Assignment 5 - feedback

Like Assignment 4, I chose a subject that was particularly interesting to me – Irish migration to London.  However, I learnt from my mistakes from the previous assignment and this time focused on a narrower brief.  This enabled me to produce a stronger set of images and to convey a stronger message.

I chose to tell the story of migration to London by use of the constructed document.  This was a first for me and perhaps my inexperience was apparent in the ways in which I dealt with some subjects in this set of images.  For example, as my tutor pointed out my treatment of some subjects was a little blunt.  Looking back in hindsight perhaps it was.  However, I think I was trying to convey a very blunt, hard hitting message and I feel that this is why I adopted this approach.  I can see now that there are others ways that are equally effective at getting my hard-hitting message across.

I also introduced text to this assignment after some advice that my tutor gave me.  I feel that this element of the assignment was successful and it allowed me to use another form of communication (one which I am more familiar with) to convey my message.  I have found from exhibitions that I have been to that I get more out of them if they have accompanying text.  I like the clues the text can give. 

Moving forward I would like to continue to work on this theme by exploring more the use of landscape rather than the still life.  I think this is something I struggled a little with in this assignment.  I was unsure of just how far I could go which is why some rather dull still life images crept in.  When I ask myself now would the image of the potato on a plate be interesting to a viewer - the answer would have to be perhaps not.  However, the opening image of the Irish landscape scene is more interesting and evokes more feeling or sentiment.  This is what I want to explore further. 

In relation to my use of black and white over colour, I can see the argument for both.  I originally felt that black and white gave an historical context to the images, a theme, which at times was difficult to work with.  I can see the case my tutor presents for using colour and I feel that I would be foolish not to revisit and explore this.

From a technical perspective some of the images were a little dark, a fact, which I have now addressed.  It would seem that my technical skills have improved during the course which is something I feel positive about.  However, there are a few little areas where I feel that I can still improve on and I will continue to work on these. 

I feel that this project was a big risk for me.  It would have been easier to focus on something simpler and employed an easier way to visually tell this story.  I think that taking a risk and stepping out of my comfort zone has paid off.  Perhaps the fact that I chose a subject that I felt comfortable with and knowledgeable on helped a great deal.  The topic was well researched and I had read a lot about it over the years.   More importantly though was the fact that I was an Irish immigrant living in London.  I had made the journey I set out to communicate. 

Moving on, I would like to explore this theme more and take it to another level.  I see this set of images as the start of something that can grow into a major project.  

Home Truths: Photography, Motherhood and Identity The Photographer's Gallery

I'm sitting down to put my thoughts together on yesterday's OCA study visit to the Home Truths: Photography, Motherhood and Identity exhibitions in the Photographer's Gallery and The Foundling Museum.  These exhibitions feature the work of 12 artists who have questioned the sentimental and stereotyped views of motherhood.

The exhibition begins with a piece about the home truth and what it is.  "A home truth can be simply understood as a fact that is somehow discomforting to acknowledge or may cause embarrassment."  It continues: "The work in this show may do all of those things."  And that is does for a number of reasons.  

As you enter the rooms in the Photographer's Gallery there are signs stating that under 12s will not be admitted and those under 16 will if accompanied by parents.  This is due to the sexual nature of the exhibits.  I wouldn't call myself a prude but I did find some of the images uncomfortable viewing like Leigh Ledare for example.  Ledare's work, Pretend You're Actually Alive, explores the relationship between himself and his mother and destroys beyond doubt the sentimental view of motherhood.  It is posited as a collaboration between mother and son with the mother presented in a number of pornographic poses.  In the BJP article XXX the writer compares it to Richard Billingham's Ray's a Laugh where an 'ordinarily innocuous, familiar sounding subject [the snapshot] is turned into intimate, frank, uncomfortable content."  However, for me, I was able to associate with Billingham's family.  You couldn't help but feel some emotion for them or the photographer.  I didn't feel that with Ledare's work here.  

Perhaps this may be because I am female and I didn't have to make that awkward transition most males do in puberty when they realise their mother, the woman that has loved nurtured them was also the object of men's sexual attention.  The very fact that pornographic material is of interest to many young males and teenagers for very obvious reasons makes it difficult to reconcile these pictures of women and their image of mother as woman.  

The exhibition sets out to question the stereotypes of motherhood and the sentimental ways in which it has been treated to date.  It looks at being a mother in the work of Putz, Carucci, Antoni and Murray.  It looks at the child's relationship with the mother in the work of Ledare, Casas Broda and Fred Hunig.  It also looks at the loss of a mother in the work of Fessler and Ishiuchi.  

I would agree that it is enlightening to see the reality of having twins for Elinor Carucci. I felt the pain looking at the image My belly after birth to twins and C-section.  The scar looked dry and far from healing.  Her images also cover the moments we don't normally see like giving her naked child a cuddle while she herself is sitting naked on the toilet seat with the exception of her knickers which are around her knees.  As a mother I can safely say that I have had numerous moments with my son when he was a child which challenge the sentimental view of motherhood which I feel would convey more meaning that this. 

As a single mother, I remember very clearly the day I went home to tell my mother that I was pregnant and I did this quite effectively without having to take all my clothes off bar my knickers in the process.  I just don't know exactly what the artist is trying to do here.  The photograph is uncomfortable for her parents in the image as they look on and see their little girl has grown up into a woman.  It is equally uncomfortable for the viewer.  

I found Elina Brotherus' series illustrating the difficulties in conceiving using IVF very interesting not because of her difficulties conceiving but because of the ways she chose to tell her story.  The images consist of images of her injecting herself with hormones and the tears and disappointment when the latest IVF cycle fails in a way that is hard hitting but unsentimental.  It is very factual. Brotherus to me seems rather androgynous which also challenges the maternal desires of women and the way they have been portrayed historically. 

I particularly liked the work of Ana Casas Broda Kinderwunsch.   I could really identify with the unlocking of suppressed memories of her own childhood and difficult relationship with her mother.  I can't say that I have had a difficult relationship with my mother when I was a child but I did find that once I became a mother myself I found myself faced with a lot of memories from my childhood that had long been forgotten or buried.  

I really liked the images in her work, the dark backgrounds, the lighting and the richness of her subjects and matter.  The work was displayed in a way which I felt was to be seen as a whole with each picture in the series depicting a special memory.  

Hannah Putz photographed young mothers as they become mothers for the first time focusing on her friends. I felt that this was a little light on meaning for me.  I did think it was interesting though that the mother's faces were obscured by the baby in the shots.  The baby does become the most important thing once it comes along.  It tends to take over.  However, I feel that there was something missing from the images.  I felt that there was another way to get this message across. 

By far the most complex work was that of Janine Antoni.  She suspended herself for hours in a spider like position while a spider spun a web around her.  Her legs were in a dolls house and her web/legs gave the impression of her being pulled in all directions.  The accompanying shots were close ups from the doll's house or the real spider's webs and some of the scenes from childhood.  

Gazelle, a film by Katie Murray focused on her mission to lose 'baby-weight' after the birth of her second child.  In the film we see her on a cross trainer at home doing a video workout.  She is interrupted by her children which also want to workout.  She has one in a sling and one on her back when she finally gets to finish her workout.  The viewer is relieved from this sight by images of a gazelle with its young in the wild which cuts in every now and then.  This work is a spectacle and borders on the ridiculous as she strives to regain her former pre baby self.  

The Foundling Museum

The theme of loss is central to the work displayed in The Foundling Museum.  I felt that identified more with the work exhibited here than perhaps I did at the Photographer's Gallery.  That may be because I can identify with parental loss and the quest to find out more about a parent you know very little about or have very few memories of.  

I think the most interesting piece of work across bother exhibitions for me was Ann Fessler's film Along the Pale Blue River.  The film uses collage, video and archival footage of farms and rivers in the Midwest America to tell her story.  The story is told by voiceover - Fessler's own voice and her hypnotic tones recount the story of a young woman - her biological mother - who runs away from her small rural town when she discovers she's pregnant.  Forty years later the artist goes on a journey to find her mother's photograph in a high school yearbook.  It is on this journey that she discovers the river that was where she grew up had its source where her mother was from.  This river provided a link to them that she never knew about.  

I liked the way in which Fessler tackled a story that is traditionally made into a sentimental drama in a more informative way that is still intimate but not sentimental.  

Miyako Ishicuhi's Mother's series focuses on the loss of her own mother.  The images were taken after her unexpected death in 2000 from a blood transfusion.  Ishicuhi's relationship with her mother was conflicted and was just on the mend when she died.  This is her attempt to come to terms with her loss.  A loss most of us will have to face - the death of our mother.  

She photographs her mother's possessions - her lipstick, hair brush and clothes.  These are the only things she has to remind her of her mother.  A woman that has had such an impact of her life - and all that remains is a series of worthless items.  However, they have sentimental value for the artist.  So here, unlike in the other work in this exhibition, we have a deliberate move towards the sentimental.  These everyday items mean a great deal to the artist.  They have very special significance.  

This reminds me very much of a doll my dad bought me when I was in hospital with appendicitis.  He got it from the hospital shop so it was nothing special.  However, when he died shortly after that the doll meant a lot more to me.  It was the only thing I had he had actually bought for me himself.  My mother would always do the shopping in our house.  

My thoughts

I wanted to go on this study visit to see if Motherhood and Identity was something I would identify with.  When I did my English degree I never really enjoyed feminism.  I believe in equality, but I feel that men and women are different and can never be equal.  I accept the fact that there are things men can do better than women and vice versa.  I suppose fairness would be a better way of describing my version of equality.  

I feel that I have never identified with writers who seem to believe that being a woman and motherhood are what defines us.  I agree that our experience of the world is different to a man's.  I also agree that motherhood is a life changing event.  But is it what defines us?  When all is said and done and on judgement day is that what will be said about your life.  You were a mother!

I couldn't help but feel that there was something missing from this exhibition.  Where were all the real women? With the exception of Casas Broda and Murray where were all the women with stretch marks and sagging breasts.  Instead we were treated to lovely slim women who's bodies returned to normal after giving birth.  Where were the men?  Without them there would be no motherhood?  And isn't motherhood part of parenthood?  

I believe that motherhood should be explored but I couldn't help coming away from this exhibition feeling like some of the work was an extension of the modern world mother.  The woman who reads every book available to become the best mother, the woman who goes to sling club, breast feeds their child till they are 20 and looks down their nose on any other woman who has opted for pain relief during labour.  The type of woman who believes having a c-section means you are a failure.  

There is more to motherhood that naked intimacy.  There's unconditional love, responsibility, parenthood, education, security, fun, fights, anger, frustration, depression, suppression, isolation, sickness, disappointment and betrayal.  I just feel that in order to challenge the sentimental stereotypes some of these themes need to be addressed.  

The exhibition introduced me to some themes in motherhood but not ones which are totally familiar to me. I don't feel that they truly challenge the stereotype of motherhood either.  So perhaps for that reason I find it difficult to truly identify with although I do appreciate the work.  

On Being a Photographer by Bill Jay and David Hurn

This has to be one of the best photography books I have read over the last year or so.  I found it very informative and the practical advice it offered was of huge benefit to me.  I have found since reading the book that the way in which I approach a shoot has changed and the way I look at my projects and subjects will never be the same again. 

The book is a relatively easy read as it focuses on a series of interviews/discussions between Bill Jay and professional photographer and academic David Hurn.  In it they talk about various aspects of  photography by exploring definitions, shooting, subjects and narrative or the picture essay.  It also includes a section on working with contacts which is something my tutor has stressed the importance of. 

Definitions

When looking at definitions it was interesting to read David Hurn's view on these and what definition is chooses for his work.  Definitions cover a broad spectrum and arise commonly when discussing photography.  He says of photojournalism; "that the word itself implies the subject is a topical news event, published in mass media with the intent to right a social wrong."  Journalism is linked to tabloid sensationalism where it can become distorted and take on a level of entertainment.  He refers to papparazzi which is aggressive and lacks ethics and aesthetics.  There is a difference though in the work of McCullin and Ian Berry as they have taken the time to learn about and understand their subjects.  

When looking at the definition documentary Hurn believes that it is problematic too.  Documentary photography is objective and by its nature photography is subjective.  The photograph as document is expected to present factual evidence, a true representation and non-judgemental view of events.  

Photographs are subjective with two main controls at the photographer's disposal: where he stands and when he presses the shutter button.  According to Hurn the only factually correct aspect of photography is that is shows what something looked like under a very particular set of circumstances."

Hurn opts for the definition reportage. because it implies a personal account of an observed event with connotations of subjectivity and honesty.  it is eye-witness photography.  

Selecting a subject

Bill Jay looks at the role of a photographer and he says that the "destination of photography is to reveal what something or someone looked like under a particular set of conditions, at a particular moment in time, and to transmit the results to others." He goes on to ask Hurn what transforms an interesting picture into wonderful picture.  The photographer must have an intense interest in the his or her subject.  It is only then that the subject can be examined and researched.  

The subject matter is by far more important than the artistic means employed to take the photograph.  A successful photographer has a curiosity and fascination with the subject which they can the communicate to others through pictures.  

Hurn's advice

You should list all the things that interest you and then refine the list based on the following:

• Is it visual?
• Is it practical?  Can you access it?
• Is it a subject which I know enough about it?
• Is it interesting to others?

When you have refined your list accordingly you will have a subject or subjects that you will then be able to research and learn more about.  

This is how a successful professional photographer works and the results can be seen in their images.  

Shooting the image

When you have all your preparation work completed you can then go about shooting your subject.  The purpose of the picture is to reveal the chosen aspect of the subject matter.  

The two fundamental elements in all picture taking are 1, where to stand and 2, when to release the shutter.  Position and timing are the two controls the photogrpaher has at his disposal.  Everything else according to Hurn is periphery.  

Where you stand determines the visual clarity.  You may find that you move around to get the best position.  If you study the contact sheets of the best photographers you will find that this is exactly what they do.  They will have committed themselves to a position where they can see most clearly what's taking place.  Each frames develops and moves towards the picture.  

Creating contacts

All successful photographers study their contacts and every element in the frame.  This allows the photographer to learn from mistakes but also to examine every element in the frame.  I have found that when shooting sometimes you don't notice something in the background which you later discover is affecting the overall composition.  

According to Hurn you stand or fall by how critical you are with your own work.  By examining contacts you have the added bonus of looking at your work without the emotional involvement that is there at the time of shooting.  

This is something I have started to do more of.  I will now print off my contacts and study each one post shoot.  

What I have learnt from this book

• How to choose a subject
• How to study and research my chosen subject
• The two most important controls the photographer has is position and timing.  If you fail to get that right no amount of artistic creativity will produce a good shot.  
• Study your contacts and learn from them
• Photography can be a way to overcome shyness.  It gives you an excuse to be where you are and a reason for doing what you are doing.  

100 Ideas that Changed Photography

I first saw a review of this book on the OCA student website and it seemed like a book that I would find interesting.

The book essentially presents 100 ideas that changed photography.  The author, Mary Warner Marien,  is quick to point out that this is not a comprehensive list.  It is clear that there are probably hundreds more ideas that have had some influence on photography but this is a good starting point.

I see the book as a combination of a primer and reference book.  Although the ideas are presented in a chronological order it falls short of a history of photography book as it lacks the required depth in my opinion.

As a photography book it provides a more holistic view of the medium.  It includes the various inventions in photography from the first camera to the polaroid and the most recent addition - the camera phone.  It also looks at how other media influenced photography like the television.

What I liked about the book

• It is more visual that text heavy which was a welcome relief after some of the books I have been studying recently.  
• Introduces the reader to bite sized pieces of information about themes and developments in photography therefore acting as a good starting point should you wish to explore further. 
• Provides a good overview of photography
• Good quality images
• Easy to read and understand

What I learnt from the book

I learnt a lot more about the darkroom and printing processes which was an area that I would consider myself weak.  Although not particularly relevant to my workflow as I shoot digital I have found a better understanding of the print processes has helped a great deal when looking at the work of others and when visiting exhibitions.  

I also feel that I have given a lot more thought to the future of photography and where it may be heading after reading this book.  My reading for this course has included a lot about the history of photography and I feel that I haven't looked at photography today as much as I should do.

it reminded me of the various uses of photography and I especially enjoyed looking at the medium in relation to advertising and documentary.

I would recommend this book to anyone.  I feel that it is a good reference book that is easy to dip in and out of and in appeals to the student and the casual reader.  

Marcus Bleasdale's images of Democratic Republic of Congo

I have a special interest in the Great Lakes region of Africa especially in Rwanda and the DRC. Unfortunately, I have never been able to travel to either country through what I see as a combination of fear and lack of finances.  However, I would love to go one day.  However, with growing hostilities in the region that day seems to be getting further away with each passing day.

Marcus Bleasdale on the other hand has spent a lot of time photographing in DRC. In the latest issue of National Geographic which features a selection of his wonderful images he says;

"When I first went to the Congo, I realised that a hundred years after Joseph Conrad's Heart of Darkness, nothing had changed.  People were still being exploited, only now it was multinational corporations sucking up all the resources,  A report in 2004 said that more than 4 million people had died in what is now called Africa's first world war, and I just couldn't believe that no one was talking about this horrific death toll.  That enraged me.  At one point I was spending eight months a year photographing this war, and yet only a couple of international reporters were covering it from Kinshasa.  So I keep bringing back these images because I want to make people as angry as I am.  I want them to know the minerals in our mobile phones or computers or cameras are funding violence.  How can we make the horror stop? It begins with a photograph."

This special issue of National Geographic celebrates 125 years of the magazine that has always had a strong photographic history.  In the section focusing on photography as 'witness' we find Bleasdale's work.

There is no doubt that Bleasdale has invested a great deal of time getting to know his subject often taking risks to achieve this.  The result is a series of intimate images that are beautiful even if the subject matter is not.  It opens with a black and white image of a child shovelling dirt in the militia run mine in Watsa.  The image has an almost surreal quality to it.  In the background we can see several other people busy at work however the focus is on the child.  We get to see the world through his eyes and the his world is not a very nice place.

Learning to understand your subject better is key to creating better images.  When you have researched and spent time with your subjects then you are able to do them justice and tell their story.  This is something I have been reading a lot about recently in David Hurn's book On being a photographer.

As we look further into the feature we are introduced to child soldiers.  It is very disturbing to see young children armed to the hilt and schooled in conflict.  It is even more disturbing to look at their faces. There is no sign of youth just weariness and pain.  These children have become both witness and participants in the most outrageous acts of violence.  All of this has a price.

Bleasdale has made great use of colour and black and white in these images.   This is very different to some of his earlier work based on the region that I have seen which was in black and white.  I wonder why he has opted for the use of colour.  It may because his images focus on the landscape that is the resources that are being exploited in DRC.   The colourful backgrounds provide a beautiful backdrop for many of his subjects.  Or maybe it is because it is something that is really current about the message he is portraying.  This is happening now and these images are not from the archives.  It is interesting that one of the most colourful images is that of a young baby's funeral.

He has also used a wide angle lens for many of the shots which really make you feel like you are in the frame. This I feel gives a sense of presence the viewer would not have felt otherwise.

In the short video The Price of Precious - Video Interview: Marcus Bleasdale on National Geographic's website, Bleasdale talks about the work he has done in the Congo and the reasons why.  He talks about putting the child soldier on people's kitchen table or computer screen.  He refers to the anger he feels when shooting these type of images and wanting to share that anger or evoke that anger in his viewers.  It is only through the photograph that this anger can be conveyed and then we can all demand change.

What can I bring from Bleasdale's work to my own work?  I think the main element would be learning more about my subject.  This is something I have already begun to do as can be seen in my last assignment.  However, to improve my work I need to work harder on this aspect.  I think I can also learn a lot from his use of colour.  I still find it hard to determine which medium I would or should use for my projects.  My leaning however is towards colour.  This is something I can continue to work on.

Bleasdale's photographs can be viewed on the National Geographic website  The Price of Precious - Photo Gallery