In response to tutor feedback about tying my photographs to form a cohesive series I did some further research on Displaying Photographs and Linking Photographs. From this research I made the following alterations:
- Added an explanatory title
- Changed two of the photographs
- Used colour to link the photographs and the display of the photographs
I had noticed whilst going through the photographs again that there was a common colour that ran through them, dark orange, and I took the two new ones to reinforce this. I felt that these changes helped to emphasis the progressive feeling of spring and hope for a better year ahead
Photography is simple
Saying goodbye to a difficult year
Photography can be simple, but this depends on why and for whom the photograph has been taken. If the reason that we are taking a photograph is to fulfil our own needs as a statement of time and place, then technical quality is only needed in so far as we are able to identify our subject matter. One of the most powerful photographs I have seen is that of a young man taken only hours before his death. It is not how ‘good’ the camera is that stands out, the lighting, the focus or the framing; it is the knowledge of what that photograph means and what, going forward it will represent.
Exploring what happens when we play with light, frame rate and focus is about having fun and self-discovery, so do we need the validation of others?
There is a great deal of truth in Chase Jarvis’, over used quote ‘the best camera is the one you have with you’, he goes on to point out that ‘Photographs are not about megapixels or dynamic range, but stories and moments’ (Jarvis, 2016). But it is when we fail to capture that magical moment that we have witnessed with our eyes that the frustration kicks in and we look at ways which we can improve.
This photography course has made me look in more depth at images and explore what the photographer intended, although the case of Sally Mann and Jock Sturges (Buchanan, 2020), illustrates the difficulties that can arise when it comes to intent and interpretation. I don’t always like the photographs I have looked at; Bettina Von Zwehl’s serries ‘Sospiri’(von Zwehl, 2010) I found to be very unnerving, but that’s not necessarily a bad thing.
Staged or not staged; it’s a dual edged sword. On the one hand planning and bringing together the elements needed for the photograph you have in mind is complicated but once these things are arranged your shot is more or less guaranteed for example Guy Bourdin’s carefully choreographed photographs. Even though he claimed that he never felt he was ‘responsible’ for the images he created, saying ‘They are just accidents. I am not a director, merely an agent of chance’(Barnes, 2018) his manipulation of the models, sets, the development of the image, would suggest otherwise. How he achieved the photographs was according to Icaro Kosak in The Daily Telegraph, to under-expose his transparencies and use the development process to t get the saturated colours. He was also ‘one of the first photographers to use fill-in flash in a dramatic way – darkening natural light and creating an eerie atmosphere’ (Kosak, 2003) and ‘His preference for the landscape format also makes his work stand out from fashion photographers who used the portrait to tell their story.’ (Torres, R) reveal that these were not simple photographs.
Real life photography or documentary photography is more of a hit or miss affair; it requires the photographer to look in more depth and to see the potential in what is there and grab it. Robert Capa’s iconic photographs of the D-Day landings (Magnum Photos, 2020)are a good example. This photography while not necessarily easy is more simple, creating an image more about the subject then the photographer.
Faced with a brief that pretty much offers a blank canvas, I was left struggling to think of what I wanted to take pictures of. I am still a long way from finding my personal voice. I enjoy capturing nature and light; the exercise, the distance between us, was a great opportunity to explore this. Creating photographs as homages has been a useful way to learn; Bauhaus (Buchanan, 2020) influences or Mona Kuhn (Buchanan, 2020) or Fay Godwin (Buchanan, 2020).
Street photography is something that I shy away from. Michelle Groskopf in her interview with Ibarionex Perello, spoke about the confrontational nature of her work. I could not cope with that form of confrontation or ‘putting myself out there’; if I capture people, it tends to be family.
Christmas goes up in smoke.
I took this photograph in response to my frustration at Christmas being cancelled. It was anything but simple to create. It was done by taking a page from Waitrose Food magazine and setting it alight in the fire grate. It was a case of trial and error, getting the page to stand up, getting the right flame etc. I used an additional light source to remove shadows and a tripod to keep the camera steady. The mid-range shutter speed gave the slightly opaque feel to the flame I was hoping to achieve.
- f/9
- shutter speed 1/320
- Exposure compensation+1.33
- AWB
- ISO 12800
- Focal length 60.0 mm
Buoy oh Buoy
This photograph and the one of the harbour wall were taken during another walk towards the end of the day when light levels were getting low. The bright orange of the life buoy and how it repeated through the photograph was the attraction in this image and it was deliberately framed to only show part of the buoy, it otherwise felt too dominant.
- f/9
- shutter speed 1/640
- Exposure compensation+1.33
- AWB
- ISO 1250
- Focal length 43.0 mm
Harbour wall
Buoy Oh Bouy and this image would fall into the simple category as, like all of the photographs apart from the Christmas one, they were taken with natural light and without a tripod. I chose this picture because I liked the composition and because it plays with scale; you can’t tell from first glance if its a very big wall or a very small person.
- f/9.1
- shutter speed 1/250
- Exposure compensation+1.33
- AWB
- ISO 1250
- Focal length 60.0 mm
Alright Donkey!
In contrast to the first photograph, this one was simple. I spied this leftover Easter trail picture and liking how the colours were picked up by the tatty bits of rope decided to take a ‘snap’. What makes it for me is the decisive moment created by the donkey which walked neatly into shot and started braying loudly. A line from Shrek came to mind – ‘Alright Donkey’.
The f stop was chosen to get as much in focus as possible and the ISO was quite high as by then the light was fading.
- f/5.6
- shutter speed 1/160
- Exposure compensation+1.33
- AWB ISO 2000
- Focal length 35.0 mm
Barbed nature.
This image was taken in the same way as ‘Alright Donkey’ and under the same conditions. The way that the natural thorns in the gorse were imitated by the barbed wire were what interested me here. It was not technical skill here but looking and seeing what was there.
- f/22
- shutter speed 1/8
- Exposure compensation+1.33
- AWB
- ISO 500
- Focal length 35.0 mm
Hidden Gems
The subject matter stopped this image from being simple. Without a telephoto lens I could not go in close without risking disturbing the nest. Like Henri Cartier-Bresson and his photograph Behind the Gare Saint-Lazare, it was a case of hoping for the best as I got as near as I dared and held the camera up above my head.
- f/5.6
- shutter speed 1/100
- Exposure compensation+1.33
- AWB
- ISO 200
- Focal length 60.0 mm
Babies don’t keep still!
This photograph illustrates how difficult it is to get some shots. It’s almost impossible to get a 7-week old baby to stay still long enough to get a portrait photograph. A slightly slower shutter speed caught her movement and describes the moment well for me.
- f/16.00
- shutter speed 1/5
- Exposure compensation+1.33
- AWB
- ISO 2500
- Focal length
Tea time
The final photograph was a happy accident although it took several tries before I felt I had exactly the right one.
- f/22
- shutter speed 1/50
- Exposure compensation +1.33
- AWB
- ISO 1600
- Focal length 30.0 mm
Hope of normality
The intention was to show the delicate veins on the daffodil. It was very bright light so I had to bring the ISO down to prevent it bleaching out.
- f/22
- shutter speed 1/50
- Exposure compensation+1.33
- AWB
- ISO 800
- Focal length 60.0 mm
Heart of grass
This final photograph is a nod to Andy Goldsworthy.
- f/22
- shutter speed 1/200
- Exposure compensation +1.33
- AWB
- ISO 800
- Focal length 12.0 mm
Conclusion
So, is photography simple? It’s easy to take a photograph but not so easy to take one you like.
Contact sheets
All contact sheets can be found here.
References
Barnes, F. (2018) The Best Books For Photography Lovers. Available at: https://theculturetrip.com/north-america/usa/articles/the-best-books-for-photography-lovers/ (Accessed: 12 April 2021).
Buchanan, K. (2020) Sally Mann and Jock Sturges, Katie’s Photographic Journey. Available at: https://katie9.home.blog/research/sally-mann-and-jock-sturges/ (Accessed: 14 April 2021).
Buchanan, K. (2020) Bauhaus Influences, Katie’s Photographic Journey. Available at: https://katie9.home.blog/2020/08/18/bauhaus-influences/ (Accessed: 14 April 2021).
Buchanan, K. (2020) Mona Kuhn Influences, Katie’s Photographic Journey. Available at: https://katie9.home.blog/2020/08/18/mona-kuhn-influences/ (Accessed: 14 April 2021).
Buchanan, K. (2021) Homage – Fay Godwin, Katie’s Photographic Journey. Available at: https://katie9.home.blog/2021/03/11/homage-fay-godwin/ (Accessed: 14 April 2021).
Magnum Photos (2020) Robert Kapa -D-Day and the Omaha Beach Landings [Online] Available at: https://www.magnumphotos.com/newsroom/conflict/robert-capa-d-day-omaha-beach/ Accessed: 01.11.2020
von Zwehl, B. (2010) Sospiri. Edited by L. M. Surhone, M. T. Tennoe, and S. F. Henssonow. Betascript Publishing. Available at: http://www.bettinavonzwehl.com/sospiri.html (Accessed: 11 April 2021).
Jarvis, C. (2016) The best camera, Chase Jarvis. Available at: https://www.chasejarvis.com/project/the-best-camera/ (Accessed: 30 March 2021).
Perello, I. (2016) ‘The Candid Frame #312 – Michelle Groskopf, IBARIONEX. ibarionex, 29 February. Available at: https://www.ibarionex.net/thecandidframe/2016/2/29/the-candid-frame-312-michelle-groskopf (Accessed: 30 March 2021).
Katies Photographic Journey 