Where am I now?

My current practice focuses on past Military establishments, documenting the current state that they lay. The buildings and landscapes may have been left for derelict or selected for regeneration, utilising their vast space. Either way these landscapes represent the most notable times through the history of war and conflict.

I have situated my search within Northern Ireland and thanks to research from archive photos and museums I have been able to place quite a few stations and barracks. I have captured 2 sites so far and have successfully made contacts, which will hopefully help me gain knowledge and access to these areas. In reflection I think I need to consider more of a strategic approach with addressing each site and try to re-create similar shots to complement my documentary style of photography. Work in progress

In the last week or so I have been drawn to RAF100, which is the Royal Air Force Centenary (1^st April 2018) https://www.raf.mod.uk/raf100/

They have partnered with Queen’s University Belfast and their project of Living Legacies 1914-18 http://www.livinglegacies1914-18.ac.uk/

The Living Legacies project have drawn up a digital map of World War 1 Airfields and have devised a tool kit in which Air Cadets will go out to these locations and narratively collect their findings. I hope to join them on location and photographically document to help with the Living Legacies project and add new sites to my research project.

 

The Shape-shifter

Case Study: John Szarkowski (1966) The Photographer’s Eye, New York: Museum of Modern Art.

“This book is an investigation of what photographs look like, and why they look that way” (Swarkowski, 1966, P6)

Are any of Szwarkowski’s photographic characteristics important to your own practice? Why?

Can you add any new ones?

THE THING ITSELF: Szwarkowski outlines that photography captures the reality/the real thing as appose to other forms of picture making. My practice of documentary photography certainly uses reality as a key element in which I use to show in my project of documenting old Military establishments.

DETAIL: Szwarkowski discuss how the photographer is tied to representing the reality and can only showcase fragments of the event. He also goes on to say that the picture could not tell the story but perhaps instead show significance with symbolism. In my practice I would agree that I can only show parts of a event, it can not tell the story. Although with symbolism such as old hangars, buildings it can give context and perhaps lend to a good idea what the story could be.

FRAME: Szwarkowski explains that the frame you have selected is not conceived but selected. Which I would agree with any practice, it is the decision of the photographer. In my opinion documentary/military photography, practitioners should try to include as much as detail as possible so that is true to the scene. For instance evidence, historical imagery.

TIME: Swarkowski says that the photograph is static, a parcel of time. That certainly is a property (in my practice) that has more connection to the science element of photography rather than an artistic attribute. I agree with Swarkowski and the need for the photograph to a parcel of time especially for documentary. Technically I would not want any artistic visual conventions such as movement or blur to represent time, as I need my imagery to be accurate.

VANTAGE POINT: Swarkowski says that photography has taught us to see from unexpected vantage points. My practice agrees with adopting different vantage points so it is possible to add to the reality such as aerial photography. Or a different perspective from normal viewpoint could add greater opportunity to document historical sites.

Swarkowski certainly has listed quite a few fundamental elements within a photograph. I have one more I think he should add to the list and that is light/colour. Considering the light and colour within a photograph is an element that I use within my current practice. To keep lighting conditions same in each image is possibly key to showing as much detail, although natural lightening can visually be pleasing to the eye. I need to preserve as much detail as possible to document what is in front of me. The colour of the photograph too, monochrome or colour? Many of my landscapes would certainly look more dramatic if shot in monochrome but colour can add true reality to the scene.