I personally like documentary Photography when I can see the actual people, and motions and some kind of real life scenario. Unfortunately many of those documentary photography is been planned so they are not a real life scenarios where people acting how they would want to.
I have researched some artist that I have found interesting, and inspiring in some kind of way ( except my master Andy Sanderson) Some of them are the top celebrity's photgraphers and some of them are unique. Mojority of them relates to my ideas and visualisation of how I would like to do the shoots and take shots in Chester.
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| Malick Sidibe, A Ye-ye posing,1963 (© Malick Sidibé. Courtesy Fifty One Fine Art Photography, Antwerp) |
Documentary photography is a style of photography that provides a straightforward and accurate representation of people, places, objects and events, and is often used in reportage. Until the mid-twentieth century, documentary photography was a vital way of bearing witness to world events: from shoot-from-the-hip photographs of the Spanish Civil War by Robert Cap.
On the internet you can find various sources about the actual subject. but this time I have used the source I have never used before called "Youtube". I have watched some beautiful images of not well known photographers. However the images are just outstanding. I have noted some details from that hour long film and of course over resources such like journals and books.
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| Graciela Iturbide, Angel Woman, Sonora Desert, 1979 |
During this period the tradition of documentary photography was reinvented. Artists began to see the camera as a tool for social change, using it to shed light on injustice, inequality and the sidelined aspects of society. However, social documentary photography is often a subjective art and not all photographers in this category intend their images to aid the bettering of society.
Lisette Model’s close-up views of people on the streets of Paris, New York and the French Riviera were often taken without the subjects’ awareness or permission. From 1949 on wards, Robert Frank started to take pictures which reflected his search for artistic freedom, shooting stories which revolutionised the expressive potential of the medium.
I have researched book called Art and Photography by famous editor David Company. In that book I have found two interesting artists like Gregory Crewdson.
Gregory Crewdson, an American artist renowned for his elaborately devised photographs of small-town life, digs into the commonplace and familiar to find images that are haunting, surreal and—most agree—profoundly unnerving. (Though Crewdson himself, we discovered, finds his work essentially “optimistic.”)
This artist is best known for his highly coulered still life tableaux which convey a claustrophobic sense of malaise. However , while doing this shot, he pulled the camera back and shot in monochrome , yet the effect is no less estranging. While the neighbours and a police cop look on, a man lays a turf lawn over the road. Turf is a com-modified packaging of the nature , making his activity less a visionary embrace of the wild than an impulsive act of modern frustration. In this setting he mocks the heroics of Land art. Whereas Land artists generally deployed the camera as a recording device for site specific work Crewdson involves in the creation of the image. His meticulous scene setting borrows as much from cinema as from documentary photography.  |
| Gregory Crewdson, Untitled , from hover series , 1996, 20 × 24 inches, silver gelatin print. All images courtesy of Luhring Augustine. |
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| Untitled 'Twilight' 2001-2002 48 x 60 in. (121.9 x 152.4 cm) Digital C-print |
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| Production Still (Brightview) 'Beneath the Roses' 2003 40.6 x 30.5 cm Digital chromogenic print |
He also have been interviewed by Allysa Loh and Alma Vescovi
The link for this interview:
http://theamericanreader.com/interview-with-photographer-gregory-crewdson/
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Marilyn Monroe resting, 1955
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| Malcom X, Chicago , 1961 |
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| Joan Crowford, Los Angeles, 1959 |
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| Eve Arnold, left, with Marilyn Monroe during the filming of The Misfits, 1960 |
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| Widow Needing Companion. Dora Grubb and amateur painter at The Royal Academy of Arts, London 1961 |
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| Father Gregory Wilkins, Director of the society of the sacred mission at Kelham, Nottingham, 1963 |
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| Marilyn Monroe, Long Island, New York, 1955 |
The longevity of Eve Arnold's career as a photographer matched the heterogeneity of her work. Despite the success of her portraits of the rich and famous, Arnold, who has died aged 99, was equally well known for photographing "the poor, the old and the underdog". She said: "It's the hardest thing in the world to take the mundane and try to show how special it is."
Arnold was the first woman to join the Magnum photographic agency, and much of her work fell within its tradition of in-depth editorial photography. She held characteristically trenchant views on the minority – and at times marginalised – status of female photojournalists, while being acutely aware of the role played by female stars as well as by unrecorded women the world over. The whole of the Magnum agency went on location to shoot John Huston's filming of The Misfits (1961), but it was Arnold's intimate portraits of Marilyn Monroe, fragile and poised by turn (including one incredible image, where she emerges from the black of a nightclub into the white glare of the spotlight, boogying uncertainly with a smiling Arthur Miller), that endured. Arnold not only befriended many of her subjects, including such greats as Monroe, Joan Crawford, Isabella Rossellini and Dietrich, but increasingly wrote about them as well as photographing them.
I really enjoyed researching this brief and I think I know how I can develop and explore my photography if comes about documentary or maybe as a journalist. I will deffinitely explore more of my ideas now than before I did my research.
I quit enjoyed looking at Eve Arnold, as because I think she does a very unique pieces of work ( not just celebrities) but everybody else. She takes a very simple shots of people, but sometimes Im not too sure if the scenes are for real or not. But this is the special part from documentary photography, you never know what was behind the scene of the photo we see. Photos always explore some emotions, but sometimes they are fake however sometimes they are for real. Majority of the time the real emotions are captured by photographers pointlessly. That's what I like to do, do very random shots of people doing their every day life business. I just have to captured them moments and explore the emotions on the prints I will make.
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