James Ravilious

Returning now to some of the photographers who have influenced my interest in the domestic landscape, I've just been looking at James Ravilious's website.

These three pictures are part of the Beaford Archive, a photographic record of a rural community in Devon to which Ravilious contributed more than 80,000 black & white images. Ravilious was a self taught photographer and when he was invited to contribute to the archive in the 1970s, it was supposed to be a short term project. In fact, it turned into a 17 year obession. The images are intimate and compelling. I have chosen to show three interior shots here, as this links more with the nature of my project but Ravilious's work includes all aspects of life in that particular area - the local towns and villages, beautiful landscapes, portraits of the local people and interiors of their homes.

Today's photographs

Here are test shots of the 3 kitchens I've done today. Am a bit concerned about the cable release I use for my hasselblad, it isn't springing back to the firing position and I hope this hasn't ruined the exposure timing. Am taking it back to Wilkinson's in Blackburn tomorrow.

The above photos are, respectively, Nos 12, 18, 18 again (utility kitchen), and 16.
Again, these are digital test shots.

Et in arcadia ego.....

Well, I won't be able to do justice to what I have learned today.

I went for my 11.30am appointment with No 12. I did not emerge from there until 1.15pm. In fact, my husband came to look for me around 12.50, thinking I had been abducted!

The people who inhabit number 12 have lived in the house for the last 60 years and told me fascinating stories about the people who lived in my terrace years ago. The site belonged to Huntroyed Estate (centuries old estate & hunting lodge). It was an orchard. The houses were built in the 1890s and each was done to the particular spec of the buyers. Some have cellars, some attics, some both. Some originally had bathrooms, other didn't want them. He said every house was different.

Mr & Mrs "No 12" told me about this eccentric next door neighbour who never cleaned up after the death of her mother, and who was married to an inventor who wore clogs and a bowler hat and walked to his workshop everyday. The furniture in their house had been built especially for the house and was really beautiful. She had 4 very clever children, one of them ending up a renowned expert on the Romantic Poets. The neighbour let her back yard grow wild and it was like a jungle but occasionally she would go out with her kitchen scissors and snip at the greenery. It didn't make a scrap of difference. She made life difficult for her husband and shrieked at him all day (and the children). When he died though, she visited his grave everyday and wailed by it for hours.

Mr & Mrs "No 12" also told me of two "maiden" sisters who lived on the terrace. They were very genteel. One had been a teacher but then "enjoyed" bad health (she took to her bed), the other was interested in the fine things in life and wore rouge and kiss curls and ordered "modish" magazines. One sister lived upstairs, the other downstairs and they didn't speak a word to each other! The upstairs sister was a hypochondriach and used to watch out for the doctor (who lived in the massive Arts & Crafts house opposite - now an Italian Restaurant). The doctor used to go to great lengths to avoid her, leaving the back way etc... The sisters house was powered by gas, by which I mean gas lamps etc. When North Sea Gas came in, they were pestered by people trying to update them. One day, a hand-written notice appeared on their door "PLEASE NOTE, WE DO NOT WANT THE NEW GAS", when the new gas arrived it meant they had no gas at all and they used candles for lighting. This caused a fire in the house. I can't go all through the tale but suffice it to say that the fire caused great upheaval in their lives. When the house was finally cleared following the death of one of the sisters, a great discovery was made in the front downstairs room. Boxes and boxes of gorgeous clothes dating from the preceding decades. The "downstairs" "modish" sister had made a habit of ordering beautiful clothes - the boxes had all been opened but the clothes were still in their tissue paper, seemingly unworn.

There are more tales but this is supposed to be a photography blog not a local history blog.

Talking of local history, my immediate next door neighbour (one of only two neighbours I had spoken to before this project) has just dropped around to give me a local history book of our town.

Last night, I dropped around to my neighbour on the other side - she has given me keys to let myself in and take photos! - oh and she forced me to take a bottle of wine back home with me - she'd just bought a stack back from France.

This project sure is one way of getting to know the neighbours!

Door to Door Encore

It's a rainy Sunday and I've been out knocking on the neighbours doors again. I've got 3 new houses signed up! My terrace runs from No 4 to No 22 (missing out odd numbers) which is a total of 10 houses. I've done two now (mine & No 8) and in addition, 14, 16 and 20 gave the go ahead today plus I've already got appts with Nos 10 and 12 next week. This means I've only got to get 4, 6 and 22 for the whole row.

I'm hedging my bets by taking various kitchens in different locations too. However, I am beginning to think that foucssing on the whole terrace could be a good idea. I could show a picture of the exterior of the terrace (without giving away too much about its location) and then name the pictures No 8, No 6 etc. It adds another element of standardisation to the whole project. Interestingly, No 18 will show 2 sinks as she has one she's uses just as much in her utility room.

Will try 4, 6 and 22 later today.

Over this week, apart from doing the shooting of the kitchens, I need to post some more about some of the photographers I mentioned at the top of the blog who have influenced the idea for my project.

No 8

This is the product of my 2.30 appt with a neighbour. Again, this is a digital test shot which I have cropped square. I have digital shots at varying distances from the sink but I quite like the closeness of this. I want the viewer to feel as if they're standing there, and what it would be like to stand their often, try it out as their own kitchen - how does it feel - what would they change? This is with regard to the immediate working vicinity of the sink, not the wider space of the kitchen. If not to imagine themselves at the sink, then who might own that sink, what evidence have they left about themselves?

The interesting point about getting as many houses as possible in my terrace to participate in this project is that the variety of atmosphere, styles, approaches etc are all contained withing one building; the terrace, which adds a certain piquancy to the proceedings.

Door to Door

This morning, I decided to take the bull by the horns and go cold calling on my neighbours asking if they would allow me to take photographs of their kitchens. I was armed with a photo of my own kitchen. By announcing that I was a neighbour of theirs, barriers were broken and most of them said "come in!".

Most folk were out at work but of the 5 that answered, 4 agreed straight away and a fifth wants me to deal with his wife: "she's in charge of kitchen sinks". I've agreed convenient times, mostly for next week.

My first shoot is 2.30 this afternoon. I have my procedure worked out and my list of what to take.

This little venture has given me the confidence to do more door to door. And of course I have a list of other leads to follow up too.

My Kitchen Sink

I have been brave enough to take a photo of my kitchen BEFORE I tidy it. A dead plant waits to be dealt with, gloves and sponges lie around pots and pans are in evidence and a double sheet has wrapped itself around my washing line right outside the kitchen window. Everywhere needs a clean up too. However, this is a snapshot of a scene from my everyday life, unvarnished; the problem I will have is finding people who are willing to let me photograph their kitchens in a similar state of disarray! Of course, it isn't exactuly disarray I'm looking for, more signs of life, evidence of people using the space.

This is a digital shot, I took just 4 on the hasselblad.

Plan of Attack

I now have a list of about 15 people (some definite, some possible) who are willing to let me photograph their kitchens. Today, I took delivery of my 50mm lens for the hasselblad so I thought I'd get into my own kitchen to come up with a working system that I can replicate for each kitchen. This would include the list of equipment I need, the order of approach, ie, shoot digital on the equivalent mm lens (35mm) to see how things are looking and what the metering is like. Perhaps aim for a similar number of shots for each kitchen, say 10 digital, and either 4 or 6 film. The reason for my small number of film shots is expense. The question is whether to make one film cover 2 or even better, 3 kitchens. I cannot shoot one film per kitchen - I may end up doing up to 25 kitchens and I'm paying for processing to. It's a shame to be sobered up by practical issues, but I'm afraid they have to be considered. I would like to aim for 3 kichens per film. This doesn't give me a lot of leeway on exposure mistakes, but up to now, my exposure seem okay (using my sekonic meter).

As I've said before, a measure of consistency in the various shots of the kitchens is important. I think the shots need to be of the kitchen sink, as far as possible front on. Galley kitchens will make this difficult. However, my kitchen isn't very wide so I'll see how it's going to work.

Bert Teunissen - Domestic Landscapes

I came upon Bert Teunissen by typing "domestic landscape photography" into Google. I was really excited when I explored his website and immediately ordered his book, Domestic Landscapes. Above, there are a couple of examples of his work; these are UK photos, but on his website there are interiors from all over Europe.

There are a number of aspects I like about these photos. Firstly, they have a look of dutch interior painting with very subtle lighting, so they actually look like fine art. More importantly, they are photographs for people interested in their fellow man; If these had been portraits of people against a neutral backdrop they would have been interesting, but by using the subject's own domestic environment we immediately look for clues to find about more about them. A number of the portraits might prompt the imagination; I think I could write a short story about a number of these characters. And aside from all this, it prompts thoughts about materialism; the battle between need and want. The photographs work on more than one level.

So, Bert's work will influence my final project. What do I want to take from it? certainly the use of ambient light which I think adds to the authentic atmosphere of the shots. I'm not sure I'll get access to such interesting and idiosyncratic interiors as he has, but his straight forward documentary style is something I would seek to emulate.

Kitchen Sinks on Flickr.com

Wow, I've just done some research on Flickr. There are loads of kitchen sink shots and it's really helped consolidate what I want and what I don't want from my photographs. Here's a couple of examples of the sorts of shots I'd be happy with:



and



and the sort of thing I want to avoid:




Not because this isn't good but because it's more of a still life.



Now this is a lovely kitchen, I fancy it myself but it's a little bit country living and contrived, I want something a bit more "real" in my photos.

Looking at all these shots has made me think about angles and what I get into the shot. I think I need every shot to feature the sink, not just an interesting aspect of a particular kitchen. I've got to keep to my benchmark so comparisons work well. I think it might be impractical always to have a front on shot of the sink and could be a little too monotonous. For instance, the last kichen I shot, the one in Rossendale, wasn't really big enough to get a front on shot of the sink, so it's at an angle. I'll allow myself a bit of leeway there.

KayLynn's photo of Albert's Daffodil

This is the photo of the daffodil I referred to in my last post headed "KayLynn Deveney". To see this at a larger size, visit KayLynn's website at www.kaylynndeveney.com

KayLynn Deveney

Have just come across an article in a magazine about Kaylynn Deveney. She photographed an elderley man, Albert Hastings, over a few years. The Photographs are really touching - as the article strapline says " Albert Hastings would have passed away unnoticed - but for one stranger, who took these poignant photographs capturing the small joys and unexpected passions of a life lived in the shadows." KateLynn's website is www.kaylynndeveney.com and you can see some of the photos there.

This genre of photography does relate to what I want to do with my kitchen sinks, it seeks to put the "unnoticed" and "ordinary" in the spotlight and encourages us to think about what everyday scenes can tell us about life and people.

What KayLynn's work says to me is - here is someone you may not have noticed, could have walked past but look, his life is as extraordinary as yours, as anyones, - there is just as much passion, drama, sadness, optimism and stoicism about this man as any "heroic" celebrity. Everyone has equal importance, we just need to remember that by delving more deeply, going beyond the surface, looking at the quiet detail. If you go to the website, notice the "wind broken" daffodil that Albert supported with an elastic band and teacup. That photo has so much to tell us.

Someone else's kitchen sink drama

Just to add grist to my mill and to prove what fascinating places kitchens can be, just check out this review of some play set in a kitchen:

The play starts off as the typical sitcom family, Mr. and Mrs. and their son Billy and daughter Sarah, sit around the kitchen table eating the dinner that Mrs. has cooked. However, there seems to be something strangely different about this foursome… and this particular kitchen. Within the first five minutes of the play, the audience learns that not only does this family live in their kitchen (in a rather Sartrean No Exit manner) but that the kitchen is also built over a graveyard. Since both the children have been taken out of school (for their own "protection," Mrs. explains), Billy looks for friendship in his own backyard. When Mrs. discovers the corpse of Moses hidden in her kitchen cupboard, with a smile on her face she says that it is "better than any history lesson I could have planned." However, their "utopia" cannot last forever. As their world is invaded by the outside, in the form of a knock on their door, they undertake emergency procedures that lead to both tragedy and hilarity.

Now that's a kitchen I'd love to photograph!

Introduction to Kitchen Sink Dramas

So what's the attraction of kitchen sinks? I'm certainly not in the least domesticated, but what I am is very interested in people and particularly in how people leave evidence of their personalities and approach to life in their domestic environment.

My original thought was to get someone to choose their favourite room in the house (the room they choose would also say something about them) but when I thought about it carefully, since these photographs are destined for an exhibition, I felt that some continuity (ie all kitchens) might make for a more cohesive set of photos and the nuances and impressions of the "absent" people be more striking - there is some kind of level playing field by chosing the same space for all.

I've already written a Proposal document for this project and won't repeat it word for word here, but here are the outlines of my idea:

What? - photographs of kitchens, trying to capture the atmosphere of the room/area, make people think about everyday life and how we operate, look for clues about the sort of person whose space has been photographed
Why? - interior environments are clues to the kind of people who live in and more universally, comment on the human condition (this is easier to spot after several glasses of red)
How? - Medium Format - stepping out of my comfort zone and wanting to further my experience of photography. I'm too used to taking too many photos at once. I need to slow down and think.
Where? - Anywhere, any kitchen I can get access to, I'm happy to photograph. I'm not fussy. Obviously some kitchen will have a wow factor, but I'm not necessarily looking for this - the photography of the mundane is an interest of mine - which is another way of saying the my photography is mundane.
Influences:
Wow, this could go on forever but these leap immediately to mind:
Bert Teunissen (see his book Domestic Landscapes)
John RJ Taylor - his book, Ideal Home
James Ravilious - his intimate documenting of a rural community - some amazing domestic interiors
William Eggleston - making the ordinary less ordinary (sounds like a strapline for a budget fashion-house)
Stephen Shore
Jeff Wall
Brenda Beban

More will occur to me and I'll let you know when they do. Will also be uploading some photos of their photos that I find particularly inspiring.

Kitchen, Rossendale

This is the kitchen of a very fit, jolly 90 year old lady in Rossendale who was kind enough to let me photograph her kitchen. This is a digital image, but I also shot Velvia 100F on the hasselblad.

Through a glass, darkly, and blindfold too....

Now this is the first time I've tried this blogging. Encouraged by my fellow student, Bob, I have signed up for a blog account in order to keep notes, ideas, inspirations, influences etc on my Final Integrated Project (final year Photographic Media BA (Hons) at Blackburn College). But I'm beginning to wonder if I might spend more time learning how to post stuff and add links to this blog than I will do taking (making) photographs for the Final Major.

Ah well, courage mon brave, dive in with both feet and see how quickly you drown....

Hopefully my next post will have a little more to do with thoughts on my project. We'll see.