• What you want to explore?
• Why it matters to you?
• How you wish to develop your project?
• When and where you intend to begin your study?

Make sure you describe how you interpret the exam themes; OBSERVE, SEEK, CHALLENGE, subject-matter, topic or issue you wish to explore, artists references/ inspirations and final outcome – zine, photobook, film, prints etc.

For my project I want to explore family: Doing this theme matters to me because it get to show different cultures and look at how different but interesting they are. Showing what they do in there everyday lives, what they get up to when on holiday, and also what it is like to be part of a large family on special occasions like Christmas when we all meet together. Freedom/ adventures: Specific key locations in Jersey, travels around famous land marks in Madeira, and these will all be taken with friends and family to represent the freedom we have to explore the earth. As well as the cultural differences between Madeira, where my parents were born and Jersey, where I was born. By making this photoshoots happen i decided to explore Théo Gosselin, Emilie Ristevski, Ashley Kaplan and Jimmy Nelson. Theo Gosselin is a French photographer who explores the themes of life, love, his generation, his adventures, and wide-open areas; He says pictures are a true admiration to freedom, captured like a snapshot. Theo Gosselin photography is very simple no set, no staging, just allowing the moment to happen. He shows how teenage life is most of the time because in your teenage life that’s when you get to life your life and start new adventures with the people you love, his work “portfolio” is a good example of living life. In addition, Emilie Ristevski is an Australian photographer visual storyteller and author. She describes her photography style as “storytelling, Escapism, Dreamscapes”. Her work is about finding the beauty in our world and always tries to capture things that often goes unseen sharing meaningful content. Emilie Ristevski book called “Forever Wandering” is a labour of love of many years full of countless wanderings around the globe, she poured so much of herself into creating this book and never been so exited to offer a home for her photographs to be held in a tangible form. Another photographer, Ashley Kaplan is a photographer who loves to take photoshoots of people to boost their confidence and families. She tried to take as many photoshoots to show people’s story. Finally, Jimmy Nelson is a British photographer known for taking portraits of indigenous people and documentation of different cultures and traditions. Jimmy loves what he does, I know this because he said “Through the lens of my camera, I am able to share the extraordinary beauty of our world’s vanishing cultures and inspire others to celebrate and preserve their unique heritage.” Jimmy book “Jimmy Nelson Homage to Humanity” shows an immersive journey through the lives of people with different cultures around the globe. This book provides an intimate and respectful look at their traditional, customs, and environment, showing Nelsons ability to use the camera. This book also offers insight into understanding and exploring cultures.

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

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

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

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

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

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

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

• Opening quote
• Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?
• Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian. 
• Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
• Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
• Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
• Bibliography: List all relevant sources used

Essay Question:

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

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

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

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

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

Pg 1: Historical/ theoretical

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

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

Pg 3: Nan Goldin

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

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

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

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

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

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

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

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

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

Emilie Ristevski is an Australian photographer, visual storyteller and author. She often finds herself exploring far wide around the world to create and share slow and mindful wanderings within nature. Her work is about finding the beauty in our world and she is always looking to find ways to conserve and capture the things that often goes unseen. Over the years she has developed a strong focus on sharing meaningful content around sustainability and caring for the planet. She hopes her photographs have the ability to resonate with people in some way, that they can bring sense of nostalgia, a sense of wonder, that they will make you think something, anything at all. With pieces of her mind and heart scattered all over the globe, she felt the urge for her images to do and say more with the hope that she can encourage a greater awareness of the earths beauty and ever present fragility. It is through her storytelling that she hopes to inspire and educate her audience on the importance of our natural world. She truly loves being able to share the world through her lens and allowing others to see the magic of the natural world. Knowing she has encouraged others to see the world in a new light and reignite their connection with nature and our planet is something really special to her. Emilie’s work for photography started years ago when she discovered black and white film photography in a tiny dark room. Focusing on travel for her was never intentional and while studying design at university she always imagined herself somehow in the design world, however photography was also something she fell in love with the most when creating imagery.

What inspired you to start this journey? Would you say you’ve always been a creative & where do you think this has stemmed from in your upbringing? 

“I’ve always had an innate love of creativity. Growing up I experimenting with different art forms and mediums from painting, drawing, ceramics, anything where I could create and let my imagination become tangible. The combination of travel and photography helped to me create a strong sense of story, a way to create work which felt transportive and capture the untold wonders of our planet. Somewhere between the mountains and the ocean I have lived throughout several different regions along the east coast of Australia and in someway always surrounded by nature – This is where my love and connection to the natural world first began. Nature has always been a starting place for inspiration. The continual ebb and flow of being a creative and constantly being on the move forces you adapt and see things differently, a mindset which allows myself to appreciate the hidden beauty that can be found all around us.”

Emilie Ristevski describes her photography style as “storytelling, Escapism, Dreamscapes”

Forever Wandering

Forever Wandering is a book that Emilie Ristevski published. Forever Wandering is a labour of love of many years full of countless wanderings around the globe, she poured so much of herself into creating this book and never been so exited to offer a home for her photographs to be held in a tangible form. The process of creating her book was very surreal and overwhelming and became a leering curve for her in many ways. With so many uncertainties in the world right now, she hopes her photography is able to transport to peoples mind into the wildness of our world and help people discover a depth of wonder and awe of the planet. Forever Wandering is a visual insight into our natural world, telling a meaningful story of how we can find a deeper connection with the universe and ourselves. She just wants her photography to ins[ire people and re-light everyone’s connection with earth and see the beauty that is hidden with every corner or the planet and how its amazing sharing moments like exploring the world with people you love most.

“The camera is my tool of choice.”

Ashley Kaplan was born in San Francisco, California. She started Photography as an official business at the end of 2020, which wasn’t the best time to start a business. It took her a year to find out what type of photography she really wants to do but she is confidently to say that she is a love and empowerment photographer to book with and to take creative photoshoots of anyone’s story. When taking photoshoots of people she always tries to make everyone comfortable so she really tries hard with the posses and styling to highlight everyone’s natural beauty. She finds a lot of joy helping others out and that’s the biggest goal and value in life. She has been through a lot in both life and in this world of photography and she has learnt and grown through it.

Portfolio

Ashley says that photography is a hobby for her. She’s always treasured old family photographers and rich stories they carry with the, but it wasn’t until she become a mother that she got obsessed with the need to preserve and remember each phase and detail of her family life. She feels happier in the wild and beautiful places when taking pictures. She loves Capturing people, the wonders of this marvellous planet, and how we all fit into this awe-inspiring world makes her heart sing. Each stage of family and friends life is so fleeting to her. She knows he will never have enough time, and the years seem to pass too quickly, but there is a comfort in knowing her photography will continue to serve as a time machine transporting her back to preserve and remember.

French photographer Théo Gosselin was born in nearby of Le Havre in 1990. He currently lives and works in Amiens. He graduated in 2012 as a graphic designer in Amiens. He started photography around 2007, and it became his reason to live. He loves to capture the simple life, good and bad moments, and his adventures.

Théo Gosselin pictures are a true admiration to freedom, captured like a snapshot, credits to his film camera that he totally masters. His favourite themes are life, love, his generation, his adventures, and wide-open areas; he is, in simple terms, a young person yearning for independence and a different way of life where harmony with nature and human values are important. Théo Gosselin is the photographer of simple but heart-breaking pictures, which speak the language of feelings and true emotions. The young photographer delicately captures the connection that comes with maturity without using any false pretences or lies. Obsessed with music and cinema, he started to photograph as a way to celebrate love, beauty, friendship and freedom. With a style that is both raw and atmospheric, he captures the world around looking to really feel alive.

portfolio

Theo Gosselin’s photography is very simple: no sets, no staging, just allowing moments to happen. style which one would think would not be entirely beneficial to more commercial work. One of the good things about working for commercial photography is that Most of the time he is able to work with his own friends as models, producing moments that feel true to him and to the viewers. When working with professional models or actors, Gosselin prefers to meet them in advance, to ensure that same “organic” and familiar environment is maintained on set. As much as he tries to make these more product-minded shoots his own, the world of commercial photography remains a difficult one for him to feel at home in. “I hate when there are 30 people behind my back, looking at the pictures, drinking coffee,” he says. “When I shoot advertising or commercial, I try to work with a small team to preserve the intimacy of the pictures.” As he so bluntly states — “the clients can stay in the truck or in the tents—a model can’t be true in front of 30 people.”

Theo Gosselin quote when asked what did photography teach you over the years:

“I basically learned life through photography. This is how I met my wife, my friends and so many people. It’s been there in all the good and the bad moments in my life. It also makes me less shy and it’s been a bridge for me to connect with the entire world and live the life I’ve always wanted.”

Theo Gosselin was inspired by his friends and their lives not as a photographer but as a teenager who wants to capture the memories just like everyone else, Along the way, Gosselin took notes from the liberated ways of the American underground culture of the 20th Century.

I love the way Theo Gosselin presents his photoshoots. It shows exactly how teenage life is most of the time because in your teenage era that’s when you get to life your life a little and start new adventures.

image analysis:

The image above, photoshoot from Theo Gosselin. Photo was taken over the shoulder with a perspective of a car journey, with a strong depth of field and with the subject being blurry. Although the image looks simple and boring, I feel that it is sums up the purpose of Gosselin’s work well, and his relationships with those around him. As Gosselin, shoots over the shoulder, it is almost suggesting that him and the subject share the same view, as if their trip is the same for both of them, which shows me a more calming atmosphere, which include friendship and togetherness. At last I feel like this image is telling everyone that Gosselin is on a journey which also is mysterious because you cant tell where is is or going too but that’s wat also makes it more interesting and makes people curious.

MOODBOARD:

MINDMAP:

GIRLHOOD

James, who has been The North Wall’s Propeller Artist for two years, began exploring the idea of GIRLHOOD during the group show ‘Fourteen’ which she facilitated and took part in for ‘Photo Oxford’ 2021. As a way to understand her journey of grief, she began investigating the vulnerability of adolescence as a metaphor of how she felt straight after her father died. Since then, James has been documenting teenage girls, all born at the start of the smartphone era and in a period of transition; gradually moving away from childhood yet nowhere near adulthood. Every adult was once a teenager, and we can all add to the conversation regarding our own teenage years. James tells us, “I, probably like yourself, was invincible as a teenager, yet now as an adult and as a mother I see how vulnerable teenagers are.” The artist’s ability to capture the essence of teenage girls allows for honest and sensitive imagery. Philippa James meaning behind her photos is that lot of teenage feels like waiting for adulthood, waiting for freedom, waiting to be taken seriously. This brilliant, stirring exhibit captures those feelings as well as the excitement kinship and joy of that time, told through McDonald’s trips and post-school bedroom hangouts.

James’ work here recalls the dreamy female gazes of photographers like Petra Collins and Ashley Armitage, although intentionally more grounded and unposed. In Girlhood, the camera seems to simply bear witness rather than glamourise or caution. Her strategy pays off: the unpoised vulnerability and freedom become the collection’s chief strength.

I’m going to be taking pictures of my friends doing their normal weekend ot day to day activity, such as shopping, doing hair, doing make up etc. Also going to be taking some portraits of different teenage girls styles.

headshots means that the portrait photo is cropped somewhere in the middle torso – so that the focus is on your face.

To take photoshoots for headshots you can either use:

Flash Lighting:

Camera settings (flash lighting)
Tripod: optional
Use transmitter on hotshoe
White balance: daylight (5000K)
ISO: 100
Exposure: Manual 1/125 shutter-speed > f/16 aperture
– check settings before shooting
Focal length: 105mm portrait lens

or, Continuous Lighting:

Camera settings (continuous lighting)
Tripod: recommended to avoid camera shake
Manual exposure mode
White balance: tungsten light (3200K)
ISO: 400-1600 – depending on how many light sources
Exposure: Manual 1/60-1/125 shutter-speed > f/4-f/8 aperture
– check settings before shooting
Focal length: 50mm portrait lens

MINDMAP & MOODBOARD:

Above is how I set up everything to take the photoshoot and below are some images from the photoshoot and the edited versions.

TOP 2 IMAGES:

These were my top choices because I loved the way its set and how the colours blend in so well with the face expressions and the mood in the image.

For my Landscape photoshoot we went to Havre De Pa and took some pictures there. A landscape is the visible features of an area of land, its landforms, and how they integrate with natural or human-made features, often considered in terms of their aesthetic appeal. The term “landscape” actually derives from the Dutch phrase landscape, which at the beginning meant “region, tract of land” however obtained the artistic connotation, “a image depicting surroundings on land” in the early 1500s (American Heritage Dictionary, 2000). landscape painting, the depiction of natural surroundings in art. Landscape art work may also capture mountains, valleys, our bodies of water, fields, forests, and coasts and might or might not include man-made structures as well as people.

When did landscape photography originate?

The earliest known evidence of a landscape photograph was taken between the years of 1826 and 1827. It was an urban landscape photo taken by a French inventor by the name of Nicephore Niepce.

Below are some images that I chose to edit, I tried to make the photos more dramatic since it would be more interesting and would catch peoples attention more.

The Anthropocene is sometimes used to describe the time during which humans have had a substantial impact on our planet. Whether or not we are in a new geological age, we are part of a complex, global system and the evidence of our impact on it has become clear.

MINDMAP & MOODBAORD:

For my first photoshoot I went to frigate beach and take photos of the sea when is high tide and when its low tide. I took three different pictures but all in the same place but just different angles just like Michael Marten did as I found it very interesting on I was curious on how he did it so perfect. These are the photoshoots Michael Marten inspired me to copy and my final outcome of the images inspired by him.

For my second photoshoot I took photos of abandoned buildings inspired by Yves Marchand & Romain Meffre. The quality of their work cannot be disagreed, and they have added great value to the medium of photography. I like the way they take photos of completely different places, places that no one hardly goes. Where its nice and calm or sometimes messy but still calm and peaceful. Their work relates to Anthropocene because they take pictures of mostly abandoned places and that shows how places can be destroyed or not wanted anymore because of the environment, could also be because of war or other any reason.

Butterfly lighting is a portrait lighting pattern where the key light is placed above the subject’s face and aimed directly at the subject’s face. This creates a butterfly-like shadow under the nose. Also known as “Paramount Lighting” after the classic Hollywood glamor photo. Butterfly lighting is a type of lighting pattern for studio portraiture. It is used for taking flattering, glamorous portrait photos. The lighting is soft on the face. It forms a butterfly-shaped shadow under the subject’s nose, which is the source of the name.

Chiaroscuro is a high-contrast lighting technique that utilises a low-key lighting setup to achieve contrast between the subject and a dark background. Chiaroscuro balances high-contrast light and shade to give the appearance of depth, creating an enhanced or more dramatic effect. Chiaroscuro creates three-dimensionality on a two-dimensional plane, darkening the background and highlighting the subject in the foreground, drawing the viewer’s focus and attention.

What are the differences between photographs that are WINDOWS and MIRRORS?

“The two creative motives that have been contrasted here are not discrete. Ultimately each of the pictures in this book is part of a single, complex, plastic tradition. Since the early days of that tradition, an interior debate has contested issues parallel to those illustrated here. The prejudices and inclinations expressed by the pictures in this book suggest positions that are familiar from older disputes. In terms of the best photography of a half-century ago, one might say that Alfred Stieglitz is the patron of the first half of this book and Eugène Atget of the second. In either case, what artist could want a more distinguished sponsor? The distance between them is to be measured not in terms of the relative force or originality of their work, but in terms of their conceptions of what a photograph is: is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?” 
— John Szarkowski, 1978

Photographs used as “windows” provide an overview into the world, culture, or experience of another person, serving as an open doorway that allows the spectator to learn more about something they are not familiar with. The viewer’s awareness of different lives, habits or locations is broadened by these photographs, which frequently depict situations, people, or settings that are outside of their own world. In this sense, “window” photos provide the audience a chance to see something different and give them an idea of parts of the world that they might not normally see, frequently with a feeling of curiosity or indifference.

On the other hand, “mirror” photos create a feeling of familiarity and connection by reflecting the viewer’s own identity, experiences, or feelings. These pictures create an emotional connection with the audience, frequently bringing out aspects of their own surroundings, culture, or emotions. A snapshot that serves as a mirror strengthens the viewer’s sense of self and helps them comprehend their own identity or experiences on a deeper level. “Mirrors” reflect the familiar, giving the observer a sense of being seen or understood, whereas “windows” provide new perspectives beyond oneself.

Richard long – A Line Made By Walking, England, 1967

A Line Made by Walking downplays the artist’s physical appearance while hinting at Long’s previous involvement in performance art. It demonstrates the duration of time it took for him to develop a visual way to express his enduring concerns about reality, movement, and impermanence.

Bill Brandt – Nude East Sussex, 1968

This picture, following his previous wide-angle nude works, positions the naked figure at the front with her body stretching into the background. The camera is positioned near the model’s face, causing the viewer to feel unsettled as they are aware that the nude is the focal point of the photo and must see the scene from the nude’s perspective. We are observers of the image while also being the focus of it.

Eugene Atget – Street Musician, 1898

This change in how Atget’s work was seen started towards the end of his life, when he became acquainted with Berenice Abbott, a young American photographer working in Paris for Man Ray. Following his passing, Abbott acquired his archive’s remains and started to advocate for his work. She was captivated by the unfamiliarity present in Atget’s photographs, finding within them a Surrealist element along with a steadfast commitment to accuracy and a genuine affection towards the subject itself.

This photograph is included in a collection Abbott printed and released to honour Atget’s centennial birth anniversary. An edition consisting of 100 sets, each numbered, was released.

Robert Rauscheneberg – Windward, Oil And Silkscreen In On Canvas, 1963

Robert Heinecken – Figure Sections (Multiple Solution Puzzle), 1966

Nan Goldin – Nan And Brian In Bed, NYC, 1983, Cibachrome

Goldin’s art is inspired by her personal life, and this image deeply captures the emotional intensity of her own love story. The artist reclines on a bed, looking at Brian – her lover – with a blend of desire and acceptance while he looks away from her. A gentle yellow glow envelops the setting, evoking the fading warmth of a setting sun and a declining bond. “The Ballad of Sexual Dependency, a collection of over seven hundred colour slides accompanied by a soundtrack, features Nan and Brian in Bed, New York City as part of Goldin’s significant work.” The slideshow, lasting forty-five minutes, is named after a song from The Threepenny Opera by Kurt Weill and Bertolt Brecht, providing a close, emotional look at a marginal group in 1980s downtown Manhattan. Goldin has characterized The Ballad as “the diary I share with others”; the casual snapshot approach of her photos gives their personal narratives a strong feeling of being in the moment. Although the work depicts the collective experience of a generation affected by drug abuse and AIDS, its main focus is on the passion and intensity found in romantic relationships – both the peaks and valleys.

Garry Winogrand – Los Angeles, 1969, Gelatin – Silver Print

This photograph, similar to many of Winogrand’s finest pieces, is extremely unsettling. The photographer utilized a wide-angle lens to capture the people and their surroundings in great detail, and added another level of distortion by tilting the camera. The primary focus of the image is three women casting a brief glance at a man seated in a wheelchair with a begging cup in his lap. The bending of light in the middle of the picture highlights the outlines of the women’s legs, creating lengthy shadows. The contrast between the woman’s sexuality, youth, and mobility is juxtaposed with the man’s poverty and lack of mobility. The camera’s placement makes the viewer feel like they are on the street, adding a sense of urgency to the scene.

William Eggleston – From Memphis, Tennessee, Dye Transfer Print, Early 1970s

Bernd +Hiller Becher – Lime Kilns, Kalkofen, Harlingen, 1968

Richard Hamilton, Just What It Is That Makes Today’s Home So Different, So Appealing? Collage, 1956