Lately I have been focusing on photobook research and layout, but I must not forget that I also intend to exhibit prints as part of my final folio toward the end of the year. I was looking at the work of Vivian Cooper Smith, and whilst the subject matter or style does not particularly relate to my work, I did like the way that the large-scale prints of Interference Pattern (a joint series, created with Rebecca Najdowski) were exhibited. They are all overlapping each other, and not pinned down on the bottom two corners. This challenges the traditional way of exhibiting work in a gallery, but also gives the work a feel of movement and multiple depths. I liked this loose, unconventional style, but I am not sure if I can emulate it in my own series or not. For now, I just wanted to make note of it.
Today I will be reviewing Keiko Nomura’s photobook, Otari- Pristine Peaks (1). Before reading anything about this photobook, I decided to watch a video flip-through of it (2) so that I could view the images without any context or backstory. I wanted to focus on the images and the book itself, with not pre-conceived notions of what I was looking at.
To begin with, I noticed the simplicity of the layout used. Unlike many photobooks that I have been viewing as of late, there are no gatefolds, small attachments, secret flaps or min fold-out areas. The book maintains the traditional form of a book, with no flashy additions. I feel that this is quite refreshing, as it allows the viewer to simply focus on the images in the book, rather than being wowed or distracted by the intricacies of the book’s binding or layout. At the same time, this means that there is a greater focus on the strength of the images, as they must maintain the viewer’s interest. And they do! The images are not over the top or strong statements in themselves, but they are honest and natural in nature. There is the occasional line or two of text, but it is unobtrusive and sits neatly in the corner, always on its own page.
(3)
The book does seem to place an importance on nature. Of course, the photographer is working in an area that is quite rural, so the natural landscape is very apparent, and always present. I noticed that as the book progressed, the seasons began to flow too. The book starts very white and stark, with images of snow, hunting, and blood. These images seem cold and harsh, and have a slightly uninviting feel to them. From there, the colour palette explodes with the rich oranges of fire, which give way to a sudden burst of green and vibrant, lush images depicting the arrival of spring. With this, the subject matter moves away from animal carcasses to live animals, and the female human belly, plump with pregnancy. From there, the book transitions into deep oranges and golds of Autumn, and the focus moves back to the landscape itself. And then it ends, coming full circle to return to winter.
The changing of seasons is very important in Japanese culture, and I feel that this book depicts them in a subtle way. In using the natural cycle of the landscape to act as a type of narrative, the book flows easily, and viewers are encouraged to look at it again for a second, third, and fourth time, repeating that cycle. I think that the book also rewards those that continue turning pages past the harsh whites of the wintery images- just as those that inhabit the landscape are rewarded by the fruits of spring once they have endured the cold winter.
As a photobook, I think that it is simple in terms of layout and binding, but this simplicity supports the work. Nature is simple, and best viewed ‘as it is,’ undisturbed by human construction. Nomura’s photobook replicates that feeling- the photos speak loudest when they are unadorned by too much peripheral collateral.
(1) Nomura, K 2018, Otari - Pristine Peaks, Super Labo, Kamakura.
I think this is a new contender for one of my favourite photobooks ever. Watering My Horse by a Spring at the Foot of the Long Wall by Xiaoxiao Xu documents the people and places along the Great Wall of China, a road trip of 25,000 kilometers. Included in the series are hand drawn maps and documents with Chinese writing on them, which add to the feel of the images becoming a traveller’s journal. I am absolutely in love with the portraits, and the landscape images with their subdued colours and gentle hints of cherry blossom trees. The way that these images are displayed on Xu’s website also reads kind of like a journey. As you scroll vertically downwards, small paragraphs of text appear to explain a particular area or festival, and these help to segment the visual journey, acting in a similar way to markers or checkpoints. As we pass each checkpoint, the images subtly change as well (for example, a focus more on animal slaughter, or a specific festive event), whilst still retaining the feeling of being a journey as a whole.
I explored some of the other work on Xu’s website as well, and was particularly drawn to the series titled The Sound Of Stars. I like the washed out colour palette, the simplicity, the central framing, and the sense of emptiness that these images give. They are quiet and seem like precious moments that have been gently captured to safely store.
So it seems that my attempt at a ‘loose shooting’ style was a little too loose, and instead of creating images that are raw in nature and embody the ‘anti-aesthetic,’ I’ve just created images that are crap (and not “good crap” - a term that I use to describe this aesthetic in a positive way.) There is definitely an art to capturing the kind of image that I was aiming to take, but I am not yet sure exactly how to do that. For now, I will further research the work of other artists, and try to mimic the way they shoot loosely.
The work of Masafumi Sanai falls into this style of photography. There is a definite snapshot feel to the images, but at the same time they are interesting and intriguing (more so when viewed as a whole, in my opinion.) They seem unplanned and un-staged. Sometimes they are not in focus. They just have this authenticity, and a certain air about them that is hard to describe in words. I think the fact that they aren’t highly polished, and seem to be shot from the hip (or with limited thought toward composition) give them an authenticity and accessibility. I need to work out how I can emulate this in my own work, and turn my ”crap crap” images into “good crap.”
Sanai, M 2010, 島島, MATCH and Company Co., Ltd. Tokyo.
Sanai, M 2008,DUST, MATCH and Company Co., Ltd. Tokyo.
Sanai, M 2008, Trouble In Mind, MATCH and Company Co., Ltd. Tokyo.
Sanai, M 2011, パイロン, MATCH and Company Co., Ltd. Tokyo.
Sanai, M 2012, ラレー, MATCH and Company Co., Ltd. Tokyo.
Sanai, M 2008, 浮浪, MATCH and Company Co., Ltd. Tokyo.
Today I listened to a 70 minute conversation / interview with documentary photographer Lisa Barnard. Hosted by Brad Feuerhelm for Nearest Truth, I found it quite interesting in terms of some of the ethical issues raised. The discussions on the reality vs the fiction of a documentary photograph were also particularly engaging. Below I have taken some notes on the points that interested me most.
“Photography’s relationship to truth is incredibly lax.” Feuerhelm, 2019.
“What a documentary photograph should try to be about is some representational quality of a story or a truth.” Feuerhelm, 2019.
“Storytelling is pivotal to any culture.” Barnard, 2019.
“It’s imperative, in my view, that documentary photographers consider a fictional aspect of their work. And thats what I think separates it out from photojournalism.” Barnard, 2019.
“Always think about the past when you’re making work in present, and always fictionalise.” Barnard, 2019.
“It still has to have an element of something that’s real, that’s connected to the real world. And ideally that reality should be something that is ubiquitous, that everybody can relate to and that everybody can understand in some form.” Barnard, 2019.
Idea of ambivalence as a tool.
Contradiction, humour and irony of the subject matter is also shown in the work (eg: blue Star Moms, where the work seems two sided, but that reflects the opinions of the subject (the moms.)
Fly-in-fly-out is not an ethical way to undertake ethnography. (eg: Rankin.)
Barnard says it’s not possible to stay ‘enough time’ in a community to be completely un-exploitative of subjects. She questions if she should not go to these places, document them or work with those issues in her work.
“I use that precious and privileged position to point to some of the issues.” Barnard, 2019.
To be totally ethical means just doing nothing at all. So do we do nothing? Do we not create work?
Why is there no humour that makes us laugh in documentary photography? We never make the nice, funny work. We always look for things that draw a negative reaction.
New generation of documentary photographers are doing it form home- using computer. Not putting themselves physically in the environment or at risk.
Whilst listening to the podcast, I looked through Barnard’s work on her website. She has an enormous body of work, and what I really like is the way that she includes different types of imagery in her projects (for example, the inclusion of virtual reality scenes used to “help helicopter pilots prepare emotionally for arrival at a location where an Improvised Explosive Device (IED) has been detonated” in her series titled Virtual Iraq. (2)
The above series, Blue Star Moms (3), illustrates Barnard’s ideas of using the work to represent an element of truth in reality. She noted in the podcast that the mothers of the soldiers in the war had opposing opinions about the army, which could change multiple times per day. Sometimes they were grateful for the army taking their child as a soldier, as it helped the soldier stop smoking weed. But then at other times the mothers would heavily criticise the army. Barnard nods to this contradiction in her juxtaposition of very serious, solemn portraits with the slightly comical combination of items in the shoeboxes and bags (the care packages sent to the soldiers by their mothers.) The irony of the situation is reflected in the work.
Finally, I explored the series The Canary and the Hammer, which actually has its own dedicated website (4) called The Gold Depository. This is an absolutely phenomenal website, and a brilliant way to showcase work. The website utilises a scrolling navigational system, but it is ‘animated’ (I’m not sure of the technical term in regard to web design) in that images move in a predetermined way as the viewer scrolls down the page. There are lots of different elements included, such as photographs, graphs, maps, text, and icons. There are areas that can be clicked on or hovered over for more information, and each page has its own soundtrack to add an ambience to the work. Because of the design, the viewer doesn’t know what to expect next, and I think this really breaks the boundaries of a ‘normal’ experience of viewing photography online. Additionally, the order in which the work is viewed can still be determined by the artist, which helps keep the narrative in line with what was originally intended.
After the last folio feedback session, I have been taking a slightly different, more experimental approach to my project. The feedback that I received was to shoot in a looser style, to counterbalance the more stylised images that I had already gathered. I initially wanted to use a disposable film camera to do this, but I decided to use a digital camera to retain the connection to digital / online communication. I did also consider using other types of cameras (phone camera, point and shoot camera, etc) but the camera on my phone does not create that ‘crappy’ anti-aesthetic that I wanted, and all of the old point and shoot cameras that I found laying around the house are not functioning at all.
So, I decided to use my DSLR, but to add to the loose feel of the shots, I have been experimenting with shooting without looking. Instead of looking through the viewfinder, I have just been aiming the camera in the general direction of the subject and then pressing the shutter. I deliberately used autofocus, and put the camera’s mode to AUTO (which I swore I would never again use in my life.) I have actually been surprised at how well framed some of the shots came out, considering I was literally using a ‘point and shoot’ technique. That’s what 3 years of study at photography college gives you I suppose. Below are some of the initial shots.
I also thought about using pop up flash for the images, to give them that harsh, stark feel. But I decided that it would make them stand out too much in comparison to the rest of the images. Also, my camera has no pop up flash.
I don’t intend for these to be hero shots, but rather used as supporting images to fill in the gaps in the series and give the work a more ‘diarised’ feel. I also hope that they replicate the snapshot feel, which is a nod to the way that Shinya and I take random photos of anything that is happening throughout our day to text to each other.
Below are some of the ‘better’ shots, which I think I may actually feature as slightly larger images in the book (I am not sure yet and will have to experiment with layout.)
Speaking of layout, I had a little play around with some of the images in mock layouts. I think I like the idea of them being smaller, as if they are little text messages. I added some text to a few, and I quite like this idea as it makes the snapshot images feel as if they are part of a message feed.
I think that these actually have some potential, and could add depth to the series that I am already starting to put together.
I have never made my own photobook before, but after researching existing photobooks, I have become a lot more accustomed to the different styles, as well as the numerous binding options that exist. I have seen books that incorporate gatefolds and hand stitched spines, books with small flaps, or images only partly adhered. I have also developed a feel for the styles that I like, and those that I am not so interested in. I prefer a simpler style of binding, and discovered that I really don’t like gatefolds because I find them annoying.
In a couple of articles that explain binding techniques (1)(2), Jörg M. Colberg stresses the importance of using binding techniques that actually support the concept of the book. It is not good to use a certain style just because it seems “cool,” but rather to relate the function of the book to the ideas that are being conveyed in the images.
“The function of a photobook is also related to its concept. The concept informs the function.”
Below are some binding techniques that Colberg describes. I am making note of them here so that I can easily reference them later.
Japanese Stab Binding
What is it: a stack of paper with fives holes, which is held together by a thread woven through those holes.
Pros: easy to use multiple types of paper.
Cons: not good for double page spreads, as it cannot be laid flat.
Accordion
What is it: a single strip of paper, folded up to form the accordion.
Pros: viewer can open it up, or turn it ‘page by page,’ no gutters.
Cons: no spine.
Saddle Stitching
What is it: paper is folder in half and a thread or staples joins them through the gutter.
Pros: easy to piece together.
Cons: page number has to be a multiple of 4, need to calculate where the images will go.
Doing a little more research on the use of text in photography, and Duane Michals’ work re-surfaced. I think that the last time I viewed his work was when I studied it in high school, but the aesthetic (and humour) is still strong. I like the fact that they are handwritten, and the handwriting is not perfect. The negative space surrounding the photographs is also very important, and becomes part of the work as a whole. I like the way that the writing feels personal but quirky, like it is quite honest and not pretentious.
I found these images in the online collection of the Carnegie Museum of Art.
(1)
(2)
(3)
(4)
(5)
(3)
(1) Duane Michals, This Photograph is My Proof, 1967
(2) Duane Michals, There Are Things Here Not Seen in This Photograph, 1977.
(3) Duane Michals, Who is Sidney Sherman?, 2000.
(4) Duane Michals, A Letter From My Father, 1960-1975
(5) Duane Michals, Necessary Things for Making Magic, 1989
(6) Duane Michals, A Duane Michals Photograph of a Sherrie Levine Photograph of a Walker Evans Photograph, 2001.
As part of the research into my project, I decided to conduct an online survey regarding the impact of technology on relationships. I asked participants about how they use technology to communicate with their partner, and also what they thought the negative and positive aspects of technology were, within the context of communication and intimacy with their significant other.
I spent over an hour creating this survey through a third party website, and had very detailed and specific questions. However once I was ready to launch it, I learned that I could actually only have 10 questions, and any further questions required me to pay fees. So I pared it back to 10 simple questions.
I understand that my answers are anonymous and consent to their usage in Steph Doran’s photography project.
What is your relationship status?
How often do you use technology to communicate with your partner?
Overall, do you think technology helps you feel closer to your partner?
Why / Why Not?
Which type of technology do you think has the most positive impact on your relationship?
Why do you think it has a positive impact on your relationship?
Which type of technology do you think has the most negative impact on your relationship?
Why do you think it has a negative impact on your relationship?
In order to conduct my research in an ethical manner and respect the privacy of participants, the first question was a checkbox for consent to use their statements. Additionally, all answers were provided anonymously.
At the time of writing this blog, there have been 29 submissions into the survey, however I will keep it open for a while longer yet. It has been 6 days since I launched this survey, and I have only used Facebook to ‘advertise’ it so far. The results have been interesting though, particularly the open ended questions.
So far, the reasons that participants gave for why technology ( did / didn’t) make them feel closer to their partner included;
It helps us stay connected but it’s not what makes our relationship or makes us closer. It’s a pert of it but not the main part.
Because I can sms him when work is being sh*t house and tell them about it! Then he tells me everything is going to be ok and then I don’t feel like quitting.
It helps us to connect as we don’t currently live together but doesn’t make us closer as I’m not big on phone conversations. When we first met oddly could talk multiple times a day for hours at a time but since being in a relationship I struggle to find topics to talk about on the phone (and think he does too) but when we’re together we can talk for ages.
Technology takes the personal out of any communication.
A lot of messaging not a lot of talking verbally or face to face.
I am able to share things int he moment and keep conversation flowing even when we are apart. Also shared interest in video games.
Because we are in long distance.
Should talk
Because despite being physically separated from each other, we can still talk everyday, send photos, memes, etc.
We live together, but sometimes it’s good to chat about his day if he is having a rough time at work or me at uni, or when we just need someone to talk to, and we’re not together.
Unfortunately because I rely on communication, and that is how it is done generally these days.
I prefer to talk in person, less distractions and it’s easy to see their response on their face.
Helps us keep a dialogue open during the day. We joke around and tag one another in food posts, etc.
Allows us to share photos, humour and communicate more easily.
One tap away from communication.
Our communication via technology is normally stupid little texts like “is today over / I need coffee.” Most of our in depth conversation is when we both get home.
So we can keep in contact during work.
Any communication is better than nothing 😁
Because if I didn’t have it I wouldn’t be able to talk (/”communicate”) to him daily.
It’s comforting to know he’s there whenever I need him.
Due to distance it helps keep communication available and helps dialect remain open.
Particularly at the moment, I can’t see my partner physically, so having dinner over video call is hugely important to catch up and connect.
Before we lived together, we were in almost constant contact by phone, which was a nice way to stay connected and involved with one another’s lives. It made me feel closer to my partner because I always knew he was only a text away. Now that we have the same home we don’t need to use technology as much to communicate but it’s still a good way to share things (articles, music, etc). It allows us to bond over shared interests.
Ability to communicate while apart makes significant difference. Letting them know I’m thinking of them even if not a written message - sending a meme or tagging in a photo show’s they’re on my mind.
Can catch up while partner is away (at lunch at work, on trips away, ect.) So it’s less lonely or difficult.
Sharing
Easy and quick way to stay in contact throughout the day. And we can send cute GIFS.
I also had various responses to the questions about why a particular type of technology was the most positive and most negative on the intimacy of the relationship. Some of the results are below;
Here is a link to the full survey results. It automatically updates as more results come in.
Hiroshi Okamoto’s The Recruit was recommended to me, and as soon as I saw it in the video (1) below, I connected with it instantly. This style of presentation embodies many elements that I want to include in my own work. The attached emails, application forms, tickets and other documents add layers to the work, both visually and in terms of adding meaning. The way that they interplay with the images to which they are stuck also creates an interesting dynamic.
The cover replicates an interview form, and the book opens like a file (as if the viewer is assuming the role of an interviewer assessing a candidate.) The inclusion of the paperclip to secure the small passport-style photo of the candidate to the cover is also very effective, and so ubiquitous to the job hunting scene in Japan. (Many of my Japanese friends have gone through this, so it is a familiar sight to me.) Below are some screenshots that sort of demonstrate just how much the emails can move, and the fluidity with which you can flick through them, as if flicking through a file.
The cover looks
These are some more examples of the images in the book. The photobooth photos are exactly like the ones that I am including in my work- the passport photos of myself, and the photobooth photo of Shinya. What I also like is the consistency in these layouts- for example, the receipts for the payments to the side of a square crop (with a little overlay) is quite effective. I believe that this photobook will become a major influence on the layout and flow of my own photobook.
