- Tutorials will be brought forward (ideas & research)
- Marcus Doyle
- Started photography at 12 and did GCSE
- Influences - Weston & Evans B&W
- B&W printing (funded his projects)
- 1996 switch to colour
- Meyerowitz, Misdak, Shore & Egglestone
- Large prints needed larger camera
- Looking for the unusual and quirky
- A picture should be about and not of something
- Never be put off by places that are over photographed
- One project has led into another
- The size of the work is important and so is the camera
- Sheer amount of work (90 min exposures!)
- Times of day (late or early)
- Production values, sharpness and exposure
- Visually appealing
ACPP - Photographer: Marcus Doyle
Martin Parr - How to Take Stunning Photographs
The final part of the series featured photographer Martin Parr. The series was more of a "how not to take crap photos" rather than take stunning photos but this last episode had a slightly different take. Firstly Parr asked them to take a 'series' of images rather than 'go and get a stunning image'. In the master class Parr taught the aspiring photographers the art of engaging their subjects. In his summary Parr stated "...by concentrating on one thing, coming in closer, exploring it better, making sure it's something you can identify with, that's when you can really reap the benefits of going to a place and trying to take away photographs that tell you something about your relationship to that place."
ADI - Image & Text I
- Bill Owens & Taryn Simon
- Looking at established photographers
- Bill Owens lived in the suburbs. Wasn't voyeur (outsider looking in)
- After Suburbia book he took break for 20 years until digital photography
- Captions that accompany his photographs make social statement
- Some photos have no text - unusual to mix and match
- The captions are what he hears in suburbs while he photographs although not necessarily matched up
- Website is very user friendly (links all there)
- Taryn Simon - text states the facts
- Detailed website
- 90% research, phone calls etc
- Multiple truths - artists intent, viewer, context
- Invisible space between image and text
Photographer: Bill Owens - "Suburbia"
Bill Owens' photographs have accompanying text when presented in books. The text often makes a statement rather than state facts.
Photographer: Taryn Simon - "The Innocents"
The Innocents documents the stories of individuals who served time in prison for violent crimes they did not commit. At issue is the question of photography's function as a credible eyewitness and arbiter of justice.
The primary cause of wrongful conviction is mistaken identification. A victim or eyewitness identifies a suspected perpetrator through law enforcement's use of photographs and lineups. This procedure relies on the assumption of precise visual memory. But, through exposure to composite sketches, mugshots, Polaroids, and lineups, eyewitness memory can change. In the history of these cases, photography offered the criminal justice system a tool that transformed innocent citizens into criminals. Photographs assisted officers in obtaining eyewitness identifications and aided prosecutors in securing convictions.
Simon photographed these men at sites that had particular significance to their illegitimate conviction: the scene of misidentification, the scene of arrest, the scene of the crime or the scene of the alibi. All of these locations hold contradictory meanings for the subjects. The scene of arrest marks the starting point of a reality based in fiction. The scene of the crime is at once arbitrary and crucial: this place, to which they have never been, changed their lives forever. In these photographs Simon confronts photography's ability to blur truth and fiction-an ambiguity that can have severe, even lethal consequences.
Photographer: Jane Bown - "Samuel Beckett"
Presented here uncropped and in their full glory, these photographs show why Jane Bown has been hailed as the natural successor of Cartier-Bresson and as one of the UK's preeminent portrait photographers In this new collection, Jane Brown's astonishingly candid photographs are artfully presented, and behind-the-scenes unpublished pictures that hit the newsroom floor are finally revealed. Working almost exclusively in black and white and with natural light, Jane produces images that reveal the private side of her famous subjects. She works quickly, unobtrusively, and decisively, often snatching great pictures under impossible circumstances. She has an unerring instinct for capturing the telling moment, even in the midst of a media assault or rushed in mid-interview. At every shoot, Jane takes numerous wonderful studies, but the "definitive" image is usually chosen by the "Observer" picture editor, sometimes on the basis of something as arbitrary as how much space was available on the page. Here, Jane's photos finally get to speak for themselves.
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