Response to Le Rayon Vert
For my first set of images I inspired by Le Rayon Vert, a film often described as 'poetic'. I believe one of the most significant poetic qualities the film possesses is the perhaps mundane, unassuming nature of the film, capturing everyday life, however with a greater meaning hidden at it's centre. Stark juxtaposition between these two ideas creates a kind of metaphor - the compression of a larger meaning into something 'ordinary'. Poems also share this quality. Just a few lines, perhaps not initially interpreted as dramatic, can generate a larger meaning. In this photographs I wanted to represent this idea by taking common aspects of everyday life, but elevating them somehow using a trigger and flash. I hope to somehow reflect an alternate meaning (reflected by the light) lurking beneath what may seem regular.
I was really happy with my final outcome. After taking the photos I noticed that the images could almost be placed together to create a narrative. The narrative created by the photographs does not display a dramatic event, the images depict a sense of everyday life, reminding me of the inconspicuous yet engrossing story portrayed in Rohmers' Le Rayon Vert. Perhaps these images could reflect a similar account, maybe just a depiction of a walk in my local area, with the photographs depicting specific things that draw my attention, perhaps due to the familiarity of them.
Developing a response
Often poets have a preferred route that a reader is encouraged to take. Usually, poems have a clearly defined beginning and end, established through the first and last line. However, photographers cannot encourage a viewer to perceive the image so explicitly as usually there is not an assumed order (a beginning / an end) in the way we observe, or 'read' photographs.
However, I think the shadows in Jaromír Funke's, Untitled, c.1972 are created in a way that encourages a viewer to view them in an order. His pictures reflect a kind of puzzle, asking to be worked out stage by stage. We are initially drawn to the top shadow, in his photograph, and then perceive the remaining shadows in a king of established sequence. Therefore, Funke has created a specific route that a viewer takes, the same way in which a poet would probably create a specific route for a reader to take, in order for the sequence to be understood in a desired manner. When taking these photos, I decided to explore this idea of order in poetry. Using a flash, I have attempted to draw attention to specific elements, encouraging a viewer to be immediately drawn to these aspects first, therefore establishing a king of 'beginning' without explicitly saying it. Overall, I want the viewer to 'read' my photographs in the same way a standard poem would be read, with a defined beginning, which (once read) makes way for examination of the remaining elements. |
Saatchi Gallery
Today we visited the 'Civilization: The Way We Live Now' exhibition at the Saatchi Gallery. The exhibition was very big, displaying a wide variety of photographic work from all over the world. As I walked through the gallery, I enjoyed experiencing small segments of different cultures and societies so different to my own through the medium of photography.
V&A
I also got a chance to see the vast collection of images at the V&A, spanning from the 19th century to contemporary photographs. I often find myself drawn to images that incorporate text with photography, and I found myself pondering Rose Finn-Kelcey's work. Only after some further research, I found that the image I saw, 'Here is a Gale Warning' was related to concrete poetry, a concept I have been exploring due to my photopoetry investigation. Perhaps this project is something I will draw upon again to aid my investigation.
My summer holiday
Centre for British photography - Landscape trauma
I visited the 'Landscape trauma' exhibition at the Centre for British photography. I really enjoyed this exhibition, particularly interested in the work of John Blakemore. I found his photographic process really interested me, as well as the video being shown outlining his work, which kept me engrossed.
Evelyn Hofer at The Photographers Gallery
Even if Hofer's photographs appear to be commissioned portraits for magazines, they are beautifully composed and the use of natural light is impressive. I felt there was a sense of sensitivity conveyed by her photographs. The subject matter display individuals that would perhaps have been overlooked. The subjects appear modest, they aren't screaming for attention. The photographs that most interested me involved those that seemed unassuming. These people weren't influencers with lots of followers, the type of individuals often showcased frequently in present day, but through Hofer's photographs she has allowed them to exert influence, and these photographs, and faces, certainly stuck with me.
Johny Pitts at The Photographers Gallery
Johny Pitts' dynamic images were a result of his collaboration with poet Roger Robinson. Before knowing this however, I did think that his photographs felt very 'poetic'. Though in regards to photographic content, 'poetic', somewhat feels like an umbrella term for several different qualities, I feel the poetic nature of Pitts' photographs stem from the stories they appear to tell. There is something about the bright colours, and the capturing of movement, of pace, in some of the images that gives the photographs an energetic quality, therefore depicting these kind of narrative photographs, reminiscent of the story telling trait that poetry often has. Even though poems, and these photographs, may not explicitly tell a story, I feel a reader is given the opportunity to interpret and dissect interpretations from the mediums, in the same way stories evoke further narratives, interpretations, accounts, to stem from them.
Summer photographs
Over the summer I took some photographs in Crete. At the photographers gallery, I saw Johny Pitts had collaborated with poet Roger Robinson to create their photobook, 'Home Is Not A Place'. In the book, the two mediums are combined, images paired with poems as readers flick through the pages. I took inspiration from this technique with my own summer photos. I chose a poem originally written in Greek by Cretan poet, Odysseus Elytis, and tried to take photographs in response.
Diptychs and triptychs
Digital diptychs and triptychs
My favourite diptych
I think this was my most successful diptych for a few reasons. I paired these images up initially due to the circular shape in each image, somewhat mirroring one another. However, when after briefly pairing them up as a quick experiment, I noticed more connections between the two, resulting in it becoming my favourite diptych. Firstly, how the outline of the mountain lines up accurately across both images. Moreover, a similarity lies in the calmness of both images, lacking people, despite two distant figures in the sea. I also like the transition these images together represents. The photograph on the left was taken very early in the morning, while taking a walk at sunrise, whereas the photograph on the right was taken at a time of stark contrast, sunset. Despite the photographs being taken at completely different times in the day, there is a cohesiveness between them, hence why they work so well.
My favourite triptych
I particularly liked this triptych I made. I liked that the top half of each photo was empty, with the bottom half appearing busier. Furthermore, I also recognised that a common theme was revealed within the subject of each photograph - a repeated circular pattern. However, aside from the visual similarities between each photograph, I would say the main similarity that struck me was actually the atmosphere that each photograph emitted. In each photo there are traces of human life (stacked up chairs, a bus shelter with a few lights still on, sparse areas throughout the plants perhaps as a result of footsteps), however no physical human life is actually captured, therefore creating a sense of stillness, in my opinion exuding an almost melancholy tone.
A World in Common: Contemporary African Photography
I visited the Tate Modern's exhibition 'Contemporary African Photography', an exhibition showcasing the work of several contemporary African artists. I was absorbed by the selection of work from start to finish, finding something that caught my attention in each section of the show, whether that be film, photographs or audio.
I particularly enjoyed Julian Knox's film, 'In Praise of Still Boys'. It reflects on the artists' experience growing up in Sierra Leone, which was disrupted when he and his family were forced to flee due to political upheaval and civil war. The film was visual poetry, combining audio such as spoken word and a delicate instrumental, text and striking images to overall create a moving, certainly captivating, video. Upon some later research I found out that Julian is a poet, which isn't surprising to me as this element of poetry is certainly implemented in the film, not only through spoken word, but poetic images, photographic content that tells a story while remaining subtle and inexplicit.
I particularly enjoyed Julian Knox's film, 'In Praise of Still Boys'. It reflects on the artists' experience growing up in Sierra Leone, which was disrupted when he and his family were forced to flee due to political upheaval and civil war. The film was visual poetry, combining audio such as spoken word and a delicate instrumental, text and striking images to overall create a moving, certainly captivating, video. Upon some later research I found out that Julian is a poet, which isn't surprising to me as this element of poetry is certainly implemented in the film, not only through spoken word, but poetic images, photographic content that tells a story while remaining subtle and inexplicit.
I noticed that throughout the exhibition, the use photography as a medium for storytelling was really effective, and was also reminiscent of my perception of the photopoetry theme of my personal investigation. I particularly liked Léonard Pongo's images for this reason. In his body of work 'Primordial Earth' nature is depicted as, "a character with its own will and power, like an open book that tells the story of humanity and the planet, with Congo at its centre". Some of Pongo's photographs seemed to display stillness, and others more movement, to me further enhancing this story like element, like through observing the array of photographs we are consuming a narrative, reading a story. In my opinion, through Pongo's craft he has made perhaps everyday sights appear enthralling.
My next steps
Olivia Arthur
I noticed that throughout my personal investigation the theme of story telling has become apparent. For instance, even when translating poems to photographs, I am trying to portray a narrative inspired by the one depicted in the poem. However, I particularly recognised this theme when I took my photographs inspired by Le Rayon Vert. I felt that the images could almost portray a narrative, though containing no dramatic events, the photographs together felt cohesive, almost as though each photograph was a moment in time, and the order I placed them in was the order that the 'events' occurred.
Therefore, I have been interested in the work of Olivia Arthur. Arthur's project, TiChan, in particular portrays a story, specifically the story trans woman Tichan, through the photographic documentation of her journey transitioning. Arthur has collaborated with photographer Phillip Ebeling to create an instillation, fusing audio, video stills and photographs. This multimedia product is something I would like to create myself, along with this photographic documentation of a narrative of some sort, through the use of subtle images to depict a more complex journey.
Therefore, I have been interested in the work of Olivia Arthur. Arthur's project, TiChan, in particular portrays a story, specifically the story trans woman Tichan, through the photographic documentation of her journey transitioning. Arthur has collaborated with photographer Phillip Ebeling to create an instillation, fusing audio, video stills and photographs. This multimedia product is something I would like to create myself, along with this photographic documentation of a narrative of some sort, through the use of subtle images to depict a more complex journey.
Nick Meyer
I was also interested in the work of Nick Meyer. Meyer's work has been described as invoking, "the intersection of documentary photography and nostalgic fantasy, or reality and truth." There is a feeling of intimacy that his photographs evoke, it seems as though spaces captured, and those that inhabit these spaces almost seem familiar to the photographer. There is a sense of familiarity and comfortability within his images, but they are taken in a way that elevates them somehow, to something that feels natural, yet strangely unnatural at the same time, aligning perfectly with the idea of, "nostalgic fantasy." I also love his use of light, which I think further elevates his photographs and enhances this sense of 'fantasy.' Meyer has also incorporated text alongside his photographs, and these interdisciplinary projects relate to what I want to create, as I explore the symbiotic relationship between text (specifically poetry) and photography.
The Inhabitants
Raymond Meeks and George Weld
Haiku poetry and Shinto
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Shinto inspired images
Haiku and Shinto inspired videos
Haiku photographs
These photographs were also inspired by Haiku poetry. I find that Haikus often focus on details, they involve careful consideration and concentration. I decided to impose limitations onto my own process, in the same way a poet is forced to work with the limited form of a haiku poem. I set myself rules, informed by the rules a haiku poet must conform to. For example, I went into specific rooms in my house and allowed myself to take a specific number of photos in that room. The lack of options I had, I feel, forced me to focus more on detail, and because I didn't allow myself to take several photos, I feel I was ensuring I was happy with the composition, lighting, subject etc of my image, instead of just mindlessly photographing.
Video response
Utilising my 'poetic' photographs I have taken throughout my investigation, I attempted to create a sort of 'visual haiku.' I created my own sort of narrative, beginning with photographs inside the house before transitioning to images from my natural landscape, and finally ending on a positive symbol, a light coloured image, contrasting the initial perhaps darker tone emitted by darker, more dull photographs. I implemented the '5,7,5' structure of a haiku myself, seeing each image as a syllable, and therefore I considered how each image would work together if it were one of the poems 'lines.' My utilisation of the soundtrack was in order to further reference the importance of the natural world in the haiku, and also to create a contemplative atmosphere, typical of haikus poetry, which, though short, are often successful in making an impression on a reader, encouraging reflection.
Michael Schmidt - initial ideas
I recently looked at Micheal Schmidt's phonebook 'Unity' - a series of photographs involving documentary images of West Berlin and images from archives, that combined examined German identity in history. A passage about Schmidt on MoMA reads that he, "presents history not as a progressive sequence of events but as a decentered, simultaneous narration." Though I was not necessarily looking at the book in relation to my photopoetry investigation, I ended up finding some links between the two forms, specifically the haiku, something I have been trying to further investigate recently. I concluded that a haiku poet, similarly, does not often present a straightforward description but condenses a number of elements to make an impression.
Michael Schmidt response 1
Like Schmidt has investigated West Berlin, I wanted to take photos to sort of investigate Greenwich, exploring and picking up on the references to a maritime history throughout my local surroundings.
Second photoshoot
Third photoshoot
Video response
I am happy with my final video response, however, for the making day I intend to refine it, as I feel some improvements are needed. Firstly, upon reflection I am unhappy with some of the spacing of the images. For my final video, I would like to adjust this slightly, perhaps making some of the diptych images closer together. Moreover, I think I may change the chosen images for the diptychs all together, because I am not completely happy with them. On the basis of images, I also noticed some of the close up images are quite pixelated, and therefore I am going to be careful in my second draft to avoid this.