Within the overall development of my Body of Work, there has been a considerable and valuable level of importance attached to he adoption of practices informed by much of the contextual theory used to illustrate documentary photography within my extended written project.
Elevating the Meaning and reducing the Power
Documentary photography as an artform delivers a paradox of visual identity when being viewed as a body of art. My understanding of this was related through my practice and the work of photographers such as Chris Killip and Nan Goldin. However, by observing from a deeper perspective as part of the sustained photographic practice, I could relate the significance of visual contextual meaning and its limitations within the form of documentary. Earlier photography assignments had attempted to a reveal a concept and translate my thoughts (multi layered) within the overall representation through a meaning that was potentially too complex to be read. Both photographic practice accompanied by the understanding of theorists such as, Roland Barthes, Martha Rosler, John Berger and Allan Sekula, forced the adoption of new approaches. The conversion from forcing a meaning to anchoring the transferable concept provided a wider scope within my photography. The contextual elements were broader and less ambiguous, whilst the observations regarding text provides a relatable account of my thoughts that connects the implied visual connotations to the overall concept. In addition the theories of Stuart Hall, John Tagg, Victor Burgin and Solomon Godeau provided a wealth of understanding with regards to photographing people who are relatively powerless. Stuart Hall’s theory of representation in particular, generated significant understanding as to how an audience perceives something that is being presented as a binary concept. My attempts to dilute signs of ‘otherness’ through the a reduced projection of power, displayed a level of difficulty to overcome, my intentions were not being made visually apparent. The ease in which a photograph can be misrepresented (especially within the representation of poverty or class) becomes a concern to me as I strive to amplify the concept. Essentially the concept had to be approached from a different angle to elevate the contextual understanding and the removal of subjects became an ethical choice that benefited the overall concept. My attempts to dilute the power relation became revalued through the combination of self reelection and the use of abstraction to connote the sense of power and absurdity that added an element to the frame which offset the reduced presence of people.
The use of abstraction to connote a sense of power within a documented scene through a wider context
The understanding that fosters a considerable regard for documentary meaning can be found within contextual theory to observe the responsibility and the agency of the photographer. Hall (1997) relates to what we are actually seeing and from which perspective) and instills a substantial regard for personal practice and ethics.
The development of my documentary photography draws on the understanding that a subject decontextualized from reality, fails to provide a visual explanation of their experience. The intention is to visually describe inequality and homelessness without being reliant on channeling a spectators sympathy or portraying the subject as the ‘other’
The development of tone, visual language and reduction of the negative power relation can be seen when contrasting with the primary assignment. Although many aspects of ethical considerations were made to get the the point where subjects were removed (detailed in Body of Work Blog); the comprehension of ‘showing’ a narrative through an understanding of how a photograph is interpreted became a significant factor.
Earlier photography July 2019.
The concept of contextualizing the everyday bustle of consumerism in relation to the connoted elements that imply inequality was photographed to highlight the absurdity of the vagrancy act of 1886 that still resides today. The structure of the image is multi layered with meaning and struggles to define my thoughts. The message has moved from the individual struggling to sustain a living and the wider concept of the unseen power (causation). The contextual message is narrow and presents a victim in a binary contrast to the rest of society. Stuart Halls, Spectacle of the other relates how an audience perceive marginalized communities when presented with a binary choice and the negativity that is attached.
Hall’s Theory of representation informed the direction of my photography as I became forced due to the pandemic, to photograph without subjects. The decision was a choice I had previously considered as a result of my work at St Mungo’s which helped me realise the complexities of homelessness and the mental health of a large percentage of the homeless population. The logistical difficulty of photographing during the pandemic, coupled with my reluctance to aim my photographic concept through the lives of people struggling the most, rendered the new approach. This approach undoubtedly benefitted from a greater understanding form theorists such as Allan Sekula, Stuart Hall and Martha Rosler
Documentary photography as art delivers a paradox of visual identity when being viewed. My understanding of this was related through my practice and the work of photographers such as Chris Killip and Nan Goldin. However, by observing from a deeper perspective as part of the sustained photographic practice I could relate the significance of contextual meaning and its limitations whilst diluting the power relation without losing the level of self expression. Equally so, the reverse could be seen by collaborating elements of my practice that remove the power dynamic, to the search for further discovery within contextual theory. This could be seen through the development of documented subject identity and the removal of a power that projected a passive victim of society.
Equally so, the reverse could be seen by collaborating elements of my practice that remove the power dynamic, to the search for further discovery within contextual theory. This could be seen through the development of documented subject identity and the removal of a power that projected a passive victim of society.
Gerard Hilderly Level 3 OCA 