I originally started Assignment 2 with aspirations to portray an abstract theme of ‘Loneliness’ through my 8 single-image narratives. In hindsight I perhaps theorised too much on the aesthetics of the images without applying practical experimentation in order to arrive at images which better suited my brief. This is part of the learning process however and I noted down this observation for later assignments.

The problem was that the images I produced initially, in my opinion, showed not ‘Loneliness’ but ‘Containment’. Lighting in the photographs produced was a major factor why the photographs worked not as intended – as ‘Loneliness’ – but rather as ‘Containment’. I theorised that by photographing a city in the early or late hours of the day when the lighting was quite dramatic I could draw attention to single figures in the composition at decisive moments. I felt I was successful in this regard but the overall aesthetic did not imply loneliness in the city. Instead the lighting combined with the single figure compositions only heightened a sense of containment within the city with quite an oppressive feel to the images pervading throughout. Therefore I was not fulfilling my brief I had assigned myself.

I have decided to put the images I produced on this blog post so the viewer can decide for themselves whether they fulfilled the assignment I had in mind but I was not convinced. Since in my mind I was attempting to develop (amongst other things) the skills of conveying a specific abstract theme to my intended target audience, I was not satisfied with simply changing the title of the series to ‘Containment’ from ‘Loneliness’.


While continuing the now titled: ‘Containment’ project in my own time I referred to my tutor for a bit of advice on how best to proceed with Assignment 2 – Documentary. I already had a few new ideas I had been experimenting with and once I had put my questions to him I found his response helped clear up in my head what I wanted to do.

Research into Henri Cartier-Bresson and Lewis Hine

Henri Cartier-Bresson was one of my favourite photographers before starting documentary and I had recently come across Lewis Hine, where I appreciated his connection with the subjects of the environmental portraits and admired his dedication to photographing the children working. Because I could foresee myself attempting to capture decisive moments at the brewery, Henri Cartier-bresson’s work became of more interest to me. Also, because I could see a connection with some of the children’s environmental portraits in Lewis Hine’s work, I felt this could help me show my connection to the brewery workers for Assignment 1 as part of the brief was to show my engagement with the people and their context.


The reason I felt the decisive moment would be important in the brewery was that it was quite a confined space. I would have to choose the right backgrounds and wait for a decisive moment or else work quickly and efficiently in finding a good composition for my photographs with the people in or outside the brewery. Henri Cartier-Bresson in my eyes was the master of the former of these two options and although I didn’t feel I would capture such charming decisive moments as he did, I could at least take the more literal sense of the phrase and press the shutter at the exact moment I felt the decisive moment was occurring. Also, I could move my feet especially seeing as I was using a prime lens to get a more decisive moment. While he worked exclusively in black and white (presumably to bring out the compositional elements, I was fairly adamant I would be working in colour. This was so the vibrancy of the brewery was evident which was the case in the times I had visited before.


‘Cartier-Bresson clearly saw photography containing a capability to document everyday life, where even mundane scenes can be defined through their decisive moments’ – (Errington, R. 2014) found at: http://the-artifice.com/history-within-photographic-concept/ accessed on 18/11/2016). This quote for me typified what the decisive moment stands for in my head. This concept would also be useful to me in regards to the assignment because although the brewery and its people were special to me, they wouldn’t seem special to the viewer in any way without the addition of a decisive moment for the photography. My documentary photography would be improved by the decisive moment because it was me who pressed the shutter at that particular time and so my interpretation the scene. Therefore, it would potentially show some of my engagement with my surroundings, in this case my community.


Another quote form the same article I found interesting: ‘photography illustrates the capability of documenting decisive moments in any scenario, due to its universal quality’ – (Errington, R. 2014) found at: http://the-artifice.com/history-within-photographic-concept/ accessed on 18/11/2016). This is in relation to Henri Cartier-Bresson’s concept of it and makes the decisive moment a powerful tool unique to photography in my eyes because it can capture a split-second unlike painting for example. I would try to utilise photography’s capabilities of the decisive moment by applying it to my local brewery in order to record moments not possible by other media. In doing so I could elevate what to others may well be everyday activity to instead offer an insight into my community and my engagement with it.


I had discovered the work of Lewis Hine when looking for documentary photographers. His photographs stood out to me as him having a very strong connection to the subjects, where a bond was palpable especially where eye contact with the subject was present. This was true even though most of the photographs I looked at were environmental portraits and as I envisaged taking photographs of this kind, I felt this was something I could learn from.


I found at: https://www.archives.gov/education/lessons/hine-photos (accessed on 18/11/2016) a fascinating article by National Archives (n.d.) entitled Teaching With Documents: Photographs of Lewis Hine: Documentation of Child Labor concerning Lewis Hine’s reasoning when taking the child labor photographs and his thought process while taking them. I ascertained he realised context was crucial for his photographs to become useful documents, therefore: ‘To obtain captions for his pictures, he interviewed the children on some pretext and then scribbled his notes with his hand hidden inside his pocket.’ – (National Archives, n.d.). Also insightful for me was that ‘Hine defined a good photograph as “a reproduction of impressions made upon the photographer which he desires to repeat to others.”’ – (National Archives – n.d.). I found this insightful because the photographer’s work is then subjective rather than objective and by offering an insight into the world of the photographer’s subjects, the viewer is given an opportunity to gain an understanding of not only that world but something of the photographer too.


By combining both Cartier-Bresson’s ‘decisive moment’ and Lewis Hine’s ‘photo-interpretation’ – (‘Because [Lewis Hine] realized his photographs were subjective, he described his work as “photo-interpretation.”’ – (National Archives n.d.)), I could perhaps begin to create my decisive moments with my own style in the photos I would be taking for the brewery. Therefore I might give insight for the viewer into my interpretation of the brewery.