Tag Archives: form

Exercise-Project-2-Masquerades-Childhood memories

In this exercise I have created an image to represent a childhood memory.  I have based the idea of this project on Roland Barthes theory of mythology.  It struck me that our memories are a form of myth.  Our memories are never quite as they really were.  We recall through rose-tinted-glasses, our childish imaginings were myths both good and bad. My memory is of being scared of the dark as a child, particularly after having watched a scary episode of Dr. Who.  I was most scared of the Cyber-men and I recall dreaming of being chased and caught by the Cyber-men, I would hide under the bedclothes and peek out and being afraid of the shadows.  The myths of the Bogieman, monsters, ghosts and goblins haunted my dreams and imaginings to such an extent that as a very young child I could not go to sleep unless a light was left on in my room.

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D-800e, 24-120 f/4 @24mm, 1/125, f/11, ISO-6400, WB-Auto.  One remote speedlight operated via Pocket Wizard, converted to grey-scale in Lightroom and cropped.

I planned this idea out first on paper, putting my thoughts down which helped me quickly find an idea.  My thoughts initially were the usual happy memories of sunshine and ice-cream; but as I considered the theme of myth and I considered the darker side of childhood fancies.  The final product was converted to black-and-white as I felt that this made the image more dark and sinister, I also was not concerned about high ISO for this image because the grainier the image appears the better to imply a memory.

On Photography, Susan Sontag

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Susan Sontag, On Photography, (1979) London, Penguin, ISBN: 978-0-14-005397-5.

This book by Susan Sontag is a collection of essays discussing how photography has influenced the world since its invention and how it has played a part in the surrealist art movement in the 20th Century.

The book was first published in 1977 and although photography has moved on she spends a lot of time discussing how photography was first introduced accepted or not and how it came to be the most enduring and influential part of the surrealist movement.  She also looks at how photographs are used and how they can be re-used.

Topics and points to note:

  • In teaching us a new visual code, photographs alter and enlarge out notion of what is worth looking at and what we have a right to observe.
  • Photos are a grammar and even more importantly, an ethics of seeing.
  • Photos give us the sense that we can hold the world in our hands.
  • In photographs the image is also an object.
  • As object they can be collected, bought & sold, cherished, thrown away, lost & found, etc, etc.
  • Photographs furnish evidence, they appear to provide proof when something is in doubt.
  • A photograph justifies, for example through use of surveillance and is a presumption of proof that something exists.
  • Photography has become almost as widely practiced an amusement as sex and dancing – which means that like all mass art form, photography is not practiced by people as an art.  It is mainly a social rite, a defence against anxiety and a tool of power.
  • Photographs can abet desire and emotions of morality.
  • The industrialisation of photography permitted its rapid absorption into bureaucratic ways of running society…photographs became part of the general furniture of the environment – touchstones and confirmations of that reductive approach to reality which is considered realistic.  Photographs were enrolled in the service of important institutions of control, notably the family and the police, as symbolic object and as pieces of information….many important documents are not valid unless they have affixed to them, a photographic-token of the citizen’s face.