I have received formal feedback from my tutor for my third assignment ‘The Decisive Moment’. Considering this particular assignment took a long time to complete due to personal situations, I am happy with the response I got.
Here is a summary of the comments received via email:
Strengths:
– Strong interpretation of the ‘ongoing’ (in)decisive moment through the representation of time in the still life flower.
– Using the domestic setting shows a strategic conceptual documentation of the private and quotidian, rather than the public realm of most decisive work.
– Good references about technical approaches.
– Explores the technical/conceptual and how it alludes to still life.
Weaknesses:
– Define critical terms right away concisely with a firmer introduction to the assignment.
– Show the subject, presentation and give context to the approach, so tell them rather than let them find out themselves.
– Link what I’ve found via references but be clear on the subject to start with.
– Expand my points further with ‘whys’ with references to show how I’ve done something.
Areas of development:
– Attach annotated contact sheets to show how I got to a certain technical decision etc.
– Explain concept initially and expand later one in more detail.
– Lead reader into the subject and reference my evidence to back it up.
– Reference influences and how I interpreted the assignment.
Reflection:
Once again, I need to work on being more concise but avoid being too vague by referencing and explaining my approaches in more detail. Write about what’s relevant and the influences I used within my own work is important. I need to lead my readers into the subject and further expand with evidence at a later point. Overall, I have the ideas there and the strong images to show that I’ve understood the assignment, however, my written work needs to be clearer and reflect exactly what I discovered. They’ve noted that it’s difficult to do, but worth getting the hang of early on.
Assignment 3
Assignment 3 – The (in)decisive moment -write up
Assignment 3The indecisive moment challenges the belief that a singular extraordinary moment is the most important and unique to capture, by recording periods of chaos and uncertainty, in turn, allows the viewer to explore multiple paths within an image. The decisive moment requires patience to document that once in a lifetime shot, showing balance and well thought out composition.
The unpredictability that took place during this assignment; pushed me to explore the indecisive moment. The in-decisive felt like the most fitting approach to pursue, despite my initial interest in the decisive.
Lockdown restrictions meant that plans had to change due to social distancing and the inability to travel far from home. Shooting in a domestic environment, where I could control what was happening, seemed like the most logical and achievable. Formulating a mindmap allowed me to figure out the best and most achievable photoshoot to explore within the home. Ideas such as, but not limited to, capturing the ordinary, invisible, empty moments, or documenting people within the home, while removing expression and gesture to reflect on Thomas Ruffs ‘Dead Pan’ approach, to ‘confound our expectations of discovering a person’s character through their appearance’ (Cotton, 2014, p. 106). Face masks remove facial expressions, forcing us to come up with a conclusion about the person beneath with very little information.
Nick Waplington perfectly captured the reality of life and the sporadic moments that occur from day to day by taking snapshots of families during their most intimate and personal periods using his film camera. Removing the context within his images allows the mind to create theories about what is taking place. ‘Living Room’ (1991) is a perfect example of this and one that I analysed well to understand what an indecisive moment could be. ‘A time full of uncertainty and disorganisation, mixed emotions and lack of stability in the area. Waplington’s use of a fast shutter speed has frozen at least eight different moments in time, if not more that we cannot see directly’ (Powell, 2021).
However, living in a small household made these sporadic and busy moments more unlikely to achieve. As a result, I took the idea of ‘isolation’ and capturing invisible moments, as Michael Wesely did by capturing double exposures of flowers and fruits decaying over time, as discussed in my Durational Space (Powell, 2020) research earlier on in the assignment. Life and death are inevitable but is not something we physically see happening unless we slow time down. Keeping the camera open while things continue to decay is one way of achieving this.
Martin Dietrich’s black and white double exposures of people in the project The Ghosts That Carried Us Away (2014) are both abstract and minimalist in nature. The ghostly figures of movement that occurred while the shutter was open paint a path of indecision and lack of freezing one moment as it happened. The removal of colour and location allows the audience to decide the story, mood and context of the image.
Nigel Shafran took snapshots of the same kitchen across various time frames, showing indecisiveness and proving that each moment is just as important as the last as it shows life.
Combining the discussed techniques and approaches, along with Shafran’s interest in the mundane and every day, encouraged me to do a test shoot and follow the life/death of perishable goods.
A quick test shoot using my Sony A57 allowed me to decide whether this was the type of project I wanted to do and what to change if anything. Direct sunlight caused my images to have vignettes due to the harsh shadows surrounding the subject and blowing out the exposure. As a result, I decided to set my final image items up in a location where the sunlight would not be too strong and ruin the compositions. I felt as if the decaying would be more visible if the items were upright and shot from the front rather than from above, allowing gravity to help with the wilting process.
Reflecting on my final images, I believe that I have understood the indecisive moment well. Hand-picking the items, organising the setup and photography timeframes; helped me to create unique and extraordinary moments of my own. I caught moments that usually go unseen, such as the movement and appearance changes during the decaying process, before overlapping the multiple images in Photoshop to create ‘double exposures’ like Wesely and Dietrich. Post-processing allowed me to enhance the shadows, textures and shapes within each layered image, formulating photographs full of movement, colour and grain similar to Waplington’s film photography. Examples of this are the most prominent in images Four, Six, Eight and Twelve, where the colours are highly saturated and dark compared to 4, 8 and 12 (Powell, 2021). The ordinary and every day is beautiful, as is the natural process of life and death, which isn’t the same for everyone, making each cycle just as valuable and unique.
This assignment has taught me the importance of composition, the beauty of the mundane, helping me ‘understand both the decisive and (in)decisive moment in a much clearer way and the differences between the two, albeit it is small’ (Powell, 2021).
References:
Cotton, C. (2014) The Photograph as Contemporary Art. 3rd ed. London: Thames & Hudson.
Dietrich. M. (2014) The Ghosts That Carried Us Away [image] Available at: https://www.behance.net/gallery/14029499/The-ghosts-that-carried-us-away (Accessed 30 March 2021).
Powell, L. (2020) Project 2 – Durational Space – Research [online] Available at: https://laurenpowelloca.photo.blog/page/2/ (Accessed 30 March 2021).
Powell, L. (2021) (In)decisive moment practitioner research [online] Available at: https://laurenpowelloca.photo.blog/2021/03/28/indecisive-moment-practitioner-research/ (Accessed 30 March 2021).
Powell, L. (2021) Contact sheet and final image selection [online] Available at: https://laurenpowelloca.photo.blog/2021/03/28/contact-sheet-and-final-image-selection-2/ (Accessed 30 March 2021).
Waplington. N. (1991) Living Room [image] Available at: https://loeildelaphotographie.com/en/nick-waplington-living-room-bb/ (Accessed 30 March 2021).
Contact sheet and final image selection
Assignment 3Summary:
In this post I
– Included my annotated contact sheets for my final shoots, including the images I don’t want to use, what images are good and what needs editing if necessary.
– Briefly referred to my shoot plan and explained how I set up my shoot.
– Included camera settings and changes made throughout.
– Explained my timescale choices in more detail and discussed what I learnt about each shoot.
– Mentioned my weaker images and why.
– Discussed post-processing and how I came up with my final images.
– Briefly covered what these shoots have taught me.
– Included my final images, what I liked about them, the techniques I used, the artists who inspired me and what I liked about the (in)decisive moment.
– Wrote a brief reflection in bullet points about this process.
Before editing and analysing my final images, I made contact sheets, annotated and analysed them to find images strong enough to create multiple double exposures in the post-processing stage.
Fig. 1. Contact sheet 1 (2020) 
Fig. 2. Contact sheet 2 (2020) 
Fig. 3. Contact sheet 3 (2020) 
Fig. 4. Contact sheet 4 (2020) 
Fig. 5. Contact sheet 5 (2020) 
Fig. 6. Contact sheet 6 (2020)
As stated in my shoot plan, I wanted to isolate a variety of perishable goods within the camera frame, across the space of a few minutes, hours, days or weeks. Setting the camera up in a domestic environment meant that I had to consider people walking around and moving items within the house during the photoshoots. With these thoughts in mind, I made sure to pick an area suitable for this project without the possibility of knocking the camera or subject between shooting.
The items were also in an area that wouldn’t be affected by direct sunlight, another interference I wanted to avoid, in turn, preventing the chances of the final image blowing out from the light.
After shooting the images ‘Final shoot 97-104′ (see Fig. 5), I decided to put a white piece of cardboard behind the items, as the wall and fireplace took away from the beauty of the flowers in the shot, distracting the eyes and overall ruining the images. Thankfully I was able to crop the image down in photoshop to save the image.
Due to the changes in light that would naturally occur throughout the day, the shutter speed was ever-changing; to avoid under or over-exposure. The distance between the subject and my Sony A57 stayed the same, as I didn’t touch either item besides the shutter button during the shooting process. Another consistency throughout these shoots was the aperture (F/1.8) and ISO (400). Using a shallow depth of field meant that the focus was entirely on the subject in the frame, while the background was soft and un-disturbing.
The time scales for this project were determined by the perishable goods I chose and the amount of time that seemed suitable enough to show signs of decay. Fruit peels and fresh foods tend to perish quickly once the air gets to them, so I decided to capture a selection of 3 perishable foods across 4, 6 and 8 hours (see Fig. 10., Fig. 11., and Fig. 12). As seen in the contact sheets the foods began to curl, wilt and show signs of oxidisation within the first hour, the exact changes I wanted to document. Overlapping these pictures in photoshop allowed me to show the process items went through across their chosen timeframes, something we don’t usually see all at once. To the naked eye, we see signs of decay very slowly, not necessarily seeing all the tiny changes as they’re happening, so being able to capture the ‘invisible’ and see all of the changes, big or small is fascinating. Double exposures are ghostly in appearance, as can be seen in my research on Martin Dietrich. Despite my images not being taken within the camera, I wanted to achieve the same ghostly paths of time that Dietrich managed to produce without removing the colour to keep a sense of life within the photograph.
Flowers take a fair amount of time to wilt, depending on when they were picked and preserved, allowing me extra time to document the changes within them. The timescale for the flower images were 4, 8 and 12 days. Increasing the number of flowers showed the differences between each variety and their life expectancies. 12 (see Fig. 9) was taken across the space of 4 days, with no water to keep them fed, so the time it took to wilt was almost immediate compared to the other flower images, both of which had more foliage and water to prolong their life.
After adjusting the exposure levels and temperatures, I used various blending modes to create my desired imagery. ‘Lighten’ allowed the images to become slightly transparent and ghost-like, lifting the exposure slightly, doubled up with ‘multiply’ brought back the shadows and textures within the overlapped images. Alternating blends and opacity levels allowed each image to be seen throughout the image while documenting various textures, shapes, colours and life paths.
As seen in the contact sheets, I also attempted to take pictures of frozen foods melting across a few minutes, however, it was unsuccessful. There wasn’t enough time between the shots, to show any changes and present the desired outcome in post-processing.
Capturing the ordinary and overlooked items we see around us every day, whether that be the food that feeds us or the flowers that make our homes looks pretty, makes you realise how beautiful they are too. Taking influence from Nigel Shafran, who shot a lot of his work in a domestic environment and took the imagery of mundane subjects we have learnt to ignore, has allowed me to respect the life and death of the things around us. Not everything lasts forever; items eventually break down and become nothing, which is why the mundane is special and no less important than the most extraordinary subjects. Each life cycle is unique, neither two are the same; this alone makes the project indecisive, numerous images and moments are involved.
Final Images
Fig. 7. 4 (2020) 
Fig. 8. 8 (2020) 
Fig. 9. 12 (2020) 
Fig. 10. Four (2020) 
Fig. 11. Six (2020) 
Fig. 12. Eight (2020)
Reflecting on my initial thoughts surrounding the (in)decisive moment, I feel as if I have successfully explored what it means to me. Removing context; like many artists have done when capturing their own (in)decisive moments, allow the viewer to come up with their theories, what one person may think about this set of images may be different to somebody else. The decisive moment felt black and white and straightforward to me, almost telling the story to those viewing it. (In)decisive moments, however, show a multitude of paths and moments, all of which are unique and wonderful. The varying opacities throughout this set show movement and colour changes. Highlights and shadows capture the transitions from each minute, hour or day and the changes in light, textures in the shot, fallen petals or gatherings of dust. Centralising the subject, removing the background and fixing the frame isolates the focal point, with very little to distract the eye from it. There is so much happening mid-frame that you do not need the hustle and bustle of a busy street to document a unique and extraordinary image. The grain and pops of colour within the images create a vintage and film-like finish, much like Nick Waplington’s works of art, saturated in some areas and desaturated in others.
Reflection:
– I’m proud of the images I have ended up with and the process I took to get them.
– The research I did, has helped me understand both the decisive and (in)decisive moments in a much clearer way and the differences between the two, albeit small.
– These shoots have made me more appreciative of the mundane, as well as the life and death cycles of nature.
– It’s inspired me to explore double exposures in further detail and perhaps take some of my own in-camera sometime in the future.
– I’ve become more aware of the importance of composition and the set-up of a shoot, removing items in the background e.t.c.
List of images:
Figure. 1. Powell, L. (2020) Contact sheet 1 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.
Figure. 2. Powell, L. (2020) Contact sheet 2 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.
Figure. 3. Powell, L. (2020) Contact sheet 3 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.
Figure. 4. Powell, L. (2020) Contact sheet 4 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.
Figure. 5. Powell, L. (2020) Contact sheet 5 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.
Figure. 6. Powell, L. (2020) Contact sheet 6 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.
Figure. 7. Powell, L. (2020) 4 [image] In possession of: Lauren Powell: Eastleigh.
Figure. 8. Powell, L. (2020) 8 [image] In possession of: Lauren Powell: Eastleigh.
Figure. 9. Powell, L. (2020) 12 [image] In possession of: Lauren Powell: Eastleigh.
Figure. 10. Powell, L. (2020) Four [image] In possession of: Lauren Powell: Eastleigh.
Figure. 11. Powell, L. (2020) Six [image] In possession of: Lauren Powell: Eastleigh.
Figure. 12. Powell, L. (2020) Eight [image] In possession of: Lauren Powell: Eastleigh.
(In)decisive moment practitioner research
Assignment 3Summary:
For this post I have;
– Researched the (in)decisive moment and compared it to the decisive moment.
– Summarised the differences and similarities between the two moments.
– Written about Nick Waplington, Martin Dietrich and Nigel Shafran, their lives, careers and approaches to their work.
– Analysed one of each image from each practitioner, exploring the techniques and messages I have gathered from their work.
– Reflected on the research as a whole.
Indecisive moment:
Unlike Henri Cartier-Bresson’s ‘Decisive Moment’, the (in)decisive moment seems to challenge the belief of a singular moment being the most important and unique by exploring the idea that all moments are just as important as the other and no less unique. Even if the moment doesn’t capture the most exciting of moments, as long as it means something and shows a passage of time, it’s still special.
Another difference between the two moments is that the (in)decisive moment tends to remove expression and gesture, by documenting “deadpan” moments, or the banalest of subjects. The lack of clear emotion may cause more questions to arise from the viewer as it may not be as clear as to how the subject is feeling or what is happening. ‘..the works’ bland expressions and lack of visual triggers, such as gesture, confound our expectations of discovering a person’s character through their appearance’ (Cotton, 2014, p. 106). For me, this ability to form questions, makes the imagery more flexible and interesting than a decisive moment, that more often than not, cuts straight to the point in terms of context and meaning.
While some planning takes place for a decisive moment, for example, setting up the camera in preparation for the perfect moment to fall within the frame at any given point, the photographer doesn’t have much control over the event or outcome of the image. The (in)decisive moment, however, feels like a more hands-on and regimented approach, whether that is through manipulation of movement, poses, expression, location or amount of images taken within a particular time.
Despite these differences, the two moments appear to be interchangeable and overlap in concept, for example, both require some form of planning and awareness of the outcome you’re hoping for, as well as the active decision to press the camera shutter at a specific time rather than spontaneously. Bearing these things in mind, I’m not sure if they can be considered two separate approaches or not?
Nick Waplington – (1965- )
Nick Waplington is a British artist; based between London and New York, mostly known for his contemporary photography practises but not limited to, as a painter, sculptor and has explored the world of video. Boundaries have been pushed and explored throughout his work, shown by the juxtaposition of traditional and new media (1972 Agency, 2020). Waplington’s collaborations with artists such as Alexander McQueen, Miguel Calderón and David Shrigley, further confirm this desire to create and work with those who produce something out of the ordinary.
The topics documented throughout his work, range from the daily lives of working-class people, youth culture, his family, businesses or organisations expanding globally (1972 Agency, 2020). Subjects like these may seem mundane to some but are without a doubt, impactful once you start to analyse the meaning or feelings Waplington is trying to portray.
Living Room (1991) is the first project Waplington published as a young man, shortly followed by an exhibition in 23rd Street Gallery, New York and then globally for a few years after. The prints were put into storage and requested to be destroyed, ‘having moved on to new projects’ (Juxtapoz, 2019). However, it was discovered in 2018 that Waplington’s gallerist Holly Solomon never got rid of the prints, were still in possession of her son Thomas and have since been presented by Little Big Man for the first time in 26 years.
Living Room (1991), is a series of images taken across four years, documenting the daily life of two families who lived on the same council estate as his grandparents in Nottingham.
It gives us an insight into the lives of people we have no connection with, as well as capturing the struggles and differences that families faced due to industry collapse, unemployment and poverty caused by a decade of a neglectful conservative government (Bint photoBooks, 2016).
The chaos portrayed (see Fig. 1) encapsulates the historical turmoil going on at the time. A time full of uncertainty and disorganisation, mixed emotions and lack of stability in the area. Waplington’s use of a fast shutter speed has frozen at least eight different moments in time, if not more that we cannot see directly. The child on the right, has a deadpan expression, distracted by something out of the frame, are they talking to somebody? Has someone caught their attention? We aren’t aware of the cause, allowing us as the audience to explore further and try to put the pieces together, using the rest of the picture as context. Midframe, we have someone who seems to be in conversation with another person, again, outside of the frame, but it isn’t clear how they are feeling or whether they are aware of the two children trying to either get their attention or grab the bag that is at an arms reach. The worried face of the child to the left is somewhat humorous. It feels as if they are trying to prevent the curtains from being pulled down or other mischievous events occurring while the adults are distracted by other things. There is a faint orb-like blur to the bottom right of the image, perhaps created by a light source just outside of the frame, smoke from the right, a smudge on the lens, or a small imperfection with the film or printing process. Waplington has shot this image at a very slight angle; whether that is intentional or not, the tilt enhances the mayhem shown in the photograph, ‘imperfect’ and unbalanced, much like daily life. Saturated colours and the grainy nature of film photography, not only shows the difference in photography practises and cameras from just a few decades ago, but makes the images feel much more intimate, soft and nostalgic. They’re not crisp, vibrant pieces that uniquely grab the viewers eye. Instead, the imagery is natural, full of life and movement, but still unique.
Martin Dietrich – (1980’s – )
Martin Dietrich is a Fine Art Photographer based in Frankfurt, Germany, mostly known for his architectural and street photography. Dietrich’s journey with photography started in 2009, as a way to balance his day to day job which is ‘full of numbers’ as a tax auditor (Dietrich, 2016), something that has only continued to grow and help other young artists besides himself with the Neoprime International Fine Arts label, founded in 2014.
Abstract, minimalism and geometrics within nature, are Dietrich’s main focus areas, continually explored through his architectural and street photography. Exploring the locations in question, inspires him to come up with concepts that may not be suitable for the chosen surroundings, in turn creating abstract compositions that allow multiple and endless paths for the viewer to explore. According to Dietrich, removing a subject out of its usual context can hide the original story or meaning behind the image, therefore creating a whole new picture, whereas minimalist images are straight forward, reduced to one subject or exciting element, a complete juxtaposition to his abstract work (Dietrich, 2016).
Growing up in a city has meant that urban life is extremely familiar and has fascinated him for years. Street photography documents real moments ‘frozen in time forever and yet offers so many different interpretations, stories and meanings. Street Photography is by no means artificial, it’s the real world, with real characters and real moments’ (Dietrich, 2016).
Dietrich’s double exposures have been created by using slow shutter speeds, in combination with moving the camera to create what he calls an ‘abstract sketch’ (Dietrich, 2016).
The Ghosts That Carried Us Away (2014), consists of 7 black and white double exposures of various people riding an escalator and climbing the stairs, documenting movement, time and indecisiveness. All double exposures were shot in-camera using a Fujifilm X-Pro 1.
This image (see Fig. 2) combines both abstract and minimalism into one complete frame. The lack of expression and context given from the blurred silhouettes in the background, due to their backs facing the camera, formulates a list of questions. Are they a couple? Are they strangers? Are they happy? Angry? In conversation? What are they doing? Where are they going?
Dietrich has perfectly backed up his view of abstract work and how removing part of a subject, can carve out multiple paths for the viewer to go down and explore. Black and white photography, not only enhance the highlights and shadows, the textures and shapes within the frame, but it also removes the influence that colour may have on the picture. It could be a beautiful sunny day, but without the help of colour, for me, this composition documents a gloomy day, in what feels like a silent city.
By isolating the escalator, a small part of a building and capturing the negative space surrounding them on the left, allows me to understand that the subjects are in an urban location and shows the minimalist elements within the photograph.
However, the position of the camera in comparison to the people prevents us from seeing anything else beyond that. We could assume they’re on top of a building or walking into a mall, but we cannot be sure without further information, that’s what makes it so interesting. The rule of thirds and leading lines work perfectly together, as the eyes are drawn from the bottom of the frame, right up to the main focal point at the top, taking you on a journey and moving the viewer through the image as an escalator would do. Slow shutter speeds don’t freeze a moment, they follow the moment and capture the path taken during the time the shutter is open, so instead documents multiple ‘invisible’ moments in one frame and is something I would consider to be indecisive.
Nigel Shafran – (1964 – )
Nigel Shafran is a well-known photographer and artist based in the UK, having established himself as one of the most respected fashion photographers in the 1990s (James Hyman Gallery, n.d). Much like Nick Waplington, Shafran is passionate about capturing day-to-day life, the ordinary and overlooked subjects that surround us. Unlike most photographers who have explored the decisive moment and aim to capture the unique, the extraordinary and ‘never to be seen again’ moments in time, Shafran explores the beauty in the mundane and accepting what we have around us.
His work is so casual, so familiar and domestic but still beautiful, full of life and uniqueness.
Washing up (2000) is a series of images taken across an unknown time, capturing the chaos and daily findings of a kitchen. Something all of us can relate to and find comfort in, making this project somewhat personal without it being so.
Fig. 3. 001washing_up (2000) 
Fig. 4. 013washing_up (2000)
The consistent framing between these two images implies that a tripod was used, or some form of stable surface for the camera to sit on to document the changes within this kitchen without having to change location or composition. They are very much the same, yet different.
001washing_up see Fig. 3) looks to have been taken while the sun was fully out and out of reach of the window, creating a cold atmosphere due to the lack of sunbeams, blue tones and grey shadows within the picture. Tinsel is hanging off of the wires, just above the red teapot, enhancing the fact that this photograph could’ve been taken on a cold winters day. To the right, is a potted plant that seems to be dormant and withering away, the natural circle of life. There is crockery everywhere, in the sink, on the draining board, a knife has been left out on the side and the pots and pans in the top right are screaming indecisiveness and chaos.
013washing_up (see Fig. 4) is slightly more organised, tidier and warm. In comparison to Fig. 3. this image appears to have been taken during the morning, just as the sun is rising. Shadows in this composition are soft, as is the light on the walls and surfaces, making it feel more homely and welcoming. Despite the differences between the two photographs, the mess, the lack of decision making and the reality of the busy lives we lead, the pictures on the walls are still the same, the blue figurine on the plug socket is still in its usual place, the kettle and rubber gloves are where they belong.
They may not be the most outstanding photographs taken, but they document life, the changes that we make, the life and death of nature, the rise and fall of the sun. These pictures have captured time and how it evolves, which I think is just as important as capturing one unique moment in time.
Reflection:
– The (in)decisive moment doesn’t have to be something extraordinary or unique and is very much similar to the decisive moment, in terms of planning and setting the camera up to capture the moments.
– The ordinary can be the most beautiful and interesting subjects to capture and explore.
– No one moment is unique and all capture important moments in time.
– The ‘Decisive’ moment is the moment you decide to capture, when and where.
– The (in)decisive moment doesn’t mean you don’t have to prepare and look for fruitful moments.
– The (in)decisive moment captures a period or path of time, rather than one moment.
References:
1972.agency. (2020) Nick Waplington Biography – 1972. [online] Available at: https://1972.agency/artists/nick-waplington/bio (Accessed 2nd February 2021).
Cotton, C. (2014) The Photograph As Contemporary Art. 3rd ed. London: Thames & Hudson.
Bint photoBooks. (2016) Views & Reviews A Tribute to the Family as a wild Tribe Living Room Nick Waplington Photography. [online] Available at: http://bintphotobooks.blogspot.com/2016/05/views-reviews-tribute-to-family-as-wild.html (Accessed 15th February 2021).
Dietrich, M. (2016) From Experimental to Ordinary: LomoAmigo Martin Dietrich Tests the Minitar-1 Art Lens [online] Available at: https://www.lomography.com/magazine/317995-from-experimental-to-ordinary-lomoamigo-martin-dietrich-tests-the-minitar-1-art-lens (Accessed 22nd March 2021).
James Hyman Gallery. n.d. Nigel Shafran [online] Available at: http://www.jameshymangallery.com/artists/14896/biography/nigel-shafran (Accessed 22nd March 2021).
Juxtapoz. (2019) Exhibition unearths Nick Waplington’s long thought destroyed “Living Room” prints. [online] Available: https://www.juxtapoz.com/news/photography/exhibition-unearths-nick-waplington-s-long-thought-destroyed-living-room-prints/ (Accessed 15th February 2021).
List of images
Figure. 1. Waplington. N. (1991) Living Room [image] Available at: https://loeildelaphotographie.com/en/nick-waplington-living-room-bb/ (Accessed on 15th February 2021).
Figure. 2. Dietrich. M. (2014) The Ghosts That Carried Us Away [image] Available at: https://www.behance.net/gallery/14029499/The-ghosts-that-carried-us-away (Accessed on 22nd March 2021).
Figure. 3. Shafran. N. (2000) Washing up [image] Available at: http://nigelshafran.com/category/washing-up-2000-2000/page/2/ (Accessed 22nd March 2021).
Figure. 4. Shafran. N. (2000) Washing up [image] Available at: http://nigelshafran.com/category/washing-up-2000-2000/ (Accessed 22nd March 2021).
Further research on the Decisive Moment + practitioner research
Assignment 3, Notes, Online Research, Practitioner ResearchSummary:
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.
Fig. 2. New York (1969)
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).
The Decisive and (In)decisive moment
Assignment 3, Online ResearchSummary:
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].
Lauren Powell OCA 