Theater of Manners and Raised By Wolves
There is a tradition of photographers immersing themselves in particular communities, in order to explore the day to day lives of their subjects and create a sort of documentation of a specific subject matter. Two examples of photographers that have produced photo books from this careful examination are Jim Goldberg with, 'Raised by Wolves', and Tina Barney's, 'Theater of Manners'. While these two works are very different in some ways, they also share very similar concerns: being a visual portrayal of a lived experience that many of us would not be able to have access to without these documentations.
During my research, these two works in particular struck me. I feel there are clear differences demonstrated in both books, for example, the approach each individual photographer took, resulting in photographs incorporating quite dissimilar styles. Goldberg's images, in my opinion, possess a more spontaneous tone. To me, it almost feels as though he has taken more snapshots of the moment, which give the photographs an aspect of impulsiveness, an air of naturalness. This, in turn, perhaps reinforces the subject matter. The book focuses on a community of young people living on the streets of California, from 1985-1995. Pictures and words illustrate the lives of troubled, yet simultaneously charismatic teenagers, and the photographs capture the essence of not only these peoples personalities, but the nature of the areas where they lived during this time. I think the snapshot quality I associate with these images enhances the fast paced lives of these individuals, perhaps adding to the riveting element of the book, further causing a reader to want to continue turning the pages. I also think that perhaps the fast paced, spontaneous nature of the photographs creates a raw feel, which functions to further intensify the rawness of the tender subject matter, consequently, I believe, escalating the edginess and grittiness Goldberg's work is reminiscent of. On the other hand, Tina Barney appears to take a different approach, my initial thought was that perhaps her images feel a more posed. Upon further consideration however, this could have possible been a deliberate attempt from Barney to enhance the ironic perfection the photographs entail. Similar to Goldberg, Tina's style adapted when capturing these images function to compliment the subject matter. Theatre of Manners explores the familial relationships present in the upper class community she grew up in, and perhaps this almost unnatural perfection are supposed to hint at a irony - a silent hint revealing the genuine dynamics of Barneys upper class environment, distorting the perfection that a viewer may initially associate with her lifestyle, and thus the images in her book. Another difference I recognised, which consequently however adds to the individual tones of the photos, was the choice of equipment that appears to be used. I believe that the equipment was influenced practically by the environment the photographers were working in. Tina Barney had the time to set up a large camera and light her photographs, portraying the slower paced, leisurely familiar quality of her work, whereas Jim Goldberg seems to have used a small camera and available natural light. I would imagine that these differences occur due to the differences in environments, for instance the fast paced, more chaotic subject matter of Goldberg is reflected in his more dynamic photographic process, where he was likely forced to work with what he had at the time, in order to capture the raw essence of the images.
Despite these explicit differences, I also chose to explore these books further due to the coincidental similarities present in the photographs. If asked to describe the content of the images in each book, I noticed that many descriptions would apply to images in both books, for example somebody with their back to the camera, or someone smoking a cigarette.
Despite these explicit differences, I also chose to explore these books further due to the coincidental similarities present in the photographs. If asked to describe the content of the images in each book, I noticed that many descriptions would apply to images in both books, for example somebody with their back to the camera, or someone smoking a cigarette.
So whilst, if you were to describe them briefly you may assume both books incorporate very similar photographs, visually comparing the pictures side by side, for example two portraits of a couple and a baby, despite some parallels, you can immediately see the clear differences between the contents of the photographs. This leads me to draw upon the idea that photography involves a lot of familiar subjects, but the differences in how, why and when the pictures were taken is what makes them distinct.
Reflection
Upon further reflection, I noticed that perhaps I made an unconscious link between the two photo books I had researched. Possibly, one of the biggest parallels between the two is that both represent family units. Though Tina Barney's family unit is mainly biological, and perhaps appears more conventional, I would say that Goldberg's work also portrays the community of a family. Family is not necessarily defined by our biological relationships, and in many of the photographs in Raised by Wolves I feel that a family unit is still present. Despite perhaps not always being biological, I feel that perhaps these groups of people still relied on each other, and supported one another in the same way families do.
Perhaps this connection was an unconscious catalyst for me to compare these two works. I think I would like to further explore the theme of family in community photography, and perhaps research and respond to other photographers who utilised a family unit in their work.
Perhaps this connection was an unconscious catalyst for me to compare these two works. I think I would like to further explore the theme of family in community photography, and perhaps research and respond to other photographers who utilised a family unit in their work.
Planning my next steps
Trish Morrissey
I wondered how I could respond to my consideration of photography investigating familial relationships, provoked by Raised by Wolves and Theatre of Manners. I decided in order to familiarise myself with the subject matter, and hopefully inspire my own ideas, I should start by researching some artists who include the concept of family in their own photographs.
I was interested by Trish Morrissey's work, particularly her project, "Seven Years". Interestingly, in this series of compelling, distinctive images, Morrissey is both in front of and behind the camera. Aiming to explore things like family relations and the roles that parents impose on their children, she is inspired by the traditional family album and reconstruct images utilising this trope, placing her and her sister in the pictures to play the roles of different family members. When discussing her work, Morissey mentions how she believes, "The family album presents an idealized version of family life that often belies the truth." This idea reminded me of Barney's Theatre of Manners, where I interpret a false perfection throughout the images, perhaps revealing the complex reality of her families dynamic.
I think Morrisseys concept is interesting, as while reconstructing family photographs, she seems to simultaneously deconstruct the concept of family photography. I think her method of using photographs to question tradition is intriguing, and encourages me, and likely her viewers, to consider the reality of family albums more carefully. Not only this, but her photographs are undoubtedly well done. Though I don't know what the original images look like, I would assume that she managed to accurately capture the atmosphere the original images possessed, clearly portraying alternating generations, people and moods through her use of costume, body positions, facial expressions and location. Moreover, despite the model remaining the same in her reconstructions, this could almost be unnoticeable at initial glance due to the way Morrissey has managed to encapsulate such detailed, distinctive photographs.
I was interested by Trish Morrissey's work, particularly her project, "Seven Years". Interestingly, in this series of compelling, distinctive images, Morrissey is both in front of and behind the camera. Aiming to explore things like family relations and the roles that parents impose on their children, she is inspired by the traditional family album and reconstruct images utilising this trope, placing her and her sister in the pictures to play the roles of different family members. When discussing her work, Morissey mentions how she believes, "The family album presents an idealized version of family life that often belies the truth." This idea reminded me of Barney's Theatre of Manners, where I interpret a false perfection throughout the images, perhaps revealing the complex reality of her families dynamic.
I think Morrisseys concept is interesting, as while reconstructing family photographs, she seems to simultaneously deconstruct the concept of family photography. I think her method of using photographs to question tradition is intriguing, and encourages me, and likely her viewers, to consider the reality of family albums more carefully. Not only this, but her photographs are undoubtedly well done. Though I don't know what the original images look like, I would assume that she managed to accurately capture the atmosphere the original images possessed, clearly portraying alternating generations, people and moods through her use of costume, body positions, facial expressions and location. Moreover, despite the model remaining the same in her reconstructions, this could almost be unnoticeable at initial glance due to the way Morrissey has managed to encapsulate such detailed, distinctive photographs.
Lee Friedlander
The work of Lee Friedlander, on the other hand, in my opinion emits a completely different feeling, despite exploring family relationships as well. While Morrissey's work somewhat functions to question and perhaps reveal the complexities of family relations and family albums, seeming more unconventional, and perhaps displaying an almost interrogatory quality, Friedlanders photographs presented in his book, "Family" seem much more innocent, and are more reminiscent of the traditional family album. Friedlander's, "Family" follows Friedlanders family unit over a period of many years. The photographs are displayed in chronological order, beginning with pictures of only his wife, and gradually transitioning to include photographs of his children, and then grandchildren.
These images remind me more of my own family albums that my dad has printed throughout the years as my sister and I have grown up. For me, the images in Friedlander's photo book are touching. Friedlander’s wife Maria writes an essay to accompany the photographs, she states, “I was seeing beyond the separate pictures and looking at them now as part of this story”. I think this quote captures why perhaps I find this book to be quite touching. “Family” encapsulates a clear intimacy - there is more to the book then just family photographs, it represents a complex narrative. These perhaps quite personal, intimate aspects of Friedlander’s life that he has shared with us are for me, a portrayal of the innocence of family albums. Friedlander’s, and many other, family albums do not function to show off, to display anything with the purpose to show off, they just serve of capture the reality of family life, moments that will not be here forever, but that, through photography, can be captured to look back on, to briefly relive the experience of many years, in a few moments.
These images remind me more of my own family albums that my dad has printed throughout the years as my sister and I have grown up. For me, the images in Friedlander's photo book are touching. Friedlander’s wife Maria writes an essay to accompany the photographs, she states, “I was seeing beyond the separate pictures and looking at them now as part of this story”. I think this quote captures why perhaps I find this book to be quite touching. “Family” encapsulates a clear intimacy - there is more to the book then just family photographs, it represents a complex narrative. These perhaps quite personal, intimate aspects of Friedlander’s life that he has shared with us are for me, a portrayal of the innocence of family albums. Friedlander’s, and many other, family albums do not function to show off, to display anything with the purpose to show off, they just serve of capture the reality of family life, moments that will not be here forever, but that, through photography, can be captured to look back on, to briefly relive the experience of many years, in a few moments.
My response: initial idea
For my own Clocks for Seeing response, I have been inspired by the family based photo series’ I have seen to look through my own family albums. When looking through albums all the way from 2000 (when my sister was born) to 2020, I noticed imperceptible changes. Not only did the people in the books change and grow older the more I turned the pages, but the environment changed too. Many of the photographs were taken in South East London, particularly Greenwich, where my family and I live, and I recognised locations present in images, noticing how some of them, years later remain the same, and some of them display changes.
For my own response, I am planning to not only explore the community of my family unit, but also specific locations in Greenwich, where some of my family photos have been taken. Inspired by Trish Morrissey, I aim to reconstruct images, going back to the same places, and using the same models again, but years later. I will also take inspiration from Friedlander, and his intimate, and in my opinion somewhat moving photographs, as I aim to capture this constantly changing quality family life possesses, present as a result of the passing of time.
My photographs will hopefully capture the family community I have, and the locations present as I have grown up. Then, in the future, perhaps these new photographs can serve as a reminder of how Greenwich, and members of my family looked in 2022, just as my old family albums have carried out this same purpose for me, serving as the now always present snap shot of a specific time, or moment in my life.
For my own response, I am planning to not only explore the community of my family unit, but also specific locations in Greenwich, where some of my family photos have been taken. Inspired by Trish Morrissey, I aim to reconstruct images, going back to the same places, and using the same models again, but years later. I will also take inspiration from Friedlander, and his intimate, and in my opinion somewhat moving photographs, as I aim to capture this constantly changing quality family life possesses, present as a result of the passing of time.
My photographs will hopefully capture the family community I have, and the locations present as I have grown up. Then, in the future, perhaps these new photographs can serve as a reminder of how Greenwich, and members of my family looked in 2022, just as my old family albums have carried out this same purpose for me, serving as the now always present snap shot of a specific time, or moment in my life.
Photoshoot #1
Photoshoot #2
Zines
Using photoshop, today I created the layout for my first zine. I chose the 16 page template to start with as it seemed fairly straightforward to make for a first attempt.
I then put most of my photographs in black and white, disregarding the image that would be placed on the back and front of my zine. I decided on black and white as often this colour choice can evoke a sense of nostalgia, a sense of the past, and, in brief, the concept of my zine denotes and documents the passing of time. However, upon further thought I think in the future, I may add more colour to my zine as the use of colour can add a dynamic element to the images, and I like how the variety of colour in my images look printed out. |
This was my first time making a zine, and using photoshop in this way took me a while to get the hang of. I found it difficult to line up the images perfectly with the outline on the template, and due to spending a lot of time trying to perfect using photoshop, I realise that I didn't put much thought into the order of my images.
However, I still like my final result as I am happy with the photographs included and I really like the concept of a zine, and the fact that it can display a concept or theme in such a succinct manner and small format.
However, I still like my final result as I am happy with the photographs included and I really like the concept of a zine, and the fact that it can display a concept or theme in such a succinct manner and small format.
16 Page Zine
Peggy's zine from Jon Nicholls on Vimeo.
8 Page Zine
Photoshoot #3
For my final zine, I wanted to have a few more options of photographs to decide from so I have completed a third photoshoot following my theme.
My 16 chosen photographs
In order to create my final zine, I had to edit down my photographs, taken across three different photoshoots, to a more manageable number. I think I am going to create a 16 page zine, so I have decided on a total of eight final pairs.
My chosen 8 photographs
After beginning the creation of my zine on photoshop, I decided to change the format of my zine from 16 pages to 8 pages. Although this means I cannot include as many photographs as I would've wanted to, it means the images can be bigger. Moreover, I think I want to add text to my zine, and an 8 page zine means I have more space to write. Also, perhaps less photographs may be more likely to encourage a viewer to focus on what I am trying to achieve through my photographs. Therefore, I narrowed down my chosen sixteen photographs (displayed above) to eight.
My final zine (an edition of 20)
Don't smile
(My zine is shown at 1:42)
Year 12 Photo Zines from Jon Nicholls on Vimeo.