Photography Heroes
Timothy Pakron
From an early age Pakron used to draw portraits and was drawn to the medium of photography as a teenager. He began displaying his throughout Charleston, South Carolina, after graduating with a Bachelor's degree. Much of Pakron's inspiration comes from figurative artist, such as Peter Hugo and Stephen Gammell, who focus predominantly on portraits.
Parkron's experimental darkroom techniques involves an unorthodox use of applying developer to pints, revealing the portraits in an interesting way. The method evokes deeper emotions in both the subject and a viewer, creating a bond between the two. The process Pakron uses to expose his portraits involves hand painting developer onto the prints, intentionally revealing specific aspects of the subject's face. The stark contrast between the white negative space and the features of the face give a sense of clarity to the image by providing a deeper narrative by stimulating emotions. Pakron stated that “my job as an artist is to challenge the viewer,” which he achieves in his portraits by exploring alternative methods of materialising the portraits.
Image of female - looks like a whimsical bride, streaks look like a veil - concealing part of her emotion, somber
revealing usually the eyes or the mouth
unique strangeness
Parkron's experimental darkroom techniques involves an unorthodox use of applying developer to pints, revealing the portraits in an interesting way. The method evokes deeper emotions in both the subject and a viewer, creating a bond between the two. The process Pakron uses to expose his portraits involves hand painting developer onto the prints, intentionally revealing specific aspects of the subject's face. The stark contrast between the white negative space and the features of the face give a sense of clarity to the image by providing a deeper narrative by stimulating emotions. Pakron stated that “my job as an artist is to challenge the viewer,” which he achieves in his portraits by exploring alternative methods of materialising the portraits.
Image of female - looks like a whimsical bride, streaks look like a veil - concealing part of her emotion, somber
revealing usually the eyes or the mouth
unique strangeness
- visual artist (photographer & painter)
- from the coast of Mississippi – used to draw portraits as a child & drawn to photographer as a teenager
- started showing his work throughout Charleston, SC, at galleries including Rebekah Jacob Gallery and The Charleston Public Library
- experimental darkroom techniques - unorthodox method of exposing film
- portrait evokes the emotional presence of the subject and the viewer
- favourite artists are figurative artists that focus on the portrait – e.g. Pieter Hugo & Stephen Gammell
- process - hand painting the developer in the darkroom, intentionally revealing specific, desired aspects of the face in the negative – usually the eyes or the mouth
- stark negative space that gives the portrait a clarity – deeper narrative
- exploring how the original image can be brought to the surface in alternative ways
- unique strangeness
- Stimulate emotion
- “My job as an artist is to challenge the viewer. ”
- “not making art is making art”
Bob Sizoo
At the age of 15 Bob Sizoo is bay far the youngest photographer on my list. Sizoo is one third of a photography trio, The Sizoo Brothers, that also includes both his older brother and his twin. Having decided that I liked the work
- 15 years old
- Sizoo brothers (all photographers) – with his twin and older brothers
- Difficulty choosing between the three, same locations = similar images, but Willem’s had more life
- Instagramer - 76.5k followers
- The Netherlands (Dutch) – Amsterdam
- Nikon ambassador
- Also does photography for advertising
- Locations – London, South Africa, Australia – large range of locations
- Also organise meet ups
- Mainly landscape but also does portraits
- Experiments with different photographic techniques
- Images focus on the weather: fog (mystical),
Tommy Ton
- Canadian fashion photographer
- Fashion blog – Jak & Jil (2005)
- Covers the street style in fashion week
- tired of taking head-to-toe photographs that were conventional of documenting street style
- Candid (photograph captured through motion mostly, without creating a posed appearance)
- photographs – focused on the details of the outfit rather than the whole ensemble
Exhibition: Revelation
An exhibition that inspired me when creating my project was Revelations: Experiments in Photography. The exhibition was put on at Knightsbridge's Science Museum and showed the union that was formed involving science and art, focussing mainly on photography. The photographer we are able to see thing that is not possible to see with the naked eye. Photography today allows us to capture scenes of things that are astronomically distant, in swift motion and microscopically small. Moreover, the exhibition brought together a range of work, both old and new, unifying historical inventors such as William Henry Fox Talbot with contemporary photographers with the likes of Sharon Harper and Idris Khan
Two images that I found to be particularly relevant to my project was The Flight of a Baton by Harold Edgerton, 1953 and Chronograph of a Man Clearing a Hurdle by Etienne Jules Marey, 1892. Both images capture the journey of the subject as they move from one point to another, via photographing multiple frames as the subject is in motion. The process of showing the entire journey of these subjects, for instance the hurdler as he jumps over the hurdle allows a viewer to look at each detail as he moves from one end of the to the other, leaping over the obstacle that was in front of him. The concept of depicting the journey the subject takes is one that I hope to capture in my own project, through shooting long exposure shots of light trails.
The Curatorship: Awareness
This year we welcome the Awareness exhibition, the showcase features a range of work from seven photographers from across the globe. As they travel through the exhibition the audience will be enlightened on various issue that face people today. Moving from the first room and ending in the last, a viewer's perception of the world around them is refreshed. Although in the 21st century ‘the world is shrinking,’ making it easier and faster for information to be transferred across the globe society still lacking in awareness. Beginning with global awareness then moving on to socio-global awareness and down to individual awareness, the scale of their awareness decreases. The first room includes work from Eliot Porter and Marcus Lyon, followed by Martin Parr, Jimmy Nelson and Sebastião Salgado in the second room. The final room features work from Gillian Wearing, Brandon Stanton and Jim Goldberg. By the end of the exhibition the aim is for visitors to take the next step in their journey awakening, by becoming self-aware.
Steps for becoming socially aware:
1. Consider the needs of individuals and groups
2. Examine your role in conflicts.
3. Increase your sensitivity to social justice and harmony
4. Educate yourself on social issues
5. Step out of your comfort zone to experience unfamiliar groups
6. Practice compassion. – commit to exploring and understanding divergent viewpoints
7. Commit to a social awareness plan
8. Ask other people to support your efforts
1. Consider the needs of individuals and groups
2. Examine your role in conflicts.
3. Increase your sensitivity to social justice and harmony
4. Educate yourself on social issues
5. Step out of your comfort zone to experience unfamiliar groups
6. Practice compassion. – commit to exploring and understanding divergent viewpoints
7. Commit to a social awareness plan
8. Ask other people to support your efforts
First room: Global Awareness
In this room the audience’s global awareness is increased by introducing them to images from Eliot Porter and Marcus Lyon, forcing them to be conscious of the planet as a whole rather than just their immediate surroundings. Both artists in this room address the issue of climate change, whilst using the work as a form of publicity about climate change.
Eliot Porter
1901 – Born Winnetka, Illinois
1905-1910 – Amateur photographer in his childhood - visited the Grand Canyon as a child 1912 – Received a Brownie Box camera for Christmas as a child 1924-1929 – Chemical engineering and Medicine degree, Harvard University and worked as a biomedical researcher 1930s – Leisurely took up photography 1938 – Exhibited work in the New York city gallery 1939 – Pursued photography full-time 1940s – Started working in colour (used Kodachrome film) 1943 – Birds in Color: Flashlight Photographs by Eliot Porter, Museum of Modern Art 1962 – Published In Wilderness is the Preservation of the World 1965-1971 – Director of the Sierra Club 1971 – Fellow of the American Academy of Arts and Sciences 1990 – Collaboration with James Gleick; Nature's Chaos 1990 – Died |
The exhibition opens with work from Eliot Porter, an American photographer, who's is known for nature photography. In his work Porter photographs sites that have both ecological and cultural importance. When he first started photography Porter worked in black-and-white, producing serene images. However, after reading James Gleick's Chaos: Making a New Science took a different avenue through which he viewed his work, viewing it in the context of the Chaos theory. The Chaos theory is a mathematical study that studies the behaviour of dynamic systems that are highly sensitive to initial conditions. The process of colour photography bridged the gap between fine art and technology; however it did have its critics. Porter faced a lot of opposition against the idea of how colour photography could be considered as serious art. However, that did not deter him and Porter stayed an advocate of the colour photography until the end of his career. The addition of colour of his images made then more expressive, through using high saturation and contrast.
Photography is a strong tool, a propaganda device, and a weapon for the defence of the environment.
Eliot Porter [i]
Eliot Porter [i]
Glen Canyon
After joining the Sierra club, an environmental preservation organisation, Porter produced the book The Place No One Knew: Glen Canyon on the Colorado. The purpose of the book was prevent the construction of a dam, which would have resulted in of acres of woodland being submerged by showcasing the beauty of the area. Although the campaign failed and Glen Canyon Dam was opened in 1966 in his images Porter was able to capture some of the beauty of the forest before it was lost.
The image shown shows the magnificence of the textured stone of Glen Canyon. Using Eastman Kodak's new dye transfer process Porter embraced colour photography. The fact that the red rock fills the entire frame is striking. Porter states that he hoped his use of colour in his photography would create a new dimension in the perception and representation of nature in photography. The range of tones in Porter’s image along with his depictions of the shadows across the rock adds depth to the image.
As one of the first photographers to introduce colour to landscape photography Porter initially faced a lot of criticism. However, the addition of colour as well as the use of high saturation and contrast made the images more expressive. To produce his colour photograph he went through the dye transfer printing process, a labour and time intensive technique. The light floods in from the top of the canyon creating overcast shadows, highlighting the angular shapes of the stone. The image increases the public awareness nature’s beauty that is threatened by humans. Although Porter was not successful in preventing the construction of the dam through his work he tackles the global issue of the destruction of the world’s forests, displaying scenes of nature that future generations may never see. In addition, Porter’s work resulted in a federal review of reclamation projects and the Wilderness Act. In 1962, when the Sierra Club republished Porter's images in In Wildness Is the Preservation of the World drove forwards the conservation effort.
The image shown shows the magnificence of the textured stone of Glen Canyon. Using Eastman Kodak's new dye transfer process Porter embraced colour photography. The fact that the red rock fills the entire frame is striking. Porter states that he hoped his use of colour in his photography would create a new dimension in the perception and representation of nature in photography. The range of tones in Porter’s image along with his depictions of the shadows across the rock adds depth to the image.
As one of the first photographers to introduce colour to landscape photography Porter initially faced a lot of criticism. However, the addition of colour as well as the use of high saturation and contrast made the images more expressive. To produce his colour photograph he went through the dye transfer printing process, a labour and time intensive technique. The light floods in from the top of the canyon creating overcast shadows, highlighting the angular shapes of the stone. The image increases the public awareness nature’s beauty that is threatened by humans. Although Porter was not successful in preventing the construction of the dam through his work he tackles the global issue of the destruction of the world’s forests, displaying scenes of nature that future generations may never see. In addition, Porter’s work resulted in a federal review of reclamation projects and the Wilderness Act. In 1962, when the Sierra Club republished Porter's images in In Wildness Is the Preservation of the World drove forwards the conservation effort.
Birds
From a young age Porter enjoyed photographing birds which he later revisited, with the hope of being able to "raise bird photography above the level of reportage, to transform it into an art." [ii] Porter was awarded Guggenheim Fellowship in 1941 to photograph birds. Fuelling his passion Porter developed his own stop-action system for bird photography, photographing 252 species. Porter’s technique’s allowed audiences to marvel at the splendour of the birds, transforming the genres of both landscape and bird photography. In 1943 54 of his photographs were exhibited at the Museum of Modern Art, New York.
In an image a bird amongst the canopies feeding its babies allows a viewer to view an endearing scene that they would otherwise never see. In the invasion of privacy the parental bird's wings are spread over the chicks protectively, flaunting the delicate details around the main body of the bird, thus drawing an audience in. Through his book Birds of North America: A Personal Selection, Porter displays his new artistic standard for bird photography.
In an image a bird amongst the canopies feeding its babies allows a viewer to view an endearing scene that they would otherwise never see. In the invasion of privacy the parental bird's wings are spread over the chicks protectively, flaunting the delicate details around the main body of the bird, thus drawing an audience in. Through his book Birds of North America: A Personal Selection, Porter displays his new artistic standard for bird photography.
The Seasons
In another series, The Seasons, Porter takes close-up woodland photographs, the locations of which are yet to be touched by humanity. The series acts as an accolade to the discrete woodland scenes. The image shown features high contrast of typical autumnal colours, red, orange and brown. The image acts as a tribute to nature by exhibiting the vibrancy of its colours, Ansel Adams described Porter as a “master of nature’s colour,” [iii] When organising his work Porter groups images by season, whilst also categorising and storing them by location. Enabling him to compare images of the same location in different times of the year.
The awareness Porter creates for the beauty of the natural world through his series enables us to remember the scenes of serenity in the hopes that we will be conservations. Influenced a lot by Henry David Thoreau, an author and naturalist, Porter created photographs that were visual embodiments of Thoreau’s literature.
In 1962 the Sierra Club published In Wildness Is the Preservation of the World, which featured Porter's images along with excerpt from Thoreau. In the book Porter began to pair images with excerpts from the nineteenth-century naturalist writer-philosopher Henry David Thoreau. Through combining poetry and photography Porter creates further publicising environmental conservation. As the world advances the natural world is being lost to urbanisation, overpopulation and pollution.
The awareness Porter creates for the beauty of the natural world through his series enables us to remember the scenes of serenity in the hopes that we will be conservations. Influenced a lot by Henry David Thoreau, an author and naturalist, Porter created photographs that were visual embodiments of Thoreau’s literature.
In 1962 the Sierra Club published In Wildness Is the Preservation of the World, which featured Porter's images along with excerpt from Thoreau. In the book Porter began to pair images with excerpts from the nineteenth-century naturalist writer-philosopher Henry David Thoreau. Through combining poetry and photography Porter creates further publicising environmental conservation. As the world advances the natural world is being lost to urbanisation, overpopulation and pollution.
Marcus Lyon
1965 - Born and raised in rural Britain Read political science at Leeds University & leadership at Harvard Business School Work at Amnesty international in Latin America Early 90's - founded the Glassworks, an art studio that acts as an exhibition space Early 21st century - Work moved from micro to macro format 2012 & 2013 – Won the Prix Pictet 2015 – awarded the Aesthetica People’s Choice Award |
As well as an urban landscape photographer Marcus Lyon is also a social entrepreneur, actively giving talks on photography and development. A key theme that reoccurs in Lyon’s work is the modern world and global development. In his work Lyon addresses how globalisation is part of how the world’s social evolution. Rather than being influenced by other artists Lyon takes his inspiration from Noble Prize winning geneticist Norman Borlaug to create his congested scenes as well as David Suzuki, an environmental activist.
“Mass urbanisation trends predict that the world’s urban population will double in the coming 40 years. The cities of the developing world will account for 95% of that growth. These are the megacities of the BRIC economies, the urban giants of Brazil, Russia, India and China.” [iv]
BRICS
BRIC, a grouping acronym and the title of Lyon’s series refers to newly industrialised countries, including Brazil, Russia, India and China. The highly photoshoped and manipulated images are presented in a large format, displaying the vastness of rapidly expanding cities. In 2007 the exponential urbanisation of the countries resulted in an irreversible change, the percentage of the world’s population living in urban environments exceeded those living in rural environments. "When I was born, in 1965, there were a billion people living in the urban environment,” says Lyon. “And by the time we get to 2030, there will be five billion.” [v]
Although the increasing transfer of information has empowered people globally there are also negative impacts as a result of globalisation, such as increase in crime and pollution. For example, Mumbai is densely populated with 30,000 people per sq km, however, 81% of Indians live on less than $2 a day [vi]. There is now a large disparity between the haves and the have nots. However, not everyone is against globalisation, The Economist’s Ryan Avent said “I don't believe that the future of responsible global environmental stewardship depends on restricting the growth of BRIC cities.” [vii]
In Lyon's image of Yugo-Zapadniy Okryg, Moscow, the urban skyline continues beyond the parameters of the frame, illustrating the colossal scale at which cities may expand. In the distance of the landscape the presence of smog suggests an increase in pollution, a consequence of the increased development of the world is likely to cause damage to this planet that is our responsibly. The small patches of foliage dotted in between grey block symbolises deforestation. Lyon tessellates the towers seamlessly when editing to create a chaotic scene, symbolic of the BRIC’s exponential growth. Each image takes approximately two to three months to make. There is almost a delicate nature about the way in which Lyon is able to pack hundreds of apartments into a small space. Lyon’s work reminiscent of the macro compositions of Andreas Gursky. Generally urbanisation is fuelled by rural-to-urban migration of people who dream of a better life in the city as a result of the promise of employment and a higher standard of living. This series by Lyon acts as a looking glass, providing the audience with a dark view of the possible future. Is this the future we want for the next generation?
Although the increasing transfer of information has empowered people globally there are also negative impacts as a result of globalisation, such as increase in crime and pollution. For example, Mumbai is densely populated with 30,000 people per sq km, however, 81% of Indians live on less than $2 a day [vi]. There is now a large disparity between the haves and the have nots. However, not everyone is against globalisation, The Economist’s Ryan Avent said “I don't believe that the future of responsible global environmental stewardship depends on restricting the growth of BRIC cities.” [vii]
In Lyon's image of Yugo-Zapadniy Okryg, Moscow, the urban skyline continues beyond the parameters of the frame, illustrating the colossal scale at which cities may expand. In the distance of the landscape the presence of smog suggests an increase in pollution, a consequence of the increased development of the world is likely to cause damage to this planet that is our responsibly. The small patches of foliage dotted in between grey block symbolises deforestation. Lyon tessellates the towers seamlessly when editing to create a chaotic scene, symbolic of the BRIC’s exponential growth. Each image takes approximately two to three months to make. There is almost a delicate nature about the way in which Lyon is able to pack hundreds of apartments into a small space. Lyon’s work reminiscent of the macro compositions of Andreas Gursky. Generally urbanisation is fuelled by rural-to-urban migration of people who dream of a better life in the city as a result of the promise of employment and a higher standard of living. This series by Lyon acts as a looking glass, providing the audience with a dark view of the possible future. Is this the future we want for the next generation?
“Some people see the aesthetic and a sense of progress and opportunity... others see a nightmare image of our future, and others don't question it at all and see a reality.”
Marcus Lyon [viii]
Marcus Lyon [viii]
Exodus
The series title, Exodus, is a historical and biblical reference. The word exodus makes the audience think of the mass migration of populations, for instance the Israelites from Egypt. In Exodus Lyon captures the world's current affairs such as large-scale migration, urbanisation and globalisation of the early 21st century by exaggerating flight paths, shipping systems and road systems that were created to facilitate urbanisation. Postmodernism is an artistic movement where “an individual no longer revolves around a particular community or even society in general.” [ix] Nowadays, people live in a society where an individual is a part of a larger global culture where people have their own personal ecosystems built around personal preferences.
Lyon pre-visualises using sketches and doodles to guide him towards the final image, he relies on his team of assistants, researchers and helicopter pilots to assist him in delivering his breath-taking large scale aerial shots. To create his exaggerated aerial landscapes Lyon uses several images, in an interview with PetaPixel he stated that “the world is too fabulously complex and my audience is too visually literate for me to tell the truths I wish to communicate in a single image.” [x]
In Lyon's image of Hong Kong the spectacular array of colourful metal containers, signifying the way in which countries are constantly connected. The vast aerial shots expose the cumulative effect of a global demand for material goods by revealing the ‘components of the engine behind global economy.’ [xi] In the 20th century people have become increasingly reliant on a constant state of fast and easy data transfer and migration. Ironically some of these material goods that were produced to increase people’s freedom, such as cars, use up finite resources that will limit future freedoms. The series provokes questions in viewers concerning changes in society as a result of globalisation. Although his work often generates negative views towards globalisation Lyon’s tries to be publicly politically neutral. His work acts as a catalyst for a deeper dialogue by presenting the audience with a different perspective.
Lyon pre-visualises using sketches and doodles to guide him towards the final image, he relies on his team of assistants, researchers and helicopter pilots to assist him in delivering his breath-taking large scale aerial shots. To create his exaggerated aerial landscapes Lyon uses several images, in an interview with PetaPixel he stated that “the world is too fabulously complex and my audience is too visually literate for me to tell the truths I wish to communicate in a single image.” [x]
In Lyon's image of Hong Kong the spectacular array of colourful metal containers, signifying the way in which countries are constantly connected. The vast aerial shots expose the cumulative effect of a global demand for material goods by revealing the ‘components of the engine behind global economy.’ [xi] In the 20th century people have become increasingly reliant on a constant state of fast and easy data transfer and migration. Ironically some of these material goods that were produced to increase people’s freedom, such as cars, use up finite resources that will limit future freedoms. The series provokes questions in viewers concerning changes in society as a result of globalisation. Although his work often generates negative views towards globalisation Lyon’s tries to be publicly politically neutral. His work acts as a catalyst for a deeper dialogue by presenting the audience with a different perspective.
“We must create a kind of globalisation that works for everyone... and not just for a few.”
Nestor Kirchner, former President of Argentina [xii]
Nestor Kirchner, former President of Argentina [xii]
TIMEOUT
In 2014 Lyon creates TIMEOUT a photographic series that depicted the decadence of the West by exploring “the mass behaviours of the billion people who have found safety, sustenance and shelter have taken on a secondary role” [xiii] in the modern world. The series was exhibited at Somerset House in 2015 as part of Photo London. The aluminium mounted images address the desire of people to fulfil their desires by embarking of quests of consumption and adventure, whether in the form of an expensive luxury yacht or lavish holidays.
TIMEOUT I, an image of Marina del Rey, Los Angeles, shows hundreds of yachts moored in the marina. Although yachts were originally created for the purpose of catching pirates in the 17th century they have now become the symbol of ultimate success and wealth in modern society. The image displays the explosion in popularity of not only yachts but mega-yachts, epitomising the growth of consumerism.
In another image, TIMEOUT V, Lyon again uses his photo-manipulating techniques to capture Palm Springs, California. With 26 million players golf is one of the world's most financially lucrative sports, generating over $68 billion in goods and services. [xiv] Like yachts golf is now considered to be a symbol of wealth, the industry has an estimated annual economic impact of $177 billion. In some places it is considered by some to the driver of economic growth, across areas such as sports, retail, and the housing sector. The acres lush green lawns shown in Lyon’s images …the expenses that go into the sport, as constant maintenance of the turfs is a luxury. The two images illustrate how wealth is unevenly distributed around the world, showing audience of consumerist havens.
TIMEOUT I, an image of Marina del Rey, Los Angeles, shows hundreds of yachts moored in the marina. Although yachts were originally created for the purpose of catching pirates in the 17th century they have now become the symbol of ultimate success and wealth in modern society. The image displays the explosion in popularity of not only yachts but mega-yachts, epitomising the growth of consumerism.
In another image, TIMEOUT V, Lyon again uses his photo-manipulating techniques to capture Palm Springs, California. With 26 million players golf is one of the world's most financially lucrative sports, generating over $68 billion in goods and services. [xiv] Like yachts golf is now considered to be a symbol of wealth, the industry has an estimated annual economic impact of $177 billion. In some places it is considered by some to the driver of economic growth, across areas such as sports, retail, and the housing sector. The acres lush green lawns shown in Lyon’s images …the expenses that go into the sport, as constant maintenance of the turfs is a luxury. The two images illustrate how wealth is unevenly distributed around the world, showing audience of consumerist havens.
In a lesser well known series of is Intersection which features 9 digitally manipulated images of motorway intersections. "Mankind’s interactions with the natural world are defined by a desire to harness the environment for our needs." The vacant white background represents a place were natural forms have been lost due to the interventions of mankind. The 'x' shape of the intersection creates a large statement feature in the shot, scaring the untouched blank canvas - that represents an unscathed landscape. According to Statista, a statistics database, in the number of cars on the road in the UK rose by 4.2 million between 2000 and 2013. Whist the construction of infrastructure such as roads causes noticeably visible blemishes on the landscape, it is the millions of cars that are added to the world's roads annually that causes the largest impact to the planet, climate change.
- there is the reminiscence of the footprint of man's interventions
- looks at these busy intersections without the context of their environment
Second room: Global-social Awareness
The second room addresses global sociocultural issues. The purpose of the room is to try to make the audience more empathetic. The actions of a small collective can have ramifications to an entire community thousands of miles away. Viewers will be able to experience the worlds of Martin Parr, Jimmy Nelson and Sebastião Salgado. Nelson and Salgado show their audiences through their photographs of groups of people that were yet to be seen by much of the world.
Sebastião Salgado
1944 – Born in Minas Gerais, Brazil
Trained as an economist - Master's degree University of São Paulo
Work as an economist for the International Coffee Organisation - often travelled to Africa for the World Bank where he first started photography
1973 – Switched career to photography
1979 – Joined the Magnum Photos photographer cooperative
1994 – Started an agency
1998 – Opened the Instituto Terra - institute dedicated to reforestation, conservation & environmental education
2001 – UNICEF Goodwill Ambassador
2004-2011 - Worked on Genesis
Trained as an economist - Master's degree University of São Paulo
Work as an economist for the International Coffee Organisation - often travelled to Africa for the World Bank where he first started photography
1973 – Switched career to photography
1979 – Joined the Magnum Photos photographer cooperative
1994 – Started an agency
1998 – Opened the Instituto Terra - institute dedicated to reforestation, conservation & environmental education
2001 – UNICEF Goodwill Ambassador
2004-2011 - Worked on Genesis
“Your father and mother, when you were a child, they took precious photographs of you. They went to the shop on the corner to get them developed. That is a memory. That is photography.”
Sebastião Salgado [xv]
Sebastião Salgado [xv]
Serra Pelada gold mines
Salgado's images of the Serra Pelada gold mines in Brazil 1986 awoken people to the knowledge of the appalling conditions workers faced. In the mines men tears apart the landscape, leaving gaping holes, in order to fund their material needs, whilst humans commit horrendous crimes against their own. The not only cramped but unsafe conditions the miners face tells profound truths, exhibiting the idea of humanitarianism. The black-and-white in addition to the depth and the large scale of the image strips back any of the distractions that could divert viewers from the true message. Although Salgado creates a great deal of depth in his image he says "reality is full of depth of field." [xvi] Saldago states that “photography freezes things,” enabling him to present the vast suffering he has witnessed. The grandeur of the scene is heart-breaking.
Genisis
After inheriting his childhood family farm and creating the Instituto Terra, an institute dedicated to reforestation, conservation and environmental education Salgado returned to photography. However, this time he moved his focus to landscapes, the other animals that inhabited the world, landscapes and humans, but humans at the beginning of their life cycle when they lived in equilibrium with their environment. Genesis is a long-term series created by Salgado that was produced as a product of a seven year project. The word genesis means the beginning of something. Salgado goes back to the origins of the humanity, rediscovering parts of the world that were yet to be harmed by mankind. The images allow an audience to appreciate these places that are unaffected by modern society. In the black-and-white images viewers are able to see the simplicity and beauty of the natural world. The image of Zavodovski Island documents the last pockets of undamaged nature.
"In Genesis, my camera allowed nature to speak to me. And it was my privilege to listen.”
Sebastião Salgado [xvii]
Sebastião Salgado [xvii]
Jimmy Nelson
1967 - Born in Kent
Spent his childhood in Africa, Asia & South America - as his father was a geologist working for an international company 1974 - move from Nigeria to a Jesuit boarding school - felt marginalised due to his different upbringing 1983 - reaction to malaria antibiotics & lost his hair - change people's initial perception of him, from middle-class private school boy to skinhead 1985 - Left boarding school and trekked the length of Tibet, before intending to study architecture 1991 - Went to Afghanistan, Kashmir & Pakistan to try photojournalism Returned home to work as a professional photojournalist 1992 - Commissioned by Shell Oil to produce Literary Portraits of China 2009 - Started Before they Pass Away |
James Nelson is a photojournalist and photographer. In his largest project Before the pass away Nelson documents the world’s vanishing tribes. Sponsored by Dutch billionaire, Marcel Boekhoorn, Nelson travelled for three years, photographing over 35 indigenous tribes. Using a 50 year old 4x5 archaic studio camera he highlighted the importance of appreciating the customs of indigenous tribes.
The Nenets
In his three year exploration of the world Nelson visited the Nenet tribe in Siberia. Nelson's image portrait of the Nenet man is the acclaimed piece in the series. After the discovery of oil in Siberia in the 70s the drilling as well as the expansion of infrastructure threatened the lifestyles of the Nenets, as they depended heavily on the natural environment. The regal portraits were influenced by American photographer Edward Sheriff Curtis’s portraits of Native Americans. Nelson’s use of highly contrasting tones emphasises the pores in his subject's skin. Nelson frames the subject's face through the use of the thick hood of white reindeer fur, causing a viewer's attention to be solely focused on the subject. Nature plays a large part in Nenet culture, deer are not only used for their fur but they also provide food, shelter, transport and spiritual fulfilment, in turn the Nenet care for the reindeer, protecting them from predators. The white fur camouflages with the white surroundings in addition to reflecting the harsh conditions he faces, in the winter the Nenets are faced with temperatures as low as 50°C. Nelson presents the audience with a community that they have probably never known about. Buy educating the audience about different communities around the world Nelson celebrates the diversity of the human race by promoting cultural and environmental conservation.
Samburu
In another image from Before they Pass Away Nelson follows the Samburu tribe, who are located in northern Kenya. The images of the Samburu are stylised, presenting the electric red of their tribal costumes against breath-taking mountainous valley. Nelson composes his images and manipulates the natural light to produce extraordinary portraits of the tribe. The striking stance of the women in contrast with the rugged landscape enables viewers to appreciate the magnificent panoramic view and unspoilt culture of the Samburu. The use of a large depth of field allows the details of the subjects as well as the rugged landscape to all be viewed in one frame. However, Nelson's project has caused some controversy. Stephen Corry the director of Survival International and a critic of the project stated that the images were "false and damaging,” with some of the images “just a photographer’s fantasy, bearing little relationship either to how these people appear now, or how they’ve ever appeared,” [xviii] as it glamorises their lives and has little resemblance to reality. In response Nelson has stated that 80% of his subjects are in their daily clothes. Photographing real tribe in their own environments is what prevents Nelson’s images from looking superficial. The project allows the audience to travel the globe with Nelson from the comfort of the exhibition, seeing different tribes that they would have otherwise never been able to see. Nelson opens a viewer's eyes, making the aware of the diversity in this world.
In one of his earlier series, Africa, Salgado explores the content, paying tribute the dispossessed tribes. Refugees at the Korem Camp, Ethiopia, 1984 is an image that Salgado is well-known for. The photograph features a refugee man with two children solemnly crossing the desert. The image educates an audience about the reality of the Ethiopian famine, where in two year period 1 million people died. The dramatics of the shot is intensified due to the high contrast, while the cinematic composition objectifies suffering and pain. When a photographer photographs a scene all of the events that have happened in their life and what they have seen has an impact on how the scene is presented to viewers.
- accused of fetishising and beautifying suffering and pain
- The scenes he witnessed on his journeys across the world were so distressing it caused him to become physically ill, forcing him to temporarily give up photography.
- Finds beauty, strength & hope - even in blackest of circumstances
- What equipment & techniques were used to capture a great depth of field
- Discuss target audience
Martin Parr
1952 – born, in Epsom Surrey
1966 – aspired to be a documentary photographer 1970-1973 – studied photography at Manchester Polytechnic 1975 – moved to Hebden Bridge in Manchester and spent 5 years photographing rural communities 1982 – permanently switched to colour photography 1983-1985 – The Last Resort, about a seaside resort in Brighton 1987-1989 – The Cost of Living (the middle-class), commissioned by the Documentary Photography Archive 1986 – moved to Bristol with his wife 1994 – became a member of Magnum Photos 1995-1999 – Common sense, a series depicting global consumerism 2005 – Fellow of the Royal Photographic Society |
Martin Parr is a British photojournalist who currently has 40 published solo photobooks. Through the medium of photography Parr creates his own image of society, presenting original pieces that are entertaining and relatable. Leisure, consumption and communication are themes that recur within his work.
“With photography, I like to create fiction out of reality. I try and do this by taking society's natural prejudice and giving this a twist.”
Martin Parr [xix]
Martin Parr [xix]
The Last Resort
The Last Resort was exhibited in 1989 with the purpose of complexities Britain’s cultural identity and its social classes. In the early 80s many traditional photojournalist focused on scenes depicting Britain’s social unrest. However, Parr chose to place his focus on a grimmer side of the Thatcher years, which were not so glamorous.. The series acts as a piece of satirical work of Thatcher’s Britain, providing the audience with an alternative angle that increases their awareness on some people’s struggles in the country. In this series Parr went to New Brighton, a dilapidated seaside town near Liverpool. In 1975 Margaret Thatcher became Britain’s first female prime minister and promised the country that it would be great again. However, the images that Parr took of New Brighton in the prime of the Thatcher period were contradictory for what the prime minister was telling the nation.
A vivid colour snapshot from the series depicts a beach café scene. Parr was inspired by American colour photographer Joel Meyerowitz, who he also collaborated with in the book Aftermath: World Trade Center Archive (2006). The strong stance of the waitress, who is the focus of the image, next to the blue fence is symbolic of Margaret Thatcher and the Conservative party. Whilst the children in the background are emblematic of the deterioration of industries in the North of England. Parr uses the term of “propaganda”[xx] to describe the influential power published image can have. Parr provides audiences with an opportunity to see the world for his perspective, enabling them to gain knowledge by adopting a different point of view. However, Parr has many critics, who feel that his work exploited the working class. After its showing in Liverpool The Last Resort was exhibited in London where there was an uproar against the show, some negative critics questioning the morality of a middle class photographer come along and suddenly exploit the working class.
A vivid colour snapshot from the series depicts a beach café scene. Parr was inspired by American colour photographer Joel Meyerowitz, who he also collaborated with in the book Aftermath: World Trade Center Archive (2006). The strong stance of the waitress, who is the focus of the image, next to the blue fence is symbolic of Margaret Thatcher and the Conservative party. Whilst the children in the background are emblematic of the deterioration of industries in the North of England. Parr uses the term of “propaganda”[xx] to describe the influential power published image can have. Parr provides audiences with an opportunity to see the world for his perspective, enabling them to gain knowledge by adopting a different point of view. However, Parr has many critics, who feel that his work exploited the working class. After its showing in Liverpool The Last Resort was exhibited in London where there was an uproar against the show, some negative critics questioning the morality of a middle class photographer come along and suddenly exploit the working class.
The Cost of Living
For his 1985 series, The Cost of Living, Parr Bristol with his wife, where he embarked on a three year journey. However, for this series Parr diverted his focus to the middle class, capturing stereotypical middle class activities such as dinner parties, yacht shopping and school open days. The audience would now be able to see Parr photograph people of his own social status. At the time when Parr was photographing the middle class were becoming more affluent as a result of Thatcherism.
In an image Parr took at a local Conservative Party’s ‘midsummer madness’ he manipulates photographic techniques illustrate ideas about the subjects whilst also critiquing the Thatcherite lifestyle examining the characteristics of the nation’s middle class. The levels of the image portray traditional conservative values. For example in the image that depicts a typical party scene where white middle class men standing, perhaps talking business, whilst the women are seen sitting down. It is ironic to think that traditional conservative value saw women to be inferior and submissive whereas Margaret Thatcher was known as the iron lady. Parr’s images intentionally reinforce the ‘snob’ stereotype. Parr gives the audience a behind the scenes view on the lives of the middle class, enabling them to see how the other half lives. The unconventional documentary style used depicts an entire class in an uncompromising, without any biased, to allow the audience to be aware of the social disparities in the world.
In an image Parr took at a local Conservative Party’s ‘midsummer madness’ he manipulates photographic techniques illustrate ideas about the subjects whilst also critiquing the Thatcherite lifestyle examining the characteristics of the nation’s middle class. The levels of the image portray traditional conservative values. For example in the image that depicts a typical party scene where white middle class men standing, perhaps talking business, whilst the women are seen sitting down. It is ironic to think that traditional conservative value saw women to be inferior and submissive whereas Margaret Thatcher was known as the iron lady. Parr’s images intentionally reinforce the ‘snob’ stereotype. Parr gives the audience a behind the scenes view on the lives of the middle class, enabling them to see how the other half lives. The unconventional documentary style used depicts an entire class in an uncompromising, without any biased, to allow the audience to be aware of the social disparities in the world.
It was Thatcherism at its absolute peak, and within that theme, there are various ideas, there’s the tradition, the consumerism, there’s the heritage, there’s the sort of new classes
Common Sense
Over a four year period, between 1995 and 1999, Parr ventured beyond the British borders to further investigate the idea of globalisation. Globalisation has now about global tourism and consumer culture. Parr presents visitors with a pessimistic view of the world. The images taken analysed the visual signs of globalisation by showing viewers how people live, present themselves and what is valued. The images act as a chronicle of modern society for future generations. Parr’s close-up shots depict scenes of over-indulgence as a result of the global consumer culture. With tourism becoming the world’s largest industry, transporting nearly 700 million international travellers per year [xxi], consumerism is something that defies international borders. Common Sense provides the audience with a visual analysis of globalisation and how it impacts society as a whole.
Gluttony is a theme that is repeated in Parr’s images, whether through images of oversized lollipops or large fry-ups. As a disposable culture grows in the developing world society becomes obsessive with consumerism. Parr started using his new combination of using a ring flash along with a macro lens in 1995. The macro lens enabled him to take tight close-ups of his subjects. Consequently the identities of his subject are kept ambiguous, and so would the locations if it were not for the titles of the images. The photograph of the woman eating a burger is scene that could have been anywhere. The caricatures of Disney characters on the wrapping are images that well known, linking to the fact that the world is littered with branding. Parr place his subjects under the microscope, with a macro lens his is able to get as close as he likes. The heightened colours are achieved using 35mm ultra saturated film along with a ring flash. At the time colour photography was associated with commercial photography, subsequently a lot of photographers were forced to work in black-and-white in order to be taken seriously. Parr challenged these conventions with the use of strong saturations.
Gluttony is a theme that is repeated in Parr’s images, whether through images of oversized lollipops or large fry-ups. As a disposable culture grows in the developing world society becomes obsessive with consumerism. Parr started using his new combination of using a ring flash along with a macro lens in 1995. The macro lens enabled him to take tight close-ups of his subjects. Consequently the identities of his subject are kept ambiguous, and so would the locations if it were not for the titles of the images. The photograph of the woman eating a burger is scene that could have been anywhere. The caricatures of Disney characters on the wrapping are images that well known, linking to the fact that the world is littered with branding. Parr place his subjects under the microscope, with a macro lens his is able to get as close as he likes. The heightened colours are achieved using 35mm ultra saturated film along with a ring flash. At the time colour photography was associated with commercial photography, subsequently a lot of photographers were forced to work in black-and-white in order to be taken seriously. Parr challenged these conventions with the use of strong saturations.
"Remember I make serious photographs disguised as entertainment. That's part of my mantra. I make the pictures acceptable in order to find the audience but deep down there is actually a lot going on that's not sharply written in your face. If you want to read it you can read it." [xxii]
Martin Parr
Martin Parr
Third Room: Individual Awareness
The third and final room looks at increasing the audience’s social awareness on a smaller scale. The state of social awareness is achieved when an individual is conscious of the problems facing other individuals within a community. While the media presents the public with graphic images of people struggling across the globe most of the time they are unaware of the issue that people near them tackle. Viewers are presented with work from Gillian Wearing, Brandon Stanton and Jim Goldberg who all use their work as a way of trying to convey a message or story about the subject that may not be visible on the surface.
Gillian Wearing
1963 – Born in Birmingham 1985-87 – Studied at Chelsea College of Art 1980s – started to put together photography exhibitions 1987-90 – studied at Goldsmith college 1992-3 – Signs that Say What You Want Them to Say and Not Signs that Say What Someone Else Wants You to Say 1997 – won The Turner Prize 2001 – Broad Street documented the behaviour of typical teens 2003 – controversial The Guardian cover "Fuck Cilla Black" 2007 – Lifetime member of the Royal Academy of Arts 2012 – retrospective of her work held at Whitechapel Gallery 2014 – A Real Birmingham Family sculpture unveiled at the Library of Birmingham |
Gillian Wearing, a conceptual artist, produces her work through the mediums of photography and videography, describing her working process as “editing life.” Her work is heavily influenced by the sociology of Erving Goffman, author of The Presentation of Self in Everyday Life. Goffman’s book outlines the way in which a person has “frontstage and backstage personalities" stating that they are constantly performing. Wearing was also influenced by Michael Apted’s Up series. Wearing’s dramatic pieces of work explore people’s private and public personas and the differences between individual and collective experiences.
Signs that say what you want them to say, and not Signs that say what someone else wants you to say
In 1992 Wearing’s most iconic series, Signs that say what you want them to say, and not Signs that say what someone else wants you to say, delved into the inner private thoughts of her subjects, Wearing has always prided herself at being somewhat of a good listener. Standing on a street corner in south London Wearing asked strangers to write down their inner thoughts, giving them the opportunity to voice their thoughts. Overall Wearing produced over fifty portraits. The strong relationship between Wearing and her subjects is evident by the fact that she was able to get the strangers to not only pose but also allow their confessions to be documented and publicised by deciding to make people feel project while the make their confessions. The series depicts a broad range of subjects and is comprised of 50 portraits. From the series viewers are made aware of the fact that that not everything is not necessarily how it may seem initially.
Wearing’s subjects were made vulnerable in front of the camera by exhibiting some of their intimate thoughts. The technique of photographing her subjects from the waist upwards makes the subjects seem awkward and uncomfortable as they are completely exposed. From looking at the portrait of the composed suited man an audience could easily make assumptions about his life merely from the way he was dressed. However, the confessional ‘I’m desperate’ sign reveals something different. The sign reveals some of the layers beneath common human expressions. The image was taken around the time of Britain’s economic recession in 1990s. At the time a lot Britons believed bankers (men in suits) were to blame. In an interview in 1996 Wearing stated that "people were still surprised that someone in a suit could actually admit to anything,” [xxiii] after they had caused Britain’s economy to crash. The image acts as a social and historical documentation of people’s opinions about Britain's economic state as the questioned whether or not Britain would ever get out of the recession.
Wearing’s subjects were made vulnerable in front of the camera by exhibiting some of their intimate thoughts. The technique of photographing her subjects from the waist upwards makes the subjects seem awkward and uncomfortable as they are completely exposed. From looking at the portrait of the composed suited man an audience could easily make assumptions about his life merely from the way he was dressed. However, the confessional ‘I’m desperate’ sign reveals something different. The sign reveals some of the layers beneath common human expressions. The image was taken around the time of Britain’s economic recession in 1990s. At the time a lot Britons believed bankers (men in suits) were to blame. In an interview in 1996 Wearing stated that "people were still surprised that someone in a suit could actually admit to anything,” [xxiii] after they had caused Britain’s economy to crash. The image acts as a social and historical documentation of people’s opinions about Britain's economic state as the questioned whether or not Britain would ever get out of the recession.
“Imaginary space is quite close to individual space and they both encompass the notion that everyone may be together in a public space we are essentially alone and separate, caught up in our own world” Liberation of anonymity allows us to be more truly ourselves.” [xxiv]
Ben Judd
Ben Judd
Confess All on Video. Don't worry you will be in disguise. Intrigued? Call Gillian.
In a 36 minute video, entitled Confess All on Video. Don't worry you will be in disguise. Intrigued? Call Gillian. The short film features ten scenes of anonymous subjects revealing their secrets in the form of a monologue in front of the camera. The title of the video comes from the advert Wearing used to attract her subjects to participate. The confessional chat show style video was inspired by the likes of the BBC’s 1974 fly-on-the-wall style documentary The Family. The television series followed the ins and outs of the Wilkins family’s day life. Through her work with groups of people marginalised by society, such as the homeless, drunks, transsexuals and convicts, Wearing tries to breakdown negative stereotypes. In the video the subjects are seen in a variety for costumes to disguise their true identities.
In two other series, Secrets and Lies (2009) and Trauma (2000), Wearing again photographs and films her anonymous subjects, this time their identities are disguised through the use of masks. The intimate confessions liberate the subjects. Looking at the portraits and videos viewers come to the realisation that it is not the grotesque masks that the subjects wear that is the focus of the piece, it is in fact the story that they tell. Whilst initially the masks are startling it are the life stories that are truly disturbing. With the rise of social media platforms many people constantly put on fronts. On the other hand, social media platforms like Twitter also enable people to have a voice and project their thought to a wider audience. Whilst in the past people did not have the opportunities to freely express their thought “things are changing now because the cultures changed, and the internet has brought people out.” [xxvi]
In two other series, Secrets and Lies (2009) and Trauma (2000), Wearing again photographs and films her anonymous subjects, this time their identities are disguised through the use of masks. The intimate confessions liberate the subjects. Looking at the portraits and videos viewers come to the realisation that it is not the grotesque masks that the subjects wear that is the focus of the piece, it is in fact the story that they tell. Whilst initially the masks are startling it are the life stories that are truly disturbing. With the rise of social media platforms many people constantly put on fronts. On the other hand, social media platforms like Twitter also enable people to have a voice and project their thought to a wider audience. Whilst in the past people did not have the opportunities to freely express their thought “things are changing now because the cultures changed, and the internet has brought people out.” [xxvi]
“At the heart of my work is portraiture.”
Gillian Wearing [xxvii]
Gillian Wearing [xxvii]
2 in 1
In another short video 2 in 1 Wearing creates a film of a mother and her two sons. Filmed separately then edited together, with the sound of the sons’ voices heard with the mother’s image and the sons’ images shown mother’s voices makes for a disturbing film. In the video each side use the interview as a chance to voice their opinions about the other. The video illustrates the complex nature of the love-hate relationship between a mother and her sons by learning about the subject’s family dynamics.
In the video the twins draw attention to her insecurities and inefficiency whilst also belittling her, mocking her by pretending to be her and saying “I’m intelligent and sophisticated.” In comparison to the way in which her sons lounge in their chars the mother is seen sitting upright, anxious with untidy hair. Although he is not physically present in the video the boys’ father he is still seen as an influential figure to the mother and her sons. The two boys frequently measure their mother against their father, criticising her driving and say that “my dad kind of like zooms through.” While on the other hand their mother confesses that she like the controlling aspects of men.
As the video progresses empathy and self-awareness begins to form in both parties. Wearing provides a platform for the three to have an open discussion about their emotional relationship. Watching 2 into 1 enables viewers to reflect on how they treat their own mothers and other loved ones. The statements said are understated yet have a profound effect of illustrating the mutual love shared by the mother and her son’s hidden under the slightly snide comments. By the end of the video “we find ourselves embracing the illusion that the ability to speak in another’s voice gives usthe power to internalise their feelings.” [xxvii]
In the video the twins draw attention to her insecurities and inefficiency whilst also belittling her, mocking her by pretending to be her and saying “I’m intelligent and sophisticated.” In comparison to the way in which her sons lounge in their chars the mother is seen sitting upright, anxious with untidy hair. Although he is not physically present in the video the boys’ father he is still seen as an influential figure to the mother and her sons. The two boys frequently measure their mother against their father, criticising her driving and say that “my dad kind of like zooms through.” While on the other hand their mother confesses that she like the controlling aspects of men.
As the video progresses empathy and self-awareness begins to form in both parties. Wearing provides a platform for the three to have an open discussion about their emotional relationship. Watching 2 into 1 enables viewers to reflect on how they treat their own mothers and other loved ones. The statements said are understated yet have a profound effect of illustrating the mutual love shared by the mother and her son’s hidden under the slightly snide comments. By the end of the video “we find ourselves embracing the illusion that the ability to speak in another’s voice gives usthe power to internalise their feelings.” [xxvii]
"A great deal of my work is about questioning handed-down truths… I'm always trying to find ways of discovering new things about people, and so in the process discover more about myself."
Gillian Wearing [xxix]
Gillian Wearing [xxix]
Brandon Stanton
Grew up in Atlanta, Georgia Studied History at University of Georgia 2008 – betted $3,00 on the odds of Barack Obama winning the presidency 2008 – Invited to do a trading job at a Chicago trading firm, worked for two years at Gambit Trading LLC 2010 – decided to become a photographer & toured American cities (New Orleans, Pittsburg & Philadelphia), took 1000 images a day August 2010 - arrived in & moved to New York 2012 – visited Iran 2013 – Human's of New York book, The New York Times Best Sellers of 2013 2015 – travelled to Pakistan, workered with Pakistani activist Syeda Ghulam Fatima |
After resigning from his job as a bond trader in Chicago Brandon Stanton moved to New York to photography full-time, living off of his savings. Stanton, a self-taught photographer, walked for miles around the streets of New York taking pictures of its inhabitants, initially shooting for eight hours a day. After gathering portraits of New Yorkers Stanton compiled his portraits in the form a photoblog, Humans of New York, in November 2010. The goal of the project was to create a photographic census of the city with his candid portraits. Each portrait acted as capsules of time. Through the course of walking the streets of New York Stanton realised that he was more interested in the individuals themselves rather than just creating an exhaustive survey of New York.
"I don’t want the project to be a means to achieve a lifestyle. I want it to be a lifestyle in itself."
Brandon Stanton [xxx]
Brandon Stanton [xxx]
Humans of New York
"Saddest moment? How am I supposed to choose between losing my parents and seeing my friends die in Vietnam? I don’t categorize those things. Listen, a person is like a rubber band ball. We’ve all got a lot of bad rubber bands, and a lot of good rubber bands, and they’re all wrapped up together. And you’ve got to have both types of bands or your rubber band ball ain’t gonna bounce. And no use trying to untangle them. You know what I’m saying?" (New York City, May 2014)
The candid portraits are captioned with few words from the conversations he has with them, stating that “every portrait is a little party we throw for somebody every night.” [xxxi] When meeting his subjects Stanton does make any notes or ask for people’s names, he just recollects the conversations he has with his subjects, making them even more special. The project focuses more on the stories behind the subjects rather than the portraits aesthetics. The stories and advice the subjects give act a small life lesson viewers can learn from. Stanton’ portraits enable his subjects to tell their stories to thousands around the world. Social media and the internet is a key factor in the success of Humans of New York. The blog grew into a crowd-funding effort that rose over $400,000 for inner-city schoolchildren in a day. The campaign’s initial goal of $100,000 was smashed within hours of its launch; donations provided enough money to fund the program for three years. People have asked to us the Humans of idea across the world, with projects as far as Tel Aviv, Rome and Copenhagen.
In an image where Stanton engages with a New Yorker, Stanton asks him what his saddest moment was. Like Gillian Wearing Stanton delves into personal thoughts of the subject, providing them with a different perspective on life. He emotion capture in his subject’s eyes conveys the sad memories of both fighting in a war and losing both parents. Through conversing with his subject Stanton reminds his viewers to be conscious of the people we unintentionally share their lives with. Through publishing daily portraits Stanton dedicates an entire day to his subject, "Every portrait is a little party we throw for somebody every night." [xxxii]
In an image where Stanton engages with a New Yorker, Stanton asks him what his saddest moment was. Like Gillian Wearing Stanton delves into personal thoughts of the subject, providing them with a different perspective on life. He emotion capture in his subject’s eyes conveys the sad memories of both fighting in a war and losing both parents. Through conversing with his subject Stanton reminds his viewers to be conscious of the people we unintentionally share their lives with. Through publishing daily portraits Stanton dedicates an entire day to his subject, "Every portrait is a little party we throw for somebody every night." [xxxii]
“To the world you may be one person, but to one person you may be the world." [xxxiii]
Brandon Stanton
Brandon Stanton
The Iran Project
“We’re fighting her lung cancer right now. She’s lost so much weight. We just moved to the sea so the air would be better. We had a close call the other night. I sleep in a different room because I don’t want to wake her with my snoring. But I woke up in the middle of the night and I could feel that something was wrong. I saw her shadow on the wall. I ran out to meet her in the hall, and she was gasping for her last breath. I had to give her an injection in the chest. If I hadn’t seen her shadow, we’d have lost her. Three years ago, the doctors told us that she only had six months. But God has given us three years. We take walks. We play backgammon. We look at photos of the grandchildren. I’m trying to cherish every moment.”
In 2012 Stanton visited Iran for the second time expanding his photographic portfolio from portraits of people in New York to portraits of people in Iran with The Iran Project. Within the two week he spent in Iran he “mingled with the culture, people and scenery of Iran.” [xxxiv] the American government has a lengthy warning against visiting Iran in a blog post Stanton asks his audience to take into account the direct accounts of people who had recently visited the country before they make their judgements. The Iranian people are “eager to demonstrate their almost-sacred commitment to hospitality,” to visitors. The portraits make no reference to Iran’s modern history or government but are there to show yet another set of ordinary people in another part of the world.
“Iran’s government is not its people. You can greatly enjoy a country, while at the same time disagreeing with its government. Travel is not advocacy of ideology or policy. Travel is travel, and it’s the single greatest contributor to understanding between cultures.”
Brandon Stanton [xxxv]
Brandon Stanton [xxxv]
An image of a married couple in Namakabroud, Iran, received over 2,900 likes and 1,500 retweets on Twitter. [xxxvi] The caption of the image reads “we’re fighting her lung cancer right now. She’s lost so much weight. We just moved to the sea so the air...I'm trying to cherish every moment." Cancer is a global disease that faces people from all walks of life. Although people may have different nationality and may have been brought up with different cultures it is only intangible borders that divide us. The image unties the audience with the Iranian subject. In another image from the series Stanton captures two Iranian Muslim women dresses solely in black surrounded by colourful children’s clothes. Even though the media may portray then in a negative light “Iran may have the brightest, most colourfully dressed children in the world.” [xxxxvii] In 2012 only there were over 300,000 new case of cancer in 2012 in the UK. In the portrait of the couple Stanton captures both the struggles and happier memories of the subjects. In the last line the subject states “I'm trying to cherish every moment,” from this a viewer can learn about how delicate life is.
Jim Goldberg
1953 - born in Connecticut
1971 - Theology Major, at Hofstra University 1975 - 1975 Bachelor of Arts with a major in Photography and Education), Western Washington University 1985 - Rich and Poor 1984 - work featured in an exhibition at the Museum of Modern Art 1988 - The Nursing Home Series 1995 - Raised by Wolves (mixed media) - about homeless children in California, “described as a heart-breaking novel with pictures.” [28] 2006 - became an member of the magnum Agency 2009 - Open See & Hospice |
Goldberg’s often works with forgotten or displaced people living on the fringes of society. His falls under the social aims movement, it is a movement different mediums such as photography are used to focus social or political issues. Goldberg’s series affirm the powerful nature of the photographic medium when is used to address broad issues. A lot Goldberg’s empathy for his subjects comes across in his images.
“The questions that I asked, or the ways that I photographed had to be in a way that didn't exacerbate their situation”
Jim Goldberg [xxxix]
Jim Goldberg [xxxix]
Open See
In 2009 Goldberg produced a series that was about what he calls the ‘new Europeans’, who consisted of illegal migrants, refugees and asylum seekers, the series was first commissioned in 2003 for Magnum Photos. Visiting Greece whilst preparation for the Athens Olympics were under way Goldberg’s images addressed the large global issue of forced migration. The migrant he photographed were as he described in "state of constant flux." The images reveal the fragile state at which this group of people existed. Many of them were in foreign lands with no money or the option of returning to where they came from. As a result of their situations the portraits were often taken quickly, Goldberg had almost no chance of being able to re-shoot with his subjects as they “didn’t really have the luxury of time or freedom.”
One of the many people that trying to find a new home in Europe was Saibor Rahaman from Bangladesh. Goldberg's subjects were often from places in Africa or the Middle East and even some part of Europe. In the stark portrait of the young man his silhouette along with his shadow contrasts with the clinical white wall. The outline from the red pen makes the silhouette stand out even more. Whilst the writing on the portrait illustrates Goldberg’s way of involving his subjects in the making process by encourages them to divulge something personal, such as any aspirations or fears. Inside the shadow Syed writes “My dream is to go to Europe.” Like many migrants Syed aspires to find a new place to call home where he can have a better life. The fact that the portrait is not in focus or ‘properly’ exposed and is also poorly composed make the image flawed and imperfect, this acts as an analogy for the flaws of mankind. Life is never perfect therefore photographs depicting life should also have imperfections. Goldberg has a Cinéma vérité approach, which translates to film truth, as it a cinematic style that is concerned with truthful representations of reality.
One of the many people that trying to find a new home in Europe was Saibor Rahaman from Bangladesh. Goldberg's subjects were often from places in Africa or the Middle East and even some part of Europe. In the stark portrait of the young man his silhouette along with his shadow contrasts with the clinical white wall. The outline from the red pen makes the silhouette stand out even more. Whilst the writing on the portrait illustrates Goldberg’s way of involving his subjects in the making process by encourages them to divulge something personal, such as any aspirations or fears. Inside the shadow Syed writes “My dream is to go to Europe.” Like many migrants Syed aspires to find a new place to call home where he can have a better life. The fact that the portrait is not in focus or ‘properly’ exposed and is also poorly composed make the image flawed and imperfect, this acts as an analogy for the flaws of mankind. Life is never perfect therefore photographs depicting life should also have imperfections. Goldberg has a Cinéma vérité approach, which translates to film truth, as it a cinematic style that is concerned with truthful representations of reality.
"There's a thread that runs through all the work that is to do with bearing witness."
Jim Goldberg [xl]
Jim Goldberg [xl]
Rich and Poor
Rich and Poor was another series by Goldberg that looked at the social divide in the 70s and 80s. The idea for the series originated from two independent yet conceptually related series. The series was in Goldberg’s now characteristic style of black and white portraits, with portrait falling between formal portraits and candid snapshots. In his experimental storytelling process of combining text and images Goldberg tells the gripping story of contemporary America, showing that there is more than one truth to a picture. Like Gillian Wearing Goldberg also creates a comparison between people’s interior and exterior identities by inviting his subjects to provide their own self-critique. Through Goldberg’s investigation into the myths about class power and happiness the audience is provided with an inside look to the American dream from both sides of the social spectrum.
Two images from the series juxtaposes the two contrasting economic classes by intimate portraits combined with personal statements. The writing on the portraits reveal the subject’s innermost fears and aspirations as well as their perceptions and illusions about themselves. In the image of the boy, Michael, sitting in a plush room along with the statements presented to the audience both reinforce and contradict the stereotypes people have of the financially privileged. The fact that the fist line says “this picture is about having everything I want,” links to the idea of the upper and middle classes living an easier life. However, Michael then goes on to say “but I want to struggle,” contradicts the idea of affluent people have everything they want because they have money. In comparison, the portrait of Emily and her daughter in their living room show ordinary looking people. However, like the previous image everything is not clear by just looking at the image. Emily, then goes on to state “we have a terrible life.” The frankness in which she simply states their situation is refreshing. Without any embellishments the audience is faced with the fact that not everyone has a good life.
Two images from the series juxtaposes the two contrasting economic classes by intimate portraits combined with personal statements. The writing on the portraits reveal the subject’s innermost fears and aspirations as well as their perceptions and illusions about themselves. In the image of the boy, Michael, sitting in a plush room along with the statements presented to the audience both reinforce and contradict the stereotypes people have of the financially privileged. The fact that the fist line says “this picture is about having everything I want,” links to the idea of the upper and middle classes living an easier life. However, Michael then goes on to say “but I want to struggle,” contradicts the idea of affluent people have everything they want because they have money. In comparison, the portrait of Emily and her daughter in their living room show ordinary looking people. However, like the previous image everything is not clear by just looking at the image. Emily, then goes on to state “we have a terrible life.” The frankness in which she simply states their situation is refreshing. Without any embellishments the audience is faced with the fact that not everyone has a good life.
“I talk to all these people who want to be somewhere else, in a better place. But that is often just imagined, a kind of fantasy world where they think they can find a better life”
Jim Goldberg [xli]
Jim Goldberg [xli]
Conclusion
The research process that I went through in the process of this curatorship task has made me come to the realisation that there is more to photography than the simple aesthetical appeal of an image but it can also be used as a medium to address broader issues such as climate change, globalisation and the widening class divide. My research has prompted me to use my images to present a more meaningful cause to viewers by presenting them with the issue of London’s housing crisis. Whilst the work of Jimmy Nelson had inspired me to also use portraits to tell the stories of people who are mostly affected by this crisis, it was the work from the artists in the final room that inspired me the most. Wearing, Stanton and Goldberg influenced my work by inspiring me to talk to my subjects to try to understand part of their story. I think that being able to engage with my subjects before taking their pictures allows me to create a connection with them that comes across in the portraits. From looking at Goldberg’s work I decided to also combine text with images to enable a viewer to see the full picture by looking at one image.
As Eliot Porter stated “photography is a strong tool, a propaganda device,” [xlii] that can be used to start conversations and engage the public. In my practical response I hope to create a piece of work that stand for something and allows people to engage with each other.
As Eliot Porter stated “photography is a strong tool, a propaganda device,” [xlii] that can be used to start conversations and engage the public. In my practical response I hope to create a piece of work that stand for something and allows people to engage with each other.
Bibliography
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ii P. Martineau, Eliot Porter: In the Realm of Nature, Getty Publications, November 2012, pp. 14-20
iii Handy et al. Reflections in a Glass Eye, Bulfinch Press, New York, 1999, p. 225.
iv S. Pierce, ‘Artist Marcus Lyon's Visions Of The Future Are Equal Parts Stunning And Cryptic’, in Collectively. January 2015, viewed on 10 September 2015, https://collectively.org/en/article/marcus-lyon-future-vision-art/
v ‘Biography’, in Marcus Lyon. Viewed on 10 September 2015, http://www.marcuslyon.com/information/biography/
vi K. Cahill, Who Owns the World: The Hidden Facts Behind Landownership, Mainstream Publishing, 2006
vii K. Capps, ‘Imagining the Chilling Landscape of Unchecked Global Development’, in The Atlantic – Citylab. April 2015, viewed on 28 November 2015, http://www.citylab.com/design/2015/04/imagining-the-chilling-landscape-of-unchecked-global-development/390591/
viii ‘Biography’, in Marcus Lyon. Viewed on 10 Sptember 2015, http://www.marcuslyon.com/information/biography/
ix ‘Marcus Lyon’, in Gold Circle. Viewed on 12 September 2015, http://www.gold-circle.co.uk/marcus-lyon.html
x G. E. Jones, ‘7 Questions with Urban Landscape Photographer Marcus Lyon’, in PetaPixel. October 2013, viewed on 28 November 2015, http://petapixel.com/2014/10/03/7-questions-urban-landscape-photographer-marcus-lyon/
xi ‘Marcus Lyon’, in Gold Circle. Viewed on 12 September 2015, http://www.gold-circle.co.uk/marcus-lyon.html
xii M. Reel, ‘Skepticism Prevails at Trade Talks’, in Washington Post Foreign Service, 2005
xiii January 2015, viewed on 17 September 2015, www.marcuslyon.com/news/
xiv J. Jones, ‘Sebastião Salgado: my adventures at the ends of the Earth’, in The Guardian. May 2015, viewed on 16 September 2015, http://www.theguardian.com/artanddesign/2015/may/18/sebastiao-salgado-photo-london-photography
xvi J. Jones, ‘Sebastião Salgado: my adventures at the ends of the Earth’, in The Guardian. May 2015, viewed on 16 September 2015, http://www.theguardian.com/artanddesign/2015/may/18/sebastiao-salgado-photo-london-photography
xvii Salgado S. & Wanick Salgado L., Genesis, Taschen, 2013, p. 2.
xviii J. Vidal, ‘Photographer criticised by indigenous people and Survival International’, in The Guardian. October 2014, viewed on 10 September 2015, http://www.theguardian.com/global-development/2014/oct/29/jimmy-nelson-indigenous-people-survival-international
xix M. Parr, Luxury, P. Smith (eds), London, United Kingdom, 2009
xx T. Weski, ‘Introduction’, in Martin Parr. Viewed on 18 November 2015, http://www.martinparr.com/introduction/
xxi D. Roe & P. Urquhart, ‘Pro-Poor Tourism: Harnessing the World’s Largest Industry for the World’s Poor’ in World Summit on Sustainable Development, International Institute of Environment and Development, 2001, p. 1
xxii J. Gold, ‘Martin Parr: Satirically & Subtly Capturing Britain’s Dying Class System’, in Konbini. Viewed on 29 November 2015, http://www.konbini.com/en/inspiration/martin-parr-satirically-subtly-capturing-britains-class-system/
xxiii J. Montagu, ‘I have been certified as mildly insane!’, in Tate. March 2001, viewed on 11 September 2015, http://www.tate.org.uk/art/artworks/wearing-i-have-been-certified-as-mildly-insane-p78352/text-summary
xxv M. Galperina, ‘Artist Gillian Wearing Puts On Other People’, in Flavorwire. May 2011, viewed on 15 November 2015, http://flavorwire.com/182523/artist-gillian-wearing-puts-on-other-people
xxvi W. Corwin, ‘GILLIAN WEARING with William Corwin’, in Brooklyn Rail. September 2012, viewed on 15 November 2015, http://www.brooklynrail.org/2012/09/art/gillian-wearing-with-william-corwin
xxvii B. Gopnik, ‘The 10 Most Important Artists of Today’, in Newsweek – Europe. May 2011, viewed on November 30 2015, http://europe.newsweek.com/10-most-important-artists-today-67947
xxviii D. Cameron, I’m Desperate: Gillian Wearing’s Art of Transposed Identities, Parkett, 2004, p. 100
xxix J. Montagu, ‘I’m Desparate’, in Tate. March 2001, viewed on 11 September 2015, http://www.tate.org.uk/art/artworks/wearing-im-desperate-p78348/text-summary
xxx S. Goodyear, ‘A 'Photographic Census' Captures New York's Characters’, in The Atlantic – Citylab. April 2012, viewed on 12 September 2015, http://www.citylab.com/design/2012/04/photographic-census-captures-new-yorks-characters/1816/
xxxi J. Maloney, ‘In Focus: City’s Humans’, in The Wall Street Journal. May 2012, viewed on 12 September 2015, http://www.wsj.com/articles/SB10001424052702304811304577370611460259438
xxxii C. A. Bridges, ‘'Humans of New York' a glimpse into everyday magic’, in The Daytona Beach News-journal. October 2013, viewed on 18 September 2015, http://www.news-journalonline.com/article/20131015/columns/131019674
xxxiii B. Stanton, Humans of New York book, Pan Macmillan, New York, 2013, p. 20
xxxiv B. Stanton, ‘Iran’, in Humans of New York. December 2012, viewed on 18 September 2015, http://www.humansofnewyork.com/post/38682208638/on-travel-to-iran-the-us-government-has-a
xxxv B. Stanton, ‘Iran’, in Humans of New York. December 2012, viewed on 18 September 2015, http://www.humansofnewyork.com/post/38682208638/on-travel-to-iran-the-us-government-has-a
xxxvi B. Stanton, ‘@humansofny’, in Twitter. August 2015, viewed on 29 November 2015, https://twitter.com/humansofny/status/635530714226651140/photo/1
xxxvii B. Stanton, ‘Iran’, in Humans of New York. December 2012, viewed on 29 November 2015, http://www.humansofnewyork.com/post/38102342899/iran-may-have-the-brightest-most-colorfully
xxxvii P. Richard, ‘Jim Goldberg's stirring photos of runaway children’, in Finding beauty in desperation, Washington Post, Washington DC, 1995, p.
xxxix S. O’Hagan, ‘The photographer who caught the heartbreak on both sides of America's social divide’, in The Guardian, July 2014, viewed on 30 November 2015, http://www.theguardian.com/artanddesign/2014/jul/03/jim-goldberg-rich-and-poor-photography
xl ‘Jim Goldberg’, in Magnum Photos. Viewed on 6 December 2015, http://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_9_VForm&ERID=24KL53ZHEN
xli R. Kennedy, ‘This is What Wealthy Looked Like’, in New York Times. July 2014, viewed on 6 December 2015, http://www.nytimes.com/2014/07/27/arts/design/jim-goldberg-hopes-his-pictures-still-make-a-difference.html?_r=0
xlii H. D. Thoreau & E. Porter, In Wildness Is the Preservation of the World, AMMO Books, LLC, 2012
ii P. Martineau, Eliot Porter: In the Realm of Nature, Getty Publications, November 2012, pp. 14-20
iii Handy et al. Reflections in a Glass Eye, Bulfinch Press, New York, 1999, p. 225.
iv S. Pierce, ‘Artist Marcus Lyon's Visions Of The Future Are Equal Parts Stunning And Cryptic’, in Collectively. January 2015, viewed on 10 September 2015, https://collectively.org/en/article/marcus-lyon-future-vision-art/
v ‘Biography’, in Marcus Lyon. Viewed on 10 September 2015, http://www.marcuslyon.com/information/biography/
vi K. Cahill, Who Owns the World: The Hidden Facts Behind Landownership, Mainstream Publishing, 2006
vii K. Capps, ‘Imagining the Chilling Landscape of Unchecked Global Development’, in The Atlantic – Citylab. April 2015, viewed on 28 November 2015, http://www.citylab.com/design/2015/04/imagining-the-chilling-landscape-of-unchecked-global-development/390591/
viii ‘Biography’, in Marcus Lyon. Viewed on 10 Sptember 2015, http://www.marcuslyon.com/information/biography/
ix ‘Marcus Lyon’, in Gold Circle. Viewed on 12 September 2015, http://www.gold-circle.co.uk/marcus-lyon.html
x G. E. Jones, ‘7 Questions with Urban Landscape Photographer Marcus Lyon’, in PetaPixel. October 2013, viewed on 28 November 2015, http://petapixel.com/2014/10/03/7-questions-urban-landscape-photographer-marcus-lyon/
xi ‘Marcus Lyon’, in Gold Circle. Viewed on 12 September 2015, http://www.gold-circle.co.uk/marcus-lyon.html
xii M. Reel, ‘Skepticism Prevails at Trade Talks’, in Washington Post Foreign Service, 2005
xiii January 2015, viewed on 17 September 2015, www.marcuslyon.com/news/
xiv J. Jones, ‘Sebastião Salgado: my adventures at the ends of the Earth’, in The Guardian. May 2015, viewed on 16 September 2015, http://www.theguardian.com/artanddesign/2015/may/18/sebastiao-salgado-photo-london-photography
xvi J. Jones, ‘Sebastião Salgado: my adventures at the ends of the Earth’, in The Guardian. May 2015, viewed on 16 September 2015, http://www.theguardian.com/artanddesign/2015/may/18/sebastiao-salgado-photo-london-photography
xvii Salgado S. & Wanick Salgado L., Genesis, Taschen, 2013, p. 2.
xviii J. Vidal, ‘Photographer criticised by indigenous people and Survival International’, in The Guardian. October 2014, viewed on 10 September 2015, http://www.theguardian.com/global-development/2014/oct/29/jimmy-nelson-indigenous-people-survival-international
xix M. Parr, Luxury, P. Smith (eds), London, United Kingdom, 2009
xx T. Weski, ‘Introduction’, in Martin Parr. Viewed on 18 November 2015, http://www.martinparr.com/introduction/
xxi D. Roe & P. Urquhart, ‘Pro-Poor Tourism: Harnessing the World’s Largest Industry for the World’s Poor’ in World Summit on Sustainable Development, International Institute of Environment and Development, 2001, p. 1
xxii J. Gold, ‘Martin Parr: Satirically & Subtly Capturing Britain’s Dying Class System’, in Konbini. Viewed on 29 November 2015, http://www.konbini.com/en/inspiration/martin-parr-satirically-subtly-capturing-britains-class-system/
xxiii J. Montagu, ‘I have been certified as mildly insane!’, in Tate. March 2001, viewed on 11 September 2015, http://www.tate.org.uk/art/artworks/wearing-i-have-been-certified-as-mildly-insane-p78352/text-summary
xxv M. Galperina, ‘Artist Gillian Wearing Puts On Other People’, in Flavorwire. May 2011, viewed on 15 November 2015, http://flavorwire.com/182523/artist-gillian-wearing-puts-on-other-people
xxvi W. Corwin, ‘GILLIAN WEARING with William Corwin’, in Brooklyn Rail. September 2012, viewed on 15 November 2015, http://www.brooklynrail.org/2012/09/art/gillian-wearing-with-william-corwin
xxvii B. Gopnik, ‘The 10 Most Important Artists of Today’, in Newsweek – Europe. May 2011, viewed on November 30 2015, http://europe.newsweek.com/10-most-important-artists-today-67947
xxviii D. Cameron, I’m Desperate: Gillian Wearing’s Art of Transposed Identities, Parkett, 2004, p. 100
xxix J. Montagu, ‘I’m Desparate’, in Tate. March 2001, viewed on 11 September 2015, http://www.tate.org.uk/art/artworks/wearing-im-desperate-p78348/text-summary
xxx S. Goodyear, ‘A 'Photographic Census' Captures New York's Characters’, in The Atlantic – Citylab. April 2012, viewed on 12 September 2015, http://www.citylab.com/design/2012/04/photographic-census-captures-new-yorks-characters/1816/
xxxi J. Maloney, ‘In Focus: City’s Humans’, in The Wall Street Journal. May 2012, viewed on 12 September 2015, http://www.wsj.com/articles/SB10001424052702304811304577370611460259438
xxxii C. A. Bridges, ‘'Humans of New York' a glimpse into everyday magic’, in The Daytona Beach News-journal. October 2013, viewed on 18 September 2015, http://www.news-journalonline.com/article/20131015/columns/131019674
xxxiii B. Stanton, Humans of New York book, Pan Macmillan, New York, 2013, p. 20
xxxiv B. Stanton, ‘Iran’, in Humans of New York. December 2012, viewed on 18 September 2015, http://www.humansofnewyork.com/post/38682208638/on-travel-to-iran-the-us-government-has-a
xxxv B. Stanton, ‘Iran’, in Humans of New York. December 2012, viewed on 18 September 2015, http://www.humansofnewyork.com/post/38682208638/on-travel-to-iran-the-us-government-has-a
xxxvi B. Stanton, ‘@humansofny’, in Twitter. August 2015, viewed on 29 November 2015, https://twitter.com/humansofny/status/635530714226651140/photo/1
xxxvii B. Stanton, ‘Iran’, in Humans of New York. December 2012, viewed on 29 November 2015, http://www.humansofnewyork.com/post/38102342899/iran-may-have-the-brightest-most-colorfully
xxxvii P. Richard, ‘Jim Goldberg's stirring photos of runaway children’, in Finding beauty in desperation, Washington Post, Washington DC, 1995, p.
xxxix S. O’Hagan, ‘The photographer who caught the heartbreak on both sides of America's social divide’, in The Guardian, July 2014, viewed on 30 November 2015, http://www.theguardian.com/artanddesign/2014/jul/03/jim-goldberg-rich-and-poor-photography
xl ‘Jim Goldberg’, in Magnum Photos. Viewed on 6 December 2015, http://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_9_VForm&ERID=24KL53ZHEN
xli R. Kennedy, ‘This is What Wealthy Looked Like’, in New York Times. July 2014, viewed on 6 December 2015, http://www.nytimes.com/2014/07/27/arts/design/jim-goldberg-hopes-his-pictures-still-make-a-difference.html?_r=0
xlii H. D. Thoreau & E. Porter, In Wildness Is the Preservation of the World, AMMO Books, LLC, 2012