Jessica and Mark Byerley in Jessica Byerley’s home at 43 Cromwell Road, Glenwood, durban.
Jessica on a red sofa and the Castle family, 2 environmental portraits by John Robinson.
The environmental portrait is a telling photograph of a person or group of people, it gives the viewer insight into an aspect of these people’s lives. In a FaceBook world of hyper happy selfies the environmental can introduce into the conversation a sense of calm and connection between the Subject and the viewer.
The environmental portrait has always been my first love in photography; and I offer environmental portraits in the Durban area done on A3 cotton rag art paper of yourself and or group for ZAR 1000.00 per print.
Left to right: Teddy, Jason, Cindy and Leele. 2018, Anton Lembede Street, Durban, South Africa.
Teddy is standing in for Jason and Cindy’s soon to be expected addition to their family, Cindy is now just short of seven months pregnant. I have so much hope for this small family unit, Jason and Cindy have such a strong bond, and are soon to be married too…
A friend of mine has agreed to marry Jason and Cindy when the time is right.
Photos Jenny Matthews from her book Women and War.
Visual literacy can be described as the art of reading or writing with what is presented in a visual format as against the written word. A photograph is a 2 dimensional crop of what is; and there is a lot that surrounds me…
All of what you are colours how you see all that is around you. I have presented the same picture of a Swedish doctor working in a Sudanese internal displacement camp to different people. These different people have interpreted the same photograph differently accordingly to their world views. One person commented on how thin the people in the camp were, another commented on how pale the medic was and a third pointed out that there are also African doctors working in the Sudan… While the ‘language’ of photography transcends all the languages of the spoken and written word, it’s not an exact language as a photograph can be interpreted in so many ways, it’s a lawyer’s nightmare in this regard. The subtext of a photograph is also affected by the angle of view of the photographer, by what is in focus, in the foreground and what’s small and insignificant and in the background for example. The message of the photograph is affected by many things.
As much as the world view of a reader of a picture filters the message of a photograph, the world view of the photographer also affects their resulting images. I am an African photographer and I have never been to Norway, but I have seen pictures of the Norwegian fjords and pasture lands. This image of the fjords has coloured my perception of Norway as a whole; and if I got to photograph in their country I feel that the images burnt into my mind will affect my resulting images too. The pictures of the Norwegian fjords were taken by my ex wife’s father on his holiday there, the photographs of the landscape were ‘chocolate box’ in essence. I went away after seeing these images of the fjords and pastures thinking this maybe why the Norwegians too donate so much to my Africa. The social documentary photographer Dorothea Lange said that photographers should work by looking at that which they instinctively respond (Dyer, 2005).The photograph is also as much subjective to the individual photographer as it is also truth.
The photograph cannot exist if not for the camera itself first being present in the Sudan or the Norwegian fjord for example. I use cameras to make photographs to message a truth to my visually literate readers but have found out that the presence of a camera itself can alter the very subject that I have come to message to my readers. Jenny Matthews in her book Women and War talks about photographing survivors of a rebel attack in Mozambique, in Matthews’ first photograph the woman looks like a war weary refugee, in her second image the woman noticed the camera and she became the beatific mother, both moments happened, both images are truth. In the second photograph the camera itself changed the resulting picture. The woman in Matthews’ example became normative in that she put forward a face that she felt appropriate for a photograph of herself when she saw a camera pointing at her.
As a narrative photographer I have to have a handle on the dynamics of what surrounds me when I use photography to message to readers of my images…
As a narrative photographer I take pictures of what is around me, I don’t go into a studio situation to get a picture of say ‘two people looking meaningfully into the middle distance’ or ‘someone next to a window in the morning light.’
I once saw the Oliver Stone film Salvador with two student friends, Hamish was studying commercial photography, Bruce was studying journalism and I was a interior design student. Salvador is a film about two photogs covering the war in Salvador in South America, I came out of the cinema hyped, telling Hamish that as a photographer he should do this type of work when he was finished with his diploma, Hamish just looked at me as though I was mad. Hamish went on to be a successful commercial photographer and I went onto scraping out a living as a narrative photographer. Though both Hamish and I use the same cameras, I seem to think quite differently about photography to Hamish as a commercial photographer. I never wanted to become a war photographer as in Salvador but I have perceived life as it is around me as a photographer.
As Hamish though I was mad, I too have had a hard time understanding the ways of some other photographers in the portrayal of the human form. I posted the following on a Facebook photographic group: What is it with some (group Name) photographers and young womans bottoms and boobs? I got 10 likes and 1 reaction and the comments ranged from because I like it, I can and a sarcastic don’t you know? to the quite defensive and the inclusion of the word pornography. One photographer’s model said “if you have it flaunt it.”
Then there was also the inclusion of the word passion and the sense of the decisive moment which I as a narrative photographer can understand too, I now think that it is something about the personal thrill of the photographer concerned in getting a preconceived concept together. Maybe it’s the same way I get a thrill when a moment came together when I have done a portrait on the streets of Durban.
I think we all as photographers have our driving forces, some forces are exclusive to the different types of photography, and other forces are common to us all.