Within my current engagement, it is seldom that the image is objective without it being steeped in a large helping of subjectivity. The practice is not about looking through the window of the photograph but examining the photograph for its own worth. Peeling the layers and baggage that photographic practice seems to have acquired of the years.
I feel that there are times for construction. One photographer who utilised constructive photography is the artist Ralph Eugene Meatyard. His series of images utilising masks demonstrate his skill to combine fictional faces in a familiar setting that conveys authenticism.
With the example below I have opposed the Meatyard position I have taken the known and placed it in an image of the unknown, an unfamiliar place. The dream space you know but don’t know.
The Swanage bandstand reflects just one aspect of the practice. This is clearly influenced by the works of Pep Ventosa and Stephanie Jung. I feel that this method works especially well when you have full 360 access to the object however exploring the process with less access is something I will endeavour to undertake in the near future.
If I find images not working or do not have the desired effect they end up on the cutting room floor and are swept away at the end of the day to the bit bucket. If an image has potential I will sit with that image till it has a place or again ends in the bin.
To develop the practice I will continue exploring media and methods of production. The beer can cameras have delivered some images with one that I feel works very well not only in the concept of the practice but as an image. Full details of beer can pinhole photography.
References
Stephanie Jung: http://www.stephaniejung-photography.com/
Pep Ventosa: https://www.pepventosa.com/
Figures
1 Ralph Eugene Meatyard https://americansuburbx.com/2010/08/meatyard-james-rhem.html
2 Roydon Woodford
