My discovery in the first week of informing contexts is that it is ok to think and produce outside of the box. I breathe a sigh of relief. Much of the work I produce, is in line with company branding, professional standards and direction from the client, as to what they want. I do as asked then put my own swing on it. And the beauty of studying this MA is further develop my photography.
When looking at imagery, we sometimes get bogged down onto it's purpose. What do we need to convey, focus, frame, control the eye of the viewer. What I am seeing in the first week is that informing contexts is going to be an education in multiple experimentations.
From an academic perspective, as a photographer, I view photography as an art form, which saves space whilst adding to internal decoration. Therefore it is very subjective, just as art itself.
I saw this contemporary display in St. James Hotel in Chicago when I stayed there a few years back. A collection of suitcases by the stairs in the reception area leading to the stairwell. It caught my eye for a number of reasons. I couldn't help noticing as a photographer the amount of floor space it took up in the boutique hotel.
I visualised what difference it would make as a very large image hung upon the wall behind the installation in the reception and perhaps allowing it to be interactive. Using it as a guest book by having a wide frame for them to write on in silver or gold pen. Taking Art and using it as imaginable as possible to link their stay and personal experiences.
I smile as I reflect upon the hair dressing saloon that recruited me to do their billboard poster photograph. Upon doing the set poses they requested, I then got the model to shake her head, achieving a beautiful motion image. Hair was not at all in place as styled, but the model's smile and shine on the hair, was reminiscent of how we feel after having a good cut and being at home in front of the mirror getting used to our new hair style. Happiness sells products and services. It was the image the choose for their campaign.
Looking at imagery, I tend to fall into three camps. I either love it, like it or feel nothing. It is rare that an image grows on me and therefore for me, it is ultimately about the connection I am making with the viewer to feel, from seeing. Shore, 1998 writes, "The photographic image turns a piece of paper into a seductive illusion, or a moment of truth and beauty" which I totally agree with. If I feel nothing, I try to analyse why. Do I not understand what the photographer is trying to portray or are they simply not communicating it effectively enough. I will expand. A splash of colour upon an image. Does it add or detract. If it adds, then what does the colour represent and does that connect for form a cohesive piece and if not why. Is it not designed to be cohesive? And if it detracts why did they bother? I will always try to decide what elements work for me and what bits don't. Upon that understanding, I imagine the image changed in my mind to how I would have preferred it to be. Some people may rave at it being fantastic, it may sell for thousands, but if I cannot connect to it, I feel nothing.
Szarkowski, 1966 sectionalises it to the thing itself, the detail, the frame, time and the vantage point. Ultimately, it is the photographer's interpretation of when they instruct the shutter to perform and at what they chose to convey. It is also the lighting, the colours or lack of and creating a narrative for the viewer.
This reinforces Rexer, 2014 who states, " Throughout history of photography there has always been dissenters from the prevailing consensus about what a photograph is supposed to be and do. Since then, the important question has become not "What is a photograph" but what is a photograph for." To answer Rexer, for me, it's recording or connection, cohesion and expression.
This image above is from my personal family collection. I removed the colours as not to distract the viewer. It was about capturing the eagerness of the older sibling wanting to assist in feeding his baby sister. Using natural light as authenticity of the reportage shot. The slight movement in his finger with the gentleness of his grasp, on the bottle and his concentration. The mother supervising by holding the bottle and gazing at her baby. The image records and holds a memory for me.