Critical Perspectives

My current practice could be hard to define into one genre of photography, in fact I feel it stands within both street photography and nature photography, with the latter being the most prominent. I have a fascination and interest in the natural world, in particular the world we cannot see as clearly or as often. In the last year I have been experimenting with macro photography in nature and focusing on those small details we may not see, almost creating aesthetically pleasing photographs that an audience may wish to purchase. If this I the case, it is not my main intention, but that of curiosity.

Although typical concepts of street photography, capturing the everyday life of people and places does not completely link within my current work, where people are not my subject, I am however locating myself within the street environment and documenting my findings for my research project. Here, I am relating to Henri Cartier-Bressons concept of the ‘decisive moment’ with some subjects only being in situ for a specific moment in time, with an If I don’t capture it now, it will be gone, outlook. Bresson quoted Cardinal de Ratz in ‘Henri Cartier-Bresson’ “There is nothing in this world that does not have a decisive moment”. (Cheroux, 2010:96)

I discovered an article by Charlotte Jansen, ‘Reclaim the Street Photography!’. In this she discusses a festival dedicated to street photography, hosted by Hoxton Mini Press in 2018. This article looks at how street photography is progressing and how it intermixes with other genres. Jansen cites Martin Usbourne, co-founder of Hoxton Mini Press, “Too often street photography is a little predictable: visual puns, repeating themes, particular use of shadows. We want to look at where street photography meets other genres such as conceptual, art and portrait photography”. Here I can relate in some form to my own work, as I could also define my photography as conceptual and art photography, looking at the aesthetics of my images and being influenced by my art background.

Nick Turpin, the creative director of Street London, running the festival is quoted by Jansen, concerning the future of street photography; “street photography is coming of age, it is maturing as an approach. I see a lot of young, new street photographers taking innovative directions within the medium” (Turpin, 2018)

The nature aspect of my work, looks more at informing the viewer of the fine details within my subjects, using macro lenses to get closer and darker tones with vignettes to create focal points. In an article by Widewalls ‘Everything You Need To Know About Nature Photography’, this is referred to as being “relaxed” by Angie Kordic and that “macro shots let us appreciate their tiny particulars on a larger scale, introducing us to a whole new world we couldn’t have known so well before”, (Kordic, 2016). This statement I find relates to my work substantially and mirrors the details objectives I have captured. Ethics plays a part within nature photography also, as with other genres, here it is to protect all parties involved, “nature photography is all about respect – of the wildlife, the law, the environment…” (Kordic, 2016).

My current practice and project to date has been inspired by my surroundings and environment while I am out walking in my local area. I approach each walk with an open mind and consciously avoid making a decision on what I photograph or look for, instead allowing for opportunity and ‘decisive moments’. Here I see the link with modern street photography as discussed by Jansen and Turpin, as how street photography is encompassing various disciplines and genres, my own work could fall under the category of ‘fine art’ when looking at the compositions and tones I portray.

Roland Barthes and his concept of the ‘Punctum’ within photography, links to my work where he refers to this as a “prick” or “mark” that is made within you when you view the content of a photograph. Barthes links this to images of his mother and of those that have died or going to die, “Which rises from the scene, shoots out of it like an arrow, and pierces me” (Barthes, 2000:26). The moment when you discover a dead animal, alongside empathy and sadness, I find myself asking where they lived, did they have young, how old were they and how did they die? This gives them a sense of identity that they are not just a bird on the road, but that they existed, had lives and I feel photographing them gives them a new purpose and end to their life. Barthes "Why choose (why photograph) this object, this moment, rather than some other?" (Barthes, 2000:6), considering why a particular object has drawn my attention, what has stuck me about it regarding its position, appearance, and circumstances.

The work of John Ruskin as discussed by Suzanne Fagnance Cooper in ‘To See Clearly’, 2020, where she discusses the practice Ruskin took by looking closely at nature and the finer details within. “Being aware of how we see the world is intimately bound up with other things that mattered to Ruskin: learning to draw; taking our time as we stop to look…” (Fagnance Cooper, 2020:41)

Experimenting and exploring different composition layouts, composing objects carefully within the camera frame, choosing how much of the items environment and surroundings is something that I feel is incredibly important and key to observing and choosing the subjects. Joel Meyerowitz discusses a process similar when discussing the frame during an interview with Phaidon in 'Joel Meyerowitz - What You Put In The Frame Determines The Photograph' "...it's what you put in the frame and it's where you cut the rest of the 360 degrees...." (Phaidon, 2012).

Bibliography:

Books:

Barthes, R. a. H. R., 2000. Camera Lucida. London: Vintage Books.

Cheroux, C., 2013. Henri Cartier-Bresson. London: Thames & Hudson.

Fagence Cooper, S., 2020. To See Clearly. London: Quercus Editions Ltd.

Videos:

Phaidon, 2012. Joel Meyerowitz - 'What You Put In The Frame Determines The Photograph. [video] Available at: <https://www.youtube.com/watch?v=Xumo7_JUeMo&list=PLBvnX-1HEhfMzcu0a_YyaUaAkGBFxWQXo&index=20&t=13s> [Accessed 22 November 2020].

Websites:

Jansen, C., 2018. Reclaim The Street Photography! | 1854 Photography. [online] 1854 Photography. Available at: <https://www.1854.photography/2018/07/street-photo-festival/> [Accessed 1 December 2020].

Kordic, A., 2016. Everything You Need To Know About Nature Photography | Widewalls. [online] Widewalls.ch. Available at: <https://www.widewalls.ch/magazine/nature-photography> [Accessed 1 December 2020].