The Prompts - Responding to and writing about images "Influence and connections".

Identifying the influence of the work your researching is another of the really important parts of your research process.

Probably the most effective way of finding this information is to search using interviews. Once you've found the photographer or the work that you are going to use as a part of your research initially using journals or books (Remember to compile your bibliography as you go), then use the internet once you have the photographers name. In your search pre-fix the photographers name with 'Interview'...

We would always advise you to find a minimum of two different interviews or articles in conjunction with your research. Usually, irrespective of who asks the questions this important aspect is covered, almost every interviewer will ask "Who are you inspired by" or "Who are you influenced by"?

Check Youtube, Vimeo, Dailymotion and other video websites for video interviews.

Once you've found the information...

Find images of the work the that photographer has been inspired by. If for instance you had researched Hans Van Der Meer in one of his interviews he gives a specific example of who inspires his Football pitch series...
Hendrich Avercamps Skaters

Making these connections and doing this additional layer of research is absolutely essential if you're looking to attain higher grades. This secondary layer only really requires that you include images and then annotate the additional 'Historic' image in terms of what you recognise as being similar in the work.

This broadens your knowledge beyond photography and identifies the historical context. Furthermore it demonstrates that photographers use historic images as key reference points for their own work.

The Prompts - Responding to and writing about images "Composition".

As soon as you're visually aware as a child you'll start to see images... On television, on computer screens, in newspapers, books and magazines and you'll be presented with images that generally conform to the rule of thirds. If you're still unsure what the rule of thirds is and how it's used in photography and paintings -  type 'Rule of thirds' in Google and you'll see thousands of examples.

Generally when I initially explain it I use as an example one of Thomas Ruffs deadpan portraits.

These image conventional compositions with the person sitting in the central third with the eyes falling on the top third intersection. Look through historical paintings and most portrait photography these conventions generally apply. Given a camera and told to take a photograph someone - most people will apply these rules. So when deconstructing your research images and analysing them, this is one of the basic things you can discuss in your work. Do the images you're looking at stick to these conventions or break the rules? If the image doesn't conform to the rule of thirds - why do you think it doesn't - what is the photographer trying to do?

Think about the space that's possibly been created, think about the use of the image - is the space there to provide space for text perhaps?

Breaking the frame

Look at your research images and look at the key subject in the image or the main components - do any of them break the frame or are all the elements of the image contained nicely within the frame? If they do break the frame as in the sheep here in this famous painting by William Holman Hunt 1852 "Strayed Sheep" at Fairlight in Sussex. Why?

A lot of fashion Photography despite the fact that it is constructed and planned includes this aspect of composition - why? Look at fashion images and you'll see limbs and parts of bodies cut off by the frame of the image - do you think this right or wrong - does it matter, do the limbs need to be in the image? Are there rules for instance when you shoot someone standing up about where you should cut through their legs when shooting the image as a 2/3rd or 3/4 length portrait?

Negative space

When and why might you leave space in a picture? Why do we shoot portraits as upright compositions, why is that the right way? Similarly why are most landscapes horizontal - and what if we use a square format camera - how does that effect the composition and the balance of the image? What are your thoughts on the matter? See this article here.

Look at the images that you're researching or analysing and discuss them in these terms.

How big in the frame?

Looking at the image what can you say about the way the 'Subject' is framed, is it close or far away - why? Would it affect the way that we read the image and make sense of it if the subject was closer or further away. What is the relationship between the subject and the background or surrounding subjects?

People -

If there is more than one person in the frame - how have they been composed in relation to each other? The space between the people - what does it suggest about their relationship?

Viewpoint -

Where has the photograph been taken from - again this is very significant when it's in conjunction with the image of people. Has the photographer shot the image on the same eye-level as the subject? How does this affect the reading of the image - what does it suggest about the relationship between the photographer and the subject?

What if the photographer is higher than the subject - how does this affect the psychology of the image and the opposite... the photographer is lower than the subject? All of these things have a very significant bearing on the way the images are perceived.

Film rebate - film edge

Who made using the film edge (Rebate) in photographic prints a trend?

I was born in 1960, so lived through that decade and subconsciously picked up on the conventions that connote classic 1960's photography. During the period I would have heard of and seen the work of  David Bailey despite the fact that at that time my interest in photography was minimal.

Over the years this perception of what a classic 1960's image looks like, seems to have been reinforced and for me it includes a series of conventions that when combined are definitely of that era.

As a lecturer in photography I have introduced an assignment for our level 3 students where they have to conduct a 1960's fashion/portrait shoot using those same conventions. I would argue that the visual language of the images is unmistakably of that period if most of the conventions are adopted in the construction of the image. Needless to say the styling, poses and choice of location and props finishes the image off leaving the viewer in no uncertain terms that what they are looking at is a 1960's pastiche.

These image conventions include the following

(1). The use of a classic film type such as Kodak Tri-x, FP4 + or HP5+.
(2). If shot in the studio - simple white or grey background, the white background being allowed to fall off to a grey or lit separately to create a white background.
(3). The use of a 6x6cm format camera such as a Mamiya C330, Hassleblad, Bronica SQA or Rolleiflex.
(4). Simple studio lighting - a medium reflector dish set-up in the way that Bailey would have used, or point light with a spill-kill and minimal fill-in dependent on whether the model was male or female.
(5). Strong compositions, again using Bailey as the inspiration.
(6). Print the images punchy with good to exaggerated contrast.
(7). Print with the film edge/rebate creating a border around the image including the film type details and for realism - scratch numbers into the rebate to indicate which neg is to be printed.

Most of these details are to be found in books and on-line in various places with regard trying to figure how to create a 1960's pastiche, but the one that is never mentioned is No.7 the one that relates to the use and inclusion of the film edge/rebate.

As I said - this is my perception and it is not set in granite. What I do know and have discovered is that this isn't exclusive to David Bailey and that before him there are at least two of the great photographers using the same technique...

Irving Penn

 

As you can see here, both these images from the 'Corner' series were printed with the inclusion of the rebate (Black film edge), both shots were made in the 1940's. The top image being Marlene Dietrich from 1947 and Mrs Rhineland-Stewart from 1948.

After Penn in 1957, Richard Avedon (below) conducted a famous shoot featuring Marilyn Monroe which is owned by the Museum of Modern Art. This too (well before Bailey) features the inclusion of the border, along with the printed numbers and name of the film. In addition there's scruffy scratched figure which can't be made out, but is probably there to indicate which is the preferred negative on the strip of film.

If we research using the internet you'll find variations of both the Penn and Avedon images and they don't always include the rebate. I personally don't have any hard-copy books that have either sets of these images in, so I can't ascertain whether when published previously with the permission of the photographers or their estate their were instruction to always include the rebate? The MOMA image does have the rebate and the sense I therefore have is that it's an integral part of the images visual language and design... Avedon would have possibly insisted that the image be reproduced with the film edge?

Irving Penn on the other hand or at least the Museum of Chicago seem to be a little ambiguous about the inclusion or exclusion of the rebate (See here) so are we to conclude that the film edge was less significant to Penn?

Then along comes the 1960's and the break- through of the working classes into a world that was primarily dominated by the middle classes - Fashion Photography. To me, there then seems to be a proliferation of the use of the film edge in the final prints especially when displayed in galleries.

Interestingly in the video here we can see the now legendary 'Box of Pin-ups' being looked at and there's no use of the rebate whatsoever, yet the images include those that you will see regularly replicated on the internet with the inclusion of the rebate. (30 mins into the video).

To be continued...


Similarly to the other examples I've loo

 

The Prompts - Responding to and writing about images "Light".

This is an important one to always include as it demonstrates your knowledge of how light is used. For this you need to look at the light and judge whether the photographer has used available light, studio flash, flash guns, daylight or a mixture of any of these or something different? You should then write about the quality of the light in terms of it being ‘diffuse’ or ‘Point’ light, discussing the impact this has on the image – shadows, contrast, definition, flattening, vibrancy of the colour. Does the light set the mood in the image; does it make the image look dark, sinister, bright or happy? Think about and discuss the light in terms of other aspects of photography you’ve previously learned about – does it look like another practitioners (Photographers) lighting style, does it help with making image look objective or subjective, is the light full of drama or is it neutral?

Say why you think the photographer has made these choices – how relevant is the light to the image overall - is it inconsequential or fundamental? Could the light be used differently – is the light consistent or inconsistent across a series of images – think about the Becher’s for instance all of their images had a uniformity by virtue of only ever making their images when the light was of one specific type/quality.

With interior shots featuring people or objects, look at where the light is falling, look at reflections in the eyes and other reflective surfaces or objects – look for clues as to what kind of light has been used? Is it simple or is it complex?

You might even include lighting diagrams?

The Prompts - Responding to and writing about images "Audience".

Audience -

For this, within your research you have to figure out who the audience is for the images you're looking at. For the most part you're encouraged to look at 'Personal work' as opposed to the photographers commissioned work, reason being, the wider photographic community is far more interested in personal projects undertaken by the photographer than their day to day commissions. As part of the making sense of the audience you're going to have to identify how you think the images are intended to be used and what their purpose is? You'll have to research or speculate initially, how you think the work will be presented and in what format - exhibition, book, touring show, limited private sales, auction houses etc. This will give you some sense of who the target market is.

If you dig a little deeper... Try typing your photographers name in Google and adding 'Sold at Auction' you'll get an insight into how much the individual prints or books cost. Look up Peter Beards limited edition book at Taschen - who do think the Audience is for his work - who is his buying public? Would you expect to see his books being sold in WH Smiths in the high street?

Different photographers have different approaches to marketing themselves, dependent on the message within their work, so for some there will be a balance that's needed to be struck between addressing and accessing your audience in order that you get the message out there. What's the point of having something to say through your photography if it's only ever going to be known within an exclusive group of people?

So, when you're researching - get a feel for who is going to be interested in the images and themes you're highlighting. In the same way that you make sense of people's socio-economic status in the images - think too about the people that buy and access the photography... Who are they? Rich, poor, educated, Guardian readers, Daily Mail readers, amateur photographers, young, old, black, white, female, students or professionals?

 One of Art's greatest challenges is to make Art more accessible to a wider public and not just to the educated middle classed. So with this in mind - look at your photographer, look at the message, meaning, theme and content and ask and explain how it addresses these differences if it does at all?

The Prompts - Responding to and writing about images "Socio-economics".

This is one of the more complex aspects of photographs that you should aim to address when making sense of them and being that bit more complex increases the chances of you attaining higher grades.

Ways to address this are numerous...

One of the first things you should look at is the relationship between the photographer and the people/situation that they are photographing. Look at all of the clues you have and make a judgement on what you know of the photographer about their socio-economic status or background. Then look at who is being photographed and again make a judgement of their socio-economic status and then look to see if there is a difference and ask yourself if this is relevant or significant?

It may be useful to identify and compare your own socio-economic status and make connections with either the subject or the photographer themselves?

As an example if you look at the work of Joni Sternbach here think about what you know of Surfing already and look at the visual clues in the images.

Think about your own ideas and own life experiences, living conditions and financial status. Are the people in the images the same or similar to you - what things do you share with the people? The very basic questions you should look at, might include questions such as...

Are the people Western or Non-Western?
Are they poor?
Are they comfortable (Financially)?
Are they wealthy?
Are they working class, under-class, middle class or upper-class?

Whatever assumptions you make, you then need to discuss in your work what leads you to believe these assumptions - the visual clues?

Then ask yourself does the photographer share the same lifestyle or values as the people in the images and does this then affect your feelings towards the photographers work or not - does it matter?

In many instances, photography because of the nature of it ... cost/access to equipment and resources is conducted by people that are predominantly middle-class. One of the defining features of being middle class is to be in control of your life to some extent, having excess capital (money) that allows you to be involved in activities such as photography and travel. You might want to discuss how photographers interact and relate to different people from differing socio-economic backgrounds? Looking at the image/s your writing about - how are they are shot and used, are there any observations you can make with regards to whether you feel the subjects in the images are being exploited? Or does the photographer go about their work with a sense of empathy, making the images in such a way that they imbue their subjects with dignity?

Returning to the Joni Sternbach images, with only a few minutes of researching on-line we can establish a number of facts about Sternbach's work ...

1. She is a white middle class American. Things that connote that she is so include the fact that she has a degree and an MA, she makes a comfortable living through making art photographs, which allows her to travel all around the world pursuing this career.

2. The people she photographs for the most part are similarly white middle-class Americans, Australians and English. How do we know they're middle class even though they're almost without clothes on the edge of a beach? Surfing is for the most part a middle-class past time, the surfboards for instance are expensive luxury goods. All of the people in the images look fit and healthy and they live near the beach and again that is a reasonably good indication of wealth combined with all of the other factors.

You therefore have to look at the images used in your research and ask these types of questions and offer responses to them by way of trying to establish what the images are really about. You only need a few lines (As above in italics) or a paragraph that demonstrates that you've considered this aspect of the images in your image analysis.

If that doesn't make sense - what about this...

One way of approaching it is to look at who is being photographed and who the photographer is. Look at the subjects and ascertain what their socio-economic background/status is… Are they from a certain background e.g. Under-class, working class, middle class, upper-middle class or upper-class? Look at the visual clues that might suggest the people’s status. Read the articles that you’ve researched and get some sense if this is an important aspect of the images. Explain how you might have arrived at this assumption or fact.

Then ascertain the photographers background and status, does he/she share their status in anyway, historically did the photographer come from a similar background? Are they the same nationality or ethnicity? Do you think this matters or through your research can you ascertain whether this does matter?

The relationship between the photographer and their subject potentially matters a lot as it may mean the images are shot with a bias? Are the images supportive, derogatory, neutral or condescending explain how and why?

Is it possible for a rich western, middle class white photographers to take images of ethnic, third world, indigenous people and do so in a neutral non-colonial manner? Similar issues can be discussed in terms of men taking pictures of Women, Women taking pictures of men. ­

The Prompts - Responding to and writing about images "Colour".

You have a been issued throughout the year a number of prompt sheets in conjunction with your work. One of the key things you need to do is learn about the work of other photographers through your research. One of the main things you have to do is make sense of the images... analyse and deconstruct them as a part of this process.

Colour

Much of the photography you look at will be designed e.g. the photographer will make conscious decisions about the colour, whether they want the colour to be muted or vibrant, obvious or subtle. In other situations they may not have a great deal of say in the colours that appear in the image whether in foreground or in the background, but colour has the ability to ruin and image or make the image, so is a very important aspect of the image.

When you're looking at the photography that you're researching one of the easier things to discuss in your work and make sense of and critique is the colour. It helps if you have some background knowledge of how colour is used in Art generally and if you're looking at attain high grades it may be worthwhile doing some re-capping on basic principles in painting and colour psychology. Look to at how colour is perceived in other cultures and the significance of colour in other cultures.

Some of the questions you address in your analysis of the images you research might include the following...

If the image is a colour image - consider whether it would be improved by making it black and white? Think about what B&W images convey to the audience - why do people make black and white images or convert colour images to B&W sometimes? This has been discussed earlier in the year during your early visual language lessons.


Double Click this image to watch a short video about the basic principles.

Discuss the colours used in terms of whether they are warm or cold? Is there a reason for using one of the other? Think too about the use of light - has this an overall affect on the colours in the images. Remember light is described in terms of being cold or warm - has the approach the photographer has used included making the images in a certain light in order to create an overall sense that the images are warm or cold - if so why? You could ask 'What if'? Type questions around this aspect of the images in order to take your up a level to include analysis. Looking at the images you're researching if warm or cold light/colour was applied how would this impact on the images?

Remember when you're looking at and discussing these aspects - write about them in terms of what if I applied this or a similar approach to my own work - how would it impact on my work?

Look at your research images and consider whether the photographer has used colour contrast in the images e.g. colours on the opposite sides of the colour wheel together to create an image that has dramatic use of colour that potentially works because of the stark contrast.

Look at the use of colour discord. This is the use of colours that don't work with each other and look wrong in the image. This may be a considered tactic used within the image to draw attention to something or add to the negative feel of the image.

Does the image use colour harmony - a series of colours that are of a similar grouping that work together and are visually pleasing. One of the most frequent used images that exemplifies this is autumnal leaves - combining oranges, reds, browns and yellows.

Look at images and say whether you think the photographer has chosen to saturate the colours if it's significant. Has the saturation been achieved - is it artificially done using post production methods (Photoshop or similar) or has the saturation occurred through the choice of light? 

It may be that when you look at the images, there's little to say about the colours in which case explain why the significance of the colour is limited and move on to the next prompt.

https://www.youtube.com/watch?v=MFKvdidTVLc


Colour is such an important aspect of images, you do need to consider it's use carefully and the more you discuss it with a sense of real knowledge, the higher grade is likely to be.

Check out this website here and the links at the bottom relating to the connotations of colour http://www.bourncreative.com/meaning-of-the-color-black/.