top of page
Week 2- Methods and Meanings: Text
Week 2- Methods and Meanings: Pro Gallery
Photographic Faux Pas
The images above demonstrate photographic faux pas. I decided to shoot these images on expired film, the expiration has had a clear impact on the colour of the images. The images reflect a highly saturated colour palette emphasizing alterations of reality, linking to week 1, the colour change could possibly demonstrate the ‘through the looking glass’ (Carroll, 1871) effect. The effect allows the recognisable ideological values and conventions of the landscape photography to be shown, however the modification of colour creates an undertone of a fictitious space stimulating negotiation of narrative between photographer and viewer.
Week 2- Methods and Meanings: Text
Week 2- Methods and Meanings: Text
Methodology Influence
Reviewing my archive of work there is a prevalent methodology I use in the creation of my work. Similar to Boris Mikhailov’s methodology in the Red series (1958-1975), fig 1, making one consciously aware of an aesthetic choice then later collate the work to form a concept for the body of work. Lee Friedlander’s work Chain-Link (2017), fig 2 and 3, use this same methodology of magpie approach collating hundreds of images of a magnitude of time to later formalise the concept.
Week 2- Methods and Meanings: Text
Week 2- Methods and Meanings: Pro Gallery
‘In this series, which is made up of photographs shot over the course of around fifty years, the world is seen through the gray diamonds of chain-link fences. Using this zigzagging thread, Friedlander ties together scenes in distant cities and decades, and bends a ubiquitous, mass-produced object to frame a portrait of American culture.’ (Campbell, 2018)
The longevity of the project subsequently exceeds initial focus of concept, perhaps the lack of direction encourages the motive of creative, ‘shoot first, ask questions later.’ (Burgin [1998] in Campany, 2003: 281) in capturing these unplanned moments allows the photographer to focus on semiotic value opposed to highly conceptualised ideas. In my own practice I have experimented with this technique, fig 4 and 5, to create candid moments which corollate not through spoken narrative but connection through aesthetic value.
Week 2- Methods and Meanings: Text
Week 2- Methods and Meanings: Pro Gallery
However, in more recent years this methodology has subsided, and I found my practice being focused of premeditated narrative and shooting with the constructed narrative in mind. Duane Michals explores a scripted and orchestrated narrative in his sequential work, fig 6 and 7,
Week 2- Methods and Meanings: Text
Week 2- Methods and Meanings: Pro Gallery
‘First he used sequences of staged images, and later he added text, writing directly on prints to say in his distinctive wiry hand what the picture alone could not. Michals was interested in telling stories, often about ideas and subjects that had been left out of the photographic conversation’ (Robertson, 2013)
The fictious narrative allows limited negotiations between viewer and photographer acknowledging Michals’ perspective to be omnipresent in all aspects of the imagery, furthermore anchored by accompanying text to secure his meaning. The ‘mirror’ analogy (Szarkowaski, 1978) accompanies this premeditation of the photographer’s personal experience, as a photographer, I find the mirror analogy is eminent in my work. By shooting my project with the unambiguous idea in the background controls the paradigmatic and syntagmatic relations in my work. Despite the preconception methodology upholding my most recent practice, this methodology has stagnated my photographic journey as the hyper fixation of narrative often leaves me in a realm of perfectionism with no space to create ambiguity and enjoy the ebbs and flows of practice.
Considering practitioner’s methodology, Chris Coekin’s project The Hitcher (2007) has inspired strategies to try in my work. The mixing of camera mediums to compromise quality as a conscientious commentary on the split-second decision to interact with him then increasing quality for a final portraiture is a fascinating method as this strengthens the narrative without necessarily having stringency of the premeditated narrative. Drawing influence, I would like to experiment with having an ambiguous concept to then consider the experimentation of mediums to impact the narrative rather than focusing of fictious scene formulated in my head as this will allow for possible photographic faux pas and creative mistakes to be made.
Week 2- Methods and Meanings: Text
Week 2- Methods and Meanings: Pro Gallery
My most recent project Cranium Captivity (2021), fig. 7 and 8, has been testament to the unambiguous constructive process I have been working with. As a visual thinker often concepts and ideas are bought through visual imagery with the foundations pre-scuplted. The project Cranium Captivity was influenced through one of my depressive episodes visualised through dream. 'Dreams symbolically show us our future conscious thoughts in response to upheavals and learning experiences.' (Wargo, 2021) the stresses and overwhelming emotions experienced at the time can be seen to trigger a subconscious response/ possible solution especially as photography is my escapism. As discussed by Windt 'suggests that processing during dreams is sensitive to meaning, but also that connection between external stimuli.' (Windt, 2015, p.243) the strong connection between the external stimuli of emotions and visual imagery methodology my brain uses created the fundamental basis/ start point of the project.
The dream influence can be seen in many forms of Surrealist art especially in Automatism. Joan Miro, fig. 9, epitomises this transcendent methodology assimilate the unconscientious mind's thoughts and ideology. Considering fig. 9 the markings of the unconscientious mind have similarities to the human form, ‘The multiplication of parts such as breasts or legs […] ultimately stems […] from the classical Freudian notion of the fetish.’ (Hopkins, 2004, p.121) the freudian markings described by Hopkins have strong connotations to the sexualisation of art which was prevalent in the Surrealist period. The transcendent methodology of sleep and trance is reflected by previous statements of dream creating communication of connections from external stimuli, this methodology, however unorthodox, is one which has influenced this work in particular.
Week 2- Methods and Meanings: Text
Week 2- Methods and Meanings: Pro Gallery
The basis created through dream, one challenge faced creating a the unconscious message into a physical piece. To better inform my work, I find it useful to research round similar topics and themes. Drawing influence from Ralph Meatyard and Frank Sidebottom, fig. 10 and 11, the masking of identity is ubiquitous allowing a sense of mystery and an element of relatability to the subjects. From here I began to craft the props as well as experiment with location and lighting. Taking influence from previously discussed methodology by Friedlander, I commenced with the magpie approach of photographing with the head without preconception, to an extent, of constructed imagery. The photographs selected, fig. 7 and 8, emulate the closest to my vision, however the rest of the series, fig. 12 and 13, have greater potential and opportunities to explore. I would like to approach the rest of this project with the methodology of Coekin as the experimentation and ambiguous concept he created can be seen to further emphasise his work.
Week 2- Methods and Meanings: Text
Week 2- Methods and Meanings: Pro Gallery
Reference List:
Abraham, A., 2020. The Cambridge handbook of the imagination. New York: Cambridge University press.
CAMPANY, D. (2003). Art and Photography. London: Phaidon.
Campbell, M., 2018. Viewing the World Through Lee Friedlander’s Chain-Link Fences. [online] The New Yorker. Available at: <https://www.newyorker.com/culture/photo-booth/viewing-the-world-through-lee-friedlanders-fences> [Accessed 2 June 2022].
Casper, J., n.d. The Hitcher - Photographs by Chris Coekin | LensCulture. [online] LensCulture. Available at: <https://www.lensculture.com/articles/chris-coekin-the-hitcher> [Accessed 2 June 2022].
Monovision, n.d. Lee Friedlander: Chain Link | MONOVISIONS - Black & White Photography Magazine. [online] MONOVISIONS - Black & White Photography Magazine | Online Black & White Photography Magazine. Available at: <https://monovisions.com/lee-friedlander-chain-link/> [Accessed 2 June 2022].
Robertson, R., 2013. Duane Michals: Fighting Against Photography – ARTnews.com. [online] Artnews.com. Available at: <https://www.artnews.com/art-news/artists/duane-michals-fighting-against-photography-2274/> [Accessed 2 June 2022].
Roeckelein, J., 2004. Imagery in psychology. Westport, CT: Praeger.
Wargo, E., 2021. Precognitive dreamwork and the long self. Simon and Schuster.
Windt, J. M., 2015. Dreaming: A Conceptual Framework for Philosophy of Mind and Empirical Research. Cambridge, MA: MIT Press
Image List:
Artfund, n.d. Red by Boris Mikhailov. [online] Art Fund. Available at: <https://www.artfund.org/supporting-museums/art-weve-helped-buy/artwork/11155/red> [Accessed 2 June 2022].
Campbell, M., 2018. Viewing the World Through Lee Friedlander’s Chain-Link Fences. [online] The New Yorker. Available at: <https://www.newyorker.com/culture/photo-booth/viewing-the-world-through-lee-friedlanders-fences> [Accessed 2 June 2022].
Fundación MAPFRE, 2017. Duane Michals - Announcements - e-flux. [online] E-flux.com. Available at: <https://www.e-flux.com/announcements/124553/duane-michals/> [Accessed 2 June 2022].
Good, G., 2020. Postcards in Isolation 27: Duane Michals, Paradise Regained, 1968. [online] Lucy Writers. Available at: <https://lucywritersplatform.com/2020/09/22/postcards-in-isolation-27-duane-michals-paradise-regained-1968/> [Accessed 2 June 2022].
Musee, n.d. Current Feature: Ralph Eugene Meatyard — Musée Magazine. [online] Musée Magazine. Available at: <https://museemagazine.com/features/2017/7/10/current-feature-ralph-eugene-meatyard> [Accessed 5 June 2022].
Week 2- Methods and Meanings: Text
bottom of page