For this first photoshoot, I visited La Collette during the night-time to capture the isolated streets illuminated by the artificial lighting (lampposts). I aimed to recreate the glowing effect, usually seen in Pierre Putman`s work, but the lack of mist and fog on the night of the shoot I was not able to strongly achieve this. Another challenge/problem which I encountered while taking these images is that my camera was on a low resolution setting, which impacted the overall quality of my images. I plan on going back to La Collette as it is a perfect location to get images similar to Pierre Putman`s another night, making sure that my camera settings are finely adjusted for high resolution images and hopefully capturing the glowing effect of the artificial lighting under more foggy conditions. This will allow me to produce even stronger and more effective images for my personal study
Image Comparison
When comparing this image with Pierre Putman`s image, there are some clear similarities, like the focus on the time of day (night-time) and capturing the lampposts to create mood in the photograph. Going to La Collette was a good idea, setting wise as Pierre Putman`s image is taken in a urban setting and when looking at my image and his, the area looks extremely similar, almost identical. Like Putman, my photograph focuses on the quietness and emptiness of a isolated street lit up by lamp-posts, highlighting the contrast of light and shadow. However there is a huge difference in my image and Putman`s image which is the weather. In most of Putman`s photographs the mist which he captures, intensifies the glow from the artificial light creating a cinematic glowing beam look. This is what makes Putman`s image stronger in comparison to mine as my photograph lacks mist and the glow from the artificial light, due to the clear conditions during this photoshoot. Another aspect of my image which I think makes it a weaker image is the car found on the left of the image, the cars being in the image takes away from the emptiness which I aim to capture with my photoshoot.
Photoshoot #1 Retaken:
I went back to the same location and retook these images. here is how they turned out:
Samiksha Chaudhary believes objects function as memory keepers and he found himself reliving these memories through photography. This all began in lockdown when Chaudhary found himself stuck in Mumbai, whilst his parents were back home at Calcutta. Chaudhary found this time lonely as he missed his parents, therefore he aimed to revive and relive little moments which were created by these objects. He released a set of photographs taken of these objects as part of a bigger collection which he previously shot during 2019 whilst being at home with his parents. Chaudhary found photography to be a way of tracing back memories all the way to his childhood. It was also a way to feel closer to his parents and a way to hold onto old memories. Each of his unique objects tells a story which takes him back to his home. Chaudhary wishs to capture the object’s value to his personal history, rather than the value of them.These objects create a mental map to his childhood and they are also a way of knowing his families history. With the objects laid out they all tell a story. They capture a lifetime within them, not only his own but also that of his parents and relatives.
“A wedding gift, this wooden doll, my mother told me, held a small vial of perfume. The showcases in our home, when I was growing up, were always full of such curios – some inherited, some received as gifts or others collected patiently, one item at a time, by my parents (mostly Maa),” – Chirodeep.
This is a picture of the silver bowl that originally belonged to Durgamoyi Roy, his mother’s maternal grandmother and was a gift to his mother to celebrate seeing her great-grandson for the first time. The bowl, probably 100 years old now, has been with his parents for as long as he has been around and continues to exist as a daily use object at his home.
The safety pin is the last surviving piece from a set of a dozen of such pins was used to keep his diaper in place as an infant.
“Maa got the stone elephant and the ivory lion from Thamma. The elephant, in all likelihood, originally belonged to her mother. I can’t remember how it broke but trust my mother to painstakingly put it back together. The lion, I knew, was no plaything.” – Chirodeep.
“The sand clock, an object of immense fascination for me, was a gift to my parents from my mama, Dilip Ray and my aunt Eva.” – Chirodeep.
How will I respond?
To respond to this photographer I plan to photograph old objects which hold meaning to my relatives, specifically my grandmother. I will take these photographs on a plain background
Helmut Newton was known as one of the most influential fashion photographers of the 1980s alongside Irving Penn, and Richard Avedon. I think that his work is the perfect comparison for the world I would like to similarly replicate. This is because I like the style of it being old and black and white. I like how they style is elegant and the women are dressed in predominantly black. As he was a very favour fashion photographer, I think that these images relate well to the topic of women being represented in the media and industries.Helmut Newtons work focused on themes such as power and gender and Newton’s work frequently explored themes of power, dominance, and submission, with women depicted as both powerful and vulnerable. Something that makes me fascinated with his work is the fact that Newton’s style often featured strong, dominant women in exaggerated, high-fashion settings. His images were characterized by a high contrast, stark lighting, and a sense of voyeurism.
The theme of femininity and gender that I am focusing on ties into his work as Helmut Newton’s work represents women as powerful, enigmatic, and seductive figures. The stereotype “femme fatale”, represents these women as they are radiating both allure and danger. The idea that women are superhuman and dominant is shown in his work as their outfits and roles in the photographs demonstrate authority and positions of power. I like the fact that the women are in smart, business attire or dresses, this particularly contrasts society’s views as they are defying usual stereotypes of women. Although, his work is meant to explore women from a female perspective, yet his photographs are sometimes seen as reinforcing women as an object of desire.
I want my models to be seen as women of power and show the power dynamics of society and not seeking male dominance in their lives. I want my models to also defy usual beauty standards an instead show their strength and unity as a whole.
Photo Analysis.
Technical:
The lighting in this photo is a black and white dark toned image which has a high contrast which creates a striking atmosphere. The shadows are harsh and strong with the highlights being white and brighter. This creates a high contrast and bold impression. This also helps to emphasize the characters and people included in the image which also creates intensity to the image. This image uses sharp edges and back-lighting which creates a cinematic feel to the image, as if it is a snapshot. However, as this image is outside, natural lighting will have also been used to show an authentic feel to the image as it is using the sun along with stage lights. The main lighting component to the photo is the contrast in shadows and how shadows are used to outline the characters. In this photograph the two women are highlighted as the focal point in the image due to the sharp shadows and dark dresses which have a strong and powerful style to them.
Visual:
This image includes a sense of symmetry and geometric framing. This is due to the way the two women are stood in a specific place which is known as deliberate positioning. The background of this image is also very minimal and includes mostly sky with a few buildings and ground towards the lower half. This creates an easy way for the audience to immediately look at the subjects instead of the background. Shadows also accompany the focal point of the women by emphasising their bodies and in this image, possibly promoting the outfits the women are wearing. The female form is a main part of Newton’s work and it is displayed in this image as there is emphasis on the shape of these women’s bodies and they display an idealistic and stereotypical body to please the male audience. The lighting of this images, highlights the bodies of the women and their sculptural beauty. I like how cinematic thus image is as it looks like a quick shot taken out of a movie, as the women are mid motion, this creates a cinematic and narrative impression.
Contextual:
The main contextual element to Helmut Newton’s work is exploring gender roles and sexuality. Helmut’s work has been previously critiqued for objectifying women. However, In my chosen image, I believe the women are shown as being dominant and in control. I like how his work is challenging social norms and how he sees his photography as an opportunity to push himself to the extremes in order to convey his message. During the time this image was made, political and social issues were being faced globally. Women were fighting back for rights and equality and feminists were also challenging the patriarchal gaze. In this image, I believe the two women are challenging the idea that women should only be seen as passive objects of male desire. As Helmut Newton is also a fashion photographer, people, predominantly women, were used to promote outfits by creating a specific mood and impression though a story by the model and location. In this image, the women are in high- quality, high-fashion outfits, whilst portraying their strength and confidence through art.
Conceptual:
In Helmut Newton’s work, he focuses on the exploration of power, and gender, however, this message is executed in multiple ways that differ him from other fashion photographers. Helmut Newton orientated much of his work around nudity of women. This was to challenge traditional women forms and exploration of desire, dominance, and control. In this image, the concept and meaning behind it, explores ‘the perfect woman’ as both of the women are young, confident and beautiful and uses boldness to highlight their power over a traditional angelic woman. This image is an example of Helmut Newton, ‘pushing boundaries’ and makes the viewer question whether the women are being celebrated or objectified. This image has a very cinematic feel to it and resembles a scene from a thriller or action movie due to the ambience created through the lighting. This is a narrative quality in his work which implies an unwritten story behind the image and there is a message or conflict beneath the image. This essence of mystery intrigues the viewer and differs Helmut Newtons work from other contemporary photographers.
How Does He Link to My Work?
In my personal study I am focusing on the ‘male gaze’ and the representation of women in the media. The idea of ‘the male gaze’ comes from Laura Mulvey in 1975. This is the way the visual arts, including film and photography, depict the world from a heterosexual male perspective. I chose this specific photographer to tie into my topic as Helmut Newton photographs predominantly women and positions them as subjects of male desire. The way the women are posing in his images is used in a strategic way in order to emphasize their bodies and for the model to captivate the traditional heterosexual male viewer. Helmut’s work also features women displaying themes of power and control, the women are shown as empowered instead of vulnerable. This use of power dynamics intrigues the viewer and is used to attract the male gender, in order to get them to buy their products and they may e.g. attract a woman similar looking to the model. The costume of heels paired with lingerie or small pieces of clothing ties into being a part of ‘the male gaze’ as women are simply posing in almost no clothing just to attract males to the products. However, Helmut Newton’s work also complicates the male gaze as the women are not submissive and vulnerable, but powerful and in control, which contrasts the traditional male gaze, as the woman are aware and complying with it. This has sparked debates about whether Newton’s photography reinforces the male gaze or offers a more nuanced representation of female sexuality.
Articles.
This subject has been explored multiple times by many high-profile newspapers and reports. Laura Mulvey did not undertake empirical studies of actual filmgoers, but declared her intention to make ‘political use’ of Freudian psychoanalytic theory (in a version influenced by Jacques Lacan) in a study of cinematic spectatorship. Such psychoanalytically-inspired studies of ‘spectatorship’ focus on how ‘subject positions’ are constructed by media texts rather than investigating the viewing practices of individuals in specific social contexts. Mulvey notes that Freud had referred to (infantile) scopophilia – the pleasure involved in looking at other people’s bodies as (particularly, erotic) objects. In the darkness of the cinema auditorium it is notable that one may look without being seen either by those on screen by other members of the audience. Mulvey argues that various features of cinema viewing conditions facilitate for the viewer both the voyeuristic process of objectification of female characters and also the narcissistic process of identification with an ‘ideal ego’ seen on the screen. She declares that in patriarchal society ‘pleasure in looking has been split between active/male and passive/female’ (Mulvey 1992, 27). This is reflected in the dominant forms of cinema. Conventional narrative films in the ‘classical’ Hollywood tradition not only typically focus on a male protagonist in the narrative but also assume a male spectator. ‘As the spectator identifies with the main male protagonist, he projects his look onto that of his like, his screen surrogate, so that the power of the male protagonist as he controls events coincides with the active power of the erotic look, both giving a satisfying sense of omnipotence’ (ibid., 28). Traditional films present men as active, controlling subjects and treat women as passive objects of desire for men in both the story and in the audience, and do not allow women to be desiring sexual subjects in their own right. Such films objectify women in relation to ‘the controlling male gaze’ (ibid., 33), presenting ‘woman as image’ (or ‘spectacle’) and man as ‘bearer of the look’ (ibid., 27). Men do the looking; women are there to be looked at. The cinematic codes of popular films ‘are obsessively subordinated to the neurotic needs of the male ego’ (ibid., 33). It was Mulvey who coined the term ‘the male gaze’.
you must contextualise his work with feminism, with specific reference to the ‘male gaze’ and his representation of women in his photographs. Apply your knowledge and understanding of Laura Mulvey’s ‘Visual Pleasures’ essay and Judith Butler’s; ‘Gender Trouble’ you have studied in Media. You also need to find some specific articles/ reviews done around his work written by other critics, feminists etc. I’ll help you with identifying these. This has sparked debates about whether Newton’s photography reinforces the male gaze or offers a more nuanced representation of female sexuality.
Manny Robertson is a photographer, artist, and visual storyteller, known for his work that often intersects with themes of fashion, portraiture, and conceptual art. He is recognized for his distinctive approach to photography, often combining elements of storytelling, emotional depth, and visual experimentation to create compelling and thought-provoking images. His photography often features bold compositions, dynamic lighting, and a blend of contemporary and classic aesthetics. He uses photography not just as a medium for capturing moments, but as a tool for expressing broader themes, including identity, transformation, and the human experience. Manny Robertson’s style and artistic vision place a strong emphasis on visual communication, and his work can be described as both cinematic and introspective, with a focus on the emotional and psychological states of his subjects. The emotional resonance of his images is often paired with a sharp attention to detail, making his photographs both visually striking and conceptually rich. Like many contemporary photographers, Robertson explores the concept of identity, both in terms of how individuals present themselves and how they are perceived. His portraits often convey a sense of vulnerability or introspection, encouraging viewers to engage with the emotional undertones of the images.
Manny Robertson’s series called “Embroidered Metropolis” was created to represent how dark emotions like Depression can attach and fuse themselves to people like masks of sorts. Using a robotic aesthetic inspired by the film Metropolis, to distinguish between normal feelings (colour) and the emptiness of the others (black+white), whilst using thread to act as both robotic attachments, and the struggle of dealing with said affliction.
How he links to identity:
Manny Robertson’s photography often explores themes of identity, transformation, and the complexity of human emotions, which makes his work particularly suited to the theme of disguise in photography. While his approach is varied, several key elements in his work resonate strongly with the theme of disguise such as the exploration of masked identities. Robertson’s portraits often feature individuals who appear in altered versions of themselves, where their outward appearance might be drastically changed through editing and manipulation of light. For example, he makes a cutout of the person’s face which comes slightly off their actual face and is held together by stitches. This alteration acts as a disguise, hiding or distorting the person’s “true” identity. In this sense, the subject’s outward appearance becomes a mask, revealing a version of themselves that may not reflect their inner identity. By playing with visual transformations, Robertson challenges viewers to question the authenticity of appearances, a core aspect of disguise.
Beyond the visual aspects of disguise, Robertson’s work often delves into the psychological layers that people wear, whether consciously or unconsciously. His subjects may not be physically disguised, but the emotional or psychological “masks” they wear are evident in their expressions or body language. This emotional veil can be interpreted as a form of disguise, where the subject’s true feelings or inner self are hidden behind a curated exterior. Robertson’s photography invites viewers to consider the emotional disguises we wear in daily life, and how these layers can either protect or distance us from others.
Quotes
He said his series ‘Embroidered Metropolis’ was inspired by the film Metropolis, and this series of portraits were created to “… represent how dark emotions like Depression can attach and fuse themselves to people like masks of sorts. Using a robotic aesthetic…to distinguish between normal feelings (color) and the emptiness of the others (black+white), whilst using thread to act as both robotic attachments, and the struggle of dealing with said affliction.” (https://chantellegracephotography4.wordpress.com/2020/04/20/assignment-four-photographer-research/)
what do you want to explore?/why do you want to explore the topic?:
the topic I want to explore is landscapes, but more specifically how its effected us how we have effected it and are absence in are innovation to help preserve are planet. I believe I will be able to make images that portray the messages that I’m exploring for my personal study by capturing images that show we’ve effected the for mainly are personal benefit without giving thought to the things there before us. The reason I want to explore this personally is because although its spoken about its not paid attention to enough to the point where everyone is doing their best to change the world positively, which is why I believe that it would be an interesting subject to do my project around as its something different. This project will allow me to not only learn more about this topic and enhance my skill with taking landscape images. My aim for this project is to produce a piece of work that can educate not only myself but others as we all live in the same bubble on the importance of what we are doing to the landscapes around the island but also the world and how we should be more ethical with what we do and if its all necessary. I believe by using photography I will be able to portray the message that I want to push as how else is better to see how we effected the landscape by showing people images.
how do you wish to develop your project?:
I will develop my project by making sure I take images in specific places such as through out town and some other more rogue places throughout the island and certain weather conditions that make the image look more appealing such as foggy weather or rainy days, but obviously this isn’t something I can rely on but would make the image more aesthetically pleasing. Certain techniques I would like to use would be long exposure panoramic shot as this will help me focus on the smaller elements in the image as well. to further enhance my photos to make them even better I will edit them to look more how I want them to which means some photos will consist of more warm colours popping in the image, then some would feature a more cold atmosphere in the image.
with the combination of my knowledge of the topic and using my photography skills, my intention is to create a series of images that show you the landscapes in multiple different angles view points and perspective. this will also help me show if we have really changed the landscape for the better which is going to help me link it to the idea of are the majority of people happy with their living conditions and the location they live? and if the answer is no why we destroying land for people to be unhappy?
when are where do you intend to begin your study?:
For this project I intend to begin my study by taking lots of images that are inspired by the artists i studied such as Rut Blees Luxemburg and Edgar Martins. would probably start my project by taking images throughout the night around town and possibly around the island trying to replicate some images from the artist I have studied and some photos from my own creativity, this is because I believe that it will be able to successfully show what I’m trying to portray by doing this sort of photoshoots. For example i would like to take images of things that represent damage to the environment and things that in my opinion that are wasted on the island. more specifically things such as abandoned places and things such as deforestation, industrialization and air pollution and overpopulation. which i believe some of these to growing problems in Jersey such as overpopulation which in hand has led to more industrialization around the island to provide for a growing population.
I’m going to take photos in my grandads favourite locations when he used to come and visit the island, I’m taking images of the scenery and then taking restaged images using my dad as the subject so re creating images that were taken years ago in the specific locations
Mind Map
This clearly shows where I’m going for my photoshoots and what I’m taking photos of. This is my photoshoot plan for my final piece, I’m going to use images that I’ve taken from my grandads favourite places when he used to visit the island and also re stage images using my dad in the photos. Originally I was going to take photos of still life and change them into black and white but I couldn’t think of a way to link the images together so the idea changed.
The locations I’m going to go
I’m going to go to 5 different locations for this photoshoot St Brelade’s bay, La Mare Vineyard, Gorey Pier, St Ouens bay and Corbierre lighthouse. I’m going to these specific locations because these are the places where my grandad loved the most when he visited and where his favourite places on the island where.
When and Why
I’m going to these locations when the lighting is at dusk when its not dark outside but the sunlight is starting to fade and when the sun is setting to get the light perfect for the shoots I’m trying to achieve. I’m going to these locations because they were the most important to my grandad and they hold memories that are the most powerful to recreate, I’m going to use my dad as the subject for the images to replace the space in the images where my grandad was.
Concept
My concept for the photoshoot is to go to these specific locations but then to also take the restaged images and edit them in photoshop and change the opacity of the images and my dad to show that he was fading away and that he isn’t really there in the images like it was his ghost coming back in the image.
when considering my favourite image from my rear screen experimentation I noticed I could create a similar effect with studio lights and coloured gels
this was my inspiration to moving forward with specific studio lighting
photoshoot
studio set up
using two flash lights with varying different coloured gels, with the intention of creating harsh shadows and interesting lighting combinations. this photo is less about story telling and more aimed to present a clear and impactful image of the creature
The original idea was to use projection to create silhouette images of my sculpture with landscape backgrounds to create the perception of a large creature when in-fact my sculpture was about the size of a doll
Inspiration
for this idea I drew inspiration from Cindy Sherman’s rear screen projection
Studio Set Up
Using a projector and a my sculpture propped up i began this process, at first I was manually taking the photos but after experimentation I discovered a low shutter speed would create the highest quality images, in light of this I began using a tripod to prevent image blur and in order to capture the highest quality image I was able too
Photoshoot
favourite images focussing on silhouette
next steps
After experimenting with silhouettes I next began projecting onto the sculpture instead of behind and I found this far more successful
these images will be fundamental story telling images in my picture book, in order to portray the size and supernatural nature of the creature.
photoshop experimentation
using photoshop i then began to experiment with the camouflage effect i was able to create through projecting onto to sculpture with higher quality photos of local woods.
For my first photoshoot I am going to take some pictures in town and other places that represent jersey such as the harbour, Gorey Castle, St Catherine’s representing the environment I had when I was born compared to my other culture.
For my second photoshoot I am taking portraits of my friends and family in Jersey, but I will also be taking picture of them doing what they love doing, being in their favourite place, having fun and posing. This photoshoot represents teenage life with friends and who I grow up with.
For my third photoshoot I’m going to madeira and take pictures of some different places and i’m going to take pictures of my family there too. I decided to do this because it will show a bit of my family background and what culture I come from.
Taylor Jones created the movement ‘Dear Photograph’. He was inspired to do this when he was sitting with his family and an old photo album was taken out including hundreds of old photos. In one of these photographs Jones’ brother was sat in the exact spot he was sitting in this photograph. This prompted him to take his camera and take a shot of the old photograph lined up to its original location. He then posted this photograph along with six others on a blog. This blog had gone viral within days, he later called this blog ‘Dear Photograph’. The success of this movement enabled Jones to leave his job and create a book inspired by Dear Photograph that will feature stories along with some shots. He has also met Tv and Film executives to discuss projects based on the site such as a screenplay a friend wrote about using photographs to travel into the past.
Dear Photograph
The idea of Dear Photograph revolves around memory and nostalgia and it involves holding an old photo up to the same environment where it was originally taken. This concept has resulted in powerful, emotional reflections on time, loss, and connections between past and present. Each of the photographs in the book is partnered with a sentence or note from the person who took the photograph which provides the reader with more information on the photograph as well as personal stories which enhances the viewer’s understanding of the images.
This is the original photo taken by Taylor Jones which started the whole idea of ‘Dear photograph’.
