Tag Archives: Bergen-Belsen

Working log for Assignment 4

“A picture is worth a thousand words”

My task for this assignment is to write a 1000 word essay on an image of my choosing.

I can choose anything I like a from famous art photograph to something from the family album but the image must have scope to make a rigorous and critical analysis.

If choosing a well-known photograph, take time to research it’s context – the intentions of the photographer, why it was taken, whether it’s part of a series, etc.  Add all this information into the essay in order to be able to draw a conclusion from my own interpretation of the facts.

If I choose to use a found photograph, a picture from my own collection, or perhaps one from an old family album, use it as an opportunity to find out something new.  Look directly at the photograph for information.  It may be interesting to compare and contrast memory with the information being seen anew ‘reading’ the picture so intensely.

You must use the facts as a means to draw my own conclusion about what the picture means to me.  I may wish to apply what I’ve learned in part 4 regarding translation, interpretation, connotation, signs, punctum, etc.  Be sure to get the definitions correct!

Follow though association and other images that relate to the discussion. directly or indirectly.  Look at the broader context of the image and it’s background and specific narrative as well as my own personnel interpretation of it and what thoughts it triggers for me.  Follow these associations in a thoughtful and formal way.  Enjoy the process!

The first task for this assignment was to decide upon the picture, I had just finished assignment 3 and I was holidaying in Spain where I could relax empty my head and ‘re-boot’.  After the first week I was able to think again and ideas began to come to me, I had taken my laptop with me so that I could use it with my camera and I began to search for ideas.  My first idea was of a photograph that I came across earlier this year taken in Bergen-Belsen concentration camp by an American photographer in 1944.  The image shows local Germans forced to tour the concentration camp and I was fascinated by the expressions each of these civilians made, some visibly shocked and ashamed others indignant and cold.  However, one night after a meal in the port we came home to the flat and put on the video and chose to watch Gone-with-the-Wind.  I hadn’t seen this movie in years and I was taken by the photography and some of the scenes that were so good.  I was particularly taken by the last image from part one.  Scarlet O’Hara has returned to Tara having escaped the siege of Atlanta only to find Tara pillaged by the invading Union army starving she eats a raw horse radish that she has dug from the soil with her bare hands.  At this point we see a transition in her from desperation to determination and the scene ends with her standing under a battle scared tree making an oath to god that no matter what she has to do she will never go hungry again.  This was a very powerful scene and a very powerful image provides a strong sense of foreboding for part two.

This was my first idea for an essay.  US Army photograph, 1944.

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This image I photographed in the Spanish fruit and veg. market of Altea that neighbors my holiday home town of Calpe a year or so ago.  I saw this scene and discreetly pointed my point and shoot Canon camera and caught it right at the best moment.

This was the image that I was so taken with in the motion-picture and I was luck enough to find it on the web.

When I returned to England I emailed my Tutor my suggested options and asked for his opinion.  He replied the image from Gone-with-the-Wind.  I was pleased that he had suggested this image as by now this was my favorite option.

After carefully looking at this picture I highlighted the cloud formation to help with my essay.

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I also looked at how this image is composed.

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I then began to make a list of basic information to start the research process which I typed as a word documents. Preperation for assignment 4  I then began researching through websites and for additional ideas on essay writing I  read, Reading Photographs, Basics Creative Photography, by Richard Salkeld, published by Bloomsbury,  Understanding a Photograph by John Berger, published by Penguin,’One Way Street and other writings’ by Walter Benjamin, published by Penguin, the essay ‘Visual Pleasure and Narrative Cinema’ 1975 by Rachel Rose.  The Bible and ‘Inferno’ by Dante Alighieri, published by The Folio Society.

As I researched I kept a record of the source on a word document that I could refer to again later.  Notes  Having accumulated my reference material I began to write my essay, at this point I was not concerned with the word count as I could cut away as necessary. Working Title I also included images in my basic work.   when I came up with a title for my essay I resaved the document under it’s new name and continued to work on it.  Draft-1-Its a Lilly! I then emailed my Tutor for advice on my word-count and he advised that I was allowed + or – 5-10%; so I made sure that when stripping away I had an idea of my safe envelope; so as not to take out anything unnecessarily Final Draft-Its a Lilly  I then edited down my list of reference material relevant to my final draft and added it Notes for draft .

Finally I checked with my Assignment criteria to make sure that I had understood and followed it.

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I then read it to my wife and she pointed out that the only thing I had not mentioned was how the picture made me feel.  It was such an obvious observation but in my had not thought to mention it!  This is a good example of being too close to the work to be able point out the obvious.  this I easily rectified as the original attraction was the sense of foreboding and unease that this image conveyed.

The idea of the title for my work came through my research in to Technicolor and I watched several very good documentaries on YouTube that told the story of the development and use of technicolor which included an anecdotal story from an aging actor who played one on the Munchkins in Wizard of Oz who was puzzled why the always called out “It’s a Lilly!” at the end of a scene.

This time I only got one response from the Facebook OCA forum when I put out my request to critique my essay, but I took on board the comment that I should change the title for the last paragraph which I agreed with.  I decided to change it from ‘Conclusion’ to ‘So why the title’.  However, I also sent my work to a friend who I could rely on to give a good constructive critique and he came back with some suggestions to shorten a couple of sentences and punctuation corrections sending me his suggested amendments highlighted in red.   ShaunDraftEssay from this I made my final changes Amended Final Draft-Its a Lilly-1

 

 

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Research point – Project 2 – Photojournalism

Photojournalism is a word that has been coined to describe news images, i.e. images that are made to support news stories.  This type of photography can often be regarded (perhaps sometimes mistakenly) as a factual way of presenting information to the public.  However, we only need to visit a news stand on any typical day to see that the viewpoint that these images present to us are typically more reflective of the Publisher’s / Photographer’s employer’s own agenda than a strictly unbiased representation of the ‘Truth’.

This argument has been debated by many photographers, art critiques and scholars over the years.  Three prominent writers who have examined this topic are Marta Rosler in her 1981 essay, In, Around and Afterthoughts’ available to read in the book ‘The Contest of Meaning: Critical Histories of Photography’, Edited and published by Richard Bolton,  MIT Press Cambridge.  Susan Sontag, ‘On Photography’ Penguin.  Abigail Solomon-Godeau in her 1994 essay ‘Inside/Out’ available to read in the book ‘Public Information, Desire, Disaster, Document’ Edited by Kara Kirk, Published by San Francisco Museum of Modern Art.  All three of these author’s works are summarized in a very helpful book ‘Basic Critical Theory for Photographers by Ashley la Grange, published by Focal Press.

Martha Rosler’s 1981 essay, ‘In, Around and Afterthoughts’

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Walker Evans (1903 – 1975)

http://www.loc.gov/pictures/item/00651773/resource/

In Rosler’s essay she looks at the photograph used in social politics between the haves and have-nots, she begins by asking why are photographers still making documentary style photographs of the Bowery area on New York, notorious for its drunks and down and outs which have has been covered by many photographers over the years with much questionable motives. She states that documentary photography in the USA represents, ‘a liberal social conscience’. However, she makes the argument that documentary photography has failed to achieve any status of ‘truth’ as it gained associations with ‘muckspreading’ and has ‘been partly strangled by the myth of journalistic objectivity’. She argues that the believability of documentary photography has come under attack from two political opposed camps. The left attack it as being a social institution that serves only the wealthy and helps to enforce the wealthy classes dominance over the poor. The right sees an attack on its truthfulness beneficial to their standpoint which considers social inequalities and elites as natural.

To support her argument She examines the history of documentary photography in the USA beginning at the turn of the century when some socially concerned individuals such a Jacob Riis tried to highlight the plight of the poor migrant works living and working in the slums on New York, the Farm Security Association (FSA) of the 1930’s and 40’s to changing attitudes in the later part of the 20th century.

She argues that in the early days of documentary photography by photographers such as Lewis Hine who were ‘propagandizing social work’ and trying to right wrongs, didn’t understand that it was not in the interest for the establishments to right these wrongs, as these wrongs were essential to the social system. She cynically argues that these conscientious, privileged, do-gooders were simply expressed sympathy for the poor and appealed to the self-interest of the privileged. They were making a strong case for charity rather than self-help.’ She goes on to make the case that, ‘charity is an argument for the preservation of class as it encourages the giving of little in order to pacify potentially dangerous lower classes.’

She gives examples of famous documentary style images to support her opinions. In the 1930’s, the period of the Great Depression in the USA and the Dust Bowl disaster an organization was set-up called the FSA to investigate and report back Washington the situation amongst the farming community as their work photographers were sent out to document what the saw. One such photographer was Dorothea Lange and she came across a women and her children in California who were victims of the depression, she took some photographs and made a note in her diary that she (the mother) ‘She thought that my pictures might help her, and so she helped me.’ One of these photographs was to become one of the most iconic photographs ever produced and has been used re-used copied, imitated all across the world. Although the picture has become so famous no such fame or fortune fell upon the subject or her children. It has been argued that the camp that she was living in at that time received funding for better facilities that the mother Mrs. Thompson would have benefited from. The point that Rosler is making is that again nothing was done to help Mrs. Thomson get out of her poverty trap and when a follow up story was made in the 1970’s her identity was revealed to the world for the first time and she was still impoverished living on state benefits in a Caravan / Trailer. Rosler uses Mrs. Thompson case as an example of how documentary photography can abuse / victimize its subjects by publicly humiliating them by exposing their misery and in Mrs. Thompson’s case she suffered this form of victimization twice the second time with the 1970’s follow up story. Rosler also uses another example of multi exploitation of victims of documentary photography and uses another FSA photograph taken in the 30’s and published in the 40’s of a Tenant Farmers Wife and published in a book ‘Let us Praise Famous Men’ which documented the marginalized sharecroppers and children. A follow up story in the late 70’s published in the New York Times Magazine – Rosler cynically states that there a double irony with this follow up story as it first re-consigns the original story from marginal and pathetic to marginality and pathos and gives away the victims true identity thus making the subject a new victim. She also points out that the type of reader of the New York Times will get a certain satisfaction from this story that although the poorer are now better off they haven’t caught up.

Rosler has clearly put a lot of thought, research and work in to these arguments; but I am not sure she is fare in her judgments. She talks with the power on hindsight. When these photographs were taken the photographer was trying to show the world what they themselves saw. Riis and Lewis Hines tried to use photographs for a good cause, how their photographs were later seen, used, read or edited was beyond their control. The problem with anything a man does is that it can be often interpreted by others in ways beyond their control. This can be true of photographs – we will see what we want to see. A photograph of an unconscious drunk can be seen either as an image to highlight the plight of a down and out or cynically regarded as exploiting a vulnerable man’s dignity. Is it important to understand the photographer’s agenda or is more important to simply see the image and take from it what you like? After all, you are going to anyway.

Having said that I believe that a photograph can change situations providing the image is seen at the right time in the right place. I believe that an image has to be topical if it is to make the most impact. For example the migrant mother at the time of the depression when any people across the world were experiencing hard times the almost saintly stoic pose of the mother and child touched a chord with millions. Images of Bergen-Belsen and Dachau at the end of the war probably had maximum impact because by then hatred for Germany and Nazis was at its zenith and also perhaps a war tired world needed that jolt to remind them for what the fighting and suffering had been for.

Susan Sontag, ‘On Photography’

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http://www.bing.com/images/search?q=images+from+belsen&view=detailv2&qpvt=images+from+belsen&id=FAFD6A5E2A4CF0E1F7A7165380BDB562A386EE17&selectedIndex=21&ccid=0TWJF3wV&simid=608034805826260146&thid=OIP.Md13589177c15fee64e3f9f5914400bf9o0&ajaxhist=0

– In this book Sontag believes that the human psyche becomes deadened to the effects of shocking images of war and death.  She refers to her own experience that she had when first seeing photographs of Bergen- Belsen and Dachau in a Santa-Monica book store, July 1945 when she was only 12.  She can now refer to a time before and after she had seen these images and experienced ‘the epiphany’ as a result of these shocking pictures.  However, she goes on to say that as time has passed and more and more similar images have flooded the viewing world she believes that a saturation point has been reached were it is now difficult, if not impossible, to experience that sense of shock and horror.  At the time of writing this only 30 years had passed and images of carnage, destruction and death was almost a daily occurrence with images coming back from the Vietnam war.

I agree with this argument (to a degree), as we have all become more familiar with pictures of the holocaust, world war one and two, Vietnam, Cambodia, etc.  These photos all begin to take on a similar image in our minds and unless they are able to touch us on a more personal level such as somewhere where we have lived, people we have known, children like our own, etc. then the new images that we see on a daily bases won’t necessarily move us as perhaps they are intended.  However, exceptions to this are events that are extremely dramatic and rare such as the events of 911 in New York.  However, I personally liken this type of photographic genre to be similar to Hollywood’s horror movies that have to keep finding new ideas for even gorier and stomach churning stories and images in order to keep providing the audiences with a feeling of shock and horror for which they are demanding.  We now need to see something very extraordinary in a picture to effect us like that of Sontag’s experience or of many of us with 911. I refer to an experience that can be identified as how we were before and how we were after.

Abigail Solomon-Godeau’s 1994 essay, ‘Inside/Out’

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http://aperture.org/shop/books/nan-goldin-ballad

– Published in the book ‘Public Information, Desire, Disaster Document’, Edited by Kara Kirk, Published by San-Francesco Museum for Modern Art. – In Solomon-Godeau’s essay she argues that there are two types of documentary photography, Inside and Out.

The first are of images taken by a photographer who is involved and a part of the subject matter ‘an insider’. She gives as an example of this type of photography as taken by Nan Goldin with her photographic work entitled “Ballard of Sexual Dependency” a collection of photographs documenting her stormy relationship with her boyfriend with candid shots of both her and her boyfriend together. Clearly she had kept her camera with her all the time; so her boyfriend appears to be behaving naturally as if the camera isn’t there.  Her project, ‘The Other Side’, Goldin used this same ‘insider’ technique with her transsexual friends, living with these people she was able to photograph them in normally very private moments.  Despite the closeness of the subject matter Goldin felt that the camera still leaves something out of the image something that a mere machine can not capture.  “If it were possible, I’d want no mechanism between me and the moment of photographing.”  Solomon-Godeau acknowledges, “that both of these works can be considered as exemplary of the insider position.” However, with regards to ‘The Other Side’ Solomon-Godeau questions, “how does the insider position determine the reception of these images or even the nature of the content?”  Solomon-Godeau goes on to reason that for example to photos of her friends dressing / undressing, indicating the intimate relationship the photographer has with the subject, ‘has a specific valency with respect to cross-dressing and transvestism’.  In other words these images can be read as either identities, roles, masquerades or “third genders”, as the title of “drag queen” or “transvestite” suggests a transforming through dressing-up.’  These images record moments in that transformation from male to extravagant fantasy, Hollywood style femininity and glamour, documenting a ritual that is itself about exteriority, appearance, performance. Solomon-Godeau points out, ‘that the very presence of a camera as they dress or undress, make love or bathe – instates a third term, even as the photographer wishes disavow it.’ – ‘The photographers own eyes is inevitably frustrated by the very mechanism of the camera – which cannot penetrate beyond that which is simply, there’.

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http://www.bing.com/images/search?q=Nan+Goldin+Pictures&view=detailv2&&id=1A7350AA546623EAA4AEEB1ACDA67B6DA6BF9E3F&selectedIndex=29&ccid=ofNUutLI&simid=608036300484707580&thid=OIP.Ma1f354bad2c8691a171908b85b82182co0&ajaxhist=0

 

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http://www.bing.com/images/search?q=Diane+Arbus+Photographer&view=detailv2&id=C6BD79CC704275DCB63C50A3E749A586DD93C6E5&selectedindex=78&ccid=ZfmE1hjA&simid=607996254197056365&thid=OIP.M65f984d618c069f365e323c219362afco0&mode=overlay&first=1

The second – Out, is documentary photographs taken by an outsider, amongst the photographers Solomon-Godeau refers to is Arbus, who photographed social and physical deviants in a way that prevented compassionate involvement. Susan Sontag described Arbus’ work as morbid voyeurism and Sontage uses Arbus as an example of photographs taken from the outside, ‘On Photography’. America Seen Through Photographs, Darkly’.

I personally don’t think that you need to be on the inside to produce a successful documentary project; but you do need close co-operation with those that are in ‘the inside’ in order for your work to imply any insight to the subject matter. I would simply refer anyone to a scientific documentary show such as BBC’s Horizon or reading a magazine journal such as ‘The Economist’, or trade journals.