Social Cleansing & Differences
Social cleansing is class-based killing that consists of elimination of members of society considered "undesirable," including but not limited to the homeless, criminals, street children, the elderly, sex workers, and sexual minorities. Within the images that I photograph, I hope to capture the oppression that some members of society live with due to governments removing affordable housing in a attempt to remove them from society, as well as note some of their stories and emotions.
Visual Interpretation
This Pinterest board further delves into more about what is meant by social cleansing, and the ways that people, housing and shops differ due to affluence.
The Radical Eye: Modernist Photography from The Sir Elton John Collection
The Radical Eye is a Modernist Photography exhibition from the Sir Elton John Collection, showing at the Tate Modern. It focuses on the classic modernist period of the 1920s-50s, often referred to the 'coming of age' period of photography. This is the first time over the past twenty five years where a group of Man Ray portraits are brought together with portraits by Matisse, Picasso and Breton. Additionally, it displays 150 rare vintage prints by iconic figures such as Brassai, Imogen Cunningham, Andre Kertesz, Dorothea Lange, Tina Modotti and Aleksandr Rodchenko. Thus displaying the work of artists who at the time were transforming the use of photography via experimentation and innovations and ultimately have had an extensive impact on artists over time, still today, by altering their perception of photography
The Radical Eye: The beginning of modernism. Artists in the modernist period explored what the camera could do that the human eye alone could not, and how this could be harnesses to present a new modern perspective on the world.
Man Ray's pairing of positive and negative images alludes to the technical process of the image's creation. The title, 'Black and White', 1926, also refers to the elements in the composition: the face of a woman and a West African ceremonial mask carved from ebony. This formula juxtaposition alludes to culture associations of 'black' and 'white'.
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The first image is titled 'Ide collar', dated back from 1922 photographed by Paul Outerbridge. Within the composition a collar from a shirt can be found on top of a black and white checkered background. The main focal point within the image is the collar, this is due to its twisted angle and 3D effect, additionally it contrasts with the background of the image as it is a block colour with no patterns again making it a stand out feature within the image. The second image is 'Boy on bike' 1922, by Ralph Steiner. The attention has been drawn to the boy due to the wide scale making it easier to focus on the smaller individual. Furthermore, the shadow of the boy and the bike add mystery to the photo, making it more of a focal point as the viewer may question the subject. Shadows are often a representation of something dark (as used in foreshadowing), foreboding, or evil. The location of this image is Brooklyn bridge, this has been chosen as it connects the boroughs of Manhattan and Brooklyn by spanning the East River. The shadow acts as the mystery within harmony. The last of the three images has been manipulated as the image has been converted into a negative, this flips the photo and also swaps the colours making the black features white and the white features black. Symmetry has been used within the image, not as it is often used (to portray beauty) but to examine how the colours within the picture are purely a deception and that the shapes within it are and should be the main focus when looking at it.
Portraits: Modernist portraiture harnessed photography's capacity to render an accurate likeness in clear, sharp focus and detail. But at the same time, artists and sitters pushed the conventions of portraiture with innovations in pose, composition and cropping.
Each person within the photographs has a different pose. For example Dali attempts to hill the corner, Duke Ellington sits casually in a structured environment, Noel Coward tries to fit in with environment, Joe Louis shows the scale and size of the room with his posture, Gypsy Rose Lee is relaxed leaning on the wall and Spencer Tracey has casually been put into a small environment.
Portraits and bodies: Experimental approaches to shooting, cropping and framing could transform the human body into something unfamiliar. Photographers started to focus on individual parts of the body their unconventional crops drawing attention to shape and form, accentuating curves and angles.
Portraits and bodies: Experimental approaches to shooting, cropping and framing could transform the human body into something unfamiliar. Photographers started to focus on individual parts of the body their unconventional crops drawing attention to shape and form, accentuating curves and angles.
The first of these two images is called 'Glass Tears' another photograph by Man Ray, but in 1932. The photo is close up and dull lit, linking to the mood of the subject. She is looking up and drops of tears appear on her face although they are frozen in place as if you dropped water on sheets of glass. Glass tears, has come to be known as one of Man Rays, most iconic images. This work was taken when Man Ray was splitting up with his partner, fellow artist and photographer, Lee Miller. This changes my interpretation of the image as it reflects the artists feelings after the splitting. Maybe the pain will be there forever as the tears are frozen in place, suggesting they'll never leave. Or perhaps the term 'glass' tears suggest how painful his tears are much like shards of glass. The second image is 'A forgotten model' by George Lynes in 1937, the models body expressions suggest he is sad upset and distraught due to an earlier on scenario. The composition of the photograph leads the viewers eye as the man is in the foreground contrasting with the busy background. The walls frame him bringing our attention to him.
Experiments: This was not a period of discovery but of rediscovery. Artists were rewriting the preceding century's rules of photographic technique, harnessing 'mistakes' such as distortions and double exposures, or physically manipulating the printed image, cutting, marking and recombining photographs.
Experiments: This was not a period of discovery but of rediscovery. Artists were rewriting the preceding century's rules of photographic technique, harnessing 'mistakes' such as distortions and double exposures, or physically manipulating the printed image, cutting, marking and recombining photographs.
The first image is called Humanly Impossible, by Herbert Bayer from 1932. The main focal point drawing my attention is the manipulated armpit as it doesn't show a real inside, it is clearly fake and unnatural. Additionally, his facial expression also draws my attention as you can see the astonished look upon his face. His eyes connect the two together as they are very wide and looked glassed over as well as the pupil directly looking at his armpit. I think the the process Bayer used to create this effect was airbrush printing and painting. The second image is Edward Weston's Nude from 1936. Many different shapes can be spotted in the image such as oblongs, ovals, triangles combined with both curvy and straight edges. Weston has used lighting and contrast in this photograph in the image as the lighting is dark, especially in the background, bringing more attention to the subject, contrasts with light foreground.
Documents: During the 1930's, photographers refund the formula for what we now know as social documentary. The development of new technology - particularly the portable camera and roll film - allowed photographers to capture spontaneous moments unfolding in the everyday world.
Documents: During the 1930's, photographers refund the formula for what we now know as social documentary. The development of new technology - particularly the portable camera and roll film - allowed photographers to capture spontaneous moments unfolding in the everyday world.
The photograph on the left is 'Migrant mother' photographed by Dorothea Lange in 1936. Lange took five exposures, each time moving closer to the migrant mother, and this enabled her to crop the image in a very precise way, the resulting image is very well framed and looks almost like its a set up.
The composition of the migrant mother is very similar to a traditional photograph of a mother and her child/baby. This is because, it shows a single mothers relationship with her children. She is the only ones who face can fully be seen and the only one with a noticeable expression. It relates further to other photographs as the children rap around the mother showing thats they see her as a woman of protection and trust. This allows us the see the harsh living that the subject had to endure making the image as whole seem more important. Similarly, the black and white colours give a harsher more realistic story to the photo. I feel as if the photograph is not set up, as the expressions look realistic and painful, but I also feel as if there is some manipulation to the scenario. The photo wasn't taken instantly but the scene had not been created. |
The first of these two images is titled 'Floyd Burroughs' by Walker Evans in 1936. Walker Evans was part of a group of photographers that were commissioned by the FSA, the Farm Security Administration, to document the plight of very poor and impoverished workers during the depression in the US. The main focal point drawing my attention in this photograph is the subjects eyes. They are not only piercing but also show pain and anger. The squinting of the eyes can indicate evaluation, perhaps considering that something told to them is not true (or at least not fully so). Squinting can also indicate uncertainty perhaps this was the expression to the photographer as if the subject was unsure what the meaning and reason behind the photo was. The photographer used composition and contrast to direct our gaze as the background is dark and blurred to make it a more irrelevant section of the photo, contrasting with the foreground which is lighter and more defined.
The second image is called 'Greta Garbo' by Ilse Bing in 1932. The photographer has positioned their viewpoint to create the main focal point on the right and not in the centre. Additionally, his images makes a comment on the American Dream as the environment shows the rough and harsh conditions, but underneath there being Greta Garbo who has over come the hard ship of working in a Jam factory and had become a famous award winning actress. The image almost evaluates how it is easy for you to achieve and american dream if you peel back the harsh living (if you work hard). On the other hand the image could also be evaluating how corrupt of an idea the american dream really is, as how its a facade many people used to create their life around.
Objects, perspectives and abstractions: This final room shows the still life genre re-imagined by photographers who used the technical capabilities of the camera to reveal the beauty of everyday things. Objects captured at unconventional angles or extreme close-up become strange and even unrecognisable.
The second image is called 'Greta Garbo' by Ilse Bing in 1932. The photographer has positioned their viewpoint to create the main focal point on the right and not in the centre. Additionally, his images makes a comment on the American Dream as the environment shows the rough and harsh conditions, but underneath there being Greta Garbo who has over come the hard ship of working in a Jam factory and had become a famous award winning actress. The image almost evaluates how it is easy for you to achieve and american dream if you peel back the harsh living (if you work hard). On the other hand the image could also be evaluating how corrupt of an idea the american dream really is, as how its a facade many people used to create their life around.
Objects, perspectives and abstractions: This final room shows the still life genre re-imagined by photographers who used the technical capabilities of the camera to reveal the beauty of everyday things. Objects captured at unconventional angles or extreme close-up become strange and even unrecognisable.
The first image is titled Magnolia Blossom, photographed in 1925 by Imogen Cunningham. Within the composition of this photograph a close up image of an open magnolia flower can be found. The main focal point of the image is the pollen and the fallen petal in the foreground acting as a drawbridge to the centre. The second image is named Wall Street by Paul Strand, in 1915. The photographer has positioned their viewpoint from a distance and above the area they have captured. Strand has used light, shadows and angles to capture the essence of a modern city by photographing the silhouettes which then creates shadows suggesting people are unknown in a large busy city. The final photograph is 'Photographic construction' by Funke in 1923. The photographer has positioned the direction of light from the left side of the camera to produce the shadowing effect. Furthermore, the image has been manipulated, this can be shown via the out of focus area's compared to the high contrasts making more details.
Whitechapel Gallery: Terrains of the body
The artists in this display aim their cameras at the female body to express identity, communicate individual and collective experiences and give life to the imagination. The works are drawn from the collection of the National Museum of Women in the Arts in Washington, DC, the only international museum dedicated to art made by women.
Moving between photographs ability to document and tell stories, these works by seventeen artists from five continents present women as observer and protagonists.In a photograph from her personal epic The Ballad of Sexual Dependency, Nan Goldin, captures uneasy portraits of young people, posed between childhood and the self-consciousness of adolescence, Anna Gaskell works with young girls to play out scenarios in dreamlike worlds in her photographs , while in her film Erosers school girls recount in turn the story of the accident that killed the artists mother. Many works extend the scope of the 1970's feminist art, including performance and video. The Hero by Marina Abrramovie, pays tribute to her father who fought as a Yugoslavia partisan in WW2. Given the history of the female body as a political and cultural battle ground, photographs of the fragmented or marked female figure bear a deep and emotional charge. This is a key feature of the exhibition.
Moving between photographs ability to document and tell stories, these works by seventeen artists from five continents present women as observer and protagonists.In a photograph from her personal epic The Ballad of Sexual Dependency, Nan Goldin, captures uneasy portraits of young people, posed between childhood and the self-consciousness of adolescence, Anna Gaskell works with young girls to play out scenarios in dreamlike worlds in her photographs , while in her film Erosers school girls recount in turn the story of the accident that killed the artists mother. Many works extend the scope of the 1970's feminist art, including performance and video. The Hero by Marina Abrramovie, pays tribute to her father who fought as a Yugoslavia partisan in WW2. Given the history of the female body as a political and cultural battle ground, photographs of the fragmented or marked female figure bear a deep and emotional charge. This is a key feature of the exhibition.
These images relate both to the role as a female in society, whilst also showing the different roles females have within in society due to social structure. I specifically chose these three photographs from the gallery as they show the differences of the female role in different cultures. The first image uses white as a key colour within the photograph. The horse, flag and female are all white and this may connect to white feminism, this is women whom focus on the struggles of well-off white women while failing to address the distinct forms of oppression faced by women of colour and women lacking other privileges. The horse symbolises a lot within the photograph. One way it can be viewed is how white women are placed 'on a high horse' and have a easier life style than others. As well as this the horse is visibly very expensive and powerful, this can be depicted as caucasian women having more opportunity with reaching goals as they have less deprivation than those of colour and can learn due to there money. Finally, the flag seems to celebrate the unfair advantage white people often have compared to people of colour, as it works in the subject whom is a white females advantage. Showing that many people often only care about a situation if it closely effects themselves. On the other hand, this can be depicted in a very different way, the female is in a similar stance to a man in war zone. If taken this way the image can be seen as women being able to compete and be equal to the opposite sex.
The second image, is placed within a different culture whom have different norms and values to the first image. Although the subject could be said to be sexualised due to her lying on a bed. She is fully clothed. A key feature within the image is the hair of the model. Long hair often symbolises wealth and power, this connects to many of the other features within the photo such as the well put together room and expensive looking clothing the subject is wearing. A feature in the image I thought was interesting was the mirror. The mirror allows us to see the tripod the photographer has used to take the image. This allows the viewer to potentially see how set up some images may be. Perhaps linking to perfection in the media.
The final image examines the sexualisation of women in rap music videos. African American women are portrayed in a rather unfair and negative way. Degrading African American women has historic roots that we are still seeing played out today. The image above examines this as the male wraps his arms around the girl as if he owns her as if she is property. Yet there seems to be know affection shown in the image as none of the people within the photograph are looking at others. Additionally, the men in the image are looking into the camera whilst the women seem to be shying away from the lens. This effect makes the men more of a focal point even though the women is in the centre.
The second image, is placed within a different culture whom have different norms and values to the first image. Although the subject could be said to be sexualised due to her lying on a bed. She is fully clothed. A key feature within the image is the hair of the model. Long hair often symbolises wealth and power, this connects to many of the other features within the photo such as the well put together room and expensive looking clothing the subject is wearing. A feature in the image I thought was interesting was the mirror. The mirror allows us to see the tripod the photographer has used to take the image. This allows the viewer to potentially see how set up some images may be. Perhaps linking to perfection in the media.
The final image examines the sexualisation of women in rap music videos. African American women are portrayed in a rather unfair and negative way. Degrading African American women has historic roots that we are still seeing played out today. The image above examines this as the male wraps his arms around the girl as if he owns her as if she is property. Yet there seems to be know affection shown in the image as none of the people within the photograph are looking at others. Additionally, the men in the image are looking into the camera whilst the women seem to be shying away from the lens. This effect makes the men more of a focal point even though the women is in the centre.
The Portrait
Marcus Lyon in 1985, shot a series called Somos Brazil. Somos Brazil stands for 'we are Brazil'. The project launched in Sao Paulo in Brazil and featured heavily in the Brazilian media with over 220 million viewers from broadcasting on TV. The series depicts the social diversity present in Brazilian culture as the artist photographed diverse street corners over a six month period. Moreover, the artist initiated DNA tests to allow each participant to find out where they were from.
The images completely remove the background and scene behind the subjects, causing the viewer to heavily focus on the individual within the photo, in addition to this they are located directly in the middle and the images have been edited in such a a way that they are the brightest and eye-catching focus within the photo. Each person has a significant feature about themselves such as age or clothing and without any context the images show and tell a story.
To take theses images, I placed a A2 piece of white paper against a wall and randomly chose and asked individuals to stand in front of it whilst I took a photograph. I didn't ask for a specific pose and this allowed the images to all be slightly different even though the background was the same. Through this method each subject told a story due to their expression and clothing, as well as simply the person features.
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I feel that these images are strong in the sense that most of the people that I photographed are posing, expressing their personalities and expressing something about themselves. Furthermore, I managed to capture a wide range expressions and types of people even though the three i have focused on are middle age men, their class, ethnicities and hobbies look as if they vary widely.
Social Class Divide
Underhill and Hadley
Within the borough of Barnet within a very close proximity there are two very different neighbour hoods, one that is traditionally filled with working class individuals as there is large amounts of social housing and with high amounts of the population dependant on social housing, yet this is being minimised due to the local councils social cleansing technique of removing council estates and creating them into modern houses with a middle class demographic in mind. Close by at the top of the hill is Hadley this is extremely affluent area with their own private police force and with a high percentage of the population going to private schools, alongside other residents being footballers.
To edit the images of Underhill I aimed to create a dishevelled and unplesent look to the photographs. I did this as it linked to the common stereotype that living in social housing is unpleasant and not a choice. The photographs exemplify the harder life the less affluent live, for example the more fractured homes with unconventional additions to them such as paint; this may due to mental illness, therefore being the cause of there housing conditions. In contrast Hadley Highstone images have been edited in such a way to portray the area as bright, wealthy and expensive. A place that is a dream location to live, that illustrates luxury. The photo's also show wealth through the objects within them. The flashy and ostentatious cars and homes display how the wealthy these individuals are. With grand gates and elegant flower arrangements outside their homes show that such indivduals
Trellick Tower & Alexandra Estate
The first location I visited was Trellick tower, it is a 31-storey block of flats and a grade II* listed building. It was designed in the Brutalist style by architect Ernő Goldfinger, after a commission from the Greater London Council in 1966, the main aim for the building was for it to be a new innovative structure for social housing with a community within the block and nessicities to be around the corner such as a laundrette. Yet this was not the final result. Due to many of Golfingers idea's not being adopted the building was open access and rough sleepers and drug crime took up residence in its corridors. By the late 1970s Trellick Tower was a scene of crime including rape and the assault of a child, and anti-social behaviour, and many tenants resisted a transfer there.
Whilst photographing images of the first building, I felt it was necessary to display the height of the building. I achieved this in the first photograph as I only captured the bold, yet fading sign to the top of the building and additionally allowed the sky to fill the top of the photograph.The image additionally exhibits the unusual shape of the building, with odd concrete additions and irregular windows.The aim of the flats was to change social structure and allow an easier life for those in social housing. Yet the structure of the building is collapsing both literally and metaphorically. The aim for the council flats was never fulfilled and many features have been broken or demolished. I decided not to edit this photograph into a black and white because I felt that the fading red of the sign, displayed the demolishing structure within the tower, and the bright blue sky worked well as a juxtaposition against the daunting block of flats.
Although the high rise flat has been deemed as a negative form of social housing, they still exist and house many individuals. I feel as if the pictures above portray the poor living standards and quality of life of the people housed there, and therefore the reason behind the large gap between the wealthy and the less affluent. I photographed the image in a worms eye view, I did this as it can be used to look up to something to make an object look tall, strong, and mighty while the viewer feels child-like or powerless. This can therefore be symbolic of how capitalist society may make the masses feel powerless. Furthermore, the image has been edited into black and white as I feel it allows the photograph to become more bleak and realistic, due to every structure within the building being the same colour, aspects that stand out are due to strange qualities of the home, not colours.
The next location I visited was Alexandra road estate, this is a housing estate in the London Borough of Camden. The design of the estate creates a tunnel like effect with the flats sitting on the platform in a descending and diagonal shape. To create interesting images I took photographs from the floor of the estate so that my images portrayed the slanting architecture of the building. I additionally noticed that there was a lot of symmetry in the construction, I mirrored this in my photography as I thought it was a key aspect of the building. Not only does Alexandra road estate have an individual structure in terms of the way it has been built the structure of social classes within the area also grabbed my attention. Although the building for many was government housing, this was also that was available for people to purchase as ex council houses. So there was a structure and variety of the classes.
I chose these two images in particular as they display the symmetry and patterns within the buildings construction. I thought that this was effective as patterns often show a lot of care and design efforts into the product, yet this was juxtaposed by the unthought out materials used for the development as sections of the estate had fallen apart. To extend this I edited both of these images in black and white as I thought that it added more grittiness to the photos. Yet, I also aligned the images so symmetrical aspects and mirroring was easily identified. Connecting to social class divisions, I thought that the symmetry within the photographs illustrated how members of society are very similar and may even live similar lives, such as the locations they live in.
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Yet such individuals may not interact with one and other because of social steryotypes. Furthermore, I felt photographing council houses in general, allow a stark contrast between those whom are affluent and those who aren't. Such locations aren't frequently visited by people who don't live there, allowing the images to be a insight of 'How the other half live', whilst in someways portraying harsh living conditions and the unfair structures of capitalist society in the Trellick Tower images, the photos can also show that there is not always such a stark difference between individuals of different social classes. With them living side by side in Alexandra Estate.
Thomas Danthony
Whilst photographing social housing I noted that many of the estates were brutalist buildings due to the great amount of buildings created in this style in the 50's and 60's. Thomas Danthony is a french artist based in London. Often narrative, Thomas's work is characterized by a clever use of light, bold compositions and a dose of mystery. His works follows many locations, such as Trellick Tower where he simplifies the locations by creating large spans of the buildings into block colours and making the only colours within the images monotone. This creates a very oversimplified effect and defines the structures within the buildings as the colours contrast each other.
The technique used below is called screen printing. The effect changes area's of different colours into a singular block colour giving a slightly animated effect. The method for this technique is quite simple. Using the polygonal lasso tool on photoshop, you select the area that you would like to average the colour of (the are needs to start and finish at the same point and cannot be open). Next, you open the filter tab, go to blur and finally select average. This will then make the area selected the average colour within the space. Continue this four steps until non of the original photo's colours are visible. The area can be as large or small as one chooses depending how accurate you would like the final result.
My first response was from a photograph of Trellick Tower, taken in the green area below the estate. I couldn't decided what I thought looked better, the graffiti wall screen printed or not, therefore I have posted both images. I am please with the result as it does allow the viewer to understand the structure of the building, yet due to the blocks chosen being quite large I feel as if some intricate and significant details are now missing from image due to the blur tool.
My first response was from a photograph of Trellick Tower, taken in the green area below the estate. I couldn't decided what I thought looked better, the graffiti wall screen printed or not, therefore I have posted both images. I am please with the result as it does allow the viewer to understand the structure of the building, yet due to the blocks chosen being quite large I feel as if some intricate and significant details are now missing from image due to the blur tool.
Due to my slight dislike of the first few images I produced, I decided to retry with a separate image again of Trellick Tower. This image has been taken outside of the buildings entrance from a low angel shot. Whilst editing my second response I spent a lot more time only combining the same intricate details. I think this image is more effective due to multiple reasons. Firstly, I feel as if this image suits this style of photography more because there is a lot of opportunity for block colours to be included as well as the smaller details such as shadowing allow the 3D effect of the buildings structure. The image also has a variety of colours, in two separate manners. The building itself has a lot of grey/brown/nude tones within it, yet they are all slightly different. Furthermore, colours such as blue and red are also within the image creating a pop of colour that catches the eye of the viewer. Additionally, as a whole this image once edited is a lot more put together and neat. There are no visible colours of the original photograph, so the edited version looks very animated and structurally put together.
Artist and Me
I created many responses to Thomas Danthony simplification of Brutalists buildings, in the first I covered the large blocks and tried to make the photograph as simplistic as possible whilst still being able to identify the building. Yet I did still allow the colours within the images unlike Danthony as I felt that it allowed the viewer to recognise the realistic nature of the buildings. In the second response of the front of Trellick Tower I decided to be a lot more intricate than Danthony as I felt the addition of shadows within the simplification of colours was effective as it allowed the dimensions of the the building to be recognised. I felt my final response of the front of Trellick Tower was effective as although the image had been simplified the simplification was not to noticeable and at fast glance it may not be noticeable.
W10
Whilst photographing Trellick Tower I found the area around it very interesting, especially Harrow Road. It drew my attention as it is in one of the wealthiest boroughs in London. Yet particular wards face large dereliction, partly due to gentrification. Because of this the area had a lot of social complexity with people of all races and ethnicities located there. Due to this factors I photographed very mundane images such as a fruit and vegetable shop but due to the individuals surrounding the shop, I felt the image became more engaging.
I think that the image below is effective due to the bright colours within the photograph. Due to the fruit and vegetables displayed outside. Although bright colours normally have connotations with happiness and joy, this is not depicted within the photograph because of the slightly run down and demolished aspects of the shop front. The imperfections within the image add to the photograph as makes it more real and raw. The individuals within the image also add to this factor. Whilst additionally adding to the social differences within the area. The mix of ethnicities within the image alludes to the area being one of ethnic diversity.
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Furthermore, the indivudal whose face is not visible creates a interpretation for the viewer. No judgement can be made on this person as it is not possible to see what class, gender or ethnicity they are. The only factor of their life we can see is the fact they are on a electric wheelchair. Yet even this does not delve us into the life of this person, as they may have a deformity causing them to need a wheel chair or they may be old and unable to walk. Due to the mystery of this individual it connects to the isolation they may face.
Isolation
Photographing social class isolation, made me think about photographing other isolated members of society. Different factors within a persons life can cause isolation this may be due to ethnicity, gender, age or social class. The first aspect of isolation I looked at interlinked with social class as it was the area around those whom are less affluent within society. Many of the shops in these areas were either completely run down and therefore closed or they were corner shops.
Rundown shops
The first location I visited was Bounds green. Bounds green is a less affluent area within North London. I photographed the shops within the area, that were often fruit and vegetable corner shops, fast food restaurants, dry cleaners and barbers. None of the shops were particularly expensive or sold products that are advertised for the middle or higher classes. This futher led to taking images in Trafalgar Square of homeless people, the way they live, the places they locate and what they do within there lives as they are living in one of the most expensive areas within the world yet without a home or money.
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When photographing these images I took them from a distance as it allows the entire shop within the image whilst also showing more surrounding features of the high street, allowing the viewer to gain a larger context to the area the images are within. It also allows more colour to be within the photographs as the shops are often brightly coloured to draw attraction to them, what they sell and the goods they are selling as well as another source of money making through. I further think that these images are effective due to the business of the photographs that many people often never focus on. Corner shops especially have many intricate details such as stickers and adverts that add a particular type of character to them which is familiar to many people. Finally, the lack of people within the images portray that the area is slightly derelict and less desirable that other locations such as Hadley, further exemplifying the rundown and direct nature of the area. This therefore becoming a form of isolation to many whom work in such shops.
John Londi
Photographer John Londei's book illustrates the decline of the traditional shop, by photographing shopkeepers within their shop, working surrounded by the products they sell. The images connect the subject and there occupation, which contrasts with the idea of isolation and homelessness as it is a way to become more connect with the public as it is an interactive profession as well as a way to make money and meet new people that can then further allow family growth further distancing an individual from a feeling of confinement. This is additionally a comfortable surrounding for the subjects to be photographed within as they are familiar as it is there frequently visited environment as well as a location that connects to their everyday life.
I think that the middle image is effective due to its complexity. The image is taken within a pharmacy that looks that it may be family run, it includes many different products upon the shelves in a very structured and ordered layout. This gives a very clinical to the image which is then juxtaposed against the slightly sepia tone within the photo due to it being taken on a film camera. Another effect that Lonnie's images create is the specialist shops that were around in the 1980's, this is a very different feature of modern day society in which corner shops will provide all basic needs and necessities from cigarettes to egg's. The photograph exemplifies this by the transition into black in the corners of the image further closing the shop off from others.
I think that the middle image is effective due to its complexity. The image is taken within a pharmacy that looks that it may be family run, it includes many different products upon the shelves in a very structured and ordered layout. This gives a very clinical to the image which is then juxtaposed against the slightly sepia tone within the photo due to it being taken on a film camera. Another effect that Lonnie's images create is the specialist shops that were around in the 1980's, this is a very different feature of modern day society in which corner shops will provide all basic needs and necessities from cigarettes to egg's. The photograph exemplifies this by the transition into black in the corners of the image further closing the shop off from others.
Whilst taking these images I decided to have both the subjects as of they were at work, as well as more posed and knowing that the camera is in front of them. I did this to get both a natural image to symbolise the working nature of shop in addition to the way Londei photographed his images as if the subject whom was selling the products within their shop was also advertising them. Another significant factor I noticed when photographing, was the difference in uniform for different jobs and how they may be for practicality; like the butchers or for a more aesthetic look of the shop such as dark clothing in the first image. Furthermore, a final addition when editing the images was to lower the brightness within the images and enhance the contrast so that the objects surrounding the subject were clear and recognisable whilst not being to bright and overly saturated.
Artist & Me
The inspiration take from John Londei focused heavily on the composition of the photography. I particularly like that the subjects of the image were within the centre of the frame as it showed their lives around them. I additionally felt that the way they were situated around the counter gave an effect of a very natural image that was not posed for. In both images the subjects know they're photos are being taken. Yet, the photographs additionally portray how the worker would look if this was a normal day and they had not been asked to be photographed. Its natural without being covert. Finally, I tried to incorporate the symmetry within the original image of the lights. Within the shop I noticed above this counter objects lay in a similar order and I decided to use that to create a similar final image.
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St James Laundrette
St James Launderette is a shop that is located within an area that has recently been gentrified, yet this particular shop has remained on the high street surrounded by chain company's. The shop has remained the same since it was first opened and provides for many of the same individuals it has always provided for. These images are effective as the shop is not only rundown but compared to the modernised surroundings it stands out, the juxtaposition between new post modern society and the poorer and lesser society is prevalent. I have enforced this within the images by the way I have edited the photographs. I have lowered the brightness of the image so that the brighter white features look more dismal and grey, whilst I have increased the contrast of the first image to enhance the bold primary colours within the shop window to create a garish colour to the photograph.
Homelessness
Government street counts and estimates give a snapshot of the national situation. The latest figures showed that 4,134 people slept rough across England on any given night in 2016 - a 16% increase compared to the previous year, and more than double the amount in 2010. Homeless people are often isolated from society as it is very unlikely others interact and talk to them as if they are just another human being, due to their master label.
I have edited the image in black and white to create tonal contrast as this allows the images to be seen more as the subjects within them and the small details around them such as the depiction of there 'safe space' and belongings instead of more simplistically the colours. It also allows more of a contrast creating more alarming features to the images, such as; 'This could happen to anyone'. This then changes the view of simply a homeless individual as a look of dismay but additionally as a force for change due to its impact from a readers perspective. Furthermore, the images depict the simplistic day to life of an individual living on the streets. Whilst exemplifying how excluded and isolated such individuals are from society, through the rush of the public walking past and ignoring them. They are not acknowledged to members of society as they are seen as a burden.
Deirdre Ocallaghan
Hide That Can is a culmination of four years spent photographing the men of Arlington House, a hostel in Camden. Many of the residents are Irish and came over to London for work in the 50's and 60's. These photographs include trips to Ireland made possible by the Aisling Project, for many it was the first time they had been home in 40 years. The images depict the simplistic and isolated lives that such individuals live. I think that the middle image is effective due to its juxtaposing key objects the can a manufactured item that symbolises an unhealthy lifestyle, which has flowers within it which are often symbolic of nature. The other images also exhibit the theme of health. In the left photograph the subject of the image has a shirt which appears to be very small, reinforcing the unhealthy and unideal lifestyle that these individuals live. The tight shirt symbolises potential health conditions due to their lifestyle choices such as unhealthy eating alongside potentially drinking to much. Furthermore, the photograph on the right connects again to the ill health they may be implicating onto themselves. Yet, the images further create a question to the viewer of wether their life styles are a personal choice or because of the difficulties they may have been cause in Ireland whilst growing up unprivileged and easily accessible to drugs causing addiction. The reason for their ill health is purely due to the family they were born into and the societies norms and values that they were raised by.
Youth Culture Isolation
Due to stereotypes, young people are often isolated from other members of society. Often those between the ages of 13-18 feel as if they have no specific place within society as they are not classified as a child nor an adult. The stereotypes of young people today are that they are lazy, aggressive and abuse laws such a drug use and petty crime. The aim of these photographs is to capture teens around there peers and to enforce the negative opinion that larger society has on them whilst additionally making the viewer feel connected to the subject. I feel this will be effective as the juxtaposition will create a new perceived image of teen culture and way of life.
I photographed these images on a disposable camera as I took inspiration from Ryan McGinley's book 'The Kids were Alright'. He used a film camera to capture the life style of young individuals. I felt that the use of the film camera was effective within his work as it allowed a more realistic take on the images as a digital camera often blurs imperfections and creates a more perfect scenario within the image, his aim within these photographs, much like the aim within mine was to shine light on the imperfect life style yet not to view it so negatively.
Ryan McGinley
Within his work of 'The Kids Were Alright' McGinley photographed young adults contradicting the popular view that youth culture and their mental states were often negative. In his own work he takes a much more positive approach, where the subjects of his photographs seem liberated and happy. Both fantasy and hedonism become a theme in his photographs, shown through his use of bright colours, blur and almost mystical scenes he both encounters and creates - which completely overshadow the undertones of drug taking, recklessness and violence that are often associated with the youth and are still subtly present in the images.
The majority of the images within McGinley's book 'The Kids Were Alright' capture boys injured or acting within deviant behaviour. I think that the first image is effective as although many of the features are hidden by the balaclava, the facial expression of the subject is still prevalent and visible in the image. Furthermore, the colour red is very significant within this image. It is present not only in what he is wearing but the imperfection upon his skin enhance that the colour is significant to the photograph. This may be due to the links to blood as injury is a theme within his work, but additionally, the use of red may be used as it has large connotations with power and determination. This may me a metaphor of how McGinley may use these images as a message of the powerful nature and determination that the individuals have, even though this may not be their perceived identity.
McKinley additionally took individual polaroids, I felt this was additionally an effective as it made the book feel more personal whilst also allowing it to be more realistic. None of the shots look posed, it seems that the subject decided what they wanted to within the photographs and that is how they positioned themselves. Making the images more connected to the subjects than the artist.
Gender Isolation
An additional link to isolation for particular individuals is through gender. Women in society today are still placed at a disadvantage in comparison to men, even in the most privileged societies. Further linking this to isolation, some women in countries such as Yemen cannot leave there home without a male chaperone , this alludes to them being 'less' of an individual. Creating a feeling of isolation and unworthiness. I felt that a way to photograph this is through many of the feminist protests, due to Trumps presidenticy, this has was additionally inspired through Thaddeus Popes images of protests.
Thaddeus Pope has done many projects within photography. This particular project was based on a protest about British invasion in Iraq in 2003, the protest did not stop the invasion yet many powerful photographs were taken from the protest that allowed those who did not attend the march to understand the feelings many people felt against the invasion.
The images are particularly significant and empowering due to the black and white filter across them, this gives a raw feeling to the images and allows the expressions of the many subjects to heavily influence the viewer, as the lack of colours meant there was little distraction within the photographs. The first two images are photographs of the protesters them selves, I feel that they are empowering and powerful as the two main features within the images are the short and snappy banners in addition to the emotion on the protesters. They show the passion they have for their protest and how significant the invasion may be on their lives. The second image in particular, examines the many different, ages, ethnicities and genders that got involved within the protest. The last image is a juxtaposition of this as it photographs the police officers from a low angel, the low angel portrays the hierarchy between the protesters and the police offers, examining the power the police have within the protest.
The images are particularly significant and empowering due to the black and white filter across them, this gives a raw feeling to the images and allows the expressions of the many subjects to heavily influence the viewer, as the lack of colours meant there was little distraction within the photographs. The first two images are photographs of the protesters them selves, I feel that they are empowering and powerful as the two main features within the images are the short and snappy banners in addition to the emotion on the protesters. They show the passion they have for their protest and how significant the invasion may be on their lives. The second image in particular, examines the many different, ages, ethnicities and genders that got involved within the protest. The last image is a juxtaposition of this as it photographs the police officers from a low angel, the low angel portrays the hierarchy between the protesters and the police offers, examining the power the police have within the protest.
On the 21st on January 2017, shortly after his inauguration thousands protested all over the world against Donald Trump and many of his policies. Large amounts of the protest were based around feminism but many other causes were also taken into account including racism. I went London's Trafalgar Square and photographed many of the protesters. The first two images from the protest, examine how colourful and creative the march was. Many of the banners and signs held by the protestors, included bright colours and bold language including 'Pussies against patriarchy' and 'viva la vulva'. This created an atmosphere within the march that allowed humour, joy and creativity. The first image of an enlarged and exaggerated version of Trump, establishes the negative view all of the protestors have upon him. He is enlarged and his skin colour is bright orange, painting him as the 'joke' of a president. The second image again presents a very similar outlook on the president, and gives power to the women within the image, empowerment. The image therefore coincides with the protest, as it gives the females within the photo the voice that they are marching for and the only significant pieces within the image are the three subjects and there banners. Nobody else within the large crowd of people are significant. |
These images all had little editing besides minor changes in the saturation. This was because I felt the only changes the images needed were vibrant colours. This protest photo's I had taken from this protest were very different from those of Pope's. His images captured the passion behind the protesters and the anger within them whilst protesting. Yet, whilst I was at the march, there was more joy within the march as it felt very communal. There was less tension within the protests and more joy that so many people were coming together protest against one individual Donald Trump rather than a law or change is policies.
Immigration Isolation
Individuals whom have migrated to another country are often isolated, this can be due to cultural enclaves, meaning people of a specific ethnic backgrounds choose to live in a certain area as other people of a similar or the same ethnic background live there. This may be due to amenities being available there such as places of worship or shops that complete their consumers needs alongside choosing a location as tensions are less likely to arise because of similar cultural norms and values. This can lead to isolation to these individuals as they don't merge with other ethnic minorities or people of a different heritage.
The first location I visited was China town, in The City of Westminster. At the start of the 20th century, the Chinese population of London was concentrated in that area, setting up businesses which catered to the Chinese sailors who frequented in Docklands. The area began to become known through fabricated stories of the slum like living that was then legal within the area, rather than the Chinese restaurants and supermarkets in the Chinatown I photographed. After WW2 however, the growing popularity of Chinese cuisine and an growth of immigrants from Hong Kong led to an increasing number of Chinese restaurants being opened. I photographed this area as it clearly represented the change that immigration can have on a country swell as showing the vast contrast between different cultures norms and values within society. Whilst I was there I recognised two main features of the area. The shops were either traditionally Chinese and had been developed and created of someone of a Chinese origin, or they were chain brands that had developed themselves to fit in with the area and attract the social group living within the area.
Next, I thought to photograph an area that has also developed due to immigration of a particular culture. Southall has a high population of Indian immigrants and so the area has changed because of the people within it. Such as the shops and restaurants suiting to the traditional Indian way of life. Whilst within Southall I recognised key features that related to indian culture, such as indian film. I included these in my enlargements as they represented specifics within the culture of the majority of the population in that area. Other factors, such as the supermarket selling large quantities of indian cuisine such as something simple like basmati rice, I found intriguing as these were the things that had been sold in masses. Implying that the ingredients for meals were often the same, and perhaps indian cuisine were a lot of what the residents of the area ate as there were little food shops or restaurants selling otherwise.
Southall is a suburban district of west London. It is primarily a South Asian residential district, sometimes known as 'Little India', as the population is 47.8% Asian. On the Broadway I noticed a theme in the stretch of shops. There were many traditionally indian female clothing stores selling garments such as sari's, supermarkets selling predominately indian spices and ingredients, additionally there were a few stands selling mango's and others selling cooked sweetcorn. The area was busy but not hectic but this may have been because it was a sunny Saturday, in school half term.
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Todd Selby
Todd Selby is a documentary photographer. Todd's photography is featured on his website TheSelby.com and often portrays the homes of prominent indie musicians, artists, designers, and actors. The purpose of The Selby is to capture interesting people in their creative spaces, and document the different ways they live their lives. I think that his relates to structure as it would be interesting to capture the different ways that different ages, ethnicity's, religions, classes and genders structure their lives. My idea is to follow them around for a day and documents their daily tasks, whilst establishing why they live like they do.
These images create a very personal and deep understanding of a single individual. Just from the three images chosen out of the collection it is clear that the subject within the first image owns or works in a vineyard. Moreover, the images look like a collection as each photograph has been edited in the same way, creating a assembly of photos rather than separate images. The first image is effective as the background only includes two contrasting colours drawing more attention to the subject, whilst also exhibiting the work the individual performs. A key feature of him due to his facial expression is his wrinkles along his forehead, as they display age and therefore potentially a metaphor for the ageing of the wine he may produce. His clothing also displays how his lifestyle is not particularly glamorous. As a whole this photography looks very realistic, and although the subject knows he is being photographed the image does not looked staged. Finally, I found that with many of Selby's images they all have an underlying key feature within each photo. In this collection, the key feature being grapes as you can see the plants growing behind the man in the first photo, the grapes in the second and the product he creates out of his resource in the third.
These images create a very personal and deep understanding of a single individual. Just from the three images chosen out of the collection it is clear that the subject within the first image owns or works in a vineyard. Moreover, the images look like a collection as each photograph has been edited in the same way, creating a assembly of photos rather than separate images. The first image is effective as the background only includes two contrasting colours drawing more attention to the subject, whilst also exhibiting the work the individual performs. A key feature of him due to his facial expression is his wrinkles along his forehead, as they display age and therefore potentially a metaphor for the ageing of the wine he may produce. His clothing also displays how his lifestyle is not particularly glamorous. As a whole this photography looks very realistic, and although the subject knows he is being photographed the image does not looked staged. Finally, I found that with many of Selby's images they all have an underlying key feature within each photo. In this collection, the key feature being grapes as you can see the plants growing behind the man in the first photo, the grapes in the second and the product he creates out of his resource in the third.
To further my project I decided to photograph the life style and the inside of an immigrants home, much like Todd Selby photographing the life an individual lives. The first set of images are of the inside of a 89 year old polish immigrants home. She's lives in Highgate's Jacksons Lane in the same house for around 50 years, with a large change in the structure of her life within the home as her children have grown up and moved out and her husband has passed away. Many of the objects and posters within her home show much of her past life as well as some intricate details about the way she now lives her life. A large feature of her interior that I noticed was her sentimental value and how many things such as birthday card and photographs were stuck on her wall.
I feel that these images are effective as they allow the viewer to understand and make assumptions on the sort of life this women lives. This is because not only is she visible but her home is surrounding her. This is a very personal aspect of a persons life as it holds there most personal possessions, therefore portraying their past, present and potentially future plans. Due to this particular individual being in the latter part of her life, this history and difference in cultural can be seen within her home from furniture that has come from across the globe to intricate details of her bedroom such as photographs and post cards.
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Lewis Khan
Lewis Khan is a photographer and film maker in London. One section of his work is titled 'Wednesday Folk' I found this collection of images interesting as they heavily focus on an individuals life style and significant features whilst also documenting brief notes about the individual. On his website the words correlating with this particular man said; 'Came to London at 10, Newcastle, grandparents, Rural exploits, farm work. Muck out horses, chicken robbery, survival. Alsatians, pies, geese, Ex-wife, soulmate, perfect. She left, heart break, new guy.' The caption like writing by the photos intrigued me as they were more like lists of experiences and facts about the subject. The photos them self also grabbed my attention, especially the second image as it is an unusual body part to photograph, yet there is a clear rational behind it as he has a prominent tattoo in the area as well as potential scarring on his neck. Another aspect of Khans photography that I think is effective is the heavily blurred background, allowing the subject of the image to be the eye catching aspect of the photo.
Lewis Khan additionally, photographed an indivudal called George the images took us into the world of George, a man from South London who lived on the periphery of Khans teenage life as he played football on the streets, hung out and did his school kid thing. George was always there, sometimes joining in a kickabout other times not, always in the same shared space. George was an institution. Everyone from the neighborhood knew him. The series of images is a recognition of this relationship between Khan and George. Khan’s portraits are revealing, his photographs opening a window into the world of a man whose life has been lived on the fringes of the mainstream in one of the worlds main cities .Lewis Khan says that 'Georgetown is a view into the life of south London resident, George. During a period of my adolescence that saw playing football in the street as a daily ritual, George and myself often shared the same space. Frequently we would meet with a simple nod, more frequently a hello, and on occasion George would join in for a kick about. Georgetown is informed by six years of these impromptu and informal meetings in the street, usually the same one.'
Georgetown from lewis khan on Vimeo.
I think that the effect of a documentary gives a personal connection to the subject, George. Listening to him telling his own stories, in his own way, with his own mannarisms around his home allows the viewers to grasps more about his personal life. Additionally, the still images add context that is not within his speech. They short film goes through his day to day routine, showing aspects of his life such as him making a cup of coffee. Whilst also capturing his local area by filming George walk across many of his near by streets.
Film - Lifestyle of Immigrants
In my next development of this project I decided to video Berrin S. Bates, a family friend whom immigrated from Turkey and has been living in London for 28 years. I felt it was a better idea to photograph and film somebody that I was personally closer to so that I could delve more into their personal life, whilst also knowing that as an individual she has many stories and has changed very much herself as she has moved to London. Whilst living in Turkey she was a strict muslim, who wore traditional clothing and followed a very different life style to what she does now. Yet, she is more than just and immigrant, she is a wife, mother, friend and artist.
I selected these three enlargements as I think they all represent different aspects of the subjects lifestyle. The left image is a photograph of her wall. It is a significant element of her life as includes both family and friends that are significant through out time with an addition of history as it shows different members of her life growing, such as her two daughters. The second image also shows both history and family as it is a past photograph of her parents, before she was born. This image examines the structure of not only her life. But additionally, the life of her family prior to her birth. The final image delves into her present personal life, as it examines her wardrobe and the unique structure in which she presents it. As well, as this I feel as if images inside of someones home allows a great depth into their personal life, allowing the images to further connect to her.
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To create my first draft video I collected many clips within the subjects home, this included video footage of her explaining her migration, her primary socialisation and norms and values her family followed and how these differed from her own family that she entered as she emigrated from Turkey to the UK. Additionally, I filmed more clips of her talking about stories that enforce how different the two cultures are. Furthermore, I photographed still images as well as films of rooms or walls with traditional turkish paintings within her home whilst focusing and blurring the images, to allow the viewer to grasp a sense of her most personal space, her home. |
Whilst filming the videos for my final piece I learnt different techniques. On the first day of filming I filmed portrait as I thought it would look better, yet I later realised that this wouldn't work in a video format and if I converted the videos the face was too zoomed in. I additionally made comments whilst the recording was taking place and this interrupted many of the comments the subject of the video made. This allowed me to get better angles on the third day of filming.
Whilst filming the videos for my final piece I learnt different techniques. On the first day of filming I filmed portrait as I thought it would look better, yet I later realised that this wouldn't work in a video format and if I converted the videos the face was too zoomed in. I additionally made comments whilst the recording was taking place and this interrupted many of the comments the subject of the video made. This allowed me to get better angles on the third day of filming.
Within the editing process I muted some clips as I overlapped them with separate speech as I thought that long clips of focused speech may bore potential viewers.
To edit the I used many different techniques. For the introduction I decided to start the video with a title heading so that it is clear to the viewer what is being presented, I then overlapped speech into the title frame and muted other clips of her home, around her home, herself and her name whilst she gave a brief introduction of herself. I felt this was effective as it allowed many stories to be told about her within a short space of time. Such as her location of her home even though it wasn't mentioned, the visible footage allowed an indication of this. The next section of the video included a lot more direct speech, as the subjects simply talks to the camera. I felt this allowed a more personal feeling to the viewer as it was as if the subject was talking to the viewer. Yet for the rest of the video I edited in clips and overlapped that with speech as I felt that 6 minutes of direct of speech may potentially bore the viewer. I continued this method through out the video. Yet, towards the end of the video I connected the speech to the footage being seen. An example of this is through the subject talking about toad in hole batter and sausages so the images shown are batter being whisked and sausages being cooked. Finally, at the end of the film I finished the final story with direct speech to connect back the viewer and subject, and to end the film on a light note I placed a clip of the subject laughing with a fade to black, so that the film has a clear end and beginning that both have the similar aspect of black.
Although there were factors within this project that I disliked. When re-watching the video I noticed that some of the clips did not flow well together and the cuts within where I had edited the video were clear. Additionally, there were parts of the film where the subject spoke directly at the camera for in my eyes to long, potentially boring the viewer although I aimed to avoid this. Also, I felt the introduction and ending of the film should include music to add to a more cinema-graphic experience, whilst I thought more artistic shots could be implemented this way. The speech within the movie, although connecting to her lived experiences didn't always create a 'day in the life' like feeling, therefore making the video feel more like a documentary rather than a personal diary.
In order to change these factors I was not so happy with within my project I decided to capture the life of my Grandfather as I had a much more personal connection to him allowing me to understand his stories further and therefore be able to project this into a film format.
Although there were factors within this project that I disliked. When re-watching the video I noticed that some of the clips did not flow well together and the cuts within where I had edited the video were clear. Additionally, there were parts of the film where the subject spoke directly at the camera for in my eyes to long, potentially boring the viewer although I aimed to avoid this. Also, I felt the introduction and ending of the film should include music to add to a more cinema-graphic experience, whilst I thought more artistic shots could be implemented this way. The speech within the movie, although connecting to her lived experiences didn't always create a 'day in the life' like feeling, therefore making the video feel more like a documentary rather than a personal diary.
In order to change these factors I was not so happy with within my project I decided to capture the life of my Grandfather as I had a much more personal connection to him allowing me to understand his stories further and therefore be able to project this into a film format.
Elderly Isolation
Elderly indivudals are often isolated from society, as many of their peers may have passed away as well as not having as many leisure activities to take part within, additionally they are often retired so do not have collegues to interact with. The aim of the shoot was to exhibit how the elderly live and how their lives may differ to those of a younger or middle age this is shown by the unordered within their homes due to their lack of ability to do even the most mundane activities.
First I photographed items within my granddads home as I felt that this would create a story of the way he lived his life as this is his most personal items within it and this is where he is most often. As well as his house having a history because he has lived there for 50 years.
Another day I went to my Grandad's home and took photographs of him walking from the pub towards his house and then whilst he got his hair cut within his home, by his daughter - my mum. I decided to take photo's whilst he was having a hair cut up close, focusing on small details such as fallen hair and wrinkles upon his skin. To do this I used manual focus so that I could capture details that I felt connected to elderliness and isolation. The blurred background creates minimalism and simplicity to the image. |
Next, I decided to take portraits of my Grandad I did this to achieve a again more personal look into his life, so that the viewer almost feels they knew him and slowly through each image understood who he is and the way in which he runs his life. Additionally I noticed that so fair within my images the photographs never showed who the subject was, I felt this was a key factor into creating documentary photography as a persons face and expression can show a lot within a image, through stereotypes about gender, age, class, ethnicity and so on.
Kaylynn Deveny
KayLynn Deveney is the author of The Day-to-Day Life of Albert Hastings which features 83 of her photographs, 77 handwritten captions by Albert Hastings and an assortment of Bert's poems, drawings and family photographs. Albert Hastings was eighty-five years old when the images were taken. She took notice of the small rituals and routines such as; gardening, laundry, grocery shopping all that made up Bert's life. A friendship slowly developed as KayLynn began photographing parts of Bert's day. The two developed a simple yet effective method of storytelling. The more Deveney learnt about Bert she soon began to learn more about aspects of his life, including his experience living through WWII in Britain, his work as a general engineer, and his relationship to the flora and fauna outside his building. As they became better acquainted she noticed, too, the way he organized his things and his time, and she found his approaches thoughtful.
The first image shows the isolated Bert lives beside, his frequent encounters with Deveney. His belongings, are very neatly folded up and placed upon each other in a very systematic order. This symbolises the simplicity within old age as well as the new rules and rituals which boredom follows, as they have very few activities they are capable of alongside hobbies they may not be able to attend due to they're lack of friends. The simplistic and washed out colours within the photograph are a method of depicting how Bert's like may be slowly coming ti an end of his life much like his belongings.
The first image shows the isolated Bert lives beside, his frequent encounters with Deveney. His belongings, are very neatly folded up and placed upon each other in a very systematic order. This symbolises the simplicity within old age as well as the new rules and rituals which boredom follows, as they have very few activities they are capable of alongside hobbies they may not be able to attend due to they're lack of friends. The simplistic and washed out colours within the photograph are a method of depicting how Bert's like may be slowly coming ti an end of his life much like his belongings.
Julian Germain
Julian Germanin's series of photographs made over 8 years of the life of Charles Snelling. The images were titled ' For every minute you are angry you lose sixty seconds oh happiness', the images show an elderly man living alone in a small house in Portsmouth. They document his simplistic and repatative routine. I think that the first photo is effective in emphasising the age of the subject specifically. Germain does this through capturing he rusted metal upon the kettle and pan, this is symbolic of age as it has occurred over a long period of time. The images are additionally always square linking to the size and shape of polaroids, further connecting to a symbol of past life. The images further link to isolation as Charles Snelling is photographed alone in his home with nothing surrounding him besides his possessions.
Old photo's
Due to Germian's focus not only on the subject and how they lives their life but their home, I decided to scan in past photo's from my Grandad's past, these photographs vary from before he was born to his grandchildren in his home of fifty years. These images allow a background to his life and how he was raised and grown up, as well as a understanding to how past generations lived their lives differently to how someone goes about their day now, partly due to the growth of technology and the increase in globalisation affecting ways of lives as it has added different cultural norms, values, beliefs and ways of life through food, art and various other aspects.
Old Video's
These videos are of my childhood. Contrasting with the lifestyle that my Grandad lives now it shows how a millennial child grew up. Aspects of my life such as going on holiday to foreign countries, show a very stark contrast from the lifestyle that my Grandfather has lived as he has never been on a plane. The purpose of these films shows not only how different people live when at different stages of their lives, but additionally how the world has changed and created extremely different lifestyles even for people of the same heritage, class and whom live within a close proximity to one and other.
This was not possible and a large limitation within my work as the videos could not be converted onto the editing software.
This was not possible and a large limitation within my work as the videos could not be converted onto the editing software.
Lifestyle of the Elderly
These videos document the simplistic lifestyle of my Grandad. From making dinner, eating, what he enjoys to do within his day. This will juxtapose with what he did previously in his life, such as his old job as a printer and his old hobbies such as running a jazz club where he still lives in Barnet.
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Within my first edit of the film, I decided to completely edit out all sound within the film as this is a very different technique compared the the previous video. I felt that although effective in someways such as allowing the viewer to create their own interpretation of the subjects life. It didn't allow all clips to be edited into the movie, whilst also obstructing some speech that could allude to a more clear idea of the way my Grandad lives his life. Furthermore, I felt that although the music linked to my Grandad's love of jazz as the music was of such genre it didn't link well with the rest of the film and the theme of the video.
Due to my disliking of some aspects of my previous video I decided to create a different style of film with a more documentary context allowing speech to be intertwined into the music and cinematography. This was far more complex as speech had to be separated from previous videos and music had to be lowered in volume whilst my grandfather spoke in order for him to be heard clearly. This editing process can be shown by the screenshots of the video break down below.
During my time videoing my grandfather he became ill, I documented this with my work as not only was it part of his life in which I was trying to display but it additionally simply demonstrated how he lived on the periphery of both society and the end of his lifetime. At the start of the video I added in aspects of the hospital nurse speaking to him, as I felt that this added a raw and realistic aspect to my documentation of his life. I additionally added a jazz song titled Ernie's Tune by Dexter Gordon to place a more personal touch to the video. Through the filming process of my grandad he became more delirious and I felt that I should capture this within my work, his memory shorted and knowledge he had previously stated within the video such as speaking about vinyl players he later forgot. Placing these aspects in a chronological order allowed me to show his change in lifetime through my movie and even though this brief encounter did not compare to the rest of his life. To add further context about his Iife I added past photographs of him as a child, young adult and adult in conjunction with me
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with my siblings and cousins to show how his life shaped and changed. Another aspect that I added into my movie was the idea that the film was not only a documentation of his life but additionally a take on his life style from his perspective. At the start the message and what the movie is about is very clear cut yet during the end it becomes more faded and less clear - this being a metaphor for how at the start of the filming process his mind was more clear about most things. In addition to the filming of him and his day to day chores such as cooking himself a meal or sitting in his arm chair, I also incorporated photographs of his home into the video, such as images of his bathroom cabinet or bedside table, due to these being untouched or made to look stylish they again allowed me to have a more realistic and simplistic documentation of his life as honest as possible, unedited. Another strong element I tried to impose in my film was relating images and film to what he's was talking about, one example of this is through his speech about vinyl as he holds up one of his favourite records - I did this as it allowed cohesion through the video and allowed me to link both the sound and photography.
Yet, I do feel that this final piece could have been stronger in some areas. Although the mismatched nature of the film was to capture the loss of his memory in some areas I felt this was too strong and that the disjointed nature of the film sometimes made the film slightly incoherent as some voice notes did not merge very well together. In addition to this I feel that as this was a documentation the more footage I gained the stronger the final product as I could therefore include the strongest aspects of the filming process, yet due to the time limit and him going into hospital this was not possible.
Yet, I do feel that this final piece could have been stronger in some areas. Although the mismatched nature of the film was to capture the loss of his memory in some areas I felt this was too strong and that the disjointed nature of the film sometimes made the film slightly incoherent as some voice notes did not merge very well together. In addition to this I feel that as this was a documentation the more footage I gained the stronger the final product as I could therefore include the strongest aspects of the filming process, yet due to the time limit and him going into hospital this was not possible.