Category: Uncategorized

27 Jul 2018
+

Masculinity…….

 

What is masculinity? As a woman who’s only experience with masculinity has been destructive and narcissistic, this project discusses what it is to be a man and whether that masculinity must always be toxic.

 

 

As soon as I mention masculinity men run, we are predisposed to try and conform to society’s normal, that’s what I’m trying to illuminate with this project, society’s norm is not your regular man, what makes men masculine, strong if you like, is all their little quirks, the side you can’t see, that the media strives to keep hidden.

 

 

“I got involved with this project because I think it’s important that people feel good about themselves however they look. Society can appear quite brutal towards untraditional looking people that don’t make ‘clothes catalogue’ model grade. I feel times are changing gradually and we are as a whole becoming a little more accepting of people of all shapes and sizes, rightly so.I’ve never been traditional. My mum was born 1950 in East London and so was in what seemed the centre of the universe in 1964. She knew all the best shops and markets and her Rover ticket allowed her to frequent all of them from Carnaby Street to Roman Road Market.So when I came along in 1971 in leafy Suffolk my mum used to nip back to London to buy some of my clothes because she was used to more varieties.” Ed

 

 

When we are asked to think of a stereotypically strong man, the mind often wanders to ancient Greece to the likes of Greek warriors, throughout history men have created objects decorated with imagery designed to represent themselves in the image of Gods, fictitious warriors – strong. Why is this? Aside from the obvious muscles and strength, according to Greek mythology, it was not only the males that were in charge, it was their female counterparts, that despite the allusion to patriarchy, there are deep undertones of women being the real puppet masters. There were clearly two sides to men in ancient Greece.

 

 

If only our eyes saw souls instead of bodies, how very different our ideals of masculinity would be.

 

Does masculinity have to mean perfect? Strong? Flawed? What does it mean to you?

 

“One comes across moments when, if we still used it, the word “virility” might be useful. Watching Donald Trump intimidate his way through the Republican Presidential debates, I’ve often wondered about the meaning of his mine-is-bigger-than-yours masculinity. Is this what masculinity is? How can we distinguish between Trump’s pathological manliness and the healthier kind? This is hard to do when you have just one word, “masculinity,” to describe male identity. Now, theoretically, I could tell myself that, while Trump is undeniably masculine, he lacks virilitas. He is the Emperor Commodus of the 2016 election.” Rothman, J. 2016. I find this really interesting

 

what does it mean to be masculine in the modern world? Does the tradition Greek/Roman stereotype have any bearing on what would call manly today? You would certainly call Mr. Trump masculine, but certainly not in the same way you would call someone you liked masculine or manly, it is not a compliment when applied to Mr. Trump who seems to use his masculinity as a threat.

 

 

Who says the body positivity movement is just for women? Well, the media and mass society actually, I want to expose that for that it is, a load of crap! I have taken to asking each of my subjects to write a small piece documenting why they want to be involved with the project, this not only gives them a voice and helps them feel part of something, but also helps me to understand them, their reasons and who they are aside from their physical appearance, in turn, I can use this to put their images in context for the viewer, it is my intention for these images to promote understanding, awareness and educate, understanding their reasoning puts me in a much better position to be able to do this.

 

 

“Vulnerability; the quality or state of being exposed to the possibility of being attacked or harmed, either physically or emotionally.I did the shoot in order to expose my vulnerability, to promote the fact there are not just two body types of men that we see in the media (Super Buff or Super Skinny). People see me and think, brute, fat, scary when in reality I feel strength through emotional maturity. I believe people should have a open perception and wider understanding of themselves, who they effect and how they are affected.While strong in appearance, my awareness of self is constantly hypocritical and fragile, I am rarely the person you perceive me to be.”Orlando

 

 

I truly believe that you should never hide who you are and that we should all remember that what we see, is not all there is. What do you guys think?

 

Together let’s create a society of acceptance and understanding. If you’re interested in joinig the project, message me and lets have a chat.

 

23 Nov 2017
+

Body confidence, just for women? Not here its not.

We all have those little insecurities, how much they affect us is subjective, one man’s hill is another man’s mountain.

Sometimes I feel the “media” has a lot to answer for. People do not need this skewed perception of perfect and normal. Something that could be used to enhance and celebrate is continuously used as a set of goals for women, and men, to aspire to. Unhealthy in even the most “normal” of circumstances, but this unrealistic ideal seeks to make life only harder for those facing any form variance from that which is traditionally considered the norm. Should we as the general public not be embracing and supporting of any kind of diversity whether that be inherited or chosen? As soon as I mention masculinity men run, we are predisposed to try and conform to society’s normal, that’s what I’m trying to illuminate with this project, society’s norm is not your regular man, what makes men masculine, strong if you like, is all their little quirks, the side you can’t see, that the media strives to keep hidden.

Who says the body positivity movement is just for women? Well, the media and mass society actually, I want to expose that for that it is, a load of crap!

“Vulnerability; the quality or state of being exposed to the possibility of being attacked or harmed, either physically or emotionally.

I did the shoot in order to expose my vulnerability, to promote the fact there are not just two body types of men that we see in the media (Super Buff or Super Skinny). People see me and think, brute, fat, scary when in reality I feel strength through emotional maturity. I believe people should have an open perception and wider understanding of themselves, who they affect and how they are affected.

While strong in appearance, my awareness of self is constantly hypocritical and fragile, I am rarely the person you perceive me to be.” Orlando

 

Share your own experiences on your social media using the hashtag #bodypositivitynotjustforwomen and show the men you care about they can be proud of who they are, or be brave and join in with the project, this is all about the hidden, whether that is the hidden effects of something, an illness you cant see or a choice you get judged for.

It’s easy not to see what is in front of you, not to understand, to listen without hearing. Throughout this project the common theme is how people are misjudged in society, all that’s needed to make the world a better place, is a little understanding and some solidarity with our fellow humans.

So, if you’re interested in taking part in the project, drop me a message, tell me a little about yourself and why you want to participate and I’ll get back to you within a few days.
olly 1-4 olly 1-3 olly 1-2 olly 1
 

14 Oct 2017
+

Carina – Studio test

Sometimes its good to try something new, mess around and have some fun with likeminded amazing people! So last week I coerced my friend Carina to come play for the afternoon, bribed with chocolate cake she unbegrudgingly came along.

carina 2

carina-6carina-5

carina-7

Bearing in mind neither of use knew what we wanted to do or how the afternoon would play out, I don’t think the results are too shabby at all!

We ended up chanelling some Guillermo Del Toro crossed with Tyra Banks circa 2004!

Its great to be able to think outside of the box, try new techniques and of course let off some smoke bombs in the studio. carina-3 2

If you have a unique idea for a photoshoot, or want a photographer with a creative eye, lets have a chat and see what we can come up with!

Model – Carina Iannou

carina-4

14 Sep 2017
+

Teepee Bride

boho-18

boho-2

boho-5

boho-6

boho
 

It isn’t everyday I get to meet a soon-to-be-married couple that doesn’t mind defying wedding day traditions and norms. While most engaged couples opt for a traditional church ceremony and hall or ballroom reception, some are determined to mix things up by highlighting natural beauty and their love for the wilderness in the setting of their big day. After all, who says you need four walls and a dance floor to have the fairy tale wedding of your dreams?

​​
boho-7

boho-8

boho-9

 
Inspired by a not so conventional bride and set up in an open field surrounded by tall trees, this outdoor wedding photoshoot showcases a naturalistic atmosphere and a laid-back, laissez faire appeal. Offering a mix of rich colors, fresh foliage and rustic undertones, the woodsy landscape used during the photography shoot makes the perfect venue for a free-spirited gypsy, a peace-loving hippie or Bohemian beauty to tie the knot with her Prince Charming. The outside setting is also easily replicated, which means you can have this type of field wedding anywhere and everywhere (with proper permission, of course).

​​
boho-12

boho-13

 

And though the countryside backdrop steals the show in this outdoor wedding photo session, I really wanted to also bring attention to the vendors that made all of this possible. From the sprawling floral sprays, the blooming bouquets and the lacy flapper-style dress to the retro-inspired props, the wooden barnyard accents and the golden leaf invites – Every little detail was carefully considered when designing this whimsically unique wedding-scape.

​​boho-10

boho-11

 
We had tons of fun setting up and shooting this wedding photography set, so I hope it has provided you with some inspiration for the theme of your own celebration. Like what you see and imagine saying “I Do” in an outdoor setting such has this one? Take a moment to check out the vendors that have worked so diligently to make sure this wedding photo session went off without a hitch. Myself and all of these hand-picked vendors are dedicated to delivering the wedding of your wildest dreams no matter the location. Let’s turn that vintage vision into a modern day reality! A list of suppliers is at the bottom of the page if you would like to use the same fabulous people we did!

​​
boho-14

boho-15

​​
boho-4

​​

​​

​Photographer – Maryann Morris at The Menagerie. www.themenagerielifestylephotography.com
Dress – Rock the Frock – www.rockthefrockbridal.co.uk
Venue – www.browningbros.co.uk/
Model – Hannah Cowie
Cake – La Belle Cake co – www.labellecakecompany.co.uk
Flowers – Miss Fleur Floral Design – www.missfleurfloraldesign.co.uk/
Hair and make up – www.butterflieshairdesign.co.uk
Props – Forget Me Not Props – Www.forgetmenotprops.co.uk
Car – Little Yellow Bus – www.littleyellowbus.co.uk
Nails – Shiene Mann beauty – www.shienemannbeauty.com
Invites – Flamboyant invites – www.flamboyantinvites.com

boho-16

boho-17

​​

25 Mar 2017
+

Body Confidence – Guest post

 

Sarah Boudiour (1 of 1)-7

 

Body confidence comes from a lot of different places and in many forms.

Some find it from compliments, some from wearing makeup or maybe those special heels you’ve been wanting to buy yourself. Wherever it comes from in whatever form women should feel comfortable to gain confidence however they choose.

Personally I had no confidence In myself at all, body or emotionally partly down to a lot of crappy stuff happening to me as a young child and then as a young women, it has taken me a long time to gain confidence in any form. Especially the fact that I could be loved for who I was and not for how I looked or behaved, I thought that I would only be loved for what I could do and give to others. This meant that any friends I thought I had were not true friends and partners were only there for one thing.

By the age of 18 I had given up on anything real until I met my now husband. He loves me with no makeup wobbly bits after having our daughter even my pumps in the bed at night.

But still as I looked in the mirror I didn’t see what everyone else saw I saw a damaged little girl that was nothing special and couldn’t understand why anyone would want to take on this damaged person. I know I’m not over weight, I understand that not everything goes back to the way it was after having a child but still felt unattractive inside and out.

So, I decided to do something about it I took a flight on my own with our daughter to gain some confidence in being on my own with her which was great but when we came home I still had no self-esteem.

HERES THE BIG ONE!!!!!

I decided to do a boudoir shoot with my sister. I was so nervous and felt like a complete twat thinking the photos are going to look like shit and she should photograph someone else prettier with a perfect body.

We done the shoot and I went home thinking she would say the photos aren’t right etc……

WELL ……………

I have learnt a huge lesson that we don’t always see the truth in a mirror even if its staring straight back at us, having this photoshoot done with no photoshop other than light and tone changes has forced me to see that actually I am a yummy mummy even with all the faults I see in myself.

Sometimes all it takes is someone else taking a photo of you to force you to see the real you in the mirror. I know I’m proud of who I am inside and out all thanks to her showing me the real me.

Please, comment and let me know if you have found ways of increasing your confidence!

 

Sarah Rawski
Sarah Boudiour (1 of 1)  Sarah Boudiour (1 of 1)-9  Sarah Boudiour (1 of 1)-2

13 Apr 2016
+

Can art change the world?

Does a piece of art change anything in the modern world or are we so desensitised to seeing controversial images that it has no effect and we no longer notice it? Historically arts ability to change perceptions and society has always been considered viable as far back as the renaissance and cultural teachings of cave paintings in the neolithic era. The fundamental difference being the limited audience available pre the internet age, has the digital age expanded the distribution of artwork to a point of over saturation to minimise the effectiveness of the works? Controversy generated by artworks is also nothing new, leading to a question as to whether provocative actions are indicative of the artistic mind and even the word controversy indicates the offending of one party, normally the majority. Who in reality have no right to define the make up of social culture any more than the minority. To perhaps, try and answer this I want to look at past and present artists and how they have changed things with their art works. Can a piece of art, no matter what form it takes – be it a photograph, a painting, graffiti, music, performance art or even architecture, really change peoples perception of the world around them, or is it so ineffectual that we turn the page, scroll the screen or walk past without a second thought or even worse completely miss the point of what we are presented with due to over exposure?

Is it a valid medium and should it be censored, controlled,  promoted or profited from by non artistically led financially directed corporations or representatives of the state or country in a so called free society? And how does its censorship affect its ability to change? History is littered with examples of art works not only being deemed controversial but also deemed beneficial by certain parties as justifiable weapons of social engineering. Even as far back as the Catholic purges of the spanish inquisition which amongst other things, grew from the fundamental idealogical differences around dissemination of both religious and non religious artworks and their ownership between the Franciscan and Benedictine orders of christianity with one side arguing public ownership and a right to better themselves and the other believing both profit and control of who is worthy to indulge in the consciousness expanding abilities of access to independent thinking based art. This fundamentally proves the power or perceived power of anti establishment artworks.

Did the likes of Don McCullin, Robert Capa, Kevin Carter or Sebastião Salgardo change anything with their war  and famine photos? Is it even what they set out to do in the first place, the public were certainly enlightened due to these images, but did it do enough to change the governments standpoint? Especially considering both the subject matter and style of thought provoking image that made both Salgardo and Carter famous, caused the same fundamental change, but did

 

kevin carter-1

Kevin Carter, Vulture Watching Starving Child. 1993

so for only a short period of time, if we had learned from Salgardo then we wouldn’t have needed Carter to show us again via his pulitzer prize wining photo and there is no doubt that it was the consequence of trying to effect change through his photography which led to his untimely death just a year after receiving the prize.

I consider that art takes various forms and can not be limited to one genre. For the purposes of this essay I needed to choose a variety of artists to enable a balanced view, for the purposes of this investigation I have chosen artists that use various mediums to make their point. For my current study I have chosen to look at the following artists – Banksy, a  anti establishment, politically active graffiti artist who uses concrete as his canvas, he brings art to the masses and makes it available to all. JR, a unidentified large scale photographer who takes his art form to the street and uses it to bring awareness to the causes he feels strongly about. Don Mccullin, one of Britain’s most celebrated conflict photographers who has seen first hand some of the things many artists are trying to bring attention to. Jello Biafra, a anti censorship musician, advocator of absurdist media tactics and writer. Alan Moore, Author of V for Vendetta and many other seminal artworks that have inspired anti establishment groups intent on change.

banksy pigoens-1

Banksy. Immigration mural Clacton, 2014.

Banksy, believes that art is not something to be brought down to a commercial level, but does spray painting your ideas on a public wall, or opening a show full of what could be classed as shock factor art, really make anyone think any differently? Although Banksy’s position on commercial art has inevitably moved inline with the value of his works escalating, specifically citing the point when Sotheby’s’ first offered his work for sale at vastly inflated prices forcing him to engage with the economic issues around his work, “all this anti art sentiment comes off as negative, unless you look at it in context. Banksy sees himself as the liberator, the knights errant kicking the pricks to remind you that your ideas about art are just as valid as anybody else’s. He attacks the establishment to remind you of your own power. not just for the sake of it.  The point is, art should be truly democratic, truly a part of everybody’s life and not just a gang bang for the over privileged.” leading to a proactive change to begin assisting parties as he deemed fit to profit from his work as a counterpoint to the traditional gallery collectors buying his work as a status symbol. By using his art to help people in this way he can control the way its viewed, its no longer just graffiti, it has a deeper meaning.  “Keep your eyes open! Banksy allegedly gave his blessing for the sale of a street piece, which is unusual. But in this case, the vandal with a heart of gold had to make an exception. it is said he even helped the city road hospital to remove the piece and sneaked into the auction to touch it up at the last minute. Sale of the rat raised 30k for people with eyes what have gone wrong. A fitting cause for a visual artist, no? As Banksy himself says on his website ‘I mostly support projects working to restore sight and prevent eye disease. Or as I like to call it “expanding the market”’ Banksy’s statement highlights in a humorous way, his firm belief that street art is not only beneficial to the public, but has inherent power and uses medical analogies to further his point.

However Banksy’s inherent power, granted through notoriety as well as artistic merit can also backfire and undermine the point it is trying to make, this is perfectly illustrated by the accusations of him being racist levelled at him for his work Clacton Pigeons.  BBC news reports – “A stencil showing a group of pigeons holding anti-immigration banners towards an exotic-looking bird appeared in Clacton-on-Sea in October. But it was quickly removed by Tendring District Council, which said someone had complained it was ‘racist’.The council received about 40 messages from the public about the mural, with just one in favour of its actions. Street artist Banksy, who chooses to remain anonymous, created the mural in the build-up to last month’s by-election, which was won, as expected, by UKIP.”

Clacton is a deeply impoverished failed seaside town crippling under the pressure of hard drug use and London rehousing overflow generated by the regeneration of Stratford for the London Olympics. Despite the accusations levelled at the artist the local election not only lead to the legitimisation of the UK independence party, otherwise known as UKIP.  Which exhibited the extremity of their position due to the successful candidate moving from the centre right conservative party to the far right UKIP party for the election leaving absolutely no argument as to the public perception of immigration in the borough. Despite a strong backlash on social media to the local authorities actions towards the painting, with people demanding whoever responsible for destroying this piece of work loose their job, the minority clearly seeing what Banksy was trying to achieve, it is clear that this could be seen as a failure if the artists intention was to provoke reasoned debate and raises the question as to wether the the potentially temporary nature of street art can limit its scope of effectiveness unless embraced in the way Banksy’s month long residency in New York was, in creating a month long treasure hunt for those committed to his work.

 

He tried again in a similarly socially deprived coastal landscape with very different results, the Dismaland exhibition in Weston-Super-Mare used his notoriety to bring attention to commercialism, corruption, immigrations and expectations of a art gallery. Making clear his public ownership ideology by utilising the former public lido. The anti capitalist, and political nature of many of the exhibits shared a very great deal in common with not only the Anonymous movement but also the political and artistic climate of the late 1980s, covering issues such as police brutality, government corruption, censorship and human rights breaches to name a few. The very same artistic and political climate, widely expressed by Alan Moore to be the basis of his many socially and politically minded works of fiction that have been iconically accepted by counter cultures around the world. Despite the commercialisation of not only Banksy but other graffiti artists such as Space Invader and Blek le Rat, very little has changed regarding the wider publics attitude to graffiti. Again a product of the early 1980s and the rise of hip hop culture out of the most impoverish and segregated areas of America’s inner cities. You could argue that Dismaland did change the world, for some at least. It boosted the local economy in Weston-Super-Mare by a additional £20 million “Everyone has noted the irony of the anti-capitalist art show boosting business. But, Banksy said he chose Weston because ‘I went there every summer until I was 17’, so perhaps he would feel a little less animosity to small local traders than multi-nationals.” it certainly did more for small local trader than the same amount would for a larger company.  It shows that independent money that comes without corporate ties can be more useful and less destructive to the local economy, whereas big companies have to make lots of money and take out of the local economy and are more often that not a blight on the landscape, Banksy has managed to boost the economy with a large sum of money whilst utilising resources that were otherwise wasted, left empty and dormant. Not only did the exhibition raise awareness for immigrants, the remnants of this exhibition and some of the workers have now gone on to make a real difference to the migrants that are in Calais trying to get safe passage into the UK, some of the structures have been used by the Dismaland

workers to create shelter, communal space and a play area for the people living there.  It raised international awareness of Banksy and his causes, which ordinarily you would question, has he done this for the infamy? However his anonymity denies him any direct consequence of his work. He can only but sit back and watch, taking no real credit for his actions.

Banksy, by being anonymous plays into the V for vendetta idea of “Theres no flesh or blood within this cloak to kill. Theres only a idea. Ideas are bulletproof.” as does JR, who says Speaking of his inside out project – “I wish for you to stand up for that you care about, by participating int a global art project and together we will turn the world inside out. And this starts right now, what we see changes who we are, when we act together the whole thing is much more than the sum of all parts.”

 

jr-1

JR,  28 Millimeters, Portrait of a Generation Amad, Paris, Bastille, 2004

JR is a pseudonym for the artist whose identity has yet to be confirmed, began as a graffiti artist in Paris, interested in using the city as his canvas to reach those who do not go to museums he set about taking photos of his friends.  The Paris fires of 2005 which were set by out of control, misunderstood kids being portrayed as criminals, thugs, rioting and destroying their own environment. “JR nevertheless wanted to challenge the term racaille or, ‘scum’ the then minister of the interior had used to described the rioters. using a 28mm lens he shot full frame portraits of young people pulling scary faces to caricature themselves and pasted the enlarged posters onto the walls of both

Les Bosquets and ‘bobo’ (bourgeois bohemian) district of the city. Portrait of a generation invited us to look into the eyes of men playing bad boys with a certain ‘in your face’ rudeness, the portraits provoked passers by to question the media representation of them. Were they promising students of thugs? Frances future or a threat to national identity? What were their dreams and their nightmares? Should they be punished or motivated? Were the riots a eruption of violence or the beginning of a revolution? Most importantly, should we close our doors to them or open our arms?”   He took photographs of these kids making caricatures of themselves within the images, while the press was making them out to be cartoonised, rebellious figures, but by making faces in the photos they were mocking the press. By taking the caricatures of these kids they are taking control of their own image, which was completely distorted by the media. He then posted them up around the city with their names, ages, building number etc. This illegal art project became official when the authorities started pasting the photos themselves culminating in full scale projections being allowed to be projected on some of Paris’ most iconic buildings, ironically, including the Louvre. Forcing the general public to take ownership of these people as part of their own society rather than the dehumanised, devalued troublemakers the media had portrayed them as.

Banksy and Alan Moore both advocated the mask as a form of anonymity being utilised to allow the wider public to feel an ownership of the concepts, however despite being unidentified himself JR’s Face 2 Face project involving black and white portraiture, juxtaposing Palestinians and Israelis of the same profession and displaying them side by side in the opposing areas of the cities revealed that in this case the mask was the outstanding conflict between the two parties and when any direct allegiance to either side was removed many were unable to identify which were which. This itself must have changed the perceptions for many people, and in some small way changed their world making them question what they were fighting for or the long held historical nature of the conflict directly affecting many born too late to even be aware, first hand of of the issues surrounding the birth of the conflict. “it doesn’t matter in some ways if it is your photo or not, what is important is what you do with the images, the statement it makes where its pasted” and this seems to be true, so much difference and so many perceptions have been changed simply by pasting the right image in the right place at the right time. It can only work if you are showing people something new, making it unavoidable, or else why should they take notice? “In some ways art can change the world, but art is not supposed to change the world, to change practical things, but to change the perceptions,  art can change the way we see the world, art can create a energy. Actually the fact that art cannot change things makes it a neutral place for exchanges and discussion and then enables you to change the world” This quote highlights fundamental difference between JR and many other socially aware artists who make no attempts to hide their own wishes to change the world. However, I believe he is  contradicting himself, in one sentence he is saying art has no way of changing the world and then admits that it does provide the landscape for discussion and action that may effect change. Indeed its clear from the inside out project and from the interactions with over 111000 people that JR using the finance he received by winning  the Ted prize, enabled him to spread his project across the entire globe including active members in places as remote as Papua New Guinea and Timor neither country has any cultural or historical record of graffiti art or high end galleries this allowed him to reproduce images the public sent him and send them back large copies for pasting, he truly has taken art to the streets indeed the inside out project covered the entire globe and had active members in nearly all countries with free uncensored access to the internet. “I wish for you to stand up for what you care about by participating in a global art project and together we’ll turn the world inside out” “what we see, changes who we are and when we act together, who whole thing is much more than the sum of the parts.” How is this any different to the Anonymous movements slogan, we are legion, we are many? Both encourage people to stand together to achieve something more than they could alone.

v for vendtta-1

 

 

Alan Moore and David Lloyd, a infamous british writer and his graphic novel illustrator, changed the entire political landscape in the last ten years with their work V for Vendetta, which was first published in 1983 although more recently its iconography has been providing the  aesthetic and ideology that is the fundamental basis of the highly political and controversial Anonymous movement, In fact beginning and starting where his book directly ends. The group needed a image to hide their identity, by removing a single identity you remove the states ability to obstruct.  With the main protagonist in the book passing his identity on to thousands and coining the groups motto – we are legion, we are many. Also connecting them to historical biblical literature. Here is a example where the imagery transcends its original form and has been re appropriated by the public, which also retains the views expressed in the original text. Indeed art is a subject dealt with directly in the book “artists use lies to tell the truth, yes I created a lie, but because you believed it you found something true about yourself” V for Vendettas primary themes can almost be  identified easily and repeatedly as a blueprint for Banksy’s socially conscious, politically edged but highly satirical and humorous subject matters, David Lloyd the artist originally behind the now famous mask openly discussed immigration as a issue as much at the heart of their work as Banksy’s Clacton Pigeons “V for Vendetta was initially a response to the rise of support for a national front in England 1977-1979 was a high unemployment period and thats when the anti immigration bunch get stronger – in line with the same crew in the conservative party. As time progressed and Margaret Thatcher became more radical she was a spur to our endeavour, of course. Now? Yes, the rise of the influence of the tea party reflects the rise of radical conservatism in the late 70s in the uk.” Art can only truly flourish in a non censored environment, which is what Anonymous are trying to achieve as well the policies of direct action advocated wholeheartedly within the pages of Alan Moore’s V for Vendetta.  “People shouldn’t be afraid of their government. Governments should be afraid of their people.”

“How many knew then, or know now, what it represents from the book or the movie is an unknown number; but as the key motivation of V in both is to free people from tyranny, the mask is being used appropriately by protesters, whether they know about the story or not.” I think this quote clearly shows that no matter who is using the artwork, as long as it is being used for good in the manner in which the book was written then the artist is more than happy to have been a part of that. The background is irrelevant, its the ideology that is important and that goes all the way back to Guy Fawkes, who the mask is based on. Fitting that he, like V in the book and the Anonymous movement was trying to overthrow parliament for what they believe to be right and for the greater good and freedoms of the masses. Its also worth noting the book also deals directly with restricting of media content and message and V’s taking over of the airwaves has also been directly mirrored within videos released and distributed alongside Anonymous’s many direct action campaigns, branded by them as Hackattacks.

Alan Moore’s attitude to art, its place in the world and its power in effecting change is a little more unusual than most going to far as to connect modern artworks to sorcery and alchemy.  “magic in its earliest form is often refereed to as ‘the art’ I believe this is completely literal, I believe that magic is art and that art, wether it be writing, music, sculpture or any other form is literally magic. Art is like magic, the science of manipulating symbols, words or images, to achieve changes in consciousness” It is clear if judged on his own terms Alan Moore’s fundamental belief that art is a weapon of change and has been proven right even by utilising a medium that at the time was considered of low rent or non artistic value.  V for Vendetta is widely credited with elevating the comic book genre to that of serious literature and the generation of the term graphic novel. The importance of which on modern culture also being highlighted in him being the only writer to have more than one work credited in the greatest 50 books of the 20th century, as voted for by the public and indeed changing the entire landscape surrounding comic and geek art now to the point where it is a staple of modern youth culture, where both film and computer game arts have overtaken music in the last ten years to be the most profitable of all art forms marketed.  Both the Marvel and DC publishing houses now have revenues that greatly outweigh any available to the traditional art market.

frankenchrist-1

Jello Biafra is a American born punk singer  and staunch believer in free society, who utilises shock values and  publicly advocates direct action in the name of political causes. He is known to use absurdist tactics to highlight social injustice and civil rights. He is best known for his work with the band The Dead Kennedys, their lyrics referencing a lot of classic 20th century counter culture literature which is unashamedly political and unavoidably provocative, he is widely considered to be the first true punk intellectualist. Protest art isn’t necessarily in the visual form, the Dead Kennedy’s are well know for their politically provocative and socially conscious lyrics and also his controversial album art with their vocalist running for the Green party’s presidential nomination in 2000. The main reason I wanted to include Biafra is because of his involvement in the trial dubbed the people vs the Dead Kennedy’s, Biafra wanted to use a HR Giger painting titled Penis Landscape on a album cover, Frankenchrist, which was later considered public obscenity, finding that making the album retail friendly with the artwork on the front would be too costly, Biafra decided to include the artwork as a poster inside. Claiming that “some people may find the poster shocking or even repulsive, or offensive. Life can sometimes be that way”  despite Giger being highly regarded as a legitimate artist,  police officers raided his house after complaints from the parents music resource centre, which unsurprisingly was cofounded by the wife of a then US senator and is the reason we now have the explicit warning labels on albums. He was later charged with distributing harmful material to minors. “The singer’s defence was that the poster was both a literal and a figurative illustration of ‘people screwing each other over’ and therefore an integral element of the entire LP’s concept, which featured songs about political corruption, unemployment, racism and poverty.”  The trial may have resulted in a $2000 fine or a year in prison, but ended in a hung jury. After the verdict was read, Biafra signed copies of the poster for the jurors – perhaps telling them to go screw themselves was the meaning behind that?  This lead to the birth of the no more censorship defence fund which became a campaigning organisation for the freedom of expression, free of censorship within America. Which became funded  and fully supported by many high profile artists and musicians much more famous than he was and who use music as a creative outlet to raise awareness for own personal ideologies.

 

 

biafra-1David Hall, Jello Biafra at Fun Fun Fun Fest,2014

muccullin-1

 Don McCullin, Vietnam 1968

Don McCulllin is one of Britain’s most highly regarded conflict photographers and also one of the most cynical men I have ever had the pleasure of meeting. “You can’t go around kidding yourself that your photographs in a few papers will change the world. They can not and they have not. I despair about the human race. The papers

only shows the bums, the killers and the arms dealers and people like that. Good news never sold a newspaper.” I disagree with McCullin here, I believe that photographs can change the world, perhaps not immediately, but they force us to look at the horrors of war making it impossible to ignore and if it can not be ignored then something must be done? Speaking of his war photos, he said: “I don’t want people to come away feeling negative because some are tough to look at. I want people to go away and change all these horrible things that are going on in the world, I want it to change. We want to hand down to our grandchildren a better world and a better future.” But change can not happen if something is easy to look at, that simply means its acceptable, to effect any change then artists need to show things that are awful to look at, completely unacceptable, forcing the general public to stand up for people less fortunate than themselves.

“Of course, it is the photographer’s job to show some of that horror, to say: this is the real war, this is what it’s like on the ground, this is what war does to you. That job that has been becoming increasingly difficult ever since the US decided that the media had lost the war in Vietnam for them. In 1982 came the Falklands war, and Margaret Thatcher’s government decided not to make the mistake the Americans had of giving reporters and photographers free access to the hostilities. Instead, they set up the “pool” system, in which a small number of journalists and photographers, supposedly picked at random, supplied copy and images to be transmitted back home by the military. The movements of the pool members were controlled by armed forces personnel.” This is a example of art changing the world, but not for the better, because of the powerful images that emerged from the Vietnam war photographers began to be censored in a way they were not previously, previously they only had their editors to get the images past, but now there was soldiers and governments to circumnavigate. This caused the public to be denied the chance to know what was really happening. “McCullin was also banned from covering the Falklands war in 1982, due to the intervention of a senior army officer who feared McCullin would give it the same treatment he gave the Vietnam war and record the truth on the frontline. No doubt, the photographs would not have been quite what Thatcher had in mind either.” Photographs, art, images or writing can not change anything nor be trusted if what we actually see is regulated by the state who have no inherent connection to the subject. “Digital photography is a lie, it cannot be trusted it is too easily manipulated.” It is not just digital art that can not be trusted, its obvious that any controlled form of art can not be trusted, the state will not hesitate to twist and edit any information we are allowed to see, using art to only portray the world as they wish it to be seen, twisting the truth to meet their own agendas. There might be photos of atrocities, but that same photographer can just as well take a photo of a girl in the next street oblivious and playing because the events have become so normalised to her, what we actually get shown depends on the need of the authorities, the editors and the state.

Banksy and Joseph Remnant both started off in a similar way, in the sense that they both use the streets as their gallery, bringing art to those who would not think about visiting a gallery, often bringing attention to causes that most would shy away from or would not fit in a regular gallery, by doing this they can reach out to people who would ordinary be unaware of issues, or not understand them, by putting them on the streets in a less complex way you gain the understanding and trust of people, unlike politicians who address their issues in a much more convoluted way creating fear and distrust through lack of understanding. The only places art has failed to change anything in this way has been where there is censorship, official involvement or interference, left to their own devices or with the safety net of anonymity artists are able to create pieces which not only shock, but educate. True art can only exist where there is no agenda for deception. only education, it is a fact that the only way we can effect any form of change is by raising awareness of the causes. if art was truly unable to change anything, truly useless then would the Nazi’s have put so much effort into hiding it? Placing restrictions on the style of painting, sculpture, music, literature, design and photography that the public was allowed to make? Would they have still seen it as such a threat if art posed no threat? These are all things that in many ways we are still fighting for the right to be uncensored today, as illustrated by Anonymous and Jello Biafra’s don’t hate the media, become the media campaigns, not to the same extent, but we fight for the right to be seen, unrestricted. We fight for the right to have our work seen by the public instead of hidden away. In many ways I believe the internet has assisted this, it has given us free reign to show as many as possible who we are and what we stand for, however placing something on the internet is not the same and has less of a effect than something you are met with on the street, in your own neighbourhood, something completely unavoidable that is happening in your world, not some digital imaginary one. I believe that art should be made public, and big, unavoidably big, so it meets you in the eye,  it is of no use being hidden away in galleries and private collections if the intention of creating the piece was to change and enlighten people, for many years art has been used to create fear  and control, as in the church doom paintings which were made as a threat to the congregation, telling them that if they were rebellious and did not follow the bible they would descend into the hellish place shown before them.

I believe that the temporary nature of street art provokes a air of speed, desperation to do something before its gone, forgotten or the next issue has taken precedence, I think the fact that it is not there for long evokes a feeling of urgency and desperation. It gives the feeling that the issue its showing you could also be temporary, if only you did something about it. In the words of Dr Seuss “Unless someone like you cares a whole awful lot,

Nothing is going to get better. It’s not.” Not many people believe that Dr Seuss had a message, but this one is very clear, nothing is going to change unless people like you or I stand up for what they care about.

It is my opinion that art itself can not change the world, not if it is censored and regulated by the authorities, but left to the likes of renegade artists it can change peoples perceptions if it is centred in the public domain, has no air of pretentiousness like most galleries have and is out there in the streets to be seen, not hidden away, it has be be raw and unedited, untainted by preconceptions,  trusted and clear of any agenda, only then can it change peoples views of each other, art can break barriers by showing, proving things that otherwise would not be believed, and they, by standing together against the issues raised in the artworks, then art can change the world. Art can change people and they can change the world.

Bibliography

Books

Banksy.,. 2011. Banksy. Milano: L’ippocampo.

Banksy.,. 2001. Banging Your Head Against A Brick Wall. [United Kingdom]: Weapons of Mass Disruption.

Bofkin, Lee. Concrete Canvas.

Boulware, Jack, and Silke Tudor. 2009. Gimme Something Better. New York: Penguin.

Clarke, Robert. 2012. Seven Years With Banksy. London: Michael O’Mara Books.

CNBC,. 2015. “The Man Behind The Anonymous Mask”. http://www.cnbc.com/2015/12/29/the-man-behind-the-anonymous-mask-v-for-vendettas-david-lloyd.html.

Coleman, E. Gabriella. Hacker, Hoaxer, Whistleblower, Spy.

Comics Alliance,. 2016.

Deitch, Jeffrey, Roger Gastman, and Aaron Rose. 2011. Art In The Streets. New York, NY: Skira Rizzoli.

Eco, Umberto. 1983. The Name Of The Rose. San Diego: Harcourt Brace Jovanovich.

JR, and Marco Berrebi. 2012. Women Are Heroes. New York: Abrams.

JR, Joseph Remnant, and Nato Thompson. JR.

Kester, Marian. Dead Kennedys.

McCullin, Don. 2007. In England. London: Jonathan Cape.

McCullin, Don, and Lewis Chester. 1992. Unreasonable Behaviour. New York: Knopf.

McCullin, Don, Harold Evans, and Susan Sontag. 2015. Don Mccullin. New York, N.Y.: Aperture.

Moore, Alan, and Dave Gibbons. 1987. Watchmen. New York: DC Comics Inc.

Moore, Alan, David Lloyd, Steve Whitaker, Siobhan Dodds, Jeannie O’Connor, Steve Craddock, Elitta Fell, and Tony Weare. 2005. V For Vendetta. New York: Vertigo/DC Comics.

Seuss,. 1971. The Lorax. New York: Random House.

Shove, Gary, and Patrick Potter. 2014. Banksy. You Are An Acceptable Level Of Threat And If You Were Not You Would Know About It. Exp. Ed. Darlington: Carpet Bombing Culture.

Sinker, Daniel. 2001. We Owe You Nothing. New York: Akashic Books.

Spiegelman, Art. 1993. Maus.

Reinbek bei Hamburg: Rowohlt.

Stepan, Peter, and Claus Biegert. 2006. Photos That Changed The World. Munich: Prestel.

Websites

Ted.com,. 2016. “My Wish: Use Art To Turn The World Inside Out”. https://www.ted.com/talks/jr_s_ted_prize_wish_use_art_to_turn_the_world_inside_out.

the Guardian,. 2003. “Don Mccullin On The Photographer’s Role In Wars”. http://www.theguardian.com/world/2003/feb/14/iraq.features11.

Alternativetentacles.com,. 2016. “Alternative Tentacles – Alternative Tentacles – Frankenchrist Trial”. Accessed February 17. http://www.alternativetentacles.com/page.php?page=frankenchristtrial1.

BBC News,. 2016. “Banksy’s Dismaland ‘Gave Weston-Super-Mare A £20M Boost’ – BBC News”. http://www.bbc.co.uk/news/uk-england-bristol-34347681.

BBC,. 2016. http://www.bbc.co.uk/news/uk-england-essex-29918326,.

CNBC,. 2015. “The Man Behind The Anonymous Mask”. http://www.cnbc.com/2015/12/29/the-man-behind-the-anonymous-mask-v-for-vendettas-david-lloyd.html.

“‘V For Vendetta’ Inspires Anonymous, Creator David Lloyd Responds”. Accessed February 1. http://comicsalliance.com/v-for-vendetta-anonymous-david-lloyd/.

Intellectual-thoughts.com,. 2016. “Alan Moore Quote”. Accessed January 13. http://www.intellectual-thoughts.com/Alan%20Moore%20quote.html.

Silverberg, Michael. 2016. “The Obscenity Trial That Made H. R. Giger An Icon For Punk Rock And Free Speech”. Quartz. Accessed February 15. http://qz.com/210900/the-obscenity-trial-that-made-h-r-giger-an-icon-for-punk-rock-and-free-speech/.

Socialismtoday.org,. 2015. “Socialism Today – A Legendary Photographer Of Injustice”. Accessed December 10. http://www.socialismtoday.org/152/mccullin.html.

DVD’s

V For Vendetta. 2016. DVD.

02 Dec 2015
+

Destroyer of hearts – behind the scenes.


BTC peter-1

 

Model – Pure Hatred

Mask – Albert Freek

Photographer – Maryann Morris

I have been missing out on time in the studio lately, instead going for  more landscape images, but, and yes I know I’m being a wimp here – its cold.

I’ve had the idea of using a heart as a prop in my head for a while now, I just had to find the right person to collaborate with – someone that didn’t mind doing something a little more alternative and was open to expanding the idea. I have worked with Peter a few times now and always worked rather well together and he was very much interested in my plan.

Here’s how the day progressed.



BTC peter-1-2

BTC peter-1-5

BTC peter-1-3

BTC peter-1-4

Who doesn’t need a sparkly heart?

 

And some of the final images – 
peter carey re edits LR-4 peter carey re edits LR-1
peter carey 9 LR-1peter carey 7 LR-1

peter carey re edits LR-5

 

 


24 Oct 2015
+

The day of the dead

So today I tried something a little new for me, not only the style of photo but I did the makeup too, mainly because its a Saturday afternoon and we could! I have the perfect model in my daughter, only happy to help in return for a lift to her friends house. I really wouldn’t mind doing some more like this. What do you think?

Amy day of the dead lr wm-1

 

 

19 Oct 2015
+

The studio is open

 

 

 

Its taken me years to get to the point where I can realistically have my own studio space set up permanently and it means so so much to me! Those of you that read my first post on here will realise why, for those that didn’t – lets say I finally have what I want after years of being told no and that I’m not good enough. Its a huge deal for me.

It also means I don’t have to cart all my kit about for photoshoots meaning that absolutely everything is on hand when I take your beautiful photos, giving us more options for the end results and if its not indoor photos you are looking for? There is a acre of grounds for us to play in too!

The studio is set up so we can use it for most kinds of photography, so help me enjoy it and message me to book! 

studio LR-2

There is a range of backdrops and props available, but feel free to bring along anything you feel might add to the experience. 

studio LR-1

24 May 2015
+

Film photography in the modern world

Does film photography still have a place in the modern world? is it at all relevant with the constant upgrading of new digital sensors that capable of resolutions that we only dreamed of? With the simplicity of taking digital images, that can be edited, uploaded, shared and printed with seconds of being taken, why would we bother with the laborious process that is analog photography?  Is there still room for the cameras of 50 years ago? Does it even have to be a 50 year old camera? With resurgence of analog technology in many different areas, one has to ask if it is again becoming a relevant platform for photography. Is film photography purely for photography’s few remaining dinosaurs? Those left over from the time before the great microchip was discovered? Surely this would mean that no one over the age of 30 has shot a roll of film? Wrong! Plenty of people have and do, so why? What place does a antiquated technique have in todays fast pace world of chips sensors and auto focus?

“one could argue that analogue photography has only recently become a medium in the fullest sense of the term, for it is only when artists refuse to switch over to digital technologies that the question of what constitutes analogue photography as a medium is self-consciously posed. While the benefits of digitalisation  – in terms of accessibility, dissemination, speed and efficiency – are universally acknowledged, some people are beginning to reflect on what is lost in this great technological revolution.”   There is a lot to be lost from this, I see digital imaging and analogue photography as two entirely separate mediums. One is more hands on, connected to the creation of the photograph from start to finish, the other is more often than not a computerised process destined to live forever in a hard drive.

There are plenty of photographers, both professional and amateur alike that are going back to film, or renouncing the existence of digital altogether. To gain a insight into why this is I will be looking at three different artists – Zoe Leonard, Tacita Dean and Ralph Steadman. Both Dean and Leonard shoot primarily on film and have not only both created exhibitions titled Analogue, but actively seem to stage a protest in analogues defence.

Zoe Leonard shoots with a 1940’s Rollieflex left over from the mechanical age, as she puts it.  “Progress is always an exchange. We gain something, we give something else up. I’m interested in looking at some of what we are losing” From her photographs it seems clear to me that Leonard is intentionally using  the disappearing art of photography to photograph something else that is disappearing from out streets, using the gritty feel of film to capture the gritty run down shop fronts and emphasise the texture in her photographs,   she seems to use analogue technology to reconsider photography’s place in the  modern world.

Tacita dean describes photography as  “the imprint of light on emulsion, the

alchemy of circumstance and chemistry” I love Dean’s attitude to analogue photography she is distinctly militant in her views on digital imaging, the effect it has on the art world and actively mourns the potential loss of analogue photography.

“Dean is even more outspoken than Leonard in her stand against digitalisation of everything. In the introduction to the catalogue for the exhibition, Analogue, she declares that analog is a description ‘of everything I hold dear’. She points out that analogue refers to a vast range of things, from the movement of hands on a watch to writing and drawing. She continues, ‘analogue implies a continuous signal – a continuum and a line, whereas digital constitutes what is broken up, or rather, broken down, into millions of numbers’. While the convenience of digital media is wonderful, she confesses: ‘for me, it just does not have the means to create poetry; it neither breathes nor wobbles, but tidies up our society, correcting it and then leaves no trace’. It is not ‘born to the physical world’. We are being ‘frogmarched’ she declares, into a digital future ‘without a backward turn, without a sigh or a nod to what we are loosing’”

“I will confine my attention to those moments in her work when her conjoined interest in chance and analogue film is most apparent. In an email correspondance with me she confirmed her sense of the link between chance and the analogue” ‘a decline in one will invariably mean a decline in the other and our lives would be greatly impoverished for it’.

Ralph Steadman although he is best known for his illustrations, is also in my opinion  a  wonderful photography artist, in the purest sense of the phrase. He goes one step further than just taking the photo on analogue tools, he uses the malleability of the polaroid images before they are set to  manually work into the photos to create warped photography cross drawing caricatures that rival his illustrations in weird otherworldly status, creating one of a kind pieces of art that can never be re produced either physically or optically because  the physical manipulation that Steadman uses gives a physical contouring on the paper, he attacks these Paranoids as he calls them creating essentially a three diminutional art object from a Polaroid. This cannot be replicated in a digital print, you cant compare a physically manipulated object with a digital print, one is two dimensional the other three dimensional. It can not be created using a digital process.

It is my opinion that none of these works would have been nearly as interesting in a digital format. They would not have had the depth, feeling texture or authority if made in any other way, that is not to say digital imaging  does not have its place, simply that analogue photography also has its own special place in society.

With each click of the camera, light interacts with the chemicals in the film, creating something fragile and sensitive that needs nurturing and bringing into the world. There is also a ritualistic style analogue process – each photographer has his own workflow with completely different results. resulting in a unique style that is hard to replicate unless you know exactly what the photographer did to gain those results. The photographer manually manipulating the image somehow makes the image worth more for me, he has taken the time and effort to create something that is a one off, no matter now many times the image is printed after that, there will never be another exact copy.

Doing anything optically that doesn’t have the disruptive transduction into the digital realm, will always be closer to the human experience of reality due to the facts that light, like sound and many other things is all wave physics and to do with the movement of waves and the way humans experience the world. You get a smooth wave rather than a nasty stepped digital form. The sensor in a digital camera consists of photosites these are sensitive to light and in a less scientific world are commonly known as the pixels, one single tiny element that goes to make up a photo. on many levels you could argue that this provides a collage not a picture. As the size of each pixel and their number defines the quality or megapixel rate of the image. The fundamental basis of this segmentation can never be accurate to the same particle base level as with light base optics until a single pixel can be the size of a atom. although the IBM labs as many as ten years ago, as PR/gimmick were drawing pictures at a particle size level using their show super computers, this is not mainstream technology found in any camera on the market. Digital is a fragmentation of what should be a smooth analogue form and inevitably provides a transition to a sample, a slice based interpretation or in its purest optical wave description translates a pure sign wave to a square or stepped square wave. Therefore even the most high tech digital cameras still do not have the resolution of film.

“The analogue is defined as a relatively continuous form of inscription, involving physical contact. From this point of view, the photogram, produced by contact between an object and light sensitive paper, only makes explicit what is implicit in all analogue photography. Conversely, digital imaging’s translation of light into a arbitrary electronic code arguably interrupts that continuity. This discontinuity preceded the effects of digital editing or computerised image synthesis. These reflections on the distinction between analogue and digital arguably raise the thorny question of whether digitalisation has compromised the authority of the photograph as a document.” Would the exact same images taken on a digital camera have the same feel, the same effect and the same importance as their analogue counterparts? I think not, Believability of a image is very important to me, it has to convert a truth, tell me something I didn’t know or couldn’t see. Analogue has that truthfulness for me, its open, not as easy to manipulate, there will always be slight variations in manually printed images, its more tangible has a certain depth and authority to it yet still seems fragile, expendable even.

Nothing beats the magic of film photography, seeing your creation appear before your eyes, you created that, not a series of electrical interactions within a microchip. You did not just press a button on a automatic setting. I believe its art when you put something of yourself in what you do, for this, time, effort and love have to play a part in the finished image.

Does using film make you a photography artist? Dean, Leonard and most definitely Steadman have proved it can. But why? Because it’s harder to use, reproduce, master even, does that give you more of a controlled art market than the constant stream of digital images that are forced down our throats? We can not look anywhere without seeing the results of the digital world, does taking a step back from this, slowing down and using analog technology to create something more tangible make our photos mean more, have more depth? Wether real or perceived?

Do you have to have the best and latest equipment to be a artist?  Not for me, the camera is essentially a tool and have no bearing on the finished image. As Don McCullin said “Photography for me is not looking, it’s feeling, if you can’t feel what you’re looking at then you’re never going to get others to feel anything when they look at your pictures” It is a visual representation of how you were feeling at the time, of moment you had before you, the image you had in your head that you wanted to save forever. A stolen moment. What defines a artist to start with? Who has the right to say what does and doesn’t have a place in the world? After all, art is about pushing boundaries, exploring new techniques, conveying a emotion.

We are now in a age where digital isn’t new, when today’s youth were born, they were born surrounded by digital, however people always want to discover new things, it is not just people still using film, it’s people discovering this new to them art form. These people along with the people still using analog photography from the first time around are the ones that are shoring up the analog revolution.

What will ultimately turn me away from digital imaging, is the new software thats becoming readily available, the ability to allow our cameras to auto delete digital images is a fatal flaw in digital photography, the technology moves too quickly the drive for new things and better results is removing more an more of the human element. Enabling a artificially intelligent camera that has the ability to remove artistic effect is censorship, totally destroying any artist vision or involvement. Purely furthering the technology for the sake of doing so. I do not see this to be a asset to photography, more so a step back, it no longer requires the photographer to think, auto focus, auto exposure and if it goes wrong then auto delete. Art is not a automatic process and should never be made one. Phone cameras now have the ability to refocus after the shot has been taken – this isn’t art, this is technology taking over.

“from the early 1980’s up till now, and probably for another fifteen years to come — this is the darkest time ever for recorded music. We’ll come out on the other end, and it’ll be ok okay, but we’ll look back and go ‘wow that was the digital age. I wonder what music really sounded like. We got so carried away that we never really recorded it. We just made digital records of it’” Is this what is to happen to the world of digital photography too? This is the way digital imaging feels to me, so I hope so. With a digital image you cannot craft your image in quite the same way, it seems fake, has nasty edges and often over sharpened, this simply isn’t possible with analogue photography.

In conclusion I do not think either is better nor one without a place, the resurgence of analogue technology not just within photography, but in other mediums as well proves without doubt that there is a place for film in the digital world, analogue is loved, wanted and has a very big place in the world. As the landscape of camera manufacture has shifted the financial livelihood of nearly all major camera manufacturers hinges on the ability of their research and development departments to further the race of digital. No CEO of a major camera company is placing the future of their company on purely analogue. This allows analogue formats to be free of the rampant commercial lead constant tweaking, software updates and brand reissues. And for many people this in itself, alongside the superior resolution of film is a socio political choice.  Just as in the last ten years reel to reel tape for serious high end audio recording has proven that new companies can not only enter the market place but completely flourish simply by either making their own version of or re issuing and licensing old formulas for tape for example formulations previously sold under the brand Ampex now being sold by the company Emtec bearing the statement the formulas you previously trusted as Ampex. This is just as applicable in the photography realm, the remanufacturing of analogue polaroid and polaroid inspired formats along with companies such as the Impossible Project who specialise in enduring Polaroid manual manipulation as well as re manufacturing their own polaroid film stocks. Many designed with artistic choices not pristine quality in mind and will even go as far as to provide advice on emulsion lifting and re using the negatives from the shot. Another example of the more experimental less safe and consumer lead world of new analogue photography products has even been embraced by a company previously seen as low rent or even gimmicky namely Lomography. Approximately a year ago after placing a rough idea on Kickstarter and selling all five hundred units immediately and funding a full scale production the re issued Austrian made brass Petzval victorian portrait lens with aperture slide plates and manual wheel focusing was released with a appropriately high price tag more than tripling the value of their most expensive product in the range. This product and its sales information revels in its love of the analogue and vintage forms, the fact that a grass roots Kickstarter campaign brought around such a unashamed homage to art deco junk shop cool with the optical characteristics to match proves a love for the ascetic of the image as well as the design of the lens. Instead of using photoshop to recreate the effect of analogue images, digital users are now buying the lens to get a authentic photo rather than manipulation the image post production. “ I believe analogue is my way of reclaiming that link. Albeit not straight forward snapshots, photography for me is about experimenting and twisting old techniques into new mediums.

Analogue is experimental by its very nature, there is no adventure in digital photography, no life to it. Analogue makes you slow down and appreciate what you are doing, making you think about things more without the opportunity to just delete the image if its not what you want. Photography for me  is about capturing a moment, not snapping away until you find one you like. I consider myself to be a artist, so for me at least, the future is analogue, nothing can beat the feeling of creating something from light and having it appear before your eyes. not pop up on a badly lit screen ready to be deleted in a second. And that is art, because whatever medium we choose, art is the feeling it gives us, the reaction to what is in front of you, if a photography provokes a reaction, wether good or bad then it has done its job, it has made you think about the subject.

References

Berger, J. (1973). Ways of seeing. London: British Broadcasting Corp.

Bright, S. (n.d.). Art photography now.

Iversen, M. (2012). Analogue: On Zoe Leonard and Tacita Dean.

McCullin, D. (2015). Photograph in conflict. Birmingham 24/3/2015

Milner, G. (2009). Perfecting sound forever. New York: Faber and Faber.

Ritchin, F. (2009). After photography. New York: W.W. Norton.

Thompson, H. and Steadman, R. (1983). The curse of Lono. Toronto: Bantam Books.