The Photograph as Contemporary Art: Chapter 2 Response
Chapter 2, 'Once Upon a Time', is an examination of storytelling through tableau photography. In these photographs, a narrative has been injected into a single still image. Chapter 2 also builds upon the idea of staged photography that was introduced in the previous chapter. The photographers in this chapter are directing and choreographing the "stage" so that the viewer is able to recognize that a story is being told (even if it is not immediately obvious). This "stage" can be set up to reference well-known fairy tales, allude to figurative art, or draw upon cinematic elements.
One such photographer that makes use of cinematic lighting to enhance his story is Philip-Lorca diCorcia, especially in his Hollywood series. In this series, diCorcia gives money to men he meets in Hollywood in order to pose for a photograph. The name, age, and sum of money given are the titles of each photograph. One such part of this series , titled Eddie Anderson; 21 years old; Houston, TX;$20, is especially cinematic in that it is shot at sunset. This time of day, along with the juxtaposition of a young man in his prime without a shirt on his back, helps tell the story of instability.
This chapter was a great supplement for what I went through as I looked for a narrative photograph to take this weekend. In my own experience, I began to take a well-constructed narrative photograph once I went out with a narrative in mind. This also seems to be the case with many of the photographers in this chapter, who planned their stories before they were actually captured. Philip-Lorca diCorcia's work was especially inspiring to me because of the use of lighting to tell his story. Additionally, his work shows that one can plan their photographs to a certain extent while still giving off a sense of being candid.
One such photographer that makes use of cinematic lighting to enhance his story is Philip-Lorca diCorcia, especially in his Hollywood series. In this series, diCorcia gives money to men he meets in Hollywood in order to pose for a photograph. The name, age, and sum of money given are the titles of each photograph. One such part of this series , titled Eddie Anderson; 21 years old; Houston, TX;$20, is especially cinematic in that it is shot at sunset. This time of day, along with the juxtaposition of a young man in his prime without a shirt on his back, helps tell the story of instability.
This chapter was a great supplement for what I went through as I looked for a narrative photograph to take this weekend. In my own experience, I began to take a well-constructed narrative photograph once I went out with a narrative in mind. This also seems to be the case with many of the photographers in this chapter, who planned their stories before they were actually captured. Philip-Lorca diCorcia's work was especially inspiring to me because of the use of lighting to tell his story. Additionally, his work shows that one can plan their photographs to a certain extent while still giving off a sense of being candid.
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