Tag Archives: Philip Jones Griffiths

Avoiding The Fraught Enterprise

I have been researching staged photography by reviewing the usual suspects; Crewdson (here), Sherman (here), Wall (here) and diCordia. This quartet is intriguing, in part because their work is so different yet linked by premeditated staging and the appropriation of cinematic processes and … Continue reading

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Exercise 7 – Image and Text

I looked at this subject in some depth during TAoP General view on captions and text in photo narratives: https://stevemiddlehurst.wordpress.com/2014/09/12/captions-and-other-words-in-photo-narratives/ A specific look at how Josef Koudelka used captions to emphasise his message in Wall. https://stevemiddlehurst.wordpress.com/2014/09/12/josef-koudelka-and-the-use-of-captions-in-wall/ How Philip Jones Griffiths combined captions, … Continue reading

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Conflict. Time. Photography. Tate Modern: November 14 to March 15

Simon Baker, in his essay Armageddon in Retrospect (1),  says that Conflict. Time. Photography “takes as its starting point the necessity and value of the time taken to consider the past.” Time, and our reaction to time, is at the heart of this exhibition. … Continue reading

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The Influence of Surrealism on British Street Photography

What is Surrealism? There are a multitude of definitions of Surrealism but they generally net down to using imagery from the subconscious mind and dreamscape to express an authentic self and thereby visualise a truer reality, the Surreal. This expression of … Continue reading

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Exercise 1 (b) – Objectivity in Documentary Photography

Definitions The Oxford Dictionary defines objectivity as existing independently of perception which, in the context of photography, could be interpreted as an object, or the subject matter, must exist independently of the subject’s perception of it. In Photography (1) Stephen Bull offers … Continue reading

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