Garry Winogrand speaks about photography and life.
As part of my research into representations of the Irish landscape I have been looking at Irish Landscape painters and paintings. The local library is understocked on the subject, and while the internet is a great source of information, I prefer to read about subjects in depth from a book – I just cant read more than a thousand words on a computer screen before my eyes and mind glaze over, or I am distracted by some flashing banner or link.
Luckily, my sister and her boyfriend have an extensive library of art: Both of them are artists. Irish Art, by Bruce Arnold, has a good introductory section to landscape art, and it is from this section that I discovered the art and artists featured below. (though not all are included in the section).
Most of these paintings are from the late 19th Century, a very different Ireland. So distant, yet still so close. This list by no means an exhaustive list, nor is it chronological. I will be updating in the near future with more paintings and painters from more recent times.
I am now entering the final phase of the MA in Photojournalism & Documentary Photography. The final project will run from now (April) until mid – end November. Thats roughly six and a half months. It seems like a lot of time, but this is no time to get complacent.
I have been thinking what subject to explore / investigate for the final project. Initially I thought I would like to do something along the lines of Alec Soth’s photography. Wikipedia describes his work as cinematic in feel with elements of folklore: Nice description.
There are so many things to think about: timeframe, cost, accessibility, equipment, to name a few.
Alternatively, I have been thinking of doing a set of landscapes on a particular stretch of land near where I live. I’m just wondering how I can tie in the two ideas together?
Answer: more research and much thinking.
I’m almost finished editing the ghost estate (temp title) series. The wall in my study is covered with 6×4 black and white prints of abandoned buildings, decaying buildings, and scarred landscapes. I have edited the photos down to around 25 images, and am now agonising over the sequencing.
As an antidote to all this black and white grimness, I dusted off the old Hasselblad, loaded it up with Kodak Portra 400NC (RIP), and ventured into the great outdoors. These photos are like a breath of fresh air.
Some of the photos I have been posting here as part of my Ghost Estate (temporary title) series have perhaps been a little too descriptive. What I am trying to achieve with the photos is to convey a sense of place, an atmosphere, and to use the phrase again, something just beneath the surface.
There is a very fine line between descriptive and suggestive (if that is the right word). During a recent tutorial where I was showing a very loose edit of around 80 photos, a fellow student suggested that there are opportunities for two projects in the collection: It all comes down to editing. I could choose a set of photos that are great, and descriptive, and have immediate visual impact. Or, I could choose a set using my intuition, my feelings, and perhaps take a few chances.
April 1st deadline for our Rethink documentary photography project is fast approaching, and I have decided to present my final edit in a book format. So, lately I have been thinking about editing, sequencing, layouts, font types, spacing, spreads, and the limitations of photography.
I found this interesting video of Christopher Anderson talking about his book Capitolio. In it he explains some of his sequencing choices, and attempts to demistify the book editing process for a group of photography students.
You can view more about Capitolio here on the Magnum Photos website.
I set out with the aim of photographing the landscape, but also to photograph – if possible – something just beneath the surface.
Raymond Moore put it rather eloquently: “the no-man’s land between the real and the fantasy”