Paris Trip
In October 2012 I took part in a photography school trip to Paris whereby I visited over several exhibitons and documented the city in a way which I thought would work most effectively. We visited famous landmarks including the Art de Triumph as well as the Eiffel Tower, additionally the exhibitions which we visited included the work of Sophie Calle, Peter Saul,Yaacov Agam, Michelangelo Pistoletto, Paolo Gioli and many more . From my time in Paris I learnt that there were different ways in capturing expressive and effective photographs, that there are different techniques and approaches to creating a successful outcome other than those which I already knew. Through a combination of exhibitions and my own practical work I was able to think deeper into my dissertation and how to develop my ideas further.
Documentation - Portraiture
Firstly, I documented the city by photographing those who live in Paris; I mainly took shots of people at work or on their way to work. I did this because I wanted to capture people off guard - people that weren't posing for the camera. Normally within my work I take photographs of posing models and therefore I thought it would be an interesting experiment to photograph the opposite - natural expression.
what went well: I widely experimented with diverse groups of people instead of just capturing 'one type' of person. Also the range in format appears to have worked particularly well, for example some photographs were shot in black and white, whilst some were in colour, some were long shots others were close-ups - this range is effective when looking at the complete collection.
even better if: I think I could have thought about my angel more, for example a birds eye view or capturing an image from below. I think a further range could have made my images much more interesting and diverse.
what went well: I widely experimented with diverse groups of people instead of just capturing 'one type' of person. Also the range in format appears to have worked particularly well, for example some photographs were shot in black and white, whilst some were in colour, some were long shots others were close-ups - this range is effective when looking at the complete collection.
even better if: I think I could have thought about my angel more, for example a birds eye view or capturing an image from below. I think a further range could have made my images much more interesting and diverse.
Documentation - Scenery
My second set of images is also of documenting the city but this collection focus' on the scenery and landscape. I am happy that I took photograph's of the landscape as well as of people as I personally believe that they both convey the city but in two very different ways and thus giving a broader picture of the French culture.
What went well: My photograph's are of famous landmarks including the eiffel tower and the art de triumph yet I also made sure that my images were diverse therefore I took photo's of buildings, greenry, shops and churches to make sure that I had a wide selection of images - a broader set means I caught various things as opposed to focusing on one aspect.
Even better if: To make this selection better I think I could have focused on the everyday landscape as opposed to focusing mainly on famous landmarks such as the eiffel tower. I think if I had taken photograph's of where the area isn't so focused on tourists I would have documented the reality of the culture in Paris.
What went well: My photograph's are of famous landmarks including the eiffel tower and the art de triumph yet I also made sure that my images were diverse therefore I took photo's of buildings, greenry, shops and churches to make sure that I had a wide selection of images - a broader set means I caught various things as opposed to focusing on one aspect.
Even better if: To make this selection better I think I could have focused on the everyday landscape as opposed to focusing mainly on famous landmarks such as the eiffel tower. I think if I had taken photograph's of where the area isn't so focused on tourists I would have documented the reality of the culture in Paris.
Exhibition's
Sophie Calle - The Last Image and Voir la Mer
Sophie Calle is a French writer, photographer, instillation artist and conceptual artist. Calle's work often depicts human vulnerability and examines identity and intimacy. She is recognised particularly for her detective-like ability to follow strangers and investigate their private lives. Calle's exhbition in Paris was called 'The Last Image' and this consisted of photographs of individuals who had lost their sight, next to each image was the individuals story as they descibed their 'last image.' 'The Last Image' was released in 2010 Instanbul, once named the 'city of the blind', it gives a voice to men and women who have lost their sight and asks them to descibe the last image they remember, their last memory of the visible world. "I went to Instanbul. I spoke to blind people, most of whom had lost their sight suddenly. I asked them to describe the last thing they saw."
The image below is about a man who lost his sight gradually - there is no last image. But he says, "there is one image that remains, the one that's missing: three children that I can't see, sitting side by side, facing me, on the living-room sofa, where you are now." These images appear very emotive, especially with an anecdote at the side of each. They're very effective because they are short and to the point. I believe that this story inparticular is particularly emotive as he claims that there is no last image but he describes what image is missing: the opposite to the title 'the last image.' The setting of the photograph also appears quite moving. He's near a sea where everything is open and peaceful and his eyes are closed. His eyes being closed is very effective as it shows he is feeling the setting with all his other senses - instead of seeing the sea he is hearing it and smelling the atmosphere.
The image below is about a man who lost his sight gradually - there is no last image. But he says, "there is one image that remains, the one that's missing: three children that I can't see, sitting side by side, facing me, on the living-room sofa, where you are now." These images appear very emotive, especially with an anecdote at the side of each. They're very effective because they are short and to the point. I believe that this story inparticular is particularly emotive as he claims that there is no last image but he describes what image is missing: the opposite to the title 'the last image.' The setting of the photograph also appears quite moving. He's near a sea where everything is open and peaceful and his eyes are closed. His eyes being closed is very effective as it shows he is feeling the setting with all his other senses - instead of seeing the sea he is hearing it and smelling the atmosphere.
'The Last Image. Blind with couch.' 2010
This next image is a contrast to the image before, the man in this photograph lost his sight suddenly. "In Gultepe, two women jump into my taxi. On the way they keep shouting, 'Faster, faster!' I flash my lights, I honk my horn. This maddens the driver of a metal gray Megane II on my left. We trade insults. We get out of our cars. The stranger is give goot nine inches tall and must weigh over 220 lbs. He socks me one then gets back into his car. My head is spinning, but I do the same. Further ahead on Yahya Kemal Mahallesi Square, he has stopped and is blocking the road with his car. I note that the number is VE 2106. I am slightly higher up because the road is going downhill. I stop and get out. The man calmly gets out of his vehicle. First I see his left foot. Then his left hand, which is holding a revolver. He turns round. He walks towards me at an unhurried pace calm and determined. I can't really make out his features because his face is so fat. No expression. As if he's just been pulled out of the freezer. The top four buttons of his shirt are undone. He is wearing jeans. He has a ten day beard, chestnut hair. Our eyes meet. His are brown or black I see no sign of hatred anger or hoy. We don't say a word. He grabs my head, holds it against his chest with his arm, and fires a bullet into my left eye which comes back out above the right eye. Since then I have forgotten my wife's face, my childrens... Everything has gone. But I can still clealy see a man getting out of a car with a gun in his left hand.'