Research Point – Henri Cartier-Bresson – L'amour Tout Court

Notes, Online Research, Part 3, Reflection on coursework

Summary:

For this research point I;

– Watched the documentary suggested in the brief and made notes on what I discovered during 70 minutes of watch time, expanding on the statement made and interpret them in my own words to further understand the decisive moment.
– Reflected on Sluban’s visit to a prison, where he ran a photography workshop and how he approached as well as taught the inmates, emphasising that the composition is extremely important and is more than just pressing a button to provide meaning.
– Explored Bonnefoy’s comments about Simiane-la-Rotonde and how being aware of your surroundings allows you to see a lot more, provides evidence of Cartier-Bresson’s ability to capture a balanced composition through intuition and the importance observing.
– Expanded on Cartier-Bresson’s view on what makes a decisive moment, by finding an example of sensitivity, intuition and sense of geometry in his work Alberto Giacometti rue d’Alésia. A photograph that documents the gaze of his friend Alberto Giocometti and the connection between the two, showing the empathy Cartier-Bresson has for his subjects.
– Briefly covered Arikha’s thoughts about painting and how we are so influenced by recognition, therefore we need to capture what we see, not what we think we see.
– Documented Cartier-Bresson’s approach to capturing decisive moments, by making sure people don’t know he is observing, to avoid an unnatural response from the subject. Once again showing a huge amount of empathy, to somewhat become invisible and connect with the mood of the room.
– Explored the critiques of Liz Wells, who believes that documentary can remove context from an image by dislocating moments in time, in turn creating a less powerful image by not showing what has happened/is happening. However, I challenged this by disagreeing and providing the reasons as to why, before
– Challenging Colin Pantell’s views on Paul Graham’s The Present, where he believes there are many indecisive, decisive moments that we don’t know what to look for, however I feel isn’t true as there is a consistent theme throughout and many focal points throughout.
– Briefly scanned John Suler’s article about the decisive moment, to increase my knowledge of it before continuing with this assignment. Understanding that it is important to look, be more decisive about what you’re shooting, don’t overly influence the shots, if at all and provide balance, questions and tension.
– Reflect on how I feel about the decisive moment as a visual strategy and the power it has to create a strong image, while expressing concerns about the difficulty of being able to capture such moments.

Brief

‘Watch the Henri Cartier-Bresson documentary ‘L’amour de court’ (‘Just plain love’, 2001) available
on Vimeo.

Write up your research on the decisive moment in your learning log taking care to give a proper
account of the three differing views offered above, and any further research you’ve undertaken
independently. What do you feel personally about the decisive moment as a visual strategy, or
just as a way to take pictures? Conclude your post with your own perspective on the debate at
this point in time‘ (Bloomfield, 2018).

Henri Cartier-Bresson’s view on a successful photograph is made evident by emphasising the importance of looking. He feels as if not many people do when stating that ‘75% of the people just press the button’ (L’amour Tout Court, 2001) and don’t necessarily think about the gaze that encourages questions. To think about what you’re capturing, making sure the image is balanced when composed, is more effective than just raising the camera and shooting without much thought. The intentional space gives context to the gaze of the subject, enabling the viewer to think about what may be happening.

This idea is further supported by Klavdij Sluban on his visit to the inmates at Fleury-Merogis Prison for a photography workshop in 1995, educating them on how to take photographs and their approach to the task in a calm, welcoming manner. Sluban communicates to the group that the fascinating element of photography is the composition, as it is a language that you have to learn (L’amour Tout Court, 2001).
Approaching the inmates politely and humanely, enables them to listen and be excited about the workshop, therefore encouraging them to take the photography seriously and give that sense of ‘meaning… an instant of your life’ (L’amour Tout Court, 2001).

Thinking about what you’re about to capture provides that extra level of care and understanding, that to some may just simply be a photograph and nothing more. However, to the more avid viewer, we may be able to discover the relation between the subject and artist by further exploring the deeper layers of the composition, to appreciate how the balance enhances the overall mood of the arrangement. Simiane-la-Rotonde taken in 1969 is an example of this.

Yves Bonnefoy states the square was usually empty and could not recall any children playing or Cartier-Bresson being around to take the image on this day, they simply walked straight past the square as usual (L’amour Tout Court, 2001). We can see that the children in the foreground are relaxed, enjoying the company of one another as if nothing has changed and Cartier-Bresson isn’t observing. A young girl in the background is pointing towards a dog, albeit a stray or a member of the communities, that may suggest sheer excitement of discovering this furry friend. The negative space emphasises the space between each group of people, supporting Bonnefoy’s statement that the square is usually empty. On the other hand, enhances Cartier-Bresson’s intuitive use of the golden section as each person is placed between or near the intersecting lines of the camera grid, keeping the composition balanced.

Bonnefoy understands that the reason he didn’t see this happening on the day he passed by was that Cartier-Bresson is always on the lookout and ready to react to a situation. In contrast, others are usually ‘distracted and unobservant’, Cartier-Bresson doesn’t have to stop for the geometry to play a decisive role in framing the scene (L’amour Tout Court, 2001).

Furthermore, Cartier-Bresson addresses that all it takes to capture a decisive moment is having ‘sensitivity, intuition … a sense of geometry’ (L’amour Tout Court, 2001). He has an incredible amount of empathy and can relate to the subject in the frame, making them feel comfortable.

By photographing Alberto Giacometti in Alberto Giacometti rue d’Alésia crossing the road in the pouring rain, covering his head with a coat for protection, gazing at the photographer across the street with somewhat of a melancholic emotion looking for support, reflects this idea of compassion. The simple connection of eyes forms a relationship between the subjects, good or bad, determined by the expression given. Capturing the distance between them, documenting the walk towards him almost radiates the action of waiting for Giacometti to reach him and feel the warmth of reuniting with a friend on this rainy day.

The painter Avigdor Arikha suggests that ‘our gaze is always conditioned by recognition’ (L’amour Tout Court, 2001); therefore we only see what we recognise and don’t necessarily observe anything further than that. This statement reminds me of an approach my fine art teacher taught our class, that was to draw what you see, not what you think you see. We must observe the form and stray from being influenced by what we assume something should look like, or like Arikha mentions ‘to look openly is to look with the senses’ (L’amour Tout Court, 2001).

Henri Cartier-Bresson doesn’t want the subjects he is photographing to know that he is doing so, since the awareness of observation, can influence someone’s posture, emotion, put on a mask that rids of spontaneity. Bonnefoy feels as if Cartier-Bresson was able to go unnoticed during the funeral of a Kabuki actor because of his ability to recognise and relate to the room, in turn becoming invisible through the act of sympathy (L’amour Tout Court, 2001).

In her book Photography: A Critical Introduction, Liz Wells suggests how this approach to documentary photography can fragment a moment in time and remove the context of an image that could, therefore, explain the photograph in a more significant way. By recording ‘dislocated moments’ (Wells, 2009:93) meant that documenting swayed from capturing major subjects and focused more on implying that something bigger had occurred.

While I almost agree with the idea that this approach can come across as a ‘stylistic cliche’ (Bloomfield, 2018:71), as many photographers have adopted Cartier-Bresson’s way of shooting, therefore removing the uniqueness of the technique, it still raises questions for the viewer. Documentary photography records factual events or environments in daily life or history, consequently may be more potent if you provide context to present an accurate reflection of what is occurring. On the other hand, by fragmenting a situation much like Cartier-Bresson does while maintaining balance, encourages the viewer to understand further what they can see and the impact of an event without being shown what caused it. This approach, in my opinion, can be more impactful than being handed the context of a photograph, as it provokes a more profound sense of comprehension and forces the audience to think about what is in front of them.

A further criticism for the decisive moment comes from Colin Pantall as he reviews Paul Graham’s photographic book The Present, a series of images that are taken in pairs, showing different events taking place in the same location moments apart from one another. Pantall states how Graham wants us to see the opposite of the decisive moment and the prospect of urban life, however, he feels that instead, we get ‘moments so decisively indecisive’ (Pantall, 2012) that we don’t know what to look out for, as a result missing the mark of contemporary life.

After viewing a few examples from Graham’s book, I can’t say I agree with Pantall, purely based on the fact Graham has decided and stuck to the idea of capturing moments through an urban landscape, to see the changes in a particular area. The sequencing of this book also presents the concept of a decisive moment, by grouping the images to allow the viewer to see the small differences over time by looking at both photographs spread out beside one another. Paul Graham has shown consistency in this series and a sense of care by looking out for these shifts in the present, creating a connection between each image, that in itself is decisive. The hustle and bustle of everyday life appear throughout, showing the diversity between each subject, the backgrounds, the journeys people are making and what each person may be doing. It poses a question for the audience, a clear understanding of what Graham is trying to achieve by recording the natural state of people navigating the city. I feel as if this wouldn’t be possible if this were an indecisive moment with conflicting ideas that don’t connect, confusing the viewer due to the inconsistency.

To understand the decisive moment further, I briefly scanned through John Suler’s article The Psychology of the “Decisive Moment”. In this text, he covers critical features of how to capture a “perfect” decisive moment; harmony, meaning, anticipation, uncertainty, unique fleeting moments, one chance shots, candid, objective fact versus subjective interpretation (Suler, 2017).

As a result, Suler shows the importance of looking or thinking about what you are capturing as a photographer. The decisive moment seems to be more complicated than I first expected, as you have to connect with the subjects you are photographing and be aware of the relationship of the whole composition. Stop and be mindful of what is around you and don’t just shoot for the sake of shooting. Be more firm about what it is you’re trying to achieve, whether that is attempting to encourage questions, document balance or tension.
While it sounds complicated, the results that have come from being more open to what you’re are capturing, instead of wanting a particular image makes for a much more substantial photograph.

I feel as if the decisive moment is a powerful visual strategy, as it steps away from a snapshot, it’s much deeper than that and for me is what photography should be about, recording moments with meaning and emotion. We are quick to pick up the camera and shoot multiple images, scanning through a selection to find the best one, however, if a little more effort goes into the composition, instead of hoping for a powerful image it may just come naturally.

References

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 72. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 30 March 2020].

Fondation Henri Cartier-Bresson. (2015) ‘Henri Cartier-Bresson et Alberto Giacometti’ [image] Available at: https://www.henricartierbresson.org/en/expositions/henri-cartier-bresson-alberto-giacometti/ (Accessed 25 March 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).

Pantall, C. (2012) ‘photo-eye | BLOG: photo-eye Book Reviews: The Present‘ [online] Available at: https://blog.photoeye.com/2012/05/photo-eye-book-reviews-present.html (Accessed 25 March 2020).

Peter Fetterman Gallery. (2019) ‘Henri Cartier-Bresson, Simiane-la-Rotonde, France, 1969/Printed later’ [image] Available at: https://www.peterfetterman.com/artists/75-henri-cartier-bresson/works/24483-henri-cartier-bresson-simiane-la-rotonde-france-1969-printed-later/ (Accessed 25 March 2020).

Suler, J. (2017) ‘Photographic Psychology: The Decisive Moment’ [online] Available at: http://truecenterpublishing.com/photopsy/decisive_moment.htm (Accessed 25 March 2020).

Wells, L. (ed.) (2015) Photography: A Critical Introduction (5th edition). Abingdon: Routledge.

Project 2 – A Durational Space – Research

Online Research, Part 3, Thoughts & Ideas

Summary:

For this research point I;

– Drew on the work of Francesca Woodman, a portrait photographer who explored the human body and the idea of revealing and concealing.
– Stated my thoughts on her use of black and white photography, what it may represent and how it makes me feel.
– Reflected on the statements made by Victoria Miro and found examples of the points made within Woodman’s photography and how they enhanced the imagery.
– Briefly covered the effects that motion blur has on her work and the feelings they may create for the viewer, providing an example below to show traces of time.
– Drew on the work of Michael Wesley, a still life photographer who captures long exposures to document the invisible force that is time, showing traces of movement, light, life and decay.
– Reflect on how he captures what we may feel is impossible, by showing the universe around us by being patience and letting everything happen naturally instead of forcing it.
– Explored the work of Hiroshi Sugimoto, who also uses long exposure times to capture the entire length of a movie in a theatre, resulting in ghostly white screens illuminated a once full room.
– He too captures the ‘impossible’ by documenting the act of disappearance and showing what the camera saw over that period.
– Sugimoto challenges the idea of the moving image by turning what previously moved into a still image once more.
– Researched the work of Maarten Vanvolsem, a photographer who captures panoramas of people moving through a scene, documenting slices of time and showing a path of movement.
– Vanvolsem challenges the idea of time-based media which is usually film, audio or slides that show signs of movement over time. However he manages to present an audience with a path of movement in a single shot.
– Reflect on what I have found throughout this research and the impact of the visual/technical techniques used, as well as how they may encourage me to explore different approaches in the future.

Unlike fast shutter speeds that freeze movement as explored in the previous exercise, slower shutter speeds document activity and capture the path these motions leave behind.

Slow shutter speeds can create exciting results caused by unintentional camera shake, sudden movements or motion blur used intentionally as an art style like many artists explore throughout their work.

During this research, I would like to understand further why people use motion blur and capturing slices of time as an aesthetic choice and the impact this effect can have on the overall image.

Francesca Woodman (1958-1981)

Francesca Woodman was an American photographer who explored the human body by revealing, concealing and intentionally capturing the movement of herself or another female model, naked or otherwise.

The use of black and white photography not only adds to the ghostly eeriness depicted by the motion blur but may also be reflective of the artist’s mental state following her untimely death by suicide at the age of 22. Whether this was an intentional visual choice or not, it is impossible to ignore the raw emotion that radiates from her imagery.

‘Woodman tested the boundaries of bodily experience in her work and her work often suggests a sense of self-displacement. Often nude except for individual body parts covered with props, sometimes wearing vintage clothing, the artist is typically sited in empty or sparsely furnished, dilapidated rooms, characterised by rough surfaces, shattered mirrors and old furniture’ (Miro, 2014).

The use of empty rooms, with textural features, not only emphasises the importance of the body by creating a focus but also compliments the blurred movement or patterns on the vintage clothing worn, preventing the image from being flat and lifeless.

Victoria Miro states that Woodman’s exploration of presence and absence ‘argues for a kind of work that values disappearance as its very condition’ (Miro, 2014). Woodman deliberately prevents the viewer from seeing hidden areas even though they are, in fact, still there. Isolating parts of the body, through cropping, clothing or props; hints to what is missing, encouraging the viewer to think about the presence of the body and potentially question the choices made.

Distortion of the models features as is seen in Space² (see fig. 1.) not only preserves the identity of the subjects but implies the transition of one movement to another. It may also be a performance of an event that has previously taken place, due to Woodman’s ‘tendency to combine personalised psychodramas with the temporal and spatial displacements of long exposures and blurred movement’ (Badger, 2012).

Woodman’s use of motion blur, while not applied in every image, is intriguing and challenges the idea of what a still image can be by combining movement with still life.

Michael Wesely (1963- )

Michael Wesely is a contemporary photographer based in Berlin, who captures buildings, still life and portraits by using incredibly long exposures that can last for months or even years.

This approach allows the viewer to see movements that are too slow to be seen in real life, documenting what is invisible to the naked eye and the relationship between us and time itself by picturing the past and present. An prominent example of this is Stilleben (5.10-14.10.2011) (Wesley, 2011). The plate of figs that Wesely left for nine days are all perfectly plump until they begin to rot, split and collapse onto the surface as implied by the subtle yet powerful motion blur that captures this natural movement. The recording of decay may reflect on the idea that while time is infinite, time for us as humans is limited and should be cherished while we can experience it.

Instead of documenting movement that is sudden and visible, Wesely attempts to personify time which is something that we cannot physically see or some believe is but a concept. The form itself isn’t the only thing that matters anymore, as the ‘peripheral conditions such as light, movement, and other atmospheric elements’ (Wesely, n.d.) are just as necessary considering they all converge into one final image.

Wesely plays with the idea of movement and the traces of time, by letting the motions occur naturally instead of forcing it, by showing the growth or decay of a subject without influencing the outcome. To capture the universe around us seems impossible, as it exists, yet isn’t a physical object; however, Wesely has proven that you can indeed capture this information with patience.

Hiroshi Sugimoto (1948 – )

Hiroshi Sugimoto was born in Japan but has since travelled between Tokyo and New York after becoming a photographer in the ’70s, exploring the relationship between photography and time itself. Sugimoto’s practises consist of photography, architecture and performing arts production which investigates not only our short time on earth but also human knowledge based purely on senses and reality versus what could be (Fraenkel Gallery, 2012).

This approach is very much similar to Wesely, as Sugimoto too uses exceptionally long exposure times to capture traces of time that are invisible to the naked eye. An example of this features throughout his Theaters series (see fig. 2.) that began in 1976 and has spanned across the past four decades, ultimately capturing 130 individual movie theaters that illuminated by a bright white screen (McGrath, 2016).

Sugimoto opens the camera shutter as soon as the movie begins and only closes it once the credits roll, before developing the film to discover the most unusual yet fascinating results. You would imagine that photographing a moving image, would leave behind a distinct path of movement in its wake, however as shown, all that is left is an empty theater and a blank screen to light the room. While there was a full theater of people ‘…they all disappeared…the movie theater is the case to hold this emptiness…’ (Contacts : Hiroshi Sugimoto 2, 2009). So, Sugimoto managed to capture the impossible by encapsulating the disappearance with the empty shell of a building with no sign of life or movement besides the eerie light. The audience were there; they just cannot be seen, much like Woodman’s concept of isolating body parts, you cannot picture something disappearing if it wasn’t there in the first place.

Instead of using slow shutter speeds to capture a single motion to create blur or a double exposure effect, these long exposures have managed to combine multiple moving images into a single still once more. In turn, they are showing what the camera has seen over this period rather than what can physically be seen by the audience in real-time and documenting the invisible forces of time, through the use of light (Sugimoto, n.d.).

‘I wanted to photograph a movie, with all its appearance of life and motion, in order to stop it again… I must use photography as a means to shut away the ghosts resurrected by the excess of photographic afterimages’ (Sugimoto (n.d.) quoted in Musee Magazine, 2016).

Maarten Vanvolsem (1948 – )

Unlike the previous artists, Maarten Vanvolsem uses a moving camera to capture single slices of time to build up a still image across a short interval, to show traces of movement that challenge the perception of time and space. As a result, rather than shooting a single image and freezing a moment in time, Vanvolsem records multiple movements as the shutter is open by combining multiple seconds into one image.

Vanvolsem is the author of The Art Strip Photography an exploration of over 30 different artists approach to the strip technique and how the idea of time-based media may be possible for photography (Book Depository, n.d.).

Time-based media usually consists of film, audio, slides that can be watched and admired by the viewer over time to see what unfolds, while time isn’t explicitly visual, we as the audience are aware that moments are passing by the second (Tate, 2008). If you apply this logic to photography, we usually see frozen moments that are captured within milliseconds and therefore do not see time unfolding like a film. However, by using slow shutter speeds or in this case, a moving camera, time and movement can be documented in individual slices or exposures across a period. It may be a single image when produced, but time itself features in the frozen image through the multiple viewpoints and motions seen by the camera.

Instead of a strip made of individual frozen images like Muybridge’s work, Vanvolsem keeps his shutter open and pans the camera; as you would in panorama mode, to capture the events that take place during the time the shutter is open. Due to a slight movement in the camera or subject, visual distortion can occur, bending the composition and recording the small intricacies of activity that may not always be obvious in real-time.

35 x 90 cm (Vanvolsem, 2015) shows visual distortion, created by the dipping and rising of the subject in the frame, forming a wave of colour and smudge-like effect as they move across the frame. This result tells a story like a filmstrip would as we can distinguish what actions took place over this time, by looking at the trail that was left behind. 30 x 109 cm (Vanvolsem, 2015), however, suggests that the camera wasn’t always steady vertically due to the ripples in the architecture and ceiling which may imply an ‘up and down’ motion, although this isn’t confirmed.

Some people may not find this technique appealing as the images aren’t crisp and easy to dissect, however, is an incredible way to capture time and space in-camera while leaving a trace of movement in its path.

Reflection

Out of all the artists studied, the most appealing technical approaches for me were Woodman’s and Wesely’s, mainly for the ghostly results they managed to capture in their work. While Woodman may have had more control over the actions that occurred in her work, Wesely did not, instead, let nature take it’s course over a series of months to see what changed.

Motion blur brings life to the composition and provides more context as to what may be happening, what the subject is doing and at what pace or in what direction. Long exposures document change and decay that are not visible in real life, or at least it is less evident to us as humans.

Being able to confront how we see time and space, as well as capturing the impossible that is the act of disappearance by isolating features, blurring or showing what was left behind to imply emptiness, really does challenge what the ‘still’ image can be. A frozen moment shows but a slither of what is happening, leaving a trace behind gives more information for the viewer to explore and question.

References

Badger, G. (2012) ‘Gerry Badger >> Francesca Woodman’ [online] Available at : http://www.gerrybadger.com/francesca-woodman/ (Accessed 18 March 2020).

Book Depository. (n.d.) ‘The Art of Strip Photography : Maarten Vanvolsem’ [online] Available at : https://www.bookdepository.com/Art-Strip-Photography-Maarten-Vanvolsem/9789058678409 (Accessed 18 March 2020).

Contacts : Hiroshi Sugimoto 2 (2009) [online video] Available at : https://www.youtube.com/watch?v=rY3nGoZqw9U (Accessed 18 March 2020).

Fraenkel Gallery. (2012) ‘Hiroshi Sugimoto | Fraenkel Gallery’ [online] Available at : https://fraenkelgallery.com/artists/hiroshi-sugimoto (Accessed 18 March 2020).

Korff Fine Art (2018) ‘Michael Wesely’ [online] Available at: https://www.korff-stiftung.de/en/artworks/wesely-michael/editionen/stilleben-510-14102011 (Accessed 18 March 2020).

Kusseneers Gallery. (2015) ‘VANVOLSEM-4_30x19cm.jpg’ [image] Available at : http://kusseneerscom.webhosting.be/wp-content/uploads/2015/12/VANVOLSEM-4_30x109cm.jpg (Accessed 18 March 2020).

Kusseneers Gallery. (2015) ‘VANVOLSEM-5_32x90cm-12.jpg’ [image] Available at : http://kusseneerscom.webhosting.be/wp-content/uploads/2015/12/VANVOLSEM-5_32x90cm-12.jpg (Accessed 18 March 2020).

McGrath, E. (2016) ‘REVIEW: Theaters by Hiroshi Sugimoto – Musée Magazine’ [online] Available at : https://museemagazine.com/culture/2016/9/27/review-theaters-by-hiroshi-sugimoto (Accessed 18 March 2020).

Miro, V. (2014) ‘Francesca Woodman | Victoria Miro’ [online] Available at : https://www.victoria-miro.com/artists/7-francesca-woodman/ (Accessed 18 March 2020).

Sugimoto, H. (n.d.) ‘REVIEW: Theaters by Hiroshi Sugimoto – Musée Magazine’ [online] Available at : https://museemagazine.com/culture/2016/9/27/review-theaters-by-hiroshi-sugimoto (Accessed 18 March 2020).

Sugimoto, H. (n.d.) ‘Hiroshi Sugimoto | Fraenkel Gallery’ [online] Available at :https://fraenkelgallery.com/artists/hiroshi-sugimoto (Accessed 18 March 2020).

Tate. (2008) ‘Time-based media – Art Term | Tate’ [online] Available at : https://www.tate.org.uk/art/art-terms/t/time-based-media (Accessed 18 March 2020).

Wesely, M. (n.d.) on artnet (2009) ‘Michael Wesely | artnet’ [online] Available at : http://www.artnet.com/artists/michael-wesely/ (Accessed 18 March 2020).

List of images

Figure 1. Woodman, F. (1976) Space² [image] Available at : https://www.tate.org.uk/art/artworks/woodman-space-providence-rhode-island-ar00350 (Accessed 18 March 2020).

Figure 2. Sugimoto, H. (1993) Carpenter Center [image] Available at : https://www.sugimotohiroshi.com/new-page-7 (Accessed 18 March 2020).

Project 1 – The frozen moment – Research

Online Research, Part 3, Practitioner Research

Summary:

For this research I have;

– Drawn on the work of Eadweard Muybridge, one of the pioneers of the frozen image, most famous for his ability to prove that a horse can indeed lift 4 hooves off the ground at the same time.
– Muybridge’s work was shown via slides, that showed the individual phases of movement that provided a huge step for science and photography.
– As well as improving his camera equipment by developing a motorised shutter that didn’t rely on the subjects movement, before inventing the zoopraxiscope. A machine that projected the moving image and inspired the development of the cinema.
– Explored the work of Harold Edgerton, the inventor of the ‘strobe’ flash, a photographer who froze time and provided images of motion that the naked eye couldn’t see, such as a crown of milk.
– Drawn on the work of Jeff Wall, a conceptual artist who captures everyday occurrences, or ‘micro gestures’, before
– Re-enacting in a different location, allowing him to take control of the composition, while providing tension in the imagery via the lines, gestures or other such elements.
– Reflected on the work of Philip-Lorca diCorcia, a photographer who meticulously plans his compositions by combining elements that don’t necessarily go together
– Challenging the traditions of photography and creates tension between the candid and posed. So while his work may look natural, with further inspection you understand they are not, due to obvious lighting or odd positioning of subjects.
– Reviewed whether I feel the camera captures or fragments time, giving examples of my opinion by harking back to the imagery of the listed artists.

Photographic exposure times developed massively since the early days of photography when exposures used to take hours to produce since reduced to mere points of a second with the evolution of technology.

We have been able to go from hours of standing/sitting still to avoid motion blur, to capturing movement as a still image with no traces whatsoever.

Some of the earliest photographers to experiment with the new, improved film speeds and shutters, are as follows.

Eadweard Muybridge (1830-1904):

Eadweard Muybridge, formally known as Edward James Muggeridge was one of ‘ … the great photographic thinkers and technical pioneers of all time …’ (Huxley Parlour, 2017), who thought way beyond the walls of still photography and was passionate about the evolution of the moving picture.

Leland Standford, a racehorse owner and former governor, hired Muybridge in 1872 to capture photographs of his horse to confirm whether all four hooves can be off the floor at the same time. To achieve this, Muybridge set up multiple cameras and a tripwire which would be activated upon the horse’s movement to capture each stage. After five years full of court trials, travelling and death, he returned to Standford. After producing conclusive results about the horses galloping abilities, this led newspapers to reproduce these images as drawings and artists such as Edgar Degas and Thomas Eakins, referencing them to produce art that was more realistic to life.

After his relationship with Leyland had ended due to lack of recognition following the publication of The Horse in Motion (Muybridge, 1878) , Muybridge began a new set of work for the University of Pennsylvania called Animal Locomotion which became one of his most influential pieces of work. The project allowed the study of movement through a variety of animals and the human form, which was a massive step for both science and photography by capturing each phase of a single action.

Muybridge significantly improved his camera equipment by developing a clockwork motor, meaning he could capture the minutest of movements without relying on the subject to trigger the shutter.

Muybridge’s work has helped contribute towards physiology, biomechanics and a range of artists such as Marcel Duchamp and Jasper Johns. Not only that, but he was the first to invent the machine called the “zoopraxiscope” which projected the moving image and animated a selection of photographs, potentially inspiring the development of cinema.

Harold Edgerton (1903-1990)

Dr Harold Edgerton was born in Nebraska, raised in Aurora and began a career as a professor at the Massachusetts Institute of Technology, which was the reasoning behind his invention of the ‘strobe’ flash and dedication to documenting what the naked eye couldn’t see.

Edgerton shaped the world of photography by freezing time and capturing results such as liquid on liquid forming a symmetrical crown of milk, as well as the ghostly arch that is formed by a golfer swinging their arm as the torso is ‘superimposed on itself 50 times’ (Michael Hoppen Gallery, 2015).

Due to his invention of flash cameras, his influence inspires photographers, journalists and many others today albeit the cameras are much smaller, which shows his impact on the photographic world and how we can capture the subjects around us. Being able to document what cannot be seen and controlling how a moment can be frozen in time, can help people understand how certain events occur and the result of them.

Jeff Wall (1946 – )

Jeff Wall was born in Vancouver and went on to study art history at the University of British Columbia in the 1960s, which is where he discovered Vancouver’s experimental art scene and used this as inspiration to teach himself photography to portray his conceptual ideas.
After many years of studying and receiving his BA and MA degrees at UBC, Wall went on to teach at Nova Scotia College of Art and Design, Halifax, Simon Fraser University, Vancouver and has since been a teacher at UBC where his journey first began (Riggs, 1997).

Having been inspired by the paintings of Goya and Velázquez, Wall wanted to find a way to depict everyday life through the medium of photography following his thought that ‘it was no longer possible for modern artists to paint like the great masters’ (Riggs, 1997). He decided upon creating backlit transparencies, which are large-scale photographs mounted in lightboxes to combine both cinema and sculpture, therefore a successful contemporary approach.

The inspiration for Wall’s pictures is everyday occurrences that he has personally witnessed, as well as his interest in ‘micro-gestures’ which are essentially actions that take place without much previous thought, portraying the tensions within society.
Milk (see fig. 1.) reflects the current state of mind the man in frame is in, portrayed by the explosion of liquid and clenched fists; however, the moments leading up to this moment are unknown. As a result of this, the viewer may wonder what caused such a reaction, creating tension between the two (Tate, 2017).

Wall tends to reconstruct the events he sees, to allow himself to gain control of the composition, which is why he relocated for this particular situation while keeping the formal elements in mind.
‘The grid-like order of the brick wall background, and strong vertical bands that stripe the left side of the image contrast sharply with the tension in the man’s arms and the uncontrolled arc of milk’ (Tate, 2017).

Philip-Lorca diCorcia (1951 – )

Philip-Lorca diCorcia studied at the School of the Museum of Fine Arts, Boston, the University of Hartford, Connecticut and received his Master of Fine Arts from Yale University in 1979. He didn’t initially set out to become a photographer; however, Jan Groover suggested that ‘a photograph should result from careful planning and orchestration’ (Sidley, 2016), which diCorcia may have used as inspiration when he began identifying as a photographer.

DiCorcia’s work challenges and pushes the traditional boundaries of photography by meticulous planning and composing. So, while they may look natural and accidental, they’re not due to the combination of people and places that don’t necessarily go together. This approach creates a tension between random and controlled, directs the imagery towards various paths without a definite conclusion or direction, therefore suggesting a narrative more so than telling a story (Sidley, 2016).

One of the ways DiCorcia executed his shots, for example, Mario (DiCorcia, 1978) was by setting the camera up on a tripod, putting a flash in the fridge and readjusting each element while testing the composition with a Polaroid camera, keeping the desired result in mind. So, while the subject looked completely natural, in deep thought as they observe the contents of the refrigerator, everything was precisely planned at each step (Sidley, 2016).

The use of harsh artificial light is a recurring technique through his work which could be street lighting, however, on closer inspection, the contrasts between the shadows and highlights are almost too intense to be considered accidental. An example of this is the spotlight that hits the subject in Edward Earle Windsor; 20 years old; Atlanta, Georgia; $30 (DiCorcia, 1990-92).

Reflection

‘There is a pleasure and beauty in this fragmenting of time that had little to do with what was happening. It had to do, rather, with seeing the momentary patterning of lines and shapes that had been previously concealed within the flux of movement.’ (Szarkowski, 2007, p.5).

Upon completing some artist research, I would consider that the camera captures time in these images, as well as fragmenting it, it’s isn’t necessarily mutually exclusive.

Muybridge’s images I believe do capture time, by documenting each phase of a singular movement, in turn, supplying context to each photographic plate. While Edgerton’s work also freezes moments in time and form an opinion in the viewers head as to what happened moments before, what we assume happened before shooting the apple may not be correct. As a result, I consider these images to be both a captured moment in time and a fragment.

Wall and diCorcia, on the other hand, fragment time with meticulous planning and creating tension throughout the composition, either through technical decisions or formal. While they are pre-meditated, the body language and locations cleverly help create intrigue for the viewer, making them wonder how the events shot occurred and what caused the particular gestures in that specific place. The imagery doesn’t necessarily look staged at first glance without prior knowledge; therefore, you would believe they are just a brief moment in history frozen forever; however, are not. A fragment of time provides just a slice of the story, not the whole product.

This research has made me question whether the street photography I have seen in the past is just a capture of time, whether there is more the story than initially thought or if it has been pre-planned to convey a particular narrative, controlled by the artist.

References:

Huxley Parlour. (2017) Eadweard Muybridge | Photographer’s Biography & Art. [online] Available at: https://huxleyparlour.com/artists/eadweard-muybridge/ (Accessed 4 March 2020)

Michael Hoppen Gallery. (2015) Dr Harold Edgerton | Michael Hoppen Gallery. [online] Available at: https://www.michaelhoppengallery.com/artists/54-dr-harold-edgerton/overview/#/artworks/9778 (Accessed 4 March 2020)

MoMA. (2019) Philip-Lorca diCorcia. Mario. 1978 | MoMA. [image] Available at: https://www.moma.org/collection/works/46273?artist_id=7027&locale=en&page=1&sov_referrer=artist (Accessed 4 March 2020)

MoMA. (2019) Philip-Lorca diCorcia. Edward Earle Windsor; 20 years old; Atlanta; Georgia; $30. 1990-92. [image] Available at: https://www.moma.org/collection/works/57854?artist_id=7027&locale=en&page=1&sov_referrer=artist (Accessed 4 March 2020)

Riggs, T. (1997) Jeff Wall born 1946 | Tate. [online] Available at: https://www.tate.org.uk/art/artists/jeff-wall-2359 (Accessed 4 March 2020)

Sidley, K. (2016) Philip-Lorca diCorcia | MoMA. [image] Available at: https://www.moma.org/artists/7027 (Accessed 4 March 2020)

Szarkowski, J. (2007) The Photographer’s Eye. New York: MoMA Thompson, K. &

Tate. (2017) Jeff Wall : room guide, room 3 | Tate. [online] Available at: https://www.tate.org.uk/whats-on/tate-modern/exhibition/jeff-wall/jeff-wall-room-guide/jeff-wall-room-guide-room-3 (Accessed 4 March 2020)

Time. (2016) The Horse in Motion |100 Photographs. [image] Available at: http://100photos.time.com/photos/eadweard-muybridge-horse-in-motion (Accessed 2 April 2020)

List of Images:

Figure 1. Wall, J. (1984) Milk [image] Available at: https://www.tate.org.uk/whats-on/tate-modern/exhibition/jeff-wall/jeff-wall-room-guide/jeff-wall-room-guide-room-3 (Accessed 5 March 2020)

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.

Project 2 – Lens Work – Research Point

Online Research, Part 2, Practitioner Research

Summary:

For this research point I;

– Draw on the work of Wim Wenders, who shoots dynamic imagery to document history and signs of civilisation by using a deep depth of field to capture fully focused shots.
– Challenge the view that deep depth of field prevents the viewer from focusing on one point, by providing evidence of specific focal points in Wenders work.
– Analyse how the specific aesthetic codes may affect how the image is interpreted as well their ability to enhance the work.
– Draw on the work of Mona Kuhn, who uses shallow depth of field to provide a sense of intimacy within her imagery.
– Analyse how her compositions reflect her ability to connect with the subject and create a comfortable atmosphere, that even the viewer can feel through her delicate series of photographs.
– Draw on the work of Guy Bourdin who creates images that are sexual and shocking in nature, to grab the viewers attention and make them question the concept of an advertisement.
– Reflect on his use of deep depth of field and meticulous planning of compositions, what they may portray and why.
– Selected an image from my personal archives to show the aesthetic code of intimacy, much like Mona Kuhn, an aesthetic choice I made at the time to enhance the warmth of the fire and coziness of being wrapped up on a winters night.

Brief:

‘Read around the photographers above and try to track down some of the quotations. Write up your research in your learning log‘ (Bloomfield, 2018)

This research point explores how the different depths of field can influence how an image is perceived. For example, a photographer may choose to shoot a portrait in a busy town with a shallow depth of field to direct the viewers eyes to the focal point and provide tension between the subject and blurry background, or instead use a deep depth of field to prevent the eyes from focusing on one specific point in the image and allowing the viewer to take control of their journey through the image.

These different aesthetic codes could be used to explore the idea of memory, politics, imagination for the viewer, intimacy and history, whether the artist is aware of that at the time or not.

Photographer research:

Wim Wenders

Wim Wenders, born August 14, 1945, was one of the first to venture into New German Cinema and is one of the most well-known figures for contemporary German film. Wenders specialities consist of scriptwriting, directing, producing, photography and being an author, which has led to a substantial collection of work in the form of ‘documentaries, photo exhibitions, monographs, films and books’ (Royal Academy, 2018).

A broad collection of Wenders’ photographic works have been exhibited in multiple galleries across the world such as the Ronald and Rita McAulay Gallery, London (2019); the Museum of Contemporary Art, Sydney (2003); Museum of Contemporary Photography, Thessaloniki, Greece (2006); and in his birth city, Museum Kunstpalast, Düsseldorf, Germany 2015.

A recurring concept throughout the photography Wenders shoots, is a sense of journey, memory and life, either through the subjects captured in the frame or the composition of imagery.
For example, a summary of the time capsules. by the side of the road (Wenders, 2015) exhibition Germany suggests, the imagery ‘alludes to the relationship between memory and photography’ (Blain Southern, 2015), therefore showing how photography is a powerful medium that can capture a moment in time and keep it preserved for the future.

America and Germany are locations that are important to Wenders due to how much time he has spent between the two for both work and living. Being able to document the changes, events and effects of human nature seem to be something that drives Wenders in his work as he claims ‘in those landscapes, German or American, I’m still looking for the traces of civilization, of history, or people’ (Wenders, 2015). A great example of Wenders capturing traces of history and the effects of human activity is shown below (see Fig. 1.)

Fig. 1. time capsules. by the side of the road (2015).

As quoted by Broomberg and Chanarin in 2008, directly from the book The Act of Seeing: Essays and Conversations, Wenders states that ‘The most political decision you make is where you direct people’s eyes.’ (Wenders, 1997).

While he doesn’t use a shallow depth of field to direct the viewer’s eyes to a focal point, the centralisation of the fallen aircraft enhances it’s prominence in the foreground, almost teasing the viewer as to what the most important part of the image is, similar to politics. Another visual element that draws the eyes towards the centre, is the contrast between the deep red of the desert land and the bright whites in the paintwork, highlighting the clean and aerodynamic shapes of the plane in amongst the dirt and dust, helping it stand out from the rest.
Wenders’ choice to shoot this image as a panorama expands the shot and provides the viewer with more context by being able to explore the environment behind the aircraft. The dry clumps of grass, the empty road curved by the panorama, the vast plains and rocky mountains in the background, emphasise how abandoned the area may be. We as the viewer don’t know how this crash occurred, or what happened to the remains after this shot was taken which goes back to the idea that the relationship between memory and photography can be very important when it comes to preserving the past and showing signs of civilisation or lack thereof.

Despite his use of deep depth of field, there is seems to be a clear focal point, which challenges the idea that fully focused and sharp images ‘remove that direction.’ (Bloomfield, 2018).

Mona Kuhn

‘I like to cherish the body as a source of inspiration, as a platform for metaphors, for intimacy and complexities of human nature, hoping to use the visual impact of provoking the viewer’s imagination to encourage thoughts beyond what is revealed. – MK’ (Kuhn, 2013).

Mona Kuhn was born in São Paulo, Brazil, 1969 and is of German descent. Currently residing in the US, having moved in 1989 to start her higher education at The Ohio State University and the San Francisco Art Institute.

Kuhn is well known for her large-scale photographs of the human body, capturing people in their most natural state and presenting the nude as a ‘contemporary canon of art’ (Kuhn, 2013).
A consistency throughout her work is the reflection and encapsulation of the need for human connection and being united, which is beautifully achieved due to Kuhn’s close relationships with the subjects. This allows them to be intimate and comfortable in their skin, which is incredibly inspiring due to the negativity that has surrounded nudity.

Using a shallow depth of field and translucency as a visual choice, challenges the viewer’s ability to connect to the environment, those within it and what is happening (Kuhn, 2013). However, due to how soft and comfortable the compositions are, the tension doesn’t feel uncomfortable in any way, portraying Kuhn’s strong ability to respect and form an attachment with the subject and present that throughout her work.

A wide collection of Kuhn’s work is displayed both publicly and privately across the world such as the Flowers Gallery, New York; Jackson Fine Art, Atlanta, Georgia; Camerawork, Berlin, Germany; Elkis Gallery, São Paulo, Brazil and many more.

Kuhn not only forms a connection between the people in her series but also with the environment, the colours, different elements of nature and in turn creating metaphors from the imagery. This can be seen in her Native series, shot in Brazil.

By using a shallow depth of field, the focal point is brought forward in the frame and the case of Spring (see Fig. 2.). It shows the delicacy of the curling leaves and thin twigs, gently lit by the natural light in what looks like a tropical forest, however, slightly unsure due to the blurred background. This forms a tension between the subject, background and viewer and forces a little bit of imagination to be able to connect with the image. The pale greens are subtle and fresh, signifying the lushness of nature and potentially a metaphor for the start of new beginnings. The inconsistencies in the leaves and direction of the growth exhibit how different and unique nature can be. Much like the model in Marina (see Fig.3.) who we may assume, however, cannot confirm, is an indigenous person whose facial features and complexion differ from those of a different ethnicity or race, which is a beautiful thing. Her bare torso stands out and warms what is a crisp and cold background, the blur created by a wide aperture compliment the fragility and softness of the skin.

While intimacy isn’t shown through the appearance of breasts and genitals, instead it is presented by the lack of makeup and clean skin, therefore showing vulnerability and openness. The model’s gentle gaze and deep brown eyes almost draw the viewer in to connect with her soul, more so than her appearance, which is a whole different level of human understanding.

As previously mentioned, not all images show a connection between a group of people, but the similarities between the natural growth of plants and humans. They share imperfections, there are different shapes, sizes and textures throughout. The compatibility of greens, whites, golds and browns, mix and pair up so naturally. Both images are simple, draw the eyes directly to a focal point to help you form a relationship with the subject.

The series as a whole is comforting and celebrates the beauty of people of colour, their home and the importance of connecting with those from all walks of life regardless of our differences.

Guy Bourdin

French fashion photographer Guy Louis Banarès, widely known as Guy Bourdin was born in Paris, in 1928 and was one of the most ‘radical and influential fashion photographers of the twentieth century’ (Michael Hoppen Gallery, 2015).

Bourdin pushed the boundaries of standard advertisements by creating sexual and shocking imagery, to draw the viewer in, steering away from the common product shot and instead exploring surrealism to create discomfort and intrigue.
He understood that fashion seduces people, as does the fantasy of it, which I believe refers to the ability to turn into someone or something completely new through the clothes worn (Michael Hoppen Gallery, 2015). Therefore his provocative compositions marry together with the feeling fashion creates.

Due to the lack of digital advances we have today, Bourdin had to plan in great depth to make sure his work fit the format of the printed page, as well as pushing the models and himself to the limits to capture the desired effect (Michael Hoppen Gallery, 2015).

He was one of the first to tell stories through imagery, putting more emphasis on the importance of the image than the product being advertised. The thoroughly planned compositions, interesting cropped elements, both in black & white and bold colour sometimes made it difficult for the viewer to understand and distinguish what the narrative was trying to say, which made Bourdin’s work even more ludicrous (Louise Alexander Gallery, 2014).

“Thanks to depth of field, at times augmented by action taking place simultaneously on several plane, the viewer is at least given the opportunity in the end to edit the scene himself, to select the aspects of it to which he will attend” (Bazin (1948) quoted in Thompson & Bordwell, 2007).

At first glance, it seems as if the image has a particular direction set in place due to the bright red dress, therefore providing a potential focal point. However, the white graffiti to the right of the models creates some sort of distraction and breaks the direction, causing the eye to start exploring the various leading lines in the composition such as the pathway, the white pole to the left, the edges of the brickwork and the framing of the windows. Due to the way the camera has been positioned, there are subtle angle differences that can be seen between the path and the top of the wall causing an uncomfortable illusion for the eye and forms questions. Are the models going uphill, downhill or neither?

The unsettling feeling Bourdin wanted to create, stands out through the motion blur of the two models, in comparison to the sharp surroundings. The viewer is unaware as to why they are moving, whether they’re running, being pushed or what they look like as their faces cannot be seen clearly which can be anxiety-inducing or confusing for some. Red is the colour of danger and lust, so this scene could potentially represent two lovers either parting ways or reuniting, making a nod to the use of sexual imagery, or representative of the danger that can occur when you’re not looking.

Bourdin’s use of deep depth of field allows the viewer to explore the whole image as they wish, in detail and gather their own story from it. For example, I got distracted by the graffiti and started looking around the image from there, however, this may be different for the next viewer. The image isn’t too busy, which can be an issue with some images shot with a narrow aperture, however, enough is going on to keep the eyes from being drawn to one area.

Research point continued :

‘Now look back at your personal archive of photography and try to find a photograph to
illustrate one of the aesthetic codes discussed in Project 2. Whether or not you had a similar
idea when you took the photograph isn’t important; find a photo with a depth of field that ‘fits’
the code you’ve selected. Add a playful word or title that ‘anchors’ the new meaning‘ (Bloomfield, 2018).

When it comes to personal work, I use a shallow depth of field very often, therefore, have begun to understand how the aesthetic code of intimacy can be applied, whether that is presented through the people in the shot, the pose, clothing, surroundings or by the deeper message.

The image of choice from my archives, now named Fireside (see Fig. 5.) was shot a few years ago during Christmas which for most, but not all, is a comforting time of year to reconnect with loved ones, as well as looking after oneself. The shallow depth of field directs the viewer to the thick winter socks on the feet of the subject, complemented by the soft outline of a fire in the background. While you don’t see the subjects face, the dimmed lighting, haziness of the background and cropped framing provides that sense of sleepiness, intimacy and warmth, which a lot of people can associate with.

Fig. 5. Fireside (2017)
1/8 sec; f/1.8; ISO 200

References :

Bazin, A. (1948) ‘Observations on film art : Do filmmakers deserve the last word?’. [online] Available at : http://www.davidbordwell.net/blog/2007/10/10/do-filmmakers-deserve-the-last-word/ (Accessed February 5 2020).

Blain Southern. (2015) ‘Exhibitions, Blain|Southern’. [online] Available at : https://www.blainsouthern.com/exhibitions/time-capsules-by-the-side-of-the-road (Accessed February 3 2020).

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, pp. 47, 55. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 7 February 2020].

Kuhn, M. (2013) ‘Bio/CV | MONA KUHN‘. [online] Available at : https://www.monakuhn.com/pages/bio (Accessed February 5 2020).

Louise Alexander Gallery. (2014) ‘Guy Bourdin – Louise Alexander Gallery’. [online] Available at : https://www.louise-alexander.com/artist/guy-bourdin/ (Accessed March 16 2020).

Michael Hoppen Gallery. (2015) ‘Guy Bourdin | Michael Hoppen Gallery‘. [online] Available at : https://www.michaelhoppengallery.com/artists/30-guy-bourdin/overview/ (Accessed February 5 2020).

Royal Academy. (2018) ‘Wim Wenders | Artist | Royal Academy of Arts’. [online] Available at : https://www.royalacademy.org.uk/art-artists/name/wim-wenders-hon-ra (Accessed February 3 2020).

Wenders, W. (2015) ‘Wim Wenders | time capsules. by the side of the road. Wim Wenders’ recent photographs‘. [online] Available at : https://www.wim-wenders.com/photo/time-capsules-by-the-side-of-the-road-wim-wenders-recent-photographs/ (Accessed February 3 2020).

Wenders, W. (1997) ‘Text – Unconcerned But Not Indifferent – Broomberg and Chanarin’. [online] Available : http://www.broombergchanarin.com/text-unconcerned-but-not-indifferent (Accessed February 3 2020).

List of Images :

Figure 1. Wenders, W. (2015) time capsules. by the side of the road [image] Available at : https://www.wim-wenders.com/photo/time-capsules-by-the-side-of-the-road-wim-wenders-recent-photographs/ (Accessed February 3 2020).

Figure 2. Kuhn, M. (2009) Spring [image] Available at : https://www.monakuhn.com/portfolio/works/detail/1809/ (Accessed February 5 2020).

Figure 3. Kuhn, M. (2009) Marina [image] Available at : https://www.monakuhn.com/portfolio/works/detail/1785 (Accessed February 5 2020).

Figure 4. Bourdin, G. (1975) Vogue Paris, August 1975 [image] Available at : https://www.louise-alexander.com/artist/guy-bourdin/ (Accessed February 5 2020).

Figure 5. Powell, L. (2017) Fireside [image] In possession of : Lauren Powell : Eastleigh.

Keith Arnatt Research

Assignment 1, Online Research, Practitioner Research, Thoughts & Ideas

Summary:

For this research section I have;

– Challenged the critics theories about Arnatt’s level of influence in the conceptual art movement.
– Briefly explored the definition of conceptual art.
– Drawn upon Arnatt’s planning and technical approaches to his work.
– Analysed a selection of Arnatt’s artwork and
– Stated which techniques I would like to use in my own work, such as pre-planning my camera settings, concepts and compositions to gather a cohesive set of images
– To reflect on my understanding of how Arnatt works and how this can be implemented in my own work.

Keith Arnatt

Keith Arnatt (1930-2008) was primarily known as a British conceptual artist, however, his work was also spoken about concerning land art, minimalism, and photography.

Arnatt was born in Oxford in 1930, where he continued to reside to study at Oxford School of Art in the early 1950s, however, he furthered his education at the Royal Academy Schools in London later on in life. From 1962 he taught in Liverpool and up until 1969, Arnatt taught in Manchester.

Settings for his work we’re as follows, Liverpool (The beach at Formby); the moors around his farmhouse in Todmorden, Yorkshire; and his garden in Tintern which was surrounded by woodland.

Arnatt’s work was associated with the new conceptual art movement by the late 1960s, during which he took part in various exhibitions for conceptual art such as the following; ‘Konzeption-Conception, Städtichen Museum, Leverkusen’, 1969; ‘Information’, MoMA, New York, 1970; ‘Umwelt-Akzente / Die Expansion der Kunst’, Kunstkreis Monschau, 1970 and ‘Art as Idea in England’, CAYC (Centro de Arte y Comunicación), Buenos Aires, 1971′, (Wikipedia, 2019).

There was plenty of theorising over the amount of influence Arnatt may have had within the contemporary art practice of that time, mainly due to his realistic style of shooting.

Having looked at some of his work such as ‘Miss Grace’s Lane’ (Arnatt, 1986-7) and ‘Pictures from a Rubbish Tip’ (Arnatt, 1988-9) I can understand how critics or other artists may have gone back and forth about his impact on the practice because he does indeed show the subject in frame as it is without ‘manipulating’ it if you will.

However, after researching further about conceptual art and what it means (see Fig. 1.), it’s not as black and white as people may believe. Just because an artwork isn’t abstract or experimental, doesn’t mean that it isn’t conceptual or contemporary.

Screenshot (31) — Fig. 1. Conceptual Art (2017)

A summary of ‘Pictures from a Rubbish Tip’ (Arnatt, 1988-9) provides us with the idea that Arnatt may have planned his approach, due to the way he composed the series and stayed consistent with his choice of natural lighting and fixed camera distance. ‘Although the types of rubbish shown and their exact position within the compositions varies slightly, each is presented at a fixed distance from the camera and this, as well as the similar lighting effects used across the five works, creates a sense of cohesion in the series’ (Tate, 2014).

Therefore, with this information, I feel as if Arnatt had quite a significant influence on the contemporary movement by challenging what people assumed experimental looked like.

‘a conceptual artist uses whatever materials and whatever form is most appropriate to putting their idea across’ (Tate, 2017) which I feel as if Arnatt did, as his work has made me think about how long it had been there, who it belonged to before and see beyond the fact that it is just a pile of rubbish in a tip.

The clear plastic bags in the background of the objects in the frame allow for the colours to pop and draw your eyes towards the bottom right corner where the focal point is. One of the works from the series features a collection of meat ridden bones and a brightly coloured pool of ketchup in the top right-hand corner. In my eyes this is thought provoking, mainly because to some it could just be seen as a condiment for a meat eater’s dinner, but could it also represent the blood of the animal it used to be?

Highlights and shadows help bring depth into a piece of art, defining the shapes in the composition, leading your eyes around the work and giving texture to the subject.

I like how the edges are lighter in the work with the loaf of bread, slowly getting darker as you look further towards the middle, showing that the bread is cushioned by the rubbish underneath and triggers the mind into thinking that the items below were possibly quite soft, like dough almost?

Someone made that bread with their own hands, with love and care, yet it’s ended up in the bin? This leads me to the idea that despite how beautiful, how healthy or useful things are, it may not matter to some, it can be thrown aside. Although, that being said, maybe our perception of a rubbish tip should change from trash to treasure. Items that can be found there have provided life, nutrition, memories and happiness to some, as well as the various negatives.

This reflects the idea previously mentioned that artwork doesn’t have to be viewed so simply, even if you think it is just a realist piece.

Upon researching and reading Arnatt’s work, I see a lot of similarities within our thought/creative processes. I tend to plan what I want to shoot beforehand, think about why an image has been shot that way and whether others will see the work in the way it was intended. Shallow depth of field and natural light is my preferred style too as you get a much softer background while maintaining a clear and sharp focus on the subject.

One of the techniques I would like to bring into my work, however, is creating a series of images that are cohesive and make sense alongside one another, whether that is through the concept or in literal terms e.g. Similar compositions, shapes, colours e.t.c.

Another piece of work I find intriguing is the black and white variant of ‘Portrait of the Artist as a Shadow of his Former Self’ (Arnatt, 1969-72). It is not only a self-portrait shot in a unique way, but it is also once again challenging people’s views about his influence on contemporary art practice. This is a much more obvious conceptual piece, as the medium of chalk and paint have also been used within the work, making it rather experimental by combining more than one medium.

The shadows from the street which are falling around Arnatt’s form creates a spotlight effect and almost emphasises what the work is about. The artist.

Looking further into the image and noticing the graffiti sprayed, dirt-covered brick walls in the background provide a little bit of character to the building by aging it and showing the wear and tear it been through over the years. It shows history.

‘Arnatt has commented: ‘I was beginning to become aware of the unreliability of photographic evidence and began to play with that feature. I felt that what a photograph could not tell or show might be just as significant as what it could.’ (Quoted in John Roberts, The Impossible Document: Photography and Conceptual Art in Britain 1966–1976, London 1997, p.47.)’ (Tate, 2014).

As Arnatt has stated himself, this piece of work is playing around with what a photograph can be. Initially, I thought the dark area within the chalk lines, were indeed his shadow, but with further research, I now know it was painted. The lines are distorted and exaggerated, but you understand what he was trying to portray even though it wasn’t his shadow in the image, instead, it was an outline of what once was there before he disappeared out of frame. A very clever way to work with a concept.

Once again, there are similarities between my work and Arnatt’s. We both think out of the box, play with words and what could be. I also like to exaggerate ideas within my work through props, outfits, makeup or expressions, much like the distorted shadow. However, one thing I would like to explore more is the use of black and white photography. It takes the element of colour away but helps the viewer be a little more intimate with the different tones and textures within a piece of work which you may not have noticed in a colour image.

In ‘The Square Mile’ assignment, I would like to use my style, however, implement the various techniques Arnatt has used in his work so I can create a successful series of images that mold with one another.

List of works, materials, and proposals that are held at various galleries, collections from the late 60s-80s;

Self Burial – the version documenting the WDR televised Self-Burial (Television Interference Project) (1969), and Trouser-Word Piece (1972-89 version) are held in the Tate collection.
Examples of early materials are held at The Henry Moore Institute in Yorkshire, including slides of early works. Leeds City Art Gallery holds drawings from the early 1960’s.
Examples of proposals are held at the V&A Museum in London.
Documentation of proposals that Arnatt gave to Robert Smithson were donated to LACMA, Los Angeles by Nancy Holt.
Tate Archive has proposal related materials by Arnatt including correspondence with the writer Barbara Reise.

References:

Arnatt, K., 1986. Miss Grace’s Lane. [image] Available at: https://www.tate.org.uk/art/artworks/arnatt-miss-graces-lane-t13166 [Accessed 13 August 2019].

Arnatt, K., 1969. Portrait of the artist as a shadow of his former self. [image] Available at: https://www.tate.org.uk/art/artworks/arnatt-portrait-of-the-artist-as-a-shadow-of-his-former-self-p13143 [Accessed 13 August 2019].

Arnatt, K., 1998. Pictures from a Rubbish Tip. [image] Available at: https://www.tate.org.uk/art/artworks/arnatt-pictures-from-a-rubbish-tip-t13170 [Accessed 13 August 2019].

Tate. 2014. ‘Portrait of the artist as a shadow of his former self’, Keith Arnatt, 1969–72 | Tate. [online] Available at: https://www.tate.org.uk/art/artworks/arnatt-portrait-of-the-artist-as-a-shadow-of-his-former-self-p13143 [Accessed 13 August 2019].

Tate. 2017. Conceptual art – Art Term | Tate. [online] Available at: https://www.tate.org.uk/art/art-terms/c/conceptual-art [Accessed 13 August 2019].

Tate. 2014. ‘Pictures from a Rubbish Tip’, Keith Arnatt, 1988 | Tate. [online] Available at: https://www.tate.org.uk/art/artworks/arnatt-pictures-from-a-rubbish-tip-t13170 [Accessed 13 August 2019].

Wikipedia. 2019. Keith Arnatt – Wikipedia. [online] Available at: https://en.wikipedia.org/wiki/Keith_Arnatt [Accessed 13 August 2019].

List of images:

Figure 1. ‘Conceptual art – Art Term | Tate’. (2017) [Tate, screenshot] Available at: https://www.tate.org.uk/art/art-terms/c/conceptual-art [Accessed 13 August 2019].

Learning how to reference

Notes, Online Research

Summary:

In this post I

– Gave examples of the citations I created myself after reading the Harvard Referencing Guide from UCA

Referencing examples:

After having a conversation with my brother who recommended I create a few templates to refer to in the future when it comes to my assignments, research and such, I decided to visit the Harvard Referencing guide (UCA, 2014) provided on the UCA library which I will link if you too are struggling.

One of the example’s I created for myself to practice is as follows;

BOOK: Surname, Initial. (Year) Book title Place: Publisher.

Example for bibliography: Rowling, J.K. (1997) Harry Potter and the Philosopher’s Stone London: Bloomsbury Publishing.

CITATION: ‘quote’, (Surname, year:page number).

Example for citation (in text) : ‘Mr and Mrs Dursley, of number four, Privet Drive, were proud to say that they were perfectly normal, thank you very much’, (Rowling, 1997:7).

‘Note: If there is more than one edition of the book you need to state which edition you are referring to. Different editions may have different information, page numbers etc. This is not the same as a reprinted version, which does not include a change of format’, (UCA, 2014:6).

I think I’ve finally gotten the hang of it after sitting and creating multiple versions for a few hours, so hopefully research will go smoothly in the future.

References:

Rowling, J.K. (1997) Harry Potter and the Philosopher’s Stone London: Bloomsbury Publishing

UCA. (2014) UCA Harvard Referencing Guide. UCA: pp. 6, 10 [pdf] Available at: https://www.uca.ac.uk/library/academic-support/harvard-referencing/ [Accessed 22 January 2020].