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Digitally connected
I layered each set of 5 images on top of one another and changed the opacity in order to create the impression of transparency and temporality. The reason why I have done this is to put an emphasis on the stationary subject in the shot, and to portray the constant flow of people around the subject.
The idea that the subject is stationary and digitally connected via their phones can be seen as an alternate reality that they have delved into, while the constant moving flow of people around them are part of our physical reality that they have chosen to briefly tune out of and disregard their environment, isolating themselves.
Based on my dissertation entitled ‘The objective and non-objective lens: An exploration of the work of Martin Parr, Gregory Crewdson and Diane Arbus in relation to my own photography practice’ which discusses the different approaches towards photography and how they change the dynamics of an image, I have been working on my final piece which subjectively explores the influence that modern technology – mobile phones – has had on us as human beings in this current day and age. It is not out of the ordinary to see the majority of people in the streets engrossed by their mobile phones, so the purpose of my work is to emphasize this idea that people are almost always isolating themselves from each other when they are in each other’s company.
Image Sets
Comparing these images to those in a previous post, my idea has developed from photographing a single person on their mobile, to groups of people on their mobile, to a series of images that document the passing of people around a motionless individual.
These images are more effective when laid out in a row of sets.
Engrossed
Here are a selection of images I thought best represented the idea that almost absolutely everyone is preoccupied by a personal device, and that at this day and age we just accept this as the norm.
Occupying the same space.
I experimented with the idea of photographing two or more people on their phones within the same shot, to show how they are constantly preoccupied with this piece of technology rather than their surroundings.
As a means of display, I have been considering framing each photo individually to enunciate the theme of isolation and detachment.
Bahbak Hashemi-Nezhad
An ongoing research on behaviours and modes of existence that characterise public space.
This growing series focuses on emerging phenomenons brought about by factors such as economic and political policies, technology, urban migration, ageing populations and their direct effects on how one negotiates with the built environment.
With unaware people serving as protagonists, the images apply repetition and temporal compression to ordinary experiences and situations that evade registeration due to their over-exposure.
The question lies in how this approach might make abstract design concepts more readily comprehensible and create a context for speculation and debate. [Bahbak Hashemi-Nezhad website – Orderly Conduct]
This is a great reference to use in relation to my work, as I want to emphasize a certain behaviour that is common amongst almost every single member of public, which we tend to take for granted as we are so used to seeing people on the phone. Until it is taken apart and put together again, such as the images above, certain behaviours amongst people can be recorded and brought to attention.
Bliss by Mishka Henner
I have chosen this artist as a reference because of the idea of capturing an in-between moment that we don’t notice until it’s presented to us like this.
Snapping away at unsuspecting Commuters…
I have been focusing on photographing commuters, as this is the most obvious time when people are going to be using their personal devices, whether it be to listen to music, texting, surfing the internet or any other means of distracting themselves whilst they are waiting.
The Guardian Camera Club: Commuters photography
The Guardian had a monthly assignment of commuters photography and there are several images that I have been drawn to due to their context and relevance to my own project.
The purpose of my project is to portray the daily routine of commuting to work, and how it can become a stressful nuisance. However I would like to try and bring out the more positive aspects of commuting: that is the alone time one has to think, the chance to people-watch, and how one can feel safe and comfortable being an unknown part of a large crowd, blending in with a whole group of people. [http://www.guardian.co.uk/commentisfree/2012/nov/14/daily-commute-slog-joy]
Research: Relevant Artists
Michael Wolf – Tokyo compression
Having spent 15 years of his life in Tokyo, Michael Wolf has photographed countless people on their daily commute to work on the busy subway system. Although these people are packed like sardines, faces squashed against the sweaty windows, they still have an air of dignity about them. I believe this photographer is contextually relevant to my own work as he captures the sombre atmosphere of daily commuting, while I am wanting to capture the flip side of travelling.
The two following artists were on display at the Gashall in Birmingham, as a part of the Government Art collection. I felt they related in some way to the work I am currently working on, as it is to do with temporary, passing moments and urban life in the UK.
Rachel Lowe – a letter to an unknown person
The image above consists of screen shots of the video in which this piece was displayed.
‘To create this video, Rachel Lowe sat in the back of a car drawing on a side window trying to capture the rural green landscapes as it flitted past. Focused on her hand recording the journey, as the video progresses the landscape becomes more blurred and her drawing more frenzied and disjointed. Lowe’s work is concerned with people’s constant attempt to capture a moment in time and the impossibility of ever doing so.’
Seamus Nicolson
‘Jason and Wajid, the young men in these photographs, are shown between the darkness of the street and the artificial light and colour of their late-night shops. Despite their apparent spontaneity these are carefully contrived portraits. Seamus Nicolson’s colour-drenched compositions are orchestrated to draw attention to the inherent beauty, but also the banality of urban life. The advertising and produce, as well as the bicycle propped up by Wajid and the phone card promotions in the window net to Jason, locate the images firmly in British urban culture at the turn of the 21st century.’
Fliss Taylor 
