Tag Archives: identity

Catcalling: Photography and society

This post, while not specifically related to the course content, felt worthy of saving and reflection.

Noa Jansma from Amsterdam was fed up of receiving unwelcome catcalls as she walked down the street. So she started publishing selfies of herself including the person who had done the catcalling.  The image title was the words they had said to her.

https://www.boredpanda.com/catcalling-selfies-project-dearcatcallers/?utm_content=inf_10_2558_2&utm_source=facebook&utm_medium=link&utm_campaign=socialedge&tse_id=INF_5ad22750aaa411e7952ec9abf6008d70

This shows how photography can be a helpful tool in reconciling and healing.  Also, it can become a powerful, unforgiving mirror held up to society, showing it what it really looks like.  The words seem colder and more sinister in print, accompanied by a picture of the person that said thrm.  There are some similarites here to ‘Take care of yourself’ by Sophie Calle who ‘turns things that annoy or hurt her into a game’.

https://www.theguardian.com/world/2007/jun/16/artnews.art?CMP=Share_iOSApp_Other

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Martin Kollar – This Place

This caught my eye, so saving to my blog for reference.

Kollar’s This Place is an example of work that contains few people but says a lot about how and where they live.

Set in Israel, Images of people-less settlements eerily suggest clean, modern living while at the same time suggest isolation, abandonment and lonliness.  There are signs of life everywhere – building, shops, children making ramps out of junk to play on -but noone to be seen.  Their abence makes you womder whether an air raid alarm has sounded? People fled in fear? Disputed settlements in the West Bank or Gaza Strip? The tension in the lives of these people is clear without them being, in the main, visible.

http://www.this-place.org/photographers/martin-kollar/

Exercise 5.1

Exercise 5.1

Create a set of still-life pictures showing traces of life without using people.

You could do this with your camera phone to reflect the vernacular and transient nature of these moments or you could choose to use high-quality imagery to give these moments gravitas, like Nigel Shafran. Your technical decisions should back up your ideas, so write a short reflective commentary detailing these decisions and the reasons for them.

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My partner recently went away for a weekend course.  For this exercise I wanted to reflect the little traces of life that she leaves around the house even when shes not actually there.

My initial approach was to take images of discarded items found in our home such as these hair clips.  I liked the incongruity of them being discarded on a chopping board, the contrasting tones and textures.

Although I find these images to be aesthetically quite pleasing, there is no clear rationale for the images to be in monochrome. So I needed another method.

Cyanotype is an old photographic method invented by Herschel and most frequently used to take copies of drawings and diagrams.  It has a characteristic cyan blue colour.  From this comes the term ‘blueprint’.

Prints are made by placing items directly onto the light sensitive paper on a sunny day for several minutes.  Blue areas mark where the paper has been exposed to unobstructed light while the shadow areas come out as white, revealing a ‘trace’ of what was previously left on the paper, like footsteps on the beach.  This trace left was a perfect metaphor for what I was seeking to achieve.

Items with a clearly identifiable or interesting silhouette are most successful.  The hair clips did not work well due to their curved nature, resulting in most of it being lost and not distinguishable.  The following images are cyanotypes of some of the more curious ritual items, masks and pendants left around the house by my partner following her work as a ‘Glastonbury Priestess of Avalon’: