Son of Canaan, 2015

Final images: Phase I


The idea for this work has its basis in my critical essay, they are works which are designed to work together, i.e. the research for the essay was to inform the work.  The men chosen for this work, they are defined as:

First generation of African Caribbean men born in the UK, outside the system of slavery since 1652.

In finding the models I had to simply send the brief to the people who would then help to find the models, the model themselves also recommended people. I found all my models bar one, by putting an advertisement up on Facebook asking people I knew to nominate suitable people by tagging them into the post, John Williams volunteered himself.

Initially I asked for models to find 5 – 10 objects that they wanted to talk about, Wayne James was my first model with this criteria.  The difficulty I found when taking the first set of images was having so many objects is that the problem was created as to, how to place them without it looking like a shop!  My influence for the allegorical nature of this element of the photo shoot was the Hans Holbein, The Younger, the Ambassadors (1523) in his painting his objects were universally  symbolic, in these photographs, the meaning was to be subjective with meaning given by the sitter alone to

The technical image constriction was highly influenced by Johannes Vermeer (1632 – 1675) and his highly technical approach with the use of the camera obscura.  He created almost photorealistic painting in terms of their perspective, the majority of his interior painting implied, if it were not visible, that there was light form a window just out of view.

I wanted to sitter to both place themselves in the interior and to give voice to the image they were in the process of creating, this was set as counter to the research which found that there is still the view of the dangerous black man found on the street. I wanted to illustrate my extended autobiography in the sense that I have grown up with many many black men who have been as gentle and nurturing as any other man and felt that this was not, and is not being reflected in society in general.

This photographic process has reminded me that I need to be proactive at each stage of the photographic process in finding the right model, in asking people to help me do so, in gaining credibility with models so they are happy to allow me to come tho their homes to take a photograph.  When in their homes I absolutely had to be the director.  Not being afraid to move furniture, ornaments pictures, place models etc. has been critical in making images which would both reflect the environment but not be too much of a distraction in that process.  Learning image directorship the hard way was painful, having to ask a model to re-shoot because I was not thinking clearly enough when on site, spending time in post production to clean up images is really not how I want to make work.

I carried out three of the seven photo shoots where the images could not be used. in the case of John Williams, an early shoot the interior was not organised well enough, and ultimately there was not enough of the environmental element. Additionally with John I found that when using a wide-angle lens a Tamron 10 – 24mm, the compromise between environmental and Portraiture photography, he had his knees to far forward creating a really distorted body form.  The sitter cannot have knees or hands too close too far forward of their main body, essentially their body has to exist on a similar plane or these features become very exaggerated. I didn’t recognise this exaggeration in camera, even though I had elected to use the viewfinder rather that to tether on location, it cost me the photograph as its unusable, perhaps an assistant next time.

The architectural element of the interiors were generally well-managed in viewfinder with the grid setting switched on for alignment with the room.

however overall there is fringing in some images rendering them almost unusable and I wonder if this indicates the limitation of my Tamron lens in these circumstances.

Project management, it was imperative for me to have a physical folder of models and progress so that I could remind, conform and thank as I went along  the use of stickers was also a visual aide, in my understanding of what I had to do, with which model next.

I asked all models to sign an AOP model release before the photoshoot started, even when that asked if they could sign it afterwards, I asked them to take a moment to be happy to sign as I could not do an hours work where they might potentially then say they didn’t like to photos etc. and therefore not sign it.

I in general have enjoyed the process of finding and meeting the models, and have generally like the photographs I have taken of them.  However some images stand out as working better than others.  All final images work well except Michael McMillan’s image.  His room is too cluttered and dominated by the mustard yellow wall, I could have minimised this colour by having him sit on a higher chair perhaps?

I think that printing the images out as I go along is also a way of understanding the nature of the images as the project progresses, seeing images digitally is not enough.

Having the images printed on blue back billboard paper has been great, the process however softens the image, this is an element for consideration in the future.  Using billboard is an affordable way of making large-scale work. Perhaps with this in mind the images could become more graphic like in my approach.

Apparatus: Cameron 7d with Tamron 10 – 24mm lens with natural lighting conditions. The lens was chosen because of its ability to capture interior photographs with minimal distortion, I had not however used in combination with portraiture before this project.

In my mind this project is to be continued and to be rolled out in other forms….

Final images: rejected

The above images were rejected, because they do not reflect the environmental nature of the photographs chosen for the final edit. these were works in progress, but ultimately did not fin into the series.

Technical design progression

On location this technical progression was influenced by composition 4.  Although often I found I could not have this exact composition, I was drawn to make my compositions with windows to the left of right of the subjects.

Presentation   – work in progress

These images set in an autobiography framework are designed to be highly allegorical in nature in order to set the view on a historical journey.

The aim is to present layers of suggestion which set the man in context which is both catastrophic and normalised.   The stage-managed tableaux incorporate selected objects for consideration whose intrinsic values contain the latent traces of an interconnected European memory.

His epidermalised existence is characterised by his Elizabethan past, the miss-forgotten absences of the renaissance, the age of enlightenment and the industrial revolution being misappropriated for him.

His contemporary identity is in constant motion moving in a special unstated landscape which in itself has its own exchange value, the currency of which is selected in a fleeting momentary glance.  Negotiations conducted in the outer state of otherness encircle the core insisting on the highbrow manoeuvres of the individuals to nuance the tools of the of the exchange for the cashier.

querying who subject was, rather than accepting the photograph as evidence



Finding Models

over how many months, how many models let me down

The communication

The space

Perspective, the composition in frame has been set up to produce a single vanishing point, that is straight into the room, square on, with side walls appearing to create the perspective

Rooms where it is possible to both use the natural light an to minimise direct light into the camera where best, as large panels of natural light would not blight the whole room but produce a distorted sense of light from the window


The Marketing

Marketing: Book mock UP

Practical mock up, i think it was important to make the work practical to start to place in people’s minds what the work will become when the process is finished, a book, workshop tools, an exhibition. Jespef Cabey’s image on the from as his distictive Goaty bear lends itself well to the cover.

Marketing: Book mock UP

Print mock up

This book is mocked up in Powerpoint and is to be constructed for the exhibition and ongoing works on this project.

Phase II – things that need to be adjusted , the crop marks are to be moved by 10mm out and off the page because in printing there will need to be a 5mm all round bleed at least depending on the printer

ideally cover to be printed on A3 paper to avoid cut and paste construction

review the text flap on the image page, as when the page is open the text flap for previous page is in view so looks like apparently the wrong text for the picture in view.

Phase I – Pages: Front and back cover printed separately on  2 x A4 sheet

Pages: Insert pages printed on A4 sheets with text introducing the subject on folded back panel creating a square format overall

Paper: it to be be 190gsm silk printed internally at the CCB print room printers

Save: the pages are to be saved bothe as PDF and .PPT format


Text panels 



Additional Project documentation as business cards as this is an  ongoing project.


The lens/es

Viewfinder panel on, with grid in place to assess the image in camera, the optimum height when taking an image of a sitting subject using a 10-24mm tamron lens.

this is because firstly it minimises the distortion from the edge of the room


post production

Post production became more straight forward and the nature of the images progress as most of the technical work was carried out pre-image and in camera


Project management & Planning  – 13/05/15

I generally carried the project folder around with me but have a digital backup with this blog, it means that I can keep up to date with my project as I go along


Jamal Robinson  – 12/05/15

Printing: Final Image printed on blue back, matt outdoor billboard paper,

JamalRobinson_Trypdich© JudithRicketts2015_Small

Print Process


notes on original triptych regarding new image  print size to be doubled up at 2430 x 540 mm issued at full size in .TIFF at 300 dpi.

Final image

representing 8 hours post-production,  the images are finished to  the best of my current ability! – I love them.


Post production phase II

I have decided to do a triptych, and I want to standardise the interior

Work that needed to be carried out on the images:

  • standardise the interior the individual images are uniform
  • correct the perspective
  • Standardise the ball position
  • remove pictures from the wall
  • 3rd picture will be the base picture for all three settings

Post production phase I


what did I do in PP and why

in general the post production took about 8 hours of removing and introducing pixels gradually so as to look as naturel as possible. tools i used in combination were a combination of clone stamp, dodging and/or burning, a small amount of cutting and pasting.  this was carried out on individual layers so they could be switched on/off or discarded if they were not working, leaving the original in tact.


contact sheet long list & short list

Setup shots

I looked at two potential rooms during set up, the first room was both heavily furnished and heavily patterned this would have distracted the viewer from the subject. The second although still heavily furnished, was able to minimise the distraction by moving the sofa out of shot. closing the curtains and removing some of the ornaments ( whist remembering where they went so I could put them back!)


Josef Cabey II   – 14/05/15

This was the second photo shoot and was much quicker, I had seen the interior, I knew that I had to get more light on his face, there was a significant problem photographing the a white room with a model with a dark complexion, I had no reflector and could not step into the room with a reflector even if I had one because of the wide-angle nature of the lens. These images are a significant compromise of all of these elements.


Edi Mandala   – 11/05/15

Finally caught up with Edi, he says he has had family issues, that why he’s not been in touch, I will send him at text tomorrow to see if I can photograph him before the deadline , if not before the deadline I’ll arrange to photograph him anyway.


Michael McMillan – 22/04/15

There were a number of issues with this photo shoot, firstly on 3omins to meet and take the photograph as I was on my internship. windows on both sides of a fairly compact room, mustard yellow wall and lots of creative memorabilia on walls. In the end I opted to have him sit on a chair from Surinam, it should have been higher to minimis the mustard yellow wall. I should have cleared more objects out of the shot. Happy with the close-up, not so happy with the environmental shot.


Joseph Ifill-Hosier   – 20/04/15

Joe, felt that he could not have his photo taken at home so nominated a friend’s home which could not happen either, so we took the photos in his friends shop.  I took that chance to photograph him but could not use te images for this shoot as there is no environmental element. Good to have met him, perhaps these can be retaken in future.


Updates Marketing – 10/05/15


New contracts 07/05/15

 Photographed Mark Williams on Saturday 9th May 2015


John Williams Photo shoot short List – 18/04/15

Awaiting some of John’s poetry to go alongside his image


John Williams Photoshop LongtList – 18/04/15

JohnWilliams_Long List_FMP2015_170415-2 copy JohnWilliams_Long List_FMP2015_170415-1 copy


Josef Cabey Photo shot ShortList – 16/04/15

Interesting but Im not convinced, that they work, I may have to re taken.

Jospef Cabey_ShortList_4_FMP2015 copy

Jospef Cabey_ShortList_2_FMP2015 copy


Jospef Cabey_ShortList_1_FMP2015 copy

Josef Cabey Photoshoot LongList – 16/04/15

Jospef Cabey_Long List_FMP2015-1 copy Jospef Cabey_Long List_FMP2015-2


Risk assessments – 15/04/15

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Carried out for each photo shoot especially I will be both working on site and meeting strangers in their home.


Model search – 07/03/15

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Model search – 29/03/15

so far have three yesses form direct and indirect marketing


Model search – 29/03/15

Direct invitations to models recommended and indirect recommendations via Facebook – follow up with phone calls to people recommended  next week.

Facebook invitation indirect

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Facebook invitation direct

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Email invitation

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Supporting documents – 23/03/15

Outlined my work to Conrad Tracy up to the point at where I template the initial ideas and test.  He suggested that I set up many more scenarios for use both on location and in editorial so decisions can be made at each stage.

Objects: all angles – top – side – separate

Model: use template – 3/4 height – headshot portrait

Work: Gareth Mcconnell & Adrian Piper

Screen shot 2015-03-24 at 10.58.01

(C) Gareth Mcconnell

(C) Adrian Piper

(C) Adrian Piper


Supporting documents

  • See Doc2: FMP Contact 1 – in oder to keep track of phone number I created an excel document so I could see who had been recommended by whome.

Screenshot (774)


Bibliography & References

This area of documentation is to be populated as information is found over the life of the project for current and future reference.

  • Magritte and photography Published Aldershot: Lund Humphries, c2005  St Peters House –  779.0924 MAG
  • René Magritte: beyond painting Published Manchester : Manchester University Press  reserved 26th January
  • The Artful eye Gregory, R. L. (Richard Langton),Oxford University Press 1995 –  701.8/ART

Notable female photographers of colour

  1. Maud Saulter Info (Scottish, 1960 – 2008)
  2. Collette V. Fournier Info (USA, 1952) Rastafarian women 
  3. Carrie Mae Weems Info (USA, 1952)
  4. Lorna Simpson Info (UK, 1952)
  5. Cary Beth Cryor Info (USA, 1947 -1997)
  6. Renee Cox Info (USA, 1958)  – controversial  Feminist Art

Lorna Simpson web

Notable male photographers of colour

  1. James VanDerZee (1886 – 1983) Harlem Renaissance of the 1920s  (Through A Lens Darkly, a new documentary by filmmaker Thomas Allen Harris)
  2. James priestly Ball  – abolitionists
  3. Augustus Washington – abolitionists
  4. Gordon parks Segregation Story
  5.  Thomas Allen Harris chimpanzee productions
  6. James Wesley Ball  / J.P. Ball (USA, 1825- 1904) Abolitionist, studio owner 
  7. James Barnor
  8. Arthur Bedou (1880-1966)
  9. Anthony Barboza  web

Notable  artist of colour

  1. Kerry James Marshall web
  2. Hank Willis Thomas web


The Photographic setup

Detailed list shot

  • Location: models home
  • Window: natural light direction onto face
  • Table
  • objects
  • model position

Object List


Samuel van Hoogstraten, Objects on a board, c.1666-78 (trompe l’oeil_pinboard)

Samuel van Hoogstraten, worked in the tradition of stillife and demonstrated his skill like a calling card

  • a photograph
  • a trade – historic contemporary – personal
  • a piece of music – any format
  • food
  • transported items
  • Children / object belonging to each of them/representing  each of them
  • you – your trade/ object from the shop/ your sport/ your ambitions/ your leisure time/  
  • …………………………..representing something about you nobody know about you?
  • your parents  – perhaps something they came to the uk with / have had for many years
  • your  grand parents  – a recipe/ food/ map/papers 


Photographic models –  02/01/15

  • G Cameron – contacted  – 19/01/15 – Photo-shoot 14 February,
  • W. B. James  – contacted  – 19/01/15  – Photo-shoot
  • Prof. Beckford
  • L. Henry
  • E. Mandela
  • Levi roots
  • Williams
  • Muenda o Kameara 0-  Uncle Russell Black Jewellers Hatton Garden



the placing of objects

The Ambassadors 1533, Hans Holbein the Younger

The Ambassadors 1533, Hans Holbein the Younger

The alignment of many circumstances during the Renaissance[i] gave rise to diasporic was a period which represented a major period of intellectual development; the arts flourished in Elizabethan England[ii].  The Ambassadors[iii] painted early in the period signify an age of geographical exploration and scientific discovery in Europe a shift in thinking form depicting the wealth of a divine order to that of earthly pursuits, the painting is highly allegorical in nature and is referent to circumstances outside the frame.  

The Ambassadors themselves are depicted as learned men flanking an upper shelf of instruments for measuring the heavens and time, for the purposes of navigation and a lower shelf of various earthly items, significantly a book of arithmetic and Magellan’s terrestrial globe[iv].  They belonged to a class who were convinced they stood at the centre of the civilised world and that all other nations existed to provide the ancillary function to the centre. 

The gaze

This conviction was manifest in the burgeoning relationship between conqueror and the colonised and was to inform the ideological and visual discussion to come.  The circularity of this visual discussion is manifest in the gaze, described by Berger[v]

[i] Peter Murray & Linday Murray., The Penguin Dictionary of Art & Artists., Penguin Books Ltd., Middlesex England. p376

Note:  The Renaissance 14th – 16th  century


[ii] Elizabeth I – The Arts Flourish [Accessed 150315]

Note: Country houses such as Longleat and Hardwick Hall were built, miniature painting reached its high point, theatres thrived – the Queen attended the first performance of Shakespeare’s ‘A Midsummer Night’s Dream’. Composers such as William Byrd and Thomas Tallis worked in Elizabeth’s court and at the Chapel Royal, St. James’s Palace.

[iii] The National Portrait Gallery., London. [Accessed 100215]

Note: The Ambassadors painting  1533

[iv] Lisa Jardine, Jerry Brotton., Global Interests: Renaissance Art between East and West. London Reaktion, 2000 p55. 

Note   the globe referred to as the ’Ambassadors’ Globe contains the earliest known cartographic representation of the route taken by Magellan in his circumnavigation in 1522. Voyage was financed by Charles V of  Spain.

[v] John Berger., Ways of seeing. Penguin Books London c.2008.  p96

A significant moment the the making of this diasporic man was the European Renaissance of the 14th–16th centuries.

Title development: Hans Holbein (the Younger )

the Ambassadors a painting by Hans Holbein is famous because it is highly symbolic in nature. As the figure of the left is said to be in secular dress or that of a lay person dress is said to be Jean de Dinteville, aged 29, French ambassador to England in 1533, the figure of the right is dressed in clerical cloths is said to be Georges de Selve, aged 25, bishop of Lavaur, ambassador to the Emperor, the Venetian.  They are flanking  a table with two shelves, upper shelf is said to of the heavens.

The object on the upper shelf include a celestial globe, a portable sundial and various other instruments used for understanding the heavens and measuring time.

the objects on the lower shelf  is a lute, a case of flutes, a hymn book, a book of arithmetic and a terrestrial globe

These objects make reference to contemporary religious divisions; The broken lute string, for example, may signify religious discord, while the Lutheran hymn book may be a plea for Christian harmony.

This mans objects makes reference to this man who is many things both of heaven and earth

A key feature in Holbein’s painting is the  The skull painted in anamorphic perspective , its most notable feature is that it a visual puzzle which is designed to be read from high on the right side, or low on the left side in order to see the form as an accurate rendering of a human skull.

– anamorphosis is a distorted projection or perspective requiring the viewer to use special devices or occupy a specific vantage point to reconstitute the image. The word “anamorphosis” is derived from the Greek prefix ana‑, meaning back or again, and the word morphe, meaning shape or form.


Photographic Development  27/02/15

Today I went to visit both

  • Mosaic Brighton (Black and Mixed Community Group) to meet Miranda & Heather to outline my project proposal
    • They suggested I put together a 5 min presentation of the photographic project that could be presented at the next members meeting 15.03.15
  • Black History Brighton
    • The 14 men who could potentially models for the project – See Doc2: FMP contact_1


Photographic Development  20/02/15


BMEPP  (The Black & Minority Ethnic  Community Partnership) spoke to Doris Ndebele Chief Officer, she recommended that I do the following:

    • Send her an E-mail outlining the project plan and benefits to the participants
    • Create a flyer with the above information clear any benefits to them thursday group 
    • Go through the university ethics committee (City college) to gain approval for the project  
    • I suggested that once that has happened that I perhaps join one of the meetings to personally explain my project.
  • Mosaic Brighton (Black and Mixed Community Group) Contact  Miranda/Heather  see – Friday 27th 10:00- 12:30
    • Newsletter – every 3 month 22nd may deadline
  • Black History Friday 27th 10:00- 12:30
  • BMEPYPP (The Black & Minority Ethnic Young People’s Project)


W. B. James – Photographic Development  – 1st reckky 19/02/15

Today I spent two hours doing a rekky with Mr James the first model in order to look at the room, look at his objects and discuss them with him.


  • Room
  • Depth of room c.4  metres
  • window: floor to ceiling patio door when open there will be a clear span (no door frame)
  • The room is south facing and offer the potential for great light between 10:00 – 2:00 pm
  • Wall: (Mirror / picture )  – a Possibility hooks on the wall  
  • Table top – Bar level (high) white high gloss  – might be difficult to


  • wearing what clothing  – Colour Wayne tends to wer black (I will check with him if this is the case)
  • Position – as per test shoot
  • Asked WBJ if he could recommend  2 – 3 other models who could be part of the photoshoot
  • AOP Model release signed

WayneBJames_FMPBlack Man_shoot5_ 190215


  • Natural lighting from the full height french doors  lights the standing model at shoulder height, leaving he face quite dark.
    • Q: How do I both incorporate the natural light and light the models face – I need daylight lamps/ halogen in a lighting unit & battery pack

Object: These objects were discussed in detail, written up and checked by WBJ. – See Doc1: WBJ text

Project sheet and model release to take to photoshoot


Photographic Print Process – 18/01/15

Having investigated these processes a short-list of tow processes will be taken forward for further instigation as follows:

  1. The platinum print reminds me of the Kodak Metallic which is a c-type print seen at Printspace London.
  2. The Photopolymer print, I am very keen on introducing  a mechanical element into my photographic work, I would also love to be able to produce archival prints myself if possible through this process


Project title: 21/01/15

Working title 3 : Black devil: Allegory of a man – 24/01/15

  • Describes the moment when he becomes a devil which contrasts with the moment he becomes a human being

Working title 2 : Allegory of a Black Man – 21/01/15

  • Allegory a story, poem, or picture which can be interpreted to reveal a hidden meaning, typically a moral or political one.

Working title 1 :  Black Man – FMP2 (Photography) – start date



Photographic post production methods – 11/02/15

post production experiments

  • shaft of light – if this cannot be created on location by lighting outside the window
  • Lower saturation – softens the image
  • fog like effect – take back the sharp effect of digital photography
  • overlay of colour – see examples from Luther

Filter Experiments

  • shoot through filter – grey / oil on glass/ frosted surface


Photographic Development – 24/01/15

Fmp4_0690_© JudithRicketts2015_Benjamin_small Fmp4_0720_© JudithRicketts2015_Georgina_small


  • Canon 7d
  • 10 – 24mm lens with aspect ratio cropped to 6:6mm in the live view
  • cropped in Post Production
  • Natural lighting

photoshoot 4 setup

The images produced during the fourth test shoot is stating to look more like the images I had in my minds eye.  They are set in context  by the environment and are layered with meaning in a gentle way.  I like the typological nature of the images but I feel that will ultimately be determined by what i find in the Models houses  this will be determined

principal exhibition National Gallery

on Johannes Vermeer his vantage point and his camera obscura as discussed by Philip Steadman and  Jonathan Janson

(C) Vermeer’s Camera: Uncovering the Truth behind the Masterpieces

IMG_2542 IMG_2543

Screenshot (357)JohannesVermeer_The MusicLesson_1662to1665_Perspective

this last vantage point offers a view on the scene which is not entirely welcome, is both secretive and obscure. whereas in the Music Lesson the view is central and square on – the viewer appears to be in the room.


Photographic Development – 20/01/15

Went to see model number 1 Mr W. B. James Business Owner & Community Activist


Screenshot (348)

He conformed my hypothesis that he felt he had it more difficult


Photographic Development  – 19/01/15

Short listed images from photo-shoot 3 – experimenting with hue and position (digital images)

  • Lighting; 1 x with large soft box
    • Will need a second light for actual shoot
  • Tungsten Setting on Camera –
    • blue gel 20%? will required with film
  • Table offset to the models right
  • Offers the potential for a selection of poses
  • Pose: Side on , but twisted face into camera
  • Model looking straight in to camera looks the most captivating

Short List_ Final Major Porject_Black Man_TestShoot3_190114_ForUpload

long listed images from photo-shoot 3 – experimenting with hue and position

Long List_ Final Major Porject_Black Man_TestShoot3_190114_forUpload-1 Long List_ Final Major Porject_Black Man_TestShoot3_190114_forUpload-2

Short listed images from photo-shoot 3 – experimenting with hue and position


Apparatus 3 – 09/01/15

In light of the African Choir pictures Exhibited at Autograph I though I would try the following@

  • Mamiya RZ67 pro ii – with 125 mm lens
  • Sekonic Light metre
  • Foot Air Release for 5 metres +
  • Film: Colour ?  B & W?

Process take both film and digital – I  may get two backs for actual shoot i.e. 1 x colour 1 x Black and white if undecided. -_______________________________________________

Tutorial 3 – 09/01/15

  • Presented the work in progress to date  which included: the photo templates 2 , Photo development work 3, Hue development, and Output investigation
  • Advised to:
    • Credit the text  included in the blog where necessary
    • Carry on with the photo developmental work
    • Make contact with the subjects
    • investigate the objects to be used


 Photographic Practice development 07/01/15

Barbican exhibition visit  ~ Constructing Worlds: Photography and Architecture in the Modern Age

Notable photographers included the exhibition are highlighted as follows; – key to my attending this exhibition was the discovery of the work by Guy Tillim. his  exposé of late-modernist-era colonial structures in Angola, Congo, and Mozambique in the series Avenue Patrice Lumumba (2008);

His work is overtly political in nature and centres on the aftermath of  nationalistic building programme in various African ex-colonies and its after effect on the build environment.

  • Berenice Abbott
  • Iwan Baan
  • Bernd and Hilla Becher – (P) Water Towers were passionless and a little sterile
  • Hélène Binet
  • Walker Evans – Agriculture Commission – it was said of his that he was a laureate of the documentary style
    (P) Breakfast Room at Belle Grove Plantation, Louisiana, 1935 – Wealthiest plantation in Louisa in its day 
    (P) Negro churches 1936 something of the Bechers about the full frontal photographic style
    (P) Fortune magazine – the poor portraits that he is best known for. 
  • Luigi Ghirri
  • Andreas Gursky – Beautiful large colour scale with impact (of the Becher’s school) (P) St Paulo train station, (P) Paris Montparnasse (flats) 1993 c-type
  • Lucien Hervé –  (harsh black & white) modernist architecture, work in India lots of photo sketchbooks 1955 silver gelatine contacts playing with shadows
  • Nadav Kander
  • Luisa Lambri – near dark architectural interiors (P) Darwin d Martin 2007  Barragan house 2002
  • Simon Norfolk
  • Bas Princen
  • Ed Ruscha – Arial shots of parking lots!! 1962-1978 published small photo-books 48 page on a5 on cream paper in series very impressive

  • Stephen Shore – Technicolor in style, advertising in nature, colour architectural 1972-88 not enough decision making in the photography
  • Julius Shulman
  • Thomas Struth – his approach to work is a significant influence in my FMP –  did seeing the work disappoint? No
    (P) Carlton street London 1977
    (P) New York at a time when it had not been completely developed there for the contrast between old and new
    (P) Geneva 1989
    (P) Ferdinand street 1991
  • Hiroshi Sugimoto  – deeply moving work his profile outlined (1) photographic technique and (1) apparatus and (1) process in his work, Large scale B&W out of focus painterly in style – moved to tears!!
  • Guy Tillim  – stunningly  evocative something Hockney-esq about the work discussed the speech by Patrice Lumimba first president of Democratic Republic of the Congo 1960.  the speech outlined his opposition to the idea of the Neo-colonial which was set to replace overt domination. – the Muted colour palette reinforces the decay in the western architecture.

Exhibition Supported by the Graham foundation
Media partner


Photographic Development – 01/01/15

Here I am investigating the nature of the photographs  I would like to produce a the end of my project process, in light of the early work at the London Stereoscopic Company  I am influenced to investigate the medium format analogue process.  Partly because the work had a visual quality which I believe cannot be reproduced in digital (it of course can be reproduced in digital – the point being I do no want to) and partly because I feel that both the photographs and consequently the negatives are in themselves elevated to the level of artefact a quality which I would like to engender in the portraits of the men which I will be taking.  Notable the work by the Stereoscopic Company is in black and white I, that is not a decision I have taken at this moment, the point being I need to experiment.

I firstly looked at some of the early mechanical process for producing images as published online by the Victoria & Albert Museum.  

Screenshot (306)

traditional photographic techniques

  1. Calotype negative: This process, which W.H. Fox Talbot invented in 1840 and patented in 1841, is the direct ancestor of modern photography because it creates a positive image from a negative. The negative image is a deep brown colour, The image becomes part of the paper and contains fine particles of metallic silver, which causes the brown tint to the calotype positive image.  The positive image may have flaws caused by imperfections in the paper used to make the negative image. Calotype images became largely obsolete after the introduction of the collodion process. Exposure of ten seconds to ten minutes was necessary.
  2. A salt print: The earliest paper prints, were normally made by contact printing, usually from paper negatives (calotypes) but occasionally from collodion negatives on glass. Invented by W.H. Fox Talbot in 1840, salt prints were a direct outgrowth of his earlier photogenic drawing process.The length of the exposure, up to two hours, was determined by visual inspection.
  3. The wet collodion process was invented in 1848 by F. Scott Archer (1913-57) and published by him in 1851. It was prevalent from 1855 to about 1881. Wet-collodion-on-glass negatives were valued because the transparency of the glass produced a high resolution of detail in both the highlights and shadows of the resultant prints and because exposure times, rang from a few seconds to a few minutes, depending on the amount of light available.
  4. **The platinum print was invented in 1873 by William Willis (1841-1923), who continually refined it until 1878. Platinum prints are recognised by their subtle tonal variations and the permanence of the image. This print shows the silvery grey tones (the most usual colours of the platinum print) and the texture of the paper, which are typical qualities of a platinum print.  Exposure times ??  Photographers:  palladium Steichen and Weston,Dick Arentz
  5. *The gelatin dry plate was introduced in 1871,  In 1873 gelatin-silver bromide papers were invented and first produced by Peter Mawdsley, although they did not come into general use until the 1880s. The gelatin-silver-chloride print were developing-out rather than printing-out papers, that is, after a brief exposure under a negative, usually in an enlarger, the image was further brought out by chemical development. Generally, however, the tone of the image of the gelatin-silver-bromide print is neutral black. A gelatin-silver-chloride print that has been developed out is blueish or cool in tone, while one that has been printed out is brown or warm in tone. All of these colours can be altered by toning. Gelatin-silver prints often have a high surface gloss.   Gelatin-silver prints had generally displaced albumen prints in popularity by 1895 because they were more stable, did not yellow.  Exposure times,??
  6. Carbon printing was most popular between 1870 and 1910 but is still sometimes used today, they only became fully practicable in 1864, with the patented process and printing papers of Joseph Wilson Swan (1828-1914).  The prints may show slight relief contours (thickest in the darkest areas) as a result of the process used. The most important feature of a carbon print is its permanence; it contains no silver impurities that can deteriorate. Photographers:
  7. The wetplate collodion process was invented by F. Scott Archer in 1822 and was in widespread use by the mid 1850s. It is also sometimes called an ambrotype.   A sheet of glass was hand-coated with a thin film of collodion (guncotton disolved in ether) containing potassium iodide, and was sensitised to the light with silver nitrate to create a collodion negative. The back is painted black or covered with a piece of black cardboard or cloth in order to achieve the effect of a positive image. Photographers: George Ruff, Stephen Gray, William Hall
  8. The autochrome was the first viable colour photograph process. It was introduced by the Lumier brothers in 1905 but not marketed until 1907.  Although autochrome was not the first colour process for true photography, it was the first to be widely and commercially available.
  9. The daguerreotype was invented by Louis-Jacques-Mandé Daguerre and introduced to the public at a meeting of the French Academy of Sciences in Paris on August 19, 1839.  The daguerreotype is a direct-positive process, creating a highly detailed image on a sheet of copper plated with a thin coat of silver without the use of a negative. Highly polished silver-plated copper sheets are treated with iodine to make them sensitive to light. After they are exposed in a camera, the sheets are developed with warm mercury vapor until the image appears. To fix the image, the plate was immersed in a solution of sodium thiosulfate or salt and then toned with gold chloride.  Photographers: 
  10. The photogravure process depends on the principle that bichromated gelatin hardens in proportion to its exposure to light. A tissue coated on one side with gelatin sensitised with potassium bichromate was exposed to light under a transparent positive that had been contact printed from the negative of the image to be reproduced.   Photographers: Frederick Evans, Thomas Annan, Alvin Langdon Coburn
  11. **Photopolymer printing  is printing on a plate made from light-sensitive material using a photographic image, this is then printed with an Etching Press. The process is ideal for those who look for an impression of their images rather than a highly detailed representation.


Project title: 12 Men?, 12 being symbolic of the perfect number, of completeness of the nation of Israel as a whole eg. Jacob (Israel) had twelve sons, each of which represented a tribe begun by a prince, for 12 princes total. Ishmael, who was born to Abraham through Hagar, also had twelve princes.

Test photo shoot 3 – Photo development

  • Contextualise the interior with subject? take the studio set up to their workplace? home?
  • hue- Look at Luther (TV Serise) beautifully shot by

Test photo shoot 2 – Photo templates

Further adjustments for shoot 3: hue

Luther, John (Idris Elba) 2010_directors Brian Kirk, Sam Miller and Stefan Schwartz_scene E3 S1 Luther, John (Idris Elba) 2010_directors Brian Kirk, Sam Miller and Stefan Schwartz_scene E2 S1----

  • Lighting levels adjusted in camera
  • correct at the slightly red hue in the background – Discuss with Andrew Wing again.
  • Less black in the image, use a complimentary colour for the skin, not white? (check first)
  • Construct a large soft box with frosted paper

C – Taken without a the softbox, hard direct lighting to the left of the head at head height, Like the sharp shadow in this image, looks like someone is behind the subject, the shadow seems to be looking in the other direction. like the slightly in-profile pose. Better proportions to the frame.

B = Taken with a small softbox, soft direct lighting to the left of the head over head height: minimal shadow,  the open posture filling the frame works


A = Taken with a small softbox, soft direct lighting to the left of the head over head height, closer to the wall, the closed posture isn’t a successful one, halo-like shadow does not work

  • Background: white
  • Table: higher under the elbow
  • A& B= small softboxes pointing
  • C= hard direct light

Screenshot (289)

This set-up used a tethered live screen set-up to help to manage the composition in real-time.

Exhibited, Autograph-ABP 2014, The African Choir. London Stereoscopic Company. Courtesy of © Hulton Archive/Getty Images

Eleanor Xiniwe, The African Choir, 1891-93. London Stereoscopic Company. Courtesy of © Hulton Archive/Getty Images

Exhibited, Autograph-ABP 2014, The African Choir. London Stereoscopic Company. Courtesy of © Hulton Archive/Getty Images

In carrying out additional research on how best to photograph black skin successfully I looked at the images of the Black Chronicles II of the African Choir and discussed the photographic technique with Andrew Wing.  According to him they were taken with the equivalent of very large softbox pointing to the left of the subject, with a lit background. I was particularly interested in the evenness of tone to the face, the highlight and lowlights are captured in balance without the overly highlighting the nose and forehead which generally seems to happen when photographing black skin.


Photographic Development – Low key test photo shoot 1

Autobiographical environmental still life

First layer of test set-up with one large constant low-level light source, to the left and slightly upwards towards subjects face.

Note: mat foundation

On self portraits: Me myself and I  a series of self portraits produced by artists and discussed by the blog writer

contemplative lighting layer 1

contemplative lighting layer 1

contemplative lighting layer 1

contemplative lighting layer 1

contemplative lighting layer 1

contemplative lighting layer 1


The opposite direction stylistically —Under the Skin bfi – like invisible man Paul Graham

Environmental portraits (Chiaroscuro)



table photo design



 Fine Art Traditions and photography

which influence my approach which makes reference to the still life traditions


Tutorial 1 – 11. 11.14

Proposal ideas:


Black man (working title)

Photography Proposal

To produce a series of portraits of Black men of the diaspora (men of the trans-Atlantic slave trade)

Aims and Objective

My aim is to illustrate the man in context, A photographic illustration of the part of his life he cares most about, at home, at work, or other?


Fly on the wall photographs perhaps 1-2 hour interview & photo session

Ask the question: why is this important to you?

1 x environmental portrait to finish (may not include the face) straight into camera


This project has at its heart issues concerning representation and power. My aim is to illustrate him as a whole being, with hopes dreams, desire, ambitions, like all men. This view is in opposing contrast to that which is seen today. My observations to date show these men only in the dissected parts of their bodies i.e. a man’s face – the criminal; a man’s torso – athlete; a man’s c**k – overly sexual being, when for example he appears as whole, it is to shore up and reinforce the negative view of him, as the other.

In these illustrations of him there is no room for him to become normalise or to become an integral and valued part of everyday society, he is known as the beast, something to be feared and avoided, in as much as societies PR tells us so.



Work Plan

Find 5 – 10 men

Interview on the phone

Arrange to meet them



Camera – medium format digital (What camera)

off camera flash x2

Black and white or colour – I think colour open to changing my mind here


Wednesday 3rd June


Approach & Technical design

my response to the brief

what in the stylistic approach

what is the technical requirement to support that

In what ways can it be argued that the representation of black men in ‘normalised’ everyday society is notable absent?  How does this potential absence influence access to decision-making in government?



Consider the mechanisms for enforcing and reinforcing this attitude?

the Stuart Hall Project

Photographic/ film reference

Text reference


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