The brief for this exercise was as follows:
You probably own many significant objects, from a wedding ring to old clothes, trophies of achievement to mementos that recall special events or times of your life, like toys or records. Choose one of these to photograph. This mustn’t be a general thing like ‘flowers’ but something entirely specific to you.
Respect the fact that this object matters to you. Photograph it carefully, thinking about how this object ought to be viewed through the camera. Consider the framing, viewpoint, background, placement, light and composition.
Does the photograph (the representation) have the same meaning as the object itself ? Is there a difference?
Now develop this exercise into a series of three photographs of similar objects. For example, if you chose to photograph your wedding ring, ask friends if you can photograph their wedding rings. If you photographed your home, photograph other people’s homes. Use exactly the same viewpoint, framing, lighting (as far as possible), background, etc., for each. This will help the three final photos fit together as a conclusive series.
Look online at the work of Bernd and Hilla Becher. Note how the composition, framing and lighting is almost identical in each photograph and how this ‘gels’ the series together.
Research
Bernd and Hilla Becher
Bernd and Hilla Becher, are artists originally from Germany, who worked as industrial photographers. In 1966 they set of in their VW Camper Van heading with their two year old son for South Wales. The purpose of their trip was to photograph the winding towers and processing plants for the coal mines. Despite the miners being unsure about what the Becher’s were doing, they soon came to respect the determination and thoroughness with which the couple approached their photography.
Bernd passed away on the 22nd June 2007, Hilla passed away on the 10th October 2015.
Hilla’s mother and uncle were both photographers and she trained as a photographer at the Lette-Verein technical academy in Berlin.
In 1951 she apprenticed with Walter Eichgrun. One of the assignments she produced during this time documented a railway repair facility, and the work she submitted for her portfolio when formally qualifying as a photographer included an industrial landscape.
After they met, Hilla was influential in the way Bernd’s photography developed.
Bernd’s own journey started off with painting and graphic art. He turned to photography following the closing down of a mine in Siegen, as a means to document a mine in Eisern when he realised he wasn’t going to be able to document the mine quickly enough using drawings.
Looking at their work the attention to detail is amazing. Grouping similar types of structures together, and photographing them in similar ways allows the similarities and differences between them to stand out more than if the lighting and way they were captured was widely different.
From the beginnings of the Industrial Revolution the landscape across the world has changed from one that was predominantly farm based, to a much more industrial one, with towns and cities sprouting up to service the industrial complex.
As times have progressed the structures that were built, some very complicated and intricate; beautiful in their own way, have disappeared, to be replaced with ones that fit within the modern aesthetic. Look at office buildings such as the Gherkin and the Shard for examples of how architecture can change.
With the decline of iron, steel and coal industries, especially within the UK, the buildings and structures that the Becher’s documented are disappearing daily, with the places they were once found being redeveloped or landscaped, but such places can still be found.
I grew up in the town of Merthyr Tydfil in South Wales. The town was once at the heart of the industrial revolution in Wales, with numerous iron foundries, which built fortunes for the iron masters, such as Richard Crawshay. The coal industry was an important part of the way of life as was the steel industry when I was a youngster.
Overlooking the town there was an area of slag heaps that we used to call the White Tip. About 20 years ago there was a move to remove the tip and to return the area to how it would have looked before the dawn of the iron foundries. Today the area that towered over the town is an area of rolling grassland.
O’Hagan (2014) ends their article with the following:
"But the Bechers' way of working belongs to the past now. This is a requiem for a lost world and shows that, through the passing of time, even that which was once considered purely functional and even ugly, can attain beauty when seen through the eyes of the most attentive photographers."
I don’t believe that this is true. I think that the way that the Becher’s worked is still as valid now as it was then. As we develop as cultures we should be documenting the changing world around us so that our descendants are able to see how the world that they inhabit has changed and developed, whether that is for the better or not.
Significant Object(s)
Chess Trophy and orienteering plaque.
Similar Objects
Fishing plaque belonging to Dado
Sports trophy belonging to Dad
Bowling trophies and plaques belonging to Rhys or Rhys’ Project Search award
Final Sequence
For my final sequence I went with a set of images containing plaques. Three generations with my grandfather, myself and my son. The red background was adjusted in Lightroom so that the exposure has similar exposure for the red background.
After working through the series of images I was able to produce another two sequences.
I have two plaques that belong to my grandfather. One of the plaques I just couldn’t get a photograph I was happy with and so I created the above sequence using both plaques.
For the final sequence I decided that I was going to use something other than plaques. By doing that I could keep the three generations theme and include a trophy that belonged to my Dad.
Contact Sheets
Conclusions
The nature of the objects that I decided to photograph made keeping the lighting the same for each of the shots easy.
When I started thinking about what I was going to photograph, and how, I decided that I’d invest in a lightbox and some small portable lights from Amazon. I spent a bit of time researching what was available, looking at the reviews to get an idea of people’s opinions of each different type and eventually picked a lightbox and set of lamps.
The lightbox I selected is very similar to a reflector in the way it can be collapsed down, putting it up is incredibly easy. I wish I’d thought to buy one sooner as I’m sure it would have helped with other project, for instance the photgraphing the end result of the painting with light one.
When it came time to photograph the objects I’d chosen I decided that I need to do more than simply capture some trophies. No matter how hard you try, photographing something like a plaque or a medal runs the risk of being a bit too clinical, almost like you were photographing it to sell on eBay. It can lose some of what makes it so important. The objects I decided to photograph belong, in the main, to people who have had a huge influence on my life. The objects represent something that for me defines them and is part of my memories of them.
With that in mind I decided that in addition to the trophies I would include one or two photographs of the person in question.
I did try photographing just my grandfather’s plaques, without any photographs, but I felt the result was too clinical, partly because it was shot against the white background, but I don’t believe the results would have been any better against a coloured background.
One other thing that I’ve taken away from this exercise is, that , if you are going to use a backdrop, then make sure its been ironed if possible so that there’s no creases in the shots.
I also plan to revisit this exercise at a later date and reshoot the shots with a different lighting set up, one that allows for a greater depth of field.
I did find the use of the lightbox very helpful because it allowed anything that would have been a distraction to be removed from the background.
References
- Collins, M. (2015) Hilla Becher obituary. [online] Available at: https://www.theguardian.com/artanddesign/2015/oct/15/hilla-becher [Accessed 12 May 2018]
- Guggenheim. (2007) Bernd And Hilla Becher. [online] Available at: https://www.guggenheim.org/artwork/artist/Bernd-and-Hilla-Becher [Accessed 12 May 2018]
- O’Hagan, S. (2014) Lost world: Bernd and Hilla Becher’s legendary industrial photographs [online] Available at: https://www.theguardian.com/artanddesign/2014/sep/03/bernd-and-hilla-becher-cataloguing-the-ominous-sculptural-forms-of-industrial-architecture [Accessed 12 May 2018]
- Blake Stimson, ‘The Photographic Comportment of Bernd and Hilla Becher’, Tate Papers, no.1, Spring 2004, http://www.tate.org.uk/research/publications/tate-papers/01/photographic-comportment-of-bernd-and-hilla-becher, accessed 12 May 2018.
- Tate (2018) Search Results. [online] Available at: http://www.tate.org.uk/search?type=artwork&aid=718 [Accessed 12 May 2018]
- Lange, S., Conrath-Sholl, G. (2007) Bernd Becher. [online] Available at: https://www.theguardian.com/news/2007/jul/20/guardianobituaries.germany [Accessed 12 May 2018]
- George, A. The Dowlais Great White Tip. Available at: http://www.alangeorge.co.uk/TheDowlaisGreatWhiteTip.htm [Accessed 13 May 2018]