Can photography be objective?
Is it still truthful if an image is a scene in an image is manipulated in any way?
It could be argued that if an image is taken in a particular scenario that it can be 'manipulated.' This happens when the photographer only capture a fraction of what is going on. It has been said that to take a 'truthful' photograph the photographer should photograph from a distance; this avoids the issue of distorting the scenario. Moreover Errol Morris has said that 'a photograph is always posed.' He argues that this is because when photographs are taken they exclude things, Morris uses the example of his photograph on Roger Fenton. Morris claims that as there was an elephant standing just outside the frame that his picture was therefore posed, simply because of the elephants absence. He continue to say that the viewer of the photograph doesn't know that there is an absence and thus this distorts their view. A photograph also de-contextualizes everything as you do not see above, below, before or after the photograph has been taken. Therefore the only way to know what was truly going on is to investigate.
How was the Vietnam war visually presented to western viewers?
The Vietnam war was glamorised completely. There were many photographs of soldiers hiding, invading or just simply standing with their guns around their necks and their hands on their hips. This gives a casual untruthful view on the war. It does not show the horrors and effects of what they are doing with their guns, and how they are tormenting civilians instead it just illustrates the clean, protective side. Showing the Western countries photographs of soldiers and their guns allows the civilians to think the war is good and is being handled well with a large amount of control. This glamourous view could also be seen as propaganda for the army because it looks as though the soldiers are having a challenging but rewarding time in Vietnam.
On the other hand, there were a few photographs exposed which did not glamorise the war. These photographs were realistic and showed the actuality of what was happening in Vietnam. However, the photographs like this could be seen as posed as they were not taken from a distance. As a result, the people in them could be over reacting; however this seems unlikely considering the circumstances.
It could be argued that if an image is taken in a particular scenario that it can be 'manipulated.' This happens when the photographer only capture a fraction of what is going on. It has been said that to take a 'truthful' photograph the photographer should photograph from a distance; this avoids the issue of distorting the scenario. Moreover Errol Morris has said that 'a photograph is always posed.' He argues that this is because when photographs are taken they exclude things, Morris uses the example of his photograph on Roger Fenton. Morris claims that as there was an elephant standing just outside the frame that his picture was therefore posed, simply because of the elephants absence. He continue to say that the viewer of the photograph doesn't know that there is an absence and thus this distorts their view. A photograph also de-contextualizes everything as you do not see above, below, before or after the photograph has been taken. Therefore the only way to know what was truly going on is to investigate.
How was the Vietnam war visually presented to western viewers?
The Vietnam war was glamorised completely. There were many photographs of soldiers hiding, invading or just simply standing with their guns around their necks and their hands on their hips. This gives a casual untruthful view on the war. It does not show the horrors and effects of what they are doing with their guns, and how they are tormenting civilians instead it just illustrates the clean, protective side. Showing the Western countries photographs of soldiers and their guns allows the civilians to think the war is good and is being handled well with a large amount of control. This glamourous view could also be seen as propaganda for the army because it looks as though the soldiers are having a challenging but rewarding time in Vietnam.
On the other hand, there were a few photographs exposed which did not glamorise the war. These photographs were realistic and showed the actuality of what was happening in Vietnam. However, the photographs like this could be seen as posed as they were not taken from a distance. As a result, the people in them could be over reacting; however this seems unlikely considering the circumstances.
The Curatorship Task: Reading Facial Expressions in Portraiture
The Curatorship task involves creating a leaflet/poster for an imaginary exhibition which I am managing. I must pick a photo-graphical theme of interest; then after selecting 3-4 photographers which relate to this theme I shall write about their work and what they contribute towards the exhibition. The purpose of this task is to begin thinking about a theme for my dissertation which I shall be completing in the winter term: the Curatorship task does not have to have the exact same theme as my dissertation.
I have chosen to focus on close-up portraiture photography because I am interested in how different facial expressions are used in modern day society to both market products such as make-up, but also how facial expressions are used in advertising to connect with it's viewers. Therefore, for my exhibition I am going to research how different close up portraiture can make it's viewer feel.
I have chosen to focus on close-up portraiture photography because I am interested in how different facial expressions are used in modern day society to both market products such as make-up, but also how facial expressions are used in advertising to connect with it's viewers. Therefore, for my exhibition I am going to research how different close up portraiture can make it's viewer feel.
The Exhibition of Expression is based on close up portraiture which can work with emotion to allow the viewer to enter the world of ambiguity and uncertainty of what does an expression mean? These photographs allow the viewer to decide for themselves on what each image conveys. The exhibition consists of four rooms, each displaying a different photographer’s work. The purpose of four separate rooms is to express four completely dissimilar emotions through the expressions of those photographed. I have chosen to categorise my exhibition into fashion close-ups, expression's of despair and sadness, expression's of loss and reflection and the expression of concentration. The photographers featuring in the exhibition are: Brian David Stevens, Stephen Eastwood, Jill Greenberg and Phillip Toledano.
Jill Greenberg
Jill Greenberg has been chosen to feature in the exhibition due to her highly controversial photographs of crying toddlers. The American photographer photographed young children of whom all conveyed various emotional distresses, inspiring feelings of discomfort, pity and misery. Each child has no top on, which reflects their helplessness and vulnerability. Greenberg claims her intentions were to reflect her frustration with both the Bush administration and Christian fundamentalism within the United States. Greenberg comments on the effect that this set of photographs had on her career: 'it was the one questionable thing that I did in my career.' This illustrates that Jill can understand why her images were the subject of vast amounts of criticism, with many labelling her as being an 'unethical' photographer. Greenberg's work is similar to Brian David Stevens images in the sense that both set of photographs display sadness and emotion, however by stark contrast Greenberg's photographs are staged and artificially put together, whereas Stevens expresses deep real emotion. Greenberg forced emotion out of her models by using methods such as offering the children sweets and then taking it away from them. This could affect the opinion of those viewing these photographs, as although they are faces of crying children the reasons as to why they are crying may make the viewer feel slightly unfazed, as opposed to feeling sorry for the children.
Brian David Stevens
Eight years ago photographer Brian David Stevens headed to the cenotaph on Remembrance Sunday to take pictures of the war veterans who gathered as part of the commemorations which are held across the UK in honour of those who died in wars and conflicts. Here Stevens captured feelings of despair, loss and sadness which were expressed through the faces of those photographed. The purpose of Stevens project can be partially explained through his quote on BBC News: "These faces then are as of unknown soldiers, with no cap, no ribbons of spooling medals, no insignia for military rank. They are faces only. Each deep-etched with who they are and what they did, that we might look, and think - and thank them." This is by no means a commercial project as it is implied here that Stevens wanted to learn more about each individual veteran - about the person behind the uniform. Stevens wanted to create a cohesive set. To achieve this Stevens used a black velvet cloth to disguise the background so that all focus was on those being photographed; with the simple use of daylight for lighting. These natural photographs appear to have been composed to capture one's eye; the use of removing any trace of a background and not having captions on the pictures works suprisingly well. Stevens says: "My initial desire here is to learn more of those who fought, yet somehow that would detract from the overall effect of the work and perhaps influence our reading of the photographs." High running emotions are illustrated through the sharply contrasted black and white photographs creating original images. The composure of Brian's photographs are to provide the viewer space in which to project their own thoughts and offering of thanks to those pictured, and those who did not return. Stevens photographs are the only naturally composed photographs in the exhibition as work from Eastwood, Greenberg and Toledano are all artificially constructed, this therefore could create an emotional affect which lingers around after viewing Stevens images in the gallery.
Stephen Eastwood
Putting a spin on fashion photography Stephen Eastwood's photographs are unique and bold. Eastwood's fashion photographs probe questions, although the models are expressionless their make-up and composition in the photograph fills them with attitude. A prime example of this is the photograph furthest to the right. It shows a woman holding a net over her face surrounded by a blue sky. This particular photograph could lead to contradictions as the model could be showing that although she is free - represented by the clouds, she is trapped as an individual; which is shown by the netting over her makeup. This could lead to further arguments that she feels trapped by the media and having to look perfect, hence the net over the makeup. Eastwood's intentions of his photographs are to create commercial images which appear beautiful and ooze glamour. Eastwood's set of photographs give a much lighter feel in comparison to photographs like Brian Stevens. Eastwood adds perfectly constructed, flawless, bright images to the gallery, hence his involvement.
Phillip Toledano
Phillip Toledano admits to never having had an interest in straight forward portrait photography: 'I often feel that it reveals nothing other than the photographer’s intentions, and a topographic record of the effects of time.' Instead Toledano attempts to tease out specific aspects of ones personality and tried to capture it through photography. In this particular case Toledano used video games to emphasise a playful and humorous side to his models. His collection inspires feelings of laughter as each model's face is composed with an unusual, entertaining expression. It is clear from the photographs featuring in the gallery that Phillip Toledano is no usual photographer, it is apparent that Toledano aims to capture an unglamourous photograph which illustrates true expression and personality. There is a vast contrast between the work of Toledano and Eastwood, each contains expression but whilst Eastwood's work is glamourous and blank with expression, it is clear that Toledano's work is not composed to create a beautiful image.
Bibliography - Curatorship Task
http://en.wikipedia.org/wiki/Jill_Greenberg
http://www.bbc.co.uk/news/in-pictures-15672939
http://www.photographersportfolio.com/
http://stepheneastwood.com/blog/?page_id=2
http://www.mrtoledano.com/gamers
http://www.bbc.co.uk/news/in-pictures-15672939
http://www.photographersportfolio.com/
http://stepheneastwood.com/blog/?page_id=2
http://www.mrtoledano.com/gamers
Emotive Photography
For my personal study I am going to focus on emotive photography and how varying photographers convey an emotion to provoke a feeling within the viewer.
Rosie Hardy
Rosie Hardy is a young 21st century photographer who uses both self portraits and portraits of others. Hardy began photography at the age of 16, she says 'I wanted to feel pretty, so I started taking random snaps of myself and playing around with them in photoshop.' This illustrates where Hardy's passion for photography escalated from. Hardy claims that her intentions are uncertain at the minute as she says in an interview by Darren Rowse, 'I’m still not entirely sure what i want to say with my photography, but I know eventually I want to say something,' this shows that Hardy is still a young photographer who photographs due to enjoyment of the activity, but notes in the future her intentions may be refined into further detail. Hardy is most known for her famous self portrait which featured as the famous Maroon 5 'Hands All Over' cover which was released in 2010. From beginning with a Flickr page to becoming a global photographer it is fair to say that Hardy has been a huge success.
Alex Prager
Alex Prager is an American self taught photographer and film maker who lives and works in Los Angeles. Prager characterises her work with deeply saturated colours, heightened drama, and dark humour, Prager's film noir inspired photographs hint at narrative subtexts whilst maintaining a sense of ambiguity and self-contained emotional intensity. Her work draws from a diverse set of influences including: pulp fiction, the cinematic style of David Lynch, Alfred Hitchcock, and Luis Bunuel as well as contemporary artists including Cindy Sherman and William Eggleston. Prager's work has featured in publications such as the New York Times Magazine, American Vogue and W Magazine. Additionally, her photographs are in the permanent collection of several major museums, including the Museum of Modern Art, New York, the San Francisco Museum of Modern art and Moderna Museet, Stockholm amongst others.
Cindy Sherman
The American feminist artist Cindy Sherman is most famous for her 'Untitled Film Stills' collection which she completed in the time period 1977-1980. The photographs are in a black and white format with the model posing in different stereotypical female roles. Although Sherman poses for some or her portraits, they are not 'self-portraits' in the traditional sense. Modelling in several different ways Sherman reveals that gender is an unstable and constructed position, she suggests that there is no innate female biological identity. Her images suggest that women adopt several varying roles depending on the circumstance. As a result, Sherman's film stills vary from an immature schoolgirl to an attractive seducer and from a glamour diva to a caring housewife. Sherman argues that the images are meant to encourage self-reflection in the spectator as she writes, 'I’m trying to make other people recognize something of themselves rather than me.'
Elaine Constantine
Constantine is a London based photographer who covers music, photojournalism as well as portraiture. By 1997 Constantine had become one of the most featured photographers in The Face magazine. Around this time she produced 'Mosh' which was her first fashion photo shoot. The spread featured many young, energetic teenagers all of whom appeared in an authentic crowd surfing situation which documented the reality of that scenario. This is a valuable resource to have when photographing people, to create a natural photograph, natural ideas and scenarios are necessary. Constantine's ability to capture a photograph through these techniques produce a very successful outcome, this is illustrated through her success. Constantine puts young people in situations you would expect to find them in whilst including exaggerated expressions and body language often.
Dissertation: How do photographers convey emotion most effectively through portraiture photography?
Rationale
Within this dissertation I shall explore emotions within portrait photography and will examine how photographers convey emotion to the viewer. My decision to explore this topic area was inspired by my AS Level study of portraiture which focused on fashion editorial work. In my work I often wanted my models to appear expressionless – like a blank canvas. However, I soon realised that this was difficult to achieve; I noticed that to create the outcome I wanted my models needed to express an emotion, whether it be subtle or exaggerated. Despite each model expressing an emotion this approach did not appear genuine and emotive as the models were not necessarily ‘feeling it.’ Moreover, I then discovered that when using close friends as models I would often capture genuine images of them laughing, looking bored or even annoyed between shots – although I did not use these for my AS work I realise now that they were more emotive and effective than unnatural photographs.
Introduction
Emotion can be defined as a strong feeling deriving from one’s circumstances, mood, or relationships with others. Throughout my dissertation I shall explore emotion within this context; an example of this definition within photography can be seen in the work of photographers such as Jill Greenberg and Brian David Stevens. It is illustrated in some of their work that the circumstance that their model is in at that given time is the largest factor affecting their expression. However, I aim to look at every step photographers take when conveying an effective emotive piece of portraiture and thus I am to answer the question ‘how do photographers convey emotion most effectively through portraiture photography?’ These ideas shall be explored within three separate chapters:
Chapter One: Natural Photography - featuring the work of both Phillip Toledano and Brian David Stevens who each use natural techniques to convey emotive portraits.
Chapter Two: Staged Photography - within this chapter the work of Jill Greenberg and Sam Taylor-Wood is featured, both of these photographers use a staged setting and methods to present their images.
Chapter Three: Personal Narrative - features the work of Nan Goldin and Francesca Woodman who both have embedded personal experience and anecdotes to in their photographs.
Chapter One: Natural Photography - featuring the work of both Phillip Toledano and Brian David Stevens who each use natural techniques to convey emotive portraits.
Chapter Two: Staged Photography - within this chapter the work of Jill Greenberg and Sam Taylor-Wood is featured, both of these photographers use a staged setting and methods to present their images.
Chapter Three: Personal Narrative - features the work of Nan Goldin and Francesca Woodman who both have embedded personal experience and anecdotes to in their photographs.
Chapter One: 'Natural' Photography
This dissertation shall examine how photographers convey emotion most effectively through portrait photography. Within this chapter I am aiming to answer the question 'how well does natural photography convey emotion through portraiture photography?' The term 'natural' can be defined by Oxford Dictionary as 'existing in or derived from nature; not made or caused by humankind.' Through looking at photographers who have created natural emotive pieces, I shall discover and illustrate throughout this dissertation which methods and techniques work best. The photographers I shall be exploring in this chapter include both Brian David Stevens as well as Phillip Toledano. I have chosen to focus on these photographers as they both use natural photography but in two very different ways. Stevens’ collection named 'War Veterans' uses natural methods to convey emotion; these include natural lighting and genuine feelings. However his photographs appear to provoke emotions within the viewer as opposed to just displaying an image that shows emotion. By stark contrast, Toledano's photographs display an emotion but the viewer is not part of it - the photograph's do not necessarily provoke a feeling within the observer.
Brian David Stevens is a British based photographer who has exhibited work worldwide. His most recent project named 'They That Are Left' is the collection which I shall be exploring in this chapter. The name of the set developed from a poem which inspired Stevens named The Fallen by Laurence Binyon. It was published in The Times in 1914 "... They shall grow not old, as we that are left grow old.' From this quote Stevens' adopted the name 'They That Are Left.' It could be argued that Stevens’ inspiration for the title of this set contributes to the emotiveness of the photographs. For the past ten years Stevens has focused on this project, it has involved photographing portraits of war veterans on Remembrance Day. Although each veteran photographed is likely to have a compelling story to tell, Stevens has embraced the concept of the 'unknown soldier.' 'The viewer is given no information just a portrait,' says Stevens in his interview with Phil Coomes, the BBC. Each subject is portrayed without any distinctive information of their rank or regiment or even any clue as to which part of the armed services they served. The photographs are high in contrast and this exaggerates both the texture of their skin and facial features; as the tone is high in contrast a sombre mood is created - this could be related to Stevens notion of the 'unknown soldier' as each image displays a mystery through the formal elements allowing the viewer to interpret the photographs in whichever way they please. The black and white effect which Stevens uses throughout this set enforces power and a timeless nature to every image whereas if the images had been in colour they could have appeared quite ordinary. Again the black and white technique creates a sombre mood.
Stevens’ decision to use a black cloth to remove any trace of where the pictures are taken, and the lack of any captions is one that works surprisingly well. “My initial desire here is to learn more of those who fought, yet somehow that would detract from the overall effect of the work and perhaps influence our reading of the photographs.” Thus it is apparent from his interview with the BBC that Stevens opted for black and white because sometimes a brightly coloured photograph detracts from the desired photographic effect. Subtle effects and texture on the faces can be lost in colour photography. The high contrast, detail and composition give the image an immediacy as the viewer cannot look anywhere but at the face. Stevens' techniques are partially explained through his interview with the BBC in November 2011, 'no cap badges, no ribbons of spooling medals, and no insignia for military rank. Faces, only. Each deep-etched with who they are and what they did, that we might look, and think - and thank them.' Stevens' stripped back approach has worked very effectively with this set of photographs.
However, he appears to contradict himself as he wrote the following on his blog: 'although the project is not about individual stories and experiences I thought I'd share this story of the subject of the final portrait in the series.' Stevens’ intentions on sharing the story of this veteran are not clear. It could be argued that it was because this was the last image of the series, that he was the oldest veteran photographed or because he was the longest serving British prisoner of war. The man photographed is named Squadron Leader Alfie Fripp. The portrait illustrates a lifetime of experience through his features and face etchings. The periorbital dark circles under his eyes and creases in his skin seem to tell a story of their own - they could be interpreted in any way.
'Squadron Leader Alfie Fripp (RAF retd) is the oldest surviving and longest serving British prisoner of war. He is the last of the '39ers (those captured at the start of the war.) He was held at many Prisoner of war camps including the infamous Stalag Luft III, The location of 'The Great Escape.'
It is interesting to note whether or not knowing Fripp's story alters the viewer’s perception of the photographs. To discover how effective this particular photograph was and whether it was more emotive with or without the background story I asked varying people of their opinion and perception of the photograph. Most stressed that the story behind Alfie Fripp made the photograph much more effective because they could understand his expression and the photograph on a deeper level. It allows the viewer to understand the sadness in his expression and why his skin appears
Moreover, the collection consists of twenty photo-graphical images as opposed to a single image. This works very effectively as the observer is able to notice the similarities between the different images whereas with a single image the feelings of loss are less intense. The feelings that the photographs provoke within the viewer are likely to be magnified with a larger collection. The composition of the photograph allows feelings to be conveyed as the zoom and close crop on each individual face allows their eyes to be enhanced and I believe that the eyes particularly show pain and wear of both time and worry. They seem to tell a story - not individually but as a set, they convey the idea that they have all lost loved ones, family and friends and this is apparent through the creases and marks on their faces, their eyes and their expression in general.
Brian David Stevens is a British based photographer who has exhibited work worldwide. His most recent project named 'They That Are Left' is the collection which I shall be exploring in this chapter. The name of the set developed from a poem which inspired Stevens named The Fallen by Laurence Binyon. It was published in The Times in 1914 "... They shall grow not old, as we that are left grow old.' From this quote Stevens' adopted the name 'They That Are Left.' It could be argued that Stevens’ inspiration for the title of this set contributes to the emotiveness of the photographs. For the past ten years Stevens has focused on this project, it has involved photographing portraits of war veterans on Remembrance Day. Although each veteran photographed is likely to have a compelling story to tell, Stevens has embraced the concept of the 'unknown soldier.' 'The viewer is given no information just a portrait,' says Stevens in his interview with Phil Coomes, the BBC. Each subject is portrayed without any distinctive information of their rank or regiment or even any clue as to which part of the armed services they served. The photographs are high in contrast and this exaggerates both the texture of their skin and facial features; as the tone is high in contrast a sombre mood is created - this could be related to Stevens notion of the 'unknown soldier' as each image displays a mystery through the formal elements allowing the viewer to interpret the photographs in whichever way they please. The black and white effect which Stevens uses throughout this set enforces power and a timeless nature to every image whereas if the images had been in colour they could have appeared quite ordinary. Again the black and white technique creates a sombre mood.
Stevens’ decision to use a black cloth to remove any trace of where the pictures are taken, and the lack of any captions is one that works surprisingly well. “My initial desire here is to learn more of those who fought, yet somehow that would detract from the overall effect of the work and perhaps influence our reading of the photographs.” Thus it is apparent from his interview with the BBC that Stevens opted for black and white because sometimes a brightly coloured photograph detracts from the desired photographic effect. Subtle effects and texture on the faces can be lost in colour photography. The high contrast, detail and composition give the image an immediacy as the viewer cannot look anywhere but at the face. Stevens' techniques are partially explained through his interview with the BBC in November 2011, 'no cap badges, no ribbons of spooling medals, and no insignia for military rank. Faces, only. Each deep-etched with who they are and what they did, that we might look, and think - and thank them.' Stevens' stripped back approach has worked very effectively with this set of photographs.
However, he appears to contradict himself as he wrote the following on his blog: 'although the project is not about individual stories and experiences I thought I'd share this story of the subject of the final portrait in the series.' Stevens’ intentions on sharing the story of this veteran are not clear. It could be argued that it was because this was the last image of the series, that he was the oldest veteran photographed or because he was the longest serving British prisoner of war. The man photographed is named Squadron Leader Alfie Fripp. The portrait illustrates a lifetime of experience through his features and face etchings. The periorbital dark circles under his eyes and creases in his skin seem to tell a story of their own - they could be interpreted in any way.
'Squadron Leader Alfie Fripp (RAF retd) is the oldest surviving and longest serving British prisoner of war. He is the last of the '39ers (those captured at the start of the war.) He was held at many Prisoner of war camps including the infamous Stalag Luft III, The location of 'The Great Escape.'
It is interesting to note whether or not knowing Fripp's story alters the viewer’s perception of the photographs. To discover how effective this particular photograph was and whether it was more emotive with or without the background story I asked varying people of their opinion and perception of the photograph. Most stressed that the story behind Alfie Fripp made the photograph much more effective because they could understand his expression and the photograph on a deeper level. It allows the viewer to understand the sadness in his expression and why his skin appears
Moreover, the collection consists of twenty photo-graphical images as opposed to a single image. This works very effectively as the observer is able to notice the similarities between the different images whereas with a single image the feelings of loss are less intense. The feelings that the photographs provoke within the viewer are likely to be magnified with a larger collection. The composition of the photograph allows feelings to be conveyed as the zoom and close crop on each individual face allows their eyes to be enhanced and I believe that the eyes particularly show pain and wear of both time and worry. They seem to tell a story - not individually but as a set, they convey the idea that they have all lost loved ones, family and friends and this is apparent through the creases and marks on their faces, their eyes and their expression in general.
Squadron Leader Alfie Fripp (RAF retd) - Last of the '39ers
Phillip Toledano is also a British photographer but lives and works in the United States of America. Toledano is an artist who uses a variety of media, from photography to installation. The conceptual themes which he uses for his work are socio-political, with his most recent set: 'Days with My Father' receiving some criticism. However, Toledano's work remains popular as he has featured in well-known publications including: The New Yorker, The Independent Magazine, The London Times, Vanity Fair, Le Monde and Interview, amongst others. Phillip Toledano's collection named 'Gamers' is the set I shall be exploring within my dissertation to answer the question, 'how well does natural photography contribute to emotive portraiture photography?' within this chapter.
Toledano expresses the view in the bio on his website about his collection 'Gamers' that he has never been interested in straight forward portrait photography because it reveals nothing other than the, 'photographer’s intentions, and a topographic record of the effects of time.' He decided to produce a collection named 'Gamers,' as he wanted to try and find a way to unconsciously tease out aspects of people's personality, and capture it on film; therefore he had people play video games. However, this view could be criticised as some may argue that those participating are still aware that there's a camera there and thus they may be 'acting up' and 'conscious.' Personally I feel that this is unlikely as most seem to be absorbed within the video game and have forgotten about the camera.
The composition of the photographs use a head-shot of each subject against a dark black background with only their face lit. Like Stevens, Toledano has closely cropped his images but into a rectangular shape like a television or gaming screen. However, the outcome is very different, in Steven's images all you can see is the face and expression, there is no room to think about what is in the darkness or to see anything other than the face, contrastingly whilst Toledano's photograph's are also just a face with a black background the darkness behind the face appears slightly evil or frightening and the viewer is likely to wonder why it is so dark.
The gamers wore a dark coloured top so that they would blend in with the background and in this way the expression appears exaggerated and dominant. The collection consists of nine photographs. This is similar to the technique which Brian David Stevens used within his large collection. The use of over half a dozen photographs increases the impact which the set has on its observers as more faces are displayed and thus the intensity of humour is likely to be maximised.
However, it could be argued that in comparison to Stevens' set 'They That Are Left,' Toledano's collection of 'Gamers' display an emotion as opposed to provoking feelings in the observer. By contrast Stevens' connects with the viewer emotionally. This view could be criticised as some may find the 'Gamers' collection very humorous. On the other hand, when showing various people both collections and asking which they found more emotive many said Stevens as there appeared to be a deeper meaning behind the collection.
To discover how successful Toledano’s work is in conveying an emotion through portraiture photography, I asked varying people of their opinion of the photograph below. Many found it humorous due to the ‘funny’ face he seems to be pulling, many also commented that the black surrounding added to the emotiveness as it emphasised the facial expression and made it the complete focus of the photograph with no distractions. However, others noted that it did not appear as emotive as Stevens’ war veterans as they connected on a more fragile level than a light hearted photograph such as Toledano’s.
Toledano expresses the view in the bio on his website about his collection 'Gamers' that he has never been interested in straight forward portrait photography because it reveals nothing other than the, 'photographer’s intentions, and a topographic record of the effects of time.' He decided to produce a collection named 'Gamers,' as he wanted to try and find a way to unconsciously tease out aspects of people's personality, and capture it on film; therefore he had people play video games. However, this view could be criticised as some may argue that those participating are still aware that there's a camera there and thus they may be 'acting up' and 'conscious.' Personally I feel that this is unlikely as most seem to be absorbed within the video game and have forgotten about the camera.
The composition of the photographs use a head-shot of each subject against a dark black background with only their face lit. Like Stevens, Toledano has closely cropped his images but into a rectangular shape like a television or gaming screen. However, the outcome is very different, in Steven's images all you can see is the face and expression, there is no room to think about what is in the darkness or to see anything other than the face, contrastingly whilst Toledano's photograph's are also just a face with a black background the darkness behind the face appears slightly evil or frightening and the viewer is likely to wonder why it is so dark.
The gamers wore a dark coloured top so that they would blend in with the background and in this way the expression appears exaggerated and dominant. The collection consists of nine photographs. This is similar to the technique which Brian David Stevens used within his large collection. The use of over half a dozen photographs increases the impact which the set has on its observers as more faces are displayed and thus the intensity of humour is likely to be maximised.
However, it could be argued that in comparison to Stevens' set 'They That Are Left,' Toledano's collection of 'Gamers' display an emotion as opposed to provoking feelings in the observer. By contrast Stevens' connects with the viewer emotionally. This view could be criticised as some may find the 'Gamers' collection very humorous. On the other hand, when showing various people both collections and asking which they found more emotive many said Stevens as there appeared to be a deeper meaning behind the collection.
To discover how successful Toledano’s work is in conveying an emotion through portraiture photography, I asked varying people of their opinion of the photograph below. Many found it humorous due to the ‘funny’ face he seems to be pulling, many also commented that the black surrounding added to the emotiveness as it emphasised the facial expression and made it the complete focus of the photograph with no distractions. However, others noted that it did not appear as emotive as Stevens’ war veterans as they connected on a more fragile level than a light hearted photograph such as Toledano’s.
A photograph selected from Phillip Toledano's collection 'Gamers' (2002)
In conclusion, it is apparent that this chapter has discussed the question 'how well does natural photography convey emotive portraiture photography?' Phillip Toledano and Brian David Stevens create two different effects within natural photography. Stevens’ images are potentially more emotive as they create a dialogue with the viewer through a deeper underlying meaning: Remembrance Day and remembering lost loved ones. Whereas within Toledano’s work the viewer is far more separate from the meaning of the work as they appear to observe the emotion rather than experiencing with it.
Chapter Two: Staged Photography
This dissertation is examining how photographers convey emotion most effectively through portrait photography. Within this chapter I am aiming to answer the question, ‘how well does staged photography convey emotion through portraiture photography?’ The term ‘staged’ can be defined as being contrived for a desired impression; for example, it is staged rather than spontaneous. By looking at the work of photographers who have used this technique in creating a staged photograph, I shall assess and examine which methods work best. The photographers whom I shall be exploring throughout this chapter include both Jill Greenberg and Sam Taylor-Wood. I have decided to focus on these photographers as they both use staged photography with the theme of 'crying' but each uses different techniques to create vastly different outcomes. Whilst Greenberg’s collection of crying children named ‘End Times’, uses artificial methods to provoke tears within the youngsters, Wood's collection of crying actors named 'crying men.'
Jill Greenberg is an American photographer and artist most known for her portraits and fine art. Greenberg’s 2006 project named ‘End Times’ is the collection which I shall be exploring within this chapter. ‘End Times’ created a storm of controversy as her photographs illustrated crying children that had been provoked to tears through varying methods including: giving the children lollypops and then snatching them back. The Guardian newspaper argues that these methods have been described by some as ‘tantamount to child abuse.’ Greenberg comments on the set, stating, ‘Apparently it’s controversial for children to cry? I don’t know, mine do it so much.’ On the other hand, her work was described by Kopeikin Gallery as, ‘it combines beautiful, poignant imagery, impeccably executed, with both political and personal relevance.’ This illustrates that the images divided the nation with differences in opinion.
Greenberg decided to use children because it was a taboo subject: children in pain. She utilizes the uncomfortable images as a way of breaking through the pop mainstream and beginning a national dialogue. Greenberg used the images and the title of each photograph to express her own frustration with the Bush Administration and Christian fundamentalism in the United States, she says, ‘I love the raw emotion of children, because it comes close to the anger and helplessness I feel about our current political and social situation.’ One example of this is that she called one of her images ‘four more years.’ This image in particular involves a young infant boy looking terrified and upset as he covers his mouth with his hand. It could be suggested that the name of this image is called ‘Four more years’ because Bush would have been in power for four years; the images act as a metaphor for the current political issues of when the images were photographed.
The collection consists of over a dozen photographs which appear to heighten the intensity of the images. Rather than having a single image which may not have a great impact on the spectator, the technique which Greenberg uses of having a group of images conveys Greenberg’s original frustration more effectively as each image is titled with a political issue hence illustrating that there are dozens of issues within American civilisation and politics: ‘left behind,’ ‘earth,’ deniability,’ shock,’ and ’faith?’ amongst others. The photographs are quite bright and the children appear shiny which emphasises their misery as the tears are more noticeable. However they do appear to have a greyish tinge which adds to the misery of the theme. In most of the photographs the hair of the children is blown back, possibly by an artificial fan which allows their face and tears to be more visible. The tone of the images is high in contrast – this exaggerates the minimal creases in their skin and their eyes which look vulnerable and confused.
The background is a black and white mix which allows the viewer to focus on the individual being shown rather than a background which detracts from the emotion which the child is presenting. The portraits demand attention as it is impossible to ignore the sight of a crying baby either in real life or on a canvas. More often than not, knowing that the images are staged does alter the perception which the viewer holds of the collection. This is because the images are not genuine and do not hold a deep meaning; they actually appear quite shallow and false.
Finally, to discover how effective Greenberg’s collection named ‘End Times’ was I showed a picture to several different people, asking them about how emotive they found the photograph to be. I was told that they didn’t find the photograph very emotive at all. Despite there being a child crying their eyes out, it appears fake and meaningless and staged. This therefore did not connect with the viewer on many levels despite Greenberg’s intentions. Some said that if the background had been ordinary as opposed to a studio setting the photograph would likely to have been more effective as it would seem more realistic. Thus it is clear that this piece of staged photography is perhaps not as emotive as other pieces which have been explored throughout this dissertation.
Jill Greenberg is an American photographer and artist most known for her portraits and fine art. Greenberg’s 2006 project named ‘End Times’ is the collection which I shall be exploring within this chapter. ‘End Times’ created a storm of controversy as her photographs illustrated crying children that had been provoked to tears through varying methods including: giving the children lollypops and then snatching them back. The Guardian newspaper argues that these methods have been described by some as ‘tantamount to child abuse.’ Greenberg comments on the set, stating, ‘Apparently it’s controversial for children to cry? I don’t know, mine do it so much.’ On the other hand, her work was described by Kopeikin Gallery as, ‘it combines beautiful, poignant imagery, impeccably executed, with both political and personal relevance.’ This illustrates that the images divided the nation with differences in opinion.
Greenberg decided to use children because it was a taboo subject: children in pain. She utilizes the uncomfortable images as a way of breaking through the pop mainstream and beginning a national dialogue. Greenberg used the images and the title of each photograph to express her own frustration with the Bush Administration and Christian fundamentalism in the United States, she says, ‘I love the raw emotion of children, because it comes close to the anger and helplessness I feel about our current political and social situation.’ One example of this is that she called one of her images ‘four more years.’ This image in particular involves a young infant boy looking terrified and upset as he covers his mouth with his hand. It could be suggested that the name of this image is called ‘Four more years’ because Bush would have been in power for four years; the images act as a metaphor for the current political issues of when the images were photographed.
The collection consists of over a dozen photographs which appear to heighten the intensity of the images. Rather than having a single image which may not have a great impact on the spectator, the technique which Greenberg uses of having a group of images conveys Greenberg’s original frustration more effectively as each image is titled with a political issue hence illustrating that there are dozens of issues within American civilisation and politics: ‘left behind,’ ‘earth,’ deniability,’ shock,’ and ’faith?’ amongst others. The photographs are quite bright and the children appear shiny which emphasises their misery as the tears are more noticeable. However they do appear to have a greyish tinge which adds to the misery of the theme. In most of the photographs the hair of the children is blown back, possibly by an artificial fan which allows their face and tears to be more visible. The tone of the images is high in contrast – this exaggerates the minimal creases in their skin and their eyes which look vulnerable and confused.
The background is a black and white mix which allows the viewer to focus on the individual being shown rather than a background which detracts from the emotion which the child is presenting. The portraits demand attention as it is impossible to ignore the sight of a crying baby either in real life or on a canvas. More often than not, knowing that the images are staged does alter the perception which the viewer holds of the collection. This is because the images are not genuine and do not hold a deep meaning; they actually appear quite shallow and false.
Finally, to discover how effective Greenberg’s collection named ‘End Times’ was I showed a picture to several different people, asking them about how emotive they found the photograph to be. I was told that they didn’t find the photograph very emotive at all. Despite there being a child crying their eyes out, it appears fake and meaningless and staged. This therefore did not connect with the viewer on many levels despite Greenberg’s intentions. Some said that if the background had been ordinary as opposed to a studio setting the photograph would likely to have been more effective as it would seem more realistic. Thus it is clear that this piece of staged photography is perhaps not as emotive as other pieces which have been explored throughout this dissertation.
'Four More Years' from Jill Greenberg's collection 'End Times' (2006)
Sam Taylor Wood is an English filmmaker, photographer and visual artist: her collection titled, 'Crying Men' is the collection which I shall be examining within this chapter. ‘Crying Men’ is a series of photographical images consisting of various famous Hollywood actors including Robin Williams, Sean Penn, Laurence Fishburne and Paul Newman. Wood makes the portraits of her subjects as actors; she shoots them in role, asking the actors to cry and perform for the camera. Wood says in her interview with The Guardian, “Crying Men is in part about the demystification of celebrity. I wanted to work with actors and look at the authenticity of that emotion and to be aware that, when you look at portraits everyone is very composed and I just wanted to break that composure a little bit and make them a bit more human, especially people of such familiarity and calibre; to make them a little bit more real.” However, it could be argued that the images do not appear ‘real’ and ‘natural’ as they are staged, in a studio and the actors are being asked to cry as opposed to genuinely crying: a journalist from The Guardian raises the question, 'they’re actors, aren't they always acting?' Wood responds to this question with, ‘One of them said to me, 'Someone says we're all really good liars, but I feel that my job is to tell the truth and my emotions are quite close to the surface, so I can access them really quickly.’ It is therefore argued by Wood that the emotions being conveyed are genuine and authentic because they’re crying due to the trigger of a memory; however, this does sound like the definition of acting.
The images consist of a mid-crop and low exposure. In most of the images their eyes appear watery as opposed to having fully flowing tears. This technique works well as it could appear very staged and fake if they were crying endlessly. More often than not, the actors are not looking at the camera; the image as a whole appears more genuine when this technique is used, otherwise an unauthentic look is often created as they appear increasingly aware of the camera. On the other hand, it could be argued that looking at the camera creates eye contact with the viewer, appearing more personal and provoking of an emotion within the viewer. The low exposure and dull colours creates a ‘normal’ atmosphere. The images do not appear glamorous and glitzy with stark contrasts and bold saturated colours; instead they appear ordinary which works well as it suggests that the actors are ordinary people of who are genuinely upset. Additionally, the actors are wearing everyday clothes in the photographs which again make them appear genuine and ordinary. Perhaps if the viewer did not know that they were famous actors the photographs would appear very natural rather than staged. The actors are also doing ‘genuine looking’ poses, such as putting their head in their hands or closing their eyes, again this genuine technique works well despite it being a staged photograph.
Overall, the images do convey the emotion of sadness effectively, but with regards to provoking an emotion within the viewer it seems unlikely purely due to the fact that the models are famous actors and thus detracts from the emotiveness of the images as they are likely to be acting. However, the use of ordinary clothes and the dull colours of the photographs allow the images to appear more ordinary than they would with bright scenery and glamorous props and clothing.
To discover how emotive people found the images I showed them to varying people and asked their opinion on the emotiveness of the photograph and how well it is conveyed. The opinion on these photographs was divided. Some thought that they were emotive due to the scenery and the lack of eye contact which made the photographs appear far more realistic and in depth. On the other hand, some thought that because the people featured in the photographs were famous it detracted the emotiveness away from the photograph because they are likely to be acting and thus the tears and glum expressions are likely to be false.
The images consist of a mid-crop and low exposure. In most of the images their eyes appear watery as opposed to having fully flowing tears. This technique works well as it could appear very staged and fake if they were crying endlessly. More often than not, the actors are not looking at the camera; the image as a whole appears more genuine when this technique is used, otherwise an unauthentic look is often created as they appear increasingly aware of the camera. On the other hand, it could be argued that looking at the camera creates eye contact with the viewer, appearing more personal and provoking of an emotion within the viewer. The low exposure and dull colours creates a ‘normal’ atmosphere. The images do not appear glamorous and glitzy with stark contrasts and bold saturated colours; instead they appear ordinary which works well as it suggests that the actors are ordinary people of who are genuinely upset. Additionally, the actors are wearing everyday clothes in the photographs which again make them appear genuine and ordinary. Perhaps if the viewer did not know that they were famous actors the photographs would appear very natural rather than staged. The actors are also doing ‘genuine looking’ poses, such as putting their head in their hands or closing their eyes, again this genuine technique works well despite it being a staged photograph.
Overall, the images do convey the emotion of sadness effectively, but with regards to provoking an emotion within the viewer it seems unlikely purely due to the fact that the models are famous actors and thus detracts from the emotiveness of the images as they are likely to be acting. However, the use of ordinary clothes and the dull colours of the photographs allow the images to appear more ordinary than they would with bright scenery and glamorous props and clothing.
To discover how emotive people found the images I showed them to varying people and asked their opinion on the emotiveness of the photograph and how well it is conveyed. The opinion on these photographs was divided. Some thought that they were emotive due to the scenery and the lack of eye contact which made the photographs appear far more realistic and in depth. On the other hand, some thought that because the people featured in the photographs were famous it detracted the emotiveness away from the photograph because they are likely to be acting and thus the tears and glum expressions are likely to be false.
Actor Hayden Christensen featured in 'Crying Men' (2004)
In conclusion, this chapter has discussed the question ‘how well does staged photography convey emotive portrait photography?’ Samantha Taylor Wood and Jill Greenberg both use staged photography but to create two contrastingly different outcomes. Greenberg's images do not appear genuine but fake through the plain background and high contrast; the reasons behind the tears also make the collection lack emotiveness and authenticity. On the other hand, although Wood still uses staged photography they do appear slightly more genuine due to both the setting of the photographs which are ordinary for example a plain bedroom or window ledge. Also, the images do not ooze high contrast and bright colours - they are not glamorous, but instead ordinary and this makes them appear more authentic.
Chapter Three: Personal Narrative
Throughout this dissertation I have been examining how an emotion can be conveyed most effectively through portraiture photography. Within this chapter I aim to explore personal narrative photography and answer the sub question, ‘how well does personal narrative photography convey emotion through portraiture photography?’ A personal narrative can be defined as a creative way of telling a personal story. Through looking at the work of photographers who have used a personal narrative within their photography I shall assess and examine which methods work best in creating a successful outcome. The photographers which I have decided to explore within this chapter include both Nan Goldin and Francesca Woodman. Goldin focuses on an uncomfortable, raw personal narrative of the abuse she received from her boyfriend whilst Woodman draws upon the ideas of suicide, discomfort and personal feeling.
The American photographer Nan Goldin became interested in taking portraits as a teenager in Boston, Massachusetts. Her earliest pieces are black and white images of drag queens and celebrations of the sub cultural lifestyle of where she lived. This implies Goldin has always been engrossed in taking photographs which relate to her own lifestyle and home. In 1995 Goldin worked with the British filmmaker Edmund Coulthard to create a film about her life and work, it was named ‘I’ll be your mirror.’ Goldin’s photograph which conveys a personal narrative incredibly well is her single piece named ‘one month after being battered,’ this is the photograph which I shall be exploring within this chapter. It illustrates Goldin with bruises on her face created by her abusive boyfriend. Nan once said, ‘There is no separation between me and what I photograph.’ This quote could never be truer than with the photograph which captures her bruises. With domestic violence never being an easy subject to talk about the image speaks volumes.
The photograph displays Goldin from the shoulders upwards, she sits in what looks like her home; there is no studio lighting or setting the photograph looks as though it has been taken spontaneously, capturing the harsh reality of Goldin’s life. The photograph is in a high contrast with her face appearing quite white in comparison with her dark hair and setting. The bruises appear to stand out more with these techniques due to their darkness against her pale skin. Goldin is staring right into the camera and this could make the viewer feel increasingly uncomfortable to be witnessing such a traumatic truth. She is wearing earrings and makeup in the photograph making her appear half glamorous this acts as a contrast to the bruises which seem dirty and grim.
The print is controversial and has upset some viewers thus showing its intensity and the effect which it has on its audience. The photograph is raw and unsettling, but also hard to tear yourself away from. Goldin did not name the attacker in the title, but the image still lives in its own right. Regardless of who committed the crime, everyone is exposed to the effects of it: the uneven bruising on her face and the blood red eyeball staring back at the viewer. Goldin’s red lips are a strong presence in the shot and the carefully applied makeup creates juxtaposition with the unpredictable bruises which would change colour every day. Her lipstick could be seen as an act of defiance, saying that she will not hide away whilst her bruises heal: she will face the world. Goldin says that the meaning of the portrait is, ‘I wanted it to be about every man and every relationship and the potential of violence in every relationship.’ This comment is controversial as many men are likely to disagree with the statement as it suggests that the entire male gender is capable of inflicting such injuries which appears an unfair sweeping statement to make. Also it is implies that only women are the victims, which we is untrue, as men are victims of domestic abuse too, and women have been known to have abused men.
To find out how successful this piece by Goldin was, I asked several different people on how well they thought emotion had been conveyed through this image. Every person that I asked thought the image spoke volumes and it was a very raw and effective photograph. Due to the anecdote behind the image combined with the evidence which is displayed through the photograph, the image appears to make the observer think about domestic abuse and the reality that it is.
The American photographer Nan Goldin became interested in taking portraits as a teenager in Boston, Massachusetts. Her earliest pieces are black and white images of drag queens and celebrations of the sub cultural lifestyle of where she lived. This implies Goldin has always been engrossed in taking photographs which relate to her own lifestyle and home. In 1995 Goldin worked with the British filmmaker Edmund Coulthard to create a film about her life and work, it was named ‘I’ll be your mirror.’ Goldin’s photograph which conveys a personal narrative incredibly well is her single piece named ‘one month after being battered,’ this is the photograph which I shall be exploring within this chapter. It illustrates Goldin with bruises on her face created by her abusive boyfriend. Nan once said, ‘There is no separation between me and what I photograph.’ This quote could never be truer than with the photograph which captures her bruises. With domestic violence never being an easy subject to talk about the image speaks volumes.
The photograph displays Goldin from the shoulders upwards, she sits in what looks like her home; there is no studio lighting or setting the photograph looks as though it has been taken spontaneously, capturing the harsh reality of Goldin’s life. The photograph is in a high contrast with her face appearing quite white in comparison with her dark hair and setting. The bruises appear to stand out more with these techniques due to their darkness against her pale skin. Goldin is staring right into the camera and this could make the viewer feel increasingly uncomfortable to be witnessing such a traumatic truth. She is wearing earrings and makeup in the photograph making her appear half glamorous this acts as a contrast to the bruises which seem dirty and grim.
The print is controversial and has upset some viewers thus showing its intensity and the effect which it has on its audience. The photograph is raw and unsettling, but also hard to tear yourself away from. Goldin did not name the attacker in the title, but the image still lives in its own right. Regardless of who committed the crime, everyone is exposed to the effects of it: the uneven bruising on her face and the blood red eyeball staring back at the viewer. Goldin’s red lips are a strong presence in the shot and the carefully applied makeup creates juxtaposition with the unpredictable bruises which would change colour every day. Her lipstick could be seen as an act of defiance, saying that she will not hide away whilst her bruises heal: she will face the world. Goldin says that the meaning of the portrait is, ‘I wanted it to be about every man and every relationship and the potential of violence in every relationship.’ This comment is controversial as many men are likely to disagree with the statement as it suggests that the entire male gender is capable of inflicting such injuries which appears an unfair sweeping statement to make. Also it is implies that only women are the victims, which we is untrue, as men are victims of domestic abuse too, and women have been known to have abused men.
To find out how successful this piece by Goldin was, I asked several different people on how well they thought emotion had been conveyed through this image. Every person that I asked thought the image spoke volumes and it was a very raw and effective photograph. Due to the anecdote behind the image combined with the evidence which is displayed through the photograph, the image appears to make the observer think about domestic abuse and the reality that it is.
Photographer Nan Goldin in 'One month after being battered' (1984)
Francesca Woodman was an American photographer best known for her black and white photographs which featured herself and other female models. The series which I have decided to focus on within this chapter is named, 'Ghost Pictures.' The collection consists of self-portraits and portraits of models; through her varying techniques Woodman displays to the viewer time in all of its elusiveness rather than capturing a suspended moment. Within this series it appears as though Woodman wanted to lose herself in her surroundings, or plays with the idea of mutilation and hints at the violent serenity of a fragmented body. The Telegraph commented on this selection stating, 'she is either trying to hide or readying herself for escape throughout the images.' It could be suggested that critics have spotted a relationship between her images and her own personal narrative. Suggested through the quote from The Telegraph, the image could be a metaphor for her personal narrative: she had a look of escape in the photograph but in reality she was trying to escape life through death. Many of her images include women in the nude, blurred techniques, merging with surroundings or faces appearing obscured. Woodman achieves the blurred techniques through a long exposure; this effect often makes Woodman appear slightly invisible and blended with the background. It is argued by Elizabeth Gumport, a writer for the New York review of books that Woodman, 'always seems to be anticipating her own disappearance.' For example, in one of her first genuine self-portraits produced in the early 1970's when she was a boarding school student, she is creeping through a forest naked with her eyes closed. Similarly, her piece which was untitled is pictured in a graveyard where she is crawling through a grave stone, naked. This is one of the earliest examples of her using this long exposure technique. It is argued by some that she is acting as a transcendent within these images, knowing that she would later commit to suicide and death. However, this idea that Woodman’s work reflects her thoughts about death and suicide is criticised by Woodman’s friends and family who argue that Woodman’s work is too often evaluated in light of her suicide. In Wallis’ film named, ‘The Woodman’s’ a friend stated, ‘Francesca Woodman, was not trying to disappear.’ Wallis’ documentary included contemporary footage of Colorado which serves briefly as scenic backdrop to the film’s account of Woodman’s youth, and it appears easy to imagine how the winter landscape worked its silent, icy influence. The frozen world is white and black and grey, and looks like nothing so much as one of Woodman’s prints. Moreover, this blurred technique did soon became one of Woodman's trademarks; by using slow shutter speeds, she gave her subjects time to move, and on film motion tends to obliterate the thing moving. In later years, Woodman also melts into, or emerges from the wallpaper. Woodman referred to these images in the series named, 'Ghost Pictures.' Woodman did eventually commit suicide at the age of twenty two (1972-1981). She had tried to commit suicide before but had failed; she then decided to take her life by jumping off the top of a building. The fall had rendered her face unrecognisable, this can relate to her photography where in many of her photographs the face of the models or herself are unrecognizable and blank due to her long exposure techniques. Her work appears to express itself through the ghostly and evanescent presence of her own body movement.
The effect of the long exposure creates an obscured or blurred affect which is created by a slower shutter speed, this clearly illustrates her intentions. The use of this allows the images to illustrate a ghost-like, disturbing and slightly disoriented effect. Woodman's images were described by a book named 'Francesca Woodman,' the writer wrote, 'Woodman's images are haunted as all photographs are, by death, but these harbour additional ghosts.' Her personal narrative of the story of her suicide brings a slight discomfort to the image which is possibly unintentional of Woodman as she could not have planned her death at this point in time. Her images are mainly in black and white which create a timeless quality appearing surreal and unique. Most of the photographs are high in contrast which create a disturbing effect through the sharp contrast in black and white. The images whereby Woodman is looking into the camera lens works very effectively in grabbing the viewer’s attention; this appears to be an uncomfortable glare but nevertheless it is difficult to draw your gaze from. The photographs where Woodman or the models are naked increase the images rawness and bareness: the model conveys a vulnerable message and this could provoke a feeling of sorrow within the viewer. The setting of most of the photographs is bare and abandoned, mainly in rooms where there are only a few sparse objects: a mirror or the peeling of wallpaper. This creates a lonely and unfriendly atmosphere.
After asking several different people about how well they thought emotion had been conveyed through Francesca Woodman’s photography I was told that it was very effective. Due to the long exposure the images appeared disturbing and slightly haunted due to her life experience. Although friends and family of Woodman believe that her death is unnecessarily related far too much to her photography it is difficult to separate the two due to the effects she used in her work.
In conclusion, the images are very successful in provoking an emotion within the viewer due to their blunt, authentic, raw settings and expression. After asking varying people whether they found the photographs emotive I received the response that the photographs which used long exposure worked best due to discomfort which each displayed through a ghost-like resemblance; this then worked with her personal narrative of suicide which brought about a sense of reality to each image and thus the 'naturalness' of each displays a very effective set of images.
The effect of the long exposure creates an obscured or blurred affect which is created by a slower shutter speed, this clearly illustrates her intentions. The use of this allows the images to illustrate a ghost-like, disturbing and slightly disoriented effect. Woodman's images were described by a book named 'Francesca Woodman,' the writer wrote, 'Woodman's images are haunted as all photographs are, by death, but these harbour additional ghosts.' Her personal narrative of the story of her suicide brings a slight discomfort to the image which is possibly unintentional of Woodman as she could not have planned her death at this point in time. Her images are mainly in black and white which create a timeless quality appearing surreal and unique. Most of the photographs are high in contrast which create a disturbing effect through the sharp contrast in black and white. The images whereby Woodman is looking into the camera lens works very effectively in grabbing the viewer’s attention; this appears to be an uncomfortable glare but nevertheless it is difficult to draw your gaze from. The photographs where Woodman or the models are naked increase the images rawness and bareness: the model conveys a vulnerable message and this could provoke a feeling of sorrow within the viewer. The setting of most of the photographs is bare and abandoned, mainly in rooms where there are only a few sparse objects: a mirror or the peeling of wallpaper. This creates a lonely and unfriendly atmosphere.
After asking several different people about how well they thought emotion had been conveyed through Francesca Woodman’s photography I was told that it was very effective. Due to the long exposure the images appeared disturbing and slightly haunted due to her life experience. Although friends and family of Woodman believe that her death is unnecessarily related far too much to her photography it is difficult to separate the two due to the effects she used in her work.
In conclusion, the images are very successful in provoking an emotion within the viewer due to their blunt, authentic, raw settings and expression. After asking varying people whether they found the photographs emotive I received the response that the photographs which used long exposure worked best due to discomfort which each displayed through a ghost-like resemblance; this then worked with her personal narrative of suicide which brought about a sense of reality to each image and thus the 'naturalness' of each displays a very effective set of images.
Polka Dots, Providence, Rhode Island (1976)
Conclusion
In conclusion, this dissertation has examined the question, 'how do photographers convey portraiture photography most effectively?' through a use of sub-questions within the three chapters.
It appears that the most effective way of capturing an emotive photographic piece is through natural photography and capturing someone slightly off guard. Stevens and Toledano use this technique most effectively. Although the emotion which each photographer has decided to display are polar opposites: one being sadness and the other humorous, they both still use a similar technique of using a distraction to draw out the most natural expression possible. In Stevens' the distraction of the day is present. The subjects are likely to be thinking about their loved ones which they have lost rather than the camera being on them - this creates a natural distraction leading to a genuine image. Then with Toledano there is the distraction of the video game which diverts their attention away from the camera towards the screen, again through a distraction a natural portrait is created. However, it could be argued that Stevens images are more emotive due to having a reason to be feeling exhausted and upset as opposed to Toledano's photographs which display expressions in an exaggerated form which do not seem as emotive as Stevens'.
It has also occurred to me throughout my research and study of this topic that when a photographer takes self-portraits they are emotive but is slightly disturbing due to the bluntness of the image in what they are prepared to show the viewer. For example, in the case of Nan Goldin she is prepared to show the viewer the result of abuse she received from a partner which is clearly a very private part of her life. Thus when the viewer can relate to an image is more emotive to them particularly as they can share the experience, making it personal.
Due to the subjectivity of whether or not an individual finds a photograph emotive or not I can conclude that in my own personal opinion the photographs with a personal narrative such as Nan Goldin's piece, 'One Month After Being Battered,' is most effective due to the reality, discomfort and intensity which the image brings to the observer. I find that her direct gaze with the camera provides an insightful glance into her experience, not only within the written anecdote that she includes with it but also the anecdote which the photograph holds in itself.
Therefore, it seems evident to me that the image needs to connect with the viewer on an emotive level for the image to appear emotive in portraiture photography.
It appears that the most effective way of capturing an emotive photographic piece is through natural photography and capturing someone slightly off guard. Stevens and Toledano use this technique most effectively. Although the emotion which each photographer has decided to display are polar opposites: one being sadness and the other humorous, they both still use a similar technique of using a distraction to draw out the most natural expression possible. In Stevens' the distraction of the day is present. The subjects are likely to be thinking about their loved ones which they have lost rather than the camera being on them - this creates a natural distraction leading to a genuine image. Then with Toledano there is the distraction of the video game which diverts their attention away from the camera towards the screen, again through a distraction a natural portrait is created. However, it could be argued that Stevens images are more emotive due to having a reason to be feeling exhausted and upset as opposed to Toledano's photographs which display expressions in an exaggerated form which do not seem as emotive as Stevens'.
It has also occurred to me throughout my research and study of this topic that when a photographer takes self-portraits they are emotive but is slightly disturbing due to the bluntness of the image in what they are prepared to show the viewer. For example, in the case of Nan Goldin she is prepared to show the viewer the result of abuse she received from a partner which is clearly a very private part of her life. Thus when the viewer can relate to an image is more emotive to them particularly as they can share the experience, making it personal.
Due to the subjectivity of whether or not an individual finds a photograph emotive or not I can conclude that in my own personal opinion the photographs with a personal narrative such as Nan Goldin's piece, 'One Month After Being Battered,' is most effective due to the reality, discomfort and intensity which the image brings to the observer. I find that her direct gaze with the camera provides an insightful glance into her experience, not only within the written anecdote that she includes with it but also the anecdote which the photograph holds in itself.
Therefore, it seems evident to me that the image needs to connect with the viewer on an emotive level for the image to appear emotive in portraiture photography.
Dissertation bibliography
Chapter One:
http://www.briandavidstevens.com/project/they-that-are-left/
http://driftingcamera.blogspot.co.uk/
http://www.bbc.co.uk/news/in-pictures-15672939
http://www.theartsdesk.com/visual-arts/photo-gallery-they-are-left
http://www.mrtoledano.com/gamers/01-Gamers
http://www.mrtoledano.com/extra/information/bio
Chapter Two:
http://en.wikipedia.org/wiki/Sam_Taylor-Wood
http://gawker.com/5016588/crying-men-by-sam-taylor+wood
http://www.guardian.co.uk/artanddesign/2004/oct/29/art
http://forums.thefashionspot.com/f63/crying-men-sam-taylor-wood-10192.html
Chapter Three:
http://en.wikipedia.org/wiki/Nan_Goldin
http://www.psychologytoday.com/blog/addiction-in-society/201101/suicide-rational-choice
http://www.telegraph.co.uk/culture/art/art-news/9279676/Blurred-genius-the-photographs-of-Francesca-Woodman.html
http://www.tate.org.uk/art/artists/francesca-woodman-10512
http://en.wikipedia.org/wiki/Francesca_Woodman
A book named, 'Francesca Woodman'
http://www.briandavidstevens.com/project/they-that-are-left/
http://driftingcamera.blogspot.co.uk/
http://www.bbc.co.uk/news/in-pictures-15672939
http://www.theartsdesk.com/visual-arts/photo-gallery-they-are-left
http://www.mrtoledano.com/gamers/01-Gamers
http://www.mrtoledano.com/extra/information/bio
Chapter Two:
http://en.wikipedia.org/wiki/Sam_Taylor-Wood
http://gawker.com/5016588/crying-men-by-sam-taylor+wood
http://www.guardian.co.uk/artanddesign/2004/oct/29/art
http://forums.thefashionspot.com/f63/crying-men-sam-taylor-wood-10192.html
Chapter Three:
http://en.wikipedia.org/wiki/Nan_Goldin
http://www.psychologytoday.com/blog/addiction-in-society/201101/suicide-rational-choice
http://www.telegraph.co.uk/culture/art/art-news/9279676/Blurred-genius-the-photographs-of-Francesca-Woodman.html
http://www.tate.org.uk/art/artists/francesca-woodman-10512
http://en.wikipedia.org/wiki/Francesca_Woodman
A book named, 'Francesca Woodman'