Exploring a Virtual Gallery -
Futurism -
GJON MILI -
Futurism was founded by Italian poet Filippo Tommaso Marinetti in Milan, 1909. The avant-garde movement centres itself around speed, energy, movement, dynamism, change, the power of the machine and the chaotic agitation of post industrial Italy. What started as a wave of poetry quickly made itself prominent in the art world and subsequently was adopted by many photographers such as Giannina Censi, and Bendetta, both female artists who fought their way through the highly misogynistic and fascist movement. Another photographer who is renowned for this particular style is Gjon Mili whose works are below; what fascinates me about his monochrome long exposure shots of characters in motion is that they don't show just one but many moments in time in a singular frame. The absence of colour adds to the obscurity of the images as well as drawing attention to shape and form that play such a vital part in the compositions. My favourite photograph from below depicts the naked body of a woman in motion, perhaps dancing, as it produces a rare and beautiful abstraction of a subject that is so familiar to us - the human form. The multiple versions of the models body draws attention to her importance as well as offering many viewpoints of her stance; this to me is more empowering than a single shot of a model as it indicates freedom and a lack of restriction in front of the camera which suggests she does not have to be perfect from every view. I addition to this photograph I am intrigued by the images that indicate other stimuli in the scene. For example the photos of the musicians and dancers imply that music is being played as they were taken which make them more immersive to a viewer as more information is given. This is similar to what I want to achieve in my own work so viewers don't only feel like they are watching a scene, but they are actually there.
Luigi Russolo and his Art of Noises -
Subjective Photography -
OTTO STEINERT -
Subjective Photoshoot -
Second Subjective Photoshoot -
Photoshoots -
PHOTOS THAT PLAY WITH LIGHT -
PHOTOS TAKEN IN A MIRROR -
Mirrors do not only create interesting photographs when portrayed aesthetically, but allude to the idea of reflection and looking into a window of time. From the interesting light produced to the distorted images that appear when you look at the mirrors edge, these photos work well to tell a story of reflecting on the past. As indicated below, these objects will often display certain views that would not be visible without its help thus introducing us to new ideas and perspectives through the act of cerebrating.
AROUND THE HOUSE -
Paul Graham -
'PHOTOGRAPHY IS EASY, PHOTOGRAPHY IS DIFFICULT'
What's easy about photography is that when you break it down it is essentially just pressing a button and nowadays it can be as simple as using your phone. It's cheaper and easier so more people share this interest and the lack of rules means anything can be a subject. Photography is rooted in using your senses which is something that is far from unfamiliar to us in everyday life so it is easy to carry out. The difficulty lies in the simplicity of it. and it can be overwhelming how many opportunities we have to take pictures at every second of the day. Photos may appear in our mind but the moment often passes leaving us looking for new ones to arrive. This influx of ideas may hinder you from moving forward with your work but Graham stresses that we shouldn't let it stop us.
Graham implores us to think less about a project and subject matter when getting started as he doubts that famous photographers were stuck in that mindset throughout the early stages of their careers. He says that we should just get started and take photos of what we want which could be anywhere from your bedroom to across the world - it doesn't matter. In terms of themes, he says that 'the more preplanned it is the less room for surprise' which will stop your ideas from finding you.
Whats beautiful about your photography is that without you it wouldn't exist - whatever we make of our own work in the end it is still a contribution to the world that tells its unique stories and showcases its life and people. I agree that this makes it beautiful because no matter how much photographs may vary, the majority of them depict the world we all live in. What I like about Graham's work is his focus on people as it voices different personalities and tells an account of England. For me, the photos evoke memories of living in the UK and adopt a visual accent that indicate the location. I am interested in documenting the people around me from loved ones to strangers as I believe every photo adapts to each individual character which is fascinating.
Graham implores us to think less about a project and subject matter when getting started as he doubts that famous photographers were stuck in that mindset throughout the early stages of their careers. He says that we should just get started and take photos of what we want which could be anywhere from your bedroom to across the world - it doesn't matter. In terms of themes, he says that 'the more preplanned it is the less room for surprise' which will stop your ideas from finding you.
Whats beautiful about your photography is that without you it wouldn't exist - whatever we make of our own work in the end it is still a contribution to the world that tells its unique stories and showcases its life and people. I agree that this makes it beautiful because no matter how much photographs may vary, the majority of them depict the world we all live in. What I like about Graham's work is his focus on people as it voices different personalities and tells an account of England. For me, the photos evoke memories of living in the UK and adopt a visual accent that indicate the location. I am interested in documenting the people around me from loved ones to strangers as I believe every photo adapts to each individual character which is fascinating.
Allowing ambivalence and ambiguity to seep in is more important than certainty and clarity.'
Alec Sloth
Anthony Meyerowitz -
As a Photographer, a pivotal moment in Meyerowitz's career was when he took an intimate photo of a couple through a glass window. This was a nerve racking experience for him and one of the first photos that launched his line of work and from this point onwards Meyerowitz has taken an interest in street photography, focusing on the streets of New York. An inspiration for the photographer was the French Humanist Henri Cartier-Bresson whose work chronicles the lives of fellow citizens. Another big influence for Meyerowitz was Robert Frank with his static methods of photo taking heavily encouraging the Joel to adopt this style in his own work. Up until seeing Frank's work, he wasn't sure about what he wanted to do in life, but with support from his former boss who bought him a camera, Meyerowitz took up the career route.
A big problem that the photographer had to overcome was his hesitance to taking photos in the street and his shyness towards his subjects. He faced this issue by starting projects in street parades as 'nobody thinks there is anything odd about a photographer at a parade, so that gave me my invisibility.' Meyerowitz and his friend Garry-Winogrand took to the street of New York and together tackled the tricky task of taking pictures of strangers. Nowadays, shyness is the leas of the photographer's problems and he has moved his complaints to the fact that 'nobody's looking at eachother' and are instead 'glue to their phones' which he believes makes for less interesting photos.
Something about Meyerowitz that inspires me is his adamency to getting the picture he wants, for instance after the 9/11 attack where he told protesting police officers that he 'can do what the fuck I want. And [he] did.”
A big problem that the photographer had to overcome was his hesitance to taking photos in the street and his shyness towards his subjects. He faced this issue by starting projects in street parades as 'nobody thinks there is anything odd about a photographer at a parade, so that gave me my invisibility.' Meyerowitz and his friend Garry-Winogrand took to the street of New York and together tackled the tricky task of taking pictures of strangers. Nowadays, shyness is the leas of the photographer's problems and he has moved his complaints to the fact that 'nobody's looking at eachother' and are instead 'glue to their phones' which he believes makes for less interesting photos.
Something about Meyerowitz that inspires me is his adamency to getting the picture he wants, for instance after the 9/11 attack where he told protesting police officers that he 'can do what the fuck I want. And [he] did.”
For me colour is essential; I instinctively felt I needed it to give my work force. Just as we have smell memories, we have colour memories. I mean the world is in colour right?"
The many lives of William Klein -
William Klein is a New York born photographer and Filmmaker whose work became popular through his wry and satirical depiction of 1950s New York. The mischievous and inquisitive personality that he introduces to us in the film, is reflected in his photography, often producing humorous, experimental and ahead of their time images. From the photos in New York, Klein created what is said to be the 'most influential photographic book ever published' called Life is Good and Good for You in New York. What fascinates me. about Klein's approach to photography is his interest that runs deeper than just taking a nice image; he is intrigued not just by his subjects in appearance but their life and stories. We see in the film that the photographer has a love and talent for getting to know everyone he comes across which makes them feel comfortable enough to be photographed. Unlike fellow photographer Henri Cartier-Bresson - whose camera was bought by Klein - the subjects we see in his work are often blurred, in very close range or obscured by other people. The composition of his photos tend to appear staged due to the subjects seemingly being perfectly positioned. Although some of his shots were preplanned, Klein is known for his impressive reportages.
After living in America during his youth, Klein moved to Paris where his long exposure photos of painted panels caught the attention of vogue. Subsequently, he was employed as a photographer at vogue with a number of his photos having a huge impact on the fashion world. Much like his excitable and defiant nature, Klein's fashion photos were brave and daring, particularly at the time they were taken. Some of my favourite photos by the photographer were taken for Vogue as they pair beauty and elegance with chaos and movement. Klein had teasing relationships with many of the models which arguably enhances the relaxed experimental feel of the images . In recent years, Klein has worked over his old negatives, painting his thought process and then blowing them up as massive prints.
Over his 60 year career William Klein has created a range of films many of which have been deemed as unorthodox. In fact Far from Vietnam, about the Vietnam war ultimately led to the photographer being fired from his role at Vogue. Other films include Broadway by Light, an early pop art classic that dwelled upon themes of consumerism and 'continue [his] diatribe against America in a candy coloured heaven.' The film contrasts heavily to his infamous black and white photos of people on the street due to its bright colours and subordinate messages regarding his hatred towards America. A forgotten classic created by Klein is Cassius the Great, a documentary that portrayed Muhammed Ali at the beginning of his career and spoke about the racial tensions and oppressions he had to face. I can take influence from Klein using film as a platform for political reform as well as his willingness to completely vary his style, from the monochrome photos on the street to his trademark red and black branding in Moskau, 1964.
After living in America during his youth, Klein moved to Paris where his long exposure photos of painted panels caught the attention of vogue. Subsequently, he was employed as a photographer at vogue with a number of his photos having a huge impact on the fashion world. Much like his excitable and defiant nature, Klein's fashion photos were brave and daring, particularly at the time they were taken. Some of my favourite photos by the photographer were taken for Vogue as they pair beauty and elegance with chaos and movement. Klein had teasing relationships with many of the models which arguably enhances the relaxed experimental feel of the images . In recent years, Klein has worked over his old negatives, painting his thought process and then blowing them up as massive prints.
Over his 60 year career William Klein has created a range of films many of which have been deemed as unorthodox. In fact Far from Vietnam, about the Vietnam war ultimately led to the photographer being fired from his role at Vogue. Other films include Broadway by Light, an early pop art classic that dwelled upon themes of consumerism and 'continue [his] diatribe against America in a candy coloured heaven.' The film contrasts heavily to his infamous black and white photos of people on the street due to its bright colours and subordinate messages regarding his hatred towards America. A forgotten classic created by Klein is Cassius the Great, a documentary that portrayed Muhammed Ali at the beginning of his career and spoke about the racial tensions and oppressions he had to face. I can take influence from Klein using film as a platform for political reform as well as his willingness to completely vary his style, from the monochrome photos on the street to his trademark red and black branding in Moskau, 1964.
Writing about the photography -
HELEN LEVITT - NEW YORK, 1940
WHAT IS HAPPENING IN THIS IMAGE?
T his photo portrays the bittersweet scene of kids playing in the street with seemingly broken toys and bikes. I would say it is a joyous shot due to the happiness that the children emulate however it is also upsetting as we see the children making their way through a life in poverty in 1940s New York.
WHY HAS THE PHOTOGRAPHER STOPPED TO TAKE THIS IMAGE?
Because it is a clear portrayal of how these children find their entertainment and shows a joyous moment that I can imagine made the photographer happy to take.
HOW WOULD YOU DESCRIBE THE COMPOSITION OF THIS PHOTOGRAPH?
The composition of this photo is interesting as it pairs a sense of chaos and randomness with the feeling of being staged as the frame and some of the characters are faced towards the camera. Although some of the children are looking away from the camera, they are all in a position that allows one another to be seen which resembles the style of William Klein.
TRY TO DESCRIBE HOW THE PHOTOGRAPHER WAS ABLE TO TAKE AN IMAGE LIKE THIS -
I would imagine that the photo was taken in the moment with the photographer doing little in the way of planning. It appears to be a scene of which the photographer has just stumbled across and snapped the shot quickly before it went away.
HOW MIGHT SHE WORK ON A DAILY BASIS?
With speed and accuracy - these scenes that have been depicted appear in the moment and fast pace which indicates tot us that the photographer has to be used to working like this. Levitt clearly has a good eye for composition with the final photograph looking almost like a movie still.
WHAT CAMERA MIGHT SHE HAVE USED?
The photographer likely used a film camera to snap these shot - we can infer this from the aged look of the image and the content that dates us back to the 40s.
HOW DOES THIS IMAGE MAKE YOU FEEL?
This image makes me feel happy to see the children making their own fun but it also concerns me that they are out alone on these busy streets. This suggests a time where social standards were very different and kids were given more independence. There is also a lack of modern technology and fashion in the picture so I feel like I am looking into a snapshot of an outdated period
T his photo portrays the bittersweet scene of kids playing in the street with seemingly broken toys and bikes. I would say it is a joyous shot due to the happiness that the children emulate however it is also upsetting as we see the children making their way through a life in poverty in 1940s New York.
WHY HAS THE PHOTOGRAPHER STOPPED TO TAKE THIS IMAGE?
Because it is a clear portrayal of how these children find their entertainment and shows a joyous moment that I can imagine made the photographer happy to take.
HOW WOULD YOU DESCRIBE THE COMPOSITION OF THIS PHOTOGRAPH?
The composition of this photo is interesting as it pairs a sense of chaos and randomness with the feeling of being staged as the frame and some of the characters are faced towards the camera. Although some of the children are looking away from the camera, they are all in a position that allows one another to be seen which resembles the style of William Klein.
TRY TO DESCRIBE HOW THE PHOTOGRAPHER WAS ABLE TO TAKE AN IMAGE LIKE THIS -
I would imagine that the photo was taken in the moment with the photographer doing little in the way of planning. It appears to be a scene of which the photographer has just stumbled across and snapped the shot quickly before it went away.
HOW MIGHT SHE WORK ON A DAILY BASIS?
With speed and accuracy - these scenes that have been depicted appear in the moment and fast pace which indicates tot us that the photographer has to be used to working like this. Levitt clearly has a good eye for composition with the final photograph looking almost like a movie still.
WHAT CAMERA MIGHT SHE HAVE USED?
The photographer likely used a film camera to snap these shot - we can infer this from the aged look of the image and the content that dates us back to the 40s.
HOW DOES THIS IMAGE MAKE YOU FEEL?
This image makes me feel happy to see the children making their own fun but it also concerns me that they are out alone on these busy streets. This suggests a time where social standards were very different and kids were given more independence. There is also a lack of modern technology and fashion in the picture so I feel like I am looking into a snapshot of an outdated period
Daily Walk photoshoot -
This photoshoot was centred around sound - how I can be distracted by sound in daily life and it often overwhelms my senses. I focused on the sounds that caught my attention and tried to reflect them in my photos. My process for this shoot was to walk around and listen for sounds. When I heard something interesting I would take two photos; the first one would be what I was looking at when I heard the sound; the second photo is what I could see after I'd taken a second to process the noise and direction from which it came. This way of working allowed me to find the links between response to a sound and corresponding visuals to produce a visual outcome that chronicles this process. Some of the sounds that I heard on the walk include the buzzer in a block of flats, a dog barking, a drill, traffic and the sound of people interacting with each other. I made every other photo monochrome in order to isolate the sense of sound without the distraction of colour. The photos in colour show my first reaction to each sound. For me, the black and white photos are more successful as more time has been thought into their compositions at it wasn't my initial reaction.
Successful shot -
For me the most successful photo of the shoot was this shot of the side of a truck. As I was on my walk I listened out for sounds that caught my attention; one of them was the sound of a truck. The first photo I took when I heard the truck had little thought put into it and the result came out quite bland as there was little focus on a particular subject. However after taking a moment to process the sound I turned to take a photo of the origin of the noise. The photo came out blurred and in motion which I like as it reflects my quick thought process in response to a stimulus and the cropping gives a sense of enormity to the truck which indicates a loud sound.
An element of the photo that I like is the rain that was made more prominent with a monochrome filter; I would say it adds to the sense of speed as well as making it easier to imagine how your senses would be affected in this situation. I chose monochrome for this photo as at this point I was focusing on sound so I wanted to get rid of the excess colour as I found it too distracting when thinking about sound.
An element of the photo that I like is the rain that was made more prominent with a monochrome filter; I would say it adds to the sense of speed as well as making it easier to imagine how your senses would be affected in this situation. I chose monochrome for this photo as at this point I was focusing on sound so I wanted to get rid of the excess colour as I found it too distracting when thinking about sound.
Editing the photographs -
Exploring memory and nostalgia -
Bright colours in photography -
WILLIAM EGGLESTON
(DRAWING PARALLELS WITH MY OWN WORK)
NIALL MCDIARMID -
(RESPONDING WITH MY OWN PHOTOS)
HANNAH STARKEY -
After taking a look at Mcdiarmid's work I thought back to a previous of project of mine that involved food and photographing shops in my local area. For this particular project I exaggerated the colours and hues in order to distinguish between different shops and associate a colour with each store. Although my reasoning for the use of colour varies between these projects I think that a link can be created between my two projects. This has encouraged me to
Luke Saxon -
SAME BUT DIFFERENT
Luke Saxon is a photographer who grew up in the North of England and has a fascination for the 'banality of everyday life.' In his series The Same but Different, he explores the conflicting ideas of ethnicity and class and depicts this through his experimental collaged images. Each set of photographs work and correspond with each other but dwell upon a tension that is heightened with the contrasting subject matter. I think that what the photographer is trying to say in this project is that the area he lives in faces a duplexity when it comes to different cultures but through his seamless connection of each side he is trying to say that they can successfully coexist. An image that strikes me is Figure 1 [read caption] as it portrays an old muslim woman whose scarf has been replaced with a plastic bag; I believe that this is a comment on society's ability to categorise people, cultures and ethnicities in premeditated boxes - emphasised by dichotomy of the photographs' compositions - as opposed to letting things flow freely. The photographer made the decision to only include two images and therefor only two points of view; the lower, working class who live in the more run down areas and the more wealthy citizens that reside in the areas that appear newer and more gentrified. I am interested in whether Saxon sees a relationship between class and race in his photography or if he views them as mutually exclusive as that changes the meaning of the photographs and how we respond to them.
Photography is my main creative outlet but I also experiment with painting.. the use of colour is an important factor in my work and I tend to consider this when I compose any shot.
Photoshoot based off words -
At this point in my project I decided to think about a list of ten words that I felt related to my topic. I wrote them down on a sticky note and carried it around with me for the week, taking photos of whatever I felt were related to the words on the list. The list included : Cathartic, Sound, Synesthesia, Colour, Installation, Film, Memory, Nostalgia, The Fleeting Moment and Immersive. With reference to Sound I photographed a pair of heels stepping on dried pasta as it was something that produced a memorable noise that I can play in my head when I see the image. I took a series of photos of some old DVD cases as I felt they alluded to both Film and Nostalgia. The colourful photographs of a bike wheel and some plants made me think of the words Cathartic, immersive and Installation as well as Colour which was manipulated by covering the flash as I snapped the shots. Nostalgia can be assigned to the rest of the photographs as I explored my shed and all my old things. I chose an interesting perspective for the last few photos; I stood on a table and looked up into the roof that contained old boxes like an attic. This shift in perspective gives the illusion that I am looking back into time so again made me think of memory and the Fleeting Moment.
Reviewing my work -
QUESTIONS ABOUT MY WORK AND INTERESTS AS A PHOTOGRAPHER -
Growing up in London do you think this has strongly effected your photography? Or has other people/places influenced the direction it has moved towards?
I definitely think that growing up in London has had an impact on my practice and my interests; having grown up amongst some of
England's most interesting and peculiar characters I have developed curiosity for people and how they are depicted in photography. As well as this I have had available to me an array of galleries and exhibitions as well as street artists and performers, all of which has shifted and encouraged my excitement towards taking photos. London itself is a very inspiring place from the street art and graffiti to the interesting people to then very banality of everyday life.
The use of colour comes across very prominently in your work, almost paintingesque. Is photography your sole background or do you have other art influences?
I am not solely interested in photography; I take Art A level so I take influence from the experimental style of working and I'm eager to combine elements of art and photography such as painting onto images I have taken. I am also musical which is what sparked the idea of looking at sound and music in relation to photography as it can produce immersive and experimental results. I love the idea of interactive exhibitions and photographs that are more than just a rectangle on paper; I like to connect with the work on more than just a visual level.
What inspires you to shoot?
A lot of what inspires me to shoot comes from a place of fear - I worry that if I don't document a certain moment it will be forgotten forever which is why The Fleeting Moment is such a prominent theme in my work. As well this it is a way of documenting things from a completely personal point of view and I can use my photographs to not only spread a message or idea but encourage people to relate to or think about those ideas. I can manipulate images so that I obscure or hide information to the point where the original subject that I focused on is completely unclear to a viewer. This links to how much power an image can have which is both a scary and exciting concept.
Let's touch on a subject that I'm positive has never been discussed before: do you prefer shooting on film or digital?
I prefer shooting film for two reasons; firstly the grainy and soft aesthetic is more pleasing to me; the delay between snapping a shot and developing the photo both takes pressure of what the image will look like and also grants an air of unfamiliarity to it, almost as if you are looking at it from the eyes of a viewer. It is easy to be overly critical with your own to a point that it hinders productivity so by looking as if you've never seen the photos it is much more refreshing. A key idea within photography is its contingency that creates a relationship between the world and the photographer as they both play a part in producing an image and I think that with film as opposed to digital, there is more of a joint effort.
Who are some of your favourite photographers?
A photographer whose work I feel like I really connect with is Teddy Fitzhugh, in particular his Club Archive series. The energy and excitement that he conveys with his photographs hearken to similar themes of immersion
I definitely think that growing up in London has had an impact on my practice and my interests; having grown up amongst some of
England's most interesting and peculiar characters I have developed curiosity for people and how they are depicted in photography. As well as this I have had available to me an array of galleries and exhibitions as well as street artists and performers, all of which has shifted and encouraged my excitement towards taking photos. London itself is a very inspiring place from the street art and graffiti to the interesting people to then very banality of everyday life.
The use of colour comes across very prominently in your work, almost paintingesque. Is photography your sole background or do you have other art influences?
I am not solely interested in photography; I take Art A level so I take influence from the experimental style of working and I'm eager to combine elements of art and photography such as painting onto images I have taken. I am also musical which is what sparked the idea of looking at sound and music in relation to photography as it can produce immersive and experimental results. I love the idea of interactive exhibitions and photographs that are more than just a rectangle on paper; I like to connect with the work on more than just a visual level.
What inspires you to shoot?
A lot of what inspires me to shoot comes from a place of fear - I worry that if I don't document a certain moment it will be forgotten forever which is why The Fleeting Moment is such a prominent theme in my work. As well this it is a way of documenting things from a completely personal point of view and I can use my photographs to not only spread a message or idea but encourage people to relate to or think about those ideas. I can manipulate images so that I obscure or hide information to the point where the original subject that I focused on is completely unclear to a viewer. This links to how much power an image can have which is both a scary and exciting concept.
Let's touch on a subject that I'm positive has never been discussed before: do you prefer shooting on film or digital?
I prefer shooting film for two reasons; firstly the grainy and soft aesthetic is more pleasing to me; the delay between snapping a shot and developing the photo both takes pressure of what the image will look like and also grants an air of unfamiliarity to it, almost as if you are looking at it from the eyes of a viewer. It is easy to be overly critical with your own to a point that it hinders productivity so by looking as if you've never seen the photos it is much more refreshing. A key idea within photography is its contingency that creates a relationship between the world and the photographer as they both play a part in producing an image and I think that with film as opposed to digital, there is more of a joint effort.
Who are some of your favourite photographers?
A photographer whose work I feel like I really connect with is Teddy Fitzhugh, in particular his Club Archive series. The energy and excitement that he conveys with his photographs hearken to similar themes of immersion
PHOTOGRAPHY THEORY -
Rhetoric of the image :
GARRY WINOGRAND - CENTRAL PARK ZOO 1967
Before being made aware of the photographs title, photographer or context, I begun looking at its denotations and connotations; we see a smartly dressed black man and white woman holding chimpanzees that are dressed like and are being held like children. They appear to be within a crowd in an urban area in a park yet they are alienated from the rest of the people. From the hint of trees and buildings in the background and the clothing that is typical of 60s America, I can infer that we are perhaps in New York, possibly in Central Park. Although nobody in shot is acknowledging the fact that they are having their photo taken, we can see the shadow of the photographer which connotes the idea that the subjects were aware of what was happening, despite the chaos and absurdity of the scene that is being depicted around them. The use of monochrome and image style as well as the fashion suggests that this was taken between the 50s and 60s. In what appears to be a protest, a child is standing in the background behind the couple yet the perspective gives the illusion that the child is staring at the chimpanzees.
PANZANI ADVERT
In this advert we see a netted bag suspended somewhat with vegetables, pasta and sauce spilling out onto a red surface. The company is called Panzani and there is French writing at the bottom of the image. The striking connotations of this Panzani advert is the choice of colour; red, white and green hearken to the flag of Italy where the food on display originates. Although the Italian writing on the packaging would suggest that the company is from that country, the French words at the bottom indicate to us that the advert is from France. This would make sense that the advert is over exaggerated and stereotypically 'Italian' as it is not aimed at Italian people. The use of a netted bag gives the impression of having just gotten back from the market which in turn suggests that the vegetables used in the pasta sauce are fresh. Likewise the fact that the food is not stationary and falling out of the bag both calls back to the market idea as well as giving the food a life of their own. The red colour that is prominent in the background and some of the vegetables gives a warm comfort that relates to the fantasy of grandmas home cooked meals as well as visually pleasing the viewer.
JUAN CARLOS MARIA ISIDRO DE BORBON - HIPPOPOTAMUS AT THE ZOOLOGICAL GARDENS, REGENT'S PARK, 1852
The photograph above depicts a tired or sickly hippo on a slab of concrete. Behind it are a row of people who are on the other side of the gated enclosure and staring at the animal. The bottom fifth of the image is occupied by the hippos reflection that elongates the frame and provides the animal with dominance over the majority of the scene. The perspective makes the photographer look as if they are in the same space as the hippo, being watched by the spectators in the same way however upon further inspection I noticed faint black vertical line in the middle of the frame that elucidates where the photographer would have been standing. The title of the photograph let us know that the photograph was taken in London at the Zoological Gardens in 1852 however if we didn't know the title, the connotations of the people's clothes in the shot would suggest to us that it was taken in around that time period. As well as this we can infer from the period that animals rights were not strongly advocated for which is perhaps why the animal looks so unwell.
Susan Sontag - 'The Ethics of Seeing' :
To begin research on the idea of the ethics within photography I asked myself some ethical questions; When is it not okay to take a photograph? Should you always seek the permission of your subjects before photographing them? Does it make a difference whether or not you have a personal relationship with the subject of a photograph? Can photographs hurt people? Can photographs tell the truth? Is all photography a form of voyeurism? How responsible is the photographer for the way in which a subject is represented? How much control can the photographer exercise over the ways in which their images are understood by viewers? I applied these questions to my own practice and thought about how I ask them to myself subconsciously with every photo I take. I do not believe it is okay to take photos that are exploitative of people in vulnerable situations such as the homeless or disabled nor do I agree with opting to take a photo of someone when they are in need of your urgent help ie. anyone involved in some kind accident. I also strongly disagree with taken photos of children without permission of a guardian as this can be deemed as inappropriate and unsettling. I don't think that it is always necessary to ask for a subjects permission as often you are not able to ask everyone (such as photos of a crowd) or perhaps you do not come into contact with the subject (if they are being shot from a distance). I do however think that it is common courtesy to make sure your subject is not uncomfortable with their photo being taken whether that distinction is made before or after the photo has been taken. From my point of view the relationship you have with the subject hugely impacts the way in which a photo - particularly reportage - is approached. If you feel that you are exploiting someone close to you through photography, why should you take that same photo of a stranger? Photographs definitely have the power to hurt people as they convey a particular message that has been chosen by the photographer. Whether an image is true to life or paints a different picture they have the power to manipulate the emotions of the viewers.
RICHARD DREW - THE FALLING MAN
It is hard to deny that the composition of the photograph above is devastatingly beautiful - it is not staged yet the man who is falling is centred perfectly between the two twin towers and the vertical leading lines draw our attention to the overall downwards movement of the piece. Despite the fact that we know the subject is tragically falling to his death, in order to escape the horrors he would face had he stayed in the building, the man's body appears elegant and tranquil. Without any context of the image I would assume that it was fake due to how perfectly the photographer captured such an awful moment. The photograph holds so much power; it tells a story of the man; it gives viewers an idea of how terrifying it must have been to be working in the Twin Towers at the time of the attack. From an ethical point of view however I cannot support the idea that at the sight of people literally committing mass suicide, a photographer decides to get out his camera and exploit their deaths for the purpose of a photo. I can understand documentary and photojournalistic photography but it just doesn't sit right with me to know that someone has snapped and dragged out the worst and last few seconds of someone's life.
John Berger -
oil paintings are surrounded by gold frames that emphasis wealth whereas advertising is surrounded by us as we are.
https://photoworks.org.uk/watch-artist-film-with-freddy-griffiths/
https://photoworks.org.uk/watch-artist-film-with-freddy-griffiths/
“When we read a story, we inhabit it. The covers of the book are like a roof and four walls.''