Assignment 1 feedback and rework
Following a discussion with my tutor, I have revisited my notes and observations to which the photography within this assignment was compiled. It was agreed that the photography provides a degree of visual insight into my thought processes. However, the provision of some accompanying text is needed to elevate the contextual value of the work. whilst also providing a level of understanding and display my rationale for the manner and choice of the photography.
The overarching design of this assignment was to provide a view of a housing crisis in an affluent part of the UK where the contrasts between those who have little are magnified by the social environment. This social situation is aggravated by a draconian 17th century law developed to move a section of society from the sight of those who wish to not be visually reminded of the plight of more unfortunate citizens.
The opportunity to contrast two very different positions promoted a little of the mischief in me, as I took the opportunity to deliberately position myself in situations where visual ‘moments of divergence’ would more likely occur.
Possessions (an identity of the individual by associated belongings)
The recognition of society struggling to maintain a secure lifestyle can be viewed without identifying the individual. The ex army medic who’s backstory is known to me, can be seen regularly in his customary position. Having vacated for a while the artefacts of his existence remain in the form a book, ruck sack and note for help.
By photographing from the chosen height, I presume to give the perceived view of a passer by who glances a few seconds at the note and cloth of coins. The opportunity to provide a physical aura of this mans presence was very much in my thoughts and a level of awareness that someone is owning an area without actually occupying it.
Daryll’s hand (The prominence of a pleading hand and passer by)
.The hand is that of Daryll who is a homeless Buddhist. The upturned hand resembles a meditation position and a symbol of peace and giving. To remain in this position amongst a busy thoroughfare in central Bath, Daryll presents a selection of Buddhist crafts, providing him with a reason to accept money and not be moved on or cautioned under the Vagrancy Act of 1824.
With Daryll’s knowledge, I positioned myself behind his outstretched arm purposely willing a high end vibrant retail bag to move through the top of the frame. Without the resulting contrast, I found this photograph had an opportune peaceful quality, and that the the sandals and less opulent carrier felt less abrasive and provides more of a connection between the two subjects.
Doorways (the constant expectancy of being moved on)
Some doorways provide a duel function. The gateway between the customer and the retailer between 09.30 to 1800 and a place of shelter outside of opening hours. Life looks perplexing from a small opening. You can remain hidden from view until passed by at close quarters, whilst the threat of being moved on remain a constant.
The perspective from a subjects environment provided some experimental developments. If the viewpoint rarely changes, then the repetitiveness of others walking through your eye-line becomes the norm. The morning, pre 09.30, passer by is more determined and purposeful. The retailers are yet to occupy and therefore doorways are relatively sheltering, but the opening awaits and the expected request to move on. Meanwhile the signs detailing ‘what not to do’ are positioned at a particular level that act as a constant reminder of resistance.
Songbook
(The visual elements within personal possesions became an avenue to which I felt comfortable exploring.)
Reminding ourselves of what little some people have can raise the significance and importance or certain possessions. A break from entertaining a bus stop leaves a trace of ‘ Su’, a flautist from South East Asia.
By photographing from an angle that would be seen by a passer by I gain a rather lofty position and make significant artefacts appear small. In reality the songbook, lighter, flower and cup are highly important to the lady who owns them and earns money by playing to anyone who will listen at a busy bus stop. As with the earlier example of possessions, a presence is dominant. These are not considered items that have been abandoned. People will drop coins into the cup in the ladies absence, they know she will be back. The negative space aids the view of small items of little significance to anyone other than the owner.
Urban Comfort
It is difficult to accept some of the conditions that could be considered bedding. Verbal explanations can be less dramatic than a visual rendering of reality. Remaining close to the position that had previously been someones pillow against a backdrop of urban colour displays an absence of presence and a vacated individual who hopefully has located a greater level of comfort.
The high end footfall
The constant stream of footfall brings the colours and signage that are a constant reminder of a society that appears distant. A pavement brings a place to rest where engagement and offerings are welcome, but also delivers a constant churn of visual reality.
By perching on the pavement, the dominant factor that constantly passes your eyline are feet and bags. You have to make a concerted effort to look up and identify a face, so for the most part, it would be a regular conveyor belt of feet and bags. In this case (to highlight the social imbalance) a Harrods bag proved too much of a opportunity to pass up.
Much of the photography exploring subjects viewpoint has been taken between 35 – 50mm to replicate a true eye perspective
Contentment
The face of contentment can be a misrepresentation of the situation. Many rough sleepers have resided in Bath for a number of years and can appear at ease with life. ‘Raffle’ brings constant companionship and attracts passers by to engage and offer food water and money.
The loneliness of being homeless, eased by the valuable accompaniment of mans best friend prompted numerous approaches to frame something poignant, within the context of the developing exercise. The contentment displayed whilst whilst knowing that his owner was across the street drew my gaze. I felt the need to get close and crouch to gain a level of engagement, whilst enough of the retail signs to add a social dichotomy into the frame.
Colin
It always like moments that present themselves to me and particually when they pull the context of your original thoughts in a new direction.
Colin resides in Bath in a home that he has owned for many years. He is supported by his family and pension and had a private school education from a boarding school in South London. The choice to spend his days on the street playing harmonica is entirely his own, like a wandering nomad, continually moving around towns and cities exercising his freedom. A trip to London awaits via a coach, followed by a train to Belgium later in the week.
By framing straight on I attempt to portray some of the connection I had forged whist conversing with Colin. The powerful natural light provides the texture of a life lived within a characteristic face. The t shirt depicting a North American native provides a segment of the subjects spirit into the frame and became an important element coupled with the harmonica playing pose
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Signs that speak out
Universal Credit has been responsibly for a surge in the levels of homelessness. Joining up new payment timescales with landlord demands was never designed to cause this level of complications. The effects have been dramatic and a change too far for some who are now fighting to maintain a level of support just to stand still.
Converging the passing footfall with the subject became a recurring theme. The prominence of the sign detailing a need for support whilst performing to provide a living proves significant when gaps between the bustling public appeared. The bodily movement providing a human limb- like frame and attempts to display two very different social situations and the desire to be seen and heard above the fast hubbub of daily lives
Contrasting Environments
Finding a safe shelter in the grounds of a church has historic connotations. Witnessing a canvass pitch in the grounds of a derelict Abbey provides a number of questions behind the choice. The environment may feel more secure under the umbrella of a religious setting or is this an opportunist decision to locate a section of grass away from the busy areas of a bustling city. I also had thoughts regarding the aid (or lack of) provided by a religious community that has a fundamental obligation as part of its being, to offer shelter and aid. (This requires more research to answer)
The many ways I attempted to capture my thoughts proved difficult. Contrasting the towering Abbey walls with the canvass tent could only be gained by a framing in portrait and at quite close quarters to give the canvass structure significance. I wished for the tent to remain central to the surroundings and therefore fought back the urge to produce a wider viewpoint. The apex of the second wall seen through the window opening of the front wall felt important. More elements of the spiritual building appeared to give an overaching feel of serenety. The reality is less harmonius, as sleeping in a dark corner, away from other eyes can be seen as fairly foreboding. Active Churches across the South West will rarely allow rough sleepers to pitch a tent in their grounds.
Pete and Trixy
Supplies and accompaniment are crucially significant factors to the many who have no secure location for possessions. The day to day routines generate a cycle of survival that are easily taken for granted. ” I receive all I need for the day which is enough for me and Trixie, but I never know if the same will happen tomorrow,…we survive”
The tone of this photograph is the tone I had in mind prior to this assignment. The darker accent produces a grittier less luminous aura and encapsulates a more sombre feel. Conditions throughout the assignment forced brighter depictions and prompted much thought regarding the subjective judgements that I was willing to accept. Although the seconds of cloud cover removed the dappling rays, the aperture was a choice made to enhance the feel of the scene.
Since undertaking this assignment, I have had much reflection with regards to the direction for my Body of Work. Many aspects of the photography explored within this assignment have provided further understanding to the visual context of the next assignments. The research and development section of this blog details reveal some of my thought processes to which I find a necessary accompaniment to draw upon. The main synopsis, is to seek a truthful clear visual understanding of a complex problem with a view to providing an understanding of what poverty looks and feels like in 2020 Great Britain.
I am greatly interested in the social understanding of the Victorians and how they perceived poverty in contrast to today. The visual information we have from the late 1800’s provides a fairly standardised representation of poverty. The divide between a two class system stands out in highly contrasting terms. The dividing lines today are ever increasing and yet the vision has changed. The complexities of maintaining a level of survival are not as visually obvious. Opinions formed in relation to welfare are often misguided or misreported which in turn add to the upholding of false rhetoric and inaccurate judgements.
Exactly how photography can provide a level of detail to represent the visual side of social inequality provides much thought and ideas. The practicality of producing a body of work to address these issues are complex and consideration with regards to observing the environment, rather than focusing on the individual subjects is part of the ongoing development of this project.
Assignment One. An exploratory visual exercise in viewing Homelessness against the caveat of the Vagrancy Act of 1824.
To aid with the readable contextual understanding of my photography, I have looked at approaching the photographic meaning through the prism of a definitive purpose. By providing meaning through an element that provokes a strong sense of spirit or vexation within my mind, I find I am more able to channel my thoughts through my photography which in turn becomes contextually more readable to the third person and more poignant to myself.
Background
Over many years, I have looked into and provided aid to people who’s circumstances led them to be temporarily or long term homeless. The efforts being highlighted by Shelter to abolish the 1823 Vagrancy act became a focal point for my observations. It became a point to discuss with volunteers in the sector and the subjects of my photography
Research
Photographing those who are vulnerable, ill, raised a number of concerns which enabled a review into the ethical debate of what is acceptable within social documentary photography (see link below).
Although the debate generally provides good reason for not photographing homeless subjects, there are also understandable circumstances where the photographers intent should be considered. From the research, I compiled a list of personal photographic rules, which I have since shared with a homeless trust which provided reassurances and a collaborative approach.
Homeless photography within the media can lack empathy and is not necessarily designed to promote any action. As a gauge for considering the opinions of those looking to survive without secure accommodation I observed the work and writing of the photographer and former homeless US Citizen Robert Shults https://robertshultsphoto.com/reenactment.html. Shults reenacts scenes from his past in a black and white tableaux style. His writing on photographing homelessness is from the viewpoint of experiencing being photographed candidly provoked feelings of dehumanisation and being seen as a commodity of society without individual identity.
Visual Process
Within the self imposed ethical rules, I predominantly wished for this assignment to be relatively broad and visually experimental. The consideration of the subject was of prime importance, from both an ethical position and a visual consideration of providing an understanding of the subjects daily plight, viewpoint and emotions.
By considering the sights and sounds whilst sitting on a pavement of a highly active high street, I began to experience the views, and the purchases swinging past my nose. The essence of this experience is what I believed I could photograph along with the backdrop of a 17th century law that frowns upon direct pleas for a aid and would rather the issue is not visible.
The experimental process is designed to study the subject and open up visual areas and understandings that I had not previously considered. Within this I looked to gain a greater level of intimacy and presence, something that has been lacking slightly from my previous work.
Although the visual process is relatively experimental for this assignment, I knew what I did not want and could describe this fairly easily. By refraining from peeking behind doorways to capture a element of truth, more effort would be made to engage and draw from the subjects backstory. I wish for the photography to provide honesty and frankness. Providing the context behind the ‘Stop the Vagrancy Act’ campaign would hopefully provide a level of connection that would remove distrust or suspicion on the subjects part. I wish to move away from the easy, candid images of rough sleepers lying in sleeping bags in doorways and give each subject a essence of their personal being. Producing something that adds to the stereotypical view of common opinion, is the very thing I aim to diminish, both in reality and visually.
Assignment Reflection
The aim to develop a style that enhances a sense of reality requires some further study and experience, although the experimental approach has provided much food for thought Many theorists have discussed the complications photography has with composing a tangible split second of true accuracy. My starting point has been to be as honest and true to myself and subjects as possible and develop a visual level of empathy and presence within that.
To further develop upon this, I have connected with with aid groups in Bath who’s experiences and connection with those in circumstances beyond their control. Regular exposure to groups like Genesis Trust are part of the aim to become closer and more knowledgeable about the subject. I found myself constantly returning to the quote of John Berger “How we see things is determined by what we know”.
Aspects within this assignment provide a level of meaning which I feel should be readable to the third person. Bringing the viewpoint of somebody reliant upon heavy footfall so close to their eye line can be contrasted quite easily with the constant stream of visual affluence. Although a little obvious, it is not necessarily a viewpoint I had seen within photography or considered until entering into this project. The experience has furnished a desire to explore further and see where this visual narrative can go.
As well as being motivated by providing a level of meaning and understanding, the motivation was also to maintain a level of reality. I believe this has worked better in some cases more than others, although, the photography does not feel contrived in my view. To add to the overall narrative I have used elements of symbolism to uphold the ideas within this assignment. Balancing all these components whilst gaining a level of intimacy is where I find the subject requires more research, development and practice.
Some of the photography had been taken on the spur of the moment without too much thought and consideration. I included a couple of these images as part of the visual narrative of my exploration into the subject. I have learnt that spontaneous camera work when photographing delicate subjects does not come without complications. The photograph of the Community Officer moving someone considered to be violating the vagrancy act of 1824 has many ethical and legal floors and is not an image I would share publicly. However, for this assignment I thought that between the OCA community it provided some fairly provocative narrative and that I should not necessarily shy away from this.
The need to use a slight mischievous side of my charterer is demonstrated by the use of a businessman /students sitting or lying down with little fear of being asked to move on.The rough sleeper at McDonalds is sleeping under a child, unaware of what is on the other side of the glass whilst blissfully using the restaurants monitors. I realise that adding these photographs, alters the continuity of the collection, however, my intent to be experimental, and broad minded (possible subversive) in approach remains a determining factor.
For the process of gaining a level of communication and understanding, all subjects (where the images were not spontaneous) were aware of my reason for photographing and permission was granted. Concerns for their welfare and reasons for being on the street were discussed, sometimes at great length.
Although this first assignment has taken a lot longer than I would have liked, I am now in a position where I am able to be involved with action groups that are happy to have a volunteer/ photographer working amongst them. Gaining the trust of an organisation proved more time consuming than I imagined and delayed this first assignment. If I could not have this connection, I would probably have looked at other areas for developing the body of work.
Having made some headway with embedding myself with an organisation, I feel more comfortable pursuing a subject that I find myself highly engaged with. By channelling my overriding feelings of annoyance and a desire to convince myself that my visual understanding could in someway be used to force positive change. Whether this proves to be true or not will be seen over time, however, the sense of purpose is the driving force that I find opens up an area of creativity within my visual awareness.
Although this assignment looks at a particular area of social inbalance, I am keen to explore the determining factors and lives of those struggling to be part of a wealthy city that is so densely contrasted by the steady influx of tourism. Parts of Bath suffer the worst level of child poverty in the South West, whilst some feel uncomfortable visiting their own City Centre for fear of standing out from the crowd. To further develop approach and style of my photography, I would like to discuss the path with my tutor.
Referencing
Beger John / Ways of seeing /1973 / Pengiun books /London
Gerard Hilderly Level 3 OCA 