'Another Time Another Place' is an exhibition of 100 photos of Hackney in the 70s and 80s. There is a focus on the large scale manufacturing present in the borough at the time as well as the disrepair still remaining from the war. The images are an honest and insightful documentation of the people and the area, they highlight the drastic changes that have occurred in the last 40 years and encourage reflection on the controversial impacts of gentrification. The work is that of Hackney-native Neil Martinson who first began taking pictures whilst still at school in the 70s. His passion and interest grew as he flicked through the pages of photography books in Stoke Newington Library and soon saved up for a camera of his own. Having grown up witnessing Hackney's decline and increasing poverty, Martinson was naturally drawn to photographing his neighbourhood and it's community. His images were frequently used in local campaigns against failing childcare, housing, healthcare and working conditions making Martinson a key player in increasing awareness of and improving Hackney's living conditions. Martinson's images display how photography can be used to increase or improve people's freedom. He captured the prevalent poverty and inequality in Hackney, providing evidence to support the words of protestors and giving those in charge no choice other than to listen and act.
another kind of life
'Another Kind of Life' is an exhibition featuring the work of 20 photographers. The images are temporally and spatially diverse with 70 years worth of documentation and coverage of several continents. Despite differences in time and place, the images all depict the shocking and often enlightening truth about those outcasted by society. Many of the photographers spent prolonged periods of time with the people and groups they focused on resulting in intimate bodies of work. The exhibition addresses key social issues that are often overlooked making it an important, hard-hitting record of minorities globally.
Seiji Kurata is a photographer whose work features in the exhibition. The Tokyo National University of Fine Art and Music graduate sheds light on Tokyo nightlife, capturing street fights, the notorious Yakuza gang and nightclub mistresses. Kurata's images are striking because of there subject matter but perhaps more so because they defy the stereotypes often attributed to Japanese culture.
Work by American photographer Jim Goldberg also features in 'Another Kind of Life'. The self described documentary-storyteller spent ten years among young homeless people in San Francisco and Los Angeles producing the shocking series 'Raised by Wolves'. Goldberg's multi-media approach implies that the people featured had an active role to play in contributing to and creating the final piece by providing letters, stories and objects as well as by posing for photographs. The result of this is a body of work in which the feelings, thoughts and experiences of the youth are communicated free from the photographer's bias. This leaves the viewer in shock of the undeniable destitution forced upon the young people as it is presented in such an honest, raw way.
Weightless
The weightlessness felt in water creates a notion of freedom beyond that which is found on land. You're able to move without the confines of gravity and float mindlessly. As a result your thoughts become relaxed, mirroring the motions of your body. Objects also appear to be liberated once in water, their movement slows and is governed by invisible forces. In this task I will explore and capture the impact weightlessness has on objects.
my response
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I feel I was able to successfully capture the freeing effect of water on objects. The varying shades and presence of shadows make the images quite abstract and the idea of presenting familiar objects in an ambiguous way is something I would like to explore further. I think the lighting in the photos could be improved as there is not much contrast between each image, all have the appearance of being mainly grey. This is partially due to the limited light I had when taking them and partially to with the way they have been edited.
Task one-movement
A camera's settings limit and control the outcome of an image. A fast shutter speed enables movement to be captured so that it's sharp. As the shutter speed slows the object or person becomes blurred, sometimes to the point where they are unidentifiable.
Philippe Halsmann
Halsmann was a well-respected Latvian portrait photographer who made his career working for some of America's most renowned magazines such as 'Life Magazine'. Halsmann was elected as the first first president of the American Society of Magazine Photographers as well as being invited to be a member of Magnum. Some of his most recognisable work is the series 'Jumps' which consists of images of famous people jumping. The idea was motivated by a curiosity to see society's most respected and idolised unprotected by their well-rehearsed, composed public-persona. Halsmann commented on the project saying "life has taught us to control and disguise our facial expressions, but it has not taught us to control our jumps. I wanted to see famous people reveal in a jump their ambition or their lack of it, their self-importance or their insecurity."
My response
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Francesca woodman
Francesca Woodman was an American photographer born into a family of artists. Her experimentation with photography began when she was given a camera aged 13 and so by the time Woodman was a student at the Rhode Island School of Design she had a well developed and unique body of work. Sadly at the age of 22 Woodman committed suicide, knowing only the admiration her family, friends and peers had for her images. The distinct, blurred photos which mainly feature herself or other women in deteriorating rooms are now recognised and exhibited worldwide. Her work is celebrated for it's exploration of sexuality and unapologetic use of nudity. In this way Woodman's work is a perfect embodiment of freedom of expression particularly from a feminist perspective.
My response
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Laurence demaison
French-born Demaison trained to be an architect at the Strasbourg School of Architecture before devoting her attention to photography in 1990. The self-taught photographer produces eerily beautiful images, often of herself in the form of distorted figures and faces. Demaison relies on the seemingly unlimited capabilities of the analog camera and the darkroom to manipulate her self-portraits. Aided often by water and mirrors Demaison is unrecognisable in her images, she describes them as "paper phantoms".
My response
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I think my response to Philippe Halsmann was the most successful and I feel that the setting in which they were taken compliments the overall strange appearance of the images. The bland brick wall in the background emphasises the movement of the people and the ordinary environment contrasts with the boy's unusual poses effectively. My Francesca Woodman response would be more successful if the setting was different. I think the dilapidated rooms in which Woodman took her images are what make them so remarkable. They contribute to the eeriness created by the ghostly figures and so the background in my images has the opposite effect and diminishes this. To improve I should repeat the task in a more interesting environment. The Demaison images could be further developed using different techniques such as water to distort the portraits. I also think that the person being photographed needs to be in plain clothing or for their clothing to be out of frame as it detracts from their face.
task two-pushing the limits of photography
A good photo is determined by a set of standardised criteria and anything that differs from the norm is deemed as being of lesser value. This criteria involves factors such as whether an image is in focus, the choice of composition and level of exposure. Challenging these rules of photography alters our understanding of the practice and presents alternative and unique ways of capturing our environment.
Focus-ralph eugene meatyard
An American optician turned photographer, Meatyard developed his interest for the art form as a member of the Lexington Camera Club. Despite his work being acknowledged and celebrated worldwide and displayed amongst work by photography heroes such as Ansel Adams and Edward Weston, Meatyard insisted he was only an amateur. His most well known images feature experimentation with masks and the idea of identity, challenging ideas about concepts explored in photography. Meatyard's series 'No-focus' on the other hand encourages us to question the basic practicalities of photography. Three months were spent taking photos through an unfocused camera, Meatyard then waited at leat two months before developing the negatives so he was unable to remember and identify what he had captured. The aim was to "learn to see No-focus" and detach the images from reality.
my response
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My response demonstrates the effect altering the focus can have. By editing the photos so that they're black and white, the structures that begin to fade as the focus softens are prevented from doing so as the contrast helps define them. To improve I would repeat the task using more interesting items/environments. I would like to experiment with focus further because I think it is effective in creating ambiguity.
composition-Uta barth
Uta Barth is a German photographer who lives and works in California. Her images feature objects and scenes from everyday life however, through composition Barth is able to present the ordinary in an an abstract way to the point where something familiar becomes unrecognisable. She states that "I keep trying to shift the viewer's attention away from the the object they are looking at and toward their own perceptual process". Barth has work in the collections of The Museum of Modern Art in New York and the Tate Gallery in London as well as several other established galleries.
my response
I like the way in which altering the composition of a photo challenges your perspective of a familiar environment or object. I think the most effective images are the ones with large amounts of negative space as it concentrates focus onto the few things present in the photos. To improve my response I would change the setting in which I took the pictures, for example by focussing on a domestic setting similarly to Uta Barth. I would like to use alternative composition in future developments as well as negative space as they transform an image that would be fairly ordinary into something more interesting.
exposure-sally mann
One of America's most celebrated photographers, Sally Mann is renowned for her controversial images. Mann uses light and an unapologetic approach to her subject matter to create photos that are both visually and conceptually striking. The Virginia-born photographer has received multiple awards, had work exhibited worldwide and published a range of successful books. Mann uses exposure to create a focal point, highlighting contrasts in landscapes, bodies and faces.
my response
What makes Mann's images so remarkable is the subject matter. For example her photos of children are already remarkable and the experimentation with exposure only enhances the surreal nature of the environments she presents. My images lack an interesting point of focus and so are therefore far less effective. To improve I should repeat the task with more thought given to what my images are of.
post production-Keld Helmer-peterson
An image can be further manipulated in post-production making the number of different outcomes almost endless. Keld Helmer-Peterson was a Danish photographer most renowned for his photos of patterns and details hidden in urban and rural landscapes. Helmer-Peterson presents familiar environments in an abstract way challenging our perceptions of the world around us. In his series 'Black Noise' high contrast black and white images are presented. Large amounts of negative space can be seen and some of the photos are coupled with pieces of text. This encourages the viewer to appreciate the area around the focus point and acknowledge the impact words can have on conveying the idea or meaning behind a piece of work.
my response
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I think removing the colour and increasing the contrast using the post-production above effectively focusses attention onto patterns in the images that would previously have gone unnoticed. I would like to explore the way in which a multi-media approach can be used to enhance the impact of an image, similarly to Helmer-Peterson's work. Although an image in itself is highly effective and often powerful, I feel as though combining multiple mediums together is in some cases necessary to communicate a deeper, more complex message. To develop my response to Helmer-Peterson I would attempt to do this.
damage-GERHARD RICHTER
Photographs are deemed as being precious, to damage them is to ruin what has been captured. However by defying this rule you discover that new meanings can be created, adding to an image and it's subtext even when something is being taken away. This defies the limits of photographic norms.
Born in 1932 the German visual artist, Gerhard Richter, had a keen interest in art from adolescence and was encouraged by his mother to persist with his obvious natural talent. In 1951 Richter began his studies as a painter at the Dresden Art Academy surrounded by the shells of buildings in post Germany and the heavy influence of socialism. Richter is best known for his experimentation with paint and photography. This interplay between the two mediums results in abstract compositions where landscapes and people appear partially or completely obscured from view.
my response
I enjoyed using paint and other materials to try and give new meanings to the images. I feel as though Richter's work, although very different, links to Helmer-Peterson's work in the way that different mediums and methods are combined to create a final product. Both aim to produce a result that is more powerful than what would have been created if the approaches had been used independently of one another. By using someone else's photos it provided me with a freedom that I would not have had had I used my own images. Because you know the messages you intend to convey with your own work, I think it is harder to manipulate them and change their fundamental meaning in a secondary process. You are more detached from another's person's work as you are unsure of their objective and so the process becomes easier. To improve my response I would like to experiment with more methods and mediums. I also feel my responses are quite literal and would like to repeat the task taking more time to think about what I am trying to convey and how I am going to do it.
task three-limiting space
People's behaviour is impacted by their environment. The way someone interacts with their surroundings can denote elements of their personality. As a result by changing a photographs setting you are able to explore the different characteristics that form a person. For example by limiting the amount of space a person has may provide solace for someone introverted and so they appear relaxed whilst an extrovert may feel restricted and awkward.
irving penn
American photographer Irving Penn attended the Philadelphia Museum School of Industrial Arts where he was taught by designer Alexey Brodovitch before beginning his 66 year long devotion to Vogue where he produced his most celebrated work. Penn's success is largely due to his original take on fashion photography, making the environment as much part of the image as the person and encouraging an interaction between the two.
my response
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I think my response to Penn's work would have been more effective if it had been on a larger scale or if I had taken the photos using a wider angle. I don't think it is immediately apparent that the people are in a cramped space and so they are not as effective as Penn's. The people in the images knew the environment in which they were going to be photographed and I think this hinders the impact of the images as well. The photos would expose more about people's relationship with space if the scenario was unknown to people until they arrived, giving them no time to think and prepare how they might act. To improve my response I would focus on the two elements referred to above.
Response based on the Photopedagogy workshop at the Tate Exchange
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The colour in my response adds to the playfulness of the task as well as helping to frame the people in each image. However, I think more thought could have gone into what parts of the body I wanted to focus on and how the paper could be used to do this. To improve my work I could use different sizes of paper, encouraging me to consider scale.
willi dorner
Willi Dorner studied at the Austrian Society for Dance Therapy and uses his dance experience to create works of art such as his Bodies in Urban Spaces project. This involved brightly dressed dancers, performers and climbers running through public spaces and slotting into gaps such as doorways and between buildings. The aim was to draw the attention of passersby to their environment and to encourage reflection on how they themselves move within the space.
my response
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I think the key thing my images lack is a visibly public environment. Having members of the public in Dorner's work contextualises where they are taken which is crucial to the main aim of his work. Without this, my images are far less effective and so to improve I should repeat the task in a busier setting. I also think the 'hiding people' are too obvious in my response. In Donor's photos it is not always apparent immediately that people are nestled into holes and gaps which means the impact when they are noticed is greater. I should try and incorporate that into my improved response too.
strand One-composition
There are certain rules in photography that you're expected to adhere to such as the rule of thirds when composing an image. This strand will explore the outcome produced when these rules are disregarded using the urban environment as the point of focus.
Lewis Baltz was an American photographer who's passion for photography grew from the age of 14 when he began working in a camera shop. From as early as the images submitted for his master's degree thesis at the San Fransisco Art Institute, Baltz had a clear point of focus and a unique way of presenting it- a minimalist perspective of American urbanisation. In the early 1970s, development was occurring at a rate and in a way the southern states had never seen and yet the attention given was nowhere near equivalent to the scale of the change occurring. Baltz was inspired by this mismatch, feeling very aware of the transformation taking place and of the fact that few people were acknowledging it, and so used his camera to document the altering landscape. "You could watch the changes taking place and it was astonishing... It seemed no one wanted to confront this; it was invisible." The element that makes Baltz's work most striking is that it is a simple record of the ordinary, he makes no attempt to romanticise the landscapes featured and in doing so is honest in his depiction of America at the time (seen below). However, this does not mean that the photos are in themselves ordinary. There is no obvious point of focus in the photos and so you are encouraged to take in all the elements equally. Patterns and shapes form first, followed by the realisation that you're looking at a warehouse or the wall of a building. I would like to respond to my first strand with Baltz's approach to highlighting the ordinary and often overlooked elements of the environment in mind.
my response
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My images present an alternative view of London. By focussing on different ways to compose an image I became more aware of naturally occurring shapes and patterns in the urban landscape. If I develop this strand I will repeat it in different settings such as a more rural environment or within the home. I think it links in some ways to my third strand as familiar buildings are presented from a different perspective, encouraging you to reflect on and challenge the way in which you observe your surroundings.
strand two-darkroom manipulation
There is a set process you're meant to follow when developing a photo. This strand will explore what happens when you diverge from this process and are no longer limited by convention.
Although I was successful in producing images in the darkroom I did not take full advantage of the different ways in which the process can be altered and manipulated resulting in fairly uninspired prints. To develop this I should decide on a set subject matter and have a series of similar photos that I then develop in different ways, the end product being a set of images that look different despite being a documentation of the same thing. My favourite of the images are the ones where people's faces are obscured due to where the developer has been dripped. They link to the running theme that has become apparent in my other two strands- ambiguity and presenting the familiar as unfamiliar. I would therefore explore this further in my development as well and the different ways in which it can be achieved.
strand three-familiar made unfamiliar
devlopment one
German photographer Andreas Gursky is best known for his large scale, highly detailed photos documenting people and places across the world. His lesser known work includes abstract images of unusual subject matter such as ceiling tiles (seen below). In his most recent exhibition at the Hayward Gallery in London a photo showing a piece of grey carpet (seen below) is displayed amongst large landscapes and busy depictions of stock exchanges, Gursky's description next to it reads 'the extreme close-up defamiliarises the object almost beyond recognition, defying our expectations about what is worth photographing.' Gursky's approach to defamiliarising objects and environments has inspired the key focus of this strand.
We don't appreciate the shapes, shades and patterns hidden in everyday objects. This strand aims to draw attention to the often unnoticed beauty hidden in the familiar that we have become immune to. The first series focuses on objects found in the kitchen, because they will be familiar to everyone and so present a challenge in terms of stripping them of characteristics that define them. I want people to see a beautiful image first and for the realisation of what it is of to come second in the hope that their perception of what can be considered pleasing will shift. This challenges the limitations we put on what can and can't be deemed beautiful.
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I am happy with the outcome of this strand. I think I successfully photographed the objects in a way that makes them unfamiliar at first and by shifting the depths of field and making them monochrome the everyday objects appear beautiful in some respects. I would like to develop this strand by photographing other collections of objects from around the house, focussing on trying to make the familiar, unfamiliar and the ugly, beautiful.
When taking the pictures I tried to produce variations between the images in order to gain an idea of what approach worked best. This was done in terms of the amount of light and presence of negative space in particular. The two images above are a sample of the series that display the extremes of both of these elements. I think the large amount of negative space in the photo on the left concentrates focus onto the object. The softer focus also increase ambiguity and creates a larger contrast between the greys, emphasising the shapes present. The image on the right is stronger in terms of texture. The reflection of light on the metal gives the impression of an industrial setting and helps highlight shapes that may otherwise have been missed in such a busy image. I would like to use elements from both photos, representing either end of the spectrum, to development my response. I am going to pay specific attention to my use of negative space and texture.
development two
The second development focusses on one of the two components I identified above-negative space. The purpose of this strand is to explore the beauty in everyday objects, by overcrowding the image as I did in some of the photos above, I think I detract from the simplicity that makes each item beautiful. Having fewer objects concentrates attention onto minor details. This increases awareness of the shapes and shades present and challenges people further to reflect on the boundaries that they put on beauty.
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I think I successfully met the brief I set for myself in terms of focussing on negative space and how it can be used to enhance an image. However, by making them less crowded I feel as though the stark contrast present in the first development is now absent as well as some of the ambiguity of the objects. This has helped me to realise that a balance needs to be met between the amount of objects and amount of negative space for my objects to have the greatest impact.
Once again I tried to create variation in my response. For this development I experimented with colour to see if it highlighted the hidden beauty in the household objects in a way that monochrome hadn't, as well as contributing to their ambiguity. Comparing the two images above I feel as though the blue outlines shapes that are lost in the black and white. I also like the subtle differences in shade that are more apparent in the colour photo. To some extent I think the colour may result in the items being more identifiable, despite this however I would like to utilise it more in my next few developments because of the added emphasis it puts on shapes present.
development three
Dan Tobin Smith is a London based photographer whose work, although varying in subject matter, consistently focuses on structure and form. In his series 'Skin Issue' he uses still life photography to transform harsh, ominous tools into beautiful shapes (seen below). Although the contrast of the dark implements against the white background resembles a bleak industrial environment, the overall impact is softened by the use of light to emphasise the presence of shadows and reflections. I think Smith's still life approach is incredibly effective, mainly due to his use of negative space. As this links to one of the elements I identified as a point of focus in my earlier work, my third development will explore how presenting objects in a still life format can contribute to the effectiveness of an image.
For this development I redirected the focus onto objects found in the bathroom, applying the same technique of taking close up images. I tried to keep in mind the elements I identified when analysing the successes of the previous responses- negative space, texture and colour. However, I was also influenced by Dan Tobin Smith's use of still life. I think this was an appropriate way of presenting the objects for this response because the outcome is quite clinical which felt suitable for objects characteristic of the bathroom.
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I think this development is an improvement from the previous two. I made a conscious effort to include negative space in the images and in doing so ensured that the individual elements weren't lost. The still life inspired photos reduce the ambiguity of the objects but increase their surreal quality. Although this was not one of the aims of the strand, I like the impact it has and think it still adheres to my more general focus of abstraction. I also think that I used colour more effectively. The muted yellow and blue tones contribute to the cold, clinical connotations associated with the objects of focus. Although, I began to experiment with texture in this response, I feel that that is an element that I need to explore more in my next response.
The images above demonstrate how I have started to explore texture. I think the photo on the right is more successful as the shallow depth of field creates a bigger contrast between the different surfaces present and so in doing so enhances the texture of the object. In my next response I will try to concentrate on depth of field as a means to intensifying the appearance of the objects. However, I think I also need to give more thought to the actual textures present. I need to reflect on what will work best and be pronounced enough to be effectively expressed through a photo. For example, I think the main reason the image on the right is significantly better than the one on the left is because of the choice of objects. The rough texture of the face sponge is distinctive and so is enhanced by the camera and specifically by being in black and white. The tissue on the left on the other hand becomes lost as it has a far softer texture.
development four
I chose food as the focus point for this development because I felt as though it would enable me to experiment with texture. I found that using food also gave me more control over the outcome of the images as I was able to manipulate it in a way that wasn't possible with the other objects, for example by breaking up pieces of spaghetti and organising their formation.
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Texturally, this was my most successful response. As a collection of images they work well because of the extent to which they vary, I particularly like the contrast that exists between the softer, floral appearance of some of the food and the grainy, rough appearance of others. Although majority of the photos are in black and white, I think the colour that does feature is used effectively and does not disrupt the ambiguity of the objects as it would have done for some of the food. On reflection, I should have further experimented with the still life format inspired by Smith's work as I liked the surreal effect this had.
I think this is one of my most successful images so far in terms of the elements I have identified at each phase of development to focus and improve on. By centring the point of focus and keeping the composition fairly simple there is a suitable amount of negative space. As a result the shapes and colours are enhanced as they're not overwhelmed and lost in emptiness. The colour is sharp and the bright lighting allows the variations in shade to be seen as well as the shadows, which add another dimension to the photo. Although the texture is conveyed to some extent, aided by the sharp shapes and angles, I think it is the element that this image is lacking most. If it had been taken with a shallower depth of field it may have been stronger texturally. Although the aim of this strand is to defamiliarise the familiar, I think it is important for the objects to be recognisable after time is spent looking at them. This is because in order for people to see that they are overlooking the beauty hidden in everyday objects they must be able to make the connection between the abstract shapes shown in my photos and the reality of what they actually are- this can't happen if what is featured is completely unidentifiable.
development five
Objects found in the bedroom and more specifically items of clothing were my focus for the fifth development as I felt this was a natural progression after documenting both the kitchen and bathroom. Once again I had in mind the key elements I have identified previously, however texture was the prime focus as it was the one I felt I had neglected most in my other responses.
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The response is relatively interesting texturally, however I think it lacks the definition and colour present in some of the other developments. I like the shapes created by the folds in the material and feel as though the contrast between light and dark effectively emphasises these. However, I also think that all of the images are very similar which means that as a series its quite bland and unremarkable. I should have experimented more with the clothing to find a different way of presenting it more interestingly.
development six
American photographer, Irving Penn, is one of the most celebrated artists that has come out of the 20th century. His success developed from his creative approach to photography during a time when it was merely seen as a form of communication and documentation. Penn had attended the Philadelphia Museum School of Industrial Arts and worked at both Harper's Bazaar and Vogue before it was suggested to him that he had a skill for photography and that it was something he should pursue. After this he went on to develop his own style that was mainly centred around a studio setup and still life format. Penn's series 'Cigarettes' is one of his most well known pieces of work, aside from his fashion photography. The photos (seen below), showing cigarettes Penn had found on the street, transformed items of common rubbish into what some have described as 'a symbolic representation of contemporary culture'. Through the use of macro focus and harsh contrast, the detailing of the cigarettes is emphasised and their transformed into beautiful, almost insect-like forms. The notion of presenting objects ordinarily disregarded as rubbish in a way that transforms them into something pleasing is the point of focus for my sixth development.
Inspired by Penn, the focus of this response is rubbish. This proved to be more difficult than the other developments because of the strong negative connotations associated with rubbish. However, despite this I think the potential message communicated by the images could be stronger than the other developments. This is because as well as being a comment on perceptions of beauty it could also be a statement on the amount of waste in our society, particular in relation to plastic.
selects
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I found it harder to present the objects as ambiguous in this development than the previous ones. I think the transparent quality of the items I chose was one of the reasons for this as it was harder to focus on a particular element and create a sense of depth of field. However I think their transparency contributed to the images in the sense that it allowed me to experiment more with reflection and shadow. This has inspired me to explore the way in which light and shadow can be used to transform or distort in my next development.
development seven
This development differs from the previous ones in the sense that my focus was the environment rather than objects. Similarly to with items, when a setting is familiar we fail to notice details that deserve to have more attention paid to them. I think different shapes and patterns of light that can be found projected onto walls and floors is a prime example of this and so I focused on these for my seventh development. I was also inspired by Uta Barth whose work I looked at as part of a set task (which can be seen above). Her images of domestic settings are beautified by illuminating strips of window light as well as her use of soft focus and muted tones (shown below). Barth's images show an attentiveness and appreciation for the every-day that I think we lack and should try to learn.
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Although this response is not as abstract as my previous ones I think it achieves a similar outcome by challenging perceptions of beauty. I particularly like the different shapes created by the light and shadows and I feel as though the components I identified previously regarding negative space and colour are used effectively. I think the images that are more concentrated on shadows are the most interesting structurally and so I would like to focus more on shadows in the environment in my next development.
development eight
Shadows tend to be overlooked because the focus is concentrated on the object creating it. This means we fail to notice abstract patterns and shapes hidden in our environment that are often beautifully intricate, varying in form and intensity. As with the other responses, my aim with my eighth development was to find elements hat could be used to persuade people to pay more attention to their surroundings and to expand the boundaries they put on beauty.
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I think the images in this response work well as a series because of the combination of contrasting and complimentary shapes and shades. The harsh, angular lines of some of the shadows are emphasised by the more gentle curves of others and the distinct difference between light and dark further contributes to this by outlining the shapes. I think this response, along with my seventh development, diverge slightly from the main focus initially established. As a result I don't think they're as successful and feel as though my final piece should be based on my first few responses. However, I think the idea of light and how it can alter our perception of an environment is interesting and would like to develop it further but as it's own project. The images taken for my seventh and eighth strand focus of light and shadow at quite a small scale and I think it would be interesting to explore their presence on a larger scale, for example within an urban landscape.
final piece
I chose to base my final piece around the images I produced for the responses centred around the kitchen, food and bathroom as they were the best technically and in terms of defamiliarising the objects. I selected the fifteen photos shown below as I felt they were the most successful in particular and because they vary enough without hindering the extent to which they work together as a series. I decided to recontextualise the photos by sticking them up and rephotographing them in locations relevant to the objects of focus. The motivation behind this was the reasoning that for the images to have the greatest possible effect in relation to the aim they can't be completely unrecognisable. People need to be able to realise what they are looking at in order for their perceptions to be challenged and I wanted to use the setting in which the photos were presented as a clue to what the objects were. The kitchen images were stuck up in a local cafe, the food images in a corner shop and the bathroom images in a school toilet.
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edits
When taking the photos in each of the locations I wanted the presence of my images to be apparent without detracting from the location. The underlying aim was to return the objects to their environment and so I wanted them to almost blend into their surroundings rather than appearing detached. I found the most effective way of doing this was to display them as plainly as possible, using masking tape to stick them up as if they were a leaflet or advert and positioning them amongst pre-existing items. I also tried to capture people in the photos when possible as this contributed to the idea that the prints were part of the environment and that the objects had been returned to where they were once again familiar. Although I wanted the images to blend in to a certain extent I wanted them to be noticeable enough and different enough for there to be a juxtaposition. I aimed to create a subtle surreal quality through the contrast between the abstract prints and the everyday environments.
The series taken in the three different locations each have their own strengths and weaknesses. I think for all of them I chose a suitable setting to rephotograph the prints in. This provides some clue as to what the photos are of, however I feel that in terms of the relationship between the image and environment, the cafe series is the best. I think this is mainly due to the fact that the photos hanging on the wall provide a fairly surreal atmosphere because of what they are of but also because they prevent the prints form looking too out of place. The fact that they are nestled amongst frames and mirrors means that my images look more as if they are part of the environment compared particularly to the bathroom series. I think the images taken in the shop are the strongest on terms of colour. The vibrancy of the items in the shop creates a contrasts with the black and white prints that is absent in the other series. However, I struggled to integrate the prints with their setting the most in the shop. I think this was because they were too big in comparison to the items present and so dominated the overall composition rather than blending in as I intended. On reflection I would use smaller prints or spend more time trying to think of alternate ways to display them to prevent them from being so overbearing. I think the bathroom series is effective in terms of it being quite surreal. I think that people, upon seeing that they're taken in a toilet, will pay more attention as this is an unusual setting for photography. I also think that the location matches the clinical quality of the prints. However, I think the bathroom series could be improved in terms of colour. Although the yellowy tones contribute to the clinical atmosphere, the photos would benefit from the presence of at least another colour of a similar mellow tone to create some variance.
In terms of the success of my final piece in relation to the exam title 'Freedoms and/or limitations' I think I have responded well. I began my strands with the intention of experimenting with an abstract approach to photography. This in itself links to 'freedoms' because it seeks to find new and different ways of communicating ideas and presenting people, objects and environments that often defy the constraints created by conventional art. The main aim of my third strand, which inspired my final piece, was to challenge perceptions of beauty by capturing objects in a way that transfigured them. This confronts the limits we put on what can be considered beautiful and urges people to be more open-minded.