Responding to the task of creating a book in the style of photographer Ed Ruscha, I decided to physically make a small photo book on the theme of the scene to add to my ongoing project researching the strandline.
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How the photograph relates to reality and social perceptions of the truth portrayed in a photograph is a complex relationship. There is certainly often a perception that a photograph shows reality – ‘the camera never lies’. Paradoxically in today’s world we have never been more aware of the potential for photo manipulation and doctoring which bears little relation to reality. Filters and photo manipulation are literally available at our finger tips in our phone apps and software to change an image immediately after it has been taken – to enhance the landscape before us, to present ‘our best selves’, to represent a completely alternate vision.
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The question of power balance is more at the forefront of my mind now than it would have been at the start of my practice. Starting out as a photojournalist the balance probably lay mostly with the audience in that the newspaper needed certain types of images and press photographers and photojournalists are generally trained to seek out those images, and in some circumstances manipulate scenarios for the purpose of illustrating a story.
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Nature – our traditional interpretation and associations of the term – features quite frequently in my work from my Time and Place mini-project exploring the ‘nature’ and identity of a place to my current larger project looking at the sea.
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I’ve been reflecting on the themes, methods and methodologies that run through my non-client work of late. Much of my work has focused on identities and I realise transitions.
My Motherhood and Identity: Tattooed Mamas Breaking the Taboos was very clearly aligned with these themes exploring the transition from an individual identity to one as a ‘mother’ and how this skewed the way society perceived individuals in ways that were unexpected to new mothers.
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The mirror/window analogy in photography is an interesting perspective – are we documenting the world around us and providing the viewer with a window on that world, much like the popular early stereographs of geographic landmarks, depicting aspects of the world the viewer doesn’t have immediate direct access to, or providing an insight into our inner world, projecting our own subjective interpretation or attempting to reveal our inner world to an outside audience? Is our audience ‘out there’ or ourselves.
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