Unit 1: Pt 6 Genre Deconstruction

As I mentioned previously, when thinking about landscape photography a certain type of image comes to mind. However, there are different categories within this particular genre. The class spent a session looking at these with Ria giving examples of which photographer came under each category. The main concept of what Ria was conveying is that ‘Landscape’ isn’t about pretty pictures & wide open spaces. It can be broken down into a multitude of styles & sensibilities.

I have to admit that reading my notes after this session, it was a big whirl of names, images, concepts, thoughts & discussion. There is also crossover between the categories. The following is combination of my notation from the session & the resulting research. At this stage of this project, I’m assuming a Minor White position of being ‘Hunter & Gatherer’, waiting for that lightning-bright moment of inspiration.

The initial categories of Landscape that Ria outlined are:

• Geographical
  • Visual recording of the landscape
• Indexical
  • Traces of human intervention – cut trees, mines, paths
• Autobiographical
  • Personal relationship with the landscape
  • Author’s narrative’
  • Reflective of a person’s feelings
• Metaphorical
  • Literal or more personally symbolic
  • Breaks the mould
  • Feeling & inspiration

One could take these as the literal definitions of the categories. But these can then be broken down into particular areas:

There are those who depict ‘environmental concerns’, showing impact on the environment. This can be of either natural or man-made effects. There are those who add a human element, where a person can become part of the landscape itself.  There can be survey photography which can catalogue a particular territory. These can include the inner city, suburbia, rural places, the countryside & national parks.

Other spaces to be captured are the ‘edgelands’. As Ria explained, these are areas that fall at the borders of different territory types, usually areas of transition. These can include industrial areas, ring roads & brownfield sites.

The other main aspect of landscape that caught my attention is the autobiographical & metaphorical categories. The thought of an evocative & emotional reaction resonates highly with me. How I react to an environment certainly has a palpable impact on my own photography.

After the session, I went back through the list of names & took a closer look at some of these photographer’s work:

Jonathan Olley

Don McCullin

Beautiful views are seen all around the village. Warter Village in the Yorkshire Wolds.

Jem Southam

Robert Adams

1996-2001. From Lewis and Clark Revisited- a Photographers Trail. gsp, 20 x 24 framed

Walter Niedermayer

Aspen 10 2009-a 001

Aspen 20 2009-a 003

Elina Brotherus

elina2.tif

Murray Johnston

Thomas Joshua Cooper

The Swelling of the Sea | Furthest West – The Atlantic Ocean | Point Ardnamurchan, Scotland | The West-most point of mainland Great Britain 1990-2001 Thomas Joshua Cooper born 1946 Purchased from the artist with funds provided by Tate Members 2002 http://www.tate.org.uk/art/work/P78606

While carrying out my research, my preferences were becoming clear. I certainly prefer the black & white landscapes. Clouds are coming into focus. Lines & tones. I really liked the work of Murray Johnston, especially after Ria explained that Johnston produces platinum or palladium prints rather than silver. Apparently, this gives his work an exquisite quality which sets it apart from other black & white pieces. I would love to see the prints in real life – I’ve always appreciated the visible difference between black & white digital prints & and film ones. So, to see a further contrast is intriguing.

When a colour landscape is involved, it’s the stark ones that drew me in, such as the work of Brotherus. Also, I liked the way the photographer becomes an aspect of the landscape itself & is an integral part of the composition.

Now with a better idea of what constitutes as ‘landscape’ photography, it was time to take some photos.

Criteria Ref: Task 1.1 & 1.2

Unit 1: Pt 8 London to Paris

My next foray into landscape photography for this project literally involved a bit of a journey. I recently completed a bike ride from London to Paris with St Margarets Cycling Club.

One aspect of this trip was being able to experience several landscapes in a short amount of time. During the ride, I took in many sights, sounds, smells of the environment. Some pretty, some ugly, some downright disgusting & depressing. I have to admit that I didn’t experience moments of absolute beauty, but there was definitely lots to think about.

Instead of lugging round my DSLR, I took my compact Pentax. Easier to slip into a cycle jersey pocket. Plus, it’s water & drop proof. Here are a selection of photos.

 

Time on the bike gave me time to think. I’m sure my thoughts will be added to the mix.

Criteria Ref: Task 2.1

 

Unit 1: Pt 10 The Photographers Gallery & Gregory Crewdson

On Friday 6th October 2017, the class took a trip to London in order to visit a selection of galleries. These were:

• The Photographers Gallery
• Beetles & Huxley
• White Cube Mason’s Yard
• The Royal Academy of Arts
• Royal Opera Arcade Gallery

The purpose of the visit was to expose us to a range of photography, artworks & galleries then note our observations, conclusions & emotional reactions to the work. We then had to analyse these responses through deconstruction.

Ria had provided a very useful list of pointers to help us ‘pick apart’ and reverse-engineer how, as an individual, I was being affected/or how I was being helped to arrive at my conclusions when viewing a work.

As there were five galleries in total, I’ve split my observations & responses into separate blog posts. While looking through my notes & looking at the photos taken during the day, I realised that it was going to take quite a long time to sift through everything. I will be posting the blog entries with images then add the text as & when I can.

The class met up first at The Photographers Gallery to see Gregory Crewdson’s ‘Cathedral of the Pines’. I’d visited this gallery two times before, so was quite familiar with its layout. The gallery didn’t quite shout that the exhibition was on, but quietly suggested this with the following posters in frame in its café:

 

The exhibition itself was set over three floors in the gallery. I decided to walk up the stairs. Interestingly, the exhibition ‘started’ on the fifth (& top floor). This meant that you were being directed to the top of the gallery & had to work your way down. I supposed there was a logic to this. Would I notice when viewing the work?

While walking up the stairs, I noticed this on the wall. The gallery uses this space nicely to ‘announce’ the work. I remembered other exhibitions being highlighted in this way.

I finally got to the fifth floor, where the following information was there to be read:

I was slightly aware of Crewdson’s work previously – my classmate Mary has a strong dislike for his work & always gives a ‘shudder’ whenever he’s mentioned. I was reserving judgement until I could see them for myself.

My initial reaction was to take a photo with my mobile phone’s camera of the pieces on display. A literal depiction of what was on display.

 

I then started to observe the framed prints within the gallery setting & the people viewing them. By doing this, I could reference the print’s size & how they’ve been put on the walls. Looking back, I noticed that these have been hung what appears to be quite low on the wall with a lot of space above. Looks a bit odd, considering the ‘dead’ space above the frame. But when seen with people, they are set at an ideal height for close observation.

 

 

I have to admit that by the time I’d gone round the first floor of the exhibition, I wasn’t overly impressed with what I was seeing. The images didn’t ‘grab’ me. I was annoyed with the typical spot lighting & reflective surfaces. The framing was the cliché black square. Disappointed, I walked down the two flights of stairs to the next gallery space.

 

Again, the same stripped spotlights. The same frames. I then started looking a bit closer. Especially after my classmate, Joanne, made some very pertinent observations about the following image. I also remembered a comment made by Ria about how a photographer can ‘lead’ the observer by manipulating the image in certain ways.

Seated Woman on Bed

My first real observation was the contrast between the seated woman & her surroundings. She was crystal clear. The surrounding image looked like an oil painting – smoother, less defined. Then I noticed all the smaller details. Then it hit me – nothing in this image is ‘accidental’. There was a myriad of messages, some shouting, some whispering. It was up to the observer to make of these as they will.

There was a real sense of loneliness, despite the presence of another person, albeit hidden. Only a hint of toe & outline of a leg under the bedding shows someone there.

Father & Son

This was one of the most disturbing images in the collection. There was no indication that the man lying in the bed was actually alive. It was as if he’d just died, unnoticed by his (presumed) son. Again, closer observation revealed what was on the bedside chest of drawers & table, including  a military badge, a pot of pills, a bible – pages marked with bits of paper, one half of a ‘walky talky’ plus a dog-eared map. All remnants of a lived life.

Woman At Window

Another image of loneliness – as if the internal setting is as ‘cold’ as the external.

While walking round, I took a look at one of my favourite parts of The Photographers Gallery – the wall where visitors’ comments on the exhibition are posted. Here are few of these:

Got me thinking more about the photos.

Woman in Living Room

Yet again, another domestic setting of solitude. But instead of looking out onto a landscape, the woman is watching through a different window – the television. One can imagine her looking at images of a world completely different from her own, escaping the drab existence of her day-to-day life. Or she could be watching those less fortunate & thinking ‘glad I’m not in their shoes’.

The Den

The first thing that strikes when looking at ‘The Den’ is the young woman perched on the sofa. Then my eyes were drawn to the rest of the room. One thing I did notice was the ageing polystyrene ceiling tiles – nicotine-stained & shabby. So glad I wasn’t able to smell the atmosphere in that room. Can imagine it had an ingrained stench of cigarettes, body odour & damp. Also, the figure lying naked on the sofa wasn’t quite obvious at first glance. It suggests a young male lover sleeping off a passionate session while the girl is having regrets of what she’s done.

Woman on Road

This image was probably the most ‘literal’ of those on display. Almost as if capturing the moments of this woman in the peak of a nervous breakdown. Having driven to a secluded place, got out of the car then discarded her clothes. What is she about to do next? Jump into the shallow river to drown herself? Collapse into a ball of weeping & waling on the road? Or scream, like Sally Bowles in Cabaret, under the bridge? Was she Amie? Did the + person (who’s name can’t quite be read) dump her? Is she crying for “HELP!”? Or did she go back to the car, get a pack of cigarettes discarded on the passenger seat & light up a fag? Who knows…

The Shed

By this time, I was starting the tire of deconstructing the actual images. There was only so much my mind could deal with. However, my observing eye changed its chain of thought. Instead of focusing on the perceived narrative, I started to notice the differences when taking photos of sections of the prints with my Nikon D5500 DSLR. My observation was how these shots exposed the details further than in the print on the wall. It just highlights the amazing nuances of these images.

The Barn

Again, more detailed shots with the DSLR. Again, more observations. What struck me with The Barn is when the close up shot reframes a composition. It turns a slickly constructed porteau view into an intimate portrait.

Telephone Booth

What got me with the following images is not the total, but the details. I was drawn to certain aspects, highlighted by the photos I took.

The Quarry

Interesting. By now my brain had pretty much burnt out. The following is a few more shots taken with the DSLR within the gallery space.

Observers Observed

Criteria Ref: Tasks 1.1 & 1.2

Unit 1: Pt 11 Beetles & Huxley – Alex South

Our second visit of the day was to Beetles & Huxley. This is a gallery based off Regents Street focusing on photography. The exhibit was by Alex South.

I really liked the images featured, but what really vexed me was how the space was lit. Ugly spotlights bouncing light off glass. Images trapped & interrogated by harsh brightness.

 

Beetles & Huxley – Alex Soth

Criteria Ref: Task 1.1

Unit 1: Pt 12 Royal Academy – Fred Cumings

Our next port of call was the Royal Academy. Ria had kindly (& quite brazingly) got the group ‘special’ access to the hallowed halls of this artistic establishment. Wonderful work by Fred Cumings. Wasn’t sure who’s work that was featured at base of the staircase with the photos of all the RA alumni. But that image sure stuck in my imagination.

 

Royal Academy

Fred Cuming

 

Criteria Ref: Tasks 1.1

 

Unit 1: Pt 13 White Cube – From the Vapour of Gasoline

Next visit was to the White Cube gallery in Mason’s Yard. Tucked away from the hustle & bustle between Pall Mall & Trafalgar Square in St James, this is a fantastic gallery space. As if transported by Dr Who from a distant galaxy, it epitomises the classic modern (post-modern) exhibiting area.

When we arrived, I just took in what was there. Confused. Didn’t even realise that they were by different artists. Didn’t look at the tags.

Brain was fried from looking at Crewdson’s work. These are my perceptions.

 

& my B&W translations…

Criteria Ref: Task 1.1

Unit 1: Pt 14 Trafalgar Square & Freddy Chalk

When walking back towards Waterloo station, I went through Trafalgar Square. Was intrigued to see a whole load of chalk drawings on the pavement.

Here was art in the open air. A real contrast this to the sterile environments of the gallery. Still there to make money (after all, this a world based on capitalism).

The one who stood out was Freddy Chalk. No way could he afford to pay £5,000 for a week in a gallery up the road. Ok, his work probably isn’t everyone’s cup of tea, but he knows what he’s doing

Was being interviewed while a blogger held a mobile phone. Chalked his social media details on the pavement.

He knew what he was doing. The galleries operate in a world of their own. Little bubbles of ‘art’.

Earlier on, I’d spoken to Ria about my wanting to really improve on my black & white conversions. I took her words on board & came up with the following image. I first gave it a neatening crop then gave the different colour channels a tweak before applying the greyscale option. Have to admit I did this on Friday evening so I can’t remember exactly how I did it, but I really like the depth of tones. Would be very interesting to bring this image to when we next cover this in class & see if I can improve it further.

Criteria Ref: Task 1.1 & 2.1

Unit 1: Pt 16 Thoughts on Realisation

Been thinking about this particular project – Landscape. What’s been pricking at my mind? Where are my observations leading me? My recent visit to Brighton was definitely a move along the right path. Feedback required…

During the session on Friday 13th September, I sat down with Ria & had a discussion about my thoughts so far. It was during this chat that Ria picked up on a couple of the images I’d produced.

 

The comment that sparked some inspiration was Ria’s suggestion that the water looks like petrified rock.

 

The other was how this looks like land.

I’d already made my mind up that I’d be focusing on this type of landscape, but wasn’t quite sure of the direction I wanted to take it in. I’d now had a better idea.

I knew it had to be on a beach or of light on water. Preferably black & white so I can get the rock effect. I also want to work on getting a better monochromic image. Colour might be an option – depends on the ‘landscape’.

What style would it be? Triptyc? A series? Definitely abstract & metaphorical in style. My interpretation of light on water, making a new landscape from sea & sky.

Visual language? This bit needs work. The three photographers I want to research? Currently Ansel Adams, Fay Godwin & Thomas Joshua Cooper are in the running. I’ve also looked at Simon Norfolk, Edward Burtinsky & Murray Johnston. Further digging is required. Who has influenced me the most so far?

I’ve also got some thoughts on my recent gallery visits that are scratching round my head. This is in regards to presentation of the final images, including how it will be printed & the size. Earlier in that day’s session, Ria gave the class some pointers for transforming images from RAW files to finely polished JPEGS or TIFFS. One aspect Ria mentioned was in reference when looking at ‘white’ spots while tweaking an image in RAW – it’s where the light ‘comes through’. I need to exploit this – so when the light ‘hits’ these white spots on a printed image, the observer will be ‘experiencing’ the light on the water. Instead of an annoying reflection, it becomes part of the composition.

As for a name, is Sea Scapes worthy? Or just corny…

While still thinking about this concept over the weekend after, I took some more shots. I made the following conversions following some of Ria’s tips.

 

The other thing on my mind was the interim crit lined up for Friday 20th October. This is when I have to present my ideas & concept to both the class and Ria. Will have to spend the next few days having a bit of a think & making some decisions…

Criteria Ref: Tasks 2.1 & 2.2

 

 

Unit 1: Pt 18 Sunny Interlude

With lots of work being done in the background – research, reading & writing, I realised I needed a bit of time in my favourite place.

Could add to this project, who knows. It was a lovely sunny afternoon, surprisingly mild for a late October day. On the drive home from work I took a detour to the Woodland Gardens in Bushy Park. I didn’t take many photos, but just being in the woodland itself was a calming, soul-cleansing experience after a very busy week.

The following were taken on my mobile phone.

 

I did take a few with my DSLR. Gave myself a little challenge of going fully manual.

 

 

An enjoyable interlude with an extension of previous ideas.

Criteria Ref: Task 2.1