Further research on the Decisive Moment + practitioner research

Assignment 3, Notes, Online Research, Practitioner Research

Summary:

For this post I have;

– Researched the ‘Inspired’ moment, written by Olivier Duong, to further understand the Decisive Moment in a slightly simpler form.

– Written three detailed paragraphs about Henry Cartier-Bresson, Garry Winogrand, Bruce Davidson and KayLynn Deveney, exploring their career history, what they capture and why.

– As well as writing a short analysis for one or two images from each practitioner, stating what I enjoyed about their work and what I took from it.

– Before reflecting on the post as a whole.

The ‘Inspired’ Moment

The Decisive Moment for me is one of those topics that I believe is clear to understand at first until I find myself questioning it once more, therefore I have found a definition that strips the technique down to the bare basics.

Olivier Duong also struggled to piece together the elements that make up a Decisive Moment, so took it upon themselves to break it down into their own words, or as they call it ‘The Inspired Moment’ (Duong, 2013). A diagram of the Inspired Moment (see Fig. 1.) shows the alignment of the photographer’s eye, the photograph, the heart and the mind, a combination of compositions, emotions and thoughts that pull together to create that ‘perfect’ moment (Duong, 2013).

Duong continues to describe the Decisive moment in terms of time; Chronos and Kairos time. Chronos being ‘linear time’ and a much more definitive view on time, whereas Kairos is opportune and varies, as is the Decisive Moment. A Decisive Moment can happen at any time, hence you have to grab it when it arises or you will miss it, ‘you could not catch him by the hair because he is bald from the back’ (Duong, 2013). You must always be responsive and ready for any given moment, see it and shoot, have your camera settings ready to avoid missing the shot.

In summary, you must see the image in your mind’s eye, be ready both physically, mentally and technically and shoot before you miss.

Henri Cartier-Bresson (1908-2004)

Henri Cartier-Bresson was a photographer, painter, filmmaker and prisoner of war, well known for being a master of street photography and the Decisive Moment. Cartier-Bresson had a strong interest in surrealism, an art movement that inspired the direction of his photographic work. Peter Galassi explains in his book Henri Cartier-Bresson, The Early Work, that the surrealists ‘…approached the street: with a voracious appetite for the usual and unusual…’ (Galessi, 1987:33), meaning they saw more than an ordinary photograph and understood the deeper meanings and unplanned situations.

In 1952, upon his return to Europe after a three-year stream of travelling, Cartier-Bresson published Images à la Sauvette or as we know it, The Decisive Moment. This book provides the viewer with a collection of images that were taken in an instant, with intuition and ‘in visual terms, questions and decides simultaneously’ (Cartier-Bresson, n.d.).

‘Cartier-Bresson did not “point and shoot” to achieve this effect. He often framed a picture in the viewfinder of his Leica, and then waited for the perfect event to occur, normally a person passing through the scene’ (Huxley Parlour, 2017).

Huxley Parlour provides a perfect example of this approach, shown in Behind the Gare Saint-Lazare (1932), a frozen yet slightly blurred silhouette of a figure leaping over what seems to be a rain-sodden ground, a result of ‘luck’ as Cartier-Bresson calls it in the documentary L’amour Tout Court. It was almost a matter of fate due to the fact he slotted his camera in between the planks, just barely managing to fit the lens through, meaning he could not see the composition (L’amour Tout Court, 2001). The image is beautifully balanced and perfectly timed, the feet of the person just inches from the ground before splashing into the water below. We know what is going to happen without the documentation of the result, this is achieved by intuition. Ripples surrounding what looks like a wooden ladder implies that it may have fallen or at least been disturbed recently. The dark pile of rubble next to the hoops on the floor, brings further texture to the image, contrasting the wet, shiny water. Cartier-Bresson placed a lot of emphasis on the ‘geometry’ of an image, an element that will enable the composition to be proportionate (L’amour Tout Court, 2001). Despite his lack of sight for this piece, the balance was still maintained as the silhouette is framed within the far right of the frame and as a result achieves the rule of thirds. A small figure in the background of the shot may pose a few questions for the viewer. Are they in front or behind the railings? Is that a police officer or a civilian looking at them? Or are they even looking? The motion blur implies a fast movement, however, we are unaware as to why they are leaping, or whether they are running from or to something. The tensions throughout this artwork create intrigue and have helped me understand the true power of a decisive moment, intuition and awareness.

Garry Winogrand (1928-1984)

Garry Winogrand was a New York based photographer who captured the hustle and bustle of busy streets, airports, people at rodeos and animals in the zoo (Fraenkel Gallery, 2012).

A number of his works have been exhibited in museums and galleries across the world, as well as being published to accompany the exhibitions. Winogrand’s work is considered highly influential in the street photography genre, having provided slices ‘… of 20th-century American culture, replete with all the nightlife, excitement, heartbreak, trauma, and banality…’ (artnet, 2011) that makes up the foundations of life.

Documenting monumental events that have taken place due to the social issues in the U.S., enabled Winogrand to excel and become one of very few artists that stand out in the world of street photography.

Winogrand worked as a freelance photojournalist, as well as exploring the world of advertising in the 50s and 60s, before teaching the subject in the ’70s. Following his death it was discovered that a huge majority of his older works had been left undeveloped, no proofed exposures or only got as far as being made into contact sheets (MoMA, 2009).

One image that stands out for me is New York, 1969, (see Fig. 2.) part of the Women are Beautiful series, a collection of images taken in various locations of women in their natural state, observing, partying or otherwise occupied in some way. In the foreground we are presented with a woman in her early 20’s perhaps, her thick hair is down, resting naturally against her shoulders, seemingly unaware of the photographer taking her picture just a distance away. The shot has been taken just before the pretzel in her hand reaches her mouth, freezing time and showing the process of a decisive moment, showing the neutral emotion of eating while on the move in a busy environment with no time to savour the event. In the background we see multiple darker figures of people passing by, the natural light not quite reaching them like the woman closest to the camera. They’re noticeable of course, adding movement and providing context for the location, as well as their acknowledgement of the camera, potentially questioning what is happening. That being said, they don’t stand out because they are not the subject in question, the woman in front is, she is the focal point of this composition. A variety of tones run through the photograph, adding depth to the shot, enhancing the brickwork in the architecture and the natural marking of the lighter buildings, dirtied by pollution, animals or other such elements. The horizontal and vertical structures, create leading lines for the viewer to explore the street behind the bustling pavements and roads, drawing the eyes further into the background towards the left before leading out of the image. Balance is maintained by the use of the rule of thirds, as the woman in question is placed perfectly within the lines of the left intersections of a camera grid, complimented by the shallow depth of field that further encourages the eyes to focus. As previously mentioned, the Women are Beautiful series documents women in various situations, dressed to the nines or in her casual wear. Conceptually this may be exploring the pressure that women have been put under for centuries. Using the decisive moment to photograph women without any makeup on, their hair flowing naturally, eating what may be considered ‘junk food’, showing the true nature of women in the comfort and without the mask of societal norms influencing the moment. A compelling statement and a chance to empower women, quirks and all.

Bruce Davidson (1933 – )

Bruce Davidson is an American photographer based in New York, a member and contributor to Henri Cartier-Bresson’s Magnum Photos. Davidson began taking photos from the age of 10, the catalyst for studying and furthering his knowledge on the subject at Rochester Institute of Technology and Yale University (Magnum Photos, 2008).

After returning from the army in 1957, Davidson began doing freelance work for LIFE magazine before creating a variety of influential works such as The Dwarf, Brooklyn Gang and Freedom Rides (Magnum Photos, 2008).

Davidson has exhibited in many museums and galleries over the years, one of them being the Museum of Modern Art, New York, where East 100th Street was displayed following its publication at Harvard University and St. Ann’s press in 1970. Most of the work produced by Davidson documents events or situations within society, capturing the different walks of life through the lens of a camera, much like his friend Henri Cartier-Bresson did years before him. Many pieces of work from the past 50 years have been published in monographs and reside in both public and private fine art collections worldwide (Magnum Photos, 2008).

“If I am looking for a story at all, it is in my relationship to the subject — the story that tells me, rather than that I tell” (Bruce Davidson, n.d.).

One example that explores the above statement, is Woman on tube holding flowers, London, 1960 (Davidson, 1960) a photograph that seems to show no sense of the relationship between Davidson and the people on the train. Of course, the connection between the members of the public is unknown, however, the fact we know that the photographer is outside of the train, most likely positioned on the station’s platform while the woman looks onward down the cabin, implies that she is unaware anyone is watching her. The woman has a fairly neutral face however, a slight hint of anger or confusion shines through with her subtle furrowed brow and puckering of the lips. We are unaware of what this person is thinking, what is in front of her as the scene is tightly framed, creating a mystery for the viewer. Is she in deep thought? Has someone said something to make her angry? Is she even angry or is this how her expression naturally falls? Her posture seems relaxed, hands overlapping each other gently while holding the bunch of flowers, so perhaps she is just in deep thought. Who are the flowers for? Again we don’t know and have to piece our own story together with our imagination due to this lack of information. The cabin is brightly lit and contrasts with the dark body of the train creating balance in the composition, as well as drawing our attention to others on the tube. The man to the left is leaning forward with a confused or shocked face, as if he’s missed his stop, while the man to the right grabs his head in his hands, maybe from stress or despair? Meanwhile, the woman next to him seems blissfully unaware as to what is going on, as her head bows down over a book or a newspaper?

There are a lot of stories that can be told throughout this image, not necessarily accurate to the facts of what happened when this was shot, but a story none-the-less. All of the elements within this photograph, create intrigue, keep the viewer interested, forms tension and captures the natural state of people within seconds, a recipe for a successful decisive moment.

As Davidson stated in the quote above, he has let the story tell itself, rather than placing it into our hands.

KayLynn Deveney (1967- )

KayLynn Deveney, born in Albuquerque, New Mexico is a photographer and lecturer now based in Belfast, Northern Ireland.

Deveney studied and earned a bachelor’s degree for journalism while living in Albuquerque, before becoming a staff photographer for the Albuquerque Tribune for 9 years, covering a wide range of topics across that period (KayLynn Deveney Photography, 2015).

In 1999, Deveney and her boyfriend travelled to the UK where she furthered her education by going to graduate school and going on the earn a masters degree in documentary photography at the University of Wales, Newport in the early 2000s. In 2009, she completed her Ph. D. in Photography, exploring how ‘contemporary and historical photographic diaries and self-books address myths of domesticity’ (KayLynn Deveney Photography, 2015).

Since her many years of education, Deveney’s work has been exhibited across the world, as well as being held in permanent exhibitions at The Museum of Contemporary Photography in Chicago, Illinois, Light Work in Syracuse, New York and the Portland Art Museum in Oregon (KayLynn Deveney Photography, 2015).

Deveney’s first photography book was released in 2007, capturing the life of an elderly man called Albert Hastings within his home and local area in Wales. Following their first meeting in 2001, she began to learn about Bert’s history, his memories of WWII and his many interests, albeit simple. This encouraged Deveney to document the mundane aspects of daily life, the familiar items or routines that make life what it is and what makes a home, a home.

When the images were presented to Bert, Deveney began to realise that they had differing opinions regarding their perspectives. Art is subjective after all. The captions that are written throughout the series, come from Bert Hastings himself, some of which match the photographer’s intentions for the image, while others contribute a more ‘critical second perspective’ (Deveney, 2015).

While this series is only a small window into someone’s life, it is still incredibly powerful. Documenting someone’s life, no matter how brief, provides a little bit of context as to how they live, how they act, how they respond to the banalest of things. It shows intimacy and peels back the privacy barrier we all have; whether it’s intentional or not, which allows us or at least try to understand the life of others.

One image that stood out for me was Far Sun, n.d. (see Fig. 3.) as it feels so out of place, humorous and not something you see every day, something I believe the concept of the decisive moment encourages. Regarding the balance of the composition, Bert’s body is positioned perfectly within the bottom left box and his head directly on the 1st vertical line of the grid. Not only does this draw the eyes to the left from the start, but it also follows Cartier-Bresson’s ‘rule’ of maintaining balance and being aware of the geometry within the frame. The first point of interest for myself is Bert; which makes complete sense as the series is about him, however, in comparison to the dark tarmac and brick wall in the background, he stands out like a sore thumb with a bright blue and pink towel to support him. You can’t miss him. Moving on to the second point of interest, the black car; that is positioned in between the middle right and bottom right of the grid, provides a little bit of context as to where this may be taking place. Is this in a car park? Why is he in a car park? Also, why is he sunbathing on the tarmac when it looks like it is about to rain? Juxtaposition; as previously mentioned in my post The Decisive and (In)decisive moment, 2020, is another strong element to consider when documenting decisive moments. It creates a conversation and a list of questions for the viewer, making them think about what is in front of them for a little bit longer. The moment seems so unique and whacky, that it feels staged, but I don’t think it was due to the fun personality that comes through in the candid shots of Albert. As an outsider looking in, with very little knowledge of this person, it feels like a very Bert thing to do, especially if he didn’t have a garden or local beach to visit.

The captions make the images a touch more personal, something I feel brings the collection together and may help the audience understand the photographs more, or at least learn about Bert’s thought process.

Reflection:

– The Decisive moment doesn’t necessarily mean dropping everything, to capture the perfect moment.

– As long as you are aware of your surroundings and what is happening around you, that is what matters.

– You can set up your camera to get the composition you want, to provide balance and understanding of what is in front of you, then wait for the moment to come to you at the right time.

– Be intuitive and be ready for the ‘perfect’ moment to come, before you miss it.

– The subject may be aware of your presence, but as long as you make them feel comfortable or blend into the background, you can document some incredibly candid and personal moments that may have otherwise been missed.

– Don’t just focus on one subject, be observant about EVERYTHING.

– Street photography allows for some very unique moments, however, they aren’t restricted to this form of photography or location type.

References:

Artnet. (2011) Garry Winogrand | artnet [online] Available at : http://www.artnet.com/artists/garry-winogrand/ (Accessed 23rd November 2020).

Cartier-Bresson, H. (n.d) Henri Cartier-Bresson – Fondation [online] Available at : https://www.henricartierbresson.org/en/hcb/ (Accessed 23rd November 2020).

Davidson, B. (n.d.) Bruce Davidson . Photographer Profile . Magnum Photos [online] Available at: https://www.magnumphotos.com/photographer/bruce-davidson/ (Accessed 23rd November 2020).

Davidson, B. (1960) Woman on Tube Holding Flowers, London, England, 1960 [image] Available at: https://huxleyparlour.com/works/woman-on-tube-holding-flowers-london-england-1960/ (Accessed 23rd November 2020).

Deveney, K. (2015) The Day to Day Life of Albert Hastings [online] Available at: https://kaylynndeveney.com/the-day-to-day-life-of-albert-hastings (Accessed 23rd November 2020).

Duong, O. (2013) How to understand the Decisive Moment | INSPIRED EYE [online] Available at: https://www.theinspiredeye.net/street-photography-tips/decisive-moment/ (Accessed 23rd November 2020).

Galassi, P. (1987) Henry Cartier-Bresson: The Early Work [pdf] (Accessed 23rd November 2020).

H. Cartier-Bresson: l’amour tout court (2001) Directed by O’Byrne, R. [online video] Available at: https://vimeo.com/106009378 |(Accessed 25 March 2020).

Huxley Parlour. (2017) Henry Cartier-Bresson [online] Available at: https://huxleyparlour.com/artists/henri-cartier-bresson/ (Accessed 23rd November 2020).

Fraenkel Gallery. (2012) Garry Winogrand | Fraenkel Gallery [online] Available at: https://fraenkelgallery.com/artists/garry-winogrand (Accessed 23rd November 2020).

KayLynn Deveney Photography. (2015) Bio – KayLynn Deveney Photographer [online] Available at: https://kaylynndeveney.com/bio (Accessed 23rd November 2020).

Magnum Photos. (2008) Bruce Davidson . Photographer Profile. Magnum Photos [online] Available at: https://www.magnumphotos.com/photographer/bruce-davidson/ (Accessed 23rd November 2020).

MoMA. (2009) Garry Winogrand | MoMA [online] Available at: https://www.moma.org/artists/6399 (Accessed 23rd November 2020).

Cartier-Bresson, H. (2015) Henri Cartier-Bresson. Behind the Gare St. Lazare. 1932 [image] Available at: https://www.moma.org/collection/works/98333 (Accessed 23rd November 2020).

Winogrand, G. (2013) Women are Beautiful | Fraenkel Gallery [image] Available at: https://fraenkelgallery.com/portfolios/women-are-beautiful (Accessed 23rd November 2020).

List of Images:

Figure 1. Duong. O. (2013) Decisive Moment [image] Available at: https://www.theinspiredeye.net/street-photography-tips/decisive-moment/ (Accessed 23rd November 2020).

Figure 2. Winogrand, G. (1969) New York [image] Available at: https://fraenkelgallery.com/portfolios/women-are-beautiful (Accessed 23rd November 2020).

Figure 3. Deveney, K. (n.d.) Far Sun [image] Available at: https://kaylynndeveney.com/bert-grid (Accessed 23rd November 2020).

Update on studying and covid-19.

Assignment 3, Notes

I think it’s safe to say that this year didn’t turn out the way many of us planned, following the very quick progression of Covid-19, lockdowns and such.

Due to this unexpected turn of events, not only has my studying been put on hold, but many things in my personal life have also been sidelined, to allow myself to work on a few things that this lock down has made me face. Thankfully I’ve been in contact with my mentor for uni, over the past couple of months, to bounce some ideas around for the (In)decisive moment assignment, as well as doing a few test shoots to figure out what I would like to do following the restrictions we have to comply by.

Hoping to get my studying up and running more consistently soon so that I can get my first course of university complete and bring something good to 2020.

Just thought I’d provide a quick update as to why my learning log has been very deserted.

Hope people are doing well given the circumstances. Stay safe.

Assignment 2: Tutor Feedback

Assignment 2, Reflection on assignments, Reflection on feedback

Following the email submission of my second assignment ‘Collection’, I received my feedback and some files to look at to reflect the comments made by my tutor.

Here is a summary of my strengths, weaknesses and areas to improve on in future pieces of work:

Strengths:

– Appropriate assignment that shows a familiarity with still life informing conventions (vanitas) and a typology strategy.
– Hierarchy of needs well informed by reference to other art forms.
– Choice of influences drawn from coursework and research.
– Write up well researched.

Weaknesses:

– Be more concise, focus on the subject and how I approached it.
– Meandering when explaining my process, so summarise.
– Summarise and refer to blog posts to show process etc.
– Clearly show test shoots and technical details.

Areas for development:

– Tell assessor what I’ve found and summarise, be more concise.
– Clarify my intent with references and research on technical choices to back it.
– Structure and outline in any written work.

Reflection:

While my practical work is strong and shows my understanding of the brief, technical elements I’m exploring and clear research, I need to be more concise with what I’m writing. Blog posts are ideal for explaining my process in more detail, but for an assignment with a restricted word count it is better to be short and sweet with descriptions, backing it with references and knowledge.

Rather than allowing the assessor to read and come to their own conclusions about my work, I need to be clear and straightforward by telling them what I did, what I discovered during the process and how I would improve.

Glad to know that I have succeeded in most areas so early on however.

The Decisive and (In)decisive moment

Assignment 3, Online Research

Summary:

For this post I have;

– Made bullet points on what I found in the slideshow provided by Robert Bloomfield, regarding the Decisive and (in)decisive moment.
– Reflected on what I have found from this slideshow, quick scans of the artists suggested and imagery included.
– Stated the differences and similarities between the decisive and (in)decisive moment, interpreting what I read in the slideshow.
– Briefly mentioned how I am still undecided on the path I will take for this assignment, therefore more research needs to take place.

Before beginning my mind-map for this assignment, I am first going to have to properly understand what decisive and indecisive moments are to make sure I am creating images with a more definite knowledge of what I need to achieve.

Robert Bloomfield ran a meetup earlier on this month which I didn’t attend myself; however, a PDF of the slideshow became available in the PHEYV email thread. I will make short bullet points reflecting on what I have found from both this slide to summarise the meaning of both techniques for easy access when future referencing.

Decisive Moment :

– DM is usually street photography, so will need to be altered for the UK lockdown.

– DM is when you take the current event and the forms into consideration at the same time, forming a balance between the two. Don’t just focus on the form; think about the surroundings and vice versa.

– Be aware of what is happening around you and anticipate what may happen to capture the unique moment before it changes.

– Basic elements of DM, Gesture, Juxtaposition and Moment.

– ‘Well sometimes the pictures disappeared and there is nothing you can do’ (Cartier-Bresson, 1973). In other words, the moment is there in a second and once it’s gone, that’s it.

– ‘The difference between a good picture and a mediocre picture is a question of millimeters, a small, small difference, but its essential’ (Cartier-Bresson, 1973). Find the balance, be aware of how each detail fits with one another. Recognise what is in front of you.

– Shoot pictures of people who aren’t aware you are there, capturing them in their natural state rather than posed to evoke questions and feeling. Study them and try to understand who they are, rather than just taking a snapshot without studying or thinking.

– Establish contact when taking portraits, to pose some questions to create a slight connection and reaction.

– Don’t overshoot, the picture you may have wanted may have already gone when you just snap away, be more selective with your shooting (Cartier-Bresson, 1973).

– You need to forget about yourself for a while; otherwise, if you get involved too much, you may start to try and push a point which isn’t necessary.

– The juxtaposition in photography evokes questions and emotion due to the contrasts between the different events or subjects. To capture these elements can add to the image and supply some sort of statement.

– Be intuitive and know when to click the camera, ‘that is the moment the photographer is creative’ (Cartier-Bresson, 1957).

– Observe and find something interesting in an ordinary space (Erwitt, 1999).

Indecisive moment:

– To remove expression or visual triggers such as gesture can confuse the viewer’s expectations to understand someone’s character (Cotton, 2018:106).

– Instead of juxtaposing the imagery, Paul Graham captured a connection between the two or threes compositions to create tension or surprise, rather than contrasting the subjects. The center of the photographs shows movement in turn, encouraging the viewer to focus on the event that is soon to be gone, implied by the images (Bloomfield, n.d).

– Guido Guidi captures the ordinary and overlooked, things people usually rush past and don’t naturally observe. He often presents images in a sequence, showing slight changes in time for the viewer to pick up on (Higgins, 2018).

– ‘Chance is important’ (Guidi, 2018).

– ‘All moments are decisive – and none’ – (Guidi, 2018). He doesn’t necessarily agree with Cartier-Bresson’s idea that a single moment can encapsulate the impact of an action or scene. Instead, he captures a moment which is one of many.

– There is something more outside of the image, and there is always more to discover.

– Photographs are monuments that show the passing of time, single moments that hold importance.

– Memory and the photograph are inseparable; they capture a memory than can be seen whenever needed.

– Every moment is significant in their way.

Reflection

After looking through the slideshow and reading a few articles suggested within, I now understand much clearer the difference between a decisive and an indecisive moment. A decisive moment is to be vigilant and capture a few unique moments that we feel cannot reoccur. Observe and snap someone in their natural state, without them knowing you’re there to avoid an influenced reaction. Find balance within the composition and be aware of how each element fits with one another. Juxtapositions formulate a contrast, consequently evoking questions to be made and enhance the impact of the event taking place, for example, a wealthy person walking past a homeless person. Try not to overshoot to prevent missing that ‘moment’ and remove yourself from the scene to stop your ideas from taking over your thinking.

An indecisive moment is more flexible, as each moment is significant and doesn’t have to be a spectacularly unique event. Instead of juxtaposing, you can connect the imagery by showing the differences that have taken place within a period, slices of time that show a procession of actions. The photographer has more control of the composition, maybe directing the models to look a certain way or move the subject to a particular place, rather than relying on fate to hand it to you. You have more chances with the indecisive moment than you would with the decisive, which can seem like the more appealing route depending on how you view it. Although, to observe the ordinary and find something interesting in it, takes time and a sense of awareness that isn’t as easy as first thought.

One thing that the two have in common, however, is being open to what you are photographing and taking time to observe or capture a shot. Albeit planned or otherwise.

I am yet to decide whether to focus on the decisive or the indecisive moment as of yet, but considering the UK is restricted as to what they can do and where they can go, the likelihood of me being able to capture a decisive moment indoors may not be possible. Further research needs to take place for this decision to be made.

References

Bloomfield, R. (2020). INDECISIVE MOMENT EYV MEETUP REDUCED [pdf] (Accessed 31 March 2020).

Cartier-Bresson, H. (1973) Words by Henry Cartier-Bresson (1973) – AMERICAN SUBURB X [online] Available at: https://americansuburbx.com/2009/07/theory-words-by-henri-cartier-bresson.html (Accessed 31 March 2020).

Cotton, C. (2018) The Photograph As Contemporary Art, 3rd ed. London: Thames and Hudson.

Erwitt, E. (1999). Life According to Elliot Erwitt [online] Available at: https://www.magnumphotos.com/arts-culture/society-arts-culture/elliott-erwitt-life/ (Accessed 31 March 2020).

Guidi, G. (2018) Guido Guidi: ‘Many times I’m not looking when I press the shutter’ [online] Available at: https://www.theguardian.com/artanddesign/2018/nov/05/guido-guidi-interview-photographs-suburban-italy (Accessed 31 March 2020).

Higgins, C. (2018) Guido Guidi: ‘Many times I’m not looking when I press the shutter’ [online] Available at: https://www.theguardian.com/artanddesign/2018/nov/05/guido-guidi-interview-photographs-suburban-italy (Accessed 31 March 2020).

Initial thoughts about ‘The (in)decisive moment’

Assignment 3, Thoughts & Ideas

‘Create a set of between six and ten finished images on the theme of the decisive moment. You
may choose to create imagery that supports the tradition of the ‘decisive moment’ or you may
choose to question or invert the concept by presenting a series of ‘indecisive’ moments. Your
aim isn’t to tell a story, but in order to work naturally as a series there should be a linking theme,
whether it’s a location, event or particular period of time’ (Bloomfield, 2018).

Due to the current pandemic, we students are having to alter any exercises/tasks that require working in a social environment to fit the current guidelines set by the government. Due to this, I will have to work my way around this assignment from a domestic setting which is slightly disappointing as I wanted to push myself out of my comfort zone by shooting street photography. Perhaps I can explore a different technique instead to push myself further?

Before I begin this assignment, I will have to research the decisive moment further, so that I can then also understand what an indecisive moment is. I must admit it’s a little difficult for me to interpret at the minute, but hopefully, with further studying and help from peers will help me formulate a set of images that fit the brief.

Unfortunately, my confidence levels for this assignment are quite low, as I’m unaware as to what I will end up with or where to begin; therefore the best option right now is to search around for definitions, examples and other such materials to help me on my way.

References

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 74. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 31 March 2020].

Assignment 2 – Collection – Write Up

Assignment 2

Initial thoughts for this assignment were positive as I was ‘Excited to be challenged by creating a collection of images that are consistent in terms of concept but unique in appearance’ (Powell, 2020) and being able to list many ideas from significantly broad subjects. That, in turn, helped me decide the subject that was most appealing, leading me to focus on ‘Things’ as there were more areas available to fall back on if my initial plan didn’t work. However, despite the ability to explore various topics, there was a possibility to go off-piste and forget about the criteria; therefore, I made sure to refer to the brief regularly.

Reflecting on my initial plan for ‘Things’, I can see what ideas stayed the same or evolved throughout the test shoots and final shoot. For example, using a tripod to keep the framing consistent, experimenting with focal length and ‘Explore what makes me uncomfortable, e.g. different camera settings … lighting’ (Powell, 2020). In addition to this, however, I tested the impact of Black and White photography, the choice of objects and tones achieved by alternating the colours, lighting temperatures and textures used. Following my research, I chose to explore the traditions my selected artists used instead of the concepts portrayed, as the viewers wouldn’t have prior knowledge of this.

Sam Oster used ‘medium format black and white film’ (The Loop, 2019) that defines and enhances the minute details and robust form of the irons in Apparatus Electralia Planus with the contrasting shadows and highlights. Oster’s work, inspired by Becher’s typologies presents a grid of square cabinets, consequently splitting the composition into sections, without having to take multiple shots. Her typology influenced my decision to choose nine images to form a grid, as well as centralising the subjects to keep consistency throughout the series as recommended in the criteria ‘… a collection should reflect a single coherent idea, but you’ll also need technical rigour to match the photographs to each other ‘in the smallest details’ (Bloomfield, 2018:51).

Barry Rosenthal ‘uses monochrome backgrounds and uses the collection to add colour and depth’ (Powell, 2020) as well as organising the collected items into various groups before shooting, such as the colour blue in Blue Ocean. This approach inspired me to be selective when choosing my items and consider their groupings while keeping the conceptual link of ‘necessity’ in mind. Plain backgrounds allow the viewer to focus on the subject rather than what it’s placed on while enhancing the shadows cast by backlighting, allowing me to avoid flattening the composition.

Creating an online survey and gathering anonymous responses about ‘What everyday items
do you consider are a necessity? (Something you need) ‘(Powell, 2020), enabled me to be inspired by outside opinions rather than solely relying on my thoughts. These answers meant that I was able to collect a variety of items to experiment with and form groups from when formulating my final set.

Trialling a selection of camera settings with my SONY A57 in a test shoot solidified the direction I wanted to go in for my final shoot by analysing the strengths and weaknesses in each shot. Using colour didn’t enhance the details within the subjects, as much as using the high contrast B&W camera setting that had more of an impact when it came to the depth and texture of the composition.

A focal length of 35mm was the most suitable to allow for a reasonable amount of negative space to frame the plates and be balanced enough, so the subjects weren’t too small or too suffocated in the shot. Cool artificial lighting intensified the highlights and shadows, more so than neutral or warm light hence my decision to backlight using a cooler temperature to enhance the 3D forms. Tonal variation prevented the items from being swallowed by blocks of dark or light, therefore influenced to choose a light and mid-ranged blue plate to avoid this and select which tone was better for each item and their details. A combination of a narrow aperture of F14 and a tripod made sure that the image was sharp, preventing the viewer from being distracted by selective focus or motion blur, as well as keeping the framing and angles consistent.

After analysing the final selection, I can see that the set it is visually strong due to the intense highlights and shadows, as well as the various textures which provide the image surface with a soft, hard or rough feel. A balanced composition created by the consistent framing, choice of background and the arrangement of subjects pull the typology together as a whole, as they all bleed into one another. Deciding to use cool artificial lighting evenly lit the frame and created definition in the shot, that I found did not work as successfully with natural or warmer lighting due to the inconsistency and softness.

I am pleased with the contextual and conceptual elements hinted at in my photographs as I have stated the ‘things’ are ‘necessary items in … daily life’ (Powell, 2020), however, everyone’s view on what is necessary is different, as a result may tease out the idea of privilege, luxury, political opinions or no message at all. The concept is broad enough to direct the viewer in entirely different paths without being influenced by too much context that could affect how an image is perceived.

Pushing myself out of my comfort zone, taking more inspiration from artist research and experimenting with various techniques allowed me to complete this assignment successfully.

If I were to improve this assignment in the future, I would try to gather more responses to see how many unique items could be listed and be more thorough with my arrangement to avoid post-production to get rid of preventable marks. Typologies are new to me; therefore, it would be an intriguing area to explore in further detail.

References:

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 51. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 28 February 2020].

Powell, L. (2020) ‘Initial thoughts about ‘Collection’ + mind-map’. [online] Available at: https://laurenpowelloca.photo.blog/2020/02/11/initial-thoughts-about-collection-mind-map/ (Accessed 28 February 2020).

Powell, L. (2020) ‘Collections in photography – Artist research + test shoot plan’. [online] Available at: https://laurenpowelloca.photo.blog/2020/02/17/collections-in-photography-artist-research-test-shoot-plan/ (Accessed 28 February 2020).

Powell, L. (2020) ‘Community Survey + Personal Research Results for ‘Things’. [online] Available at: https://laurenpowelloca.photo.blog/2020/02/13/community-survey-personal-research-results-for-things/ (Accessed 28 February 2020).

Oster, S. (2009) Apparatus Electralia Planus [image] Available at: https://www.theloop.com.au/project/silvertrace/portfolio/short-circuit/17421 (Accessed 28 February 2020).

Powell, L. (2020) ‘Necessary Everyday Items’. [online] Available at: https://www.surveymonkey.com/r/KWWFQGM (Accessed 28 February 2020).

Rosenthal, B. (2013) Blue Ocean [image] Available at: http://barryrosenthal.com/found-in-nature/single-gallery/16729872 (Accessed 28 February 2020).

The Loop. (2019) ‘Short Circuit – Sam Oster Portfolio – The Loop’. [image] Available at: https://www.theloop.com.au/project/silvertrace/portfolio/short-circuit/17421 (Accessed 13 February 2020).

Contact Sheet and Final Image Selection

Assignment 2, Notes, Thoughts & Ideas

Summary:

For my final selection I;

– Provided annotated contact sheets of my final shoot to show the images I preferred or eliminated, along with any changes I’d like to make like cropping.
– Explained how I executed this shoot, including camera type and settings, before exploring how the various techniques helped or hindered my imagery.
– Drawn on the influence I gathered from Barry Rosenthal and Sam Oster, explaining why.
– Stated how my selection process went, what programmes I used, and the minor changes made to improve the quality of the work,
– Before explaining the reasoning of my grid work and the groups made what messages they may imply for the viewer.
– Briefly reflected on what I felt worked well during the shoot and selection process, as well as my thoughts on the final selection.

Before selecting my final images the contact sheets were printed off, annotated and analysed to figure out which shots were strongest visually, technically and conceptually when placed together as a group.

While shooting, I made sure to refer to the techniques listed on my shoot plan to make sure I shot my images as intended and the camera settings were suitable for the lighting.

Setting my Sony A57 to manual focus allowed me to make sure everything was as crisp and accurate as possible. At the same time, a narrow aperture of F/14 prevented unwanted blur and provided enough light. I did use an ISO of 400 to boost the light levels slightly, enabling me to use the slowest shutter speed of 1/4 to get a well-lit shot, avoiding bulb mode or a wider aperture.

Placing my camera on a tripod meant the framing was consistent and stable throughout, while everything was in the frame when using a focal length of 35mm. Backlighting my images was a wise decision, as it enhanced the 3D form, however, due to uncontrollable natural light coming from behind, the images were lacking in shadows or became too dark, exampled in Collection LP 2020 (2) and Collection LP 2020 (36) (see Fig. 1. and Fig. 3).

Using the High Contrast B&W setting in camera provided the definition and contrast I wanted to achieve, some subjects, however, were difficult to decipher and can be seen with Collection LP 2020 (2), Collection LP 2020 (5) and Collection LP 2020 (18) (see Fig. 1. and Fig. 2). This camouflaging was due to the plate colour, so experimenting and shooting the items on both plates was vital to give me a chance to capture each subject successfully.

Taking inspiration from Barry Rosenthal and collecting various items allowed me to experiment with different textures such as smooth, soft, wet, rough and hard, which juxtapose one another. However, as a whole, the subjects contextually link together when it comes to theme and functionality, such as electrical, health and hygiene. It also gave a more extensive range of products to choose from when selecting my final images and didn’t restrict in any way that concerned me as I wanted the set to be cohesive yet unique.

Making sure the plate was in the same place throughout and placing the subjects as close to the centre as possible, decreasing the chance of the set flow being distracted by a sudden change in composition. It also created a controlled and cold mood that compliments the crisp black and whites, making the images look profound.

After analysing the contact sheets and selecting the best images, I went into Photoshop to crop and tidy up some blemishes the could be seen on the white background when enlarged on the screen. Cropped photos provided a suitable amount of negative space to frame the subject while emphasising the importance of the items in the shot. Enlarging the canvas and adding a solid 1-inch frame around the image reflect Sam Oster’s use of white boxes in her typologies which appealed to me.

Adobe Bridge enabled me to create a grid and rearrange my edited images to form a cohesive set of images, split into three groups juxtaposing in type and functionality. On the other hand, they complement one another in terms of concept, contrast and composition, forming a solid link between the collection.

Inspiration from Sam Oster and Barry Rosenthal lead me to experiment with a narrow aperture to achieve a sharp focus. B&W photography enhanced the details and shooting overhead instead of straight on. These techniques pushed me beyond my comfort zone and tested my ability to be selective when creating a typology.

Visually this set is powerful due to the variety of tones providing depth to the composition, contrasting highlights and shadows emphasise the subjects 3D form, allowing them to be more prominent. Keeping the product placement consistent creates repetition but stays fresh due to the change in object and colour of the plates. Balance is maintained by using an even amount of background to frame the items and being evenly cropped. Artificial lighting creates harsh shadows that define the details within the plate and products; a cooler colour temperature intensifies the white background preventing the image from being flat with grey tones. Providing a focal point enables the viewer’s eyes to be drawn to the middle of the frame, focusing on the chosen objects that form a narrative when connected, varying between each individual.

The use of black and white restricts the viewer from being distracted by any colours that may confuse their overall understanding of the set, created a conflict between calm and danger, warm and cold, sadness and happiness. Enhancing the forms, textures, details allows the viewer to focus on and explore the purpose of the object rather than how it makes them feel.

Looking at the groups that have emerged, there is a set of three hygiene products, three tangible metal items and three objects that are all completely different in functionality (see Fig. 5). They are all “things” that people use which is what connects them as a set, however, are they all a necessity? Are there some items that you feel are a luxury? Do you use all of these items, and if so what do they mean to you if anything? Do you see this set as everyday, ordinary items or do they represent a particular message for you?

I feel positive about my final selection and have enjoyed exploring the different collections that we can find around us, even if it isn’t as apparent at first glance. The one issue I did have with this shoot was the influence the natural light had on my imagery, meaning I had less to choose from, however did not ruin the whole selection.

List of images:

Figure. 1. Powell, L. (2020) Contact sheet 1 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2020) Contact sheet 2 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2020) Contact sheet 3 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2020) Contact sheet 4 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L. (2020) Typology [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 6. Powell, L. (2020) Divide 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 7. Powell, L. (2020) Divide 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 8. Powell, L. (2020) Divide 3 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 9. Powell, L. (2020) Essentials 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 10. Powell, L. (2020) Essentials 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 11. Powell, L. (2020) Essentials 3 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 12. Powell, L. (2020) Tools 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 13. Powell, L. (2020) Tools 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 14. Powell, L. (2020) Tools 3 [image] In possession of: Lauren Powell: Eastleigh.

Test Shoot Contact Sheets for Collection Assignment

Assignment 2, Notes

For this post I;

– Stated why I decided to do a test shoot before my final shoot for this assignment and what I tested during this process.
– Included the camera and lens used for this photoshoot.
– Provided annotated contact sheets to show the different tests taken, as well as the strengths and weaknesses found throughout.
– Reflected on how I achieved the shots, the image editing and the reasons for the choices made.
– Provided a summary for my final shoot plan, following the analysis of the contact sheets, stating the most beneficial techniques found.

Before shooting my final images, I wanted to test different camera settings and prop choices to decide what visual and technical styles I preferred.
Tested settings consisted of changing focal length, changing the artificial light colour, changing aperture, experimenting with camera effects such as Black and White and plate colours. Using a tripod allowed the framing to be consistent throughout and prevented motion blur from an unsteady camera if handheld.

Below are the annotated contact sheets.

Equipment used – Sony A57 and SONY 18-55 3.5-5.6 SAM lens.

Reflection:

Cool 28mm, Neutral 35mm and Warm 35-Closer (see Fig. 1.) tested both focal length and artificial light temperature, which was the most straightforward test shoot to decide what elements I preferred. A focal length of 28mm was too short as the tripod legs and carpet were in the frame, as well as, making it difficult to see the subject as a whole. On the other hand, the cropped version of 35mm was too long, causing the plate to sit far too tight in the frame. 35mm allows for the tripod to be out of the shot, a decent focal length for the subject to be clear and crisp while providing some negative space to open the image up slightly and feel less suffocated.

Backlighting the plate with a 10.5″ ring light formed some soft shadows, preventing the image from being 2D and lacking in contrast. While cool and neutral light is very similar in tone, choosing a cooler bulb setting made the whites brighter and defines. The warmer bulb temperature made the shadows stronger but flattened the image with an unappealing muddy pink-yellow tone. A crisp whiter background is more fitting for the props used, so a cooler light is most appropriate for these shots.

The images following the previous three discussed tested the different camera effects available on my Sony A57, such as High Contrast B&W, Rich-Tone B&W and Toy Camera, comparing the differences the lighting would have on these settings. Using High Contrast B&W with cool and neutral light, were the most successful combinations as the contrasts were sharp and added plenty of definition, as opposed to using Rich Tone B&W that flattened the subject with the greys due to the lack of tonal variations. Cool Toy Camera (see Fig. 2) has an added vignette effect, forming a halo around the plate which highlights and directs the eyes inwards while intensifying the various blues within the plate design that aren’t in the other shots.

Finally, I tested all of the plates to figure out which colour worked best with the settings. The dark blue plate was too dark and became a solid block of black with the B&W filter, no matter the light temperature. Although Cool DB Toy Camera (see Fig. 2) had various blue tones that added depth, it wasn’t impactful enough to use in the final shoot.

The design of the mid-blue plate adds an extra layer of texture to the image and enhances the contrast due to the dark flecks of paint. Cool MB High Contrast, Neutral MB High Contrast and Neutral MB Toy Camera (see Fig. 2. and Fig. 3) have the most depth out of all of the images due to the intense highlights, shadows and tonal differences in the blue, making the mid-blue plate bolder than the others. However, darker items may get lost in the composition due to the busy plate texture, so I will consider this when shooting my final images.

Final shoot plan:

– Collect as many items listed on the survey results and personal list to have varying shots.
– Use 35mm Focal Length.
– Use a tripod to steady the camera and keep framing consistent.
– Keep the plate position identical throughout to create a fluid transition between each final image.
– Use the lighter plate and mid-blue plate to avoid a dark block of colour.
– Use cool lighting to brighten the whites and darken the blacks.
– Use High Contrast B&W camera effect for depth.
– Backlight the subject.

List of images:

Figure. 1. Powell, L. (2020) Contact sheet 1 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2020) Contact sheet 2 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2020) Contact sheet 3 [scanned document] In possession of: Lauren Powell: Eastleigh.

Collections in photography – Artist research + test shoot plan

Assignment 2, Online Research, Practitioner Research, Thoughts & Ideas

Summary:

For my practitioner research I;

– Stated Walter Benjamin’s view on what a collection is for future reference to see if I agree with this after researching various artists.

– Drew on the work of Barry Rosenthal, a fine art photographer and sculptor who collects rubbish found on the shore before organising them into groups and bringing them back to life in the studio.

– Briefly analysed Rosenthal’s work to explore what concepts I could find within his imagery and the techniques I felt he used, such as deep depth of field and studio lighting.

– Explored the work of Sam Oster, who uses medium black and white film to shoot typologies (inspired by the Becher’s) of abandoned electrical equipment to emphasise the relationship between humans and their electronic consumption.

– Analysed both her typologies and moving images to gather inspiration from her visual and technical approaches, such as the use of form, texture and various depths of field.

– Studied the work of Jim Golden, a still life photographer who shoots for commercial companies by stripping the products down to their most natural forms.

– Analysed his bold compositions to understand his use of bold colours, organised arrangements and studio lighting to enhance the collections he is shooting.

– Reflected on each artist and how they both compare or differ, visually, technically and conceptually.

– Stated whether I believe these artists reflect the views of Walter Benjamin, as well as

– Summarising my test shoot plan and how I’d like to implement the inspiration gathered by the chosen photographers.

‘Fragments of a vessel which are to be glued together must match one another in the smallest details although they need not be like one another.’ (Walter Benjamin, [1936] 1999, p.79).

Walter Benjamin expresses that although a collection should link in concept and small details, they don’t have to be identical. Therefore making sure there are differences throughout, subtle or keep a collection exciting and engaging.

Using this idea as a guideline, I have decided to research a selection of photographers who have shot a collection of various items to see how they have executed it to see whether their artistic approach differs from the view of Benjamin. Taking influence from these artists will help me decide on how this assignment develops.

Barry Rosenthal

Barry Rosenthal is a fine art photographer and sculptor who has become well known globally for his “Found in Nature” work. The project began in 2007 as a side-project to his Botanical series. It has since developed from a small collection of objects found on the ocean shore into a series of large scale images that capture and display the impact littering has on the planet (Rosenthal, 2012).

After collecting trash from the shore of New York Harbour, Rosenthal separates the items into groups, determined by colour, theme, type, or otherwise, bringing objects that have been beaten out of shape and have lost their purpose back to life in his studio. Using a combination of photography and sculpting, he can form a narrative that confronts the viewer with ‘the way humanity is managing its relationship with nature and the oceans in particular’ (Rosenthal, 2012).

Rosenthal appears to use a deep depth of field as the objects are crisp, and there is no focal point to direct the viewer around the frame. The use of a plain background helps the textures, shapes, colours stand out on their own. The reflections and shadows on the items suggest side lighting by artificial lighting such as studio lights. A birds-eye view flattens the object’s form allowing the viewer to focus on the narrative told via the arrangement, something that may not have been achieved if shot at an angle. The shapes and sizes of each item complement one another without the collection becoming cluttered and unorganised. Subtle changes are made throughout his series, keeping the images fresh, unique yet consistent in concept.

Sam Oster

Sam Oster is an Australian based photo-media artist who has experience in stills photography, moving images, lecturing, film and documentaries.

Oster has exhibited in both solo and group shows across the years including Art Images Gallery, Adelaide (2014); Shimmer Photographic Biennale, Southern Australia (2012) and Duckspool Photographic Centre, England (2001).

‘Short Circuit‘ was created in 2009 to investigate the consumption of electrical items and the ever-growing issue of consumerism and competition between companies, which can create a conflict between what is ‘trash and treasure’ (Oster, 2019).

Bernd and Hilla Becher’s typologies of industrial buildings and structures heavily inspired her; however, Oster used portable electrical items as her subject instead of permanent structures.

Oster captured electrical items found in rubbish dumps, neatly arranged in individual cabinets to examine the form and function of the objects in the grid. However, the moving image time-lapses represent the idea of electrical dependency and its impact on the environment, for example, a fan placed in a sea of metal in front of an ocean’s horizon (Oster, 2019).

The work shot on a medium format black and white film are hand processed and printed. These pieces have the same grainy post-industrial effect the Becher’s achieved.

Fig. 3. *Apparatus Electralia Planus* (2009)

A collection of discarded irons (see Fig. 3.) are framed centrally in a square cabinet, forming a grid of 9. This composition cleverly splits the image into sections without having to take individual photographs. There is an even contrast between light and dark, shown through the metal, scratches, age marks, shape of the subject and the plugs. The lighter irons are aligned down the middle of the collection, framed by different tones of grey and black. While they are the same in function, their forms, the impact of time and usage make them unique, providing the viewer with change. A deep depth of field may have been used for this image, as the items, geometric lines, and the extent of the cabinets are clear.

Unlike the typologies, these moving-image time-lapses feature one item each, however, once paired they form a collection of discarded electrical items in various landscapes. A shallow depth of field may have been used in Cooling Down (see Fig. 4.) due to the subtle blur in the foreground directing the viewer’s eyes to the fan. Deep depth of field seems to have been used to shoot Boiling Over (see Fig. 5.); however, the kettle placed slightly off centre on a rock in the muddy water creates a focal point and direction. These small details call back to the idea of electrical dependency impacting the earth, global warming and the loss of lush green growth, clear waters and land.

Jim Golden

Jim Golden is a still-life and product photographer based in Portland and shoots subjects in their purest forms to avoid applying artificial beauty. Golden is artistic and stylistic in his photography, capturing inanimate objects in a bold or quirky way while keeping the subject accurate to what it is.

He learnt photography by joining the fast-paced world of New York advertising, specialising in high-end retouching and visual effects (Jim Golden Studio, n.d.).

Golden’s enthusiasm and ‘sense of humour’ (Jim Golden Studio, n.d.) reflects throughout via bright colours, exciting subjects, and thorough planning.

Fig. 6. *collection of sewing stuff in shape of a sewing machine* (2019)

Golden may use deep depth of field in his work due to the sharp, crisp and geometric forms created by the arrangement of the items. There are many leading lines throughout the imagery, the spaces between the subjects outline the shapes and sizes of each item, allowing the viewer’s eyes to follow around the composition with no end to the line. Like Rosenthal, Golden shoots his subjects from above from a height or using a wide-angle lens, using studio lighting to light the items. A soft halo in the middle of collection of sewing stuff (see Fig. 6.) and the few harsh shadows in both images caused by taller items may imply lighting from above or behind. Creating shapes that relate to the collected items, using the products and making the image pop with intense colour may represent happiness, playfulness, love or other positive emotions.

Overall thoughts:

All of the artists above vary from one another visually. Oster uses a mixture of B&W film and coloured imagery, using the background to frame the items. Rosenthal uses monochrome backgrounds and uses the collection to add colour and depth. In contrast, Golden uses bold colours, leading lines and negative space to enhance the objects.

However, they are alike technically as their images are crisp and in focus, suggesting a deep depth of field. Sharp shadows and bright highlights imply artificial lighting, and they all share a meticulous approach to the composition and framing of their subjects.

Contextually Rosenthal and Oster focus on political issues, such as the impact of human nature and consumerism on the planet. The way they execute this is by collecting disposed electrical products, plastic from the ocean and dumps. Oster’s choice to shoot with B&W film creates a raw emotion by enhancing the aged and shiny, textural details on the metal irons, while the rusty browns and muddy waters evoke thoughts of decay and neglect. Her choice of discarded electrical items reflects the waste caused by a lack of appropriate recycling resources. Rosenthal’s use of a black background creates a contrast between the colourful plastics and their battered forms, helping them stand out; this shows how time has affected the product’s shape but is mostly still intact and beautiful. The way items form shapes such as a man on a boat, link back to humanity’s relationship with the ocean. These elements, when combined, form a narrative about the negative correlation between land and ocean pollution, and human activity.

On the other hand, Golden shoots a selection of brand new goods and electronics, documenting products that show human progress, and a positive, appealing side to consumerism. The use of vibrant colours and shapes brings playfulness, contrast the vintage products, implying how style and inventions have evolved. Arranging individual components when put together become a working product, for example, the gaming cartridges wouldn’t be playable without the console, which wouldn’t be functional without the wiring, celebrates human creativity and growth.

Each artist has formed a cohesive series by keeping visual changes to a minimum or at least make sure they are complimentary to avoid jarring the viewer and being consistent with the overall concept, and in turn support Walter Benjamin’s view on collections very well.

After researching these practitioners and the concepts behind their work I have decided to explore what ‘necessity’ means. I will develop on this by collecting various items based on the responses gathered in my online survey and personal list group them by theme, form or function if possible, before looking for juxtapositions or similarities within the collection.

Keeping the framing and position of the subject consistent, as Oster does in Apparatus Electralia Planus, is something I will apply when composing my shoot to avoid breaking the fluidity. The choice of black and white or colour can impact the overall mood of the images; therefore I will experiment with the use of colour to decide how I want to evoke emotion or enhance details in the shot. Shadows and highlights can affect the form of a subject as well as the depth so I will consider using artificial light during my test shoot to decide whether I’d like to achieve a soft or sharp visual style. Shooting from a birds-eye view isn’t something I do very often and is something I would like to try out for this assignment, taking influence from Rosenthal and Golden as a guide for creating successful compositions. Deep depth of field assures that everything in the frame is crisp and in focus, so even though I would like the items to stand out, the rest of the composition will be just as essential to provide context; therefore, I will use a narrow aperture.

The final selection of images can make or break the set and how they knit together, so I will be meticulous when it comes to formulating the collection as a whole. During my test shoots, I would like to take influence from Oster and experiment with grid work and typologies; this may determine how I present my final selection.

Summary of the shoot plan :

– Experiment with B&W and colour.

– Vary the lighting used to see what works best.

– Test different angles, focal lengths and apertures.

– Consider the framing and positioning of the selected items.

– Play around with cropping and grid work.

– Be thorough when choosing final camera settings.

– Consider the relationship between each image when it comes to the final selection.

References:

Benjamin, W. ([1936]1999) Illuminations. London: Pimlico

Jim Golden Studio. (n.d.) ‘About Jim’. [Online] Available at: https://www.jimgoldenstudio.com/INFO-AND-CONTACT/ABOUT-JIM/1 (Accessed 13 February 2020).

Oster, S. (2019) ‘Short Circuit – Sam Oster Portfolio – The Loop’. [Online] Available at: https://www.theloop.com.au/project/silvertrace/portfolio/short-circuit/17421 (Accessed 13 February 2020).

Rosenthal, B. (2012) ‘BARRY ROSENTHAL PHOTOGRAPHY – Info’. [Online] Available at: http://barryrosenthal.com/info/ (Accessed 12 February 2020).

List of Images:

Figure 1. Rosenthal, B. (2013) Blue Ocean [image] Available at: http://barryrosenthal.com/found-in-nature/single-gallery/16729872 (Accessed 12 February 2020).

Figure 2. Rosenthal, B. (2012) Clear Glass Jars and Bottles [image] Available at: http://barryrosenthal.com/found-in-nature/single-gallery/13950856 (Accessed 12 February 2020).

Figure 3. Oster, S. (2009) Apparatus Electralia Planus [image] Available at: https://www.theloop.com.au/project/silvertrace/portfolio/short-circuit/17421 (Accessed 13 February 2020).

Figure 4. Oster, S. (2009) Cooling Down [image] Available at: https://www.theloop.com.au/project/silvertrace/portfolio/short-circuit/17421 (Accessed 13 February 2020).

Figure 5. Oster, S. (2009) Boiling Over [image] Available at: https://www.theloop.com.au/project/silvertrace/portfolio/short-circuit/17421 (Accessed 13 February 2020).

Figure 6. Golden, J. (2019) collection of sewing stuff in shape of a sewing machine [image] Available at: https://www.jimgoldenstudio.com/IMAGERY/STILL-LIFE/7 (Accessed 13 February 2020).

Figure 7. Golden, J. (n.d.) vintage video game consoles and cartridges on a yellow background [image] Available at: https://www.jimgoldenstudio.com/OVERVIEW/COLLECTIONS/1 (Accessed 13 February 2020).

Community Survey + Personal Research Results for ‘Things’

Assignment 2, Notes, Online Research, Thoughts & Ideas

Summary:

For this personal research post I;

– Briefly explained my reasoning for gathering anonymous responses for this assignment and
– Provided the results of the online survey via screenshots.
– Listed my research, taken over the space of a few days to see how they correlated with the online survey results.
– Reviewed the collection of results as a whole, explored what I was surprised and glad to see from the responses
– Before suggesting a few areas I may look further into throughout this assignment like privilege, luxury and necessity e.t.c.

Instead of solely relying on my own opinions and views about the necessities in life, I wanted to see what others felt were necessary items in their daily life to hopefully build selection to experiment with when it comes to shooting my imagery.
Therefore, as part of my research for this assignment, I decided to gather some non-biased responses from anonymous persons using an online survey by asking ‘What everyday items do you consider are a necessity? (Something you need)’ (Powell, 2020).

Here are the responses:

I also took part in the research, noting down items I used daily and what I considered a necessary item (see Fig. 3) before comparing it with the survey responses. The note-taking was quite interesting for me to do, as it made me more aware of what I use and how often, something we don’t necessarily tend to do when items become a part of daily life.

Here is my response to the question:

Review of the responses:

After comparing the two sets of responses (see Fig. 1. and Fig. 2), it is clear that there is a common theme of items to work with, such as clothing, money, keys, hygiene products, medication as well as a few extras that I hadn’t thought about.

Initially, I didn’t expect to see so many people list phones, laptops and other electrical items as a necessity, however, it does make sense when you consider the modern way of communication, technology in careers and education. Without technology, many people would struggle to contact loved ones, reach emergency services or access their money due to banks going digital. Even hospitals use technology to save people’s lives, so while we may feel phones and such are a luxury, they are becoming a necessity more and more.

Those with good health may not have to be concerned about glasses or medications, however, some people wouldn’t be able to navigate safely or survive comfortably without such items that show privilege by not having to rely on prescriptions.

One item that reflected my research in the survey responses is sanitary products for those who have periods (see. Fig. 2). There has been controversy surrounding the tampon tax and free sanitary products in bathrooms, schools and shops for those who cannot afford it. Periods are a part of nature and cannot be prevented without the pill or other forms of contraception, therefore sanitary products should be widely accessible for people so they can go about their daily life comfortably and cleanly. It shouldn’t be a case of who has money or not, as it isn’t a matter of choice that highlights areas of inequality in society.

Other items that were interesting to see were cigarettes, a lighter and concealer (see. Fig. 2.). A lot of people would probably consider these items as unnecessary, however, without being in that person’s shoes you have no idea why these products are essential whether you agree with it or not. This may be due to situations such as addiction, insecurities, social pressures or self-satisfaction.

Final thoughts:

This research has given me a wide range of paths to experiment with and explore, such as politics, privilege and equality. Depending on my artist research I may decide to group up items that share the same concept, visuals and technical approaches but conflict with one another when placed together as a collection e.g Luxury vs Necessary, or Electrical vs Manual. The overriding theme that has been discovered through this research is that necessities are subjective and highlights individuality and diversity. This will allow me to form a cohesive concept for the images I wish to shoot, which I am yet to decide on.

References :

Powell, L. (2020) ‘Necessary Everyday Items’. [online] Available at : https://www.surveymonkey.com/r/KWWFQGM (Accessed 11 February 2020).

List of images :

Figure 1. Powell, L. (2020) Survey Monkey 1 [Survey Monkey, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure 2. Powell, L. (2020) Survey Monkey 2 [Survey Monkey, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure 3. Powell, L. (2020) Necessity List [Ballpoint pen on paper] In possession of: Lauren Powell: Eastleigh.

Lauren Powell OCA

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