Typology in photography (How to Ace your A-Level)

How to Ace you A-Level in Photography (And other courses)

TYPOLOGY IN PHOTOGRAPHY

Across the course you need to produce images that use contemporary approaches to making and producing images. These approaches can be construed as experimental in many cases and this identifies one of the key assessment criteria that you need to meet. In addition they take your photography over and above the norm and introduce you to new concepts and ideas and broaden your photographic knowledge.

Again, I'm going to mention that your starting point should be the Journals and magazines in the LRC (Learning resources Centre) and the Forum. You should be looking at the British Journal of Photography, Hotshoe and many more on weekly basis to give you ideas and inspire you. Here's the reason why.



One of your assignments is based around the concept of presenting images as a typologies. The Daddy (And the Mummy) of typology are the Bechers - Bernd and Hiller.

As with all of the projects you need to produce the work over a series of shoots, developing and improving them as you go. At stages (After each shoot perhaps) you should review the work using a method such as the Gibbs reflective practice model to drive the work on and forwards to better results.

You should choose a subject that you like and will be happy to shoot, you need to consider all the other approaches that you've been taught about and tried and look at fusing those ideas with these. Remember the work you produce needs to be experimental in a number of ways and as you produce this work, this experimental aspect could be brought in at each of the developmental stages.

Through research, looking at Journals such as the BJP, Hotshoe etc in the LRC and The Forum you might be in a position whereby you can link the work you're doing to a theme with a deeper meaning to it rather than just a series of images that are relatively meaningless. This is one of the more difficult aspects of any project when completed to tight deadlines and you massively improved the chances of being able to work with a theme of some substance if you're researching work that is made and produced in this way,

Alinka Echevirria – Typology + catholic + catholocism + personal + objects + charms + jewellery + 

Ari Versluis – exactitudes + typology + montage + fashion + skinheads
Candida Hofer – Typology + Public Buildings – Interiors - Categorization
Chris Coekin – Hitch hikers + portraits + roads + location + daylight + types + typology
Danielle Lilley – Cadets + soldiers + typology + portraits + war + stereotype + guns + uniform
David Maisel + decay + landscape + corrosion + environmental + issues + typology + topography + water + colour + xray + horses + skulls
Donavan Wiley – Typology + Northern Ireland + conflict + war + military + deadpan + aerial
Ed Ruscha – Typology + Petrol station + Parking Lots + Streets (Hollywood Bvld) + Aerial
Frank Gohlke – New Topographic + Landscape + Typology + Deadpan + Environment + Passing of Time + Monochrome
James Mollison – typology + monkey + apes + deadpan

The Bechers Youtube link (sub titles). No.1
The Bechers Youtube link  No.2

Jasper White
The Bechers
Jeffrey Milstein
Ed Ruscha
James Mollison

http://typology.ca/typologies-within-typologies-100-abandoned-houses-and-the-heidelberg-project-today/

http://blog.redbubble.com/2012/04/photographic-typologies-the-study-of-types/

Section 21 - Your first shoot (Getting Started).

It is absolutely essential that you get your first set of images shot within a matter of days in some instances and certainly in the first week with the longer projects! Again we have to reiterate this becomes so much more manageable if you've been doing on-going research in your own time independently.

All art work is the product of a process of development of skills, techniques and the idea. Your project needs to show the development of these aspects over the period of the brief and this done by producing at least three shoots where the work improves and becomes more coherent as an idea and as a set of images. 

It therefore follows that your first shoot can be virtually anything as long as it is linked to your work. So in the example I've been using any images of shoes would do, as long as you're exploring some aspect of what you're going to do. The first shoot might just be exploring what angle you want to shoot the shoes from - a side view, the under-side, the top-side, whether you're going to have a single shoe or the pair. At the same time you could test the light that you might use and a range of lenses to see what works best. All of this is a part of the development process.

At this stage, digital works well just to get pictures in your books/folders and demonstrates that you've made a start and enables your lecturers to give you feedback and discuss what you're doing. More importantly though, it's through this process of doing 'Test shoots' that you'll get some sense of the challenges that you may face in getting the project to the next stage.

Once you've shot the images, these need to be put in your book. Ideally you would produce a contact sheet with all the images on and handful of images 4 or 6 perhaps - approx 5" x 7" in size. You will then have to annotate the images with observations you've made about the process so far.

At this point you will need to do your first reflective written piece using the Gibbs Reflective Practice model.

Section 4 - Research

http://www.listofphotographers.blogspot.co.uk/

Here's some ideas on the theme of your research...

Research (Also check out this newer link on research here)

Right from the very outset we will be advising you to look at contemporary and historical photographers primarily exploring their ideas and reasons for shooting their images in the manner that they do. We strongly advise that you do not use the Internet as your starting point, as this tends to produce superficial and weak research material. The advised approach that we'll introduce you to, is to use Photographic Journals such as the BJP, allocating a little time each week to look at the new issues of each of the magazines and getting ideas together and gradually building a knowledge bank of contemporary and historical photographers and their work.

Using this approach you would be introducing yourself to a very broad range of photographic approaches and establishing a far greater depth and understanding of photography's potential. You should make notes and photo-copy interesting images and articles and get to grips with the language used and the ideas and concepts that are explored through photography.

We cannot stress how important it is to use the resources in the library (Journals, magazines and books). By virtue of being published in hard copy, the information in the articles is written by professional editors, writers, reviewers, academics and other artists and therefore of a much higher calibre. The nature of the articles in the magazines, books and journals tends to be far more concise and to the point, addressing all of the necessary components of your own research.

Your research should be conducted in two forms... (1) Initial Research (2) On-going Research.

(1). The initial research under-pins the project and should be the element your work is based on and around. We suggest that you explore 3 artists that connect with your idea and as part of that process you would ideally make a decision about your idea quickly connected with one or more of the artists/photographers you research. This part of your research has to be done at the start of your project and this is the reason we advise you to be continually looking at contemporary art photography throughout the course and building up a knowledge bank of sources to which you can turn to and use in conjunction with your work.

Throughout the duration of the course you're expected to experiment with your images using experimental in camera and post production techniques to enhance the meaning behind your images. One of the more difficult aspects of this is, the fusing together of your concept and the experimental approach. In order to increase your chances of being able to unite the idea and the experimental approach is to have a very wide appreciation of photographers that use these approaches and their techniques and how they use them together. This knowledge will only be gained through studying and researching contemporary art photography (The journals in the library) and seeing how and why they do it.

When you're looking at artists associated with your theme/approach the key things you need to identify are...

• What is their work about (Its meaning)
• How is the meaning conveyed in their images
• If they use experimental techniques/approaches within their - work how does this enhance the images
• Who are they influenced by - show how/why
• Is their work a part of a continuing tradition
• Where and how are their images used
• What influences you are going to draw from their work

Use one A4 'Key' image in full colour, as high quality as you can source. Annotate this image identifying the Visual Language used in the image. For each artist aim to write in excess of 300 words describing the above bullet pointed aspects. Add additional images (In colour) to illustrate any points that are important and use quotes from books and journals in addition to the 300 words.

 

Then compare and contrast the work of at least 2 of the artists that you research again looking to write another 300 words,

 

·         What is the idea/concept behind the artist/photographers work?

·         Read the articles and look at the images – what is the work about, see the list below describe how it links in with one of these or another and say why the artist or you think it’s important or interesting.

o   Self

o   Space/places

o   Time

o   Religion

o   Sex/gender

o   Society

o   Conflict/War

o   Family/Kinship

o   The mind/mental illness

o   Violence/crime

o   Disease

o   Politics

o   History

o   Nature/environment

o   Confusion

o   Escapism

·         What materials, techniques and processes are used and why?

·         How big is the work – scale and size, how might this affect the way that it’s perceived?

·         Over what period was the work made – is this relevant?

·         Where are these images seen and used – how are they used – what’s their purpose?

·         Who or what is the work influenced by?

·         What’s been said about the work by art critics, curators, reviewers and other artists?

·         Is the meaning behind the work “Obvious”  or “Ambiguous”?

·         Have you been able to grasp the meaning behind the work – what do you think about it?

·         What have you taken from the research and applied to your own work (Idea/Concept or Practical/visual) elements?


 If you're struggling with ideas/concept based photography, have a look at this video as it may help... (Photography as contemporary art)

Once you've made a start on the research and you've looked at some contemporary photographers and their work that has some link with your initial idea. You need to now outline a plan - what you're going to do next...

Visual Language in Photography

http://www.listofphotographers.blogspot.co.uk/

Visual Language in Photography

Visual language in photography relates to visual elements contained withing an image that we're able to read and make sense of that communicate ideas and meaning. 

Your introduction to Visual language will usually include the use of an image of Kylie Minogue shot by Derek Ridgers, in the session we deconstruct the image, analysing it, using the list below. Through this process we arrive at a series of deductions that allow us to speculate as to why the images exists, what it's purpose is, how it was shot, why it was shot in that way, what equipment was used, whether the image is natural or constructed, who the audience is, how the image communicates to that audience specifically and a whole raft of other aspects that give us a far greater understanding of what photography is and how it communicates.

Through this deconstruction/analysis process, we can see what visual langauge tools the photographer uses and bit by bit, we come to understand that images that seem to have just been 'taken' are in fact carefully constructed and designed in order to maximise their impact on the audience.

Another set of images that we look at are Thomas Ruff's deadpan portraits. We discuss the difference between the portrait of Kylie and Ruffs portraits in terms of the images being subjective or objective.

Within your work you will need to show that you've analysed two or more of your key research images. The suggestion is that you produce 2 high quality images in conjunction with your research and print these off A4 in size and in full colour. These images should be annotated using some of the prompts listed here below showing that you understand how images are constructed. In addition to the annotations that accompany the A4 images, there should also be an in-depth written component as part of your research that uses additional images (Smaller) where you attempt to analyse the images fully using as may of the prompts below discussing why these elements are used and how they could be used and incorporated into your own work.

• Subjective/Objective?
• Flat or contrasty - tonality
• Mono-chromatic, colour contrast or discord
• Composition - line - rule of thirds
• Format - Landscape/Portrait
• Texture • Light
• Mood • Location - scene -set
• Background
• Use - documentary; social; fashion; landscape; portrait, advert, art, editorial
• Production values - size, format, quality
• People -persons - who, what, when, why, how
• Expression/body language
• Involvement
• Meaning - message - semiotics
• Constructed/reality
• Purpose
• Target market and audience
• Props
• Socio-economic factors/Class
• Western or Non Western - cultural values
• Sexism, rascism, patriarchy
• Educational or commercial
• Art bias - expressionist, impressionist, abstract, minimalist
• Inspired by and following in the tradition of
* What if the image was colour/B&W?

An additional method of deconstructing the images and making sense of them can be found here.  This is a 13 point questioning approach that uses a system based on one used at the Tate Modern.