Family and Photographic Histories

Family history photography correct or incorrect?

Majority photographers at some point will find them self with their camera in their hand in the same room as their family so photography of your family will happen, weather in a light hearted family occasion documenting the day for all the family to see, or possibly in a more engaging nature in a more ‘piece’ of photography with your family as the subject. Both forms are correct but with any subject in photography their are rights and wrongs, how far do you push it etc.. I feel theres a few main areas when it comes to the family in relation to photography the photographing of the family in a family album style etc, images for family members, occasions get together etc documenting those days in a non-agenda style. And then theres the use of the family in a piece of photography, using the family in a personal piece when its your own, and the photography of other families, photographing a subject connecting a family and many other interesting reasons. However there is a line of taste and what is right but depends on which type of family photography it is, a range of different contexts come under the relationship between families and photography. However what type of family photography it is a way of documenting the history of a family in a fashion

Take this early example of family photography, The work of Jaques Henry Lartigue working in the early 1900’s shooting his family as a boy aged around 7 to 12 in his vast body of work photographing his wealthy family who had a good sense of fun and encouraged him to photograph in this early example of documenting a family in a non-agenda style photographing the family in a fun light hearted manner in a way to behold and look back on in time, to make family members smile etc... 

However the Lartigue work is a light hearted approach to photographing the family in a more correct term as i would see it just documenting the families activities nothing to private exposed to the general public as such, but these images taken in the 1900’s a totally different sharing method etc so more private images will be more secret in a way as today images lose context and become less private at times. Now to a more recent and contemporary piece incorporating a family but a more questioning piece (in my view), in the work of  Sally Mann- Immediate Family depicting photographs of her children in a whole variety of situations in a very diverse range of day to day activities some more intimate than others. Which does ask the question are they correct PC enough to be distributed in this fashion? I feel it comes down to opinion, images of naked children could be seen as something private, would you like for everyone to see your children with no clothes on? It does ask questions of taste and whats right in a way as in these images...

Images from Immediate Family by Sally Mann

As in these images I feel the first image depicts a normal family life style image a fond memory frozen in time to be cherished and looked back on fondly acceptable in my view, the next image (from a range of similar shots) however I feel are a little more controversial depicting minors body parts in images widely distributed however they are at a more playful than sinful level to be honest, I just ask would the children really want this? I know if my mother had taken images like this of me and they where all over the world I would feel a little strange so many people had looked at me or maybe thats just me. However these images can be seen as right or wrong but they are high in quality and detail making some beautiful images. They do depict a family growing up in a more intimate and playful style, history of their childhood suspended in print for them to see well all to see. 

‘Memory is the primary instrument, the inexhaustible nutrient source; these photographs open doors into the past but they also allow a look into the future’- Sally Mann intro Immediate Family, Phaidon Press limited 1992

Mann there showing that the work is an extension of their childhood opening doors into their past and memory in this piece of photographic family history does have some questioning issues as to the content  of some of the images but the body of work is a family photographic history and does answer weather that topic is correct or not, it comes down to preference. I believe not too much should be shown some intimate moments could be kept personal but it  comes down to family openness and opinion at teh end of the day.

Landscape- Myth, Fantasy and Ritual

Mystery of the landscape...

The landscape, well the term landscape can viewed in many forms, the urban or the natural being two of the main areas for me that encompass the term and genre of photography that is landscape. However the subject of landscape is vast and open in a literal and academic sense, the point in this piece I wish to focus on is how the landscape, whether it natural or man made can hold context, a meaning, a story, a piece of time etc. The landscape like other genres of photography can be so much more than the literal general subject of just landscape in this case. It can hold hidden meanings, senses, engage with the viewer with different intwined views and feelings, such as the landscape could hold a sense of fantasy, myth and ritual which is quite interesting when you think about, how can a piece of land and area of a natural habitat hold such stature within a photographical image?

For this concept of a landscape image being more there are the more subtle of themes and senses of a concept upon an image an the dam right in your face immediate images that automatically show the ideal of an image, say the sense of myth right from the outset in the initial viewing this being a viewing structure point that is the studium effecting the viewer the immediate case and point of the image striking the viewer, but the more subtle more punctum feeling images which prick and poke at the viewer ask questions but reveal the idea and feeling behind the image I feel work better especially with the genre of landscape which is vast in its nature and open so the ideal behind the image works better subtly but how do images encompass these ideal, how does it work as an image holding fantasy or myth etc...

This takes me on to the work or Ansel adams his images being vast pieces of craftsmanship   intricately dodging and burning areas of the frame to enhance the image, and I feel they do posses a feeling of fantasy and myth, one because of the location and two because of the way they have been manipulated take this image for instance...

THE TETONS & THE SNAKE RIVER, GRAND TETON NATIONAL PARK, WYOMING, 1942

From Ansel Adams the making of 40 photographs, 

Manipulated and altered to show the natural impressive landscape even on its own but now with the tool of photography to alter dodge and burn an image to show the feelings of the photographer, the viewer the feeling of that landscape, this being a sense of fantasy, highlights, contrasting skies, light behind the cloud sense of mystery, dreams i feel that ecompany the epic nature of all of Ansel Adams images this enhancing of the natural area which adds a level of fantasy and myth as these images do not exist in this state, they are more the view of one person, crafted to be in this nature. 

Lots of photographers use the fantasy of the landscape to add another level of dimension to their images some in a more direct form others more subtly Ansel Adams images being a more subtle representation of this theme, but a more direct phase of showing fantasy or myth like feelings in the work of Berthold Steinhilber in the series ghost towns of the American west depicting a series of abandoned buildings small townships across the American west, which alone are quite interesting holding a sense of mystery behind their story and past, but its the way Steinhilber has lit these images to hold a fantasy feel, and mystery feel like in this image...

Crystal, Colorado. Sheep Mountain Tunnel Mill.

                                                  From Ghost Towns Of The American West

On first viewing it could be a piece of a mystical fantasy land of some sort, but it is depicting a piece of the American west, its the techniques of lighting and post production that shows the images location in this light, adding fantasy and mystery to the image just like Ansel Adams did to add more depth to the image, manipulating the views thought and gaze with the fantasy like approach and view the photographer had of this area, to take that view and show it in a visual form is only possible with the tool and key to thought that is photography in this very visual and direct form of representation.

Mystery of the landscape can come in many forms the use of themes such as fantasy and myth add depth to the image, however these themes are easier thought of than visually shown, it takes the skill of a photographer, but depth of thought and vision to portray these themes in this visual form, however the photographers main intention may not have been a theme of fantasy and myth but the editing in this way does lead towards it.  Because all landscapes do hold a level of mystery, fantasy and myth as they are used within stories, films, writings to set the scene, its just the way you choose to portray a landscape which unlocks this sense of hidden mystery behind natures elements.

Social Networking & Sharing...

The Neglected Photo Path

The classic traditions of amateur photography, the family photo albums, shown down the generations. The craft of albums and storage of images from camera to developers to home, all these traditional methods have been revolutionized over the history of photography and at a high rate over the last 20 years. With the introduction of digital photography images are more easily accessible, easily stored in an electronic environment, storing thousands of photos with out the need for a great quantity of space to hold albums etc. Social networking sites holding vast amounts of images, some very personal and do break the conventional rules of sharing, however these sites hold thousands of images that only ever exist in the realms that are the social networking sites, sites storing and sharing sites such as Flickr images are never printed  they remain as digital code so do they become photographs? If they are never physical, does an image have to be physical to be a photograph or a piece of photography? the issue and era of these new photo paths does raise quite a lot of questions the traditionalists will raise an eyebrow at. However photography since day one has always been about progression from one era to the next, photographers have always looked to further the medium. So these new paths of photo sharing can be for the better where photography is concerned. However I feel the notion of sharing images has changed dramatically and for the better where they can be printed and shot much easier allowing everyone with even the most little of knowledge to indulge them selves in photography. But with this new sense of sharing and shooting images, the use of images has changed greatly, the reason why we shoot images has be altered vastly this coming along with the introduction of social networking, creating virtual presences and representations of yourself, taking images to show yourself naturally and for who you are would be seen as the route to go down, but with this form of social gathering and communication, there is the possibility to alter  appearance, show less or more depending on what your happy with, but the case is people forget what is appropriate and who can see these virtual images used to represent your self, as some people wouldn't stick a photo of them on a billboard for everyone to see, but online its the same principal if not more people can possibly see your image. These images being personal as in they are about your self and who you wish to portray, but also on other websites, amateur and professionals work is displayed on the same websites which has never happened before well not as regularly as it is now done on the web. This creates issues such as its harder to get credit, to get noticed etc with imagery being all over the web so easily accessible, also issues with copyright  images easily taken and used without the owners consent etc does prove to be a big problem with the internet holding so many images where does the line cross before you are invading someones privacy on the social network front, all when does accessing an image or using an become an invasion of copyright...

http://www.bjp-online.com/british-journal-of-photography/news/1935920/facebook-users-unknowingly-breaking-copyright-laws

The british journal of photography covering a growing issue that concerns the vast social network that is Facebook, and the issue that is the use of images, because more and more people are using professional images as profile pictures with the rapid movement in image quality peoples 8mp cameras are not cutting it enough so people look to professional images etc but not always with the consent of the photographers they have used to get these said images. As with booking a shoot you have the shoot you get the selection of images but the consent is sometimes lost in translation a need for image license information is needed so that this issue of copyright infringement is not as common.

"People aren't knowingly breaking the law, they just need to be made aware," says Hewlett. "Copyright belongs to the photographer. This is unless the photographer has been contracted to take the images with the client owning the copyright. According to British law, copyright is granted at the point of creation. It belongs to the photographer unless it is taken by an employee in the course of their work, here it belongs automatically to employer."- BJP Facebook users "unknowingly" breaking copyright law- Oliver laurent, 10/01/2011

As with this new age of digital imagery sharing, mixed with the necessity of the social network the boundaries between copyright and what is deemed necessary are being crossed day in day out, making photographers jobs harder to keep up with whats being used and not used, within this new age photography may becoming easier for the masses but with that more difficult for professionals in ways.

This not just being and issue for the consumers dis-using professional photography, there are many cases of professional agencies with access to professional miss using images on the web, mis sharing them for own financial gain, there have been many accusations of companies infringing on sharing copyright,
http://www.bjp-online.com/british-journal-of-photography/news/2101339/photo-agency-wins-landmark-copyright-victory, 

Businesses begin to receive bills for miss use of imagery copyright infringements http://www.bjp-online.com/british-journal-of-photography/news/2075750/businesses-warned-infringing-photographers-copyright,  when the issue of this new age has become so clouded an difficult to get it right, issue of mis use and mis haps are becoming too common, from small businesses to the Daily Mail have been accused of lifting Flickr images> http://www.bjp-online.com/british-journal-of-photography/news/2043264/daily-mail-accused-lifting-flickr-image, however this issue of sharing- social networking, use of images online are all intwined together with the miss use of images, infringement of copyright becoming more and more of an issue as photography goes more digital and more viral in many ways, with the introduction of smart phones, tablets, wifi hotspots etc, images and the changing of images can be done more and more easily making it too easy for copyright infringement, possibly there is not enough info about what you can and cant do with an image of the web, do you know?

However the online storage of images, easily accessed by the public does ask the question why post it online if you don't want anyone to take the images and miss use them why post them somewhere they can be miss used. However that does not give the right for anyone to miss use an image, there are many levels to this argument but I feel the photo path has we know it has far from been neglected it has completely been altered and changed to suit the times, as photography progresses there are always going to be pros and cons, but there is progression and thats the main thing, however the progression may take another turn in the near future but the storage and sharing of images wether on social networking sites or image related sites there is going to be more and more of a collision of views on whats right and whats wrong with viewing and sharing but a new photographic path has evolved and looks to grow and get stronger as time goes on... 

Contemporary still life with reference to the traditional

Contemporary still life with reference to the traditional- Web

The traditional the classic traits of still life photography behind the genre that is still life,

compositional elements the shift to the use of objects not the natural, as objects became

more and more into the average home, mass production and the industrial revolution

contribute along to this movement in photography coming around. However when you

think of classic still life photography and art one is drawn to the artists bowl of fruit , vase of

flowers etc however these compositions are merely the starting blocks of this genre.

Originally still life was used as a means of study, studying the form a texture. However

photographers began to take these basic forms and see more, meanings, stories,

narratives that come with these still objects... Possibly to create more significance to their

work, add another level to it give their piece a deeper and more thoughtful approach,

stretching the context or a still object to enhance an image, for own personal gain or

financial gain at time i don't know, but its the taking an so called still object and opening it

up, pushing and stretching your perception of that object to mean more and impact more.

As with the work of Edward Weston his still life shots question and intrigue the viewer,

taking for instance a pepper and turning it into a piece of art, shooting at unique angles to

distort and alter the perception the pepper would give off if seen in a supermarket for

instance. Also the use of light Weston uses is perfect for this changing or perception effect

the use of shadows and highlights to alter the shape and form of the pepper to give it a

whole other look and feel to the still item. His work shot in the early 1900’s taking objects

vegetables ready available due to the impact of the colonies bring over exotic food,

available more easily at this time, in comparison to when photography came around when

there was the notion of colonizing documenting and recording the natural elements

obtained. To this time where people/ photographers were looking deeper into items looking

beyond the still item, which i feel signifies the shift and change of the people at the time

with WW1 and WW2 on the horizon, people were worried looking deeper into things,

holding more to their objects as they became hard to get hold of due to the state of the

times and rationing etc...

 http://www.edward-weston.com/edward_weston_natural_11.htm

Pepper 1929

 Edward Weston's work wasn't the only still life photography at the time there were many

others delving into this style, which I feel has contributed to the style of still life

photographers today, for example the work of Adam Bloomberg and Oliver Chanarin in the

series ‘American Landscapes’ which in short is the photographing of photography studios,

looking at the items and shapes that make up these studios to create good studio shots,

looking beyond the area which is used to make images, to using the surrounding shapes

contours of the area to create interesting and effective images. 

                                         http://www.choppedliver.info/american-landscapes/

                       Guitar World, Jack Nicholson (c-type, 10x8", 2009)

                                            












































  Cosmo Girl, Lexus, Viagra, Vogue (c-type, 10x8", 2009)

AB an OC taking this well used area and looking beyond the items and objects and turing them into

images them selves, like in the way weston would take a pepper, light it differently to give it

an whole other look. Im not saying that peppers and studios relate to each other but its the

concept of taking an item or an area and turning into something new, changing the

meaning of an item or an area thats still and often overlooked as something with possible

compositional elements to make an effective and interesting image. Not only Weston’s

work would have influenced AB an OC but work like Margaret Watkins the shower hose

with the use of minimal colours, whites and grays using a still and overlooked object to

make an image with good composition and effect. Also Edward Westons architectural

shots influence the American landscapes with the use of white and grey tones, shape and

form of structures to create interesting images.

                                                                         


































church door Hornltos 1940

The work of Adam Bloomberg and Oliver Chanarin is influenced by many photographers

other than Edward Weston but the point I'm making that these photographers of the

traditional using a pepper and rather than shooting it in the classic fine art bowl of fruit

style, which I feel weston would of looked at and then altered to photograph his pepper in

a more interesting way, in comparison to the contemporary when Adam Bloomberg and

Oliver Chanarin take the studio turn it round so that is the actual subject taking the Weston

sort of approach, taking a subject and altering its look its feel and perception to a whole

other level. With the weston work focusing on the alternate shape and form of an object

which was a big thing at the time, to Adam Bloomberg and Oliver Chanarin taking space

and overlooked items to photograph them concentrating on the theme of space and

unused items, showing our sense and concept of space, plus our enhance rate of items.

objects personal items which we discard and sometimes don't even look at as much, in

comparison to the time of Edward Weston where items objects etc where held in more

higher priority to the people with the lessened amount of objects at the time possibly to

now where we take them for granted more and discard more and more and own more and

more.

Identity

Identity- Book stock

Identity is a term used to describe a person's conception and expression of their individuality or group affiliations (such as national identity and cultural identity). The term is used more specifically in psychology and sociology, and is given a great deal of attention in social psychology. The term is also used with respect to place identity. - (apple mac dictionary)

I see identity as a number of things, such as own personal individuality identity, characteristics, beliefs, personal choices such as style and preferences, also national identity what makes you apart of where you live, what makes you a part of your country and your nationality. This takes me to the work of Robert Frank- The Americans... The American dream, Roberts Franks Dream in a way...

Robert Frank The Americans

Depicts American in a different light to what America was being portrayed as at the time more on that later, firstly Frank traveled around america to various states such as New York, New Orleans, Huston, Miami and many more over several road trips between 1955 and 1956. Taking diversions to other states along the way to meet people and what ever took his fancy in this free and flexible road trip in a on the open road American dream style. To photography America and Americans in a more open and diverse style, showing a true reflection of American life at the time. 

‘What I have in mind, then, is the observation and record of what one naturalized American finds to see in the United States that signifies the kind of civilization born here and spreading elsewhere. - Robert frank

The sense of naturalization within the society of American, the shift form from a ‘wana be’ America to an I am what I am America... Not the so called American dream which was portrayed then and for years before. Such themes as the white picket fence, the house wife waiting for the husband with a chicken in every oven- set by president Franklin D Roosevelt the American dream perceived America as this big outstanding nation, perfect houses, fences, family and society se early in his administration in the 30’s to rebuild after the wall St. crash and WW1 however WW2 would come along between then and Franks work however, Frank would have lived through this and possibly he would feel America was being portrayed with this identity of the perfect nation, perfect families big smiles and life's etc as can been seen in this promotion poster from around the era leading towards this shift to the perfect identity and nation.

But with all the creation of suburbs, malls etc I feel Frank did not feel this was a true recollection of the America he knows and loves, wanting to re claim his nation Identity as not all individuals wanted this ‘American dream’ feel to the national identity, as not everyone could afford it, lots of poor and jobless families this was not an option for them.  Banks were said to be very picky about who they gave mortgages to. The government unlocked the American dream for millions of veterans, but it often locked out African Americans by subsidizing suburban developments that barred black people. Not exactly the open and reasonable dream anyone could have at this time. I feel Frank wanted to show America as it really was not this unreasonable society only looking to profit and look out for the wealthy, yes racial rights where not in effect at this time but at the same time, by the start of the modern civil rights movement, african Americans were well aware of their power as consumers. The first major protest staged in the 1950s was, indeed, a consumer protest this being a boycott - against the bus system in Montgomery, Alabama. But the point I'm making is that America was on a shift from the perfect nation as portrayed to everyone else to a shift to a new Identity of America, tackling issues of civil rights as such, people of America wanted change and a new identity as such. And I feel the work of Robert frank portrays this new open and i am what i am feel to America, proud of who they are and not what what their trying to be not the happy smiley nation they are seen to be all the time but a nation with more depth of character and identity, but also the clouding judgement of the America on the way out at the time is shown in some images. I feel you can see this theme and concept within some images, some focusing on the diversity of individualism and range of identities creating America as this diverse range of people and identities not the perceived identity which was put upon the nation... 

Parade — Hoboken, New Jersey

Political rally- 1956

Images from political rallies, Americas shot hiding their faces away from the camera, shows to me a sense of being unsure about the time, unsure of the implications, or possibly the fact of being hidden away in the real America of the time, not the happy smiling big brand new feel that was portrayed by the American dream and the new deal etc... I feel his work shows this concept not in a direct fashion but enough for it to be apparent on the scheme of things. Frank wanting to break free and show a more open and honest reflection of American society as you can see in the images above, it was a more normal and natural society, not the perfect one what was put upon the national identity by the government looking to rebuild after shocks such as the wall St crash WW1 and WW2 but not everyone wanted this fake in a way identity because it was not true throughout American society on the whole. I feel Frank felt this from growing up throughout this time. He wanted to show America for what it is and what he loved, wanting a more natural and true identity...

Installation Art...

Christian Marclay- E resources- Wilson Web articles

The video installation artist and composer, his work explores connections between sound, noise, photography, video, and film with the use of years of sourcing imagery and film scenes throughout the world the meticulously editing them together into one vast piece of visual art.

The Clock

The clock a visual piece of installation art,  projected in an open gallery space, ‘The clock’ is a 24hr piece of video- using time references for every minute of the day in the form of a collage using thousands of movie exerts (referring to time or a specific time but all in order of the 24hour clock) ticking through 70 years of film history , reassembled to create  this perpetual piece of artwork. Also is a completely fully functional 24hr clock if not a little impractical- this may not be the main function of this artwork. However it is relevant to the meaning and possible feeling this installation can create upon a viewer.

BBC piece- http://www.youtube.com/watch?v=Y8svkK7d7sY

‘Whatever moment you step into the screening, you see or hear the current time, and the film tracks real time through the entire twenty-four hours of its loop. If you enter at 6 p.m., and leave at 2 a.m., you will have watched the passage of every minute of those eight hours which is an extraordinary experience in the context of a medium that usually magically folds or stretches our perception of time. The audacious subject of The Clock is time itself, certainly a huge topic, perhaps the biggest of all.’ - Project X Foundation for Art and Criticism-Christian Marclay: The Clock by Viegener Matias

http://www.youtube.com/watch?v=xp4EUryS6ac&feature=related

The viewing of images in this perfect synchronization with the real world, this concept of time being in order and at the same rate as everyday life... but viewers feel them selves to lose their grasp on what (real) time is and become emersed in the piece. sitting watching time but forgetting about time even though reminded by time indefinitely throughout the piece. This although being a little confusing, the concept of time is lost as you know it. Giving this piece of work lots of depth to it involving a viewer so far they begging to question the concept of time them selves is not an easy thing to do but Marclay has achieved this with great effect, with galleries all over the world still queuing up to obtain this piece for even a short amount of time.

BBC piece- http://www.youtube.com/watch?v=Y8svkK7d7sY

‘the viewer leaves with an excess of thoughts, exhausted and exhilarated at the same time. Marclay’s material is unrelenting but also surprising, as we come to see how references to time infiltrate both ordinary life and exceptional moments.’ Project X Foundation for Art and Criticism-Christian Marclay: The Clock by Viegener, Matias

The selection of media is key within this piece of work, if it was slightly wrong it would lose the audiences attention, so this intricate selection of pieces of video to exhilarate and exhaust the viewer is exceptional, to keep and audience gripped for a period of 24 hours focusing on time alone holds this piece of installation piece very high, its has the wow factor and wonder factor but is also a great piece of craftsmanship.

However 'The clock' can hold a more deeper and thoughtful meaning such as...

‘the Clock testifies to the Taylorization of modern life, the Fletcherization of every bit of our existence. Paul Virilio reminds us, “At the close of our century, the time of the finite world is coming to an end; we live in the beginnings of a paradoxical miniaturization of action, which others prefer to baptize automation.”2 While addressing speed and politics, like many twentieth century philosophers, Virilio also examines the fundamentally technological nature of modernity.’- CINEMATIC TIME REPLAYED Source:Millennium Film J no54 Fall 2011 p. 3-6 

The piece goes throughout time showing a shift from lesser times to a more modern society this shift and taylorization showing the change in our existence as we know, with the use of movie clips from different eras to present day, showing a sense of technological modernity, showing inventions such as the telephone, contacting people across the world easily, the industrial revolution is referenced through out several pieces, which is seen to have change our sense of space and well time, trains where available flights quicker than automobiles and other transport, all pictured throughout the clock showing a complete shift over time to a more modern and precise society. However the concept of time remains the same, even though we can travel further and quicker, if you watch a minute on a clock it is the same as a minute anywhere else on the planet.

'Modern art often deals with these shifts of space and time, but after modernism time stubbornly remains unconquerable. The telephone appears nearly as often as the clock in Marclay’s piece, almost as a reminder that though distance might be manageable, no one is time’s master'. - CINEMATIC TIME REPLAYED Source: Millennium Film J no54 Fall 2011 p. 3-6 

The clock is more than just a clock, its a great piece of craftsmanship, a great profound essay on film, an essay of modernity and how we relate to time, and time relates to us, also how we view the concept of time, the general feeling of having no time left or too much time on your hands is all viewable within this piece, questioning your view on what time is to you? But mainly I feel that Marclay is highlighting on how no one is times master, it always moves at the same speed, and always will do and no on can change that, but people can change their perception of time and how they wish to use or view it.