Photography Evaluation
Introduction
I chose to look at photographers first instead of induvial photographs, this exposed me to the genre and style of photography they each work most prominently in. After shortening down to a list of ten, and then further shortening and concluding with my three photographers; I chose: Sam-Taylor Wood, Nan Golding and Norman Parkinson. All three presented different styles of photographs/art, yet I found similarities in specific pictures.
Sam Taylor-Wood
First of all, I looked at Sam Taylor-Wood (or Sam Taylor-Johnson as she now goes by due to going by her married name) and her photographs. She is British photographer, visual artist and film maker, who was born in 1967 adn began displaying her fine art photography skills in the early 1990s.
I was most entranced with two of her photography collections: “Escape Artist” (2008) and “Still Life”(2001), I was also interested in others such as “crying men”, “clown eggs” and “Bram Stoker’s chair”. I selected two images from these collections:
Sam Taylor-Wood has various projects on her website, which is where I found her photograph collections and information about her.
And wanted to investigate and compare both as an observation of her collective work; however, I concluded my choice by deciding to my photograph research on "Escape Artist".
They made me feel emotions that I didn’t think could be linked between a woman being held by balloons and moldy fruit. Wood has performed a delicate act of balanced feelings within both pictures, although the setting and subject are vastly different. The strong convey of sadness, vulnerability and the relationship with the space around the subject, is something that plays a strong part in my perception of the photographs.
In the “escape artist”, Sam-Taylor Wood explores her autobiographical work and self-photographs herself in these positions. She used bondage ropes, which were digitally removed in post, in order to suspend herself while she performed the poses. Although she has created a dreamlike look, it doesn’t appear as though beautiful and weightless, she is positioned as though she is falling and helpless; however, somehow supported and held by the balloons.
The use of bold, bright colourful balloons contrast the figure; she is slumped, vulnerable and colourless, while the balloons are bright, positive and joyful. This suggests that the figure is only hanging on from hitting the ground by the hopefulness of the bright colours that are holding her up. This depicts a depressive sadness that indicates that this character is emotionally defenceless, which is further structured through her physical positioning. Her costume of underwear, reemphases her exposed manner, implying that she feels powerless in her place and unable to hold herself up.
The room is sparce and dark, implying how alone this character feels in their vulnerable state, unable to get out of it herself, but also unable to reach out for help, so having to depend on the hope that the balloons will hold her.
I believe Taylor-Wood's intention for this piece was to present her character as helpless and vulnerable mentally, but through a physical representation.
Norman Parkinson
Secondly, Norman Parkinson was a clear choice for me, I was immediately drawn to his perfectionistic and central portrayal of photographs, observing fashion and beauty. He was a well-known British fashion and portrait photographer, born in 1913 London, taking most of his photoshoots outdoors. His work regularly appeared in magazines at the time, such as: Vouge and Harper’s Bazaar, which gave him a reputation for beautifully produced images that embraced charm and elegance. His pictures have an incredible effect of storytelling within the fashion, giving the models, clothes and location more depth. He was able to move towards casual elegance into his own art, which defined the 20th centuries perception of fashion photography. Due to this, he was heavily celebrated and was known for photographing iconic people and moments of (fashion) history. He photographed: The Royal Family; Audrey Hepburn; The Beatles; Twiggy; Grace Coddington; David Bowie; Iman; Jerry Hall and many more.
One of his most iconic images is ‘Jerry Hall, Russia, Vogue’ (1975), which I observed and was interested in, due to the vibrance of colour, the effective central framing and graceful figure within the photograph. I also looked at various other pieces that he has created. However, I also observed lots of his other photos, looking at the famous people he has photographed and how he captured the charm and sophistication.
I chose to look at Nena, Florence, 1961. I wasn’t able to find much information about the photograph itself, but I was entranced by the way he has captured the model’s distinction and used the surroundings to tie into the charm of the shot. The model is central in the shot, she is of the most importance and takes control of the shot, yet doesn't overpower, due to the background imagery. The dogs (another element Parkinson often used) create a balance of calm and elegant, as well as charming and entertaining, adding more depth and personality to the picture. The lightly-colured, small car adds to the lighter tones of the outfit and the woman's porcelain skin, creating a polished overall look. As well as this, the intruding branch in the top of the image builds on the photograph's endearing personality.
Nan Goldin
Finally, Nan Goldin, I was intrigued by this photographer and her photographs. She is an American photographer, born in 1953 and is known for her exploration of LGBT bodies, the HIV crisis, moments of intimacy and the opioid epidemic. She documented the post-Stonewall gay subculture and Goldin's family and friends, which was a part of her most well-known work: "The Ballad of Sexual Dependency"(1986).
I found “Nan One Month After Being Battered” to be very impactful and influential on me, I was also entranced with “Amanda in the Mirror”, "Käthe in the Tub" and lots of other photographs she has taken.
Some extra information and photos on the TATE website.
“Nan One Month After Being Battered” is one of Nan’s most notable pieces. It is a large colour photograph of Nan looking into the camera lens, whilst her face is depicted to have been beaten. Her eye is red with blood in the whites, and swollen in a dark red colour, with bruises under her other eye. Her appearance is well kept and presentable, her hair is suitable, she is wearing lipstick and is wearing a necklace and earrings; this contrasts the physical trauma caused to her face. She is positioned against a dark object, with a white curtain behind, using the lighter colour of the curtain to project dark shadows after using a flash bulb.
It is a part of her "The Ballad of Sexual Dependency" documented work, and marks the climax of 'The Ballad'. The picture was taken in 1984 after Goldin was physically assaulted by a man she claimed to be "deeply involved with", she required surgery as a result. She chose to take the photo as a way for her self-portrait to reflect her honesty, as well as a way of marking the end of a long-term relationship (and to remind herself that she "would never go back to him").
In this photo I can visualize Goldin's frustration and anguish, which I believe to be a main theme in her project. She explores sexual frustration, as well as how it effects a person, and I believe this to be presented prominently in this photograph. This portrait gives me a deeper and personal understanding of Goldin, how she is open and honest about herself, showing herself in this vulnerable state. Vulnerability in sex and relationships is another element that Goldin presents beautifully, taking naked portraits of people, and reinterpreting what our perspective of vulnerable is. The naked human body should not be seen as weak, which is why Goldin's photos gives them a power, especially LGBT bodies.