Research point

Research Point

 

Remember that you’re expected to direct your own research as you work through this course. Now might be a good time to do some further research into the use of surrealist elements in colour documentary.

 

Core resources: Foto8#3.4_Leopold&Mobutu.pdf

Guy Tillim project ‘Leopold and Mobutu’ introduce us with totally different type of documentary. Tillim recorded traces of Democratic Respublic of Condo occupation by Belgium king Leopold II. Photographer catches very unusual situations such as a young boy pissing on steamboat used by Leopold’s African International Association. I have researched more of his photographs and all of them are linked together, photographer used very unusual way of doing this, some of the images are linked by photograph of path, representing traveling to another place where another photograph was taken. The image of Henry Stanley statue gives us interesting and powerful composition, one of the images statue has no legs and lays face down and other image of statue’s boots. This stands for neglected explorer.

 

‘’My journeys have been idiosyncratic, often purposeless, not so much to commit journalism as to travel for its own sake. Perhaps the more successful images reflect this; perhaps a pattern can be discerned from their parts. I can describe moments, or trace a journey, by the images I am left with. They themselves form a thread.”

 

Guy Tillim

Source: http://www.artthrob.co.za/04june/reviews/mstevenson.html

Zona’ by Carl de Keyzer this project contains images of Siberian Prison.

Source: https://www.google.lt/search?q=%E2%80%98Zona%E2%80%99+by+Carl+de+Keyzer+review&start=10&sa=N&biw=1411&bih=696&tbm=isch&imgil=OX2jAemg_tSMCM%253A%253Bhttps%253A%252F%252Fencrypted-tbn3.gstatic.com%252Fimages%253Fq%253Dtbn%253AANd9GcRyYP6vxcph8wHbhKNcZB3vT8IlKzpeKT3uhmalZWIbb1PTJ0tX0g%253B640%253B480%253BJ3dNsNoC8eJAJM%253Bhttp%25253A%25252F%25252Ferickimphotography.com%25252Fblog%25252F2012%25252F08%25252F02%25252Fbook-review-zona-a-colorful-look-into-siberian-prison-camps-by-carl-de-keyzer-magnum-photographer%25252F&source=iu&usg=__CZSlZaYOM7ii01nZXfl02pg6ypI%3D&ei=yLklU6C-M4SqhAfxt4G4DQ&ved=0CDAQ9QEwADgK#facrc=_&imgdii=_&imgrc=7l0pOAm1fSqy-M%253A%3BhZq2661V_GVjQM%3Bhttp%253A%252F%252Fi1192.photobucket.com%252Falbums%252Faa322%252Ferickimphotography%252Fzona2%252FPhotoMay2283602AM.png%3Bhttp%253A%252F%252Fwww.getapi.ru%252Fcontent%252Fapi.jquery.com%252Fpage%252Fapigetgo%252Ferickimphotography.com%252Fblog%252F2012%252F08%252Fbook-review-zona-a-colorful-look-into-siberian-prison-camps-by-carl-de-keyzer-magnum-photographer%252F%3B640%3B480

Let’s be honest this project could be in B&W which could suffer and miserable mood. However Keyzer employed colour with narrative and good composition and represent another kind of documentary. Theme itself has a lot of to tell, so images are very powerful and informative. Some of the images are very colorful vivid I would say. This is a huge risk and I did not see many who taken it. This is crazy project how to show prison life without feeling sorry for them! I think Keyzer took extra mile with this project; there are many aspects that worked great together. Every image has narrative, great composition and vivid colours.

Jan Brykczynski ‘Boikos in Ukraine’

 

Website: http://www.janbrykczynski.com/janb.swf

I found a polish photographer who has amazing colour documentary photographs. Particularly one of his projects about Boiko village in Ukraine. Ukraine same as Lithuania were part of Soviet Union, so I can see lots of similarities in culture. Interesting part is that Brykczynski looked for documentary images that can represent Russian fairytales, which I grew up with too. I do remember watching black and white television with those fairytales on. Brykczynski chosen colour photography that worked perfectly with the theme.

Some of the fairytales can be found here:

http://russian-crafts.com/tales.html

Martin Paar

Website: http://www.martinparr.com

Paar has very unique way of representing his chosen concepts (consumption, leisure and communication) of British photography. Perspectives are unusual and colours are garnish. Most of the photographs have signs of humor and criticism. British photographer represents familiar things in totally different way. He produces images for art exhibitions, photography books, advertising and photojournalism. This is perfect example how to create unique photographs which can be used in many aspects.

I found very useful Martin Paar’s tips:

http://erickimphotography.com/blog/2012/03/26/10-things-martin-parr-can-teach-you-about-street-photography/

Research point

Do some independent research into the work of some or all of the photographers discussed in this project. Compare and contrast the strategies that these photographers adopt in conveying a sense of local identity. Do you think this type of work is easier or harder if you come from the place that you’re documenting? Can you find any evidence for the view that ‘the same geographical space can be different places at the same time’?

Alex Webb Istanbul

http://inmotion.magnumphotos.com/essay/istanbul

This project is very good example of surrealism, Webb has very unique way to use documentary photography, it seems like his work takes extra mile in presetting documentary. The purpose of his photography is not to show sense of the place but how photographer relation to the place it in very personal and unique way. The strongest point of this project is unique and cut off compositions, also photographer does not illuminate background that gives us even more photographic information. Seems like he tries to take as much information as possible to the single frame.

Christopher Tilley A Phenomenology of Landscape (1997)

I search for images online, but there is no images provided.

Jens Olof Lasthein Abkhazia

https://www.google.lt/#q=jens+olof+lasthein+abkhazia&spell=1

http://blog.leica-camera.com/photographers/interviews/oskar-barnack-award-winner-jens-olof-lasthein/

Jens Olof Lasthein has authentic way to use documentary. His images have got something else going on in background; images seem to be divided into 2 pieces with the strong sense of isolation and unclear future. This may explain fact that he spends some time at the borders, he loved to watch where western and eastern worlds met. Technically panoramic camera with his chosen cropping helps him to create unique images, which talks about strong subjective impression about surrounding world. Jens Olof is winner of Oskar Bamack Award 2010.

Marco van Duyvendijk Mongolia

http://www.mongoluls.net/books/mongoliaphotobook.htm

http://www.foto8.com/reviews/V4N4/monglia.html

Duyendijk has a degree in psychology; he covered areas like Mongolia, Romania, China, South Korea and other countries. His unique approach to photography is to give all attention to East and West, also his shows us different approach to changing cultural identity. Some of his photographs (portraits) are with no information in background, but most of the pictures subjects are in their environment that gives us an idea of Soviet era, also there is strong influence by Western materialism. In this case symbol of soviet era is abandoned factories, and sign of western influence is girls tattooed and pierced.

Philip Cheung’s photography in the West Bank

http://www.philipcheungphoto.com/index.php?/projects/the-west-bank-work-in-progress/

In those images we can see the Kurds in Post Saddam Irak. They are similar to Meiselas images, however Cheung has different approach to them, se shows us current situation there, with a clue to the future. There is a strong sense of the place, there are details speaking loud about place. If we know when those images were taking, we clearly can identificate place.

David Goldblatt Intersections, 2005 South Africa

http://www.photoeye.com/bookstore/citation.cfm?catalog=PX060&i=3791332473&i2=

Goldbatt with his images shows us his personal view about discrimination on grounds of groups images taken 1940 when South Africa huge injustice and revolution. Additional attention is paid to landscapes and portrets (especially porters of politics). There is the strongest sense of the place from all photographers of this research point, as those things for photographers is very personal and he made it public. There is no chance Goldbatt could shoot same theme anywhere else.

Mikhael Subotzky Beaufort West

http://www.subotzkystudio.com/beaufort-west/beaufort-west-8/

Subotzky photography is about situation in small town of South Africa, there are no jobs, huge crime level, and people gone to bigger town to earn money. Those images are about that all of us knew but never seen, Subotzky opens our eyes to see this situation exactly like it is. At the beginning I though those images have strong sense of the place, however I looked at Lithuanian’s villages, there is exactly the same situation…

Research point

Investigate Murrell’s Constructed Childhoods and Starkey’s Untitled series. How do these photographers employ imaginative and/or performative elements to construct their narratives? In what sense is the end result ‘real’? What aspects of their work might you consider adopting in your own practice?

http://charleymurrell.com/?page_id=5

Charley Murrell is young British female photographer. Her most popular first documentary project “Constructed Childhoods” attracted lots of attention. Murrell photographs young people and uses combination of magazines advertisements to reflect the idea how those young people wants to look like or who they wan to be. Murrell takes on task to show viewer the biggest tanager dilemma. Media causes this dilemma; this is what information is available for young adults. Also teenagers have very flexible imaginary that adds extra value to this project.

Hannah Starkey is young Irish photographer; her main photographic subjects are women in their environment. She can create staged scene, which seems very usual and everyday, however not boring. It seems like photographer observe and explore women is very casual situations: toilet, car park, office…Photographer uses mirrors and windows to create an interesting images, this brings to the images some kind of abstraction. Class, gender and race are the important things Starkey works with; she also has a unique way to show that she feels and understands her subjects.

Advertisements

http://www.weareoca.com/photography/on-an-exhibition-crawl-at-brighton-photo-biennial/

 

www.weareoca.com/photography/oca-students-visit-hereford-photography-festival/

 

www.weareoca.com/photography/right-here-right-nowsecond-thoughts/

 

I found all these links very useful; it pushed me into doing more research on these projects. The good thing is that some of these projects are very successful and others are not… this gives us a chance to see why…

 

Interrogations’ by Donald Weber

 

 

 

Source: http://prisonphotography.org/2010/11/09/interrogations-by-donald-weber/

 

Weber:

“Watching the methods was not pleasant. Humiliation, violence, degradation. How could you not be repulsed? But the reasons I was there were not for judging them, but was to actually show something very special in the terms of the secrecy of the act. I made a special document precisely because it was about the ‘absence of the void,’ that it showed humans at their most vulnerable and most cruel. This series could easily be judged along the same lines as a war photographer that constantly gets criticized for not doing anything, for not jumping into the fray.”

 

9:30AM PST, NOV. 10TH

As you know, so often I think it is important that a photographer really describes the circumstances of their work. Donald Weber must be aware that I harp on about access (as it relates to photography in prisons) because he emailed me and asked me to pass on this information:

Weber:

“As you know, I’ve spent almost six years living and working in this area. On my very first trip I met a police detective with whom I got along with. Over time, we developed a bond and a trust. Every trip I would bring him photographs and was always very upfront with my work, who I was and what I was doing. Never hiding the results, however critical they may be of him and the methods the police employ.”

“About five years ago I witnessed my first interrogation, and was utterly shocked at its violence, not just physically but mentally as well. Solzhenitsyn talks for almost a third of his book The Gulag Archipelago about the nature of interrogation, and the importance of the interrogation not just through Soviet history, but universally. He would think everyday about the moment of his interrogation how he was broken, and everyday about the moment of his execution. So, the seed for this story was planted.”

“For obvious reasons I could not just ask to photograph inside an interrogation. As my work progressed, so did my police contact, who rose over time to the rank of Major. He had gained a position of authority to grant permission. Since we had spent so many years together photographing, he was aware of my methods and how I worked. We rarely spoke to each other, during work or after hours. I felt it best to maintain as much distance as possible but still respectful of his role. When he finally granted permission he still made me work for the access to the actual accused.”

“I sat almost everyday for four months on a bench in a hallway of the police station waiting with the people who were to be interrogated. The first month, not  a single frame was photographed. Each day I would show up 9am, and leave approximately 12 hours later. Most days were spent with nothing to photograph, many of the accused were not interested in having there photo taken. On average, I was lucky to photograph maybe two people a week over a four month period.”

“This was not simply a case of walking in saying hello as a privileged Westerner and flashing my camera around. This was a project five years in the making. So before anybody rushes to quick judgement, I felt the facts as to how the work was created should be shared.”

About these ads

 

Source: http://prisonphotography.org/2010/11/09/interrogations-by-donald-weber/

 

Interrogations, by Donald Weber, is a collection of images operating along the undefined boundaries between the private and the public. Photographs of arrested petty criminals at the moment of their confession convey a raw honesty that is painful to see. It is painful because in most images those photographed show obvious guilt, which is a strong emotion usually confined to the private domain. So there are interesting ethical issues surrounding Weber’s work.’’

 

Source: http://www.weareoca.com/photography/oca-students-visit-hereford-photography-festival/

 

 

 

 

 

‘Traces’ by Manuel Vazquez

 

Website: http://www.manuelv.net/PROJECTS/TRACES/1/

 

‘’However, it was the work of fellow Spaniard Manuel Vázquez which I found the most moving in the Time & Motion display. His visual renditions in response of the 2004 Atocha bombing in Madrid make use of universal metaphors of dark and light, life and death, blurring the boundaries between fiction and reality yet conveying a strong and poignant message.  Vázquez also explored the multimedia environment for this body of work.’’

 

Source: http://www.weareoca.com/photography/oca-students-visit-hereford-photography-festival/

 

 

‘Sleepers’ Dhruv Malhotra

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Source: https://www.google.lt/search?q=Dhruv+Malhotra%E2%80%99Sleepers&tbm=isch&imgil=l9yfm8Bb7xMmDM%253A%253Bhttps%253A%252F%252Fencrypted-tbn3.gstatic.com%252Fimages%253Fq%253Dtbn%253AANd9GcRR0H6-DHoE_yFpBlBuX6Hi–pgdxAYahUJV9eirl4YQWgkc1EA%253B640%253B360%253BVBnZaSr4T-TpbM%253Bhttp%25253A%25252F%25252Fvimeo.com%25252F32226097&source=iu&usg=__NlogaMtRFqKhW_n6U7n39H2PFJY%3D&sa=X&ei=ZVccU5_bMtOQhQefv4CoAw&ved=0CDwQ9QEwAQ&biw=1411&bih=696#facrc=_&imgdii=_&imgrc=k-6CekGWL75-vM%253A%3BMKj258G6zfTLAM%3Bhttp%253A%252F%252Fwww.villanoailles-hyeres.com%252Fuphyeres25%252Fthumbnails%252Fdhruv_malhotra_03_600x600.jpg%3Bhttp%253A%252F%252Fwww.villanoailles-hyeres.com%252Fhyeres25en.php%253Fcat_id%253D4%3B600%3B491

 

 

‘’Dhruv Malhotra’s Sleepers portfolio blew me away. OCA level 3 students reading this, please go and see his work. This is a lesson for us all in the West, with our far-reaching gaze which is at the same time inherently shortsighted. Here we have an Indian photographer from Jaipur who could teach us a thing or two about what it takes to put together a coherent and captivating body of work on a humanist topic of universal appeal.’’

 

‘’I think there was a universal thumbs up for Dhruv Malhotra’s’Sleepers’.

 

Source: www.weareoca.com/photography/oca-students-visit-hereford-photography-festival/

 

‘The Election Project’ by Simon Roberts

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Source: http://theelectionproject.co.uk/the-exhibition

 

‘’ The other body of work at the Co-Op building I would like to mention is Simon Roberts’  The Election Project. You may have heard of it. It provides an interesting visual and conceptual counterpoint to Malhotra’s sleepers. Sitting on a fence is hardly a comfortable place to be so I will take a stance here, for the better or the worse. Roberts’ images left me cold. What is photography if not a mechanism to elicit emotions in the viewer? Roberts’ images triggered zero emotions in me – unless you count my frustation and mild annoyance at his work as emotions. What purpose do his images serve? To me, they reflect an election utopia, an idealised society devoid of emotions and tension embarked in the ultimate civilised activity: a confrontation-free electoral process.

So you see Roberts’ images, and then you go to the far end of the exhibition were election photographs taken by the public are also shown in a collage. Here you will spot posters of Gordon Brown defaced with red paint – a metaphore for the spill of blood in Iraq? And photographs of David Cameron with a hand-painted toothbrush moustache – OK, unfair but very funny. Yes, emotions, they make us human. On a very personal level, and intellectual and artistic considerations aside, I’d rather see the photographs taken by the public one hundred times than Roberts’. Because if a photograph doesn’t make the viewer feel anything,  well, what is the point of taking it in the first place?’’

‘’ Can’t comment on Simon Roberts because there was a power failure on the first floor of the Old Co-Op building when I was there. They certainly didn’t look too good in semi-darkness!’’

 

‘’ I share Jose’s concerns with regards to the Election Project images…on first sight they left me a bit cold. Although I have to admit as I spent more time looking at the images I began to see more in them – perhaps this was Simon Roberts’ intention…to make us look and think.’’

 

 

‘Closer’ by Stuart Griffiths

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Source: http://www.stuartgriffiths.net/portfolio/closer.html

 

‘’ I thought that, and Stuart Griffiths’ ‘Closer’, were the strongest work of the Brighton shows.

A lot of the rest provided plenty of grist to the mill in the context of some of the debates already taking place on here, irrespective of its appeal.’’

Source: www.weareoca.com/photography/oca-students-visit-hereford-photography-festival/

 

Queer Brighton by Molly Landreth

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Source: http://mollylandreth.com/#/portfolio/portfolios/queer-brighton/10

 

‘’ For me the highlights were the sensitive portraits by Molly Landreth – Queer Brighton at the Lighthouse and Mexican taxi driver, Oscar Fernando Gomez’s, photographs through the window of his cab on show at the Co-operative Department store.’’

 

Source: www.weareoca.com/photography/oca-students-visit-hereford-photography-festival/

 

 

‘Windows 2009’ by Oscar Fernando Gomez

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Source: http://www.lamiradadeltaxista.com/content/en/projects.htm

 

Peter Denche

 

 

Website: http://www.peterdench.com/#/drinkuk/00001Book018

 

‘’ I knew that no matter how shocked I initially was when I first saw the slideshow by Peter Dench, I would eventually say something positive about his work. “Don’t do it”, I said to myself, “you are from Barcelona”…well, I’m not really, but even though the UK is my country of adoption, I’m still, strictly speaking, a foreigner.

And that poses certain challenges when it comes to doing cross-cultural analysis, which is why I wanted to remain neutral about Denche’s work. But sitting on the fence is pretty uncomfortable, and the opportunity to stir controversy too attractive, so I’ll take sides, for the better or the worse: I actually like his work. I’m not talking about his photographs of drunks, on which I totally agree with Gareth, I mean the other set of images shown on the slideshow, those tackling the topic of multiculturalism. I find them visually unsophisticated, and that’s precisely why I like them so much. Slanted, unbalanced and off-the-cuff compositions add a layer of instability to his work which perfectly matches the subject matter. I look at his photographs and I get a sense of a precariously unstable exercise in multiculturalism. I’m not making a judgement here; but that’s what I felt when looking at Denche’s images.’’

Source: http://www.weareoca.com/photography/right-here-right-nowsecond-thoughts/

 

Michael Wolf

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Source: http://photomichaelwolf.com/#paris-street-view/6

 

‘’ The idea of authorship was challenged by Michael Wolf in his ‘A series of unfortunate events’. A collection of images regurgitated by Google Street View made up his exhibition. His photographs – they’re not his,  are they? – highlight nothing if not the fact that we all like looking at things. It’s called scopophilia and it is hard wired in us. And if you’re thinking that the sexual connotations of the term are not relevant within the context of Michael Woolf’s work, well, think again because by looking at his work at Derby’s QUAD you – like me –  became a voyeur. BJP magazine interviewed Michael Woolf at Format; worth watching to know more about the photographer’s motivations behind his work.’’

 

Source: http://www.weareoca.com/photography/right-here-right-nowsecond-thoughts/

 

Joel Meyerowitz

 

Website: http://www.joelmeyerowitz.com/photography/index.html

 

‘’ Which leads me to the topic of Street Photography, the main theme of Format and a genre which I love and hate in equal measure – you can read an older post on street photography here. Photography heavy-weight Joel Meyerowitz said that:

“Street photography is pure photography because it never borrowed from the vocabulary of painting in the way still-life, portraiture, genre-studies and landscape did. Most people now carry a camera-phone, and through the agency of the internet, a new generation has the potential to show us raw genius from the ranks of the millions of people now photographing this way.

(you can listen to an interview with Joel Meyerowitz on BBC’s Front Row – fast forward to 17′)

And with all the respect that I have for someone like him, I can’t help thinking that that’s a scary prospect, if not a dystopic one. No matter how compelling some street photography can be, as demonstrated by the In-Public collective exhibition at Derby Museum, I still find some of it slightly creepy. Millions of people with easy-to-conceal cameras observing us, stalking us. Did I say observing us? Street photography, with all its potential for communication, uncomfortably resonates with the Mass Observation Project.’’

 

 

Project Colour and modernity

Exercise 1: Read the article ‘Seeing and Believing’, written by Max Houghton for Foto8.

 

Core resources: Foto8#4.3_SeeingBelieving.pdf

 

The full issue is available to download from: http:/issuu.com/foto8/docs/vol4no3

 

Select two bodies of work from Eight Ways to Change the World that show different conceptual and visual styles and write a short reflective commentary in your learning log. Both bodies of work should be in colour. Discuss aspects like information, aesthetics and expression.

 

Core resources: Panos8ways.pdf

 

This article is about how non-government organizations (NGO) used photography to manipulate charity work idea.

 

The questions arise if photographs would be more truthful if were photographed by local photographs? Photographers from elsewhere may be influenced by NGO. However local photographers do not have relevant education and experience to do it.

 

Houghton explains how NGO uses their images, they records things what has been done to help those poor people, in the way attracting us to donate money and continue helping those people. However as many charities, lots of those money are going towards things no one promotes. Images we see are not truth, this documentary course proved this many times.

 

The main point is that getting closer to your subject, revealing more information, to show how charity work helped them is more interesting than sad images of hungry kids. I think the problem is that people stopped believing that help is possible and action was taken, as it wasn’t enough information.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Source: http://www.panos.co.uk//bin/panos2.dll/go?a=disp&t=preview-loader.html&si=&ir=00034132

 

The first image I chose from project Eight Ways to Change the World is taken at school. Limited access of education is popular between many documentary photographers. This image has strong signs, which creates narrative and raises many questions. I understand this image as the young lady ask for one more child to be educated with the help of charities, one after one this could lead to groups. This image is a proof that schools exists andruns well.I do understand that colour is revolution in documentary photography, however photographer doesn’t use very bright colours, seems like some of them are desaturated. Also I find format of the image quite different maybe cropped image? As there is no B&W option photographer decide to illuminate not important parts this way?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Source: https://www.google.co.uk/search?q=eight+ways+to+change+the+world&source=lnms&tbm=isch&sa=X&ei=FwceU7P6D4aUhQe3ooHoBw&ved=0CAgQ_AUoAg&biw=1411&bih=696#facrc=_&imgdii=_&imgrc=n2P086AC52ot-M%253A%3BfhrLVK25hd6cKM%3Bhttp%253A%252F%252Fnews.bbc.co.uk%252Fnol%252Fshared%252Fspl%252Fhi%252Fpop_ups%252F05%252Fin_pictures_eight_ways_to_change_the_world%252Fimg%252F1.jpg%3Bhttp%253A%252F%252Fnews.bbc.co.uk%252F2%252Fshared%252Fspl%252Fhi%252Fpop_ups%252F05%252Fin_pictures_eight_ways_to_change_the_world%252Fhtml%252F1.stm%3B600%3B400

 

This image has strong signs too. Bricks symbolize building better lives and fulfill their dreams. Despite that those men lives in poverty they are able to work and support their families. What ‘s charity role in this? Provide bricks, equipment for work and better living. I can notice again that image does not contain much background and photograph format is different again, this is totally different to B&W.

 

Exercise 2: Choose a topic that interests you and produce a small portfolio of five colour images in a surrealist style.

 

Share your portfolio with the OCA communities in OCA/student and ask fellow students to comment.

 

Before you start this exercise visit Peter Dench’s website www.peterdench.com

 

Analyse Dench’s style, looking particularly at his use of surrealism. How effective is surrealism as visual and conceptual strategy in Dench’s documentary photography?

 

Peter Dench photographs UK during different occasions and situations, his photographic albums such as etic, love, drink, rain, fashion and so on. I paid attention to his album called ‘the last resort revisited’ which has strong influence by Martin Paar.

 

His surrealistic style with humor and special depiction creates powerful image of British every day life and problems/issues. However some of themes he chooses in my opinion has no narrative and some composition are not so strong. It feels like he only shot what he see instead of trying to create better composition with powerful narrative.

 

 

My five surrealistic images in color:

 

Topic: Light expressions

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Exercise 3: Read the first chapter of The Tourist Gaze. Core resources: Urry_TouristGaze.pdf Write a 200-word reflective commentary in your learning log about its relevance to documentary photography.

 

This chapter from book ‘The Tourist Gaze’ introduces us with Tourism in many ways: various social classes, cultures understand Tourism differently; gaze and photos that are produced reflect this different too.

 

I tried to find relevance to documentary photography, more closely to street photography. Urry talks about gazing to other people personal life, to be honest gazing is important part of street photography too as we need to find out why we will be taking this image, what details and composition can work better together and finally waiting for right moment, decisive moment.

In my opinion travel photography takes a huge responsibility for producing right photos with huge volume of information and details to attract potential client. By seeing those photographs we imagine the place and more often is not like we expected.

I remember looking at photos of Paris and wondering how great it would be to get there, Eifel Tower seem to be something magical, love flies around, many kissing people. Reality I saw when I get there was very far away from my illusion: huge tourist queue, waiting for 5 hours to get there, many policeman with guns, drinking wine at every corner and don’t forget very enjoying souvenir’s sellers.

 

Exercise 4: Go to: http://www.insight-visual.com/paul-exhibition.html
and look at Paul Close’s environmental portraits. Analyse his visual style and consider whether the images work as documentary photographs and, if so, why.

Firstly few definitions of documentary photography:

 

Documentary photography has implied a practice in which the photographer examined a socially conscious concern of the time within an extended form. An extensive series of images as well as the use of text are utilized to provide an in-depth examination into a subject with the intention to suggest empathy and/or social change.

Source: http://aphototeacher.com/2010/02/01/redefining-documentary-photography-then-and-now/

 

Documentary photography is extended form — that is, a work composed of a sizeable number of images. Some relation to text is a given, even if it’s only minimal, as in the identification of subject, date, and location; the text may in fact be extensive. There is no external time limit implicit in this form; some documentary projects have stretched over decades.

For this reason, the documentary photographer is likely to have the opportunity to refine the project, not only through the analysis of the work-in-progress at various stages but even by the reshooting of unsatisfactory segments of the work. The elaborate nature of such projects lends itself to subjects that are seen as enduring; for much the same reason, the final forms they assume tend to be durable: the book and the exhibition have to date functioned as the primary embodiments of documentary projects, though certain audio-visual formats are serving this purpose with increasing frequency.

– A.D. Coleman, from his essay, Documentary, Photojournalism, and Press Photography Now – Notes and Questions and published in Depth of Field.

 

Documentary photography has come to represent the social conscience of liberal sensibility presented in visual imagery. Like photos of children in pleas for donations to international charity organizations, liberal documentary implores us to look in the face of deprivation and to weep (and maybe send money, if it is to some faraway place where the innocence of childhood poverty does not set off in us the train of thought that begins with denial and ends with “welfare cheat.”)

The expose, the compassion and outrage, of documentary fueled by the dedication to reform has shaded over into combinations of exoticism, tourism, voyeurism, psychologism, and metaphysics, trophy hunting – and careerism.

It is easy to understand why what has ceased to be news becomes testimonial to the bearer of the news. Documentary testifies, finally, to the bravery or (dare we name it?) the manipulativeness and savvy of the photographer, who entered a situation of physical danger, social restrictedness, human decay, or combinations of these and saved us the trouble. Or who, like the astronauts, entertained us by showing us the places we never hope to go. War photography, slum photography, “subculture” or cult photography, photography of the foreign poor, photography of “deviance.”

Martha Rosler, from her essay, In, around and afterthoughts (on documentary photography) and published in The Contest of Meaning: Critical Histories of Photography, edited by Richard Bolton

 

 

As I see it, the intentions of a documentary photographer are to record some aspects of reality, by producing a depiction of what the photographer saw and which portends to represent that reality in as objective a manner as possible. If we can agree to that description, I can already see our critics pounding on their desks accompanied by some degree of glee on their faces, as they suggest that this is precisely the reason why there is no room for the computer to be used in recreating documentary images.

I believe we have already discussed in all sorts of forums the fact that photography per se, is tantamount to manipulation. That the impact of the lens selected, the film chosen, and all the other technical variables leave ample room to question the so called “faithful representation” of reality.

So why are so many people up in arms about the idea that a photograph edited in the computer is not really a true documentary representation? As I have come to understand it, it has mainly to do with past traditions and customs.

Pedro Meyer, from his essay Redefining Documentary Photography and published in The Real and the True: The Digital Photography of Pedro Meyer

 

 

Paul Close has very strong photographic voice, looking from the side it looks like he follows Ricard Avedon signature. Avedon main idea was to separate subjects from their background. I think this type of photography is difficult to understand, as there are no details to tell anything about subject, however we are forced to look at his eyes, lips, facial expression, body language, and clothes.

 

Close places his subject on the white background, however leaves plenty of important links behind it. There are people standing behind white background or some kind important place that definitely links with the subject. This type of photography is interesting to view; it’s like puzzle you have to find right pieces connecting to the subject and have to think why and how it used.

 

I like the idea how photographic separation makes subject and his environment even closer, it seems like this way subject importance to his environment is shown. In my opinion white colour gives strong contrast to the rest of the image, black background would not have same affect? This portfolio also raises the idea that tourist will never be professional photographer, there is always a chance to catch really good moment, but professional photographers has a reason why and instructions how he will achieve successful image. I will categorize his photography as documentary as there is a lot of important information, there are clear signs of what African needs and aspirations are.

 

Exercise 5: Read the interview with Cia Rinne on The Roma Journeys. Core resources: CiaRinne.pdf.

Research and compare Koudelka’s Gypsies and Eskildsen’s The Roma Journeys. Discuss aspects to do with the photographer’s intention and the distinctive aesthetics and approach of each body of work.

The interview introduces us with Eskildsen’s photographic project about Roma’s life and conditions what occur. This project been produced between 2000 and 2006 with help of Cia Rinne. Photographers spent lot of time with their subject, even lived with them if circumstances were right. The interesting fact is that photographers did not have a certain photographic goal before traveling to Roma, there was only their own interest and curiosity. I found this very surprising, this means that there is no need to preplan or to set goal for yourself prior shooting…This is totally different what we are told by OCA learning materials and tutors?

 

We are asked to research and compare Kaudeka’s Gypsies and Eskildsen’s The Roma Journeys.

 

  1. The first biggest difference is the choice of photography. Kaudeka photographed in Black and White and Eskildsen used colour in some of his photographs. In my opinion black and white create stronger feelings and circumstances that photographers wants to express.

 

  1. Kaudeka’s images represent older era, many of his subject are older people, we can see in their eyes, body positioning and expressions they hard live they lived, it seems like they did not have any modernity in their lives.

 

  1. The photographic detail as colour documentary photography says us that Eskildsen’s photographs are modern and more like contemporary art.

 

  1. Eskildsen photographed young people, his images full of positive feelings, there is no signs different view to gypsies lives.

 

  1. I noticed that Eskilsen’s project including gypsies of seven different countries are very different, this shows us a huge impacts and affects of home country, this creates the rules of live.

 

References:

 

http://www.joakimeskildsen.com/default.asp?Action=Menu&Item=104

 

https://www.magnumphotos.com/c.aspx?VP=XSpecific_MAG.BookDetail_VPage&pid=2K7O3R15D7_8

 

 

Exercise 6: Exercise

Read the article on We English in Eight magazine (issue 25, summer 2009). Core resources: Foto8#25_WeEnglish.pdf

The full issue of the magazine is available to download at:

http://issuu.com/foto8/docs/issue25

Download Stephen Daniels’ introductory essay to We English and the relevant contact sheets from:
http://simoncroberts.com/work/we-english/ #PHOTO_0

Write a short reflective commentary.

Simon Roberts uses ‘Motherland’ project as a tool for representing how English people are attached to their homeland. Photographer decides to take images of people in everyday life and social activities.

Simon Roberts has very close idea as Tony Ray-Jones, Martin

Parr and John Davies but he has a different approach, his image are more distance, there I more connection between people and landscape.

I found one of his sentences quite disturbing:

‘’It’s an enormous amount of work, incredibly time consuming, and this

is one of things young photographers don’t realise – 20 per cent of your time

is taking pictures and 80 per cent is banging your head against a wall trying

to make things happen.”

I am not sure if I can agree with this, in my photographic projects I definitely spend more than 50 per cent on my time on photographing and rest on writing, explaining and creating visual idea. There are so many successful photographers round and each of them have their own techniques which can not be judged.

 

Robert’s wide frame pictures have very strong little details in foreground, most of the time there are people who make frame full, they explain why this image is English and purpose of each beautiful landscape.

‘’Many of the most memorable shots incorporate coastal scenes yet I wonder how much of this statement is weighed down with personal memory and in so doing realise this is a huge part of the work’s charm. Woolacombe beach, in Devon, where I spent a holiday as a ve-year- old, provides now, as then, a perfect sandy playground. Holkham beach, here swathed in soft dusky sunlight, in Norfolk, brings together a game of cricket as well as a mother chastising her child for unfair play and an endless trail of people meandering down to the sea. The beach is Sarah Roberts’

favorite place, and so the annual family  visit there takes on a sense of pilgrimage. A snowy scene plays out on a golf course, near Roberts’ parents’ home

in Oxted, Surrey. In this one image there is a sense of the Englishness of manufactured landscapes, a painterly quality that Roberts frequently brings to each frame and the personal association (the young Roberts would toboggan there as a child).’’

 

The words above show us strong personal links to selected places, once again every successful photographic projects are based on personal interests, places or feelings.

 

 

Exercise 7: Exercise

 

Read Brett Rogers’ introduction to the online gallery of Documentary Dilemmas at:

 

http://collection.britishcouncil.org/whats_on/exhibition/11/14136

 

Follow the ‘Glossary’ link.

 

Look at the work of the photographers highlighted above and others.

 

You might ­nd it useful to read the Arts Council document Changing Britain as a brief

 

contextual background to Documentary Dilemmas.

 

Core resources: ChangingBritain.pdf

 

http://collection.britishcouncil.org/whats_on/exhibition/11/14136 – link no longer exists

 

Chris Steele-Perkins

https://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_9_VForm&ERID=24KL53Z6VT

 

Steele- Perkins photographs are unique because of his strong choice of decisive moment, he catches it exactly in the right time, He took the project on British poverty, used to knock on the door and asked to take pictures of people in their environment. His psychologist studies helped him to understand his subjects better, in the same way to pass this information to viewer. My favorite photograph is “Bingo for pensioners” 1975, I love the way how photographers chooses the right moment, Bingo has to be fun for old people, chance to escape home and speak to other people, chance to escape their lonely lives, however this image talks about poverty and hard life which, it seems that image is about Bingo game, but this is the way to see the sign of poverty.

 

Tony Ray-Jones

 

https://www.lensculture.com/articles/tony-ray-jones-tony-ray-jones-1941-1972#slide-3

 

Looking at ray-Jones images I noticed that they are very similar to Martin Parr and Chris Steele-Perkins photography. Tony Ray-Jones influenced them both together with Daniel meadows and Simon Roberts. Tony Ray-Jones had strong personality and very simple thinking of photography: “Do not take boring photographs”. He gained degree in graphic design at Yale, United States. So he had a strong opinion about Creative Camera magazine – “Your magazine’s shit.’’ Streets and seaside were the main photographic places for Ray-Jones, however he took some photographs at boarding school, opera festival, beauty contest and pop festivals. He had a perfect eye for detail that perfectly worked in his complex compositions. Most of his images seems to be cluttered, however every detail is there for a reason.

 

 

Paul Graham

 

http://www.pacegallery.com/artists/157/paul-graham

 

http://jmcolberg.com/weblog/2012/05/review_the_present_by_paul_graham/

 

 

I do like an idea of capturing same street in different occasions; there are variations of situations in his project. The book ‘’Present” “relays on idea that present last only for couple of seconds when new situation occurs. There is very abstract theme and hard to develop into a project, however Paul Graham managed to do this very well.

 

 

Martin Parr

http://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL5357TF

Martin Parr has very unique way to present world to us, his garish colours and unusual compositions creates totally different way that we never though of. He uses symbols to pass a message to the viewer, the strongest symbol I have seen recently is alcohol and young people, he pass the strong image to the public, however the photograph doesn’t look so serious. He creates inimitable photos, which can not be repeated. His photographic approach perfectly works for art photography; together his images can be used in advertising in journals and newspapers, One of the most interesting techniques he uses is humor, his images makes us to recognize ourselves and laugh from it.

 

 

Paul Reas

 

http://www.jameshymangallery.com/artists/17200/7582/paul-reas/flogging-a-dead-horse-man-with-a-movie-camera?r=artists/17200/paul-reas

 

First major retrospective photographer, manly worked on middle class mining district. He grew up in such a family; this is why all those situations and photographers were very close to him. It is like insider on the outside. He has many very interesting photographic projects such as “Can I help’’ and “Day dreaming about good times’’ – it seems like those two takes us back to eighties, it seems like we are back to old supper markets, miners, old fashion clothes and so on.

 

 

Anna Fox

 

http://www.annafox.co.uk/

 

http://www.americansuburbx.com/2013/06/interview-anna-fox-asx-interviews-anna-fox-2013.html

 

 

Anna’s tutors were Paul Graham, Martin Parr and Karen Knorr, this influence is clearly seen in her photographs. The most famous project – Work Stations, competing, employment and people at every day life. Anna Fox used colour and flash, her main intensions were to record present, produce images that gives this felling. Large scale images with lots of colour and it had to be sharp, combination of text and images. Humor in photographs is perfect tool to engage with viewers. Anna Fox projects looked more like journalistically project, as she interviewed everyone she took photographs of.

 

Exercise 8:

 

Read the document ‘Martin Parr: Photographic Works 1971–2000’ by the National Museum

 

of Photography, Film and Television. Core resources: Parr.pdf

 

Watch an audio slide show of Martin Parr talking about his progression from B&W to colour

 

photography and The Last Resort: http://www.youtube.com/watch?v=TJinAgBYaLs

 

In this video Martin Parr acknowledges and defends what he calls the “hypocrisy and

 

prejudice” in his work. What do you think about this statement? Write a short re‑ective

 

commentary in your learning log.

 

 

We have heard Martin Parr’s name quite a lot during studies with OCA. The reason would be that he is the perfect influence for colour documentary photography. He definitely has his own photographic voice, together with a good eye to decisive moment; he catches people in the vulnerable situations with odd and funny facial expressions. However he does this for a reason, every project has clear idea why and what he wants to tell. He is brave photographer, his project Boring seems to my very interesting: to take boring images for the sake of it, while other photographers tries to attract viewer with something interesting in their images, Parr choses totally opposite way.

To me all Parr’s projects are very unique, every photograph requires attention to details, so we can understand what photographer has to say. I like the way Parr produces new project, his chooses main problems what surrounds him, so he is very familiar with them and this is easy to reflect it in his imaginary.

 

Martin Parr calls ‘hypocrisy and prejudice’ that is strongly shown in his photographs, however in you look more carefully into details he is preaching against this. This is the reason why every image has to be studied more carefully; every detail there is for a reason. For example project where English people went to France to get duty free food products, the main idea was to show the wellness of West, however the details shows us angry, untrusted, desperate and rowel people.

 

Exercise 9: Read the article on England Uncensored by the BBC Picture Editor Phil Coomes: http://www.bbc.co.uk/news/17190001

Dench talks about his “humorous approach with an underlying social commentary”. What do you think of this approach? Does it work? What are the ethical issues?

 

Peter Dench had a clear idea how he want his photograph to be presented, humor helps to attract viewer, however photographical voice offers social commentary, which starts discussions and makes this work more popular.

 

I think this approach worked very well, this can be proved by World Press Photo Award. In my opinion it was easy for Peter Dench to follow Martin Parr’s footsteps, as his project ‘The Last Resort’ created the rules and footpath for younger generation.

 

There are issues that Dench confirms, his images are struggling for better camera settings, and he calls it laziness and fear.

 

Dench images have the ethical issues, subjects are caught in uncomfortable situations and I do not think they would like anyone to see those photos.

 

Exercise 10: Exercise

Read the article ‘Think Global, Act Local’ by Diane Smyth (BJP Aug 2010, p.55):

http://www.bjp-online.com/british-journal-of-photography/interview/1932196/global-act-local Research Tom Hunter’s work at http://www.tomhunter.org/html/news.php

Finally, listen to Tom Hunter talking about one of his most iconic images, Woman reading a possession order, on Radio 3: http://www.bbc.co.uk/programmes/b00zt7ky

Summarise your thoughts in your learning log or blog

Tom Hunter takes a project on to show his neighborhood in a better way, than it is shown in newspapers.

There are many interesting facts about him, he left school aged 15, worked as laborer, then tree surgeon up to age of 29, when he started his photography education. Many of his projects are very personal, which helps him to created closer view; he also manipulates situations, to attract more attention to the social problems.

I do agree with many Hunter’s ideas, such as we do not need an expensive photographic equipment to create good images, that is better to take only three good images, than thousands, that his images are about passing a message to public, fictions are not less true full than straight photography.

 

Hunter also thinks that photography is all about art and message to the public, he does not like that his photographs buy reach people and hang them on their wall.

 

http://www.tomhunter.org/

 

http://www.tomhunter.org/html/news.php

 

BB3 recording reveals some additional information about Tom Hunter and his work. Hunter links his photographs ‘’The Ghetto’’ to The Golden Age of Dutch painting – artist Vemeer. Hunter been influenced by his paintings. There are many similarities to this, composition, idea and mood.

 

I found this photographer very unique, open and he definitely knows what he wants to achieve with his photography project.

 

Exercise 11: Exercise

View the video on Hasan and Husain Essop at the V&A exhibition Figures and Fictions and write a short reflective commentary in your learning log or blog.

http://www.vam.ac.uk/channel/people/photography/figures_and_fictions_hasan_and_ husain_essop/

Identical twins Hasan and Husain Essop, creates and amazing idea of altering documentary images after shooting, another very unique idea is that they are only two actors in all set of images this is because they are not allowed to shoot and display images of other Muslims due their religion.

 

They subject is Muslim faith, they were grown up in very strict Muslim family, so they are trying to reflect this to younger generation and it seems that this slowly dies in their environment.

 

They were thinking for a long time on photographic subject, when they looked at the strongest teenagers issues, strong western influence, where Muslim has to give up their Islamic faith in order to act like westerns.

 

They have unique way of creating an image, each of them think separately and create his own image, then they discuss it and put together all information, create an image.

 

There is an issue that this type of photography seems too far away from tradition photography as it does not seems to be real, we can not find real faces, emotions, body language, relationship with other people.

 

I found this information very useful, documentary does not mean only images taken know and reflecting current situation, it can be staged and also altered after shooting.

 

Exercise 12: Exercise

Read the article on Jeff Wall in Pluk magazine. Core resources: pluk_JeffWall.pdf Briefly reflect on the documentary value of Jeff Wall’s work.

I found Jeff Wall’s images boring with no links to documentary photography. It seems like those photographs are not finished, some important parts are missing; there is no connection to viewer.

His work is staged and performed, like Husan and Husain photographs, however objects seems just too far away, others taken from subject’s back, hides all necessary information.

 

Domestic and everyday scenes do not seem very informative; I can not feel any message to be send out from these images. It reminds me of Martin Parr project ‘Boring”.

 

Exercise 13: Exercise

Read the WeAreOCA blog post ‘Seeing is Believing’:

http://www.weareoca.com/photography/seeing-is-believing/

Read all the replies to it then write your own comment, both on the blog page and in your own blog. Make sure that you visit all the links on the blog post. Base your opinion on solid arguments and, if you can, refer to other contributions to the blog.

 

This is very interesting article; however we need more proof that those images are not real and are altered with Photoshop. We grown up in society where we are keen to believe everything we see and this is totally normal, firstly every human being tend to believe and only afterwards he raises questions which caused daubs in the information we see.

We all know that image of Osama Bin Laden appeared in newspaper at the same time we understand that those kind of images if they would be real could not be released by press, I guess it should be some kid of government secret.

I wrote an essay based on this thematic, and if you will look carefully into this image, you can see difference in colors and tones between Bin Laden’s body and face. I only can guess that this has been done by purpose.

Question: Seeing is believing? Can only be answered by everyone personally, this states comments on article. So answering this yes or no is impossible, as everyone has his own thoughts on this. This actually reminds me of believing in God, many people do believe in God, but others don’t.

 

Assignment three: Visual Storytelling

Assignment three: Visual storytelling

 

In assignment one I looked at immigrants life in UK, this assignment will be about my home country too see how migration affected the place. Name for this project is Forgotten Place.

An idea came from very famous village called Trakai in Lithuania. In summer time there are so many people there you could barely find a place for lunch, however winter time, there is no one. This reaction reminds me of immigrants leaving the country, when is sunny, warm and nice people stay here, however when its cold, dark people fid better place, better life.

Trakai is located about 30 kilometers from Vilnius – capital of Lithuania. Trakai was first mentioned in 1377 in Chronicle of New Prussia. Every year 300 000 tourists visit this beautiful place. There are many cultures events like concerts, theatre in summer time. Trakai castle in the island of Galves lake.

Last year in January statistic department counted 40 thousands people left Lithuania for better life elsewhere. Shocking numbers such as we always been famous for having 3 millions people, now this number does nor reach 3, in 2011-2012 Lithuania had only 2 millions 288 thousands people.

This is huge problem not in the future for Lithuania, as many young people leaves and older people are not able to earn enough money to support pensioners. There is another bigger issue in losing nationality.

This project is about my feelings what I fell when I came back to my hometown, I see how everything changed, that ‘forgotten place’ is the best two words to describe current situation.

DSC_6485DSC_6502DSC_6516DSC_6496DSC_6546DSC_6558DSC_6521 DSC_6591DSC_6618DSC_6623

Research Point

Research Point

 

Do your own research into the work of the socially committed B&W photographers discussed so far, both British (Exit Group, Chris Killip, Nick Danziger, Bill Brandt) and American (Jabob Riis, Lewis Hine). Was this social documentary work their prime focus? How does it fit with other work done by these photographers?

 

Make notes in your learning log.

 

Exit Group – (Nicholas Battye/Chris Steele-Perkins/Paul Trevor)

 

Survival Programmes comprises photographs (all black and white), interview transcripts, drafts and other materials relating to the book Survival Programmes by the Exit Photography Group (Nicholas Battye/Chris Steele-Perkins/Paul Trevor). The photographs and interviews were made between 1974 and 1979, and record life in Britain’s inner urban areas in the 1970s.

 

Source: http://archiveshub.ac.uk/data/gb097-survival

 

Nicolas Battye had degrees in Religious and Psychoanalytic studies. After working as a documentary photography he worked as psychotherapist in private practice, also he art and designed lecturer, later religious studies lecturer and from 1990 psychoanalyst lecturer. As we see Nicholas Battye had other prime focus work, also documentary is only one are where photographer did not have a degree. We clearly can see religious themes in his photographic work.

 

Source: https://sites.google.com/site/nicholasbattye/about

https://sites.google.com/site/nicholasbattye/about

 

Chris Steele-Perkins has a psychologist degree, but has never worked as psychologist. He spent all his time taking images, has been awarded for his photojournalist work. I found this fascinating when people spend 4 years getting a degree and then turn they life into something they do not know about and finally become very successful. I can not see any link between his psychologist studies and photographic work.

 

Source: http://www.chrissteeleperkins.com/about.php

 

Paul Trevor attended National Film and Television School. There is no information on the Internet about other kind of work, so I assumed he dedicated all his time to documentary photography.

 

Source: http://www.liverpoolmuseums.org.uk/walker/exhibitions/paultrevor/biography.aspx

 

Chris Killip left school at age sixteen and started to work as a trainee hotel manager at Isle of Men. Then he decide that photography is what he wanted, so be became beach photographer. After many years and brilliant photographs Killip received Cartier Bresson award and been invited to work as professor at Harvard University. This is another example of teenager who left a school and after many years become a professor in on of the best universities in the World.

 

Source: http://www.chriskillip.com/bio.html

 

Nick Danziger devotes his life to photojournalism; he even produced some documentary films. Photographer started travel form very early age, he took of his first trip at age 13. Without a passport and a ticket, he was selling sketches to earn some money. Danziger gained MA in Fine Art.

 

Source: http://www.nickdanziger.com/index/biography/

 

 

Bill Brandt – born in Hamburg, Germany. He had quite a big family, three brothers. He suffered from tuberculosis at age of sixteen to age of twenty-two. Jewish educator in Vienna helped him to follow his passion – photography. He found him a job at portrait studio. Brandt been introduced to a great surrealism photographer and poet Man Ray. Photographer worked for him and learned many new things. Then he start working on his book ‘English at Home’ which wasn’t successful and been remaindered. In 1940 Brandt been asked to photograph Blitz (heavy and frequent bombing raids carried out over Britain in 1940 and 1941). Later on photographed worked on endangered buildings, Nighwalk project, portrait work, and essays on photography. Then suddenly he found new passion – landscape. In 1961 his photographs of nudes was published.

 

As we see Brandt worked on many different genres and styles of photography, which worked perfectly for him as he received Royal Designer for Industry and Silver Progress Medal awards.

 

Source: http://www.billbrandt.com/research/biography.html

 

 

Jabob Riis – born in1849 in Denmark, he was third of fifteen children. He worked as a carpenter before he emigrated in United States (1870). He was unable to find a job, so spend most of the days at police station as he was squatting. Photographer done many menial jobs before he start working for ‘New Your Evening Sun’ as photojournalist. In 1889 his project ‘How the other half lives’ published.

 

Harold Evans, the author of The American Century: People, Power and Politics (1998) has pointed out: “Jacob Riis estimated that Dickensian London had 175,816 people living on every square mile of its worst slums but New York’s Lower East Side by the nineties in contrast, had about 290,000 per square mile, making it perhaps the worst slum in the history of the Western world…. He records a tenement block with 1,324 Italian immigrants living in a total of 132 rooms. In one 12-by-12-foot room he found five families, 20 people, with two beds between them. One third of the entire city population – about 1.2 million – lived in 43,000 tenement houses like these, without running water or indoor flush toilets… Some 40 percent of them had tuberculosis. One third of all their babies died before their first birthday.”

 

Riis continued writing and lecturing on poor theme. He wrote some books such as ‘Children of the Poor’, Out of Mulberry Street’, ‘The Making of An American’, ‘The Battle With The Slum’, ‘Children of The Tenement’. All this information reveals that Riis stayed with documentary photography throughout his life.

 

Source: http://www.spartacus.schoolnet.co.uk/USAriis.htm

 

 

Lewis Hine – born 1874 in Oshkosh, Wisconsin. He studied sociology at Chicago and New York. We worked at Ethical Culture School and employed his photography in his teaching; this is how documentary photography was established. Hine was interested in Ellis Island immigrants, safety laws forworkers and child labour. Both his books ‘Child Labour in the Carolinas’ and ‘Day Laborers Before Their Time’ based on travelling the country and taking photographs of children working in factories. After his successful campaign against child labour, he started working after First World War situation in France and Belgium. After that he went to Balkans to photograph his new project ‘The Children’s Burden in the Balkans’. Nest his project was safety laws for workers on Empire State Building construction.

 

I would say Hine was very talented and successful, however it was a big surprise that such a famous photographer could not earn enough from his work and died in poverty. He dedicated all his life to documentary photography and photojournalism, however he struggled to get something back for it.

 

 

Do your own research into semiotics and how it can be applied of photographic images. Start by reading Chapters 4 (Narrative) and 5 (Signs and Symbols) in Short. M. (2011)

Creative Photography: Context and Narrative. Lausanne AVA Publishing.

 

Maria Short gives us many aspects to focus on during and prior shooting, however today we will look at Narrative & Signs and Symbols.

 

Narrative techniques are used to depict or create these frames of reference and context. Narrative technique can be used single and multiple images.

 

Single images –narrative consists of beginning, middle and the end. However sometimes this structure is broken and we are left with past or suggest future.

As Chris Killip writes in the preface to his photographs published in In Flagrante (1988): ‘The photographs can tell you more about me than about what they describe. The book is a fiction about a metaphor.’

Untitled18 Untitled19 Untitled20

 

We can see that all these images have an idea behind the scene. There are the reasons to these situations and we clearly can see those. Narrative makes photograph to reveal real purpose of shooting.

 

The best example of liner storytelling is Susan Derges project ‘Full Circle’. She shows tadpoles hatching from frogspawn and developing into frogs. This can be used as a metaphor for how far you situation gone to. The thing is if you have no clue about frogs’ physical development and never heard about Susan Derges, it’s no chance for understanding the idea or image.

 

Signs and Symbols is another very interesting chapter in Short’s book.

The study of signs is called semiotics and can be applied to many fields of endeavor, including linguistics, the sciences and visual arts.

 

The best example is Emma Blaney’s project based on small, everyday objects. ‘The desire is to remember and to be remembered. This project focuses on small, everyday objects that often go unnoticed. But it is objects like these which are often, for individuals, triggers for deeply embedded memories of people/moments from their past.’

 

Don McCullin, Sleeping With Ghosts

A Life’s Work in Photography

 

Photography for me is not looking, it’s feeling. If you can’t feel what you’re never going to get others to feel anything when they look at your pictures.’

 

In my opinion Mckvb Cullin is very right about photography and there is a reason to use signs and symbols to create that felling what every viewer can fell.

Philosopher Pierce, is particular pertinent to photography simply because a photograph is literal ‘trace’ of it’s original subject. Also I would like to say that photograph has more power to reveal information about subject than subject itself. There are so many photographic techniques can be used to prove complex objectives.

 

I was stunted by Maria Short’s photography project included her stepfather who has been diagnosed with kidney failure and his market grower harvest. Extremely we can see many links between decay harvest and dialysis. I like the idea she used her family private health issues to create documentary piece.

 

The perfect example of use signs and symbols is Robert Frank’s ‘Americans’, each part of his book starts with photograph of flag. Also he uses other symbols and signs to feature different aspect of American culture.

 

Next very feminine Short’s project was to use horse as a symbol to reveal young women identity and social placing in the world. This is the clear example how two opposite things can work together towards final results.

 

The symbol was really hard for me to understand was Risaku Suzuki’s Sakura –Cherry Blossom photograph, which symbolizes hope and strength, falling petals symbolize the fragility of beauty. These symbols are not so clear as original ones: blue – cold, red – hot, smoke – fire or heat.

 

Photographer Jane Stroggles proves that lighting conditions can change composition completely. Her images taken in 5th Avenue, New York at day and night looks like two different places, also the American flag is seen in a day picture. Night images hide all the details but give another aspects to play with.

 

Use of practical techniques is magnificent tool for photographic signs and symbols. Aperture, shutter speed and lighting conditions or use of ISO everything you need. Perfect example is Robert Kenedy’s Funeral Train 1968.

 

Examples of semiotics in photography:

Untitled21 Untitled22

http://www.flickr.com/photos/adamclague/5577917471/in/photolist-cqSxim-4EJpua-9uUhwT-6bXk3p-2BTAVi-2BTA9p-2BY1aw-2BXZum-2BXZxs-2BTB8T-2BXZTy-2BTBop-2BTAdp-2BXZS3-2BTABc-2BXZrh-2BTAhr-2BXZCf-2BTAS6-2BY1eN-2BY1M5-2BTBma-2BTAc2-2BY1wm-2BY1G5-2BY1K9-2BXZPL-2BY1pC-2BXZLL-2BXZzj-2BTA5z-2BY141-2BXZsN-2BTzRg-2BTAz6-2BXZYQ-2BTAEX-2BXZvW-2BY11L-2BTBr8-aZQan8-d2Pcxy-7NAx5S-7NAx1S-2SY7RS-beiaMV-4tbTTg-dtWFVc-3ySXYt-jJNv-iaJtVj/

 

http://www.flickr.com/photos/28861891@N07/6561648061/in/photolist-aZQan8-d2Pcxy-7NAx5S-7NAx1S-2SY7RS-beiaMV-4tbTTg-dtWFVc-3ySXYt-jJNv-iaJtVj-kMZ8-aaxrRu-7ZF8H1-61a3x1-615HpM-vgw8c-D39re-2BdsgY-upko2-4GHsGD-9pFJBx-5qmCG4-2yogdr-e1zFfU-PywZv-72qEtQ-72qEt3-bFbGae-x9Btk-2AUUrW-5CaNta-59xAtC-72mEyF-5RHWZH-5RNfE9-5RHWQt-75CoAR-6BYTpm-4Jjv1Y-5vk3pK-85ueAp-3eGWUH-6gWf5U-6gS4Lz-aZTHL2-79G7HH-bpMX6X-4o8Ssh-8fM32F-e9TPXj

 

http://www.flickr.com/photos/jan-martinek/11268202144/in/photolist-aZQan8-d2Pcxy-7NAx5S-7NAx1S-2SY7RS-beiaMV-4tbTTg-dtWFVc-3ySXYt-jJNv-iaJtVj-kMZ8-aaxrRu-7ZF8H1-61a3x1-615HpM-vgw8c-D39re-2BdsgY-upko2-4GHsGD-9pFJBx-5qmCG4-2yogdr-e1zFfU-PywZv-72qEtQ-72qEt3-bFbGae-x9Btk-2AUUrW-5CaNta-59xAtC-72mEyF-5RHWZH-5RNfE9-5RHWQt-75CoAR-6BYTpm-4Jjv1Y-5vk3pK-85ueAp-3eGWUH-6gWf5U-6gS4Lz-aZTHL2-79G7HH-bpMX6X-4o8Ssh-8fM32F-e9TPXj/

 

http://www.flickr.com/photos/cssaunders/3283548374/in/photolist-aZQan8-d2Pcxy-7NAx5S-7NAx1S-2SY7RS-beiaMV-4tbTTg-dtWFVc-3ySXYt-jJNv-iaJtVj-kMZ8-aaxrRu-7ZF8H1-61a3x1-615HpM-vgw8c-D39re-2BdsgY-upko2-4GHsGD-9pFJBx-5qmCG4-2yogdr-e1zFfU-PywZv-72qEtQ-72qEt3-bFbGae-x9Btk-2AUUrW-5CaNta-59xAtC-72mEyF-5RHWZH-5RNfE9-5RHWQt-75CoAR-6BYTpm-4Jjv1Y-5vk3pK-85ueAp-3eGWUH-6gWf5U-6gS4Lz-aZTHL2-79G7HH-bpMX6X-4o8Ssh-8fM32F-e9TPXj/

 

http://www.flickr.com/photos/cssaunders/3282703591/in/photolist-aZQan8-d2Pcxy-7NAx5S-7NAx1S-2SY7RS-beiaMV-4tbTTg-dtWFVc-3ySXYt-jJNv-iaJtVj-kMZ8-aaxrRu-7ZF8H1-61a3x1-615HpM-vgw8c-D39re-2BdsgY-upko2-4GHsGD-9pFJBx-5qmCG4-2yogdr-e1zFfU-PywZv-72qEtQ-72qEt3-bFbGae-x9Btk-2AUUrW-5CaNta-59xAtC-72mEyF-5RHWZH-5RNfE9-5RHWQt-75CoAR-6BYTpm-4Jjv1Y-5vk3pK-85ueAp-3eGWUH-6gWf5U-6gS4Lz-aZTHL2-79G7HH-bpMX6X-4o8Ssh-8fM32F-e9TPXj/

 

http://www.flickr.com/photos/sidereal/321414657/in/photolist-aZQan8-d2Pcxy-7NAx5S-7NAx1S-2SY7RS-beiaMV-4tbTTg-dtWFVc-3ySXYt-jJNv-iaJtVj-kMZ8-aaxrRu-7ZF8H1-61a3x1-615HpM-vgw8c-D39re-2BdsgY-upko2-4GHsGD-9pFJBx-5qmCG4-2yogdr-e1zFfU-PywZv-72qEtQ-72qEt3-bFbGae-x9Btk-2AUUrW-5CaNta-59xAtC-72mEyF-5RHWZH-5RNfE9-5RHWQt-75CoAR-6BYTpm-4Jjv1Y-5vk3pK-85ueAp-3eGWUH-6gWf5U-6gS4Lz-aZTHL2-79G7HH-bpMX6X-4o8Ssh-8fM32F-e9TPXj/

 

http://www.flickr.com/photos/bittercox/1051439888/in/photolist-aZQan8-d2Pcxy-7NAx5S-7NAx1S-2SY7RS-beiaMV-4tbTTg-dtWFVc-3ySXYt-jJNv-iaJtVj-kMZ8-aaxrRu-7ZF8H1-61a3x1-615HpM-vgw8c-D39re-2BdsgY-upko2-4GHsGD-9pFJBx-5qmCG4-2yogdr-e1zFfU-PywZv-72qEtQ-72qEt3-bFbGae-x9Btk-2AUUrW-5CaNta-59xAtC-72mEyF-5RHWZH-5RNfE9-5RHWQt-75CoAR-6BYTpm-4Jjv1Y-5vk3pK-85ueAp-3eGWUH-6gWf5U-6gS4Lz-aZTHL2-79G7HH-bpMX6X-4o8Ssh-8fM32F-e9TPXj/

 

http://www.flickr.com/photos/aileen_carpenter/4761715185/in/photolist-aZQan8-d2Pcxy-7NAx5S-7NAx1S-2SY7RS-beiaMV-4tbTTg-dtWFVc-3ySXYt-jJNv-iaJtVj-kMZ8-aaxrRu-7ZF8H1-61a3x1-615HpM-vgw8c-D39re-2BdsgY-upko2-4GHsGD-9pFJBx-5qmCG4-2yogdr-e1zFfU-PywZv-72qEtQ-72qEt3-bFbGae-x9Btk-2AUUrW-5CaNta-59xAtC-72mEyF-5RHWZH-5RNfE9-5RHWQt-75CoAR-6BYTpm-4Jjv1Y-5vk3pK-85ueAp-3eGWUH-6gWf5U-6gS4Lz-aZTHL2-79G7HH-bpMX6X-4o8Ssh-8fM32F-e9TPXj/

 

http://www.flickr.com/photos/theclubhousekid/4639752911/in/photolist-6F6n41-84ZWTR-uo6tj-7y3Ukn-9uUb2n-4UDaBG-9uRhvB-9uVwA7-6aPq9-9CcJMF-9CcJEa-9CfDHL-9CfDwW-9CcJU2-9K3f3s-HrmH7-2q4Kr1-3ZBv4r-5UmdBn-4yhViR-8KP73j-bt676e-e4f3mh-4ZRwxm-GYpE9-6su8Qy-5m6GuB-GYpxC-GYpyC-GYr2T-GYpi1-GYqPc-GYqUH-GYqVr-GYpjL-GYr5T-GYr7R-GYpkW-GYpoh-GYph5-GYqWV-GYqSF-GYpv5-GYqYc-GYpAN-GYpb7-GYpgh-GYpeY-GYpcm-GYpdC-BstoV/

 

http://www.flickr.com/photos/theclubhousekid/4300834755/in/photolist-6F6n41-84ZWTR-uo6tj-7y3Ukn-9uUb2n-4UDaBG-9uRhvB-9uVwA7-6aPq9-9CcJMF-9CcJEa-9CfDHL-9CfDwW-9CcJU2-9K3f3s-HrmH7-2q4Kr1-3ZBv4r-5UmdBn-4yhViR-8KP73j-bt676e-e4f3mh-4ZRwxm-GYpE9-6su8Qy-5m6GuB-GYpxC-GYpyC-GYr2T-GYpi1-GYqPc-GYqUH-GYqVr-GYpjL-GYr5T-GYr7R-GYpkW-GYpoh-GYph5-GYqWV-GYqSF-GYpv5-GYqYc-GYpAN-GYpb7-GYpgh-GYpeY-GYpcm-GYpdC-BstoV/

 

http://www.flickr.com/photos/williamfanuel/2564779586/in/photolist-6F6n41-84ZWTR-uo6tj-7y3Ukn-9uUb2n-4UDaBG-9uRhvB-9uVwA7-6aPq9-9CcJMF-9CcJEa-9CfDHL-9CfDwW-9CcJU2-9K3f3s-HrmH7-2q4Kr1-3ZBv4r-5UmdBn-4yhViR-8KP73j-bt676e-e4f3mh-4ZRwxm-GYpE9-6su8Qy-5m6GuB-GYpxC-GYpyC-GYr2T-GYpi1-GYqPc-GYqUH-GYqVr-GYpjL-GYr5T-GYr7R-GYpkW-GYpoh-GYph5-GYqWV-GYqSF-GYpv5-GYqYc-GYpAN-GYpb7-GYpgh-GYpeY-GYpcm-GYpdC-BstoV/

 

http://www.flickr.com/photos/waywaiwaywai/5660538169/in/photolist-6F6n41-84ZWTR-uo6tj-7y3Ukn-9uUb2n-4UDaBG-9uRhvB-9uVwA7-6aPq9-9CcJMF-9CcJEa-9CfDHL-9CfDwW-9CcJU2-9K3f3s-HrmH7-2q4Kr1-3ZBv4r-5UmdBn-4yhViR-8KP73j-bt676e-e4f3mh-4ZRwxm-GYpE9-6su8Qy-5m6GuB-GYpxC-GYpyC-GYr2T-GYpi1-GYqPc-GYqUH-GYqVr-GYpjL-GYr5T-GYr7R-GYpkW-GYpoh-GYph5-GYqWV-GYqSF-GYpv5-GYqYc-GYpAN-GYpb7-GYpgh-GYpeY-GYpcm-GYpdC-BstoV/

 

http://www.flickr.com/photos/waywaiwaywai/5661106458/in/photolist-6F6n41-84ZWTR-uo6tj-7y3Ukn-9uUb2n-4UDaBG-9uRhvB-9uVwA7-6aPq9-9CcJMF-9CcJEa-9CfDHL-9CfDwW-9CcJU2-9K3f3s-HrmH7-2q4Kr1-3ZBv4r-5UmdBn-4yhViR-8KP73j-bt676e-e4f3mh-4ZRwxm-GYpE9-6su8Qy-5m6GuB-GYpxC-GYpyC-GYr2T-GYpi1-GYqPc-GYqUH-GYqVr-GYpjL-GYr5T-GYr7R-GYpkW-GYpoh-GYph5-GYqWV-GYqSF-GYpv5-GYqYc-GYpAN-GYpb7-GYpgh-GYpeY-GYpcm-GYpdC-BstoV/

 

I have researched some examples of semiotics in photography. There are perfect examples how simple things can have so deep meanings. My favorite one is image of the road, one is a big slow down sign and another side two cars where one is marked red colour same as cone. This image is powerful as there are many signs that work perfectly together. Also there is meaning of traffic behind the science, also there may be meaning of well-regulated roads.

 

 

Explore the website Humphrey Spender’s Worktown

 

http://spender.boltonmuseums.org.uk/index.html

 

Briefly reflect in your learning log on Humphrey Spender’s documentary style and the themes of Worktown, with particular emphasis on the ethics and purpose of the project.

 

The article ’90 and Counting’, published in BJP magazine five years before Spender’s death, will give you some background information on the photographer and the project.

 

Core resources: BJP_Spender.pdf

 

After exploring Spender’s website I have to say his project was based more on anthropology than taking portraits, we can call his style scientific with objective views. The aim was to record life style in working class in England.

 

His work was never intent to be an art, as other documentary photographers work we analyzed. He had no interest in economical or political or social issues around England. We also had chosen only one social class – working people.

Spender had very easy task to make a record, as editor he worked for did not want images like other newspapers have. We research many documentary styles, all of them are called documentary, but has different approach and goal. Documentary will be good if we will know what to achieve by employing certain styles and techniques. Wider understandings of documentary photography make huge difference in quality of photographs.

 

Do your own research into FSA project and the work of the photographers listed here and others.

Many of the images taken by FSA photographers reached the public via magazines and newspapers such as Life and New York Times, although it was in the shape of the documentary photography book that most images acquired their near-cult status. The photographs in books such as You Have Seen Their Faces, Let Us Now Praise Famous Men, Land of the Free and An American Exodus stimulated the readers’ emotions, through the emotion was guided by the text (Scott, 1986, p.215). However, these books arguably showed a tendency to reduce their subjects to pure symbols of hardship and deprivation.

So, an ethical question arises: were the FSA photographers exploiting their subjects?

 

FSA was government agency and had a publicity department to explain what problems are and solve them. The aim was to create land and resources for farm workers and government experts who helped them implement modern farming methods on arable land. President’s agricultural policy had been to decrease production and increase prices of farm products. This program was criticized for manipulation for political reasons. Farm Security Administration helped farmers to buy farms with help from the Bankhead-Jones Farm Tenant Act. The most famous photographs are:

Untitled23 Untitled24

 

Source: http://www.livinghistoryfarm.org/farminginthe30s/water_14.html

 

During 1935-1942 photographers as Dorothea Lange, Walker Evans, Arthur Rothstein, Ben Shahn, John Vachon, Marion Post Wolcott, Russell Lee, Jack Delano, John Collier, Jr., Carl Mydans and Gordon Parks traveled around the world documenting farm communities. In total there is 175,000 black-and-white negatives, some colour photographs has been made too. This project can be called anthropology, as documenting involved studies about people lives, how they changed, and so many people could not survive without it.

I found this website extremely helpul to understand project, as there are interviews with some farmers from FSA:

 

http://www.livinghistoryfarm.org/farminginthe30s/water_14.html

 

The question is: were the FSA photographers exploiting their subjects?

 

My answer would be yes. This photographic project had a significant importance on photographer’s carriers such as Dorothea Lange and Walker Evans, also for the emergence of documentary photography.

 

Source: http://www.indiana.edu/~libsalc/newdeal/FSA.html

 

 

 

 

Read the article ‘Cannon Folder: Eugene Atget’ by Abigail Solomon-Godeau (in Photography at the Dock, 2009, pp. 28-51). This article is provided as an Appendix at the back of this course. NOTE: If you are viewing this course digitally, and you do not have a copy of this recommended book, please email enquires@oca-uk.com to ask for a copy to be sent in the post.

(Copyright restrictions allow single photocopies only)

 

Research the work of the surrealist photographers mentioned above. In your learning log write a bullet list of key visual and conceptual characteristics that you think their work has in common.

 

From a perspective of documentary photography, surrealism should not be regarded as a genre with solid boundaries. For surrealism to be of any practical benefit in documentary it needs to be seen as a distinctive visual and conceptual strategy which can e deployed in a variety of circumstances and contexts.

 

In documentary, surreal B&W images are not only the domain of street photography but also belong to classic reportage tradition. In this short but prolific career as a photographer, Tony Ray-Jones often opted for a surrealist approach in his explorations of British idiosyncrasies, e.g. Glynderbourne, 1967. Hardcore themes such as those tackled by photojournalist Paolo Pellegrin sometimes benefit from a surreal photographic style that enhances connotations of irrationality and inhumanity. Pellegrin’s photographs of Bosnian children have a dreamy, spooky quality.

 

www.magnumphotos.com/Catalogue/Paolo-Pellegrin/1996/BOSNIAChildren-1996-NN139110.html

 

This essay looks into Eugene Atget’s photography also what influence it had on Berenice Abbott. Atget was an inventor of surrealism, so his work was an example for other surrealism photographers; they followed his path to modernism. Below I research Eugene Atget’s and Berenice Abbott works and find some points that are in common for both photographers.

 

Berenice Abbott:

 

http://www.atgetphotography.com/The-Photographers/Berenice-Abbott.html

 

http://www.commercegraphics.com/ba_portraits.html

 

Untitled25 Untitled26

 

Eugene Atget:

 

 

http://www.atgetphotography.com/The-Photographers/Eugene-Atget.html

 

http://www.moma.org/collection/artist.php?artist_id=229

 

Untitled27 Untitled28

 

  • New portrait format, something between formal portrait and photojournalism.

 

  • Images did not reveal information they raise questions.

 

  • Popular juxtaposition

 

  • Contrast in light

 

  • Popular reflections

 

  • Geometric lines used to take viewer through all image, not focus on one certain point.

 

  • Blured images

 

For me surrealism is the lien where documentary photography meets art. Atget done an amazing job by presenting this genre to audience and other photographers. All the exercises before were based on documenting, but no word about art. I am glad I discovered this genre, as this is definitely something that I would like to work on in the future. Maybe in assignment 2?

 

 

Vivian Maier, whose work was only recently discovered, built a vast collection of images of life in Chicago and New York. Her main body of work, taken in the 1950s, shows surrealist elements.

 

Explore the Vivian Maier website (www.vivianmaier.com) and identify five street photographs that show the influence of surrealism. Write a short reflective commentary in your learning log.

 

Do some independent research into contemporary street photography.

 

Untitled29 Untitled30 Untitled31 Untitled32 Untitled33 

 Vivian Meyer born in 1926, most of her time she spent working as a nanny in Chicago and New York. Her work was recognized after her death in 2009. She used to take her camera everywhere she went, however she never showed her pictures or even developed photographic rolls. Her pictures have a surrealism signs, those images raises many questions.

 

Diane Arbus said, “A photograph is a secret about a secret. The more it tells you, the less you know.” Mayer perfectly reflects this idea in her photography.

Mayer’s talent surprises the world and no one can understand how someone working as a nanny can create such powerful imaginary. This is shame her images was found after her death, she would never know how good her photography really is. There is an article about this:

 

http://www.suntimes.com/lifestyles/splash/20393313-418/richard-cahan-shares-his-fascination-with-vivian-maier-and-her-mysterious-legacy.html

 

Contemporary street photographers:

 

  1. Zack Arias

http://www.complex.com/art-design/2012/06/the-50-greatest-street-photographers-right-now/zack-arias

 

  1. Tomek Werblański

 

http://9shots.pl/blog/

 

  1. JR

http://www.jr-art.net

 

  1. Jesse Wright

http://www.jessewrightphoto.com

 

  1. Martin Roemers

http://www.martinroemers.com

 

  1. Matt Stuart

http://www.mattstuart.com

 

  1. Brian Sparks

http://www.flickr.com/photos/18747317@N00

 

  1. Richard Sandler

http://www.richardsandler.com/photography.html

 

  1. Bruce Gilden

http://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL53ZS6V

 

  1. Daido Moriyama

http://erickimphotography.com/blog/2013/03/27/5-lessons-daido-moriyama-has-taught-me-about-street-photography/

 

 

Some of those photographers are very talented, however when I was doing my research I found lots of very primitive street photographs, it seems like everyone can be street photographer if you have a camera and time. Seems like street photography is something completely different to other genres, no creativity, no reasons for documenting. This exercise give an idea how difficult is to be successful street photographer, especially someone like Eugene Atget. He not only provided very good photographs, but also found a new photographic genre.

Exercises

Assignment 1: Read the 1939 article on documentary photography by Elizabeth McCausland.

 

Core resources: PhotoNotes.pdf

 

Write a short bullet list of McCausland’s main points in your learning log. Explain in your own words, in single paragraph, why this article is relevant to this part of the course.

 

1. Social situation of that age forced documentary photography to start.

 

2. New purpose for documentary photography is to report events.

 

3. Same question again: is photography an art?

 

4. Photography is the best way for documenting.

 

5. Photography represents any situation better than other artwork.

 

6. Photographer’s job in to reveal true situation, do not let photographs to lie.

 

7. Photography helps us to understand world better.

 

This article highlights very interesting points on documentary photography. The most important part of this, that photography represents any situation better than any other artwork (photograph taken by skillful photographer), also can be used as evidence in court. The importance of documentary photography is to highlight social situation and problems, this is where we can learn our mistakes and try, at least try to make world better place to live. This is what this OCA course is about to show our thoughts on certain things through our imagery.

 

Exercise 2: read the article ‘Survival Programmers’ in Eight magazine (V5N1, June 2006)

 

Core resources: Foto8#5.1­_SurvivalProgrammes.pdf

 

The full issue of the magazine is available to download from:

 

http://issuu.com/foto8/docs/vol5no1

 

Survival Programmers article has lots of historical information. We can see that Nicolas Battye, Chris Steele-Perkins and Paul Trevor have done really good job, storytelling is strongly revealed this project. Also I would like to comment on this article, those images with co commentary would still have very strong storytelling affect (tell people that social reform needed to escape those situations), but the commentary with no images would lose at least 50 per cent of power. Ages ago we relayed stories in the books with no images or pictures, but nowadays every article in the press has supporting image, mostly to attract reader.

 

Exercise 3: Read ‘Bill Brandt’s Art of the Document’ by David Campany.

 

Core resources: Campany_BillBrandt.pdf

 

Write a short summary in your learning log. How did B&W become such a respected and trusted medium in documentary?

 

This article is about how photographer’s carrier had an impact on photographs he shot, and also how photographs/photography had an impact on Bill Brandt.

 

Bill Brandt is one of the most famous photographers and his image ‘Parlourmaid and Under Parlourmaid Ready to Serve Dinner’, which clearly revels contract between social casts.

 

As soon as photojournalism become fashionable, Brandt lost interest in it, as everyone was shooting this style, maybe it was too difficult to stay original? Then extreme white and black photography era for Brandt started, this wasn’t typical for this kind of photography. He also gone for nude photography, where he could explore lines and curves of human body.

 

For all Brandt’s career he believed in black and white photography, to be honest if we would be able to convert those famous photographs into black and white do you think it would be same effect? In my opinion those images would loose significant photographer’s voice and meaning in most of the cases. Most of photographers call color as distraction, with black and white image it seems like it is closer, you can feel it. Also photographic theme has a big influence on decision: color or black and white? I do not think that war images can work with color photography, do you?

 

Cole Thompson (Photographer) has an interesting explanation for this:

 

‘I am often asked, “Why black and white?” I think it’s because I grew up in a black-and-white world.

Television, movies and the news were all in black and white.

My heroes were in black and white and even the nation was still segregated into black and white.

Perhaps my images are an extension of the world in which I grew up.

For me color records the image, but black and white captures the feelings that lie beneath the surface.  People ask if I’ve ever worked in color, and the answer is no; I only see things in black and white.’

 

Source: http://gmbakash.wordpress.com/2011/07/14/an-interview-with-“master-of-black-white-cole-thompson/

 

Exercise 4: Read the introduction and first section (p.p. 105-10) of the article ‘Discussing Documentary’ by Maartje van den Heuvel (Documentary Now 2005).

 

Core resources: Heuvel_DiscussingDocumentary.pdf

 

Write a short summary in your learning blog.

 

This article raises a question: can documentary still reveal real subject and details?

 

‘It was our job to document the problems of the Depression so that we could justify the New Deal legislation that was designed to alleviate them.’

Arthur Rothstein, photographer

Source: http://historymatters.gmu.edu/mse/photos/photos.pdf

 

Nowadays there are many fiction photographs in press. Author reveals how photography is linked to other art genres, also that photography is now changed. Many years ago when documentary photography started there was no television, magazines and Internet. So documentary photography had to cover media purpose, nowadays information is very easy accessible.

We can contrast documentary photography purpose to reveal social issues at 1890 and nowadays. I guess historical situation changed, however social issues stayed. This is the reason why documentary photography ad art photography most of the times very close to each other and this gives us very hard time when categorize photographs. Even photographers are confused what category they belong.

All in all many documentary photographers still find may social issues to photograph in everyday life. The best examples are Christian Rodriguez and

Michael Hanson. Christian Rodriguez made a project called ‘Teen Mum’ and Michael Hanson photographed young teenagers who will be signing contract with major football team.

 

 

 

Exercise 5: Read the interview with Marcus Bleasdale in Eight magazine (V4N3, Dec 2005).

 

Core recourses: Foto8#4.3_MarcusBleasdale.pdf

 

The full issue of the magazine is available to download from:

 

http://issuu.com/foto8/docs/vol4no3

 

You can see tear sheets of Bleasdale’s work on the website of the agency VII:

 

http://viiphoto.wg.picturemaxx.com/id/00075419

 

See also the article in the Guardian magazine 16 January 2010.

 

 

I read Marcus Bleadale article about hid photojournalist work.

 

Bleadale was a banker but he gave up his carrier for the photojournalist work. He sold his flat in London and spent all the money on traveling, as this been important park of photojournalism. The issue Bleadale reveals in his photography is the reason of the conflict in Combo and other continents. I found that YouTube short videos covering many issues of Compo society, this is better information source that the single interview listed above. Also they cover more issues and situations.

 

In those videos Marcus Bleadale talks about the reasons why this project is important. However media wasn’t interested to print his photographs as it was a political issue and someone used this information to make some money.

 

The link could be found below:

 

http://www.youtube.com/watch?v=b7XGmQJ82TU&list=PLC2584FAC2E2FD4EB

 

I feel that Bleadale reached his objectives to reveal those issues by publication this across the US newspapers. Thank you Marcus Bleadale for an opportunity to know that those places exists and that we have to do something to help those people to escape gruesome situation!

 

This information helps us to understand that photojournalist job is important as solders or politicians or any other well qualified job.

 

 

 

Exercise 6: Analyse Martin Shields’ photograph of two young footballers. What are the denotations and connotations of this image? You can write your answer in descriptive prose or make a bullet list if you find this easier.

 

Compare your findings with those of other students via the OCA student forums.

 

Denotations: two young boys nearly the same age, in the different footballers clothes, hands across each other, maybe a semiotic terms of friendship? They are definitely going the same way, coming back home? Could they be brothers, hair color illuminates this fact.

 

Connotations: photographic representation in semiotic terms tells me that this photograph can be used friendship, future or we all after their life will be going same way meanings. There is strong sign of friendship as boys wear different clothes, this may be because there are in different teams, but after a game they are the best mates again.

 

There is saying, that kinds is our future, which perfectly fits into the frame.

 

Third idea is that we all will die despite our differences.

 

Lets see how other students investigated this photograph:

 

Denoted:

“Two boys going to or coming from a football match walking through a run-down area. (I’d say going to the football because of the cleanliness of their clothes.)”

“Two boys, arms around each other, carrying a football each and walking somewhere.”

“two lads going to football.  I think this is before the match as they are clean and well pressed – unless this is modern image that has been ‘aged’ in which case they might have been on an all-weather pitch.  An area of urban dereliction.”

“Boys walking through a partially completed demolition site on a dry day, each has a football tucked under an arm, each has the other arm around the shoulders of his friend.”

The readings focus on the prime subject of the two boys, the cleanliness of the kit is clearly observed and to a lesser extent the run-down area.

 

Connotations:

“Current friendship, northern township dereliction of 1960′s, rugby (from shirt on LH boy, hoops not stripes), freedom of travel, age of innocence, destruction of heritage, working class area, long summer days.”

“Opposing teams – might be Rangers and Celtic and maybe Northern Ireland – got that feel to it – boys can still be friends – innocence of youth transcends divisions. This could be the Catholic/Protestant divide?  Can still have friendship and camaraderie across divisions in the eyes of the young – but does this stop as they get older.  Contrast between the clean kit and the derelict surroundings.  Do they belong there or just passing?”

“The image has a late 50’s look to it, but names on football shirts only became compulsory around the late 80’s and found their way onto replica kit.  Also footballs made with pentagonal and hexagonal panels were not available until 1970ish – so is this a composite?  Maybe the dereliction is more recent?  Maybe it’s not dereliction.”

“they support different teams yet care about each other. A rundown council estate – looks abandoned somehow, waiting to be demolished. Thought bombed-out but not sure as it looks 50s/60s. Something about the different tops makes me think of Northern Ireland, factions, warring religions – yet here are two boys wearing different ‘uniforms’ and arm in arm. Hope lies with the young; they are our future; they can re-build etc. There’s something that unsettles me but would take longer to work it out.”

“Friendship, innocence of youth, sentimental, people can be friends even if their football teams are old enemies.  Even in poverty and decay there is human spirit, kindness. Perhaps the adversity of the surroundings strengthens the need for human empathy. There is certainly a strong contrast between their clean clothes and the squalid environment. Perhaps they’re from wealthy families just passing through this area en route to their destination.  Maybe they’re brothers.  Maybe one or both are girls?”

All in all we can see that vast majority of students have the same option, however there are students who looked more deeply into this image and found more semiotic representation signs.

 

 

Exercise 7: Download from the OCA student site the tear sheet of the newspaper in which Shields photograph was originally published.

 

Core resources: FootballBoys.pdf

 

Read the accompanying text and answer the following:

 

  • Does the text relate to your initial deconstruction of the image?
  • Does the text change your perception of the image? If so, how?

http:/http://www.oca-student.com/sites/default/files/FootballBoys.pdf


Yes the initial text regenerated my deconstruction of the image, as I had no idea that in this image the most important part is the housing estate, as this will be reconstructed.

 

However it did not change my perception of the image as I was right saying that this image reveals future plans. This is good lesson to take time and all possible signs before deconstructing a photograph or before shooting work on the obvious and hidden connotations.

 

Exercise 8: This exercise revolves around the body of work The Americans, by Robert Frank. You’ll need to do your own web research to find relevant images and background information.

 

  1. Find five images in The Americans where symbols are used. Explain what they are and how they function in the images.
  2. Read the introduction to The Americans by Jack Kerouac.

Core resources: Kerouac_Americans.pdf Find symbolic references that you can also identify in Robert Frank’s photographs – not necessarily the five images that you chose for the first part of this exercise.

Source: http://www.newyorker.com/online/blogs/tny/2009/09/slide-show-robert-franks-the-americans.html#slide_ss_0=1

 

This image is the first in his book; this tells us image is important and telling many things about book. The symbol in the photograph is flag, this introduce us with the main topic and the main sign through all series. Composition show us clear sign of outsider, also the strong relationship between people and flag. We are not able to see faces in this photograph, in my opinion this done deliberately, choosing symbol of those two people as a big part of population.

 

Source: http://reelfoto.blogspot.co.uk/2012/05/robert-frank-imagining-americans.html

 

This image has strong sign of multicultural population. Black women holding white baby also can reflect the space between people, that they are not so close and open to others. As we know that one or other culture moves to certain region, to live close to their background people. However the book title tells us that they are all Americans, don’t matter what colour.

Source: http://erickimphotography.com/blog/2013/01/07/timeless-lessons-street-photographers-can-learn-from-robert-franks-the-americans/

This image has symbol of the car, which means isolation. The lady in the car looks lonely and separated from surroundings. This is significant issue for every American.

 

Source: http://erickimphotography.com/blog/2013/01/07/timeless-lessons-street-photographers-can-learn-from-robert-franks-the-americans/

 

This image has strong symbol of disparity of wealth. This lady is wealthy we can judge by her clothes and posh surroundings. In my opinion this disparity is most common in every country, not necessarily America.

 

Source: http://erickimphotography.com/blog/2013/01/07/timeless-lessons-street-photographers-can-learn-from-robert-franks-the-americans/

This image is the last in Frank’s book. I understand this image as a symbol of believe not necessarily God, it may be believe in America, in Americans, in American flag. This image used as a final one due its context and narrative. In my opinion this image speaks: God is with America!

Source: http://www.npr.org/2009/08/30/112389032/robert-franks-elevator-girl-sees-herself-years-later

 

This young lady’s expression in the image symbolizes loneliness. This is a big hard to understand as she is in the lift with at least two other people. However this must come from deeper. I suggest that Frank wanted to show with this image, that however big America is there are many lonely people around.

 

Symbolic references:

 

  1. … ‘holy halo’ of sun hitting a chair in a café…

 

 

The empty chairs and television may be symbols of human involvement in the politics; people want to take part in it and to be heard.

frank12

  1. … Negro woman pulling on her cigarette with thoughts of her own, as pure a picture as the nicest tenor solo in Jazz…

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The passing car indicates passing of time, all those people seem to be not so young, so they seen a lot, especially the facts how America changed.

 

 

3. … In Plate 52, Men’s room, railway station…

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The strong sense of loneness felt here, empty space in the toilet (I guess) might be sign of hard living and working conditions. There also strong sign of male energy, no women are allowed into this picture/place.

 

There are many other signs telling us about this book themes and structure for example death theme, gambling, politics and possessions.

 

Using signs takes photography into higher level; this means that viewer has to spend more time to get what this image is all about. Sighs are codes, every code has explanation that closely generate with photographer’s ideas.

 

 

Pictures taken from:

http://patricechesse.deviantart.com/journal/Robert-Franck-The-Americans-413356326

http://www.atgetphotography.com/The-Photographers/Robert-Frank.html

 

 

Exercise 9: Read Mraz’s essay in full. Core resources: Mraz_Salgado.pdf

Research the work by Salgado to which Mraz refers and evidence your research in your learning log.

 

1. Perhaps the best photojournalism fuses information and expression,

document and symbol, in such a way as to create a metaphor: an image

that retains the particularity of its referent but, at the same time, stands

for a broader truth which transcends that immediate context. A revealing

example is offered by Salgado’s reportage on the garimpeiros, the goldminers of Serra Pelado, Brazil, which he began shortly after the

publication of Other Americas, and that constitutes a chapter of

Workers.42In penetrating photos, he captured the insanity unleashed by

the frantic search for instant wealth in inhuman living conditions: faces

full of dementia and delirium, running battles between the half-crazed

miners and the soldiers sent to police them, landscapes where ant-like men

under cumbersome burdens trod on the feet of those in front of them This reportage could well serve as a metonym for the infinite aberrations

of a world with so little hope. It represents a significant advance over Other Americas

, for here estrangement is not mysterious; rather it derives

directly from the manifestly horrible conditions in which these poor devils

live and work. That is not the case with Other Americas, whose images

contain little visual information because they were taken predominantly

in a way so as to eliminate social, political and economic contexts.

 

 

Garimpeiros:

 Untitled3

 

 

 Untitled4

 

Untitled5

 

Other Americans:

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Untitled7

Untitled8

 

Images were taken form Google search.

 

I do agree with Mraz’s words above as Salgado project Garimpeiros reveals more social, political and economic aspect. Other Americans are based on photographic expression of sadness, mystery and death, but there is no sign of real situation (movement) such as documentary have to record events around us. For example third image of two boys, there is no evidence of something happening, only symbol of loneliness and sadness. So this is strong point by Mraz, if something has no evidence in recording can it be documentary? Probably we can call this imaginary Travel/People/Black and white photography. Referred to this website http://www.mediacollege.com/photography/types/.

 

 

‘You photograph here, you photograph there, you speak with

people, you understand people, people understand you. Then,

probably, you arrive at the same point as Cartier-Bresson, but from

the inside of the parabola. And that is for me the integration of the

photographer with the subject of his photograph…. An image is

your integration with the person that you photographed at the

moment that you work so incredibly together, that your picture is

not more than the relation you have with your subject.’

Salgado thoughts are totally different from Cartier-Bresson thoughts about decisive moment. Photography is much more to Salgado than right moment.

 

Also lack of decisive moment in photography is filled in with altered imagery.

‘I had no intention of waiting a week,

ten days or the time necessary so that something would happen, so that

I could get the “decisive moment” looked for so often by

photographers…. The specific “decisive moment” wasn’t to be found, it

had to be created’

 

Pedro Meyer – Pioneer of Digital Imagery

 

Mraz tries to link these two statements above, but s we seen there is no connection to be found. Salgado did not used digital manipulation, he captured the world he integrated to, felt it. However writer calls his project Other Americans failure for lack of accompanying text and decisive moment.

 

Next Salgado step was book call Terra.

 

Untitled9 Untitled10 Untitled11 Untitled12

 

Mraz notes that this book seems like divide into two parts, first part images are more like Other Americans continuous with misery and sadness (exactly like the one on the book cover) and the images above are more concentrated on social issues. Writer compares Salgado images to Jacob Riss imagery.

 

Jacob Riss photographs:

Untitled13 Untitled14

 

 

All in all, this essay based on two things how photographer demonstrates his work and how it can affect the meaning. Mraz compares Salgado work, also he uses Cartier-Bresson and Jacob Riss images to show us how every photographer has his own way to illustrate the meaning of something. The main problem in this essay is lack of visual information and social, political and economical context elimination in some Salgado works.

 

Exercise 10: Listen to Daniel Meadows talking about his work: http://vimeo.com/28349336#

 

Then read the essay ‘The Photographer as Recorder’ by Guy Lane.

Core resources: Meadows_GuyLane.pdf

 

This video and an essay take us closer to the photographic project taken in 1973 on double-decked bus, the aim was to photograph ordinary people (British). Daniel Meadows did not want to show something behind the scene, every photograph he taken reveals as much information as subject wanted to express.

 

The reason why Meadows decided to do this project is his curiosity, he felt that he has to learn and understand people, listen to their stories. Many people were interested in doing this because of free photographs Meadows provided.

 

The essay revealed many aspects of Meadow work, however there are many critics in this too. There is quite a long gap between 1973 and 2001 while this project continued, many things changed. I guess the way Meadow photograph people change too, as he was criticized for not having enough experience and not employing photographic techniques correctly.

 

I think this project not only documentary record; there is also record of Meadow’s photographic development and findings. We can see know how far photographer went through for 28 years.

 

 

 

Exercise 11: Read the information that accompanied August Sander’s exhibition People of the 20th Century at San Francisco Museum of Modern Art.

Core resources: ASander_SFMOMA.pdf

 

Write a 200-word reflective commentary on Sander’s seven-category system. Briefly discuss the implications of his classification system within socio-cultural context of the time. Make connections with contemporary practice as that Zed Nelson, if appropriate.

 

Sander is very famous for his socio- cultural work, between two World wars. His project is break down into 7 classification units:

 

  1. The Farmer
  2. The Skilled Tradesman
  3. The Women
  4. The Artists
  5. The City
  6. Classes and Professors
  7. The Last People

 

The most interesting thing about this classification is that one single person cannot be classified as City and Artist, or Women and Classes and Professors. This is very strong classification system, which reveals contemporary Germany society status, after World War 1 economy was very week as all money was spent on the war. Hitler created strong industry and everyone knew his social class. Life was ok if you had a job in the industry this is why social classes was so important, also there was easier to highlight Jewish people, who had life with no rights or citizenship. His images mostly shoot on location.

 

Zed Nelson was interested in revealing portraits of coal miners, fisherman and ship builders. He did not gone further to other social communities. All these photographs have names underneath each image, the images reveals more faces and character, images shoot in studio, some of them grouped to reveal more information and compositional approach.

 

Irving Penn images have similar approach as Sander’s and Nelson’s, however there is unique way to illustrated those people with their work tools, there is no more than two people posing.

 

All in all Sander had the better way of showing social classification, as he worked on wider group, also most of his photos shoot on location, so this reduce unreal posing sense, people fell more natural in their own environment. I think social approach is a huge part of documentary photography; this is the way to think for the future assignments.

 

 

Exercise 12: Read ‘In the American East’ by Richard Bolton (in Bolton, 1992, pp.262-83) and write a 200-word reflective commentary on its relevance to documentary practice.

 

Then look at work of Charlotte Oestervang in Appalachia (Foto8, V6N1, June 2006, pp.58-9) Core resources: Foto8#6.1_Appalachian.pdf

The full issue of the magazine is available to download from:

http://issuu.com/foto8/docs/vol6no1

 

In the American East can be found here:

 

http://books.google.co.uk/books?id=Jfe8PgoLzoIC&pg=PA261&lpg=PA261&dq=richard+avedon+in+the+american+east&source=bl&ots=LOPoJJL-mT&sig=3e0_yeNY2QbyLi7E8G3hhOu6eIo&hl=en&sa=X&ei=kFHtUoaAPISShQfVu4GIBQ&ved=0CCoQ6AEwAA#v=onepage&q=richard%20avedon%20in%20the%20american%20east&f=false

 

Note: it would be helpful if this link would be suggested by OCA, as I spend lots of time looking for it, also due copyright there are no images displayed.

 

Richard Avedon work is slightly different from documentary work we look at in the previous exercise, however he used social classification, but in the other way. He classified people looking at geographic location, for example American West – Bolton.

 

Avedon illuminates subject from their surrounding shooting in the studio, also he uses white background, which gives us more details, clearer view also. There are no details accompanying images, so we have to use our intuition in judging them. This project is clearly affected by social, economical and political issues. Most of those people have to work hard to support themselves and families.

 

Bolton considers if art with the sign language are illuminated by commercialism and advertising, which manipulates images and lose real photography information.

 

Avedon project perfectly fits this description, he came from fashion and celebrity work. So white backdrop in the studio with his unique documentary style proves us that documentary photography can be stylish, but in the same way very informative in documentary terms.

 

All in all portraits without their surrounding lose half of the information and all metaphors, there is not enough information.

 

If we compare this project to Charlotte Oestervang images, we will see how much photograph with it’s surrounding can tell you, we can see signs and metaphors in the image which white background can not produce. There are no signs of modern living or comfort in in Appalachia. There is an unusual square forms photographs. It seems like this community ask for help.

 

However these two projects have some similar points: they are portraits, unhappy and unhealthy people.  Where we can call Charlotte Oestervang’s work documentary (it very similar to Riss or Hine), can Avedon work be called the same?

 

 

 

Exercise 13: Read the article ‘Making Sense of Documentary Photography’ by James Curtis.

 

Core resources: MakingSense.pdf

 

Curtis contextualizes the work of the FSA photographers within a tradition of early twentieth-century social documentary photography and touches on the issue of the FSA photographers’ methods and intentions. What is your view on this? Is there any sense in which the FSA photographers exploited their subjects?

Visit the FSA online gallery on the Library of Congress website and refer to their FSA catalogue if necessary:

 

http://www.loc.gov/pictures/collection/fsa

 

This essay introduces us with historical aspect of documentary photography. FSA photographers works compared with Riss and Hine projects.

 

Early documentary photography was very mechanical and there was no chance to go away from the studio, there was no such as equipment which can be used outside studio. Many equipment photographers had wasn’t very powerful, so subjects had to remain still for quite a while to get technical correct shot.

 

We have been introduce to documentary photography in passive recorder scene, however Curtis provides facts how many of the photographs been posed. This makes us think, are those signs and metaphors of poor living, bad conditions really true? Maybe it was useful for government that people thought this way?

 

FSA project wasn’t about artistic work it was passive recording. However Curtis provides evidence of alteration, in this case passive observer becomes active photographer.

 

In my opinion FSA photographers exploited their subject by telling not real story, perfect example is Russell Lee photographs of Mexican households, photographer used his techniques and skills to represent totally different story, the story FSA wanted to hear. It raises a question: if FSA project is really documentary, if we can alter any situation in the way we like.

 

All in all FSA project was government sponsored, so they had an interest to show rest of the world how they are helping poor people, which wasn’t always the case. And photographers done their job, without asking why…

 

Exercise 14: Read the article ‘What is Street Photography?’ on the London Festival of Photography website: www.lfph.org/what-is-street-photography

 

Now visit: http://streetphotographynowproject.wordpress.com/

 

Choose one of the weekly instructions given to contributors to the Street Photography Now Project in 2011 and build a small portfolio of B&W images on your chosen brief.

 

Publish a selection of five images from your portfolio on your blog.

 

There is no such an article on this website, probably it was replaced by Fotaura.com. So I will continue with another part of exercise.

 

 

Every week Fototaura.com is giving instructions for photographic projects. I have to choose one and provide small portfolio on chosen subject.

 

Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humor.

 

Jeff Mermelstein

 

I have chosen an instruction above, I thing it would be nice to look at something different, also this gives you an experience to fell different kind of photography.

 

Images:

 

http://www.flickr.com/photos/seefood_vol1/6057482060/in/pool-instruction46

 

http://www.flickr.com/photos/cristiano007/6057836930/in/pool-instruction46

 

http://www.flickr.com/photos/22206841@N00/6049889160/in/pool-instruction46

 

http://www.flickr.com/photos/31086202@N08/6053350828/in/pool-instruction46/

 

http://www.flickr.com/photos/antonhazewinkel/6055479403/in/pool-instruction46

 

For this exercise I used photos from Flickr as this reflects how hard is to shoot something for chosen brief above. Some images has more sadness than fun, but the perfect balance has the first image taken in a zoo, where many people enjoy looking at dolphins (I guess this is dolphins), but really they are not happy as they want to be free and enjoy their life. This is perfect exercise for understanding shooting on assignment and photographic balanced experience.

 

Exercise 15: Read Miranda Gavin’s reviews of Anders Petersen’s French Kiss and Jacob Aue Sabol’s Tokyo for Hotshoe Magazine

 

Core resources: FrenchKiss.pdf

Core recourses: Tokio_Sobol.pdf

 

Read the article ‘Bye Bye Photography’ (AG magazine #38) and research the work of Daido Moriyama. Core resources: CBadger_Sayonra.pdf

 

Write a short reflective commentary about the connections between the styles of Moriyama, Petersen and Sabol.

 

There is no surprise that all these three photographers have been grouped to this exercise.

 

Let’s see what they have in common? They all shoot in black and white; this could be influenced by 20th century documenting photography. All these artists have same perspective, usage of contrast and tones, same photographic angles, focus, usage of close up images. Looking at the images there is always questions rise, images confuse us, and we are trying to find out what surrealistic approach was applied here.

 

However they have some differences: Petersen’s images are more about people, their emotions and relationship between them. He photographs nude people this reveals intimacy. Some of the images gives us a little shock, as there in no restrictions what can not be photograph: drunk people, prostitutes, prisoners. It seems like Peterson is not restricted by any ethics and intimacy rules.

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Sabol’s work has more surrealistic approach; there is more meaning behind the scene. His compositions have lots of symbols in every tiny detail.

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Daido Moriyama focuses on blur photography; also there is the strongest aspect of street photography. William Klein influenced him.

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Assignment 2

Assignment asked us to produce 8 images that individually, have narrative and convey specific idea.

 

I produce 8 images that have narrative and convey loneliness and emptiness idea; I looked for the different ways to reproduce same idea.

 

This assignment helped me to work on chosen subject with developing my ideas visually, the most important to translate concepts effectively.

 

Demonstration of technical and visual skills – I have researched quite few documentary photographers and their photographic techniques, this helped me to employ some goods techniques such as juxtaposition, slow shutter speed, high contrast in light and dark points. I tried to follow good composition skills produced by famous documentary photographers.

 

Quality of outcome – in my opinion a content of assignment 2 is interesting and unique in the way I personalize my own feelings. There is knowledge of technical and demonstration skills applied. Good researched leaded me to look what and how I can create to fulfill assignment criteria and to develop my personal photographic voice.

 

Demonstration of creativity – for this assignment I chose different locations for every image to get the best image level of creativity. I gone for different angle, different time of the day, different places while I end up with something I am happy with.

 

Context – played a huge part in this project, researched leaded me to change the assignment idea, critical reviews pushed me towards showing myself through the images I make.

 

It might be that I did not cover all these criterias in 100 percent, but what is more important my photographic skills definitely improved, documentary is very interesting and very wide theme for immigrants life and issues that I am trying to convey.

Assignment 2 -Single image narratives

Single image narratives

 

My chosen subject for this assignment is loneliness and emptiness. Both of these abstract subjects closely related to each other. I looked into Pavel Tereshkovets, Julian Legrand and Kevin Hoth documentary photography, where strong creation of loneliness, isolation and emptiness is presented.

 

The reasons I chosen Black and White photography for my project are:

 

  1. This removed any distractions, helping viewer to concentrate on special areas of photograph.
  2. For my chosen photographic idea black and white will give more drama and empty/lonely situation become more visible.
  3. Most of documentary photographers use this technique such as William Klein and Michelle Frankfurter.

 

To be honest I had another idea for this assignment, but mixed felling stopped me from going ahead with this. I felt that is better to do the theme what I really feel. Being foreigner in United Kingdom made me fell really lonely, as I am away from home, friends, parents and relatives. I coped with this felling quite well as I did not have some much spare time, work and studies kept me busy. However becoming a mum and spending lots of time with my child, made me understand how important relationship is and how lonely we truly are.

 

This pushed me towards this photographic idea; I tried to convey this through my images.

 

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