Simon Roberts – Merrie Albion – Landscape Studies of a Small Island – Study Visit – 10/3/2018

I took it upon myself to make a study visit on 10th March 2018 to see Simon Roberts’ Merrie Albion exhibition on the last day it was open! I am glad I did because it made me realise a few things about Roberts’ approach (by seeing his massive prints in person) that I hadn’t completely grasped when I wrote a post about We English a while ago.

Merrie Albion - Landscape Studies of a Small Island Exhibition
Merrie Albion – Landscape Studies of a Small Island Exhibition

The main thing I came away with was that Roberts doesn’t just choose any random subject and photograph it from above. Invariably he chooses events to document people interacting with the British landscape and obviously feels it is more effective to adopt an elevated position in the majority of his viewpoints of such events. I would have to agree that his approach in choosing a high vantage point works for his subject. Viewing his beautiful and consistently huge prints in person was a rewarding experience. This was because it was appreciable the amount of skill that went into taking the photographs in the first place (on a large format 5×4 camera) but also the print quality rendered lots of detail and pleasing colours. More importantly however I could take in the scene from a perspective which allowed me to see relationships between the different people but also juxtaposed with the setting they inhabit.

An Old Photograph Taken from a High Viewpoint But with No Real Subject or Event Taking Place
An Old Photograph Taken from a High Viewpoint But with No Real Subject or Event Taking Place

If Robert’s work didn’t concentrate on events in the landscape would it be as effective? I wouldn’t say so for the reason it would still look nice but it would become more incidental and the tableaus wouldn’t have as much meaning. While this might seem pretty obvious what I am trying to get at is that this is a niche that Roberts’ has found and used to his advantage very well.  If I were to imitate Roberts’ work in my own it would have plenty of meaning and pleasing aesthetics but the style is quite rigid and I couldn’t foresee much different I could do to make it my own. However, by looking at his work on the study visit I started to wonder about how the people in the scenes looked almost like they were part of a performance. It might be possible to play upon the performance aspect of his work in certain ways.

One way I could envisage this working would be to choreograph some kind of (random, not yet an event) performance in front of the camera and have the camera be set up at eye level (unlike Roberts’ approach). The reasoning for the camera being set up at eye level rather than from a higher viewpoint would be in order to subvert the fact that the performance isn’t happening naturally anymore; it’s being choreographed. One example of a choreographed-based performance I could imagine occurring in front of the camera would be myself moving around in front of the camera (while it is set on a tripod and an interval timer) and perhaps interacting with people in the vicinity. This kind of performance intersects the usual gaze of the photographer being behind the camera which is documenting the scene in front of it.

© Simon Roberts (2008) - Broadstairs Dickens Festival, Isle of Thanet, 2008
© Simon Roberts (2008) – Broadstairs Dickens Festival, Isle of Thanet, 2008

Therefore by visiting Simon Roberts’ exhibition on the very last day it was open I have been able to find a new idea that differs in many ways from his style of photography but yet shares one key feature; that of performance in the landscape. Admittedly I am yet to try out this idea but I will endeavour to do so and see how it pans out.


Simon Roberts – Merrie Albion – Landscape Studies of a Small Island [Exhibition] 19 Jan – 10 Mar 2018. Flowers Gallery, London Kingsland Road.


Open See by Jim Goldberg – Does This Project Fuse Documentary and Art?

I thought Jim Goldberg’s project Open See was very interesting and imaginatively presented but also was very saddening and melancholy due to its subject matter. He chose to employ surprising visual strategies and methods for presentation considering the subject (of immigrants and their hard journey’s to supposedly better futures) is so sobering. Here he often used overlays to the photographs themselves in the form of coloured text. He also framed the photographs in unorthodox ways like taping round the edges onto a dark background or using coloured pen to frame the subjects. At first glance this seems almost amateurish presentation but by looking closer and observing the videos that are also available to see on the website it seems to me that this overall aesthetic is coherent and intentional.

© Jim Goldberg/Magnum Photos - GREECE. Athens. 2003. Muzaffar "Alex" Jafari writes about his journey on foot from Afghanistan to Greece via Iran. Now Alex is in school and supports himself by working in a call center.
© Jim Goldberg/Magnum Photos – GREECE. Athens. 2003. Muzaffar “Alex” Jafari writes about his journey on foot from Afghanistan to Greece via Iran. Now Alex is in school and supports himself by working in a call center.

The reason Goldberg uses these methods is so the immigrants can tell their story with the photographs underlaid providing a stark reminder of the realities they face or have faced. Some stories show that the immigrants feel there will be a better future in Europe and are looking forwards but the reality (the photographs and text overlaid together) suggest otherwise. Other stories are less optimistic and the photographs provided underneath the text back this up. Also the videos the website links (of the paper boats and books being made out of the project) show their perilous situations and makes bare the disturbing insignificance some people ascribe to immigrants’ lives. This was apparent not only in the story about the boat carrying immigrants crashing into waves, read by a young girl but also by the fact they were folding the paper holding the immigrants’ photos and stories into a origami boat. This for me reflected with irony the plight of some immigrants and the challenges they face being accepted into the Western world. I felt the videos were not only consistent with the rest of the project but added to its meaning.

© Jim Goldberg/Magnum Photos - UKRAINE. 2006. Larysa, 39 years old. (Translation) "I was a dancer and sold to a man who was a terrorist- he held a gun to my head. Somehow I was rescued and escaped, but the fear has left scars on my heart. (and I will never be the same)"
© Jim Goldberg/Magnum Photos – UKRAINE. 2006. Larysa, 39 years old. (Translation) “I was a dancer and sold to a man who was a terrorist- he held a gun to my head. Somehow I was rescued and escaped, but the fear has left scars on my heart. (and I will never be the same)”

Using the photographs for the projects in this way showed the materiality of the image, how sometimes the image is not just a transparent object. It also for me showed the vulnerability of the immigrants. Therefore in my opinion Jim Goldberg’s Open See project works powerfully and the interactivity of the origami boats and paper books takes the traditional gallery space and transforms it into something more physical.


Goldberg, J. (n.d.). OPEN SEE – JIM GOLDBERG. [online] Available at: [Accessed 21 Mar. 2018].

Photographs Inspired by Chris Dorley-Brown and Peter Funch

I had started developing a tripod-based composite approach to some of my landscape photographs, most notably for Photograph 1 – Assignment 5 – Landscape. I was fascinated by the way it was possible to composite people in different places of a scene while using a tripod to maintain the same framing. By adopting such an approach I was able to alter the meaning of the scene in relation to the people it contained as well as between the people themselves (all of them were holding smartphones).

© Johnathan Hall - Photograph 1 - Assignment 5 - Landscape
© Johnathan Hall – Photograph 1 – Assignment 5 – Landscape

As I have been going though the documentary course I have come across many artists. A couple of them I have found employ a similar approach although to varying degrees of people being composited into the final photograph. Peter Funch is on the extreme side where he composites very large numbers of people into the final photograph; often who are similar to one another in their attire. They are similar to each other so the viewer can establish a connection based on juxtaposition of all these people in the same frame. Although much of his work lacks believability, because each image is put together into a single frame there is still a moment of your eyes daring you to believe what you are seeing is not real. This I believe is because we have traditionally always seen photographs as evidence of a reality and I would suggest Peter Funch takes advantage of us not wholly being able to prove otherwise.

© Peter Funch (2008) Memory Lane
© Peter Funch (2008) Memory Lane

On the less extreme side being more photo-realistic is the work of Chris Dorley-Brown. Much of his photographs are based in Hackney and I felt there was something to learn from his dedication to one area, presumably his local area. I don’t have evidence to be certain he used a tripod and composites some of his photographs other than by analysing his photographs. Quite a few of them have people in the scene who are juxtaposed with other people in meaningful manners that I could discern couldn’t be possible without the use of composite work on a tripod. The reason this was important to me was it informs my practice. I could begin to understand how Chris Dorley-Brown had achieved these visually appealing and yet meaningful photographs, almost in the style of a tableau.

© Chris Dorley-Brown (2009) Rio Cinema 2009, Corner of Sandringham Road and Kingsland Road, Hackney, London UK
© Chris Dorley-Brown (2009) Rio Cinema 2009, Corner of Sandringham Road and Kingsland Road, Hackney, London UK

Using the same techniques I had used in Photograph 1 – Assignment 5 – Landscape but looking at the subtle way Chris Dorley-Brown had used similar techniques in his practice, I tried to capture tableau by juxtaposing people with their surroundings but also with each other. Telling a story like Chris Dorley-Brown had managed I found was a much more difficult task than creating a visually appealing photograph for each scene. However, I tried multiple times anyway with varying degrees of success.

© Johnathan Hall - Brick Lane, Shoreditch I
© Johnathan Hall – Brick Lane, Shoreditch I

Choosing suitable locations for the framing of the photographs was more challenging too than I had imagined. I found it was desirable to search for intersections of roads or at least a scene which offered some kind of depth to it so the people didn’t appear superimposed and any potential story was more forthcoming.

© Johnathan Hall - Brick Lane, Shoreditch II
© Johnathan Hall – Brick Lane, Shoreditch II

One photograph in particular I felt was quite convincing in telling a story through a single image as I came across a scene in Green Park, London where couples liked to walk. By patiently waiting I was able to juxtapose various couples holding hands walking in Green Park. This was in the style of Peter Funch in the regard that the people all shared a certain trait (they were all couples) but in my opinion was more photo-realistic like with Chris Dorley-Brown.

© Johnathan Hall - Couples in Green Park
© Johnathan Hall – Couples in Green Park

Going forwards I could see this approach being a useful technique for capturing tourists using their smartphones for selfies at famous landmarks in London (for Assignment 5 – Documentary). The style of these shots would be less photo-realistic, more like Peter Funch’s because you would be unlikely to get lots of people taking selfies simultaneously. Having said that, there are a lot of tourists taking selfies in London!

© Johnathan Hall - Spital Square
© Johnathan Hall – Spital Square
© Johnathan Hall - At My Local Park
© Johnathan Hall – At My Local Park
© Johnathan Hall - Whitecross Street
© Johnathan Hall – Whitecross Street
© Johnathan Hall - Underneath Bridge Beside Waterloo East Station
© Johnathan Hall – Underneath Bridge Beside Waterloo East Station

Cruel and Tender Exhibition

The ‘Photographic ‘truth’’ section of the Cruel and Tender: The Real in the Twentieth-Century Photograph (2003) exhibition’s Teacher’s Pack summed up nicely some notions about truth in photography. It addressed some issues I had been contemplating recently: ‘What we see in a photograph is always the result of a choice the photographer has made as he or she edits and sifts through the world around.’ – (, 2003) being a prime example. Documentary photographers can’t on their own cover everything in the world at any one time so of course it is subjective the information they seek and put forwards in their photographs. The way they put forwards this information in the photographs is subjective too. Because each photographer has varying interests and learned experiences in the world they approach photographing it differently. This thought has been conceived by myself before in: Two Levels to Subjectivity?.

It also raised questions over: ‘How can its [the photographic print] flatness ever make a true representation of a complex, three-dimensional scene?’ – (, 2003). The Teacher’s Pack didn’t answer this question directly; however it did get me thinking of how the 2-d shape of the photographic print medium could possibly be used to create a 3-d space. My mind wandered to the work of Tom Hunter’s (1993-1994) 3-d model project: \‘The Ghetto\’, street.’. Here he cleverly used 2-d photographs in a 3-d miniature space from the perspective of someone from the outside looking in, which lent perfectly to the photograph’s flatness. It made me wonder about how sculpture and photograph can intertwine and implementing this in my own work.

© Robert Heinecken (1966) Figure Sections/(Multiple Solution Puzzle)
© Robert Heinecken (1966) Figure Sections/(Multiple Solution Puzzle)

I performed a search on a search engine and found the exhibition Photography into Sculpture (1970) in the Museum of Modern Art. One of the first artists I looked at who featured in this exhibition was Robert Heinecken and he used photographs in sculptures which were then seemingly incidentally photographed. I liked the way the photographs were still clearly discernible but yet part of a bigger picture (or puzzle in this case). The puzzle was a sculpture which cleverly had multiple ways for it to be solved or viewed at (or photographed from). This was open to viewer interpretation which I liked and it also made me ponder on whether the artist had intended for the sculpture to be viewed in a certain way when he made it. Therefore the manner the sculpture was photographed (one edge of the sculpture facing towards the viewer so two sides were visible) intrigued me. Obviously in the exhibition you would be able to see the sculpture from all four sides but in the photograph you were more limited which is true of most photographic framing. This goes back to subjectivity in a photograph, the photographer has to make a choice (subconsciously or not) how to frame their subject.

© Fazal Sheikh (1993) Alima Hassan Abdullai and her brother Mahmoud, Somali refugee camp, Mandera, Kenya, 1993, from the series A Camel for the Son
© Fazal Sheikh (1993) Alima Hassan Abdullai and her brother Mahmoud, Somali refugee camp, Mandera, Kenya, 1993, from the series A Camel for the Son

A way to add extra information to inform the viewer is to contextualise the work through the use of text. Many documentary photographers have traditionally used captions or supporting texts for their photographs/projects. Fazal Sheikh takes this a step further by ‘recording all the information concerning the person photographed, time, place and other information, but also in the way he displays and organises the methods of distribution for his books which benefit human rights agencies’. This kind of comprehensive text contextualisation is clearly a conscious decision by the photographer to aid the viewer in their understanding of the photograph/project. I would say this methodology works for certain subjects. The subjects Sheikh decided to commit to for one of his projects in a Somali refugee camp for instance, benefited from this recording of extraneous information other than ‘just’ the photograph. This was because in my opinion the people depicted gained extra status for the reader of the photograph’s gaze. The dignified way the photographs were taken also added credence to the fact the refugees were real people but who had suffered worse than other people.

The Teacher’s Pack compares Fazal Sheikh’s way of working with Martin Parr’s work (like The Last Resort (1983-5)) and I thought this was an apt comparison. Parr often gives less respect to his subjects; photographing them satirically and captioning them minimally. I would suggest both projects work but in different ways. Sheikh treats his subjects respectfully and with dignity and presents them in a serious manner, for the reason it is a serious project. Parr on the other hand lets his photographs speak for themselves, as good humour doesn’t need explaining. There is a more serious edge to the images though as they tend to depict the more rundown sides to the beaches of Brighton in that time.


Heinecken, R. (1966). Figure Sections/(Multiple Solution Puzzle). [Photograph] Retrieved from: [Accessed 5 Mar. 2018].

Hunter, T. (1993-94). \‘The Ghetto\’, street.’. [online] Available at: [Accessed 5 Mar. 2018].

Parr, M (1983-5). The Last Resort. [online] Available at: [Accessed 5 Mar. 2018].

Photography into Sculpture (1970). The Museum of Modern Art [Exhibition] April 8–July 5, 1970.

Sheikh, F. (1993). Alima Hassan Abdullai and her brother Mahmoud, Somali refugee camp, Mandera, Kenya, 1993, from the series A Camel for the Son. [Photograph] Retrieved from: [Accessed 5 Mar. 2018]. (2003). Teacher’s Pack – Cruel and Tender: The Real in the Twentieth-Century Photograph. [online] Available at: [Accessed 5 Mar. 2018].

Assignment 4 – Documentary – Critical Review

Does the type of aesthetic approach employed by the photographer affect the accessibility of the work to an audience?


Aesthetics are a key attribute of a photograph. They affect the reader’s gaze and so photographers are faced with the question of whether to make their photographs aesthetically-pleasing or gritty and true-to-life. What constitutes ‘aesthetically-pleasing’ or ‘gritty and true-to-life’ is a very subjective topic though, due to the fact that each viewer’s taste for pleasing aesthetics varies. ‘Judging beauty and other aesthetic qualities of photographs is a highly subjective task.’ – (Datta, Joshi, Li, Wang, 2006). Although this is a subjective task, by using a computational approach it has been possible to see ‘there exist certain visual properties which make photographs, in general, more aesthetically beautiful.’ – (Datta, Joshi, Li, Wang, 2006). Therefore although aesthetics are subjective, they do conform somewhat to a standard. It is our natural inclination to make aesthetically-pleasing photographs too: ‘Except for those situations in which the camera is used to document, or to mark social rites, what moves people to take photographs is finding something beautiful.’ – (Sontag, 1977). The intended usage of the photograph is one factor to take into account because it can dictate whether a photograph is used to document or to find something beautiful.

Certain photographers combine these two disciplines (documenting and finding something beautiful) to express powerfully their vision and one such photographer is Sebastião Salgado. ‘In their strong formal design, Salgado’s pictures revive photographic modernism with its emphasis on geometry and visual contrast. Beauty is pressed into the service of an old-fashioned humanism…’ – (Stallabrass, 1997). This description of his photographic approach shows Salgado’s strong aesthetics but also hints at his moral code when taking these photographs. Although he has been very successful in his projects, he has also been criticised by some for the beauty inherent in even his most haunting photojournalistic photographs. One prominent critic of Salgado’s ‘aestheticisation’ of suffering was Ingrid Sischy. She argued that ‘this beautification of tragedy results in pictures that ultimately reinforce our passivity toward the experience they reveal.’ – (Sischy, 1991). By combining documenting something factual with the aestheticising of these facts, Salgado is in fact detracting from the photographs’ message in terms of their power to portray the truth of what they depict.


Fig. 1. © Sebastião Salgado (1983) Children playing with animals bones, Brazil
Fig. 1. © Sebastião Salgado (1983) Children playing with animals bones, Brazil


I would agree on a base level that the viewer of such photographs (Salgado’s beautiful documents) is more likely to be distracted from the message because of the aesthetics than had the photographs simply aimed to portray ‘the truth’. For example with Fig. 1, (Mraz, 2002) makes the point that: ‘The photo’s psychological tone is set by the solemn expressions on the children’s faces and their prostration on the floor’. In my eyes though the ethereal lighting from solely the open doorway with the strong tones of light and dark created from this (especially on the bones themselves) capture and divert my attention for far longer. However, I would also then suggest the critic of such an argument – that Salgado’s aesthetics distract from the message – is missing a vital point. Salgado’s projects clearly reach a great audience and in this regard at least he has been successful. If his works’ aesthetics were not so powerful and beautiful would his work have reached so massive an audience? Therefore perhaps Salgado is looking at the wider picture in so far as getting a message across, even if it means aestheticising the facts.

So far I have only been concerned with superficial aesthetics of photography as this is the foremost feature people get to when looking at photographs. Photographs can also be regarded as beautiful beneath their outward appearance and I would assert that this gives such photographs more liability to possess deeper meaning once the message has been uncovered. A photographer I have recently been to an exhibition of: Thomas Ruff springs to mind as an example where the work is not immediately beautiful (at least to my eye) but instead the viewer has to read into the work to find beautiful meanings within the work. One of his most famous projects: Portraits 1986-1991 (see Fig. 2) employs several strategies to enable the viewer to find meaning within the work which I myself found beautiful. Showing Fig. 2 in this size on my blog felt like I was doing a disservice to the impact the enormous print has on the viewer when looking at it in a gallery. On the other hand the superficial aesthetics were not particularly pleasing to the eye; the photographs depicting the blank expressions of people Ruff knew from those years. However, this is part of the ruse where Ruff produces these massive prints of vacant faces, enticing the viewer to wonder why they are printed so monumentally big when they are just like passport pictures. Unearthing the message beneath – for me it was that the passport style pictures allow the viewer their own interpretation of the sitter which is ultimately a contrived one – was a rewarding experience.


Fig. 2. © Thomas Ruff (1988) Porträt (P. Stadtbäumer)
Fig. 2. © Thomas Ruff (1988) Porträt (P. Stadtbäumer)


Although I picked up on this meaning somewhat by myself I still had to back up my assertions from another source – ‘a portrait by Ruff looks like a very large passport photograph. … Any personality a sitter may have is there because you, the viewer, have projected your own feelings and prejudices on to the image.’ – (Dorment, 2003). In my opinion this gaining of understanding, while rewarding, is also less immediate and has less widespread ‘appeal’ than the superficially beautiful work of, for example Salgado. Because the reader has to search for the beauty embedded inside rather than on the surface, more casual readers may not bother gaining understanding from work like Ruff’s, where the aesthetics are imbued within. Looking at this from an aesthetic point of view it would be possible to argue that both draw from the vernacular: Ruff playing upon it intentionally by taking all the ‘accidental’ elements out of the traditional vernacular and using them to his advantage like with his Portraits 1986-1991 project (see Fig. 2). On the other hand, Salgado employs telling juxtapositions (like the children juxtaposed with the bones in Fig. 1) and combines this with selective framing and often dramatic, otherworldly lighting. All of this becomes unified because Salgado continues to utilise the black and white medium. Although this might seem like the opposite of traditional vernacular imagery – where colourful, seemingly accidental snapshots are prevalent, looking closer it seems Salgado has culminated the ingredients of the vernacular into a more sophisticated version.


Fig. 3. Photograph 4 - Assignment 3 - Documentary
Fig. 3. Photograph 4 – Assignment 3 – Documentary


I have until recently always given slight precedence to the superficial aesthetics attribute of my photography and in part it has defined the images I’ve produced for my projects. In hindsight this was perhaps an attempt to move it away from the vernacular type imagery pervading social media. With Assignment 3 – Documentary (see Fig. 3) I turned my attention away from my inward battle between superficial aesthetics and meaning. Instead I put my efforts into telling a convincing story; letting meaning come first and putting aesthetics to the side. Interestingly I found they were still linked as the aesthetics when consistent, combined to tell a more immersive story. However, I noticed certain photographers disregarded superficial aesthetics altogether or even deliberately to make them gritty such as Daido Moriyama. 


Fig. 4. © Daido Moriyama (1969) Eros
Fig. 4. © Daido Moriyama (1969) Eros


Moriyama at the time he was taking photos on the streets of Tokyo (in the 1960s) prescribed like the group of left-wing photographers he joined to a style developed to break away from aesthetic conventions of a ‘good’ photograph found in European and American photography. They instead employed an aesthetic that ‘was identified with the expression ‘are, bure, boke’ – grainy, blurry and out of focus, in reference to the three main characteristics that distinguished the group’s images’ – (Scaldaferri , 2017). Moriyama’s reasoning for using such gritty aesthetics (see Fig. 4) was that he was ‘Refusing the idea that the photographic medium could only be used to produce archival documents,’ instead ‘putting an accent on its image-making capability’ – (Scaldaferri , 2017). He thereby used the aesthetics of as a conduit to express his emotions about the state of Tokyo’s dark streets at that time. Moriyama was and remains very popular, influencing other photographers and young people especially in Japan: ‘The older generation appreciates a lot of Daido’s work, but right now he is very, very popular among young people’ – (Uematsu, 2012). However, the appeal of his work is not as widespread (outside of Japan) as say Salgado and I would argue this is because it does not conform to (a Western at least) standard taste for the beautiful which has been more popular. An important note this brings up is the subjectivity of aesthetics because the emotion Moriyama’s work evokes clearly affects certain viewers more than others. What I could see influencing me from Moriyama’s work would be the understanding that the process of making an image can be far more important in terms of emotion conveyed in this process than the aesthetic. Having said this, Moriyama clearly intends to go consistently for the ‘are, bure, boke’ look. For me this deliberation could be because his work transcends the traditional vernacular with the choice of black and white medium and emotion caught in the frames.



While it may be true that photographs with gritty superficial aesthetics are not as accessible as work which conforms to our standard taste for the beautiful, often there is a space for deeper meaning to be accessed by the viewer in the work. This could be whether it is intended by the photographer – by playing upon the vernacular – or not. As long as the work is consistent too the viewer may gain more from a set of photographs than a singular, glorified image. Also it may well be important to the photographer to display emotion in their photographs which in itself could be considered beautiful. In a funny kind of way photographic projects with aesthetics that don’t conform to a standard taste for the beautiful have more art value than work which doesn’t play on the vernacular or is less emotional. All of this depends on what kind of impact the photographer wishes to make and to what type of audience.

‘something considered beautiful conforms to a standard taste, whereas something considered as ugly may confront our present sensibility and bring out a new one.’ – (Fontcuberta and Feustel, 2010). While this quote by Joan Fontcuberta when talking about beauty shows that a deeper meaning or even new sensibilities may be brought out when we are faced with work that is not superficially beautiful, I would suggest it tends to lose the widespread appeal that comes from conforming to our (natural) taste for the beautiful. Yet I would also make the point that confronting our current sensibility and potentially bringing out a new sensibility may be more important to many photographers/artists. This would be especially true considering the current climate of image making where social media platforms are over saturated with similar images that conform to our standard taste for the beautiful.

Word count: 1,860


Datta R., Joshi D., Li J., Wang J.Z. (2006). Studying Aesthetics in Photographic Images Using a Computational Approach. In: Leonardis A., Bischof H., Pinz A. (eds) Computer Vision – ECCV 2006. ECCV 2006. Lecture Notes in Computer Science, vol 3953. Springer, Berlin, Heidelberg

Dorment, R. (2003). PHOTOGRAPHY IN FOCUS The deadpan images created by Thomas Ruff – of nameless individuals and equally anonymous places – are masterpieces of austere neutrality. By Richard Dorment Now for something completely indifferent. [online] Available at: [Accessed 27 Nov. 2017].

Fontcuberta, J. and Feustel, M. (2010). Interview: Joan Fontcuberta, Landscapes without memory. [online] Marc Feustel. Available at: [Accessed 27 Nov. 2017].

Moriyama, D. (1969). Eros. [Photograph] Retrieved from: [Accessed 3 Jan. 2018].

Ruff, T. (1988). Porträt (P. Stadtbäumer). [Photograph] Retrieved from: [Accessed 12 Dec. 2017].

Salgado, S. (1983). Children playing with animals bones, Brazil. [Photograph] Retrieved from:–brazil-children-games.jpg [Accessed 12 Dec. 2017].

Scaldaferri, G. (2017). Discover The Captivating Work Of Acclaimed Japanese Photographer, Daido Moriyama. [online] Culture Trip. Available at: [Accessed 3 Jan. 2018].

Sischy, I. (1991). ‘Good Intentions’. In The New Yorker (9th Sep. 1991) [Online] Available at: [Accessed on 23 Nov. 2017].

Sontag, S. (1977). On Photography, 1st ed. [ebook], Penguin Books Ltd, 80 Strand, London, WC2R ORL, England, Chapter 4, pp. 62.

Stallabrass, J. (1997). ‘Sebastião Salgado and Fine Art Journalism’. In Mraz, J. (2002). Sebastião Salgado: Ways of Seeing Latin America [Online] Available at: [Accessed 12 Dec. 2017].

Uematsu, E. (n.d.). In. Birmingham, L. (2012). “Labyrinth” by Daido Moriyama: Contacting the Urban Jungle. [online] Available at: [Accessed 7 Jan. 2018].

Study Hangout 10/12/2017

On 10/12 2017 Bryn, Anne and myself attended a study hangout.

We talked in detail about our respective critical reviews. Anne was quite pleased with her feedback for hers as it was quite positive with some changes necessary, thankfully not as many as she’d feared.

I admitted I was partly stuck with my essay but was awaiting a response from my tutor regarding some questions I’d come to realise were bugging me about my writing and investigation into aesthetics in photography.

Amendment (22/12/2017):

I have since received an email from my tutor regarding my questions about my critical review which I found very helpful and have commenced writing the critical review, while taking into account suggestions based upon my questions my tutor had made.

Bryn communicated that he had read up quite a bit some of the primary resources from the course which was helping to inform his critical review and was starting to look at secondary sources to further back up these readings. Also he discussed how he might include in his essay something about how it was desirable to have a larger project to work on and have continuation with instead of having to constantly reinvent the wheel for each project. Hiroshi Sugimoto has this large project continuation in his Seascapes project which he works on in combination with shorter projects which Bryn admired.

Bryn asked Anne whether she might go back to the Gloucester Docks again for Assignment 5 so that her projects had a continued theme and she said may consider it. Also Anne described her interactive exhibition for the Somerset exhibition of OCA students which sounded very interesting. Here she asked exhibition-goers to reorder a set of photographs into the ‘right’ order that she had in mind and take a photograph of their perceived ‘right’ order and put that photograph in a guest book to document their participation.

Bryn asked Anne if she might consider doing something interactive in the Gloucester Docks similar to this and she said it was a possibility.

Lastly I talked about my ideas for Assignment 5 with Bryn which concern tourism in the city I live in of London. Here I would basically be taking a spoof tourist role, documenting my experience in the city from the perspective of a tourist in London, with myself falling for the usual tourist traps and hotspots/landmarks that a usual tourist would but with twists in the photos used to document this act. The twists would be present in order for the viewer to be able to discern it was a spoof tourist role I was taking.

Study Hangout 19/11/2017

Today I attended a study hangout with Anne, Bryn and Michael. We talked about very in depth subjects surrounding the ethics of photography including authentication of photographs as documents, subjectivity in photography related to the myth of objectivity, the death of the author and manipulation of the message. We related these in depth subjects with photography artists; the most prominent of these artists being Sebastião Salgado, closely followed by Don McCullin and then Martin Parr. Michael introduced us to the work of Simon Norfolk briefly who I aim to look at more closely as his work at first glance looked very interesting. I was not sure why our conversation was so theoretical but it may have been something to do with 75% of us having commenced work on the critical review or having just submitted it!

Balloon Vendor in Kabul - 2001 - From the Series: "Forensic Traces of War" © Simon Norfolk
Balloon Vendor in Kabul – 2001 – From the Series: “Forensic Traces of War” © Simon Norfolk

My opinions on the listed subjects were that it is very difficult to authenticate documents like photographs 100% as the viewer can usually interpret the evidence of photography being an indexical medium differently. This is even if supporting documents like text or (to a lesser degree) geotagging are included. I felt objectivity is a myth yet it is still possible to shoot in an objective style. Ultimately all photography is subjective (as even objective photography has its own aesthetic) but I would suggest some photography is more subjective than others. Relating to the death of the author, my stance was that this is true nowadays much more with the proliferation of images and ways of sharing them. Now it is not about who took the photograph but what the photograph depicts. The message of any photograph can be manipulated by means of supporting documents and other context like the photographer’s oeuvre.

We talked about the contrast in transparency of message between Salgado and McCullin where McCullin was very decisive in why he took photographs of war while Salgado’s reasoning seems more layered and less clear. We touched upon how my own critical review was going and I divulged that maybe the topic I’d chosen was proving to be too broad and therefore lacking direction. Finding relevant quotes and supporting work or photographs to back up my particular argument seemed like a way of tackling this.