5.4 Conversation with a Friend

Record a real conversation with a friend. (It’s up to you whether you ask permission or not!)

Before listening to the recording, write your account of both sides of the conversation. Then listen to the recording and make note of the discrepancies. Perhaps there are unfinished sentences, stammers, pauses, miscommunications etc.
Reflect upon the believability of re-enacted narratives and how this can be applied to constructed photography. What do you learn from the conversation recording process and how can you transfer what you learned into making pictures?

Lessons Learned

Upon replaying the conversation I recognised that whilst I had my own interpretation of the discussion and the salient points, actually more things were discussed than I had remembered. Whilst I hadn’t remembered all of the detail I felt that the conversation was relaxed and enjoyable. I felt good afterwards.

Reflection

My understanding was based on a real time conversation. We have conversations every day and take for granted what is a complicated process. It takes concentration and a lot of brain power to keep track of a conversation thread whilst we translate the words into meanings, recognise and understand inflection, tonal changes, hand gestures and facial expressions.

The process of understanding the dialogue requires cultural and linguistic knowledge. Our understanding of language includes embedded semiotic codes such as; semantic codes which describe a hidden but generally accepted meaning or symbolic codes, denoting or connoting an object or its qualities.

With all this going on it is not surprising that we don’t remember everything that is said during a conversation. We latch on to what we think are the main points, but these are affected by our perspective or point of view. Our perspective is created from our lived experience, it is the sum total of all our memories and experiences. It is further affected by our current surroundings and circumstances.

The process of re-enactment relies upon a recognition or understanding of an original event or object. All such understanding is, however, flawed due to the above. Technically no re-enactment will ever be an accurate depiction of an original.The use of Semiotics within the constructed or re-enacted image is a good method for creating narrative within the tableau. In addition to the semiotic codes mentioned above , visual codes include Proairetic (or action codes), and Hermeneutic Codes (or Enigma Codes) can also be used.

A re-enacted narrative within photographic art leverages our process of understanding. It recognises that our perception at any point in time is influenced by our individual perspective. When viewing the still image each viewer’s perception will be different. If a photographic image is presented in the form of a triptych, a series of images displayed on a gallery wall or within a book, our appreciation of each image is affected by our understanding of the preceding, thus creating narrative across set. The images in Robert Frank’s book The Americans are presented in a particular order and the viewer requested to view them accordingly. Jack Kerouac likened the order of the images to a visual poem.

Where cinematic re-enactment of historical events might be broadly accurate the viewer understands that much of the underlying detail will be fictional. Nevertheless we accept the story and we are drawn into the narrative. We apply our own emotional and moral perspective, resulting our rooting for the hero, disliking the villain and feeling empathy for the characters. The same perspective can be applied to the still image.

5.3 Question for the Seller

Question for Seller re-situates images in a different context and in so doing allows for a new dialogue to take place. Reflect on the following in your learning log:

Does their presence on a gallery wall give these images an elevated status?
Where does their meaning derive from?
When they are sold (again on eBay, via auction direct from the gallery) is their value increased by the fact that they’re now ‘art’?

Reflection

Nicky Bird’s Question for Seller came about from an interest that she had in other people’s family photographs that appeared for sale on eBay.

“I purchased photographs that no-one else bid for, with the connotation that they were unwanted, and therefore with no significant value. The seller was approached with the question – How did you come across the photos and what, if anything, do you know about them? Their replies, however brief, are as important as the photographs they are selling – sometimes alluding to a part of a discarded family history, or the everyday, where personal photographs have long since lost their original meaning.” https://www.nickybird.com/projects/question-for-seller/ [Accessed 26/05/2021]

By placing these photographs on a gallery wall their status is changed:

They are no longer private or personal items their original emotional connection to the original owner is removed
They become an object, to be viewed by the masses and become voyeuristically attractive as they provide a glimpse into the life of the unknown subjects
They have been removed from their original context and are now displayed with other images with which they have no connection which creates new context and new connections.
They cease to be a single entity and become part of an exhibit, an art work.
The written background to each image creates interest for a much wider audience and as such increases the status of the image. It is transformed from a discarded, almost worthless item into an artwork.

I think that the meaning of the artwork is that the photographs are items that show how little value is associated to mementos from the past, both in monetary terms and interest. By displaying the photographs as a “collection” with explanatory text Bird has transformed the photographs into an object and objects of interest.

When the exhibition is broken down and resold through auction I believe that the items did increase in value because they were considered an art exhibit. It is not unusual for discarded items to be acquired, “polished up” and resold for a profit, the same principle applies to the photographs, albeit that this wasn’t Bird’s original intention.

5.2 The Work of Gregory Crewdson

Look up the work of Gregory Crewdson online. Watch this YouTube video about Gregory Crewdson and his work and consider the questions below. www.youtube.com/watch?v=S7CvoTtus34&feature=youtu.be [accessed 24/02/14]

Do you think there is more to this work than aesthetic beauty?

Do you think Crewdson succeeds in making his work ‘psychological’? What does this mean?

What is your main goal when making pictures?

Do you think there’s anything wrong with making beauty your main goal? Why or why not?

Note:

The YouTube link above failed to work. I therefore used the following sources for my research:

Gagosian. (2020) Gregory Crewdson: An Eclipse of Moths | Original Music by Jeff Tweedy | Gagosian [online]. Gagosian. Available from: https://www.youtube.com/watch?v=YYhGYZCc_hk [Accessed 25/05/2021]
Gagosian. (2020) Gregory Crewdson | Featuring Malcolm Gladwell, Elvis Mitchell, and Jeff Tweedy | Gagosian Premieres [online]. Gagosian. Available from: https://gagosian.com/premieres/gregory-crewdson/ [Accessed 25/05/2021]
Photo.com. (n.d.) Gregory Crewdson [online]. Photo.com website. Available from: https://www.all-about-photo.com/photographers/photographer/47/gregory-crewdson [Accessed 26/05/2021]

Reflection

Crewdson creates large scale photographic images depicting dystopian tableaux set in modern day America. The images are created using large sets where everything is controlled. This extends from the people within it to the ambience of the scene. The resulting effect is cinematic in style and resembles a still taken from a movie film roll.

I think that Crewdson’s work conveys his perspective on the suffering of people in the poorer parts of society in America, many of his images depict absolute poverty, young people without hope or even shoes. Many of his subjects look beaten down and forlorn. In this respect Crewdson’s images remind me of the work of Robert Frank. Frank sought to depict the reality of life in America at the time of the depression. Frank’s black and white images also have a psychological element. Frank’s images were candid photographs of society whereas Crewdson’s are a constructed reality but each convey a similar message.

Within the tableaux are examples of previously prosperous industry. Commercial premises are now abandoned and decaying, whilst the surrounding texture of trees and the natural environment appear to be thriving.

With the exception of the carefully placed subjects the scenes are deserted giving them an eerie emptiness. The use of colour, light and the creation of mist in some images adds to the cinematic effect. There is almost too much information to take in. The viewer’s eye is drawn into an altered reality. If the image was a still within a movie the viewer would have grown familiar with the colour grading and the “feel” of the imaginary world in which it was set. But as a single image the tableau confronts the viewer, the presented reality appears slightly skewed, I believe that this is why his work could be considered as having a psychological aspect.

When I create images I want to encourage emotion in the viewer. Occasionally I enjoy creating images for the sake of beauty, but overall I am disinterested in the portrayal of beauty. I wish to make a statement with my work and seek to question the status quo. Within the social network audience to which I post my work the preference is for images that portray beauty, the most popular consisting of sunrises and sunsets. I post my work regardless of any admiration or lack thereof as I want to evoke a more emotional response than “that’s nice” or “wow”

There is nothing wrong with photographers wanting to create or capture beauty in their imagery. A huge part of the photographic industry pertains to the production of “beautiful” images, be they landscapes, fashion, glamour or portraiture. Even architectural photography seeks to create beauty within arrangement of lines with the tableau. The modern ubiquitous trend “the selfie” has created a world of budding narcissistic photographers attempting to capture their own beauty. Such is the need for personal reassurance through the beautiful selfie that there are now a plethora of photographic filters available to artificially retouch, smooth and reshape the face into something more “socially appealing” I intensely dislike these effects.

I recognise that despite my goal being to create images with which I can express my rebelliousness I still seek to compose in an aesthetically pleasing way. In that respect I am compelled to chase a notion of beauty even if it is only within compositional rules.

A4: Formative Feedback

A4: A Picture is Worth a Thousand Words.

Assignment

Write an essay of 1,000 words on an image of your choice. The image can be anything you like, from a famous art photograph to a family snapshot, but please make sure that your chosen image has scope for you to make a rigorous and critical analysis.

Response

Backyard – Venice West, California. (Robert Frank)

Backyard – Venice West, California is one of 83 images presented in Robert Frank’s seminal photobook “The Americans” These 83 photographs, captured on 35mm black and white film, were selected from over 27,000 taken during his 1955-1956 tour of the United States of America supported by a Guggenheim fellowship (Rosenheim,2011).

Frank’s snapshot-like, shoot from the hip photographic style valuing image content over image quality broke new ground in 1950s photographic culture. His eschewing of classical composition rules and avoidance of political correctness in capturing his personal view of 1950’s America earned the review “…They are images of an America seen by a joyless man who hates the country of his adoption.” in Popular Photography magazine at the time(Sidley,2016). Frank’s images lifted the lid on the “American Dream” and “the land of the free”, graphically depicting the poverty and widening gap between the wealthy and poor and the prevalent racism of 1950s America.

The Americans wasn’t published until 1958, several years after Frank’s road trip. First published in France by Robert Delpire it included commentary from French writers critical of America. In 1959 it was republished in America by First Grove Press. Gone were the critical commentaries, in their place an introductory prose written by Jack Kerouac. In describing the contents therein Kerouac proffers “with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the sad poets of the world” (Kerouac,1959).

There exists a poetic flow to the imagery within the book. Recurring themes of working life, transport, housing and leisure activities, amongst others, draw out comparisons between social groupings, the haves and have-nots, the working and governing classes. The images describe the reality of the life that existed beneath the polished facade of capitalism presented to the world.

In the mid 1950’s, despite much of America seeing an economic upturn after the second world war, Venice California was recognised as an area of poverty and social deprivation. This image depicts the rear garden of a property in Venice West, California between 1955 and 1956.

The image foreground consists of various plants, and evidence of plant propagation through the use of open topped glass cloches. The background to the image is a seemingly rundown single story dwelling with dirty louvred glass window panes set into its shiplap timber cladding. Much of the building is obscured by large bushes and trees. To the left hand side of the image a tree is shown that is without leaves. In the centre of the image and on a diagonal emphasised by the leading line of glass cloches the viewer’s eye is drawn to an elderly man sitting partially reclined in a chair under a makeshift shade. He sits, in his shirt and jacket, smoking a cigarette. The age of the man is unclear from his face alone as it is in shade but referential codes associated with his clothing suggest him to be elderly. Behind him are the rusting remains of an old (1930’s style) car which appears to have been abandoned. Leaning against the car is the long handle of a hoe or some other gardening implement and a box is perched on the car roof. The man’s cowboy style hat is hooked on a branch of the naked tree. Next to the man another chair which can be seen to be a dining chair which has been repurposed for the garden remains unoccupied, raising questions as to the location of the intended occupant if there is one?

The rundown condition of the property and overgrown condition of much of the garden denotes a lack of attention on the part of the owner but also connotes an inability or lack of interest in maintaining the property. Is the property too much for an elderly man to manage, or does a presumed lack of interest indicate depression? The glass cloches in a row, slanted bricks being used as a border to bedding plants, canes used to support planting all denote structured cultivation and they support the former. The garden tool resting against the car and the seating with makeshift shade suggest that the man is taking what is a necessary and regular break from gardening in the hot sun. In combination these codes describe a man who cares about his garden but is unable to expend the necessary effort or money that it would take to fully maintain it.

The abandoned and rusting car body which appears not to have moved in years connotes poverty. The man may be unable to drive any more, or it may just have broken down and has found himself unable to afford the cost of repair. We may not know the answer but culturally we would expect the car to have been taken for scrap or sold rather than left in situ to rust away. The reuse of bricks to create a border connotes thrift and is not uncommon, but the repurposing of dining chairs in the garden and the makeshift nature of the shade are unusual and again back up the connotations of poverty.

A particularly important code within this image relates to the makeshift shade under which the man sits. The image is monochrome so we are unable to make out the colour but the striped fabric of the shade and also on the back of the chair that the man occupies conjure images of the American flag. Within the context of the book in which this image is published the link to the American flag amongst the signs of poverty and decay makes a powerful statement about social inequality in America at that time.

For me this image reminds me of my grandfather in his later years. A keen gardener but with neither the energy or finances to fully maintain his plot. This is not a heartbreaking story but it is a sad one and it is one that is equally relevant today.

References:
Frank, R. Kerouac, J. (2017) The Americans. eleventh edition, Gottingen: Steidl.

Sidley, K. (2016) Robert Frank, American, born Switzerland.1924–2019 [online].MoMA. Available from: https://www.moma.org/artists/1973#fn:1. Last accessed 14/09/2020.

Rosenheim, J. (2011). Looking In: Robert Frank’s The Americans – Panel and Lecture [online]. MoMA. Available from: https://www.metmuseum.org/metmedia/video/collections/ph/robert-franks-the-americans. Last accessed: 14/09/2020.

Bibliography:
Gefter, P. (2019) Robert Frank Dies; Pivotal Documentary Photographer
Was 94 [online]. The New York Times (website). Available from: https://www.nytimes.com/2019/09/10/arts/robert-frank-dead-americans-photography.html. Last accessed: 14/09/2020.

Westland Network. (2009) Venice History [online]. Westland Network (website).Available from:https://www.westland.net/venice/history.htm. Last Accessed: 14/09/2020.

5.1 Setting the Scene.

Exercise:

Watch this famous scene from Goodfellas directed by Martin Scorsese in 1990: www.youtube.com/watch?v=OJEEVtqXdK8 [accessed 24/02/14] Don’t read on until you’ve answered the following questions. • What does this scene tell you about the main character?

How does it do this? List the ‘clues’.

Make some notes in your learning log.

Findings:

The main character appears to be an influential and important person within the plot. He is well dressed and has plenty of money, this is seen as he holds wads of banknotes in his hand as he walks through the building tipping each of the staff as he goes, he even has someone to look after his car.

He is respected, everyone knows who he is and greets him in a polite and friendly way.

He is in a position of power because he can walk right through a working kitchen without any issue. The club owner sets a table up especially for him when he arrives and he also knows other people in the club who are important.

He is not the most important or powerful person there, this is demonstrated by his age and his acknowledgment of the older guy on a table close by when the guy gives him a bottle of champagne as a gift.

Exploration of the Banal and Mundane

Nigel Shafran’s body of work, initially “washing up” encouraged this exploration of this genre. The definition of banal is given in Macmillan Dictionary as “something that is banal is boring because it contains nothing new, original, or unusual” The additional term “Mundane” equally applies to photography in this genre, the definition of which is described as”ordinary and not interesting or exciting, especially because of happening too regularly.

Shafran’s portfolio includes projects titled: Dad’s Office, Compost Pictures, suburban garages. All of his subjects at first glance would meet the definition of “boring” “ordinary” or “not unusual” but the is the point. Shafran carefully frames and lights his subjects for the viewer to delight in an exploration of the trivial.

William Eggleston’s work also depicts the mundane. Eggleston’s use of strong colour and simple framing draws the viewers attention to the finer detail in his images.

Eugene Shinkle argues the “Aesthetic engagement with the banal … has the capacity to open up a different kind of vision, an attention to the material circumstances of looking” (Shinkle E. (2004) Boredom, Repetition, Inertia: Contemporary Photography and the Aesthetics of the Banal [online]. Redorbit.com. Available from: https://www.redorbit.com/news/health/115307/boredom_repetition_inertia_contemporary_photography_and_the_aesthetics_of_the/

In “Southampton’s Women” Magda Segal captured images of women between the ages of 20-34 years old, originally to support a health study. She captured images of the women in their own homes and also took images of the inside of the fridges. (examples below)

In all of the above works there is an intimacy. The viewer is not confronted by spectacle in order to excite the senses. Rather, the mundane, everyday, unexciting nature of the images allows the viewer to spend time analysing the imagery, inspecting the detail and recognising familiar items. I am reminded of the fascination with what is in other people’s trolley at the supermarket checkout.

References

Macmillan Dictionary (n.d.) mundane definitions and synonyms [online] Macmillan website. Available from: https://www.macmillandictionary.com/dictionary/. Last accessed: 19/08/2020.

Macmillan Dictionary (n.d.) banal definitions and synonyms [online] Macmillan website. Available from: https://www.macmillandictionary.com/dictionary/. Last accessed: 19/08/2020.

Eggleston W. (n.d.) Eggleston Art Foundation [online]. Eggleston Art Foundation website. Available from: http://egglestonartfoundation.org/. Last accessed: 19/08/2020.

Segal M. (2000) Southampton’s Women: by Magda Segal [online]. International Journal of Epidemiology website. Available from: https://academic.oup.com/ije/article/31/2/333/617701. Last Accessed 19/08/2020.

Shinkle E. (2004) Boredom, Repetition, Inertia: Contemporary Photography and the Aesthetics of the Banal [online] redorbit.com Available from: https://www.redorbit.com/news/health/115307/boredom_repetition_inertia_contemporary_photography_and_the_aesthetics_of_the/. Last accessed 19/08/2020.

A3: Self Portrait (Draft)

Overview

This assignment arrived in the midst of the unprecedented restrictions to liberty and social movement implemented by the UK government in response to the threat posed by Corona-virus. For the past ten weeks I have been restricted to living in my one bedroom flat with my dog Oreo for most of the day with the exception of one visit a week to the supermarket and one walk a day for Oreo. The experience has been surreal, especially in the early days when social hysteria resulted in deserted roads, high streets and public spaces. As the pandemic has continued the hysteria has reduced and gradually people are relaxing. However, non-essential shops, pubs, cafes and restaurants remain closed, the bustle of the high street remains a distant memory, the new emptiness resembling a dystopian disaster film.

Against this backdrop I recorded two weeks of diary entries, recording my activities thoughts and feelings at the end of each day. I discovered that taking time out to record these things encouraged me to reflect on what had happened and what I had achieved. It became obvious to me really early into the process that two elements of my life featured heavily in the majority of my current existence. My dog Oreo kept me company throughout lockdown and was never far from my side or my thoughts. My sofa appeared to be the hub of my home. I ate, studied, relaxed and napped on it. It became easy for me to identify the diary entries that I intended to use for a self portrait.

Approach

I planned to capture my daily life during lockdown by focusing on what took place on my sofa. This seemed the obvious approach because so much of my time was spent there. I planned to capture an image of the same location at multiple times throughout the day. The images were to be unstaged and captured without my knowledge or input.

I employed this approach because I wanted my work to express the feeling of monotony that I was experiencing living cooped up in a small space for weeks on end. I wanted to be present in my images but unposed and unaware of the intrusion. I also wanted to invite the viewer to extrapolate the elements of the scene into a story. This needed to work for an individual image and for the series as a whole.

Capturing the Images

Using a tripod positioned as close to head on to the sofa as I could get I configured my camera to automatically capture one image every five minutes. I then went about my day without paying any attention to it. I experimented with this approach before completing the diary entries because I wanted to know whether it would hang together. I varied the camera position and the focal length until I liked the results and then continued with this configuration for the duration of the project. My only involvement with the camera was changing the batteries every day, refocusing the lens and pressing the shutter button for the first image.

Processing the Images

At the end of the project I had many hundreds of images. I used Adobe Bridge (carousel) to cull them to a workable number by removing repetitions, those where I looked really terrible or had my mouth full of food, mid chew!

Using Adobe Bridge and ACR I edited the tone and colour of the images to achieve as close to uniform levels as I could. I am not sure at what point I felt that individual images would not convey my message adequately but at some point I decided that I could tile two of the draft images together into each final image. This approach achieved a number of things;

I could use twice the number of images to tell my story, thus more information could be presented.
The viewer would compare the two halves of each final image looking for a story to fill the gaps between the two.
Visually two tiled images were more interesting than a single. The proximity of the two halves making comparing the two easier.

I used Adobe Photoshop to fit two images onto one canvas and to match the colour and tone of each half before exporting to Adobe Lightroom where I finalised the images. I printed one or two of the final images onto semi-gloss photo paper and pinned them to my study wall for a few days and to see if I liked the results.

Images

_K3P0889

_K3P0912

_K3P0864

_K3P0848

_K3P0813

_K3P0743

_K3P0797

_K3P0709

Reflection

Overall I am happy with the results from this assignment. It isn’t exciting work and the images are far from fabulous but I feel that they meet the assignment brief. As I progressed I recognised that there were things that I could have done better…

I applied noise reduction and sharpening at the end of post processing. However I should have applied it to each of the draft images before combining them as each had different ISO levels depending on the light at the time it was captured. By applying NR to the combined image the end result was a compromise.

I could have decorated my lounge in something other than yellow wallpaper. I don’t like yellow in photographs! 🙂

I also discovered new skills whilst working on this assignment. Prior to this I had not really used Photoshop. For this work I utilised masks, clipped adjustments, gradient layers, with the associated learning curve.

Assignment 3: Tutor Feedback

Overall Comments

Very well written and expressed intro/evaluation/proposal for this assignment. Its evocative yet draws attention to the mundane regimented life under Covid-19 lockdown. The decision to approach this using a Typology strategy and presenting them as ‘cinematic’ diptychs allows all sorts of ‘meanings’ to emerge though recognisable social phenomena and codes of self-portraiture – even a postmodern nod to ‘google box’ – even though perhaps unintended – the connotations are all there which make for a rich, well researched and appropriate under the circumstances interpretation of ‘putting yourself in the picture’.

Clear integration of concept/theme and the approach strategy with which to express it. The idea to use the auto timer of the camera, captured without your knowledge or input is a very good one. The combination of the staged ‘Tableau’ self-portraits which, although a ‘mundane’ setting are rendered in a high quality, albeit machine like way with the diary entries as a narrative and formal counterpoint provokes the viewer with its mix of syles.

You could as you reflect both in the written introduction and reference to the blog (of how you got there) use more critical terminology such as ‘medium specific’ ‘Tableau’, ‘Performativity’ and ‘The Banal’ (as a photographic discourse). With particular reference to readings and research, including Shinkle on the mundane and practitioners such as machine made images of Walker Evans and the Staging questioning of representation of Philip-Lorca diCorcia (see – Readings). The emphasis on the interplay between the ‘grand picture’ (Tableau) and about the subject matter of the domestic and quotidian is well formed.

Feedback on assignment Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

Drawing from Peter Mansell’s work looked at in the course document (p; 64) there is a clear context of claustrophobia and compression but rather than use as tight square format in that series you have opted for a more ’cinematic’ 24 x 36 and tiling.
Expand on the reasoning behind this more – even though the decisions came out of a process, they still allude to contexts such as Renaissance portraiture and the self- referential (television looking back at you).

Coursework Demonstration of technical and Visual Skills, Demonstration of Creativity

Reference your findings from course work exercises in your written intro and say how you used strategies you have uncovered and been influenced by in the exercises in your assignment.

Research Context, reflective thinking, critical thinking, analysis

Not sure if I would have described it as ‘It isn’t exciting work and the images are far from fabulous’ as that’s the point! Understand the frustration of Covid lockdown but this is a very creative interpretation and in line with some contemporary practitioners. You should name it.
The images work well to represent the mundane and banal and some strong juxtapositions (for example Oreo having his biscuit (self-referential) in the diary with the more performed self-portraits. Have a look at the ‘multi-modal’ work of Jim Goldberg (i.e. diaries, mixed with snapshots mixed with more staged set ups and ‘automatic photographs) so that you see that you are borrowing traditions, ‘quoting’ from them and mixing them (which is a contemporary way of working rather than sticking to one approach).

Learning Log Context, reflective thinking, critical thinking, analysis

The blog is very well structured. Keep this idea of the ‘learning log’ as a reflective summary at the right – drawing on the ‘research’ skills in the exercises applying that to the assignments and referencing in the ‘log’. Use of Harvard in text is leading the reader to these points. Just make sure you reference the critical terminology in any written intro.
In that way strong reflective thinking in the written introduction to the work as well as the blog.
Do be rigorous as you move forward use the critical terminology in your reflections so for example:
Typologies
Medium Specificity
Staging & Tableau When it comes to the context of presentation (tile images) perhaps talk about Diptychs rathe than use vague terms such as ‘two tiled images were more interesting’ as ‘like’ and ‘interesting’ aren’t really specific enough to talk about the codes and genres that you are clearly making sense of and working with.
A nod to renaissance ideas of self portraiture combined with snapshot diaries. Page of 2 4

Suggested reading/viewing Context Camera as auto recording device.

Walker Evans: Labor Anonymous: https://davidcampany.com/anonymous-and- incognito-walker-evans/
Many Are Called:

Tableau / Staged in order to re-inforce that “people represent things. Its not personal”: Philip-Lorca diCorcia: https://www.youtube.com/watch? v=So_FK4qnz5Q&feature=emb_logo

‘Multi-Modal’ use of photographs, diaries, staged and snapshot:

Jim Goldberg – The Last Son: https://vimeo.com/196430394

Theoretical Readings on ‘The Banal’

Shinkle (2004) boredom-repetition PDF enclosed

Pointers for the next assignment / assessment

Do caption your images – rather than ‘_K3P0709’ etc use a naming system that describes the picture (could just be ‘Hollli Kalina Living Room HK001 – where HK is your initials and the first image from that iteration.
This will become ultra important in the next level when you are responding to the codes and conventions of genre and attempting to place your work within a Proffesional context (intending them for exhibition, image libraries, for publication. 10 years from now you will be try gin to find ‘ah those self-portraits I did in the living room’ and your hard drive will be full of 24 TB of ‘K3999899 random titles.
Don’t be tempted to caption images with their ‘meaning’ allow context to emerge as you have done in your very well written proposal.
Strengths Areas for development

Creative approach sampling a range of approaches

Name them and reflect on the practitioners and theoretical influences by referencing the blog.

Learning log summarising your research. Research has a function to inform the practice work so (see above) reface where you got these ideas from and use terminology

Well expressed. Not a negative point. Keep up by reading others blogs, treatments for films etc – to see how they engage the reader and ‘put images in their head’ in order to ‘sell’ the project. This can be done in a poetic way (as you do) rather then just a report. I recommend Wim Wenders (enclosed a as PDF)

A3: Self Portrait

Overview

Approach

Inspired by Elina Brotherus’s honest depiction of herself (The photograph as contemporary art p165), I wanted to include myself in the frame. My approach was to include a staged tableau but to be less performative in style. I wanted to be present in my images but un-posed and apparently unaware of the intrusion.

Nigel Shafran’s images of the banal (Shafran N. (1999) Dad’s office -1997-1999) [online] Nigel Shafran website. Available from: http://nigelshafran.com/category/dads-office-1997-1999/. Last accessed 10/08/2020. encouraged my exploration of the banal.

I employed a typology approach, confining the tableau to the extreme edges of my sofa. This repetitive imagery was employed to express the feeling of monotony that I was experiencing whilst living cooped up in a small space for weeks on end. I wanted to invite the viewer to extrapolate the elements of the scene into a story, to support the narrative in my diary entries. As explained in Context and Narrative in Photography (2020) “Creating a typology…promotes comparisons between photographs”.

Capturing the Images

Processing the Images

Using Adobe Bridge and ACR I edited the tone and colour of the images to achieve as close to uniform levels as I could.

During the editing process I experimented with cropping images to focus on the subject of the portrait but the results lacked the mundane messaging that I was looking for, appearing more like a series of candid snapshots. I decided to retain the original straight out of camera crop. Whilst not as confined as the square format of Peter Mansell’s work which we explored earlier in the course, the combination of mundane tableau and typology strategy created a similar feel. I decided later in the editing process to present the images as vertical diptychs. This approach achieved a number of things;

The number of images increased, thus more information could be presented.
The viewer is invited to compare the two halves of each final image and to extrapolate a story to fill in the gaps between the two. As explained in Context and Narrative in Photography (2020) “Visual continuity and uniformity in a set of photographs offers coherence and allows the viewer to perceive each image as part of a larger argument”.
Visually the vertical diptych image creates a stronger more confined aspect ratio than a single landscape image. The proximity of the two halves presents an aspect ratio closer to square.

I utilised some of the skills in Adobe Photoshop that I had learned earlier in the course to fit two images onto one canvas and to match the colour and tone of each half before exporting to Adobe Lightroom where I finalised the images. I printed one or two of the final images onto semi-gloss photo paper and pinned them to my study wall for a few days. Living with the images for a period of time helped to support the final editing decision.

Reflection

Overall I am happy with the results from this assignment. The final edit supports the narrative of my diary entries, the chosen presentation connotes an atmosphere of mundane repetition. As I progressed I recognised that there were things that I could have done better…

I discovered new technical skills whilst working on this assignment, using Photoshop for far more of the editing process. In the course of this work I utilised masks, clipped adjustments, gradient layers, image and layer resizing. Edits that I would normally make in Lightroom. I intend to spend more time studying Photoshop.

I could have decorated my lounge in something other than yellow wallpaper, the reflected yellow light causes problems with skin tones.