/0/0/9/50097419/week_5_abigail_solomon-godeau_inside_out.pdf ↩︎
8. https://www.photopedagogy.com/insideout.html ↩︎
9. https://images.fotomat.io/prod/c0a2cfd4-9bee-4d2b-9993-3b3cf0741393/90a36702-e209-46bb-af50-2ddbfba1be35.jpg?s=M ↩︎
10. https://www.photopedagogy.com/uploads/5/0/0/9/50097419/week_5_abigail_solomon-godeau_inside_out.pdf ↩︎
11. https://www.anxiousgeneration.com/ ↩︎
12. https://hautlieucreative.co.uk/photo21al/wp-content/uploads/sites/41/2021/01/Representation-Stuart-Hall.pdf ↩︎
13. https://www.naomiwhite.com/plastic-currents#0 ↩︎
14. https://media-studies.com/binary-opposition/#:~:text=The%20anthropologist%2C%20Claude%20L%C3%A9vi%2DStrauss,%E2%80%9Call%20human%20signifying%20structures%E2%80%9D. ↩︎
15. https://www.theguardian.com/artanddesign/2011/jul/26/diane-arbus-photography-sideshow ↩︎
16. https://www.theguardian.com/artanddesign/2011/jul/26/diane-arbus-photography-sideshow ↩︎
17. https://www.magnumphotos.com/arts-culture/art/jim-goldberg-raised-by-wolves/ ↩︎
18. https://www.magnumphotos.com/theory-and-practice/fingerprint-tracing-roots-jim-goldbergs-raised-by-wolves/ ↩︎
19. https://www.magnumphotos.com/theory-and-practice/fingerprint-tracing-roots-jim-goldbergs-raised-by-wolves/ ↩︎
20. https://fraenkelgallery.com/artists/diane-arbus ↩︎
21. https://fraenkelgallery.com/artists/diane-arbus ↩︎

I decided to experiment with cropping and how interesting an engaging images can be captured from this. Inspired by Siegfried Hansen, his style of capturing images that are unrecognisable, but still show a unique and gripping narrative and character, as the areas he’s zoomed in on highlight unique features which I feel show give an interesting perspective. I liked this idea of making the photograph unrecognisable but instead show this in-depth abstract commotions of colour, that is clearly defined by structured elements, of lines, patterns, shapes and shadows.

Experimenting with cropping:

Night Photoshoot 1: Todd Hido

I tried this photoshoot 3 different times. I tried both at night and early morning with varying results. None are particularly sharp or without grain and most were too blurry to use.

Outcomes:

I think the best were these 5:

For my photoshoot I would like to look more at female empowerment and the future of women’s rights and how they are being portrayed in more positive way as times continue. This photoshoot will show a more positive light on women and how times have evolved to empower them instead of restrict them to certain values and opinions. This photoshoot will be created to show woman who are capable and headstrong with knowledge and intelligence.

For this photoshoot, I will take pictures in a house which is an out of school photoshoot to display women with power and almost being over-dramatic about their posing and expressions. Another interesting component of this photoshoot, is that these women will be young adults of the age of 18, instead of a women ages e.g. 30, who has lived a life to develop into who she is. Due to these girls’ age, it creates a meaning that it does not depend on age, when a girl can be powerful and self-confident. I would like to focus on posing and how, the way you come across, demonstrates your power and confidence.

Helmut Newton References.

My images are being produced In response to Helmut Newton’s work, however, my images will display similar signifiers in his work such as the topics of dominance, confidence and power. Although Newton’s work is controversial for being either critical of women or empowering women, I would like to explore different aspects of his work, as some of his images are seen to be empowering, and some more disparaging. The conflict of emotions towards his work argue whether his images are empowering the woman as his work surrounds themes such as power and control, instead of submission and manipulation. In my photoshoot, I am going to be interpreting Helmut Newton’s work surrounding themes of dominance control and power, but my work will be highlighting the difference in empowerment and objectification. I will do this by having a similar style of photographs, but have my models be glamorous and celebrated not glamourous and subordinate.

Here are some examples of images I would like to include in my photoshoot outside of school in response to his work.

These photos are perfect representations of images I would like to produce in my own photoshoot. I want my models to look elegant and posed in similar situations to this. I am choosing this style of photos out of his different genres as I feel these images display the classy and glamorous yet voyeuristic style of images where the women are dressed up. I want my models to pose in a confident manner to show they are self-aware and strong, contrasting with stereotypical portrayals of women.

My Photoshoot:

I would like my 3/4 models to initially be dressed in long black dresses with red lipstick and long straight hair. This is to demonstrate the stereotypical powerful woman during this time period. However, I would also like to experiment with different outfits and hairstyle and makeup in order to replicate different images and create an impression of fashion photography in response to Helmut Newton’s work. I would like to initially start with black dresses as many of his photos feature this type of outfit. However, I am attempting to provide similar extravagant clothing. Here are some outfit ideas I would like to include in my photographs. Pieces such as long dresses, black trousers, blazers, heels, tights and coats, all with darker tones I think will really boost my images to look more similar to his work.

Posing Ideas.

These poses give me ideas on how to show power, confidence and beauty. These are a wide range of things I would like to focus on in order to relate to the idealised view of a woman and how they are portrayed, vs how they really are. I really want to convey a message about how women are portrayed and how the line between glamour and class and objectification and humility is able to be hidden easily in the fashion world.

Photoshoot-My Favourite Images:

I chose to put these photographs into black and white in order to relate closer to Helmut Newton’s work. I feel like these fashion magazine inspired photographs are a good modern day representation of his work. I had 3 modes in different but similar outfits of long dark dresses and sunglasses. I feel like this was one of my more successful photoshoots which demonstrate an array of images relating to my chosen photographer’s work. The location of my photoshoot I feel played a key part in my photoshoot as the background included staircases, curtains, doors and fireplaces. I chose to include these features in order to create a grand and impressive backdrops for my shoot.

I feel these images are my best out of the 100 photographs I took. These images relate to Helmut Newton’s work as it demonstrates high contrast images with bold lighting. I feel this lighting incorporated with a black and white filter has heightened the quality and the sense of mystery and allure to my work. I also believe that these images revolve round a strong and powerful feminine energy of strength, which elevates the clothing promoted in a magazine as an audience will feel empowered and encouraged through self-assured and confident models. An impression of elegance, aggression, sass and glamour is a message I was attempting to share in my photoshoot as it opposes traditional depictions of female models in the fashion photography industry. I also wanted my models hair, makeup, accessories and outfits to be high fashion, quality and portray an expensive aesthetic. This is in order to give the impression that these are top fashion designer clothing which would be displayed in magazines such as Vogue, Cosmopolitan, Elle and GQ.

Top 5 Images In Colour:

These 5 Images are in colour as I think although having images in black and white are strong and detailed, the outfits and backgrounds create a striking effect on my images which I may also use in my final booklet. However, Helmut Newton’s images are predominantly displaying women in bold, high contrast lighting in striking outfits. I feel the coloured photos take away the ‘difference’ and ‘distinct’ effect and message for the viewer.

EDITING ANALYSIS.

Whilst editing my images, I have paid attention to Helmut Newton’s style of editing and made a multitude of different editing styles shades and colours. However, In the end I found a high contrast black and white is the perfect setting for these images. Whilst finding the correct filters and shades I also experimented with shades such as ‘cool shadows and warm highlights’, ‘flat and green‘, ‘red lift matte’ and ‘vintage instant’ out of the Adobe Lightroom filter presents of filters. I also focused on increasing the texture, whites, blacks and shadows in my black and white images to create a high contrast between black and white. But my coloured images I focused o lowering the highlight and blacks and increasing the contrast.

Comparisons.

I attempted to recreate some of Helmut Newton’s images by reinterpreting his model’s poses and body language. Such as legs crossed over, lying down on the floor and peering out into a keyhole. However, I like how my images differ to his images by the furniture and background setting being slightly different and more modern. The outfits are also more up-to-date and fashionable in the modern day world and could be potentially used in a modern day magazine, as opposed to a old-fashioned photoshoot from the 1960’s-70’s. To improve on this photoshoot, I would have liked to have done more outside images as many of Helmut Newton’s fashion images are recorded outside. I would also have liked to go to more inside locations with different styles and genres of rooms and interior design. I feel this variety of locations would add more interest and value to my shoot. I would also like to have experimented with more outfits instead of my models wearing the same outfits in virtually all photos. This would have created more of a fashion magazine vibe with all 3 models in different makeup, hair and outfits for different shots. I would have liked to have had better lighting inside. I could’ve done this by providing a ring light or a light source which would be move into different angles and perspectives for my images to have been of a higher quality. However, overall I believe this photo-shoot was successful as I have achieved images in inspiration to Helmut Newton with a fashion magazine style interpretation.

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:

How have concepts of childhood, loss and memory been explored in the photo books of Yury Toropstov and Laia Abril?

In what wat is identity and autobiography expressed in the work of Chino Otsuka and Tom Hunter?

In what way does Justine Kurland and Michelle Sank explore youth and femininity through their work?

To what extend is autobiography explored in the work of Jim Goldberg and Jo Spence?

• 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 –

Wells L. (1998). ‘The Photographic Gaze’ in Photography: A Critical Introduction. London: Routledge.

Kelly, A. (1998). ‘Self Image: Personal is Political’ in Photography: A Critical Introduction. London: Routledge.

Jansen, C. (2017). Girl on Girl: Art and Photography in the Age of the Female Gaze. London: Laurence King Publishing

Goldberg, J. (5 `May 2005) A Completely True Work of Fiction: Jim Goldberg’s Raised By Wolves. Magnum Photos: (https://www.magnumphotos.com/arts-culture/art/jim-goldberg-raised-by-wolves/). [Accessed Date Accessed]

Goldberg, J. (2 June 2021). Fingerprint: Tracing the Roots of Jim Goldberg’s Raised by Wolves. Magnum Photos: (https://www.magnumphotos.com/theory-and-practice/fingerprint-tracing-roots-jim-goldbergs-raised-by-wolves/) [Accessed Date Accessed]

Jim Goldberg – Coming and Going

https://www.theguardian.com/artanddesign/2023/oct/01/jim-goldberg-magnum-photographer-coming-and-going-book-raised-by-wolves-interview

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

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

Martin, R and Spence, J. (2002) ‘Photo-Therapy: Psychic Realism as a healing art’ in Well, L. The Photography Reader. London: Routledge.

Jo Spence Memorial Library. London: Birkbeck: University of London.

Dennett, T. (2008): Jo Spence’s camera therapy: personal therapeutic photography as a response to adversity European Journal of Psychotherapy & Counselling (Volume 11, 2009 – Issue 1: Phototheraphy and Therapeutic Photography)

Heath, C. (2017). Work, Politics, Survival, British Journal of Photography

Weiser, J. (2005) Remembering Jo Spence: A Brief Personal and Professional Memoir… PhotoTherapy Centre

Jansen, C. (2020) Is Photography An Effective Form of Therapy? Elephant

Dennett, T. (2013). ‘Jo Spence’s Family Album’ in Family Politics, Issue 20. Brighton: Photoworks

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.

ESSAY WRITING

Essay introduction (draft)

To what extend is autobiography explored in the work of Jim Goldberg and Jo Spence?

Opening quote: use something Goldberg or Spence has said from any of the key text in your bibliography

Autobiography, as a theme in contemporary art, allows artists to reflect on and question the intersection of personal experience with broader social, political, and cultural contexts. In the work of photographers Jim Goldberg and Jo Spence, autobiography is explored not merely as a form of self-reflection but as a tool for social critique and identity construction. While both artists engage deeply with their personal lives, their approaches diverge significantly in terms of methodology, subject matter, and intent. Goldberg’s work blends documentary photography with personal narrative, using text to reveal the intimate relationships between himself and his subjects, thus embedding his autobiography within a larger social commentary on class, power, and marginalization. On the other hand, Jo Spence’s autobiographical exploration is overt and personal, often focusing on her own body and health, particularly through her struggle with breast cancer. Spence uses photography as a means of self-representation and self-exploration, engaging in a performative act of reclaiming her identity in the face of illness and societal expectations. This essay will examine how Goldberg and Spence each explore autobiography in their work, considering the ways in which they both navigate the personal and the political, and how their approaches contribute to a broader conversation about the role of the self in art.

My area of study is into identity, mainly focusing on how you can present yourself differently to everyone and looking into the anxieties of a teenage girl, especially in my life.

I will be analysing Jim Goldberg and Jo spence in this essay, I am looking into them as they also do a lot on identity. Jim Goldberg mainly as a child, and jo spence into womanhood, I also like their creative aspects to their photography that I hope to also use. I will be responding to their work by making some similar photos which I will later use as a comparison, i will the respond to this essay question by first giving my introduction on them both, then having a paragraph each to how autobiography is especially explored in both their work, then maybe having paragraphs on similarities and differences and finish with a conclusion.

Essay Paragraph 1 (draft)

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. 

The primary theme jotted down in a life writing is to give life and include autobiographical statements on photography works done by Jim Goldberg and Jo Spence and the general drift in photography and visual culture towards the personal narrative and subjective experience. During the 1970s and 1980s, the artists’ practices were largely identified with the postmodernists, who were always critiquing the aspect of objectivity and universal truth within the realm of art. Photographs as self testaments through Rich and Poor (Goldberg 1985) or through The Picture of Health? (Spence 1982-86) reveal photography as a medium to discuss identity, class, and the politics of representation. “I was politicized by my own experiences. I use photography as a means of exposing and dealing with the hidden politics of everyday life, including my own.” – Jo Spence. While both referring to the traditions of documentary photography and conceptual art, they interrogate the power relations in image-making, reminiscent of what theorists wrote about photography claiming neutrality and truth. This is because by integrating a handwritten text with the portrait, Goldberg found an interpretative space within which to situate both image and subject, while including genealogies of feminist critique and psychoanalysis in an autobiographical view, drawing a portrait of many critical experiences in the lives of these authors. “My work is a collaboration with the people I photograph. Their words, their voices, are as important as the image itself.” – Jim Goldberg. In other words, both artists, through their personal experiences, render the self an object of contestation, critique, and ultimately, alternative approaches to autobiographical writing in visual culture challenge the traditional narratives surrounding it. This personal-contextualization is what then situates their work in the line of a socially engaged art: in history, using methodologies adopted by historians and critics that value context and ideology over form.

To what extent have Anna Gaskell and Duane Michals explored narrative in their work. 

“Trying to combine fiction, fact and my own personal mishmash of life into something new is how I make my work. . .. I try to insert a degree of mystery that ensures that the dots may not connect in the same way every time.”—Anna Gaskell, in NMWA’s See for Yourself card  

Both Anna Gaskell and Duane Michal’s explore storytelling and narrative through the medium of photography. I intend to compare, analyse and explore the differing ways they both accomplish coherent and clear narrative through the use of aesthetically interesting images and sequences in order to better understand the art of storytelling. I have chosen Anna Gaskell as a primary focus because of her alternative and dynamic photography focusing on retelling darker and more uncomfortable sides of children’s stories, for example her re-telling of Alice in Wonderland. Her images are disturbing and beautiful on their own but combined tell chilling interpretations of recognizable childhood favourites. My interest in Duane Michals is similar as his work relies on a sequence of images, that appear inconspicuous but when put together create a sense of alienation and disequilibrium. He uses the philosophy that audiences will ‘see what they want to see’ (Michals year: page no? reference source using Harvard system) and believes that literal appearances are unimportant in comparison to the portrayal of the narrative he is trying to convey. This is important for me to understand to create a well-established re-interpretation of Jersey’s urban legends that is disturbing, beautiful and clear in its intentions. 

Pictorialism and Tableaux Photography

To better understand the concepts of how narrative was explored historically I will investigate when people who first began using photography as an expression of the self rather than a scientific means of recording a moment in time. This leads me to tableaux photography – a style of photography where people are posed in a constructed environment in order to convey a pictorial narrative through a single image, in contrast to photojournalism and documentary photography that make use of series of images in telling stories. Tableaux photography often refers to fables, fairy tales, myths and real-life events as inspiration for recreation, and in this aspect Anna Gaskell draws strongly from the original tableaux photography in her own more modern interpretation. However, tableaux photography depends greatly on the interpretation of the viewer and is often very ambiguous and open-ended recreations of subjective themes. Its origin began with Pictorialism, developed first in the 1870’s. ‘the pictorial image aims to render the real as an ideal; composition should have an idea; meaning’. (author’s surname year: page no? reference source using Harvard system)

Early pictorialist photographers set off through international competitions, exhibitions and publications modelled after the art salon system, often using established painters among the judges. The pictorialist perspective was born in the late 1860s and remained extremely relevant through the first decade of the 20th century. Pictoralist photographers at the time aimed to use the camera as a tool in the same sense as a paintbrush or chisel could be used to convey artistic statements, it was their belief that the camera could be used in a similar manner.
Peter Henry Emerson who was born on the 13th of May 1856 and later died on the 12th May 1936 at 80 years old was a British writer and photographer. His photographs are considered to be early examples of promoting pictorialist sensibilities as an art form. He is renowned for taking beautiful photographs that displayed bucolic settings and more relevantly his disagreements with the photographic establishment about the purpose and meaning of photography. Emerson’s book Naturalistic Photography (1889) was incredibly influential in the last years of the 19th century. Its message reached American and European photographers who began to follow its principles and by organizing associations and exhibitions in effort to show that that photography was capable of producing beauty and expressiveness.

During this strive for photography’s conversion from classical and scientifically documentation to a valued art form, photographers experimented by manipulating images in darkrooms, scratching and marking prints in order to imitate the texture present in canvas paintings, creating blurred images on soft focus to create fuzzy images based on religious and spiritual subject matter, influenced by allegorical paintings. Allegory is a figurative representation of conveying subjective and symbolic figures, using underlying moral ,social ,religious themes and commentary’s, personifying abstract themes such a greed, sloth, charity and envy.

Duane Michals

Duane Michals who is lovingly referred too as the father of conceptual photography revolutionised photography in the 1960s by separating himself from traditional documentary and fine art approaches by using innovative techniques that incorporate handwritten messages , poems and multiple frame sequences in order to covey his narrative or ‘story’ through images. ‘Michals manipulated the medium to communicate narratives'(1). Michals work frequently explore themes of identity, desire and the human experience through a subjective and conceptual lens. Michals takes the classic themes from what began as tableaux or pictorialist photography of religion and morality and pioneered his own form of telling individual and intellectual narratives, turning his back to established traditions of documentary and fine art photography, instead of falling into the shadow of respected masters of fine art photography Ansel Adams, Henri Cartier-Bresson and the like. Michal’s creates sequences of multiple images to convey compelling and queried inducing visual stories. ‘ He has always considered himself to be a storyteller.'(2) Michals found himself inspired by the surrealist painter Rene Magritte who challenged viewers perceptions of reality with witty and thought provoking images, and in his like began experimenting with double or triple exposures in order to expand the meaning and interoperability of his subject.

Rene Magritte

When looking at Michals photography it is very important to consider that his images are typically created to be a singular image in a sequence of many, but when looking that the individually, it is clear to me he typically stylises his images as black and white photographs with high exposer and a wide lens. In this particular image Michals utilises butterfly lighting to create sharp idealistic lines across the face to accentuate the models features as ‘beautiful’ to contrast with a skeletal figure looming behind him, highlighted by the dramatic lighting and deeply contrasting shadows and highlights throughout the photograph. Duane Michals is thought to be  ‘rejecting the notion of the “decisive movement,” the supremacy of the sensational singular image, and the glorification of the perfect print'(3) as he regularly aims to capture images mid motion or slightly ‘fuzzy’ in order to portray a moving and compelling narrative.

keeping this in mind when we begin to look at anna Gaskells work and influences we begin to see many similarities in active story telling, Gaskells photographs are often created to represent motion and action, using this similar idea of movement captured within the photograph, using awkward mid movement posing, in contrast with Michals work her photos are clear and in focus.

Gaskell is best known for her photographic series that she calls “elliptical narratives”, which are considerably similar to Cindy Shermans photography. Gaskell’s photographs are inspired by film and painting, rather than the typical conventions of photography in a similar fashion to Shermans photography

A series of photos that is intriguingly similar to Duane Michals photography is her series Turns Gravity where the images follow faceless youthful figures playing and exploring a woodland setting, this series of images is intriguingly ambiguous when compared to some of her other photo series that are clearly and intentionally inspired by childhood stories with dark and twisted underlying themes.
these subjective or ‘ambiguous’ themes are closely related to the interpretability recognised in pictorialism photography and Michals photo series’ she uses tight framing and dramatic staging to distort the figures features as well as a shocking colour scheme encouraged by Gaskell Dressing the boys in black and White. In this series much like most of Gaskells work, their are brief and intense flashes of violence throughout, this in combination with the anonymity of the central figures and the overall mystery of the driving themes this creates a tense and foreboding feeling when viewing the series.

unlike Michal’s, Gaskells photographs are not taken to be viewed in a certain order ‘With no set order to the images, they can form entirely new stories with each change of sequence, inviting the viewer to interpret the enigmatic events of each narrative.'(5), her images can be reconfigured to create entirely new narratives depending on the viewer’s interpretation.

“The stories and events that I choose to use as jumping-off points are simply that. They are only a part of what goes into the work, and perhaps a useful reference for viewers,” she explained. “Trying to combine fiction, fact, and my own personal mishmash of life into something new is how I make my work.”(6)

I believe although influences are different between the artists with Michal’s drawing influence from his own fantasy’s and personal perceptions, and Gaskell drawing influence from traditional and recognisable children’s literature they both make considerable efforts to insert themselves into their photographic series, while Duane’s series’ rely entirely on the viewers perceptions and interpretations in his belief that imagination is far more significant than real life’ believe in the imagination. What I cannot see is infinitely more important than what I can see.'(7) Gaskell uses recognisable situations and stories for the viewer to identify and consider when deconstructing the intentions and narratives behind her photo series’ however both photographers utilise a sense of unidentifiability and ambiguity to covey the stories they are trying to emanate.

Both of their accomplished and recognised abilities to portray clear and unique narratives through photography relies on them building a structure and aesthetic whether that’s a wide camera lenses and slow shutter speed in Michal’s case or Gaskells intentional cropping a posing that directs the viewer to their conclusion, whether it was the photographers intended conclusion or otherwise.

Bibliography

1=thephotographicjournal.com. (n.d.). Duane Michals. [online] Available at: https://thephotographicjournal.com/interviews/duane-michals/.

2=Carnegie Museum of Art. (2024). Storyteller: The Photographs of Duane Michals. [online] Available at: https://carnegieart.org/exhibition/storyteller-the-photographs-of-duane-michals/ [Accessed 2 Feb. 2025].

3=Popular Photography. (2019). Interview: Duane Michals on 50 Years of Sequences and Staging Photos. [online] Available at: https://www.popphoto.com/american-photo/interview-duane-michals-50-years-sequences-and-staging-photos/.

4=BOMB Magazine. (2024). BOMB Magazine | Duane Michals. [online] Available at: https://bombmagazine.org/articles/1987/07/01/duane-michals/.

5=Zhang, J. (2014). Intriguingly Ambiguous Visual Narratives by Anna Gaskell. [online] My Modern Met. Available at: https://mymodernmet.com/anna-gaskell-turns-gravity/ [Accessed 4 Feb. 2025].

6=Artnet.com. (2023). Available at: https://www.artnet.com/artists/anna-gaskell/.

7=BrainyQuote. (2025). BrainyQuote. [online] Available at: https://www.brainyquote.com/quotes/duane_michals_106045 [Accessed 4 Feb. 2025]

• How successful was your photoshoot and experimentation?

This photoshoot I focused on colour, and unique compositions that are revealed when captured from an abstract angle/approach. I achieved this by capturing photographs from particular view points – close-up shot, to more far away views. For each photo I had in mind the compositions and how I could achieve a unique, unusual angles from this. I further experimented with cropping the photos, to further make the photo unrecognisable through this very abstract angle. I wanted to achieve this effect, where only colour was visible, further defined by the lines, patterns, silhouettes and structured of outlines and shadows. To achieve this effect I chose certain areas from the original, which I though could be interesting and could achieve different focal points. This means that different details and features of the photo could be visible further creating interesting/ in-depth character.

• What references did you make to artists references? – comment on technical, visual, contextual, conceptual?

• How are you going to develop your project from here? – comment on research, planning, recording, experimenting.

To develop this further, I am going to focus more on the angles I use when I capture the photo, paying close attention to the the formations/ shapes and patterns, then capturing from angles in a similar way. I feel this will enhance the details further creating very gripping and engaging images, as I following the same effects.

• What are you going to do next? – what, why, how, when, where?

I am going to capture more interesting angles found from unique compositions I find

For this photoshoot, I focused on modern buildings, specifically on the water front as they are high-rise. I attempted to photograph these buildings in a way that is abstract, capturing the shapes and textures of the buildings. This is the route I walked:

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Question: How is feminism and identity manipulated through the evolution of social media?

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 Plan
Make a plan that lists what you are going to write about in each paragraph – essay structure

Essay question: How is feminism and identity manipulated through the evolution of social media?:

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. 

• Feminism waves

Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.

• Justine Kurland: how she has constructed her images in Girlhood:

• staging images using models/ runaways based on on her own girlhood experiences

• consider her own female gaze

• staging her staging of images taking inspiration from history painting, eg. Manet’s Le Déjeuner sur l’herbe

• female gaze on the female body

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

Literary sources:

Kotz, L. (1998) ‘”Aesthetics” of Intimacy’ in Bright, D. (1998) The Passionate Camera: Photography and bodies of desire. London: Routledge

van Zoomen, L. (2019). ‘Feminist Theory’ in Dixon, M. Media Theory for A-Level Students. London: Routledge.

Jansen, C. (2017). Girl on Girl: Art and Photography in the Age of the Female Gaze. London: Laurence King Publishing.

Healy, C. M. (2023) Girlhood, London: Tate Enterprises Ltd.

Part 1

Part 2

Sontag, S. (1977) ‘In Plato’s Cave’ in On Photography. London: Penguin Books.

Bibliography:

• ‘girl on girl’- Jansen, C. (2017). Girl on Girl: Art and Photography in the Age of the Female Gaze. London: Laurence King Publishing.
• Kotz, L. (1998) ‘”Aesthetics” of Intimacy’ in Bright, D. (1998) The Passionate Camera: Photography and bodies of desire. London: Routledge