Research for ‘Photography is simple’ + Mindmap

Assignment 5, Online Research, Practitioner Research, Thoughts & Ideas

Summary:

In this post I

– Inserted my mind-map exploring the ideas Opposites and Minimalism with a paragraph reflecting on the results

– Discussed the concepts I want to explore and research in further detail in this post

– Wrote a paragraph on the Minimalism art movement and what it consists of

– Provided a short paragraph about the photographer Paloma Parrot, along with an image which I briefly analysed

– Studied the history of the polaroid camera, the interest behind it and the benefits

– Researched Ziqian Liu and analysed one of her images in detail before reflecting on the post as a whole

– Decided to explore the combination of a minimal composition with a complex subject, to explore the ‘simple’ statement while arguing my belief that photography is anything but simple.

My mind-map (see Fig. 1) explores various branches of ideas underneath the Opposites and Minimalism concepts briefly discussed in my initial thoughts post (2021). Experimenting with difficult subjects would bring a challenge to the project as I would have to get the shutter speeds correct, plan accordingly to fit within specific time scales and events. Bearing that in mind, it wouldn’t be the most ideal choice due to restrictions with travel and gatherings. I like the idea of using an instant camera whether that be a polaroid camera or disposable, as that restricts me to a set amount of shots, not an easy task. Mixed media or collages would be interesting to combine with the use of physical photographic prints.

Simple poses would be perfect to use in unison with a single person for my subject choice, this takes the pressure off of the individual to get into positions they’re not comfortable with. A ‘candid’ aesthetic could be achieved if I explored this route. Negative space and restrictions in colour would provide a clear focal point for the viewer and could influence the particular mood the composition is trying to portray as a whole.

Limiting the type of subject of interest could become quite challenging depending on what is chosen, for example, capturing various styles of windows in a built-up area may not be as easy as it sounds due to a set blueprint for the buildings.

Further research on a few of these concepts needs to take place so that I can decide on a final idea for this assignment.

I will look at minimalism in more detail, explore the history of polaroid photography, portraits and artists who subtly portray complex ideas.

Minimalism:

‘Minimalism is an extreme form of abstract art developed in the USA in the 1960s and typified by artworks composed of simple geometric shapes based on the square and the rectangle’ (Tate, 2017).

Minimalist art pushes the boundaries of abstract art and what it is, by removing the elements that could encourage the viewer to see a piece of art in a particular way. A ‘typical’ form of abstract art could contain a variety of colours that mix to depict a certain mood, action or a sequence of shapes and lines that form a bigger subject. This approach goes back to basics by using simple shapes, a minimal selection of colours if any, pushing the viewer to “just see what you see” (Frank Stella 1966, cited in ARTnews, 2015:2) without much information at all.

The movement began in the late ’50s before continuing to grow in the ’60s and ’70s with the likes of Donald Judd and Robert Morris. It is compared with the conceptual art movement due to the similarities between the ‘unusual and its ability to challenge the stereotypes of what art is, usually only appreciated by a specific audience (Tate, 2017).

Simplicity can be beautiful, as it strips back any unnecessary details that may otherwise clutter or influence the final result of the art.

Paloma Parrot

Paloma Parrot is a minimalist photographer based in Ruhr, Germany. She has over 20 years of photographic experience, encourages that people take a camera wherever they go and sticks to a colour palette of grey/white with a burst of colour to draw attention. Her toolkit consists of a tripod, remote trigger to help capture self-portraits without the additional help of others or a timer (Parrot, n.d.).

Parrot is minimal in every sense of the word from the tonal choice, subject, titles and such, an inspiring way to work, to say the least. As photographers, we can get carried away with an abundance of different lens, lights and cameras, that it’s not always ideal when shooting on the go. Keeping everything manageable and light must make the photographic experience more enjoyable and smooth.

One of my favourite images from her Instagram page is Upside down (see. Fig. 1) as it features little colour, besides a few different shades of blue and the standard white, greys with the occasional dark shadow to add depth to the composition. While it may look like an effortless image the framing will have taken time to perfect, it seems to have been taken on a polaroid implying a limited amount of attempts and the subject in question had to pose in the most abstract way for the image. Nothing about this is that simple besides the shapes and colour palette. Geometric shapes bring complexity to the photograph, cutting the frame into sections and encouraging the eyes to explore the piece in its entirety. Using the legs as the focal point is an interesting choice, as the audience is left wondering who the person is, why they’re in that position in the first place and what else is outside of the frame. Conceptually the portrait may be referencing the action of falling down a rabbit hole like Alice in Wonderland, adding a layer of humour to the piece and fleshing out what could be seen as quite a ‘boring’ picture. The context for this art isn’t given so despite the arrangement being minimal there are many messages and possible references this shot could explore, in turn, forming a juxtaposition within itself.

‘Instant Photography – Polaroid photography

The polaroid was created by Dr Edwin Land, a scientist and CEO of the Polaroid company following a conversation with his young daughter who asked why she couldn’t see the picture following its capture. When Land started the company in the 1930s Kodak bought his first product — the polarizing filter. And for most of the ’50s and ’60s, it manufactured negatives that Polaroid used in its film packs (Legacy User, 2012).

Polaroid cameras do everything that a dark room would have to do, the film is exposed to create a negative image before it is developed within the camera to create a positive print that becomes permanent once it develops in its entirety. The company hired a selection of famous artists to use the cameras and film, as a way to advertise the product and draw attention to it through the eyes of the most prominent creators at the time (Legacy User, 2012).

Watching an image come to life right in front of you is exciting to experience, as you feel as if you are part of the entire process from pressing the shutter to development, without the additional chemicals and time-consuming process. Over recent years, the camera has become increasingly popular with a younger modern audience. Instax has created models that are less expensive and more accessible to those who are on a budget but still want to experience the magic of polaroid photography.

Due to the limited number of film sheets in a pack, the lack of self-timers and the ability to delete the image once it’s been taken makes the photographs taken more unique and challenging to prepare for. Each picture counts, so thinking about your composition is important if you’re unable to have a backlog of films to hand.

Unlike disposable cameras, prints are available instantly beside the developing time, this allows the creator to enjoy the photographs without having to pay or wait for the film to be developed in a lab.

Ziqian Liu

Ziqian Liu, a Shanghai-based photographer, specialises in self-portraiture. Similar to Paloma Parrot her approach is minimal and subtle with the colour palettes chosen for the subject. A lot of her pieces explore the relationship between flowers, fruit and us as humans much like Carol Sharp, a macro photographer who connects with plants as a way to capture their beauty.

‘In her work, the image in the mirror represents the idealized world she wishes to live in,’ (ARTPIL, 2019). Taking a picture of a reflection shows it from a different perspective and angle to what would initially be seen if it were taken with the subject directly in front of the camera. For example, the reflection of a palm shows the opposing side of the back of a hand.

Documenting the body in such a simplistic manner brings intimacy and privacy to the composition, targeting a singular area to be the focal point puts it at the forefront of the photograph. As a result, the audience can appreciate and connect with the body in the frame a lot more than a full-body image. We are given less opportunity to look for what we want, instead of being lead to analyse what is provided and understand it.

The example I have picked from Liu’s Skin album (see. Fig. 2) is delicate. From the soft diffused light to the smooth texture of the skin in the frame. A pop of colour brings life to composition, possibly referencing the beauty of life’s process within nature and for us as human beings, we all have a life and death cycle that is fragile as one another. A gentle placement of the hand at the top, adds intimacy to the piece by touching and connecting with the human body. The pose isn’t tense or obnoxious, everything about it is calm and warm. Cropped framing brings you closer to the subject, enhancing the textures and shapes that the body has, something we all have so is a source of relatability. The tones are fairly neutral, but compliment the photograph as harsher colours, highlights and shadows would’ve created a jarring, intense image rather than a welcoming one. There is a subtle leading line throughout due to the placement of the flowers. Starting from the top and curving slightly round towards the bigger flower head on the belly button or back. The context for this composition is quite blurred as it’s unclear as to which part of the body this is, which I touched on in the previous sentence.

Art such as this feels personal, creating a story for the audience whether they know the context or concept beforehand. The human body is an incredibly relatable subject, the ‘flaws’ and marks that each of us have that show a journey or make us unique. It’s simple from an aesthetic standpoint, however, if you look deeper there is much more to be explored.

Intimacy in film and TV

Normal People has been considered one of the best television productions in the modern age, due to its handling of young love, the hardships and beauty of it all. It includes many intimate scenes which is unusual for BBC productions, however, they were directed beautifully, respectfully and it comes across through the camera extraordinarily. The shallow depth of field softens the environment around the characters, enhancing the delicate nature of the skin on show, lighting is warm and inviting, rather than cold and uncomfortable. Close framing respects the actor’s privacy as well as focusing on the parts of the body that make us human or add personality (see Fig. 3). This approach brings the viewers into a place that may be familiar, challenging or easing their feelings surrounding intimacy and image. Many sexual scenes are over the top, extreme and unrealistic to most viewers, so to have a variety of scenes that perfectly portray the reality of opening up and showing yourself to another or a mirror is powerful. It’s human.

Reflection:

The open nature of this brief allows for a flexible brief without too many restrictions, it is up to us as the students to decide what we think the project should be about and how we’re going to portray that idea.

Taking the word ‘simple’ and exploring the minimalist art movement has been one way for me to inject the concept of photography being as such. However, gathering examples from minimalist photographers further supports my belief that despite a ‘basic’ composition, subject or theme, the background and makeup of the pieces are less than straightforward. Photography is full of thoughts, planning and meanings that flesh out the art, allowing the audience to connect with it more deeply.

Combining a minimalist art style, with the use of an instant camera and a complex subject such as the human body, a system full of organs, cells, DNA creates a juxtaposition between the aesthetic and concept. I would be able to fulfil the statement ‘Photography is simple’ while proving my point at the same time, creating a ‘for and against the type of project.

Going forward I intend to take a few test shots with my Instax instant camera to see how achievable this project will be.

References:

ARTPIL. (2019) Ziqian Liu [online] Available at: https://artpil.com/ziqian-liu/ [Accessed 14 June 2021].

Legacy User. (2012) History of Polaroid and Edwin Land [online] Available at: https://www.boston.com/uncategorized/noprimarytagmatch/2012/10/03/history-of-polaroid-and-edwin-land/ [Accessed 14 June 2021].

Parrot, P. (n.d.) 5 Minutes With a Photographer : Paloma Parrot [online] Available at: https://www.artifactuprising.com/photographer-interview-paloma-parrot [Accessed 13 June].

Powell, L. (2021) Initial thoughts on ‘Photography is simple’ [online] Available at: https://laurenpowelloca.photo.blog/2021/06/14/initial-thoughts-on-photography-is-simple/ [Accessed 14 June 2021].

Tate. (2017) Minimalism – Art Term [online] Available at: https://www.tate.org.uk/art/art-terms/m/minimalism [Accessed 14 June 2021].

Stella, F. (1966) ‘Questions to Stella and Judd’ In: What You See Is What You See p. 2. Available at: https://www.artnews.com/art-news/retrospective/what-you-see-is-what-you-see-donald-judd-and-frank-stella-on-the-end-of-painting-in-1966-4497/ [Accessed 13 June 2021].

List of images:

Figure. 1. Parrot, P. (2018) Upside Down [Instagram, screenshot] Available at: https://www.instagram.com/palomaparrot/
[Accessed 13 June 2021].

Figure. 2. Liu, Ziqian (n.d.) Skin [image] Available at: https://www.ziqianqian.net/skin [Accessed 14 June 2021].

Figure. 3. Abrahamson, L. (2020) Normal People: Episode 5 [BBC iPlayer, screenshot] Available at: https://www.bbc.co.uk/iplayer/episode/p089j889/normal-people-series-1-episode-5?seriesId=p089g8vv (Accessed 24th August 2021).

Technical research and ideas

Assignment 4, Books & Magazines, Online Research, Reflection on assignments, Thoughts & Ideas

Summary

In this post I have

– Briefly discussed my mind-map post

– Explained how my preferred concepts led me to research via YouTube and books

– Before explaining three techniques, how they’re done and the results you can get

– Including screenshots and scans of the examples from the research

– Finishing the post with a short reflection about these techniques and what I plan to do as a project.

In my last post, I briefly discussed my mind-maps for both artificial light and controlled light, the multiple techniques, concepts and possible subjects that could be explored, along with their pros and cons. The ideas ranged from cityscapes to light casts, streetlamps and their shadows, light drawings, spotlight photography, commercial and lightbox photography.

As mentioned in my initial thoughts I sat with the ideas I was interested in most, which were silhouette and lightbox photography. While these ideas were in the foreground of my mind, I searched YouTube for further ideas and tutorials for lightbox, abstract and macro photography, as well as referring to an experimental photography book. This helped me figure out the direction I want to take for this assignment while pushing me to explore techniques I’d not done before or in a long time.

Oil and water

One of the first concepts I thought of when exploring the idea of using a lightbox, was oil and water macro photography, a simple set-up with incredibly unique results. Lighting the subject from behind (or below if it’s flat on a surface) and lifting the subject high above the light source intensifies the shallow depth of field, diffusing the colours below and making sure the main focal point is the bubbles in the frame. You can adjust the colours used underneath, the direction they’re pointing and the shape of the oil bubbles by stirring it and manipulating the mixture (Adaptalux, 2019). Ben from Adaptalux inserted videography of his results at the end of the YouTube tutorial, which I was able to take a screenshot of (See Fig. 1) for future reference.

Having more control over the process, can result in some incredible shots and allow you to get the exact outcome you’re looking for, however, it is possible to let gravity and chemistry take control of the subject while you focus on the light. This technique is full of flexibility, depending on what you prefer to do, but not so much so that you don’t have to plan or take control of what is going on. While this would be perfect to use for a controlled light project, it is also a concept I’ve explored myself in the past, so isn’t ideal for pushing myself further. The set-up and technical information regarding light placement, filters and stability for the camera/subject from this specific tutorial have still been beneficial for me to consider for this assignment, so worth the watch and research time.

Abstract paper photography

Another tutorial I saw from Adaptalux on YouTube, was an abstract photography project with nothing but lighting and paper. Much like the previous project with the oil and water the lighting is coming from underneath the subject (backlit when it’s flat on a surface) via the use of a lighting arm and some diffusion filters for additional colour. Before shooting, the camera is set up on a tripod and the focus is set beforehand so all that has to be changed is the paper folds, positioning or lighting direction/colour. The height of your camera and the focal range of your lens can result in an extremely close frame or a wider shot depending on your preference, making this another flexible technique to try out (Adaptalux, 2020). You can either fold the paper, roll it up, use one sheet or multiple sheets and manipulate their shape to get a variety of styles to shoot. Despite being lit from below, due to the curves in the paper, soft shadows are captured as opposed to a silhouette or flat image of the item in the frame.

Shooting the cross-section of paper is much more interesting than I first imagined it would be, as it cuts the camera frame into multiple sections and is ambiguous in terms of the subject (see Fig. 2). Abstract art is meant to be ambiguous and cause questions to be asked, in turn making it a much more complex idea to explore and play around with.

I’ll definitely consider exploring this particular technique, even if it’s not chosen for this assignment.

Fig. 2. Abstract photography with paper (2020)

Lumen prints

Despite not having the products needed for this particular experiment, looking through Thames & Hudson’s book Experimental Photography (Bendandi et al., 2015) gave me something to think about in terms of photographic presentation and technical choices made in photography. The contact printing frame used for this experiment (see Fig. 3) looked similar to a light pad, a thin LED glass pad used for tracing for art and other such things, while the lumen print Francisco Gomez managed to produce (see Fig. 4), reminded me of a photographic film after they’ve been developed. Placing the leaves on a piece of photographic paper, blocked those specific areas from the light, much like objects do when shooting with film. The denser subject is shown via a ghostly silhouette; with a few shadows to define the details where light has seeped through, while the open areas are much darker to show how much light the paper was subjected to during the experiment. By ‘inverting’ the print with Photoshops gradient map, the image looks like a typical sepia print, which has got me thinking about the possibility of creating digital ‘negatives’ for this assignment and how light can affect the results of an image.

Reflection

The techniques explored in this post have helped me understand a variety of techniques that can be used for this particular assignment, including macro photography, inverting photographs and experimenting with light, colour and its subjects. Abstract photography is unique and results in a never-ending list of outcomes, especially if the subject is constantly moving, such as oil bubbles in the water. Despite having total control of the light it doesn’t mean that you are in control of everything which I like. Lumen prints could be similar if you measure the exact amount of time the paper is exposed for, but the subjects used to make the composition are most likely to be different, even by a millimetre.

This has me thinking about film photography and how you have a restricted amount of time to get the desired image. Over or underexposure could make or break an image, influencing the mood or details of the subject. One second out, or one wrong move and you could’ve missed the ‘perfect’ composition. Light levels are shown on a negative via the translucent and opaque areas; the lighter areas are caused by denser objects that have been less exposed to light, in comparison to the darker areas such as a clear sky or another strong light source.

For my Languages of light assignment, I may explore the use of a light pad or lightbox to illuminate subjects from the bottom, how lens filters or gels could affect the overall image and how to create digital ‘negatives. Further research is needed to make this decision.

References

Adaptalux, 2019. Oil & Water Bubble Photography & Videography Tips | Macro Photography Tutorial. Available at: https://www.youtube.com/watch?v=mixLIIQ5N00&t=678s [Accessed 18 May 2021].

Adaptalux, 2020. How to shoot beautiful abstract photography using paper!. Available at: https://www.youtube.com/watch?v=2oM41u3JyCc&t=335s [Accessed 18 May 2021].

Bendandi, L., Minniti, S., Gómez, F., Lungarella, G. and Antonini, M., 2015. Experimental photography. 1st ed. London: Thames & Hudson, pp.34-35.

List of images

Figure. 1 Adaptalux. (2019) Oil and Bubble videograph by Adaptalux [YouTube, screenshot] Available at: https://www.youtube.com/watch?v=mixLIIQ5N00&t=678s [Accessed 18 May 2021].

Figure. 2 Adaptalux. (2020) Abstract photography with paper by Adaptalux [YouTube, screenshot] Available at: https://www.youtube.com/watch?v=2oM41u3JyCc&t=335s [Accessed 18 May 2021].

Figure. 3 Gómez, F. (2013) Lumen Prints [Scanned page] In: Bendandi, L., Minniti, S., Gómez, F., Lungarella, G. and Antonini, M. (2015) Experimental photography. 1st ed. London: Thames & Hudson, p.34.

Figure. 4 Gómez, F. (2013) Lumen Print [image] In: Bendandi, L., Minniti, S., Gómez, F., Lungarella, G. and Antonini, M. (2015) Experimental photography. 1st ed. London: Thames & Hudson, p.35.

(In)decisive moment practitioner research

Assignment 3

Summary:

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.

Fig. 2. The Ghosts That Carried Us Away (2014)

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.

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 Research

Summary:

For this post I have;

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

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

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

– Before reflecting on the post as a whole.

The ‘Inspired’ Moment

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

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

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

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

Henri Cartier-Bresson (1908-2004)

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

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

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

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

Garry Winogrand (1928-1984)

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

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

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

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

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

Bruce Davidson (1933 – )

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

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

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

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

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

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

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

KayLynn Deveney (1967- )

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

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

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

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

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

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

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

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

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

Reflection:

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

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

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

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

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

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

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

References:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

List of Images:

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

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

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

The Decisive and (In)decisive moment

Assignment 3, Online Research

Summary:

For this post I have;

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

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

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

Decisive Moment :

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

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

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

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

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

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

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

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

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

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

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

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

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

Indecisive moment:

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

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

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

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

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

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

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

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

– Every moment is significant in their way.

Reflection

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

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

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

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

References

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

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

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

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

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

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

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).

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].