Informing Contexts PHO702

‘Evidence’ Experiment

| Phil Hill

Following from the idea to look at my own home at the centre of the community I live (see post), I have created a series of images in response to the listing of the property after our land lady took the decision to sell the house.

I have written about my reasons for photographing the house previously, however to understand some of the context behind my reasons for conducting the experiment, it is important to note here again that the house is in a state of disrepair and out of our reach in terms of south east property prices, perpetuating the fractured community that I am looking at.

Figure 1. Rightmove (2020) Images from Rightmove.co.uk online advert for property. [click images to enlarge]

SUMMARY
Don’t miss out on this beautiful two bedroom mid-terrace family home located on Leavesden Road. Throughout the property provides ample living accomadation [sic] and period features. Here at Brown and Merry we strongly advise early viewings to avoid missing out!

DESCRIPTION
Brown and Merry are proud to present this attractive mid terrace, with the benefit of private off street parking to the rear. The property comprises of kitchen/diner and lounge with period features and storage cupboard under stairs, upstairs you will find bathroom with shower cubicle and bath off the landing and two double bedrooms in addition to access to loft. 

The property is located 0.4 miles from Watford Junction Station, and benefits from gas central heating, double glazing and period features.

Call now to avoid disappointment!!

Figure 2. Online description of the property (Rightmove, 2020).

Dominant

The edit of the work has coincided with week 4’s readers and images. Looking at the photographs that the estate agent used (Fig. 1), the dominant reading is to show the home in the best light in order to make the sale for the best price – as you would expect them to do. Our learned knowledge of how an estate agent operates, is in the way that they exaggerate and embellish the facts. We understand this is the way of things, in the same way you do not fully trust someone selling a car, or negotiating your next phone contract yet still take part in the process.

The use of a wide-angle lens in the corner of the rooms creates a sense of space and the images appear on the site in low resolution which has the effect of hiding a multitude of sins. It is the description of the house (Fig. 2) that provides additional context to the images and highlights to the intent of the agent (and by extension the homeowner) stating “Don’t miss out on this beautiful two-bedroom mid-terrace family home” (Rightmove, 2020). Barthes states that speech and text provide the full terms of the informational structure of how we read the image world (Barthes, 1977, p. 38), and here the use of language creates a construction that suggests that the home is in a better state of repair than it is, and the images provided do not necessarily refute this.

Oppositional

This leads to the oppositional reading of the images. Living in the home for 5 years means that I have a clear understanding of the many nuances that this home has. I can look at the description of the “beautiful family home” (2020) alongside the agent images with the ability to look through them to see many issues of the property that would suggest it is vastly overpriced. Additionally, I am most likely viewing them in the room in which they were taken.

My bias is clear. The home has been valued at the very top end of the market currently, outside my own ability to afford it and remain within this community. It is important to understand that I am not suggesting that I live in abject poverty, I do not, but the very nature of living in a long-term rental property that has never been properly maintained means that the condition of the house is vastly lower than if we owned it ourselves. This is in a sense a comment on the rental trap.

Negotiated

A negotiated reading of the images could be from the people viewing the property with the hope of buying it. This is not something that I can confirm, as a renter, I am outside that chain of dialogue. However, if i was to speculate, those interested in the property would view the images online together with the description and consider it a viable home to view. Once viewed, many of the issues would be quickly apparent; the described beautiful home would require a new kitchen, bathroom, windows, secure exterior doors, and so on that at the top end of this price range, represents a larger investment of time and money than the advertisement would suggest.

Figure 3. Phil Hill (February, 2020) My response. Contact Sheet from house ‘evidence’ shoot. [Click to enlarge in gallery]

I made the decision to photograph the poor state of the house as a direct contrast to the way the estate agent would ultimately present it (Fig. 3). This was inspired by Jack Latham’s approach of using police evidence imagery as part of the narrative for ‘Sugar Paper Theories’ (Fig. 4) and my own experience of working on the Panorama shoot (See post). Here, my ‘evidence’ images represent more of a construction compared to Latham’s use of the police archive, with the agent imagery taking the role of the archive. My intention was to use the aesthetic of the evidence image to play with the dominant reading seen in the agent images. The use of film and black and white encourages the reader to override the agent’s dominant reading and replace it with mine. My oppositional reading becomes the dominant reading in this context.

Figure 4. Jack Latham (2019) One of the police archive images from ‘Sugar Paper Theories’

To show this in my edit, I have looked at putting the images and text together in a number of ways. Firstly, I wanted to see how my new images would work with the original text of the agent listing in order to subvert the dominant reading described by the agent, in an obvious and confrontational way. I have placed my images first and the text second (Fig 5), however I feel that considering the outcome, it would create more of a shock to the reader if the description id first and then be presented with my oppositional imagery (Fig 6).

Figure 5. Phil Hill (February, 2020) Edited ‘evidence’ images left with agent text on the right.
Juxtapositions

Figure 6. Phil Hill (February, 2020) Agent images juxtaposed with my ‘evidence’ imagery. [Click to enlarge in gallery]

Personally, I feel that the juxtapositions work better. They are subtler and require more of an examination of the pair together. I present the agent image and then one of my own images which requires the reader to investigate, comparing and contrasting two conflicting views of the room. There is potential to further develop and add some kind of caption to further extend and create a sense of the context and intent that I am aiming to get across.

Using the FSA Hole Punched to ‘Kill’ The images

My last edit was to re-introduce the idea of the ‘killed’ (Taylor, 2017) image that was used by Roy Stryker when rejecting FSA images (See post). I copied one the hole-punches from a rejected FSA image by Arthur Rothstein photograph (Fig. 7) and added it to my evidence imagery of the house (Fig. 8).

Figure 7. Arthur Rothstein (1939) Untitled photo, possibly related to: Blue Ribbon No. 2 Mine, one of the largest gopher holes, Williamson County, Illinois

This was also to consider the role of the ‘ostracised’ that I have been looking at through the lens of Barthes and his notion that we also need to consider those excluded from society and community in order to understand the functions of it (Barthes, 2012, p. 81).  And Dexter Dias, who suggests that those who cast out members of a community, ultimately leads to a more cohesion (Dias, 2017, p. 124) which is an area that I feel warrants more investigation.

Figure 8. Phil Hill (February, 2020) Edited ‘evidence’ images to include FSA hole punches. [Click to enlarge into gallery].

My images represent a view of the property that shows it in a less than positive way. The agent would potentially reject these in their selective view of the home. The hole-punch also adds to the images’ reading by creating a point of focus instantly creating a sense of censorship, which is also from a learned knowledge of the world that we share (Fig. 9).

Figure 9. Bong Joon Ho (2019) Parasite movie poster with censorship bar across the eyes

I am unsure how I am going to move this experiment forward as potentially I have taken this area as far as I can at the moment. These images primarily only really exist for me (Barthes, 1981, p. 73), this is an event that resonates because I am the one who is affected by the sale. If I am to develop this, I would need to consider how these are read by others.

Bibliography

Barthes, R., 1977. Image, Music, Text. London: Fontana Press.

Barthes, R., 1981. Camera Lucida. 1st ed. London: Vintage.

Barthes, R., 2012. How to Live Together: Novelistic Simulations of Some Everyday Spaces (European Perspectives: A Series in Social Thought and Cultural Criticism). Translation Edition ed. New York: Columbia University Press.

Dias, D., 2017. The Ten Types of Human. 1st Paperback Edition ed. London: Windmill Books.

Latham, J., 2019. Sugar Paper Theories. 2nd ed. London: Here Press.

Parasite. 2019. [Film] Directed by Bong Joon Ho. South Korea: Barunson E&A; CJ E&M Film Financing & Investment Entertainment & Comics; CJ Entertainment; TMS Comics; TMS Entertainment.

Rightmove, 2020. Rightmove: 2 bedroom terraced house for sale. [Online] Available at: https://www.rightmove.co.uk/property-for-sale/property-68153202.html [Accessed 15 February 2010].

Rothstein, A., 1939. Untitled photo, possibly related to: Blue Ribbon No. 2 Mine, one of the largest gopher holes, Williamson County, Illinois. [Art] Farm Security Administration – Office of War Information Photograph Collection (Library of Congress).

Taylor, A., 2017. Holes Punched Through History. [Online] Available at: https://www.theatlantic.com/photo/2017/02/holes-punched-through-history/518115/ [Accessed 17 February 2020].

PHO702: Shoot Two

| Phil Hill
Figure 1. Phil Hill (February, 2020) Selected images from Harebreaks Wood shoot
Figure 2. Phil Hill (February, 2020) Contact sheets from Harebreaks Wood Shoot (Click to enlarge into gallery)

Following from my first shoot, I managed to approach a group of litter pickers that were tidying a local woodland area. It was useful to create some portraits and see how they fit in with the series I shot on the initial walk around the area (Fig. 1). For this shoot, I decided to apply some of the feedback that I have received previously regarding placing my subjects within the environment to support the contextualisation of the image (Fig. 2). Some of the images that I have selected have consciously gone for this approach within the edit. I do however like some of the close-up cropped portraits of Helen (Fig. 3) and would potentially consider re-introducing this version of her depend on how my future shoots evolve. As I have a number of portraits with the litter picking group, it could work to include a version without the plastic bag and stick if I was to include an image of one of the other that did.

Harebreaks Wood litter picker
Figure 2. Phil Hill (February, 2020) Helen full body portrait placed within the environment.
Figure 3. Phil Hill (February, 2020) Helen close up portrait.

Context of how the work is eventually displayed will play a crucial role in this decision. However, for now I have been working with the assumption that this is a form of extended editorial shoot and creating a series of images that would exist online or in a printed supplement of some kind (See post on this). This has the potential to evolve as I move through the recent weeks, I am finding that my notion of how to approach and photograph a project like this requires me to challenge and experiment with different approaches. I also interested in Todd Hido’s approach to creating narrative within his work (See post on Todd Hido) through the shooting and accumulating of images, pairing them, and collecting together sequences to synthesise ideas in what he terms as “Paper movies” (Hido, 2014, p. 114).

Figure 4. Phil Hill (February, 2020) Outtake image from Harebreaks wood shoot.

I am aiming to keep a close check on the conditions in which I am photographing this work. The lighting, for me is a crucial tool in the aesthetic quality of this project. This construction is not without its challenges, the recent large storms have led to a series of dull overcast days, and even this shoot was cut short by fast moving weather conditions. What I am finding that is not working at the moment is some of the environment shots (Fig. 4), much like my first attempt (See Shoot 1 Post), I am aiming to show a sympathetic view of this community and the overcast conditions are creating the opposite effect.

Moving forward, I have arranged to visit with a local community group running a food bank and hope to create some portraits there. I have also reached to a local drama society to see if I can collaborate and explore creating some constructed realities to weave into the rest of the narrative.

Bibliography

Hido, T., 2014. On Landscapes, Interiors, and the Nude. New York: Aperture.

Hill, P., 2020. Harebreaks Wood. [Photographs]

Considering the Construction

| Phil Hill

This week has been a kind of revolution to the way that I have been approaching my project so far. I have been very hung up on the notion that my intent requires me to be photographing without construction or forms of manipulation, because that would result in some sort of ‘breaking the rules.’ However, further reading into the topics of constructed realities has led me to the writing of William J Mitchell, who also presents a direct challenge to this photographic purity and suggests a feeling of being cheated by these kinds of images (Mitchell, 2001, p. 218). This is in part born out of my commercial practice that I should, as Mitchell states: “The transaction of valid reporting, stating, or asserting (Like other speech acts and analogous nonverbal or partially verbal act of communication) is defined by constructive rules” (p. 218). These rules are essentially part of the learned knowledge of the world that we have come to expect, and of course much of this learned knowledge suggests to us that photography is a truth.

Figure 1. Brian Walski (2003) Photographer Brian Walski was sacked by the LA Times for editing the top two images together to create the third

Digital imagery has been found wanting in terms of our ability to suspend our disbelief (Fig. 1), yet we still subscribe to it as a reality, merely because it is based in the actual (Berger, 2013, p. 8). Analogue photography is no more a bearer of truth however, and has been susceptible to forgery throughout its history. For example, the removal of dissidents from the image of Lenin speaking at a podium (Fig. 2 & 3). This brings me back to the reflection on the Panorama work that I have written about previously (View Post). The use of analogue technique is completely based on our learned understanding of how we perceive the power of photography and its ability to show ‘truth’ and ‘Evidence’ and the re-photographed images onto film heightened the constructed reality of these images, where John Tagg notes that “the existence of a photograph is no guarantee of a pre-photographic existence” (Tagg, 1988, p. 2) these images should not be considered in anyway evidential, even though the production of that episode was doing everything within its power to make us believe so.

Figure 2.
Grigori Petrovich Goldstein (1920) Vladimir Lenin speaking in Moscow to Red Army soldiers departing for the Polish front, in 1920. Leon Trotsky and Lev Borisovich Kamenev, behind, are on the steps to the right
Figure 3.
Grigori Petrovich Goldstein (1920) Leon Trotsky and Lev Borisovich Kamenev have been airbrushed out of an image of the same scene

All photography is a construction, that has been established in the past couple of weeks, how does this have an impact on how I view my images, and moving onto my intent?

I have been very precious in how I have been approaching my project so far, identifying myself as closer to the ‘Hunter’ end of the constructed continuum. I recognise however, that this is indeed a continuum and accept that my work is constructed in a variety of ways. I have felt as though I needed to represent the actual (2013, p. 8) within my work, however have considered that as part of my look at the community is to explore my own sense of it being fractured, that this shouldn’t matter as potentially the combination of gradual constructions together with my existing constructed actualities, which I wrote about in my ‘Hunters and Farmers’ Post’ (Wall in Horne, 2012).

Figure 4. Chris Dorley-Brown (2018) Image from ‘The Corners’ by Chris Dorley-Brown

Previously to starting the MA I was drawn to the approach of Chris Dorley Brown’s series ‘The Corners’ (Dorley Brown, 2018) and his uneasy view of everyday scenes in London (Fig. 4). As you view these images, they are based in the real world, an actuality, and indexical of how people pass through the streets of London which have been referred to as an update of the work that photographer David Granick did in the city between 1960 and 1980 (Dyer, 2018). Of this work though, Dyer also discusses the stillness of the image:

“But there’s a tranced stillness about them: a feeling of being in some kind of fugue state”

(2018)
Figure 5. Chris Dorley-Brown (2018) How the images are constructed. Spread from ‘The Corners’

Here Dyer is referring to how we read these images as much as the subjects within them. On closer inspection, the images are a complete construction, which is admitted to in the back of the publication of the images (Fig. 5), made up of a series of multiple exposures, typically 18 to 21 images, and then stitched together, with the resulting composition showing up to an hour (2018).

Dyer’s assessment of the work is that it creates a form of nostalgia, a longing for the past that links this work with the images of Granick, which Chris Dorley Brown also edited into a book. Dyer also notes:

‘Dorley-Brown manipulates his scenes not to manufacture drama or to bunch people into near-collisions but to create a “truthful” picture that “must match the memory of a moment that never occurred.”photographic’

(2018)

This I feel, lives in the learned knowledge of the world that, although the memory that is being referred to is not a real one, it could be an imagined sense of a place that Dorley-Brown is representing here.

Figure 6. Phil Hill (February, 2020) Helen from shoot with a group of Litter Pickers
Figure 7. Phil Hill (February, 2020) Stephen from shoot with litter pickers

Presently, my work does not inhabit this constructed space, I have approached groups and sort to photograph them in a naturalistic way (Fig. 6 & 7). I have also look to photograph the environment in my local area in a similar naturalistic way. However, this as an approach intrigues me, and I am keen to potentially look at experimenting with this as an approach, albeit holistically. For example, part of my plan is to approach a variety of community groups, one of which could be an amateur dramatic group, what is to stop me casting them within the environment of my community to play a series of characters. I intend to propose this to a group and experiment with creating a series of constructed narratives. These characters could create a fictional memory in a similar way to how Dorley-Brown has constructed his images.

Bibliography

Berger, J., 2013. Understanding a Photograph. London: Penguin Classics.

Dorley Brown, C., 2018. The Corners. 1 ed. London: Hoxton Mini Press.

Dyer, G., 2018. How to Photograph Eternity. The New York Times Magazine, 24 July, p. Online.

Goldshtein, G., 1920. Leon Trotsky and Lev Borisovich Kamenev have been airbrushed out of an image of the same scene.. [Photo] (Tate).

Goldshtein, G., 1920. Vladimir Lenin speaking in Moscow to Red Army soldiers departing for the Polish front, in 1920. Leon Trotsky and Lev Borisovich Kamenev, behind, are on the steps to the right. [Photo] (Tate).

Hill, P., 2020. Helen from Harebreaks wood litter pickers. [Photo]

Hill, P., 2020. Stephen from Harebreaks wood litter pickers. [Photo]

Horne, R., 2012. Holly Andres, ‘Farmer’ of Photographs. The Wall Street Journal, 3 February.

Mitchell, W. J., 2001. The Recoonfigured Eye. First MIT Press Paperback ed. Massachusetts: Massachusetts Institute of Technology Press.

Tagg, J., 1988. The Burden of Representation: Essays on Photographies and Histories. 1st paperback ed. Basingstoke: Palgrave Macmillan.

Walski, B., 2003. Iraq. [Photo] (Los Angeles Times).

Hunters and Farmers

| Phil Hill

I am not sure that I completely subscribe to the ‘Hunters’ and ‘Farmers’ analogy from Jeff Wall (Wall in Horne, 2012). If all images are constructions, which I do believe, then this is surely a spectrum in which all photographies fall and even within the distinct extremities of the continuum, even the hunters subjectively construct the reality of the actual (Berger, 2013, p.8) , which is based on the real world.

As such, I do not feel wholey comfortable subscribing completely to either title, however, I believe that my work is rooted in this actuality. I do not consciously or emphatically try to deceive with my work, however this is not to assume that what I do is not a construct with every decision that I make creating a version of reality, although naturalistic in its appearance & indexical in its traces, I am starting to appreciate that representation can only be a part of the whole narrative, an informed – if you will – overall opinion of what I am trying to say. If I was to consider which end of the spectrum that my work falls, it would inevitably be on the side of the hunter as I tend to look for the photographs that I want to create in the actual, my work is less about the gradual constructions and more about the constructed actualities. On the face of it, my practice does little to tend to my images over time, however perhaps this ‘tending’ could be through the development of personal style and aesthetics in the way that I approach my image making, it is easier to suspend disbelief when viewing my images because they are based in the real world.

As I reflect on this, I realise that my work on this end of the continuum is still rooted within my own comfort zones of how I take pictures, which is founded on my commercial practice as an editorial photographer. During the presentations, we have been continually asked to consider the importance of the reality of the image to determine meaning (Cosgrove, 2020) so moving forward, it would be good for me to play with this notion and create some work that consciously moves further toward the ‘Farmer’ end of the spectrum.

With this in mind, I am thinking of returning to two areas that I identified in some earlier research, the term idiorrhythmic came up when reading a text by Barthes and the reference to how we can live our separate lives but co-exist within societies and communities, Barthes considers this view non-paradoxical and considers that for a proper Utopian community to function there would be a removal of identifying information to distance ourselves from ‘spaces of Manipulation’ (Barthes, 2012, p.101). I wonder if the people that I am aiming to include in my look at the local community need to be ‘real,’ or could this be part of a constructed reality that plays with this notion of the spaces of manipulation and links to why I chose community as an area of interest for my photography and my fractured sense of connection to the place that I live.

Figure 1. Desert Places by Robert Frost (1936).

Another related area to Barthes notion of living together and apart is through the metaphor of the desert which Barthes uses in his text and also unpacked in the analytical paper of his work ‘Roland Barthes, the individual and the Community’ (Stene-Johansen, et al., 2018), from here links can be made to this kind of monoclastic living balancing isolation and attachment (2018, p.16). Robert Frost’s poem ‘Desert Places’ (Fig. 1) is also referenced here and an area that I wish to explore (Frost, 1936, p.44).

How are my images consumed?

My work has always sat in the printed media category, in that for the majority of my commercial life I have worked as an editorial photographer primarily for the airline publication sector, with other magazines and newspaper imagery too. So far, I have treated the work that I have produced for the MA as a kind of extended editorial shoot with the intention of displaying it in printed media, or its online equivalent. For example, after the last module, I produced a postcard series of the project to be distributed to a range of magazine and online editors (Fig. 2&3) with some interest in the work and a few shares on social media platforms. As is the way with publishing lead times, timing has been an issue for some of the publications that I sent my work, citing that my images of the carnival needed to be published to coincide with the next carnival season in the autumn. My intention here is to follow up in the spring to see if the work can be published later in the year.

Figure 2. Phil Hill (November, 2019) Postcard Series created to market ‘The Wessex Grand Prix’
Figure 3. Phil Hill (November, 2019) Postcard cover and graphic for ‘Wessex Grand Prix’

The topicality of the project lets it sit comfortably in this editorial category and would be considered professionally as an interesting look at British culture in the southwest region of the UK. The context of any kind of publication would omit much of the intentions that I set out in the creation to the work, in terms of the fractured sense of community that inspired to look again at the Carnival culture.

I have been testing the limit of this view through the submission of the work to dummy book awards, such as the Mack First Book Award (Fig. 4). At this stage, I am not sure whether my work sits comfortably within this category. 

Figure 4. Phil Hill (November, 2019) Wessex Grand Prix Book Dummy cover

Reflecting  on my decision to create a postcard series was primarily from a marketing perspective. In our digital image world, I wanted to let my project stand out from the plethora of emailed submissions that these editors would inevitably receive. Viewing images in an online gallery form can be very linear, as you are bound by the sequence and flow of the gallery in which they are presented with the knowledge that the job of the photo editor is to produce a narrative that fits with the intent and the editorial guidelines of the publication, this could be considered quite limiting to the potential of publication. This presents a slight irony in that the postcard mailer, which traditionally was a primary way of marketing for photographers, allows me to stand out. Presenting my work in a tangible medium also allows it to be laid out in full and viewed in a way that may work better within the context of the editor that I send the work. 

The postcard and the book dummy that I have started to explore also marks a departure in the ways that my work can be consumed, albeit an esoteric one. Simon Norfolk, for example has remarked that the world of the Photo book has become a self-congratulatory loop, where photographers are celebrating other photographers belonging to the same clique, and the same can also be said of the gallery and award system (Norfolk, 2019). Any move into other ways that my images are distributed and consumed should consider the esoteric and have an awareness that any meaning that could be derived from it needs to be viewed by more than a small group of taste makers. 

Bibliography

Barthes, R., 2012. How to Live Together: Novelistic Simulations of some Everyday Spaces. Translation ed. New York: Columbia University Press.

Berger, J., 2013. Understanding a Photograph. London: Penguin Classics.

Cosgrove, S., 2020. Week 2 Presentation: Is it Really Real?, s.l.: Falmouth.

Frost, R., 1936. A Further Range. Transcribed eBook ed. s.l.:Proofreaders Canada.

Hill, P., 2019. The Wessex Grand Prix. [Photography].

Horne, R., 2012. Holly Andres, ‘Farmer’ of Photographs. The Wall Street Journal, 3 February.

Norfolk, S., 2019. A Small Voice: Conversations with Photographers [Interview] (12 June 2019).

Stene-Johansen, K., Refsum, C. & Schimanski, 2018. Living Together: Roland Barthes, the Individual and the Community. Bielefeld: Transcript Verlag.

Further Questions of Representation

| Phil Hill

Questions of representation, authenticity, constructions and the photographic nature of photography makes me reflect on a freelance job that I did for an episode of BBC’ Panorama, titled ‘Inside Europe’s Terror Attacks (2016). Within the episode, a series of ‘most wanted’ mugshots are displayed and shown to be developed in a photographic darkroom before being hung up on a clothes line in a row.

Figure 1. Panorama (2016) Still from the darkroom segment of the ‘Inside Europe’s Terror Attacks’ episode

My role in this production was to turn a series of digital images into ones that could be processed in a darkroom and shown to appear inside a darkroom as the journalist narration happened. To do this, I re-photographed each of the images onto film and prepared a series of prints with the latent image ready for processing during the filming. Incidentally, it is also my hand in the film processing these images (Fig. 1).

The segment plays with our very notion of photography as evidence through our collective awareness and an intertextual referencing of primarily via film and TV (Fig. 2), of how a detective might use the darkroom to illuminate and support an investigation, that lightbulb moment that shows that you have found the smoking gun evidence that will close the case.

Figure 2. Funny Face (1957) Audrey Hepburn and Fred Astaire in the darkroom

This episode of the Investigative documentary series really plays to the theatrics and performative nature of photography in showing the images in this way and the perceived authenticity that photographs have, it was heightened here to purposefully exaggerating the characteristics of the photograph and increase the veracity of the moment. This also plays into the notion of digital images being less authentic than those shot using film. The images that were supplied to me to re-photograph were all digital files that were printed digitally using an inkjet printer and then photograph using a copy stand onto 35mm film. Do the images now become more authentic now that they have become analogue? The supplied digital files were in some cases low resolution screen grabs, some of which were also from social media.

In terms of its construction, it seems to have increased the tension of the situation that a digital graphic may not have. Like a punctuated moment away from the expected news style digital visuals that you would expect to see through news gathering services and have become immune to. This feels somewhat real with a heightened sense of urgency that someone needs to catch the people depicted and that they are working hard to do so. It is a fiction, a construction for the sake of the documentary, especially when we consider that the methods on display are completely obsolete and the images would almost certainly be viewed through a computer screen and potentially never reach the point of a tangible print.  There is also the assumption that turning the images into black and white adds an inherent ‘truth’ to what we are viewing.

Bibliography

Funny Face. 1957. [Film] Directed by Stanley Donen. USA: Paramount Pictures.

Panorama: Inside Europe’s Terror Attacks. 2016. [Film] Directed by John O’Kane. UK: BBC Panorama.

PHO702: Shoot One.

| Phil Hill
Click on thumbnails to enlarge.
Contact Sheets: 25/01/20 & 01/02/20

Following the plan I created to go out and do my first shoot based on a psychogeography route of the postcode of my local area (See Shoot 1 Planning Post). It was an interesting shoot and I managed to create some photographs that would be worth editing together to determine how they work as sets. The weather was very overcast and not what I was hoping to shoot in terms of the lighting, so for the most part, I think that this shoot was a worthwhile fact finding mission to scout out some future locations and develop the work. From my plan, I did also want to start to consider ‘the ostracised’ (Dias, 2018) however feel that this may have been a bit ambitious for the first shoot and will continue to develop this area of enquiry as I feel it could have some significance. It was a useful reference to take the Roy Stryker Shooting script with me to consider some of the images that I was shooting. I will continue to use this as it is a way of creating a taxonomy of what makes up a community environment.

Light is crucial to the way that I want my images to look. Moving forward, I aim to be more selective of the times that I will go out and shoot, weather permitting.

Now that we have had a couple of weeks of delivery of the modules, I am going to create more of a focus on the taxonomical patterns that my local community displays. The idea of the indexicality of what I am shooting is also something that I want to explore in a more intentional way. I am also considering the approach to the portraits within the work. I have had a fairly limited response from people I would like to involve in the project, so am considering an approach based on the week 3 constructions and will explore casting ‘actors’ to play a role in my look at my community which could form a strong link to this sense of a fractured community. Initially, I could approach this in a similar way to how Jack Latham shot subjects unrelated to the events of the Icelandic crime in his book ‘Sugar Paper Theories’ (2019).

References

Dias, D., 2018. The Ten Types of Human. 1st Paperback Edition ed. London: Windmill Books.

Latham, J., 2019. Sugar Paper Theories. 2nd Edition ed. London: Here Press.

Questions of Authenticity

| Phil Hill

I have been quite enthralled by the topic of representation and authenticity during this week’s discussion and webinars. I have been incredibly guilty in the past of considering that what I do is a pure form of truth telling and visual record of the facts, when in actual fact there is no such thing as a neutral image (Luvera, 2020). Authenticity appears to be assumed on the part of the reader merely because the photograph is able to reproduce in a naturalistic manner.

Figure 1. Phil Hill (2010) Dawn on Bamburi Beach, Mombasa, Kenya.

Unconsciously, I have always used the notion of representation in my own work. This was very prevalent during the time I was shooting for freelance for travel editorial publications. I would knowingly select and edit out the images that would not present a location in a positive light (Fig. 1), however unaware of the implications of representing an actuality (Berger, 2013, p. 8). As an example, I shot some images of Bamburi Beach in Mombasa, Kenya showing how beautiful the location was however neglecting to also photograph the immense poverty that was sometimes literally outside of my frame (Fig. 2). This has much to do with the context of how these images are consumed however, figure 2 for example was part of a set of images that were used to illustrate a story on illegal mining practices in parts of Kenya (Kivner.

As I discussed earlier for an experimentation into how I might portray community through creating a set of images that utilise a forensic approach due to the upcoming sale of my rented home by my land lady.

Figure 2. Phil Hill (2010) Illegal gold miner, Kenya. Image also uploaded to Alamy archive.

My initial plan for this experiment was to photograph all of the negative aspects of the house in which I live and are in a state of disrepair. These images would be in direct contrast to the attempt to gloss over the detrimental view of the house that the estate agents would ultimately take (See Post). I have just started to scan and edit these images to remove the dust that attached itself to the negative during the scanning process. A fairly standard practice for film images. However, this week have raised a number of questions:

Figure 2. Phil Hill (February, 2020) Scanned image from medium format negative that has been retouched. ‘Moth Trap’ from my evidence experiment.

In terms of authenticity, a film image is behold as containing more ‘truth’ over digital, which is perceived to be easily manipulated and has caused concern in this regard since its introduction (Cosgrove, 2020). However, the modern workflow process of scanning and digitising negatives creates an even more problematic version of this truth if we still consider it to have more veracity then a digital image. My first scanned image (Fig. 3) required quite a bit of ‘spotting,’ as a result the image that also contains quite a ‘busy’ layer of all of the retouching, healing brush that I used, which poses the question of how much of the original is left, and how much of this naturalistic reproduction can be consider an icon; how much of this image is now indexical.

Figure 3. Phil Hill (February, 2020) Retouching layer from ‘Moth Trap’

To highlight the difference, I have saved a version of the image that only shows the retouching layer against a white background (Fig. 4). This image feels indexical to me, that it is based on the things that existed in the real world but bears no real resemblance to it anymore. Any amount of editing and retouching could be considered in this way.

Bibliography

Berger, J., 2013. Understanding a Photograph. London: Penguin Classics.

Cosgrove, S., 2020. Week 2 Presentation: Is it Really Real?, s.l.: Falmouth.

Hill, P., 2010. Dawn on Bamburi Beach. Mombasa, Kenya. [Photo].

Hill, P., 2010. Illegal Gold Miner, Kenya. [Photo].

Hill, P., 2020. Moth Trap. [Photo].

Hill, P., 2020. Retouching Layer from ‘Moth Trap’. [Photo].

Kinver, M., 2013. Nations agree on legally binding mercury rules. [Online] Available at: https://www.bbc.co.uk/news/science-environment-21078176 [Accessed 7 February 2020].

Luvera, A., 2020. Countercurrent Podcast: Anthony Luvera in conversation with Roger Kneebone [Interview] (13 January 2020).

Week 2: The Index and the Icon

| Phil Hill
Reflection

Everyone seems to want to defend their own reading and interpretation of an image that they have taken, especially their own images, and this includes me and my own images. It is interesting that through the forums this week I have noticed that many of the descriptions of the presented images do not necessarily translate to what I can see in the image. Although, what is being written of the image is indeed what the photographer believes that image to be about, or what did occur at the moment of when that image was captured, it is telling that with this text removed, the image would read differently to me.

Context and meaning are going to fall away from the image, especially over time (Sontag, 1979, p. 106), so it is important to realise that your work will inevitably be read in multiple ways. I do find this somewhat a challenging concept in the present as the temptation and habit of adding a certain amount of attributed information is ever present in the attempt to help others understand my work. I guess, that is the challenge for many practitioners, do we have the confidence to remove all of this attributed reading of our own photography to allow others carte blanche to make their own assumptions and interpretations.

Figure 1. Nadav Kander’s triangle (Kander, 2019).

Authenticity appears to me, bound by context, or at least a viewer’s understanding of context. Representation is bound by the subject’s understanding of the use of the image. Is it for authors to attribute either context, or use without the collaboration of the other two. This is a clear link to the triangle (Fig. 1) that Nadav Kander refers to (Kander, 2019), and the death of the author analysis by Roland Barthes (Barthes, 1977, pp. 142-149).

Where this applies to my own work, I think that I am quite interested in the notion of the photograph as a valuable index of truth (Snyder & Allen, 1975, p. 159). As I have commented in the previous forum, I think that when you consider the definition of representation, it is to take the broad consensus of ideas and opinions which I think is where the photograph can occupy and create authenticity. So it is not a complete evidential and based on all the facts, however there are traces of facts embedded in the image, perpetuated by the notion of its naturalistic appearance (1975, p. 144). This potentially, has more in common with ideology which assumes much about reality and certainly John Berger notes this by stating that photography can play an important role in ideological struggle, in reference to the way media use photography (Berger, 2013, p. 21).

For my work to move forward, I need to consider the indexical nature of my own photographs and perhaps construct images that use this as a means of communication. However, this is potentially something that will be more prevalent during the editing stage of the project.

Countercurrent Podcast

This week, I also listened to an episode of Countercurrent podcast featuring Anthony Luvera discussing his approach to socially engaged photography (Levera, 2020). The subject of representation came up during the discussion and the power balance that exists between the artist and the subject of their art. Traditionally, there have been a number of incidences throughout the history of photography where a particular group or culture has been photographed in a particular way and has led to tropes which has a knock on impact of effecting the way they are represented and even the conversation, political, and societal decisions are affected by these representations. Although not referred to in the podcast, this reminds me of the work that Patrick Waterhouse did when working with the Walpiri of the Northern Territory in Australia (Fig. 2), which was a way of considering, not only the colonial gaze, but also the way anthropological photography was used as a method of reducing the value of cultures other than the white European (Waterhouse, 2019). 

Figure 2. Patrick Waterhouse (2019) From the book ‘Restricted Images’ by Patrick Waterhouse and the Walpiri

Levera does not believe that the problematic photographic representation can easily be solved and that no photograph is neutral, however we can aim to redress the balance through collaborative practice (2020).

It was also noted that a tension exists between the artist and the subject when any kind of process of working together exists and when circulating this work to audiences.

Index and the Icon

How I use these within my own work has been useful to consider. I believe for the most part my photography uses the iconic, I photograph things that look like what they are supposed to, for the most part.

I consider how this has changed in the present short term (assuming that I continue to focus on the iconic in my work) from the commercial practice, where I would use elements such as photo-blur to get around such things as model releases for people on the street. This also had the added aesthetic quality of creating an atmosphere of a busy urban area. The work that I have been creating for the last module concentrates on what is in front of me, what exists in the real world. Context is a driver of how we can present the icon and the indexical, during the seminar the example of wedding photography was given in that the audience of this work expects to see a certain image of the posed groups. This reminds me of the work of commercial photographer John Keatley who has become well known for how he plays with the notion of the family portrait (Fig. 3), and has even taken it to the extreme of getting actors to pose in the images as him and his wife – although his children are the same (Keatley, 2018). This really plays with the icon and the indexical. Keatley us subverting the shared vocabulary of what we expect to see from a family portrait, an image of the family. However by removing himself from the image he has still created something that exists in the real world, the photograph is of something that exists, it is not a photograph of Keatley, even though he has titled it as such. Keatley has taken the image, could this be considered a trace? There is no truth to this image and the actors that are portraying the artist are arbitrary, however Keatley has had a tangible connection to the construction of the image.

Figure 3. John Keatley (2018) Keatley Family Portrait

A photograph is not nuanced in all things that are based in the real world the way that photography is portrayed, It cannot portray all of the subtle variety that exists, it is a blunt snapshot in time of something that existed – A fossil, which is indexical to the thing that existed. What this week has prompted me to look at more is how the environment of community which has now become my focus might be comprised of indexical elements that I could photograph as part of the work. What are the traces of the community that I am photographing over the wandering and photographing anything of interest. Having a clear intention for why I have photographed and included them within a final edit was always one of my aims

Bibliography

Barthes, R., 1977. Death of the Author. In: Image, Music, Text. New York: Fontana, pp. 142-149.

Berger, J., 2013. Understanding a Photograph. London: Penguin Classics.

Kander, N., 2019. Prix Pictet: A Lens on Sustainability. Photography as Witness [Interview] (5 November 2019).

Keatley, J., 2018. Keatley Family 2018. [Online] Available at: https://www.keatleyphoto.com/portraits/keatley-family/ [Accessed 6 February 2020].

Luvera, A., 2020. Countercurrent Podcast: Anthony Luvera in conversation with Roger Kneebone [Interview] (13 January 2020).

Snyder, J. & Allen, N. W., 1975. Photography, Vision, and Representation. Critical Enquiry, 2(1), pp. 143-169.

Sontag, S., 1979. On Photography. London: Penguin.

Waterhouse, P., 2019. Restricted Images by Patrick Waterhouse and the Walpiri. 1st ed. London: SPBH Editions.

Experimenting with photographing community

| Phil Hill
A need for a new Rectangle

A number of developments occurred during the break between modules leading me to consider how to approach and begin to be more experimental. 

The shift into looking into my local area has also coincided with my landlady taking the decision to sell my rented home here in Watford spurred on by the recent general election and final push on Brexit, not including the litany of issues with the house that she felt could no longer support fixing (there are a lot!), when every time we asked to be fixed, feared a push on the rental cost each month. 

I have found it interesting that as I turn my camera onto my local community, it could inherently change as we decide whether we will need to move out of the area to find affordable rental prices, or make the jump to buy, meaning an even further move. The community that I described during the last module is in question again. As a renter, I find myself never truly connected to place, with the constant fear of upheaval.

Figure 1. Pentax 645 with mounted light.
Figure 2. Ilford HP5 pushed to 800.

As a way to explore this, I am going to create a smaller body of work alongside the psychogeography approach I outlined for my first shoot plan and document the condition of my rented home with a forensic approach. I intend to use a medium format film camera with a top mounted video light (Fig. 1) and Ilford HP5 film (Fig. 2) for this approach, which represents a complete departure from the images that I was shooting during the last module. 

My idea is to play with the narrative of my home, which was never truly my home. There is the space that I occupy and have lived in for the past 5 years and the areas of the house that have been neglected due to the nature of it being a rental property. These initial images could be compared to the narrative that will be presented by the estate agent once they come into the space and take their own images, which will need to be sympathetic to the true owner of the house, this will be mirrored by the description of the house used to sell it. My black and white medium format images will be in complete opposition to the digital compact images taken by the estate agent and could play with the notion of photographic truth in a similar way to how Jack Latham used police archive images as part of his ‘Sugar Paper Theories’ series (Latham, 2016).

I am also interested to explore the notion of the rectangle as the most basic form of power, outlined by Roland Barthes (Barthes, 2012, p.114). The exchange of such rectangles, in the form of the most ubiquitous, our homes, could be a way of framing the current housing crisis for example. By focussing on my own space of rectangles (or what I thought was mine, in the lived sense), I hope to start considering the community that happens from within the home. One of the outlined aims in my project proposal was to look at the environment and typology of community, and these typologies could also be found within this realm, which again Barthes used in his analysis of the rectangle through the language of beds (Barthes, 2012, p114), this is where I can start to explore these concepts.

Collaborating with others

As a way to investigate a more collaborative approach to my work, I have also asked 3 work colleagues who live in the local area, and who are all artists, to take a small film camera that I have provided and take some images of the local area. My intention is to start extending my approach to the initial psychogeography and explore ways that I can respond to these images.

Bibliography

Barthes, R., 2012. How to Live Together: Novelistic Simulations of Some Everyday Spaces. Translation Edition ed. New York: Columbia University Press.

Latham, J., Gudjonsson, G. and Russell, R. (2016). Sugar paper theories. 2nd ed. London: Here Press.