My residency in Arles between April 23, 2019 to May 23, 2019. My objective was to explore the cultural artifacts of Arles through the lens of tourism, surfacing signs of authenticity, memory and identity.
This study began with the question of "How should I photograph a Church or Cathedral"?
In our travels over the years we have come across and visited many churches and cathedrals. These frequently represent significant investments in time and energy to build. I wanted to know more about them.
In his book,Letting Go of the Camera, Brooks Jensen talks of the benefits of taking the time to make 100 prints as part of a single project. Through taking this approach himself Jensen realised a number of learnings which he felt dramatically improved his skills as a photographer.
The Sessionists of the late 19th and early 20th century where those committed to the notion that photography could be elevated to high art. Many factors fueled the movement but central to it was the Pictorialists' belief in personal expression rather than a literal depiction of the world as the purpose of photography.
The term straight photography [sometimes referred to as Pure Photography] probably originated in a 1904 exhibition review in Camera Work by the critic Sadakichi Hartmann, in which he called on photographers “to work straight.” He urged them to produce pictures that looked like photographs rather than paintings—a late-nineteenth-century approach known as Pictorialism.
The land, people and animals are the constituents. But their interaction and interdependence creates another entity, larger than the sum of its parts. The Serengeti. It has a character which is presented here in portrait.