Without further ado, and with much deliberation, the final three images from my mini 6 week bridge project. The task was to shoot a particular location and create a series using three photos. The advise and guidance of one of the photographer’s running the project really helped me with the narrative and sequencing. Hope you guys enjoy and would love to hear your thoughts
A quick post of some photos which could potentially be part of my final three selections. I just need to clarify the narrative. Despair as a whole in the bridge? Personally a more compelling theme and will hold an interesting narrative.
I had initially started off with an interest on the City narrative and the human narrative as could be seen in this bridge.
But how do you show the state vs human & does it even apply in the area I had chosen? It’s not really a contested space. There is a sign saying no lying down, sitting or standing on the side walls but I had not seen it enforced.
The street art scene in Perth has increased quite a bit. The local government has commissioned international artists to work all over the city. I usually dont like taking photos of other people’s work, so I try to take it in my own point of view. Sadly I do not know who the artists are and thus cannot give them credit. If you recognize any of the artist work please let me know. The films I used are Agfa Precisa CT, Kodak Ultramax 400 and Agfa Vista 400 & 200. All taken with the little Canonet QL17 GIII.
I really enjoy photographing strangeness. An exploration which has carried on from my architectural dissertation on “Uncanny Spaces”, where I explored the mental spaces of my childhood. Spaces which were not of delight but of terror. I mapped these rooms as part of my spatial history (included in this post), trying to capture the emotion I felt while occupying each room.
Growing up in the Philippines, there were certain areas in the house that really got to me. I felt as if these spaces were alive. The Philippines is predominantly a Christian majority with a strong belief in spiritual beings, the good and evil kinds.
Stories of creatures and spirits are a big part of the culture and the feeling that I shared my home with phantoms were visceral experiences. I should perhaps elaborate on what I define as a home at that time. I lived inside a catholic school compound where I spent most of my childhood playing and going to school. During day time it was a blast, student’s and teachers were about, filled with activity and life. But as school finished up and the large compound with lots of empty rooms became silent, the atmosphere changed. It was not uncommon to invite the local priest to come and bless the school.
‘Dark is the hour!’ ‘Aye, and cold.’
‘Lone is my house.’ ‘Ah, but mine? ‘
‘Sight, touch, lips, eyes gleamed in vain.’
‘Long dead these to thine.’
Ghost by Walter de la Mare
I linked this back to Sigmund Freud’s essay “The Uncanny”. One that stems from the definition of the German word “Heimlich” which translates to homely in English. He goes through its etymology by using two 19th Century dictionary’s and also looks at it’s use in literature. In particular the Grimm’s fairytales and highlights the literary definition of Heimlich ultimately changes to that of “Unheimlich” / unhomely.
In essence the home that is secure, safe and familiar can be viewed as something that is private and unknown.
This unknown morphs into the mystic and unseen becoming unheimlich or Unhomely. This blur, liminal point is that which is Uncanny.
Heimlich (a) Familiar Unheimlich (a) Unfamiliar
Heimlich (b) Secret Unheimlich (b) Revealed
The strangely familiar. Freud’s essay goes onto giving examples of fantastical tales which evoke the feeling of Uncanny, from Automaton’s to doppelgangers just to name a few.
Anthony Vidler also explores the Unhomely in his paper “The Architectural Uncanny: Essays in the Modern Unhomely”, specifically focusing on the Architectural unhomely aspects of the uncanny. Vidler uses Edgar Edgar Allan Poe’s “The fall of Usher” as one of the Haunted houses as an example and describes the uncanny arises from the “normality of the setting” and the absence of overt terror” resulting in a “disturbing unfamiliarity of the evidently familiar”. Poe’s description of the blank deteriorating walls and its lifeless eyes for windows makes us identify with our own mortality and the ultimate effect of time to all things.
I find photographically I am drawn to these sort of spaces. From gritty alleys, to desolate abandoned places were Urbanex photography arises. Two years ago I came across the term “Thanatourism” which according to good old wiki is “Dark tourism (also black tourism or grief tourism) has been defined as tourism involving travel to sites historically associated with death and tragedy.” Urbanex I think is the photographer’s version of this fascination, as we break into abandoned mental asylums or take photos of models in run down place filled with grafitti.
My last year’s trip to the Philippines again reminded me of the type of rawness I grew up in and which I identify with whenever I see a dark gritty alley. The textures, colour, decay, and use is like a patina over the buildings.
I do find these sort of images in Australia albeit much more difficult. I shoot and post a range of images but these sort are the most personal to me. The next images are all shot here in Australia. Thanks for reading. Hope I have not scared you guys off.
Since coming back from the Philippines and shooting a local beach I have always wanted to shoot the beaches here in Aus.
I finally got the chance a couple of weeks ago when I visited Floreat Beach. It was a welcomed break from walking the concrete streets of Perth.
Mind you it is currently winter in Australia so the water would have been freezing but there were still people swimming and surfing.
I love how the blues were rendered by Kodak Ultramax. It really captured the mood. I have three more rolls to develop and they wont be the last! I feel like a beach project is developing 🙂 Thanks for visiting. Hope you enjoy the images.
I red somewhere that going for a walk in nature mentally relieves us from the stress of work. Pairing that with the desire to shoot more film during my lunch hours, I started to take the Canonet with me to Kings Park as it walking distance from my work place. The park which is apparently the biggest park in a metropolitan area at 1,003-acre, compared to Central Park in New York City at 778 acres. However its peripheral location from the City disconnects it and a freeway further isolates it from the City unlike Central Park which is very much part of the New York City experience.
Although most of it is just bush on my side of the park (the monuments, views and restaurants are on the either side) I was drawn to some large trees that have been damaged by bush fire. There are probably more interesting finds if I go off track, but is currently not allowed to let the vegetation’s recover.
Grass recovery was in progress at some point which I found amusing.
On another note, I have began the culling my work on the flickr account. So far I have culled 150+ photos but there is so much more to go. The goal is to have 12 max photos per my previous years of shooting, ie. a photo a month constraint and 4 photos per month, or a photo per week post. Perhaps even limiting the posts to purely street work.
How disciplined I am on the posting regime is a whole different story. I have already posted two entries this week on the blog when I wanted to post one a month. It is in hope to get a much more critical objective view of the work, to sit with it for sometime. Rebecca Norris Webb speaks about letting the work speak to her, trusting that her work is much smarter than her own logic. Letting intuition be the guide. I found this very much intriguing. Perhaps most photogs dream, but wouldn’t be nice to be a fine art photographer. Hopefully one fine day.