Positions and practice / Topic 2: Methods and meaning
But first, some definitions…
Concept - The idea that was the inspiration for the photographer. Let’s call this the THOUGHT
Methodology - The logic and reasoning that justifies the way the photographer worked. Let’s call this the PROCESS
Method - The physical way in which the photographer conducted his work by way of process or technique. Let’s call this the ACTION
This weeks discussion looked deeper into why we take photos. What was the motivation? Were there any extenuation factors at play? What were the means of capturing and/or displaying the results? When I first started to think on this, I was very much of the mindset that I worked on impulse and I really wasn’t one to give much thought behind the concept, methodology or method. After all, a lot of my influences came from street photographers and the ethos of Henri Cartier-Bresson’s ‘decisive moment’:
“Photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organisation of forms which give that event its proper expression.”
Henri Cartier-Bresson
However, I found out that Cartier Bresson didn’t just mean that he had a sixth sense for when to press the shutter button. In fact, he would scout to find the perfect place, compositionally, and then wait patiently for someone to walk by and complete his intended shot. This then helped me make the connection and gain a better understanding of the purpose of concept, methodology and method.
My level of understanding was further solidified when I analysed the work of Leonard Pongo. In particular his Primordial Earth series which looks to challenge the narrative of the traditional reportage coming out of Africa, filled with misery and capitalising on suffering. He provides viewers a new perspective on creation, (traditionally imposed on by early Crusaders and subsequent missionaries), this time filled with African beauty and mysticism and a suggestion that it is in fact where humanity began (*concept*). To achieve his dreamlike imagery he used a full spectrum camera (*method*) with the idea based on the Congolese belief that ‘not everything is visible’ (*methodology*). This method of photography would often produce random result that resembled a distorted version of reality and allowing more room for interpretation and story telling. The colouration in his body of work really feels like you are stepping into a different world, a feeling a familiarity but still very foreign to our traditional concepts.
Leonard Pongo - Primordial Earth
Leonard Pongo - Primordial Earth
I then found myself really questioning where I wanted to take my practice, often waking up in the middle of the night with project ideas I had to make note of before they slipped my mind in the morning. I started to draw a lot of inspiration from more recent photographers who were pushing themselves in terms of the visual image. The likes of Rehab Edalil, a really inspiring visual storyteller, (and ex MA photography student at Falmouth, might I add), who uses inspiration from her Bedouin roots and adds interesting visual elements such as embroidery to her work creating something tactile and incredibly striking. Experimental photographers such as Caleb Charland, and his use of the trichrome photography technique provided me with inspiration to achieve the more unusual colour quality that appeals to my sensibilities, as well as photographers who use sustainable methods and utilises the natural material to develop their imagery. In fact as part of my research, I aim to use seaweed as a development method, inspired by Melanie King.
I enjoy using water in my practice, and living by the sea I am fortunate enough to have access to the ever changing nature of it all. I drew a lot of comfort from walks along the beach during the first lockdown. It was great to see nature start to return and even the smell changed. It felt like the sea was gaining strength and I felt a sense of happiness. It was a very different place, compared to the usual seaside town, full of BBQs on the beach, alcohol fulled detritus, and careless rubbish strewn everywhere.
My project will be based around how the sea affects us, and in turn, how our actions affect the sea. Like the symbol of ouroboros, (the snake eating it’s own tail), I’ll draw on the idea of how we are all in a constant cycle of renewal.
Melanie King - Seaweed developer