Part 5: Removing the Figure – Page 2 – Iain Barbour

Research Task: Your Environment

With the advancements in technology – especially surrounding mobile phones or tablets – for the majority of us, our days are spent glued to their screens, in order to watch movies, purchase items online, and perhaps most common, to check our social media. Statistics show that on average, we spend three hours and fifteen minutes a day, on our mobile phones. This may not seem a lot, but if we take into consideration that on average, a person sleeps between seven and nine hours every day, that statistic isn’t positive.

When I lived in London, I dreaded using the underground, but always found it to be such a fascinating environment, when considering human behaviour. You would think that a tightly packed carriage would be a social place. In fact, it was the total opposite. Looking down the carriages, it would be hard not to spot someone who wasn’t immersed in their phone. However, I cannot be too judgemental, as I too on many occasion, fell victim to ‘the screen’. I would like to think that this mass behaviour, is due to the fact that there isn’t anything of particular interest ‘underground’, and the act of being on one’s phone, or tablet, is merely an activity to pass the time. Unfortunately, I don’t believe this to be the case, and when specifically considering opportunities surrounding photography, there are many potential moments to capture memorable images’ – if we just look. We only need to refer back to Martin Parr’s work ‘Japanese Commuters’ for confirmation of this notion. Of course, smart phones were not around in 1998, so perhaps, individuals’ were more aware of their surroundings then, than they are now. However, this doesn’t take away the fact that Parr effectively took advantage of the environment he was in, and produced a series of fascinating photographs’ that many of us would miss – more so today.

JAPAN. Tokyo. From ‘Japanese Commuters’. 1998.

I think in general, anytime we are concentrating on anything else that isn’t directly in front of us, we are missing a potential opportunity to capture that ‘decisive moment’, witness something that we may want to photograph later, or draw inspiration from to create a project. This would mean however, carrying a ‘professional’ camera at all times, which realistically, isn’t always practical. So, why not take advantage of the very device that could be the reason why these images’ aren’t photographed in the first place – a mobile phone.

References

The Guardian. (2019). ‘Shock! Horror! Do you know how much time you spend on your phone?’ [Online] Available from: https://www.theguardian.com/lifeandstyle/2019/aug/21/cellphone-screen-time-average-habits#:~:text=According%20to%20research%20from%20RescueTime,four%20and%20a%20half%20hours.

Magnum Photos. (2014). ‘Feature – Tokyo Commuters.1998Martin Parr’ [Online] Available from: https://pro.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2S5RYD12J76K

Pinterest. (2019). ‘150 years of the London Underground – in pictures’ [Online] Available from: https://www.pinterest.com/pin/552605816759206948/

Exercise 1: Still Life

I did some further research into the concept of still-life, and learnt that in a traditional still-life picture, the objects that are depicted within the scene, have been placed there purposely by the artist, for reasons such as symbolism, personal interests, or simply because they are aesthetically pleasing. Composition is an important factor that is also taken into consideration, where these objects are rearranged frequently, in order to create a more balanced scene, or to take full advantage of the directional lighting, for example. Unlike other styles of photography, especially those that involve people, still-life allows the artist – or photographer – time to create their desired scene, and ultimately, to take the photograph.

For this exercise, I wanted to use ‘time’ as the underlying theme for my still-life images’. But, rather use it to my advantage, reflect on how time – or indeed, the lack of it – is something I feel is a negative aspect in my life currently. I wanted my images’ to depict some of the seemingly endless amount of parental chores I have to undertake on a daily basis, which leaves little, or no time for personal activities. I decided to use my phones camera, as many of the ‘scenes’ quickly return back to ‘normal’, and hoped to emphasise the urgency behind each shot, ultimately distancing myself from the usual notion of unpressurised time associated with still-life. I felt that if I’d used my professional camera, this would have given an unrealistic impression on capturing the moment, as, unlike my camera, my phone is with me at all times. However, as I didn’t want my photographs to be ‘snapshot’ in style, which certainly doesn’t represent a still-life, I took careful consideration over my composition, and where possible, any natural light that was evident in the scene.

References

Format. (2019). ‘Still Life Photography: The Complete Guide’ [Online] Available from: https://www.format.com/magazine/resources/photography/still-life-photography-ideas-and-tips

Research Task – Todd Hido

Fascinated by William Eggleston’s work, I did some further research into photographer’s, who also manage capture the banal beauty of American suburbs, and are able to document human existence, without people being evident within the image. Todd Hido, is one of these photographer’s. He produced two fascinating projects that I took particular interest in – Homes at Night and Interiors.

Homes at Night could be described as voyeuristic in style, which saw Hido photograph stranger’s homes in the dead of night, attracted to them because of the beautiful lighting in the windows, or because he felt there was an “interesting story inside”. At times, he would drive for hours around American suburbs that remind him of his home, to find a suitable image, and on occasions, would return from his journey with nothing to show. Often, the landscape appears cold and bleak, with snow or mist frequently incorporated in the photographs’, which is a clever contrast between the warm and welcoming lights radiating from inside the houses. Hido used ambient light only, in order to keep the process, and ultimately his images’, as ‘real’ as possible, and on occasions – to his advantage – he used the headlights of passing cars, which he describes as “painting light across the scene”.

It would be understandable to think the subject matter he is documenting in this particular series, are the houses themselves. However, as Hido explains in the video ‘I use my photography to express myself’, “there really not about houses, there about people”. As a viewer, we are left thinking more about those inside – who are they? How do they live? – resulting in questions being asked, as opposed to the answers being revealed, thus, allowing room for interpretation. If we consider the ‘signifier’ and ‘signified’ in some of the images’, we may be able to determine the type of person, or people, who reside there. For example, relating to the photograph below, I interpret that the people who live in this home, consist of a large, working class family, who live a comfortable, but simple life.

Interiors, as the name suggests, sees Hido photograph the inside of houses – the opposite of Homes at Night. What I find interesting, is where Homes at Night shows evidence of ‘life’ at the moment the photograph was taken, Interiors depicts unlived environments. The bleakness too, which is often felt when studying the exterior landscapes of the photographs in Homes at Night, is now sensed from within the stark interiors of the unfurnished homes. Hido has made a seemingly boring scene fascinating, by effectively applying compositional techniques, and using the natural light from unseen windows, to highlight certain areas of the room, which I think adds an element of drama.

Though, the two projects’ in question are very much individual, the intended subject matter is the same – people. Even with the lack of furniture, I believe it’s possible to gain a better understanding of who used to reside in these homes, just by looking at the décor on the walls, and the carpets. For example, relating to the first image below, I get the impression that someone of an older generation was the last occupant, due to the dreary, dated carpet. Whereas, the second image, depicts a modern interior, suggesting the residents were perhaps younger. Regardless, I get a sense with all the photographs’, that the individuals’ have only recently vacated the property. Hido said himself that it “feels like somebody was just there or just walked out of there”.

References:

W Magazine. (2020). ‘Todd Hido’s Photos of Empty Rooms Take on New Meaning in Isolation’ [Online] available from https://www.wmagazine.com/story/todd-hido-homes-at-night-interiors-quarantine/

Todd Hido. (2020). ‘Home at night’ [Online] Available from: http://www.toddhido.com/homes.html

Todd Hido. (2020). ‘Interiors’ [Online] Available from: http://www.toddhido.com/interiors.html

Lens Culture. (2020). ‘Todd Hido on “Homes at Night” and Illustrating Memories in Photography’ [Online] Available from: https://www.lensculture.com/articles/todd-hido-todd-hido-on-homes-at-night-and-illustrating-memories-in-photography

Toner Magazine. (2020). ‘Todd Hido Homes at Night’ [Online] Available from: https://www.tonermagazine.net/todd-hido-homes-night/

YouTube. (2010). ‘KQED Spark – Todd Hido’ [Online] Available from: https://www.youtube.com/watch?v=mFE18gxHFGE

Youtube. (2017). ‘Todd Hido: ‘I Use Photography to Express Myself’ [Online] Available from: https://www.youtube.com/watch?v=vTnmO6UXFUc

Reading Task: Something and Nothing

From reading the chapter ‘Something and Nothing’ from the book ‘The photograph as contemporary art’, I was drawn to the sentence that stated that there is “no such thing as a unphotographed or unphotographable subject”. After thinking about this in more detail, and from reviewing the images’ and photographers’ further that supported the particular chapter, I came to agree with this notion. However, I believe, in order to make this specific thought process justified, the photographer must have an informed reason, or strategy, as to why a particular subject – regardless of perceived interests – is to be photographed.

Like any artist – though I use that term lightly when applying it to photography, as though anyone can pick up a camera, not everyone is a photographer – all work created is ultimately a form of expression. When an object, or certain environment is photographed that may be considered uninteresting by the viewer, due to its banal subject matter, we are actually being presented with the photographer’s interpretation on a particular theme that we aren’t accustomed to seeing. To successfully create images’ like this, without the intended meaning being jeopardised, is incredibly difficult, and it really does take a talented photographer, with an eye that most of us don’t have, in order to achieve this.

Unfortunately, these photographs’ usually don’t get the recognition, or appreciation that they deserve. They are often the ones that feature in galleries, or books that receive a glimpse by the viewer, and are then forgotten about just as quickly. Though, they may be visually interesting, the meaning behind them can often be obscure, resulting in an image that is hard to interpret, and fundamentally, to understand. The majority of people don’t have an education, or a strong understanding about the language of photography, and that can be a problem. When it comes to art in particular, if one can’t relate the piece in question, they often deem it as not being particularly good, and unforgettable. As the book quite rightly so states “they are ordinary, so we ignore them as art”.

References

Cotton, C. (2014). The photograph as contemporary art. 3^rd edn. London: Thames and Hudson

Research Task: Personal Reflection

Though, it’s clear as to what has been depicted in William Eggleston’s images’, interpreting the meaning behind them, or indeed, considering why he chose to photograph that particular scene in the first place, maybe harder to understand. His work could easily be described as banal, portraying objects, which many photographer would disregard entirely. However, Eggleston himself said that the most appropriate answer he can give to those, who ask him why is he photographing a particular subject, is “life today”. But, by applying this mind set in to your personal photography practices, does this make you – the photographer – a storyteller, or a history writer?

Being a photographer, essentially makes you a storyteller. However, one thing I’ve learnt from this degree, is that the story you intended to tell through your photographs’, isn’t always received in the same way by the viewer. I believe any image can tell a story – with, or without figures present – however, depending on the connection it has with the viewer, for example, on a geographical level – like Memphis – or, how ‘open’ it is for interpretation, may result in different meanings being conceived. Every time a photograph is taken, a snapshot of that moment is transferred either onto film, or into a digital file. Essentially, that image is an historical representation of someone, or something, and how long it remains a part of history depends solely on the photographer themselves – does it end up on the cutting floor, or deleted, never to be looked at again. A piece written by the ‘American Historical Association’, describes history as not “a collection of facts about the past”, but rather, “making arguments about what happened in the past on the basis of what people recorded at the time”. Of course, they are specifically referring to written documents, however, this thinking could also be applied to photography. For example, the image below – taken by Eggleston – could be a case in point between the relationship between tire production and the effects on the environment in doing so, and why they are a necessity in everyday life. Interestingly, I don’t believe Eggleston considers himself as a ‘history writer’. He rarely uses titles or caption to support his photographs, and says by providing dates of when his images’ were taken, “that’s just not about photography”.

Personally, I would consider myself a factual photographer. I’ve an interest in documenting real life moments and people, whilst capturing natural and genuine experiences and responses, which I believe are hard to replicate, if trying to create the same scene artificially. However, this course has allowed me to experiment with my photography in inventive ways, which I’ve certainly enjoyed and appreciated. I’ve been able to incorporate both factual occurrences, with fictitious ideas, to create projects exploring specific personal issues. Due to the creativity aspect involved, the narrative in these instances could be considered as obscure, resulting in a sense of fabrication surrounding the series. Though, I enjoy incorporating this amalgamation of fact and fiction, into my photography, I still much prefer making images’ that depict total reality, and don’t believe I will ever move away from this.

References

American History Association. (2020). ‘Writing History: An Introductory Guide to How History Is Produced’ [Online] Available from: https://www.historians.org/teaching-and-learning/teaching-resources-for-historians/teaching-and-learning-in-the-digital-age/the-history-of-the-americas/the-conquest-of-mexico/for-students/writing-history-an-introductory-guide-to-how-history-is-produced

YouTube. (2013). ‘Imagine | The Colourful Mr Eggleston’ [Online] Available from: https://www.youtube.com/watch?v=3jZ_HkaTXh8

WordPress. (2017). ‘Assignment Five: Emotional masking’ [Online] Available from: https://iainbarbourocablog.wordpress.com/category/assignment-5/

WordPress. (2018). ‘Assignment Three’ [Online] Available from: https://iainbarbourocablogcan.wordpress.com/category/assignment-3/