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Bibliography

Websites

Page Title - Lacock Abbey, Fox Talbot Museum and Village Website name - National Trust URL - https://www.nationaltrust.org.uk/lacock-abbey-fox-talbot-museum-and-village Accessed - 07/11/2107

Page Title - BBC - History - William Henry Fox Talbot Website Name - Bbc.co.uk URL - http://www.bbc.co.uk/history/historic_figures/fox_talbot_william_henry.shtml Accessed - 07/11/2017

Page Title - Enda Bowe Website Name - Enda Bowe URL - http://www.endabowe.com Accessed - 15/11/2017

Page Title - South West Image Bank Website Name - Southwestimagebank.com URL - http://www.southwestimagebank.com/contents.html Accessed - 24/11/2017

Page Title - 18 Composition Rules For Photos That Shine :: Digital Photo Secrets Website Name - Digital-photo-secrets.com URL - http://www.digital-photo-secrets.com/tip/3372/18-composition-rules-for-photos-that-shine/ Accessed 01/12/17

Page Title - Basic Color Theory Website Name - Colormatters.com URL - https://www.colormatters.com/color-and-design/basic-color-theory Accessed - 01/12/2017

Page Title - Tom Hunter - Artist Website Name - Tomhunter.org URL - http://www.tomhunter.org Accessed  04/12/17

Page Title - Welcome to Mark Power Website Name - Markpower.co.uk URL - https://www.markpower.co.uk Accessed - 07/12/2017

Page Title - Daguerreotype Website Name - En.wikipedia.org URL - https://en.wikipedia.org/wiki/Daguerreotype Accessed - 10/12/17

Page Title - The Daguerreotype Medium - Daguerreotypes Website Name - The Library of Congress URL - https://www.loc.gov/collections/daguerreotypes/articles-and-essays/the-daguerreotype-medium/ Accessed 11/12/17

Books

Author - Helmut Gernsheim Book Title - L. J. M. Daguerre : The History of the Diorama and the Daguerreotype Publication - Dover Publications

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Module Evaluation

The implementation of the Context of Practice module into our university schedule has been truly eye-opening and inspiring for me. When the module began I wasn’t overly thrilled with the idea of the module due to the experience with contextual studies I obtained on my previous course however this brief diminished my personal stigma and kept my interested from start to finish. In the module we embarked on a trip to Lacock Abbey, immersed ourselves in the history of photography and had the pleasure of benefitting from a range of guest lectures from established photographers and a local historian. Speaking briefly, this module has created a gateway for further learning in regards of photographic history as this is not something I had ever looked into before and is now something I hold an interest in.

Personally, I enjoyed the trip to Lacock Abbey and the visiting lecture from Mark Power. The trip to Lacock Abbey, home of the late William Henry Fox Talbot, has a spot in my highlights due to the shear amount of photographic history that surrounds the location. As briefly stated above, this history of the practice has never held a prominent place in my interest just as it has never come up before. Following the trip I had more of an understanding of the importance of history and have more knowledge regarding where the art that I am striving for a honours degree in originally began. Moving on from this, the talk given by Mark Power at Plymouth University rounded off the first part of the module nicely. Although not specifically a part of the module it did allow for some great artist research and an experience that I will remember for years. It was lovely hear one of the most influential photographers in my career speak live in regards of his own work as it gave me a new perspective on work I have seen time after time.

In opposition of the parts of the project I enjoyed stands the presentation for the secondary part of the project. The presentation was the lowest part of this module for me, I hated every second of the physical presentation. I felt that my preparation could have been more thorough however that is not where I fell short. As stated earlier in my blog, I was not confident at all and this is an issues that I face every time I go to present to a group of publically speak at any degree. This is something that I will be working to overcome and I recognise that this is not beneficial to myself nor my development on this course. It is something that I am going to need to face head on and overcome.

Moving forward from this module I feel that my pathway of improvement is clear and now that I have no distractions outside of study following my termination of my work contract to commit more time to my work I have no barriers that I will be facing in modules to come. Going into the second year of this degree I am hoping that contextual studies will hold its place in the curriculum and cover a more in depth range of topics. In coming semesters I hope to delve further into the history of photography and the development of photographic processes, push myself to investigate a wider range of artists and take influence from other mediums. I have thoroughly enjoyed this module and am looking forward to contextual practice that will be present throughout the remainder of my time at Plymouth College of Art.

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Presentation Review & Tutor Feedback

Personally, I feel the presentation as a whole was mediocre however my part specific could have gone a lot better than it did on the day. I got off the a good start but not long into my section it went drastically down hill. As expected I began stumbling words, losing breath, breaking eye contact and falling silent time after time. In the group’s rehearsal and practice attempts with audiences present I ran through my presentation almost seamlessly, unfortunately this did not carry through on the assessed presentation. The group and myself as an individual did not meet the time frame and this is something we were all aware of on the day. If we were to have another chance and the presentation I feel that I may have approached it with different tactics in mind that may help my prevent anything going wrong. 

In regards of the magazine that was produced by Abby I feel that this did not aid us as a group nor have the right aesthetics for a professional magazine. As a group we could have had more of an input into the creation of the magazine however Abby had nominated herself to take over that role and we all placed faith in her to do so well. The magazine she created was good, sadly it was not fit for purpose in this instance. 

Tutor Feedback

Key Points:

Lack of information

Lack of planning

Could have been more confident

Not fit for purpose

No indication of target audience

Lack of context

Poorly organised 

Although I feel the Tutor Feedback session was very harsh on us a group despite there being other groups with the same issues as those that were stated in response to us, I did find it helpful to an extent. I didn’t feel the most confident going into the presentation and as stated in my plan I am happy with what I did achieve and now have a clear view of how I can improve in future presentations. In regards of the organisational, contextual and other criticism I did agree with them. More effort could have been put into this project as a whole and I believe that that is evident in the work produced. 

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Presentation Plan

For my part of the presentation I have decided to read directly from my article. I have made this decision as I feel it is what I will feel most comfortable doing, as opposed to attempting to memorise a script or work with queue cards. This also allows me to ensure that what I am saying will be 100% accurate as it isn’t unusual for me to panic and make things up on the spot. 

In regards of running order, Abby will be starting with the introduction and then going into her contribution. This will be followed by ...., ...... and finally .......

Once the presentation has been completed there will be time from question and answer in which we will encourage audience engagement to ensure that we, as a group, clear up any confusion and queries regarding the topics we have covered in our presentation.

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Re-Group

Following the break from the Christmas period we took the time to re-group and assess where we are in the project and what is left to be completed. All apart from one member of our group had finalised their contribution to the article which left us in a relatively difficult situation as we all attempted to contact this member however she was no responding to messages no sending us any work to feature in the magazine. We decided to give her time to complete the work and carry on with our work as a trio for the time being. 

Now that the written work had been completed we focused in on the design and format of the magazine and the group presentation. As Abby felt her skill set was design orientated due to her background in Art and Design A Level, she took over the design of the magazine. This left myself and Amy to focus on our parts in the presentation. 

In the presentation we are required to exceed the time frame of 15minutes, this works out as roughly 3.45minutes per person if the 4 of us are in attendance and of course more time if one or more aren’t present on the day of the presentation so we will need to be ready for this situation. I will be planning for this in the following posts.

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My Article

The daguerreotype is a one of a kind image on a pristinely polished, silver-plated sheet of cooper. Discovered and perfected by French artist Louis-Jacques-Mandé Daguerre, the daguerreotype became one of the pioneering processes of photography. Listed as the first successful photographic process and named after the inventor of the technique, the Daguerreotype is easily identifiable due to the silver tones and hyper-realistic appearance. L.Daguerre and his collaborator Nicéphore Niépce (of whom became more prominent in the later years of the process as Daguerre had initially underplayed Niépce’s role in the development) were part of the race to create a faultless photographic process but beat their competitors by only a handful of years. The process was publicly announced in 1839 however was first mentioned in print in 1835, with more processes being introduced by other creators from 1840 onwards.

The Original Process (Pre-1841):

Prepare a sheet of electroplated copper with a coating of metallic silver and buff it to ensure it has a fine sheen .

Place the sheet into an iodizing box and certify it is light tight. Whilst in the box the iodine fumes will react with the silver present of the sheets, therefore creating a light-sensitive silver-iodine coated plate. Throughout this period the the sheet will transition through an a range of colours. Deep yellow with a hint of rose is predictable of the fuming state of pure iodine Daguerreotypes.

Working under candlelight, load the plate into the camera and expose in bright sunlight. It is recommended that the exposure time is set in a 1:1 ratio when considering the aperture (e.g f/11 : 11 minutes in direct sunlight).

Following the exposure, develop the plate in a securely sealed box with the fumes of mercury that have been heated to 140 degrees fahrenheit. Within this stage of the development the mercury will amalgamate with the silver iodine that had previously been exposed to UV light.

The final stage of the process involves washing the plate with a dilated solution of sodium thiosulfate and then washed with distilled water. Once the plate has dried the image evident is permanent and is not amendable.

It is important that this process isn’t performed with the advice, coaching and review of an expert due to the use of mercury and the lethal affects the fumes may have to those of whom are exposed to them during the heating and development stages of the creation of a Daguerreotype.

Images to feature in article:

Still life created with plaster castes, produced by Louis Daguerre, c.1837

Kate Moss portrait, produced by Chuck Close, c.2011

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My Independent Research

For my independent research I compiled a mind map of the key pieces of information to included. I did this by referring a range of websites and books that I had uncovered on my search for information of which I will feature in my bibliography. I chose to compile the information into a basic mind map to ensure that I was working purely for the facts and not including and irrelevant information. 

The information:

Identified by the silver tones, holographic and reflective surface

Process announced in 1839

First evident in print in 1835

Created by Louis Jacques-Mande Daguerre and his collaborator Nicephore Niepce

First recorded photographic process

Pioneering process that shaped the development of photography

Artists to reference:

Historical - L.Daguerre

Contemporary - C.Close

Summary of the process:

Prep copper plate

Place in iodizing box

Expose to fumes

Load the plate into the camera in use

Expose to UV rays

Develop the plate

Wash the plate in diluted solution 

Wash again with distilled water

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Group Progress & Plans

We have identified that we will be focusing Alternative Processes as we all hold an interest in this photographic area. Within this we have all individually chosen a specific process to research further, these are:

Abby - Photogram Amy - Cyanotype Shannon - 35mm / Medium Format Myself - Daguerreotype

These choices were made based on which areas held the greatest level interest to each member specifically and which we felt we could create a comprehensive piece of writing about. My personal choice of Daguerreotype was inspired by our prior trip to Lacock Abbey and the Daguerreotypes that were on display at the location. I found them to  be especially awe-inspiring and some of the most beautiful pieces I have witnessed first hand. As stated above, this influenced my choice as I am wanting to investigate the process further and learn more about the first recorded photographic practice.

From this point forward (until our regroup in January alongside our return from the Christmas break) we will be working individually with communication via text / group chats. In this period we will be focusing on our contributions to the article to the set out the format and presentation on our return to university next month.

Over the coming weeks we have also decided to primarily research the key factors of the process, the steps required to complete the process and artist of whom contribute to the process. 

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Initial Response

Group Task

Following the assignment of the second part of the module were separated ourselves into groups. my group consisted of Abby, Amy, Shannon and myself. We deciphered this group on a ‘friendship’ basis as we all feel comfortable working alongside one another and feel the dynamic will aid our work ethic. We opted to work towards a multiple page magazine article due to the identification of our strengths in writing as opposed to curating. In regards of our theme we were unsure as to which direction to head in however will be looking into this individually to gauge a census to focus in on an appropriate area in the coming weeks. 

Identifying Individual Skills:

As this is our first project of the semester that requires interaction we were not overly familiar with the skill sets of those who were in our group so as a group with prompted each other to voice what we believe are our skills and potentially what are our flaws. 

Personally I believe that my skill set lays within my writing abilities rather than other areas. Throughout this part of the module I expect that I will be find the presentation formatting and pubic speaking the most challenging, especially the public speaking. Speaking in front of groups has always been an issue for me that goes hand in hand with the anxiety I face on a daily basis about trivial things. i don’t plan to let this hold me back however I will need to prepare myself for this. I am hoping someone in the group will be happy to take over my part with the premise that I do more “behind the scenes” work however I don’t feel this is an option as I am not the only member of the group that believes that this will be an issue. 

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Group Task

Virtual Exhibition/magazine article Task – Working in groups of 4-6 you will create a virtual exhibition/magazine article based upon one of the themes covered in your lecture series. You will plan, curate, choose a location, and market your own group exhibition/article. You will research and choose a series of artworks to include in your exhibition/article; you will support your choices with relevant critical discourse and information to inform your viewer. Your exhibition may be a traditional gallery space, an unusual venue to see artwork, or it could be created in the form of a magazine article. Ideas can be discussed with your lecturer and the only restrictions of the outcome will be your own imagination.

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Mark Power

Visiting Lecture at Plymouth University 

I was extactic when I found out Mark Power with giving a talk in the city’s main university as he is one of personal favourite photographers and has been for a number of years. Within the talk Power touched upon each body of work he had produced over his time as a practicing photographer and the struggles he has faced on his journey. Personally I found this sessions really engaging and I left feel inspired and content in the knowledge I had gained from a key influencer. 

Previous Magnum photographer, Mark Power, has played part in multiple solo and group exhibitions throughout his career in the visual arts. Initially Power graduated Brighton Polytechnic with a 1st degree in Visual Communications, specialising in painting and illustration. Following his graduation he travelled South East Asia and Australia for two years and during this time Power discovered his love for photographer was overpowering that of his previous artistic focus, prompting him to become a photographer upon his return to England once he had finished his travels. In the subsequent years of his life he work for range of charity and commercial purposes before beginning his teaching career in 1992. Alongside Powers years of teaching he also embarked on a multitude of self initiated projects of which now rest alongside his back catalogue of large-scale bodies of work.

In regards of his personal work, I personally favour those titled 26 Different Endings (2003 - 2006), CaCO3 (2006), America AZ/UT/NV (2017) and Black Country Stories (2011). Throughout Power’s work I feel that there is a set deadpan aesthetic that has resonated across his career. As well as this I feel that his work is very compositionally strong due to his use of shape, line and perspective. I feel that this photographer’s use of composition to enhance the imagery is most evident in his body of work Periplus (2004). For the duration of this project, Power focused on man-made concrete infrastructures located in Greece in the months leading up to the Olympic Games. This focus on architectural structures enabled Power to capture strong linear formations against muted, monochromatic backgrounds - in hand creating a high contrast that has caused a smooth divide between the featured elements. The lines evident in the imagery allow the viewers eye to explore the image with ease and gives the image a boost of interest.

The above image was taken by Power in Wisconsin, Midwestern USA during his work with the resonating titles of Postcard from America, with this becoming the fifth instalment in the April of 2014. This project  showcases many locations around the state of which all have strong compositional lines presents and an appealing variation of corresponding colour pallets, primarily depicting exterior spaces.

I have chosen to look into the image shown above as I was drawn to it amongst the rest. I feel that it coincides well with my own and many other’s perception of what Wisconsin would be like and this is due to the muted colours of the sky space and lack of activity in the foreground. Personally, I believe that Wisconsin is a rather quite place in comparison to others around the U.S.A and this is because of it’s minimal appearance in global news. In comparison to state such a California that draws a great deal of media attention, Wisconsin is considerably less known. The flat greys and blue tones present in the sky are suggestive of dullness, modesty and deficiency of emotion. This is due to the low number of points of interest for the viewer to focus on, in hand leaving an empty space in their interpretation of the image. In regards of the composition of the piece I believe it is enhance by the use of line throughout the photograph. The lines present in this image direct the viewers eye throughout the piece with ease and create a structure within the photograph. The slight curvature of the road that moves through the lower sections of the image breaks up the formality of the lines and produces more of a natural visual journey. Another compositional factor of this image that I feel Power has used to his artistic advantage is the rule of thirds. When the grid is applied it appears that the majority of the foreground and ground moving towards that back of the image, creating a realistic pathway within the image. The mid-section showcases a variety of vertical lines of which act as a great transition between the lower and higher sections of the piece and finally the higher third produces a contrast between that and the lower third due to this lower being visually full and the higher having a more minimalistic tone.

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Tom Hunter

Visiting Lecture at Plymouth College of Art

On the 24th of November I attended an artist lecture lead by photographer Tom Hunter. In the talk Hunter focused on his life before photography, how his experiences influenced him and his artistic work. Overall I found the talk to be a really interesting insight to how photography takes a hold over individuals whether they begin as a photographer or become one and how one finds inspiration in circumstances. 

Hunter spoke in regards of his time living in Hackney, Canada, America and travelling which I found interesting. He also spoke of his choice to leave school at the age of 15 to go forth and work manually on farms and building sites, letter taking work as a tree surgeon. After his time working he purchased a ticket to Canada and then onto America. Sometime into his journey he bought a camera and began photographing his life, according to Hunter none of the captured images were particularly good however the use of the camera ignited an interest that he was to pursue in later years.

Following a number of evening classes and tireless practice T.Hunter embarked on his first professionally initiated project, conceptually focusing on the community of which he was living in and the poverty-ridden squats he called home. This project was created with the intentions of breaking the stigma surrounding the specific neighbourhood and the belief that it was filled to the brim with drug addicts. Within this stage of the talk he stated something I found inspiring, this was “to create with purpose, create something different and more interesting than just one image in a white-walled gallery”.

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Colour Theory

Colour Theory is used in visual arts as a guide to purposefully using a combination of colours in a piece and the creation of a desired colour scheme. Colour Theory is broken down into smaller, more refined, sections such as primary, secondary and tertiary. This makes the process of selecting colours easier for artists as this theory acts as a point in the right direction for creatives.

Variations of Colour:

The Primary colours are the colours from which all other colours are made. These are red, yellow and blue.

Secondary colours are the colours that are produced by combining equal amounts of pairs of primary colours. These colours are green, orange and violet.

Tertiary colours are made from equal amounts of primary and secondary colours. For example; red-violet, blue-green and red-orange.

Monochromatic: Multiple shades of the same colour

Complimentary: Colours that fall on the opposite sides of the colour wheel.

Harmonious: Colours that are next to each other on the colour wheel.

Neutral: Colours that aren’t featured on the colour wheel (e.g black, white, etc).

Warm: Colours located on the right side of the colour wheel.

Cool/Cold: Colours located on the left side on the colour wheel.

Individual colours and their meaning within visual art:

Red - suggestive of war, passion, love, sex, danger and desire.

Orange - implies creativity, happiness and determination

Yellow - indicative of joy, happiness, intellect and energy

Green - suggestive of nature, growth and fertility

Blue - evocative of depth, stability, wisdom, faith and confidence.

Purple - implies stability, royalty, independence, mystery and magic.

White - indicative of purity, virginity, innocence and goodness.

Black - suggests power, elegance, formality, death and evil.

Every colour on the colour wheel has a variation of meanings, these meanings can be diverse but usually coincide with each other. For example the colour red can be suggestive of love and passions but also danger and war. These implied meanings are very conflicting however they are influence by the other components of the image, making it easier for the artist to achieve the intended purpose of use. In comparison to red, the colour white has less of a range of meanings. The suggested meanings of the colour white all fall within a positive means - implying purity and goodness. etc.

In reflection, I feel that it was beneficial to has a booster session regarding colour theory. Having this opportunity to revisit such a key element of photographic practice has allowed me to refresh my knowledge, in hand giving me a clearer idea of how i can incorporate it into my project.

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Composition

The Rule of Thirds

Use of the rule of thirds can make images appear more interesting than they potentially would be if they were composed with no influence having been taken from this rule. Positioning subjects along these guidelines and intersections enables the viewers eye to explore the image with ease and creates a greater sense of balance within the piece.

The Rule of Thirds includes applying imaginary horizontal and vertical lines to the framing of an image. During the compositional stages of an image, working to coincide with this rule would involve placing the major planes or focus areas on these lines. For example horizons would fall onto the horizontal lines and building/trees would fall onto the vertical lines.

The crossover sections of these lines are suggestive of where the centre of interest would compositionally benefit from the placement. The placement selected by the artist is dependant on the subject and how they desire the subject to be presented to the viewers.

Line

Line can be used within visual art to direct the viewer’s eye through the piece. The use of line enables the ability to communicate what we see. Compositionally line can be used horizontally or vertically in either straight or curved format. When used straight in an image it creates a very direct and closed direction, giving little opportunity for lead exploration. To oppose this, a curved line opens up the image as the curvature diminishes any abrupt edges and creates a larger open area.

Line can also be caused by shape, form and contrast and despite this being dependant on other factors of image it is still controllable.

Perspective

Linear Perspective

With the use of linear perspective distant objects appears proportionately smaller than those of which are in the foreground

Atmospheric / Aerial Perspective

This term describes the effect on the appearance of an object caused by the atmosphere separating it from the viewer.

Overlapping

The overlapping of objects within a frame can be suggestive of space and atmosphere. Through the use of this compositional technique the artist can rid the image of flatness, in hand allowing the viewer to visually travel through the image. This application of layers within a piece creates a sense of dimension and depth which I believe had the ability to enhance imagery greatly.

Filling Frame

I don’t feel that filling the frame is an important factor to consider when deciding on the composition of an image as I believe it depends on what you’re trying to achieve with the piece. Filling the frame allows you focus in on one or multiple areas of an image that may go unnoticed in the frame was wider. It works well if you are wanting the audience to view a specific detail of the piece.

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Nigel Overton Visiting Lecture

Today we had the pleasure of having a visit from local photographic historian Nigel Overton. During his visit he gave talk, of which gave a brief yet informative insight into the part that Plymouth played in the earlier years of photography. This talk touched upon figures such as Plymouth based Robert Hunt and John Thomas Towson and those whom were more widely renown such as Louis Daguerre and William Henry Fox Talbot. As well as this he aided in our creation of a mental timeline of events that lead photography to become what it is today. Below I have featured the notes I took during the talk to summarise Overton’s points and ensure that information will be at hand for future referencing.

Amateurs and Artists - Early Photography and Plymouth

Lecture Notes:

1839/1840 - Louis Deguerre & William Henry Fox-Talbot - created the first photographic processes

Lous Daguerre -

Stage designer by trade

Experimentation with camera obscurers

Deguerreotype - one off / no negative produced / long exposure

First to announce a photographic process

William Henry Fox Talbot -

Following the announcement of the dagueereotype Fox-Talbot presentes his photographic drawings 

Process was refine in 1840 and FT created the calotype

Talbot visited Mount Edgecombe in Sept 1845 and captured what is thought to be the first created imagery of Plymouth. Talbot took 50 negatives and produced 45 photographs.

Robert Hunt

Plymouth born

Moved to penzance

Qualified as a chemist 

1839 correspondence with other known photographic figures RE chemical processes

1843 - first photographic exhibition in penzance

1844 - photograph of his house in falmouth

1839 - Hunt captures image of his shop front on cornwall street, direct positive photographic drawing created with a camera obscurer

Wrote first book of photography in 1841

John Thomas Towson

Pioneer in early photography, working alongside robert hunt

Photographic Spaces

First Camera Obscurer on plym hoe c.1869

Daguerreotype studio set up in Plymouth in 1841, this was the first outside of London

Richard Beard - 

Patentee of the daguerreotype process in eng and wales from 1841 to 1853. in 1841 he opened the first daguerreotype studio in Europe at the royal polytechnic institution (london). 

Employee john godard as a science mind.

James Reid, Ice Master - Daguerreotype portrait

A daguerreotype studio opened 23 march 1841 on Union Street (image by George cruikshank). Subjects were to sit with metal plates around their necks to ensure they would not move during the long exposure

1851 -

The Great Exhibition: first international photography exhibition - showing a range of work / materials / style and processes

The wet calodium was created by fred scott archer, this process become one of the most widely accessible processes.

Calotype and Daguerreotype was heavily guarded and become background figures in the development of the field

Major General Linnaeus Tripe -

It is believed that the great exhibition inspired Tripe

Went back to India follwoing his military leave and documented an array of sights.

Was assign to an exhibition in Burma as the photographer

Famed for his imagery of India and Burma

Created early calotypes of Stoke Damerel c. 1852-54, Gun Warf Devonport c.1852-54, Breakwater c.1852-54, Stonehouse c1852-54, Richmond Walk c1852-54, Homoaze from Mount Edgecumbe c1852-54, etc

Cox & Heath

Instrument makers

Tripe purchase photographic chemicals, camera and lenses from the pair

Advertised as a wholesale photographic depot / photographic tutors

William Joseph Cox

Elected member of the photographic society in the inaugural year

Exhibited work at the royal institution in Liverpool

Worked in calotype and callodion / in daguerreotype in his earlier years.

Sir Charles Eastlake

Chairman of the photographic society

Promoted photography in london

Blake & Smith

Photographic artists

CDV and backs processors

Hawke

Experimenting with painted scenic backdrop

William Harding Warner

Worked with Heath to create images, Warner took the images whilst Heath produced them

George Washington Wilson

Travelled the south in the summer of 1861, photographed the albert bridge once the construction had been completes

Fancis Fowke

Architect, engineer & inventor

Fowke’s patented a bellows camera made by Thomas Ottewill & Co in the May of 1856

James Mack RE

Imagery of sailors aboard the hms Jena d’Acre, sept 1856

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South West Image Bank (SWiB)

The South West Image Bank, more locally known as SWiB, is a team of 16 volunteers of whom catalogue and oversee the photographic archives of Plymouth and the surrounding areas. The images located at this Plymouth Barbican Trust establishment are sourced from members of the public, photographers and businesses and deposited for historical referencing and safekeeping - to ensure the visual records of Plymouth are maintained over the coming years.

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Reading Images

    Questions to consider when reading an image -

who/what do you see?

When was it taken/when was it intended to look like it was taken?

What is happening in the photograph?

Where was it created?

Why did the photographer select these particular elements?

What don’t you see?

Why did the photographer emphasize certain elements and not others?

What’s in focus?

Why did the photographer take the picture at this moment?

What happened before/after?

Why did the photographer take the image at this angle?

When putting these questions into practise upon the reveal of an image, details regarding the subjects involved, the tone and narrative begin to reveal themselves.

The image shown above by Robert Frank titled ‘Trolleybus’ is a great example of contextual imagery the requires a critical train of thought. On first glance the image shows a bus with a number of people looking out of the window however when more factors are taken into accounts such as the location the image was taken and the year, a handful of uneasy truths begin to emerge. 

This piece was photographed in New Orleans in 1955 and depicts the racial divide present throughout America at this point in time. There is a clear separation between the white people at the front of the bus and then the black people in the back, this was normal for this year. I feel that the variation in the subject’s facial expressions are also telling of the social state at the time. The most prominant two being those of the white women second from left and the black man second from the right. The women’s facial expression is one of disgust and disbelief, almost as if she is insulted that R Frank has the audacity to take the image. In contrast to this, the man’s implies sorrow and to me suggests a cry for help from the lifestyle he has due to the racial issues. I am drawn to these to faces because they fall on the two vertical lines linked with the rule of thirds but also as these two are some of the most direct in the image.

Our task:

Split into groups of threes we were set out to read imagery in different ways. The task was to research and read 3 photographic images taken by established photographers (historical/contemporary). We will be presenting our findings to peers at the next contextual session.

One image should clearly define its intent through the image alone.

One image should need clarifications of intent through captions or other signs.

One should need further investigation to clearly understand its intent.

I chose to work with the final option in the list, to read and evaluate an image that requires further investigation to understand it fully.

My task response:

I chose to work with an image from Enda Bowe’s series titled ‘Love’s Fire Song’, previous titled ‘Songs from Boni’.

I feel that this image, taken from Love’s Fire Song, is the best capture of Bowe’s concept amongst the other photographs. It presents Belfast history through the use of colour, tone and the body language and facial expression of a single subject. Love’s Fire Song solely focuses on the Peace Walls, built to separate the Unionist and Nationalist communities, present in Belfast and those living on either side. More specifically it shines a light to the iconic bonfires that take place twice a year.

The colours of this image may not have been intentionally composed in reference to the history surround Belfast but that is how I have interpreted them. The blush tones of red presented in the foreground of the piece are suggestive of the passion and intense emotions present in both current day and in those involved in both opposing sides during ‘The Troubles’. The blue’s portray a sense of healing of which the communities of Belfast have been experiencing following the events that have happened throughout the years. I feel that they are also indicative of the knowledge gained throughout the previous century regarding the unfortunate events that have happened and the history of which has been created by them. The white in the two lights far in the background are suggestive of purity, an almost re-birth, which I feel the bonfires being lit and then faded out are also symbolic of.

The subject’s body language and facial expression give us, the audience, an insight into the youth of Belfast as I feel she is intended to represent the younger generation as a whole. As presented by her tight shoulders and saddened, reflect expression I am made to believe that the youth are very timid which may be because of their segregated up bringing giving them an alternate view on life.

I will be considerate of Bowe’s work whilst shooting my response to this module’s brief as I feel the components he features work well in regards of making the imagery appear to be more intimate and appealing.