Communities are an important factor in peoples’ lives, and there are a number of reasons why individuals’ choose to be a part of them. When we have a deep interest in something, for example, photography, most want to seek other like-minded people who share the same passion, and as a result, communities develop. As is often the case, we may not know who belongs to what community, or realise a ‘type’ of community even exists. Photography can act as a ‘window’ – in this instance – into communities that are not our own, and enables other’s to gain a better insight into them, and those involved. In an ideal world, time would be spent within these communities, talking to members and photographing important elements to help generate a better understanding for both the photographer, and the viewer. However, due to current affairs, I unfortunately didn’t have that liberty, and as a result, had to reconsider how I was going to find out about a community I knew little about.
I took into consideration the notion of ‘community of circumstance’, which relates to people united by a common situation or challenge, not of their making. For example, lockdown. I saw this as an opportunity to find out on a broader scale, what communities’ people in my local area are involved in, and how both have been affected as a direct result of lockdown. In order to do this is a safe manner, I created a questionnaire, and along with a cover letter, delivered them to thirty homes along my street. Unsurprisingly, I only received eight responses.
To emphasise the notion of social distancing and self-isolation within my portraits, I took into consideration the spatial relationship between myself and my subjects’, and where possible, used tangible elements that acted as physical barriers. However, to ensure that each subject didn’t become ‘lost’ in the space that I hoped to achieve, I incorporated leading lines created by objects present, in order to direct the viewer towards the subject, ultimately ensuring they would remain the point of interest. I tried to use other photographic elements and compositional techniques effectively. For example, creating a sense of depth within the image, by purposely placing subjects’ – where applicable – to the side of an open door frame, essentially making the scene appear bigger than it is, or by using the buildings structures to frame my subjects’ or to create a symmetrical balance. To make certain my portraits’ weren’t repetitive in style, I photographed my subjects’ in various locations – on balconies, through windows and in doorways alike. However, I made a conscious effort to create a juxtaposition between the ‘inside’ and ‘outside’, so chose to incorporate within the scene, both manmade and natural elements.
The final series consists of six portraits’ – supported by their relevant questionnaires – that I believe help strengthen the impression of social distancing and isolation, whilst giving the subjects’ a sense of identity in regards to the communities they are associated with.
Iain Barbour - BA (Hons) Photography 