Digital Photography Series
"Cotton" |
Digital Photography
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Exhibition Text
"Cotton" is a digital photography series comprised of three monochromatic photographs. It belongs to a series of work exploring the unique stages of grief. Inspired by the work of Paul Calhoun and Steve McCurry, this series explores the stage at which one looks forward to the future and sees beyond their present circumstances. I aimed to visualize hope and the peace that lies ahead after grief.
Process
Planning Sketches
Portrait Photography
“Cotton” began with several journeys around Milwaukee with a Sony A7 and a 50mm Canon FD Mount lens. I aimed to capture stories and candid moments of people living out their lives. The story I wanted to tell with this series involved reflection, peace, and looking forward to the future. The fun part of candid photography is not knowing where the story will come from and waiting for it to play out before your lens. This series took me several months to photograph. It took me from the heart of downtown Milwaukee to the apple orchards of Sturtevant, Wisconsin. I’ve learned that one has to live their lives to the fullest while capturing the stories of others.
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Post Processing
I processed the photographs in Adobe Lightroom where I converted each image to black and white. I placed a strong emphasis on contrast between highlights and shadows. Through the tone curve, I flattened the black tones and brightened the images. I also increased the clarity of each photo. The images possess a slight tint of color almost reminiscent of a sepia tone, introduced by split toning. I find that this adds a nostalgic mood while removing the jarring juxtaposition of black and white.
Adjustment Layers
Once the photos were edited, I added adjustment layers to accentuate the main subjects of the photographs respectively. With an adjustment brush, I added extra clarity and increased the exposure of the man, my girlfriend, and my niece. This aided in further separating the foreground from the background. Furthermore, this added another layer of depth and rendered the images more dynamic.
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Experimentation
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“Cotton” is the product of months of experimentation and creating. To end this series regarding my personal experiences with the stages of grief, I knew I had to tell a compelling visual story. But the difference between these images and the other four photographic pieces in this series is this; every piece up until this point has been tied to dwelling in the past or drowning in the uncertainty of the future, but “Cotton” breaks away from this. Instead, “Cotton” is about hope, positivity, moving forward, and embracing the future. It’s easy to tell stories of sadness and of suffering. But to tell stories of hope and to regard the moments yet to come with positivity is so unbelievably difficult. I experimented with hundreds if not thousands of photos, trying to find the right pieces to tell such a story. And when I finally found the right photos, I experimented with color versus black and white. I’ve adopted the mindset of Henri Cartier-Bresson who believed that color is merely a distraction that takes away from the truth of an image. And yet, I was drawn to the way my three images looked when rendered in full color. I saw life and beauty in the warm tones that evoked a strong sense of passion and emotion within me. However, I realized that the true story and beauty of my photographs laid underneath the orange and red hues. I was reminded that to take away color is to give the audience unadulterated truth. My storytelling had to be monochromatic if it was to be powerful.
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Artistic Inspiration
The piece, “Cotton” draws inspiration from Paul Calhoun and Steve McCurry. Locally based in Milwaukee, Wisconsin Paul Calhoun is a photographer whose images transcend time and feature countries undergoing change politically and socially. Calhoun’s work places an emphasis on capturing unadulterated truth as he is often described as a documentary photographer. His work possesses emotional depth and conveys a truth about humanity. Calhoun’s images possess a strong juxtaposition between light and dark that offers a cinematic look into the lives of those whose stories often remain untold. His style has clear intent yet is seemingly effortless. He stops moments in time and captures the ephemerality of the human condition with beauty and grace.
Steve McCurry is an award winning photographer most famous for his photojournalistic pieces. He has traveled around the globe capturing the stories of people during war, conflict, and social unrest. His images such as the infamous National Geographic cover, “Afghan Girl” focus solely on the human face through which McCurry reveals a deeper truth about the human condition. His candid portraiture is often composed in a manner that accentuates key features of his subject which in many cases is the eyes. He prefers to shoot in early morning or evening light during golden hours to achieve a dark yet peaceful mood. McCurry uses his images to tell intimate stories about the subjects of his photos.
Steve McCurry is an award winning photographer most famous for his photojournalistic pieces. He has traveled around the globe capturing the stories of people during war, conflict, and social unrest. His images such as the infamous National Geographic cover, “Afghan Girl” focus solely on the human face through which McCurry reveals a deeper truth about the human condition. His candid portraiture is often composed in a manner that accentuates key features of his subject which in many cases is the eyes. He prefers to shoot in early morning or evening light during golden hours to achieve a dark yet peaceful mood. McCurry uses his images to tell intimate stories about the subjects of his photos.
Meaning
“Cotton” is a digital photography series that explores a personal stage of grief through a short narrative of peace comprised of three monochromatic images. This piece is part of a larger series regarding my experience with grief and how I traverse through it. I refer to this stage as “Cotton” as the word is defined as a verb meaning “to begin to understand.” As this is one of my final stages of grief, I had to tell a story of positivity. I believe that grief is an unbalanced mixture of unadulterated joy, overwhelming sadness, and fits of numbness that hurt more than feeling the most intense of emotions. But I’ve focused enough on the suffering that grief brings. “Cotton” is the light at the end of the tunnel; it is the point at which I realize I am not, nor have I ever been, the prisoner of my own circumstances. When my grandmother died four years ago, I couldn’t stop writing poems about her and about the things I wish I could have done. When my favorite teacher from middle school passed away, I dedicated my first self published poetry collection to her. And in both cases, I never believed that I would be okay. I went through those times trying to process these losses. But the thing is, life makes absolutely no sense. My grandmother died alone in a nursing home. My teacher slipped in the shower and never woke up. There is no rhyme or reason to the lives we lead. I am certain that this is true because even in times of unimaginable sorrow, I find that there is always a glimmer of hope that brings me back. And this is the heart of “Cotton.” It is the point at which I understand that there is more to this life than grief. It is when I realize that for every day, there is a tomorrow. It is when I see in the faces of children like my niece, pure peace and serenity. It is when look at those I love moving forward in the face of adversity. And it is when I see the elderly reflect on their lives without pretense and instead with unwavering calm. “Cotton” is the stage at which I rise above the sadness and take control of my happiness.
Reflection
Throughout the completion of this piece, I have developed my photography skills and my comprehension of visual storytelling. Prior to “Cotton” I was familiar with candid photography and creating photographic series. However, I’ve never applied these skills to such a high level as I have with this piece. “Cotton” has been a work in progress for over three months; I had to find the right photographs to tell my story. I found joy in exploring my community in pursuit of stories. I found an equal pleasure in editing these photographs and manipulating their highlights and shadows. The juxtaposition of black and white is captivating and draws the audience in, guiding their eyes throughout the compositions. I am satisfied with the outcome of “Cotton”; it is an accurate depiction of my personal stage of grief. The process was also successful as I effectively captured candid expressions and decisive moments to weave a story of peace.
Overall, “Cotton” emulates the work of both Paul Calhoun and Steve McCurry to a great extent. Through the strong juxtaposition of light and dark that establishes a dynamic tone and mood, I achieved a similar aesthetic to the monochromatic images of Paul Calhoun. I incorporated elements of his storytelling that emphasize and embrace the human form as a symbol of emotion and truth. I also mixed in Calhoun’s and Steve McCurry’s focus on capturing unadulterated truth as a means of commenting on the human condition. McCurry inspired the photo of my niece as his emphasis of storytelling through the eyes of his subjects is captivating. My work differs from Calhoun’s and McCurry’s in the way they are edited. I added split toning which means my black and white is not purely monochromatic like Calhoun’s images. In regards to McCurry’s work, my work does not involve color. In contrast, McCurry masterfully utilizes color as a device through which he conveys his stories.
Overall, “Cotton” emulates the work of both Paul Calhoun and Steve McCurry to a great extent. Through the strong juxtaposition of light and dark that establishes a dynamic tone and mood, I achieved a similar aesthetic to the monochromatic images of Paul Calhoun. I incorporated elements of his storytelling that emphasize and embrace the human form as a symbol of emotion and truth. I also mixed in Calhoun’s and Steve McCurry’s focus on capturing unadulterated truth as a means of commenting on the human condition. McCurry inspired the photo of my niece as his emphasis of storytelling through the eyes of his subjects is captivating. My work differs from Calhoun’s and McCurry’s in the way they are edited. I added split toning which means my black and white is not purely monochromatic like Calhoun’s images. In regards to McCurry’s work, my work does not involve color. In contrast, McCurry masterfully utilizes color as a device through which he conveys his stories.
Connection to ACT
1. Clearly explain how you are able to identify the cause-effect relationships between your inspiration and its effect upon your artwork.
I am able to identify the cause-effect relationship between my inspiration and its effect upon my artwork by analyzing the juxtaposition of light and dark. It is clear that my emphasis on the interplay of light and dark to establish mood and depth draws from Paul Calhoun’s work.
2. What is the overall approach of the author (from your research) has regarding the topic of your inspiration.
The author's point of view regarding Steve McCurry is that he is a photographer focused on capturing and sharing the truths and stories of those who would otherwise be voiceless.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
While researching, I've come to the conclusion that candid photography captures the beautifully ugly reality of human nature. Without warning, documentary photographers capture every ephemeral moment regardless of whether or not they are aesthetically pleasing.
4. What was the central idea or theme around your inspirational research?
The central theme of my inspirational research was storytelling and tone.
5. What kind of inferences did you make while reading your research?
While reading my research, I inferred that Paul Calhoun utilized the strong juxtaposition of black and white hues to establish mood.
Sources
Websites
Laurent, Olivier. “Steve McCurry: I'm Not a Photojournalist.” Time, Time, 30 May 2016, time.com/4351725/steve-mccurry-not-photojournalist/.
Wagenstein, Oded. “Interview with Steve McCurry - Masters of Photography.” Oded Wagenstein photography, 24 July 2016, www.odedwagen.com/2013/01/masters-of-photography-interview-with-steve-mccurry/.
Calhoun, Paul. Bridge Over the Ocean. Paul Calhoun, www.pscphotographs.com/bridge_over_the_ocean/paul/index.htm
Books
McCurry, Steve. Steve McCurry untold: the stories behind the photographs. Phaidon Press Limited, 2013.
Bannon, Anthony. Steve McCurry. Phaidon, 2011.
Laurent, Olivier. “Steve McCurry: I'm Not a Photojournalist.” Time, Time, 30 May 2016, time.com/4351725/steve-mccurry-not-photojournalist/.
Wagenstein, Oded. “Interview with Steve McCurry - Masters of Photography.” Oded Wagenstein photography, 24 July 2016, www.odedwagen.com/2013/01/masters-of-photography-interview-with-steve-mccurry/.
Calhoun, Paul. Bridge Over the Ocean. Paul Calhoun, www.pscphotographs.com/bridge_over_the_ocean/paul/index.htm
Books
McCurry, Steve. Steve McCurry untold: the stories behind the photographs. Phaidon Press Limited, 2013.
Bannon, Anthony. Steve McCurry. Phaidon, 2011.