Assignment five: Illustration and narrative

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This final assignment shows a summation of all elements of The Art of Photography. Using knowledge and skills developed in previous units alongside this unit’s learning on illustration and narrative, I have created an illustrated insert for a magazine. Having had the opportunity to photograph several weddings for friends and family this year, I thought it fitting to use a selection of these images for my assignment. My main aim when photographing these weddings was to capture as much as possible of the emotional journey travelled by those involved.

Don McCullin in his article, ‘The Art of Seeing’ states that ‘emotional awareness is the most important aspect of photography’. He believes that being emotionally committed to where you are and what you are doing far outweighs the technical side of photography; his images taken in war zones and refugee camps show his firm belief in this ideology as the emotions of the moments spill out onto the page. Focusing on love rather than war, I considered McCullin’s ideals in my own work.

In his book, ‘Wedding Photography from the Heart’, Joe Buissink emphasises ‘learning to see’ as training oneself to anticipate the moments that matter and developing trust with the client. He considers, in wedding photography the right moments to be much more important than technically perfect photos along with an ability to create images which , even decades later will capture the joy of the day.

For the purpose of this assignment, I decided to focus solely on the lead up to wedding. I feel that this is an element which is rarely covered in magazines, yet it is a vital part of the day, wrought with emotion and so many moments which may otherwise be forgotten.

Using a series of clocks to denote the concept of time, I have shown the build up of emotion from a slight onset of wedding day jitters during her make over, to the final call, wrought with nerves, tears and anticipation. In order to maintain a coherent set, I have used the same background and graphics throughout, darkening slightly for the front and back cover. Colours remain simple throughout the inner pages, using white through to flesh tones and blondes brightened with touches of blue to each page.

Outer covers: In order to set the outer cover apart, I have used monochrome processing to these images which unlike the inner pages, are both taken outdoors. On the front cover, the curve of the clock and inferred clockwise movement of the hands leads the eye from the title, ‘TIME’ towards the couple. The title word, ‘TIME’ is reflected in the back page to denote closure to the set and show that the time the bride has been waiting for has finally arrived; a narrow path, created alongside the shadow, leads from the word ‘TIME’ towards the bride.

01 Time for marriage: This is the only image which includes the groom as it was actually taken after the ceremony; the intent is to show the peaceful contentment hoped for as a couple settle into a lifelong marriage after the madness of the wedding. I feel that this is a timeless image, reminiscent of an older couple sitting side by side many years after this special day.

02 Pampered: The leading lines in this image; the makeup artist’s gaze, her arm and the makeup brush all lead towards the main focus, the bride’s face. The hint of pre-wedding nerves creeping into the bride’s face makes this an ideal image to begin the set.

03 Accessories: This collection of images work together to show further elements to the bride’s make over. Shown as a set, a smooth curve is created, leading from the downward sweep of the dress, through the two violet flowers and on to the upward curve of the shoes.

04 A Moment: As mother of the bride and maid of honour set to work, Rebecca takes a quiet moment to reflect. The splashes of blue modernise an otherwise timeless image.

05 Hired Help: The lines implied by the ladies’ gaze lead towards their work, the preparation of the dress.

06 Mi’ Lady: Reminiscent of a lady in waiting, the maid of honour helps the bride into her dress.

07 Curves: A final check that everything is in place, I was drawn to the curves in the bridesmaid’s hair. Using a shallow depth of field, I ensured that this was the main focus of the image.

08 Nerves: Positioning themselves for a pre-ceremony shoot, the girls take a moment gather themselves. I chose this moment to shoot before they were ready in order to capture the true feeling of the moment.  This image speaks volumes and for me, surpasses any eyes-to-camera posed shot. The feelings are perfectly captured as bridesmaids stand in quiet reflection while the bride exhales through pursed lips to attempt to still the butterflies in her stomach. Firmly placed between arrangements and the commencement of the day; just for a second, time stands still.

09 Reflect: So close to the final call, Rebecca sits to calm her nerves. I cannot take full credit for this image; as she sat, her mother leaned towards me and whispered, ‘It’s these moments that fill me up, when she’s just sitting quietly.’ I shot from behind for several reasons; the first was that I wanted to recreate exactly what her mother had seen, the second because I didn’t want to move and disturb the moment. I’m pleased that I didn’t as I feel that the rear view adds an air of mystery befitting the moment.

10 Curtain Call: Rebecca stands in position as her father is called to escort her to the ceremony. Gaze firmly on her posy, she remains calm and collected.

11 Dad: Emotions spill over as father of the bride enters the room. The mirrored gestures reflect the unbreakable connection between father and daughter.

12 Time: As the clock strikes twelve, Rebecca crosses the bridge into her new life. Several real and implied lines lead towards both the subject and the end of the bridge.

My passion for photography and a love of working with people combine to make wedding photography a thoroughly enjoyable experience, albeit one which comes with many pressures; differing locations, changeable lighting conditions with the desire to represent this momentous occasion with outstanding images have set me on a steep learning curve this year and one I aim to continue to climb. With each wedding, I have become more skilled at listening to the ceremony for that perfect moment when the couple will be looking lovingly into each others’ eyes, watching and waiting for those stolen glances as they begin to relax together, capturing the beauty of a radiant bride, flushed with excitement. Far from the emotive sadness of a war zone, a wedding is a rollercoaster of mixed emotions, mainly positive and a pure pleasure to capture in images they’ll revisit for the rest of their lives. 

All images from this assignment can be seen in the corresponding Flickr album.

Wedding photography

Carey Nash

Having previously struggled to find critical articles on wedding photography, I turned to one of the social media photography groups I visit frequently, Facebook Wedding Photographers, run by working photographers, Chris Fawkes and Skip Cohen, founder of Skip Cohen University and author of several books. Through these groups, I have come to the conclusion that there’s no genre more precious than the wedding photographers; at worst, many of them are competitive, rude and obnoxious but I find it fascinating reading their critique of one another’s images; between hissy fits, they actually make some pretty good points. Chris and Skip have recently developed a new feature whereby respected members of the group are interviewed, this week we have taken a peek into the life and work of Carey Nash: http://careynash.com/

Originally a travel photographer, Carey moved into wedding photography around ten years ago in order to provide stability for his family; however these images show how he often manages to incorporate travel photography into his work.

Carey does stress though that in this line of work, his artistic desires don’t always fit in with customer requirements but this is something he has come to terms with; when the job is done, he can always ‘book a flight back to Africa and find [his] artistic voice there’.

What really struck me while reading this interview was his response to the question: What was the single greatest thing that helped you in your education/evolution as a wedding photographer? Carey’s answer is that it is his perspective as a family man; as his own children grow, he feels more personally involved in the proceedings, to the point where he sometimes feels quite emotional. He goes on to say:

‘Knowing and feeling this allows me to look and shoot for the connections and interactions I see all day between loved ones, not just the bride and groom. This evolution has been the best gift I can have personally when approaching a wedding. I can do the "epic" shots on my own time but I don't want to miss the small special moments that happen all day.’

Browsing Skip Cohen’s titles, I noticed that he had written several books in collaboration with celebrity wedding photographers such as Joe Buissink and Bambi Cantrell. I continued my research to both photographers.

Joe Buissink

Buissink has photographed weddings all over the world, including those of Christina Aguilera, Jennifer Lopez and Hilary Swank; his work featuring in publications such as People Magazine and others. Although photographing weddings, his style has been described as fine art as he redefines what is traditionally known as wedding photography. Buissink’s more traditional images show a distinct style, using creative angles and making use of the given environment such as the spiral staircase and image of women bathing.  

He also shows great talent for capturing moments; tearful bridesmaids, a giggling couple and male guests at the bar checking out a lady’s bottom, a simple shot taken of guests relaxing becomes a work of art. His philosophy that "there’s no such thing as a perfect image–only a perfect moment" shines through in these images.

In his book, ‘Wedding Photography from the Heart’, Buissink emphasises ‘learning to see’ as training oneself to anticipate the moments that matter and developing trust with the client. He considers, in wedding photography the right moments to be much more important than technically perfect photos along with an ability to create images which , even decades later will capture the joy of the day. 

Bambi Cantrelle

Bambi Cantrell has been photographing in the San Francisco Bay Area for over 25 years. Although known for her passion for capturing the decisive moment, her ‘set up’ images show enormous talent and creativity; Bambi was presented with the Golden Eye award in July 2008. A highly regarded photographer and author of several books on the art of photography, Bambi claims her secret to success is simple;

 “I just love people, and believe truly great photographs are a reflection of who the client is, not who I want them to be.”

The selection of images below shows inspiring examples of Bambi’s skill for capturing moments in her photography:

Jason Bell

Jason Bell is an English portrait and fashionphotographer who shares his time between London and New York, working for Vanity Fair, Vogue, Time and other magazines. Many of his photographs, including his set entitled, ‘An Englishman in New York’ are in the National Portrait Gallery. Having fallen for New York through a picture in his childhood home, Bell eventually moved there and loved the new found freedom he discovered there. A chance conversation lead him to the decision to discover through photography, why so many others had made the same move. Photographing celebrities such as Kate Winslet and Sting as well as everyday people, a rat catcher, a pilot, Bell also considered the question, why had he himself made that move. 

Like London, New York is a well photographed city so creating something new proved quite a challenge; Bell aimed to avoid clichés by thinking what he had noticed when first moving to New York. While photographing many of his subjects at work, he opted away from the obvious; historian Simon Schama, rather than being photographed at the university, was taken to the subway whereas author Vicky Ward sunbathed unnoticed by city crowds showing the unshockable nature of the New Yorker.

‘What do I remember noticing first when I came here? Seeing an expensively dressed woman in her 80s on the Upper East Side bending down to pick up dog shit with a perfectly manicured hand.’ Jason Bell

On 23 October 2013, Bell took the official christening photographs of Prince George. Very different from his New York set, these images could have been taken by any technically aware photographer. 

The Guardian newspaper describes the image of the core family as ‘pretty perfect as a document’ and goes on to discuss the technical qualities of the image. This image, to me looks like every image ever taken of the royal family; this is work. Bell may have enjoyed spending time with the family but I doubt that he got the same satisfaction taking this shot as he did creating his ‘Englishman in New York’ collection.  

Some shots are more natural in appearance, the one of the family framed by the window hints at a more normal, everyday world which they must inhabit sometimes; the slightly desaturated colours enhance the traditional feel of the image. Bell has also captured Kate’s love for her baby as she looks at him cradled in her arms. Beautiful as they are, it is clear that creativity is restricted and Bell’s voice is clearly muffled.

One of Bell's favourite shots:

'I think of Stephen as very learned, so I wanted a bit of gravitas. When he looked through the columns I remember saying, 'That looks really nice, now can you look a bit more nervous?' – which he did straightaway. I knew it was a good picture. It was a happy accident, but as you get better you have more happy accidents. The skill lies in tipping the odds in your favour.' Jason Bell

Don McCullin

Don McCullin grew up on a London council estate and at age five, was evacuated to Somerset. Seperated from his sister, who was placed with a much wealthier family, McCullin developed issues about class and poverty; his affinity to persecuted peoples developed later through being beaten at a later placement. McCullin left Art College to support his family aged fourteen, following the death of his father. Severely dyslexic and having not done well in school, McCullin was a self confessed tear-away until a gang acquaintance was involved in the murder of a police man. McCullin, having photographs of the gang was immediately in demand with the press; this was the beginning of a lifelong career in photography.

McCullin’s photography is described as exceptionally powerful and technically sound. He uses relatively simple equipment, never a flash and rarely has a need for cropping or manipulation; he is instinctively a great photographer. He always does his own printing and mainly in black and white with heightened contrast to enhance impact, to make those images really stay with the viewer as they do with him. 

McCullin worked intensively as a war photographer, to the detriment of his first marriage until the early eighties when issues over opposing ethos lead to his dismissal.

Turning to work such as advertising to pay for travel, McCullin explored parts of India and Africa, writing books such as ‘Don McCullin in Africa’. Whilst in England, McCullin spent time photographing homeless people for a story about derelicts, those pushed aside by society. Cold and with a sense of discomfort, McCullin describes the excitement of potentially encountering an amazing scene; as with his war photography, he was looking for the truth and often found it in the gaze of his subject looking directly at him. He once said that as he worked he ‘looked into people's eyes and they would look back and there would be something like a meeting of guilt’. It is this that gives depth and compassion to his images. 

McCullin believes that seeing, really seeing has nothing to do with photography; photography is just about showing the truth of that. The most important thing in his eyes is your emotional approach and the emotional commitment to where you are and what you are doing; to him, the technical side is secondary.

Often asked, ‘Do you hide behind the camera?’ McCullin considers this a ridiculous question; hiding behind the camera would be tantamount to hiding your own emotions. McCullin’s ethos is to be there, feel it, live it, look at what’s in front of you; I am inspired by McCullin’s work but I what truly inspires me is the ethos of committing emotionally  to a situation, in a bid to capture so much more than visual impact.

Irving Penn

Penn was first known as a fashion photographer and worked in this field for several years with Vogue magazine. Penn constructed bizarrely angled backdrops to create an austere, enclosed space; the sense of physical confinement bringing out interesting reactions in his subjects. Penn recalled in his 1991 book "Passage"; ‘This confinement, surprisingly, seemed to comfort people, soothing them. The walls were a surface to lean on or push against.’ The set up did bring a sense of drama to the portraits, driving the viewer's focus onto the person and their expression; in many photos, the subjects appeared wedged into the corner. 

Penn was a master of studio lighting; however often opted for natural light. For working on location, Penn created a portable studio with a skylight, set to face north with impressive results. 

As well as people, Penn also photographed still life, using the same composed style with carefully considered arrangements.

Yousuf Karsh

Yousuf Karsh, who shot to fame following his portrait of Winston Churchill; The Roaring Lion, has in his portfolio, images of many great heroes. Karsh’s images show great variety in posture and lighting while capturing brilliantly the individual character of the subject; as stated in the L.A. Times, ‘Each picture captures not only an image but a personality’. The body language, direction of gaze  and hand gestures work together with lighting and effects to hint at the type of person being portrayed.

His portrait below of Albert Einstein is lit from slightly behind so that the light skims across his face, highlighting the deep wrinkles which show great wisdom and character; true to type, Karsh has captured the pensive look on the academic’s face. French author, François Mauriac’s silhouette is given an aristocratic feel using edge lighting to highlight only the edges of his noble features. Karsh’s portrait of playwright, Bernard Shaw is lit from a high angle creating strong highlights and shadows in his face and clothing; Karsh has perfectly captured Shaw’s quizzical demeanour.

Karsh’s became well known for his hero worshiping ethos and as a result, his subjects knew that going in front of his lens would bring them iconic status. He was trusted by all to bring out the best in his clients, boosting their public persona:
"There is a brief moment," he believed, "when all there is in a man's mind and soul and spirit may be reflected through his eyes, his hands, his attitude. This is the moment to record. This is the elusive 'moment of truth.”
It has been written that Karsh’s motivation stemmed from a belief in the dignity, goodness and genius of human beings.
Karsh’s work has been in a variety of mass media, including postage stamps and currency and is recognised in both European and North American culture.  

Jay Maisel

One of my favourite photographers for his use of colour is Jay Maisel; Although Maisel has photographed many celebrities, I am more drawn to his distinct use of colour and light. Maisel works with very simple but definite blocks of colour and light. His work almost looks as if it has jumped out of a rule book on use of colour as it is so simple in appearance, as are the titles to go with them. Although many of Maisel’s prints are true to his block work style, he has several images which work more with the qualities of light than with bold, bright colours. When looking at images such as ‘Restaurant Roof’, I felt like I was viewing the work of a different photographer as this particular image has an almost ‘Van Gogh’ like quality to it. On closer inspection however, I noticed that although Maisel was in this case working with light rather than colour, he had still captured the subject in definite blocks of the varying forms of light.

On reading further into Maisel’s work, I discovered that his preferred method is to forget about complicated lighting set ups and mainly shoots with one lens, looking for interesting shapes, colours and light around the city. I feel that when learning the art of photography, this is a valuable lesson to learn and a great way to exercise artistic flair.

Before discovering Maisel, I had worried that in order to develop an artistic voice I would have to quash parts of who I am in order to pursue a particular type of photography. I now understand that this does not necessarily mean a choice between vibrant or muted colours or between landscapes and close ups but it is about the individual style in which these elements are used.