COMPONENT 2
06: Maps & Routes
Some photographers use maps and routes to inform their work. Eugene Atget documented the streets of old Paris, often recording the location on his photographs. A1 - The Great North Road is a book of photographs by Paul Graham, which records a journey from London to Edinburgh. For the series Diorama Map, Sohei Nishina takes a multitude of photographs of a particular city, which are then pieced together to create a large-scale map. Mona Hatoum used scanned images of maps to explore the idea of boundaries in her work Routes II. Investigate appropriate sources and produce your own response to Maps and routes.
Initial Ideas
This Lesson we got introduced to component 2. I opened the exam paper and we carefully read through each of the questions so that we could decide which one we wanted to choose. Initially I was quite interested in question 1, 'light and dark' , however after reading through them all, I was most drawn to 'unseen' and 'maps and routes'.
I chose maps and routes as I enjoy exploring new places and documenting my journeys from start to end. I often go on derives, finding myself in new places with interesting aspects to them. By choosing maps and routes I hope to be able to create photographs that make people look at places in a different light. By looking at other artists work such as Eugene Atget I can see that maps and routes is not just about documenting a journey, but also about the care and attention to details in everyday routes. It's about keeping an open mind and seeking photographic opportunities in every day life. As a viewer , photographs by these artists are rather impactful, as they use their photographs as a tool to show the world how they see things, making even the most ordinary of places stand out.
I chose maps and routes as I enjoy exploring new places and documenting my journeys from start to end. I often go on derives, finding myself in new places with interesting aspects to them. By choosing maps and routes I hope to be able to create photographs that make people look at places in a different light. By looking at other artists work such as Eugene Atget I can see that maps and routes is not just about documenting a journey, but also about the care and attention to details in everyday routes. It's about keeping an open mind and seeking photographic opportunities in every day life. As a viewer , photographs by these artists are rather impactful, as they use their photographs as a tool to show the world how they see things, making even the most ordinary of places stand out.
Related photographs
Down below are a few photographs that I think could be related to maps and routes. These photos are sort of an initial step into this personal investigation, showing that I am already including aspects of maps and routes when I take photographs. Looking at the photographs below, I would like to respond to this component in a far more detailed and confined way. Over the next few weeks I will experiment with film and digital photography and find interesting ways to portray 'maps and routes'.
Derive
Today I took my first set of photographs in Kidbrooke, where I often go as it is right next to my school. Iv'e actually never thought of taking photographs of this specific area as I never saw anything 'worth photographing'. I think part of this mentality comes from the fact that I am here most days, so perhaps I got too used to the views and never even considered taking some here as I thought they wouldn't be interesting. However today during my lesson I set myself this challenge and took a series of 9 photographs where I started in Kidbrooke and ended my journey in Greenwich . When I was taking these photographs I started by imagining it was the first time I was visiting this location, so that I was looking at it with a fresh perspective. I thought to myself : what stands out here? what details can I see? Are there any interesting shapes? People? This helped me massively with beginning my component 2 investigation, and I think my first photoshoot turned out quite nicely. I also noticed when I was self evaluating that these photographs share a colour scheme of green and grey, which tie all of the photographs together. I think that if these photographs were taken individually without looking at them as a selection, they perhaps wouldn't be as effective.
One of the things I was trying to focus on the most was the shapes and compositions within the frame. One thing i noticed the most frequently within all of these photographs was the use of sharp edges. I didn't do this deliberately, however most of them are very pointed.
One of the things I was trying to focus on the most was the shapes and compositions within the frame. One thing i noticed the most frequently within all of these photographs was the use of sharp edges. I didn't do this deliberately, however most of them are very pointed.
Eugene Atget
Eugene Atget was french photography who was best known for his street photography around Paris. With his reliable large-format camera, he walked through streets, alleys, and boulevards, patiently photographing the urban scene. Atget's images present an insight into a bygone period, displaying Parisians' daily lives, the city's construction, and the changing urban landscape. His art possesses a timeless quality, encouraging viewers to go into the past and immerse themselves in the beauty and complexity of Parisian life. Atget's passion to his art and sharp eye for arrangement established his place as one of the most talented street photographers of all time. His book, simply titled "Paris," displays his eye for detail and capacity to capture Paris's bustling streets, passageways, and neighborhoods. Atget's lens captured typical images of Paris in the early twentieth century, from packed marketplaces to peaceful cobblestone lanes . Each image in "Paris" tells a narrative, encouraging visitors to discover the city's unique fabric of history and daily life.
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Paul Graham - "Photography lacks intentionality"
Paul Graham's claim that "photography lacks intentionality" brings into question the conventional idea of photography as a totally objective art. Graham argues that, unlike other kinds of artistic expression, photography lacks the creator's purposeful hand, which guides every part of the image. Instead, he argues that photography frequently catches accidental moments, impacted by circumstances outside the photographer's control such as time, lighting, and the spontaneity of the subject. In this view, the photographer's responsibility is more about finding and catching these moments than carefully creating them from start. Graham's point of view pushes us to reconsider how we perceive and appreciate photography, encouraging us to investigate the interaction of intention and randomness in the creation of art through photography.
Psychogeography within maps and routes
Psychogeography in photography investigates the emotional core of a location, concentrating on the invisible characteristics of urban surroundings. Photographers discover hidden stories and atmospheres by following maps and routes, placing subjective experiences above of standard navigation. They use photographs to question biases, allowing viewers to consider the various levels of significance inside the city. This method exposes the complexities of city existence, highlighting its interconnected networks of cultural heritage, history, and interactions between people. Psychogeographers use photography to capture their travels and findings, producing visual stories that encourage viewers to reflect on their own observations of familiar places. They lead viewers on an experience of exploration and reflection using photography and language, asking them to think on the hidden layers of significance within the city's fabric.
Maps and routes provide a basis for the investigation, allowing photographers to explore the city. The fundamental core of psychogeography is the willingness to step away from these predetermined lines and follow one's instincts and interest wherever they lead. Photographers discover surprising combinations, and record brief moments of beauty and interest that would otherwise remain unnoticed. A photographer who is well-known for her use of psychogeography within the photography world is Sophie Calle.
Maps and routes provide a basis for the investigation, allowing photographers to explore the city. The fundamental core of psychogeography is the willingness to step away from these predetermined lines and follow one's instincts and interest wherever they lead. Photographers discover surprising combinations, and record brief moments of beauty and interest that would otherwise remain unnoticed. A photographer who is well-known for her use of psychogeography within the photography world is Sophie Calle.
Sophie Calle
Response to Sophie Calle :
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Sophie Calle's research of the personal experiences and emotional echoes of urban settings mixes psychogeographical concepts with her photography. She often spends time in the streets, following people or crafting storylines based on accidental meetings and personal experiences. Calle's art blurs the distinction between fact and fantasy, frequently incorporating an acting element in which she inserts herself into the story of her images. She explores the deeper stories and emotions that affect our vision of the city by photographing her contacts with strangers and the places in which they live. Her projects usually involve drawing out routes and sites as she travels through urban surroundings, relying on coincidence and surprise to direct her. Calle's photos capture not just the physical environment, but also the intangible aspects that define a location the atmosphere, vibrancy, and feeling of intrigue and mystery.
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As I create this series of photographs inspired by Sophie Calle and psychogeography, I am attracted to an intriguing investigation of city environment and human interactions. Each image feels like a snapshot of a greater story, allowing viewers to envision the lives of the people represented and the unseen circumstances that led them to that point. I feel that by putting myself in the streets and connecting with the rhythms and atmospheres of urban life, I was able to convey a sense of the city's life that goes beyond basic recording.
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Diorama Map, Sohei Nishina
Sohei Nishino pioneered the Diorama Map, which is an amazing mix of mapping, photography and creative thinking. Nishino's fresh approach involves creating complicated collages of hundreds of separate pictures, which are meticulously sewed together to provide a thorough and comprehensive portrayal of a city. Nishino immerses himself in the streets, capturing the soul of each community with his lens. He then carefully picks and arranges the shots to create a tapestry of images that represent the city's various rhythms, textures, and stories. Nishino's Diorama Maps provide a unique perspective on the complex relationship between humans and the built surroundings. Nishino's creative approach has extended past the limits of cartography and produced a new language for discovering and admiring the urban world.
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Shoreditch
Reflecting on my latest group of images capturing the busy sidewalks of Shoreditch, I feel satisfied with the outcome and want to go further into the way I create. Following a specific route through this differed area allowed me to fully immerse myself in its vibrant and dynamic atmosphere, producing a series of photographs that reflect the area's unique freshness.One area of my photographs that I am especially happy with of is my attention to detail. From the variety of graffiti wrapping the structures to the unique businesses and lively marketplaces, I wanted to depict the complexity and diversity of life in Shoreditch through my images.
Sequences
Reflecting on my recent experiment with a number of my photographs, I'm interested by the method and inspired about the creative possibilities it offers up. Printing the photos, gluing them on cardboard, and arranging them in different sequences allowed me to interact with my work in a sensory and physically dynamic way, offering me new possibilities for exploration and interpretation. Handling the prints and arranging them in sequences helped me comprehend the links between individual pictures and how they may be combined to create meaning and story. This technique allowed me to experiment with different combinations and arrangements, as well as explore the potential for storytelling and connection to emotions in my work.
I'm enthusiastic to keep playing with other sequences and connections, as well as to explore into new materials and places for displaying my work. Lastly, this work has opened me up to possibilities for creative investigation and expanded my understanding of the possibilities that comes from the physical change of photographic images.
I'm enthusiastic to keep playing with other sequences and connections, as well as to explore into new materials and places for displaying my work. Lastly, this work has opened me up to possibilities for creative investigation and expanded my understanding of the possibilities that comes from the physical change of photographic images.
Black and white
One component of this project that I found particularly intriguing was the way in which black and white photography allowed for an investigation of maps and routes. By removing color, I was able to concentrate on the basic foundations and textures of the urban environment, allowing lines, forms, and patterns to direct the viewer's attention. This method turned the city's streets and paths into an artistic labyrinth, resulting viewers on a journey of discovery and questioning. By following specified pathways and documenting my journey in black and white photographs, I was able to build a story that reflected my experience of moving around the city on foot.
Italy |
During my time in Sardinia, I spent every day wandering the village with a digital camera. I went around the streets, using maps to guide me. Every day, I discovered something new while recording the shifting environment and atmosphere. From crowded squares to peaceful corners, my images constituted a journal of my experiences, depicting Sardinia's mixed existence.
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Reflecting on my most recent group of photographs taken in Italy, I'm fascinated by the contrast they bring to London's energetic city life. Using maps and routes, I traversed the twisting streets and scenic passageways, each turn revealing a new sight to photograph. The shift in scenery gave a different viewpoint, allowing me to capture the peaceful and relaxed atmosphere of Italian everyday life. My images attempted to express the warmth of the Mediterranean sun, the rich colors of the building, and the relaxed pace of the streets. This familiarity with the surroundings allowed me to go about my photography with a sense of connection and understanding, which strengthened my photographs. My images tried to capture not just Italy's physical beauty, but also the intangible qualities that contributed to making it feel like home to me. I wish to gain a better understanding of how personal connections to location influence how we view and capture the world around us.
Diptychs |
Composition was essential for the effectiveness of my diptychs, as I wanted to create visual connections and contrasts between the paired components. Either by illustrating forms and lines, contrasting various views, or generating visual echoes between the two both sides of each diptych, I hoped to convey a sense of harmony and balance that reflected Italy's beauty and diversity. The colors and light in each diptych were also carefully looked at, as they play an important part of deciding the overall atmosphere and mood of the photographs.
One of the most amazing features of my diptychs was the decision to portray the images in black and white rather than color. This deliberate choice enabled me remove distractions and concentrate on the fundamental structures and textures of the Italian nature. By emphasizing light, shadow, and shape, I was able to convey a timeless aspect that went beyond the restrictions of color photography. The monochromatic palette also helped to unite the diptychs, resulting in a single visual story that highlighted the interconnection of my travel in Italy.
I find these set of black and white diptychs to be inspired by Eugene Atgets work, sharing similar aspects such as attention to detail, composition, and shapes.I feel my diptychs form Eugene Atget's nature through their attention to detail and ability to express the distinct character of Italian landscapes and cityscapes. Like Atget, I addressed photography with intent and a genuine regard for the beauty and complexity of the world around me.
I find these set of black and white diptychs to be inspired by Eugene Atgets work, sharing similar aspects such as attention to detail, composition, and shapes.I feel my diptychs form Eugene Atget's nature through their attention to detail and ability to express the distinct character of Italian landscapes and cityscapes. Like Atget, I addressed photography with intent and a genuine regard for the beauty and complexity of the world around me.
Golden Passage
Out of all of my diptychs I believe this one is my most successful one. When I was selecting the photos, I was drawn to these two specifically because of their similarity with their colours and shapes. The orange shades perfectly reflected each other , with the shadows on the walls also being in perfect parallel with one another. I went onto freeform and started messing around with the photos. I switched around the orders to see if the other way would look better, and to my surprise the photos were perfectly in sync. The shadows perfectly matched up to the other photograph, almost as if they were made to be there. This was a complete coincidence and I did not know this would be the outcome, however I think this was the best possible outcome for this set of images and think it gives a good representation of Italy and the Mediterranean .
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