PHO704 Sustainable Prospects

Starting to consider the metaphysical landscape & looking at: Awoiska Van Der Molen

| Phil Hill

Identifying that I need to develop my approach to photographing the land to then create better links between people and place, I have started to consider key terms in how I might begin to interact with the land and the way that I photography differently.

Figure 1: Phil Hill (June, 2020) Garston Nature reserve, Watford.

Much of my recent research has focused away from an anthropocentric interpretation of the object, or at least acknowledging that the object also has an impact on the way that it can be interpreted by humans. Graham Harmon’s view of an object orientated ontology invites us to consider that “All objects must be given equal attention, whether they be human, natural, cultural, real or fictional” (2018: 6). I have given a considerable amount of attention into the way the inanimate has a fundamental impact on the animate reading, without fully appreciating how the conceptual and the metaphysical can also exist in this space (Fig: 1). It has been useful consider ways that the object exists without anthropocentrism thrust upon it however, ultimately my own interpretation will continue to shape the way that I approach anything. Additionally, the idea of giving everything equal attention as Harmon suggests has clearly not been evident in my work up to this point, leading to the feedback on the need for the metaphorical to be more present in my non-portraits – even referring to these images as non-portraits creates the sense for me and for the reader that they are merely secondary to the people I am photographing.

Linking

Roger W. Hepburn notes that any aesthetic appreciation of the landscape can also allow for reflection and more cognitive elements to exist alongside its visual appeal (1996: 191) however, there are also times where representation in art versus the reality of the scene might create dissonance in this appreciation:

“the aesthetic assimilation of human artefacts, industrial objects like pipelines, or a power station on an estuary, or a windfarm on a hilltop – drawing these into the world of his painting […] why is it quite different (for many people) with aesthetic appreciation of nature – revulsion at the slicing of a Down, let us say by a motorway cutting?”

(p. 193)

We seem to value the impact – even when negative – of humans on the landscape as if the art creates space for the aesthetic appreciation of degradation, which in some way might explain the appeal of subjects such the vernacular and the banal.

Wanting to start my exploration in the land within the idea of where the rural becomes urban (Beynon, et al., 2016), I could also start to see how the impact of humans starts to build up and become the city. Of course, the idea of rural has its own human trace and impact, especially in a country like the UK; it is quite a rare thing to discover an area that has be untouched by a human presence – in the south east anyway. Showing how the land changes as you move closer to the more urban elements of this area is something that can be explored in a relative straight forward way, allowing to experiment with methods of recording it. My first shoots therefore will aim to show this change and also the build-up of human traces, which may start to reveal how the community interacts with place.

Awoiska Van Der Molen
Figure 2: Awoiska van der Molen (2014) #245-18.

Awoiska Van Der Molen was suggested in the first webinar with Colin to one of my peers however, I decided to also look up her work and found that it really resonated with me. Molen seems to really utilise the medium of black and white film photography and traditional dark room methods (Fig:2), which is where much of my research led me during the last module; in order to better execute my own research project I felt it important to explore the aspects of the medium that I was using, push its boundaries and embrace its limitations. As I have written before, black and white also provides an established series of readings of a work, it also draws attention to the process of photography, which firmly places the photographer at the centre of the work, something that Molen acknowledges in her process. When referring to her exhibition prints and the “traces that someone was working on it” (Molen in French, 2020), which are formed from the traditional printing process that she uses. This drawing attention to the process of her photography is what separates her work from how Hepburn describes as the “aesthetic appeal” of other works that is without the cognitive recognition or “metaphysical imagination” (1996: 191) that Molen has specifically sought to move away from:

“so I found I was feeling really outside the landscape. Trip after trip this happened, until I decided I had to go deeper. I needed to find something beyond the kind of perspective we have learned from landscape painting and find something more personal”

(2020)

What is interesting about Molen’s comments is in the idea of learned knowledge from established tropes such as painting. I have been openly referencing how black and white draws from a learned knowledge and aim to continue this to a certain degree however, it is important not to fall into the trap of creating work that is a derivative of what already exists. Looking at Molen’s approach, it is possible to continue using the process in a way that still draws the attention to it but also not being a copy if what already exists. My reference to the documentary canon, should now start to develop into part of the process over full emulation.

Figure 3: Awoiska van der Molen (2014) #212-7.

The approach will need investigating. Do I aim to use the qualities of the camera or the qualities of post-production. Molen uses both at different stages to build her outcome (Fig: 3). Not to emulate (as stated above), I do want to see how each of these methods will have an impact on my work.

Bibliography

Beynon, M., Cawley, A. & Munday, M., 2016. Measuring and Understanding the differences between urban and rural areas, a new approach for planners. Environment and Planning B. Urban Analytics and city Science, 43(6).

Harmon, G., 2018. Object Orientated Ontology – A New Theory of Everything. 1st ed. London: Pelican Books.

Hepburn, R. W., 1996. Landscape and the Metaphysical Imagination. Environmental Values, 5(3), pp. 191-204.

Molen, A. v. d. M., 2020. Blanco: Silent Landscapes [Interview] 2020.

Continuing with Black and White

| Phil Hill

One of the key pieces of feedback that I received during the last module was that my images were coming across a bit ‘flat.’ I was a little surprised by this comment as I felt the aesthetic of my images and the flatness presented was reflective of the place that I was photographing. Crucially, I did not spend any time really discussing this in my CRJ so the feedback is fair in my lack of justification. Additionally, the images in my zine were definitely flatter than the digital version owing to the way that the work was printed. I take on board this feedback and will aim to work to explore different ways of editing and presenting the work for my next WIPP.

Underpinning my reasoning to continue with black and white is also how Vanessa Winship comments on its contrast to the way that we view the world (2015), which is supported by David Campany’s view that “the supposedly greater seriousness of black and white was also present in photojournalism, which remained distinct from the pages of colour advertising well into the 1950s” (2020: 36). This contrast is useful to construct ‘seriousness’ and also ‘nostalgia’ in a body of work, knowing that it can be read in an ‘already learned’ sense by the reader. This is also the reason why photographers such as Alec Soth utilise it to create a perceived sense of a world that used to exist, yet probably never existed, or only existent through the photographs that we learned it from. It was useful for me to explore this throughout the last module to see how its use can impact the images that I am producing. Campany also offers additional interpretation in the value placed onto the black and white image: “The habits and criteria for art photography were formed in relation to black and white, and were entrenched by those who could not see beyond colour’s association with commerce and entertainment” (p. 36). This view again shows how the contrast is impacting the reading of the images and can be a powerful tool to start shaping it using these inherent qualities.

I want to continue to utilise black and white for this next module’s work, I feel that the medium lends an aspect of consistency to the work that I have not had before. My project intends to continue building on the ideas that I developed during the last module; in the idea of connection to place and my aesthetic choices to represent it. I spent a great deal of time investigating the impact of these choices on the outcome of the images and to build on this, I aim to take the technical and apply it more to the metaphorical and the conceptual, which is crucial to a well-executed project.

Contrast in the image

There is an argument that any kind of manipulation of the image is an act of misrepresentation of the truth in the image. My editing, or lack thereof, may have been in part aiming to follow some kind of ethical trope. Knowing however, that all images are constructions, then is seems clear that the editing of the work becomes another step in the workflow of making that image – in camera, in post-production.

Bibliography

Campany, D., 2020. On Photographs. 1 ed. London: Thames and Hudson.

Stein, S., 2020. Migrant Mother Migrant Gender. 1 ed. London: Mack.

Winship, V., 2015. A Small Voice: Conversations with Photographers – 082 – Vanessa Winship: “And Time Folds” Special [Interview] (11 September 2015).

Research Methods

| Phil Hill

For this module, I intend to focus my research into testing a number of ideas ready for the FMP. I have spent the last three modules looking at the idea of community and my connection to it, which has been fairly outward in its focus when actually, my work is about me. My aim is to broaden my reading to consider theory outside of the field of photography. For example, Ferdinand Toiness defines two types of community: Gemeinschaft (family, personal, emotional connection) and Gessellschaft (societal, impersonal, civic connection) (2001). My project has been very much based in the Gessellschaft and I realised during the break that I should also consider more of an emotional and personal connection to the work that I am creating, which could result in a stronger body of work.

My feedback reflected this for the last module in how I need to create more metaphor in my non-portraits, which also create a link between the people and the land they inhabit. My research will center on this and bring in anthropological elements to hopefully make the links I am currently lacking

I also have a number of plans to produce work, either directly from my research projects, or related to the ideas that I exploring in more of a commercially focussed way. As David Campany notes: “The commercial images that survive their principle function are the ones that are better than the principle function required, or deserved” (2020, p. 26), which suggests that it is possible to create meaningful work that exists in both the commercial and conceptual spheres, yet able to transcend the context of commerciality.

Figure 1: Alys Tomlinson (2019) From ‘ex-voto’
Alys Tomlinson

Tomlinson’s work is deeply rooted in research and underpinned by her anthropological approach to her subjects. Her own MA was in the field of Anthropology and it was during that time, which she created the body of work ‘ex-voto’ (Fig:1) Her use of black and white is what drew me to the images in the first place and how she discussed the way that she made this switch from colour from a need to slow down her practice and be more considered. The initial work that led to the switch then became part of her research and informed the final body of work. Tomlinson had an increased awareness of the location she was photographing and how the people were linked to the land, which she was able to consider from all of the initial visits to the location and also the initial images, even if they are in colour.

Figure 2: Bryan Schutmaat (2015) From ‘Grays the Mountain Send’
Bryan Schutmaat

Schutmaat’s approach is based in the first-hand experience of the area steeped in its own mythology (Fig:2). Schutmaat avoids detailed research into the history of a location and instead reads regional literature and works to understand the culture by observation and also by talking with local people and spending time where people are. Schutmaat’s approach is in the construction of the place, which is supported by an overview of the area beforehand. This creates discovery, and as he put it “inventing a sense of place” (Schutmaat in Pollock: 2011) Although, in interview, Schutmaat is trying to steer away from the idea of a research based approach, it is clear that it exists in his images. It makes sense to look at regional literature that might seek to create an ideal when Schutmaat is working to create a mythology in his work.

Applied to my practice

Tomlinson takes a very anthropological approach to her photographic work, clearly driven by her own Anthropological background. When looking at the forum for this week, it is clear that anthropology is an area of significance when considering photographic studies that explore concepts similar to my own research project – connection, identity, community. I aim to bring this area of research into the centre of my reading for this module and start to see how the theory can really underpin and clarify what I am aiming to achieve within my own work.

I find Schutmaat’s approach to researching his subjects quite interesting too. The use of literature about an area and the culture could prove useful to developing my research project. It is something that I did – without realising – during informing contexts as I utilised Junichiro Tanizaki’s ‘In Praise of Shadow’s’ (2001) to support the development of my project during the lock down period. A more focused approach to this could be useful and finding material and literature that is set in the area that I am trying to photograph.

Bibliography

Campany, D., 2020. On Photographs. 1 ed. London: Thames and Hudson.

Pollock, D., n.d. BRYAN SCHUTMAAT. THE PROCESS OF DISCOVERY. [Online]
Available at: https://urbanautica.com/interview/bryan-schutmaat-the-process-of-discovery/348 [Accessed 22 September 2020].

Tanizaki, J., 2001. In Praise of Shadows. London: Vintage.

Tönnies, F., 2001. Community and Civil Society. Translation ed. Cambridge: Cambridge University Press.

New Materialism & Object Agency – Another ‘Berlin’

| Phil Hill

During the module break, I aimed to consolidate some of the research that I have been doing on the photographic object and the idea of agency in both animate and inanimate objects, which has become important in the way that I start to include myself into the images that I produce. I wrote an essay that also coincided with a ‘call for papers’ on new materialism from Canadian art journal ‘Esse.’ As a lecturer, I am keen to develop my theoretical underpinning of my art practice and consider writing a fundamental area to support my practice.

View essay: ‘Object Agency – Interpreting Berlin’