Shaking things up

Getting out of a photographic rut is quite difficult. When I shot Cinestill film back in February for a project, I was hoping to stretch my style out so that it involved more elements in the frame. My main approach was to position people predominantly in a ‘rule of thirds’ framework. My inspiration for this idea was the work of Alex Webb. I didn’t quite work.

However, I think the idea of freshening things up is a good one. When I look back at my work, I always notice that certain types of shots are dominant in my repertoire. I usually call them ‘environmental portraits’ as they often set the people in the context of their environment backdrop. This is often a reflection of how I think.

1g1a1976However, I do really like those (relatively) rare occasions in which I get up close and personal in my photography. The shots are much more intimate, involved, dynamic and intense. In the next few months, I might stick a wide angle lens on a camera and shoot specifically with this idea in mind as a ‘one project’.

img077One of the reasons I have started to set myself challenges in the form of the ‘one project’ each month, is that I want to stretch myself more creatively. This month, my interest is in trying to shoot objects that mark the presence of people in some way. I am getting more interested in vernacular photography, but I think there is a fine line between “that’s a great shot” and “who cares, that’s boring” responses to the images for me. I suspect my work this month will be the latter!

Ultimately, I would like to find ways to get out of my current creative rut to develop new ways of expressing myself photographically.

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What I see depends on what I bring

At one level, a photograph is a simple thing – it’s just an image. But, at another level it’s a whole different ball game. What I see in a photograph depends on what bring – in terms of my previous experiences and how I probably am feeling at that point in time. Some photographs by their raw emotional content have the power to seemingly transcend the immediate context – they almost forcibly grab you and shake you up. Those photographs, as far as I am concerned, are rare. I can think of a lot of good photographs, but not many that have that powerful emotional pull.

Often, a photograph creates a strong emotional response in me due to the story that goes with it. This is one of the reasons that I like reading documentary work, as it provides a contextual backdrop to more fully understand the image. However, some stories just bore me as I am not interested in them. Whilst others, due to my experiences, beliefs and interests are much more stimulating. Darcy Padilla’s The Julie Project (Now called Family Love) is a very powerful story which gripped me.

This got me thinking recently about my own work. Like most people (I presume), I shoot with a particular idea in mind of how I would like the audience to respond to my work – do they ‘get’ the message that I am seeking to communicate? I have no idea really, unless I talk to people or provide an explanatory text. But, when I do that I have already sought to shape their views and opinions about the work. What might be a more interesting angle to explore is that of not providing an explanatory context, etc. to the work – just putting the images out there and let the viewer make their own minds up about the work. What expectations do they bring and does the work match it in any way?

I like the idea of using the ambiguity in the ‘space’ between my intention for the work and the audience’s expectations as a possible point of exploration. I can try to influence what people think. However, because I don’t know, nor can I know, their previous histories or immediate context, I can’t actually control what they think.

I guess the next thing to do is to explore this idea in a little more depth, and shoot some work or look at the work I have done to build something that reflects this concept.

Salisbury