Tate Britain

Tate Britain houses many centuries worth of British paintings and sculptures. I visited this wonderful gallery recently and was very pleasantly surprised to see that they also show photography. Not much, unfortunately but I saw about 30 photographs by  a photographer that I had never heard of before: Chris Killip.

I really enjoyed looking around this section of the gallery, and welcomed the opportunity to discover a new photographer. All the work I saw was in black and white so I’m not sure if he works in colour as well. It was also unclear as to what medium he is working in and I couldn’t find any articles or books about him that told me the answer. From his website http://www.chriskillip.com I discovered that he is a Manx photographer who was born on the Isle of Man and that his work is displayed in many galleries worldwide. After I found that out, I was quite surprised that I had never heard of him because I have been to a few of those galleries!

Through his photographs I got a real feeling of love for the community that he has photographed and that he is obviously a part of. The way that he captures people is very natural and I think, unposed.



Photography in War Zones

After seeing Rwanda in Photographs: Death Then, Life Now I decided to research into current and perhaps older photographers who have photographed war zones, or the aftermath of wars.

The first photographer who came to my mind was and Simon Norfolk who is well known for his photographs of Afghanistan.

After seeing his photographs and comparing them to those that I saw of Rwanda, I realised that his photographs still show that a war was happening but they don’t show the hopelessness or despair or convey as much emotion as those in the Rwanda exhibition.

Another photographer who I thought of is Don McCullin who has been photographing wars for many decades.

Don McCullin’s photographs convey a lot of emotion, I think. The way that he captures his subjects and portrays them doesn’t seem overly sympathetic or as though he felt sorry for them. I think that he was just photographing what he saw, without worrying about if the images would be too graphic or emotional to show people.
In a book about his photography, the author has written about war photography, “There are questions to be asked. Who caused what the picture shows? Who is responsible? Is it excusable? Was it inevitable?  Is there some state of affairs which we’ve accepted up to now that ought to be challenged?”(Delpire, R, Don McCullin, Thames & Hudson, 2007, 5-6). I think that McCullin’s photographs ask us all of these questions and make us think about what is happening in the world around us, in other countries.


Rwanda in Photographs: Death Then, Life Now

It’s not often that I visit an exhibition that makes me cry. Often I find that I have no emotional connection to photographs and I like them from a purely aesthetic standpoint. But this exhibition was different. As soon as I stepped through the door to the exhibition in Somerset house I could feel emotion pouring out of the photographs. The genocide in Rwanda happened the year before I was born so I knew nothing about it. The first time I visited this show I felt like I was missing something so I went and did a bit more research about it, and I think that helped me connect to the photographs more this time. The photographs themselves are full of colour, even when depicting something less than pleasant and the photographers showed their love for this torn country through their images. Most of them have never had any formal training, yet they are some of the best photographs I have seen. Perhaps not technically the best, but I connected to them so much more than any other photograph I have seen. Some of the photographs were filled with such despair and hopelessness, whereas others contained hope and happiness. I thought that the variety in the way of presenting the photographs was excellent and kept the exhibition from feeling monotonous and samey. IMAG1693 IMAG1688 IMAG1697 IMAG1713 IMAG1720 IMAG1722 IMAG1727 IMAG1746 IMAG1748


Photographers with work in Rwanda in Photographs: Death Then, Life Now:

Andrew Esiebo
Brendan Bannon
Jenny Matthews
Timothy Chester
Claudia Ingabire
John Mbanda
Cyril Ndegeya
Jean Luc Habyarimana
Yves Manzi
Fabrice Musafiri
Jacqueline Rutagarama
George Baryamwisaki
Jean Bizimana

Andrew Esiebo

After seeing some of his photographs in Rwanda in Photographs: Death Then, Life Now I decided to research into him a bit. He is a Nigerian photographer who started out photographing his native country, and its rapid urban development. When his work became more well known his practice started to branch out more. and he began to photograph more of a variety of subjects that explored subjects such as migration, sexuality and football.
He has also been fortunate enough to complete a number of artistic residencies including a 5 month residency in Paris and a 3 month residency in South Korea.

One of things that struck me about his work as I was looking through his website http://www.andrewesiebo.com/index.htm was how cleverly he uses light to enhance colours and textures in the photographs that he takes. Africa is a stereotypically sunny and hot country but this could make taking photographs quite difficult because of the lack of shadows sometimes.

“It is the photographing of ordinary things, in extraordinary light, which results in extraordinary photographs.”

I chose to share this quote because sometimes as photographers we think that we need to photograph something amazing and out of the ordinary in order to take a breath taking image.

But that’s not always the case. Some of the best photographs are of simple, every day, ordinary objects that we see all around us in the world.

Photofocus (old site)

“It is the photographing of ordinary things, in extraordinary light, which results in extraordinary photographs.”

–  David Young

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Curating An Exhibition

Before this little mini project I had no idea if it was easy or hard to curate an exhibition and I definitely had no idea how to go about it.

When I found out what the project was, I came up with a few questions:

  • Do you start with a theme and then find the photographs?
  • Or do you pick the photographs and then find something that they have in common?
  • How many works should be in an exhibition?
  • Is there an optimum number of works that make an exhibition good to look at?
  • How long does it take to come up with title of an exhibition?
  • Does the title actually matter?


Taking Inspiration




 Seeing the exhibition at the Jerwood Space made me think about landscape photography in a new way. Before, when I thought about it, I always thought of images by Ansel Adams, Andreas Gursky and Alex Boyd of grand scenic views.

But seeing this exhibition made me realise that that isn’t all that landscape photography is. I took these photographs on a day out. I had never really photographed the natural environment so it was something different for me. Something that came across in the exhibition was the love the photographers and artists had for nature, and I wanted to try to get this across in my photographs.