The Photographer Bruce Gilden.
Photographer: Jane Bown - "Henri Cartier-Bresson"
I am still exploring the work of photographer Jane Bown. This photograph is of another inspirational photographer, Henri Cartier-Bresson.
The following are quotes from the book "Unknown Bown".
"Some people take pictures. I find them"
"I love train stations and airports, places with lots of people where I can blend into the crowd and work unobserved"
"I was obsessed with textures and patterns—hair, cloth the grain of a piece of timber, the print of a fabric"
"I'm a one-shot photographer, I work quickly and hate fuss, always have done"
"I honestly think that all my best shots were taken on holiday"
"Sometimes I can see the picture immediately and then the first exposure is often the jackpot one"
"For that moment when I look through the lens, when absolutely everything is exactly right, love is the only way to describe what I feel"
"I can't really feel the excitement I felt when I looked down into that viewfinder, twisted the knob and everything came into focus"
"These pictures are the real me"
ACPP - Photographer: Marcus Doyle
- 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
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.
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