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Rockliffe Hall

The talent behind this Gastronomic excellence

Heroes and Villains

Developing - my own creative and open minded attitude towards Visual Research. Taking into account; my personal response to a range of media platforms, focusing mainly on photography.

The first question or set of questions must be:

1) What makes an image iconic? 

2) What does it mean to be an icon? 

3) How does a photo earn the status?

1) ‘Icon’ simply means ‘Image’ an image made for public consumption or to be viewed. An image that can outlive the author and the subject. This could suggest that an image not only records but can create iconicity.

2) In addition the word ‘Icon’ can relate to a certain kind of image that resembles rather than symbolises? But using symbolism in our image making can connote a meaning far greater than words can explain. 

3) The third dimension is ‘Cultural significance/implication? Carrying one obvious message yet denoting another; a signifier? So creating objectivity coupled with subjectiveness.

The beginning

So in terms of ‘Iconic’ Imagery we could travel back through time to the beginnings of photography and its pioneers such as William Henry Fox Talbot and his book ‘Pencil of Nature’ (1841) to Anna Atkins book "British Algae -Cyanotype impressions" (1843) and the realisation of the importance of photographic imagery for Scientific proof, Legal evidence, Recording , Artistic experiment.

It is well documented that during 1890 – 1920 ‘Pictorialism’ as it was termed then championed the still image as an ‘art object’ the rationale behind this was that a photographic image can evoke feelings and address the senses. This of course we know to be true in today’s world of imagery. This thought is largely contributed to 

Henry Emerson who articulated naturalism which nourished pictorialism and saw the movement flourish from 1889 to the onset of the First World War as celebration of the artistic camera image. Trading alongside this was the belief that the camera provides authentic visual evidence, in particular relating to industrialisation, urbanisation and documenting the realities of life and the struggles endured. This would quickly expand to further develop documentary photography that would embrace verifiable fact and evoke empathy and connection with individuals. Although the documentary role was transformed to a degree by television journalism and advertising, the style still retains a strong appeal by portraying compassion so the viewer becomes engaged emotionally. 

Power of the still image 

The 20th Century is littered with Iconic imagery that captures the people, places and moments that have shaped history. Photography has flourished beyond expectation since its invention and continues to grow today. It is without doubt that the still image is considered the most powerful of all media with persuasive means to record instruct and inform. Used as an international language, a world currency in visual communication.  Becoming paramount in our understanding of ourselves and the world we inhabit. Photography has the power to Illuminate injustice, and social issues, to bring about change to enrich our lives. 

For example:

 Bob Jackson’s image of Ruby shooting Lee Harvey Oswald

Bob Jackson’s image of Ruby shooting Lee Harvey Oswald is a classic example of a historical scene, although filmed by television it this image that is remembered. The very second before the trigger was pulled. And in the words of Harold Evans (Pictures on a page) the good news photographer will cultivate his instinct for subtle movement of tension, which precedes explosive action and learn to use the camera blind. This was seen as justice for the murder of Kennedy by the American public.

Although the shooting and recording of the event was shocking and the likes had never been seen before on live TV, let alone the print media. The American public looked upon Jack Ruby as a hero, but was he a hero or a villain. 

‘Finally let us remember that Photography is potentially a universal language that crosses cultural barriers. Practised by people with an: immense moral conviction, courage and talent’.  ‘Pictures on a page’ (1978)

So why then do we remember still images easier than moving images, according to (Deleuze 1983),

‘Mankind made still pictures 30.000 years ago; we have experimented with moving pictures for only a few hundred years’. This is true, but still does not answer the question? 

• The human mind can recall the still image easier than a sequential series of images. 

• What else can claim to represent a slice of time? Capture a split second of time. Or make time stand still forever. 

The explosion

However in terms of popular significance and well known imagery today I think it fitting to look back on the 1960’s when the word ‘Iconic’ became popular to the general public and average read man. Many images continue to enjoy success today.

There is one photographer in particular whose name is seldom referenced or even known? Bud Fraker, Copies of Buds images can be seen in many outlets, homes and offices around the World. 

So who was Bud Fraker? Audrey Hepburn, ring any bells yet? Yes, "Breakfast at Tiffany's" The Photographer who iconized Hepburn, among other stars such as Elvis Presley. 

Short Biography

Fraker was born in Pennsylvania in 1916. Fraker: studied photography in 1934 at Los Angeles City College.  His first position began as a part-time lab assistant at the Columbia Studios stills laboratory mentored by his brother William 'Bill' Fraker director of the department. After the death of his brother, Fraker was hired by Hollywood photographer A. L. 'Whitey' Schafer at Columbia Studios.

It wasn’t long before Fraker became the Director of Still Photography at Columbia Studios in the late 1930s. Among the films Fraker worked on still photography included "Twentieth Century," with Carole Lombard, "King Creole" with Elvis Presley and "Breakfast at Tiffany's" with Audrey Hepburn.  

One of the most iconic of all the Hepburn portraits is the image sat in a café holding a cigarette in a Lucifer, wearing a Tiffany diamond and black dress. 

Picture Bud Fraker, Columbia Pictures

During the 1960’s photography documented a pertinent time in history.  The majority of countries around the world were experiencing, social and political transformation. From the Cultural Revolution to the Cold War; Vietnam to the civil rights movement; this was the defining period of the modern age.

Many reflect on this era as a golden age in photography and the moment when the medium flowered as a modern art form. Photographers became less concerned to change the world, or even merely describe it; a new generation of photographers exploded and began to understand the world, as well as their place within it. 

Marit Allen, fashion editor of Vogue: Young Idea, 1963-72, described the era as "the first time young people wanted to be themselves".

Photographers such as David Bailey, Terrance Donovan (1936-1996) and Brian Duffy (1933-2010) not only participated in the 60’s but also helped to shape it, transforming the art and often anticipating the next style, with innovative shooting styles never before seen so widely. Moving away from the still static poses we were used to and creating images that conveyed movement and a sense of fun-alive. For example Bailey photographed, model, Paulene Stone kneeling on the floor appearing to kiss a squirrel raising the photographers profile as much as the people they were shooting, creating a celebrity status of their own. 

                                                  David Bailey - Paulene Stone with squirrel

Fashion designer Mary Quant added that no fashion picture had ever been taken like that before.

"It was a great slap of excitement, it was tremendous," she said (BBC News-Entertainment)

By 1964 the young photographers were already firmly established not only as chroniclers of the decade, but also its image-makers and helped to shape the time.

Terence Donovan

Fashion photography at that time became less formal and studio based and depicted the models as the girl next door. Duffy offered a different perspective. ‘Before us, fashion photographers were tall, thin and camp,' he told The Sunday Times. ‘We're different. We're short, fat and heterosexual.' An east end boy. 

Twiggy, photographed by Terence Donovan for Woman's Mirror, August 27 1966 Photo: © 2012 Terence Donovan Archive

Brian Duffy

During the 1960s and 1970s Duffy, who was part of the terrible trio, caught the mood and ever-changing cast of rock stars, actors, models, writers and politicians of the day in a way that was visually memorable. Along with Terence Donovan and David Bailey, who tirelessly challenged the run of the mill portraiture of the 1950s, moving away from studio portraiture, creating innovative and dynamic fashion shots?

Portrait of David Bowie by Brian Duffy

So to further deepen our understanding of Iconicity as an image maker we must examine the following.

Inspiring and nurturing the creative spirit.

Upon further reading in search of a deeper meaning to portraiture and photography, I discovered the following by Britta Reque-Dragicevic, Former Associated Press Correspondent; Sarajevo, Bosnia.   Now a Full-time professional writer: Screenplays, novels and special-interest articles that inspire and nurture the human spirit.

Britta Reque-Dragicevic examines the following:

Can Art exist without an audience?

There are two sides to any creative works.

1) What the project wants to be in itself

2) How do we want our audience to perceive it

In between this we have a void? This is where subjectivity occurs and the magic. When the works communicate to the audience and the audience take over and interpret the work. This is seldom forgotten as photographers and we must be mindful of it.

Does the work have a Purpose; even without an audience?

The work has meaning simply because it exists and therefore needs no audience. As photographers/artists, we focus most of our energy in creating the work to standalone on its own merits. The work we create is an extension of ourselves a creative expression, a document of our time or a moment in time or history. A reflection of ourselves: or on society, an observation. The work we produce brings about self- gratification, therefore creating a sense of well-being. Yes of course most of us would like our work to reach an audience.

Void between the work and Audience

As photographers/artist we want to reach an audience, having a purpose and intention behind the work we produce. The common denominator is we attempt to create a response that may be to:  raise awareness, bring about change, create debate, joy, pain or delight or even inspire. 

We may have a specific purpose we want to create within an audience or to experience. So we keep that in mind when we create our work and focusing on the narrative. A narrative being the key component of visual language.

In photography, narrative is related to the idea of context. No matter how complete or comprehensive a narrative appears it will always be the product of including some elements and excluding others. Inclusion/exclusion is part of what construction is all about, but knowing what is best included or excluded requires an understanding of context. And an understanding of context requires visual storytellers to be highly proficient researchers. As ‘Stuart Freedman’ recently declared, we need “a return to a storytelling in photography as rigorous in thought and research as it is beautiful in construction and execution.”

This is surely our responsibility as photographers/artists. What we are paid to do. But, in order to achieve this, we need to remember the void.

The Audience Also Creates (Void)

Once our work is complete, we expose it to the audience to create their own response and experience. The audience then interprets the meaning or intention, relating their own life experiences and associations. What is communicated and what is understood can be vastly different. This where subjectivity plays its part and the reason some works never receive the acclaim they may deserve.

So the void is something we need to embrace. “Why? Because: this is where the magic happens”. 

“This is where the work can truly touch hearts, minds, and souls.  We need to leave audiences enough room to engage in this creation. If we spoon-feed them every aspect, spell-out every meaning, leave nothing of intrigue or uncertainty, we deprive audiences of their ability to receive the full impact of what the work desires to create in them”. As we craft, we need to be mindful to leave spaces where the audience can meet the work on their own terms”.  (Britta Reque-Dragicevic 2013)

So why do artists create self portraits

Traditionally artists create portraits of themselves over the course of their careers. It is thought that beyond representing one’s physical attributes, self-portraiture can serve as a representation of oneself vocation, our place within society or own style.

Or could it be that life as an artist in whatever medium can be a lonely existence. Could it be that we are so often alone and as a subject who knows you better than you? A form of self-reflection: or inquiry. 

The self-portrait or ‘selfie’ now sits in the English dictionary as an official word. Selfie’s have become one of the most celebrated democratic art forms and this comes as no surprise when you consider that in the region of 6 billion images are fed through social media a year. However as an artist or image maker we ask far more from our self-portraits, we adopt a more considered approach, composition and styling. You may even go as far as suggesting a psychological approach. Or challenge the images and myths of popular culture and mass media. 

Examples and rational

Photographer Christian Hopkins, 20,  questions depression and what that looks like in photographs and focuses his imagery on himself and his struggle with major depression (AKA clinical depression) Hopkins images reflect his own dark thoughts and feelings. Hopkins is currently registered as a freshman studying biochemistry in college, but has taken a year out in order to deal with his depression. 

Not trained in photography Hopkins uses the medium with exceptional results as an outlet of self-expression and therapy. “This is just a hobby. A camera, a body, and a mind. Nothing else,” he says.

Not all doom and gloom

Many photographers produce self-portraits for fun or to reflect their personality, such as Jacques-Henri Lartigue, who interestingly was a painter who made the transition to photography at the age of 69. Hailed as one of the founders of modern portraiture. His images arrested movement with humour creating dynamism and a sense of fun for example the self-portrait he produced for Richard Avedon. 

© Jacques-Henri Lartigue, Richard Avedon, New York, 1966

For my own self-portraits my aim was to continue with my interest in gastronomy. Taking influence from the late Richard Avedon, who was a giant in the world of photography. Best known for his acclaimed fashion work for magazines such as Harper's Bazaar and Vogue, Avedon was commissioned to shoot portraits around the American West. “The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion,” he once said. “There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.”

Using Avedon’s style of simplicity with even highlights and shadows across the study emphasising shape and form in all its natural beauty, bringing the subject to life. I think as practitioners we tend to emphasise shape and form with artificial light, which of course is a great skill. However, drama isn’t always evoked by the lighting. The subject brings that to the picture. So with this in mind I recreated an image from the series of a slaughter man from 1979. 

The shoot to recreate an iconic image

Keeping my visual research in tune with my interest in gastronomy and a brief experience I had working within an abattoir I thought it fitting to take my interest back to the raw basics and attempt a portrait in the style of Avedon. So with the thought of raw my interest turned to the slaughter man image. My secondary thinking was that along with making portraits of chef’s and still images of the beautiful dishes that they produce why not take my interest to the start of the food chain. What better place to start than the abattoir. It takes a person of certain calibre and character to do just a job. My first attempt was to set up the shoot with a local butcher, however this attempt failed on several factors, mainly the reality and realism of the blood, the equipment wasn’t quite right which was kindly supplied by the butcher. My thoughts turned to my theatrical contacts and even a friend of mine, a paramedic for a fake approach. Problem with this was finance the fake product is expensive and if you do not wear an extreme barrier cream the product stains the skin very much like food die.

I was determined to create the real thing, and began contacting other butchers for their thoughts and ideas; several slaughter houses were suggested cattle markets. The feedback was less than favourable. Eventually I found Cleveland Meat Company who after a lengthy explanation kindly agreed to assist. Still there were problems, such as certain times when I could visit the site, which limited my shooting window. The shoot had to be cancelled twice due to weather as the shoot was outdoors using natural light and white paper backdrop. Finally another shoot day was agreed and looking at the weather forecast another huge factor, I had a two hour window of certain daylight.  On arrival my assistant and I had to recce the site as the wind had begun to pick up. Eventually locating an area with a little shelter and access to drains and a jet wash as blood was required. The blood arrived in a bucket the scabbard, steel, apron and blade. I will leave the rest your imagination.

Avedon: on location during the American West Shoot. 

Inspiration – Hero or Villain (iconic image)

Blue Cloud Wright: slaughterhouse worker. Omaha, Nebraska, 1979 Part of the American West series

My thinking behind this image is that meat has to be slaughtered, and processed before it arrives at the restaurant on or the supermarket shelves. It is a contentious issue and often overlooked by the general public. A subject area that is often shrouded in secrecy and often revered.  My opinion is that these people are heroes’; helping to feed the nation doing a job no one else wants. Avedon’s image portrays a man of Mexican origin a man earning a minimum wage, long hours. A job with no real talent but a job that requires grit and determination. The image portrays both sadness and menace. A white clean background lit only with available light, delivering an even illumination across the subject, open shadows, snappy contrast, and absolutely no flare compromising the figure’s edges.

The whole portrait series iconizes not only the subject matter of photographs depicting people men and women of the American West who work at hard, everyday Jobs. But also Avedon’s innovative approach to portraiture. What Avedon’s technique displays is although the daylight set-ups will vary, the look doesn’t. My images are shot on the Canon EOS 5D Mark II

My attempt: to recreate the Slaughter man image. The method used is outlined below:

To give this portrait the Avedon look, I chose one of the easiest set-ups for producing it based on available daylight. The white seamless paper was supported by two stands and Positioning myself far enough from the background so as not to see the paper. Metering was taken from an average grey ensuring the white paper was one and a half stops brighter than me to ensure maximum white. To prevent skin tones from blowing out, I closed down 0.5 stop over the spot-meter reading recommended by the light meter. In addition: bracketing the exposure by a third of a stop either side. This simpler setup allows the photographer to focus on the subject and removes the distraction away from the equipment, such as artificial lighting. 

Hero

Staying on the theme of gastro, my hero has to be Gordon Ramsay, within my circle of friends I am often referred to as Ramsay as I am a self-confessed foodie and love nothing more than cooking for friends and family and have a temper to match. So the image I chose to recreate is not itself an iconic image rather than the figure it represents and what he stands for, has become an icon of celebrity chef’s. Ramsay who was promising young footballer, the Michelin-starred chef only entered the catering industry when injury forced him to abandon a sporting career. Known for his strong language and no-nonsense attitude, he has presented numerous cookery programmes in the UK and US. He has become a huge influence on me and in the world of gastronomy and a global icon.

I have nothing but respect and admiration for both working his working ethos, sheer determination and talent.

Inspiration

Photographer unknown

This image sums up the attitude and personality of Chef Ramsay and links to the slaughterhouse image above. From the Abattoir to table, the journey from bloody slaughter to a work of art and a mouthful of gastronomic pleasure.In recreating this image, I used a single soft box high and to camera left, a Canon EOS 5D Mark II a dark background, creating a low key example. 

How do I want the world to see me?

My third and final image of how I want the world to see me. Well, I am simply a jobbing photographer with a passion for my craft. The image suggests a calm but inquisitive nature. Simple: straight forward, open and honest. A statement of perception of self as different, yet not separated from reality. This is me!

“I think therefore I am”

Bibliography:

http://www.amateurphotographer.co.uk/how-to/icons-of-photography/539343/terence-donovan-1936-96-iconic-photographer#ZL7pms796Zidl6VK.99

Naomi Rosenblum (1997). A World History of Photography. 3rd ed. New York: Abbeville. 9-671.

www.cbsnews.com/pictures/breakfast-at-tiffanys-turns-50/‎

Dragicevic, B, R, (2013) The Space Between Artist and Audience, http://creativeinsideout.com/: Britta Reque-Dragicevic.[Accessed 16/06/2014]

http://fashion.telegraph.co.uk/news-features/TMG9636166/The-fashion-photographs-of-Terence-Donovan.html

www.epuk.org/Masterclass/214/stuart-freedman [Accessed 16/06/2014]

EvansH-1978/Pictures on a page, Heinemann Professional Publishing Ltd, London. 5-567

http://pov.imv.au.dk/Issue_03/4_artcls/4_artcls3.html

Harry N. Abrams, Inc.; New edition (1 Aug 1996)

In the American West, Harry N. Abrahams, Incorporated, New York. Third Printing 1992

http://infocus.gettyimages.com/post/what-is-iconic-imagery [accessed 04/04/2014]

http://news.bbc.co.uk/1/hi/entertainment/2178366.stm

http://www.theguardian.com/artanddesign/2009/apr/26/bob-carlos-clarke-photography

http://www.mirror.co.uk/all-about/gordon%20ramsay#ixzz31W481GDz

A recreation of an Iconic Image of Jim Morrison

Portrait shoot

Portrait shoot 01/05/2014 

Mark and Gina Gatty with dog Billy