Creating wonderful soft, and intimate captures of the world around, Cretey-Systerman’s project Familiar deals with the ‘small moments’ in life, recognizable pieces coated in the beauty of light.
His work finds a part of me that reaches out for the need to shoot with the natural light around, capturing the essence of a human day, a small moment that presents the to us the intimacies of the daily lives.
The beauty in the study of natural light, combined with the sensitive subject matter allows for a study in the familiar.
It appeals to me with the aspect of shooting what looks like family life, and I find this interests me. With a recent tutorial with Lauren, I found that the shoot with Amber didn’t fit with my (more successful) shoot with Granny, and so decided more so to focus on my family, within their own homes. This leads me onto further research, and I think this fits in almost seamlessly.
“In This Place’ looks at family and home, connections and place, touching on issues of social and personal inertia.” – Artist website
Mitchell’s work uses beautiful and haunting natural light, allowing for the surroundings to be complimented by the strong contrasts between light and shadows. She allows her subjects to breathe and fill their presence within photos, using positioning of either centre or rule of thirds to place her subject in a space that compliments not only the brief and the rationale of her project, but also allows the viewer to consider the connotations of space and loneliness within the image.
I chose to look at this set of portraits as they focus on looking at family and specifically family around their natural environment; where they feel comfortable. I think though, in a way, they still look slightly on edge, even with the minimal ‘noticeable’ amount of staged posing. This brings up the question though – are they sat like this because Mitchell asked them to, or is it a natural pose?
I think this is something to consider when I shoot – am I asking my models to be aware of the camera and make a real conscious effort to pose, or is it going back to the idea that you do pose as soon as the camera is pointed at you?
Kitty Gale’s photography incudes again, this beaituful aestheitc of natural light, using it to her best advantage to create a soft atmosphere. Gale’s work was suggeted to me in reltaion to this project; the sensvituy in which she approaches the subejcts with the natural light quite similar to a tenchnique that I should perahps try. She has a way of getting to the honesty of the children she shoots, allowing them to express and almsot ‘expose’ their personalty through their portraits, as chidlren have less control (?) perhaps over the way they present themselves, not quite ued to the way to pose and maniplate their face into one that fits to their ‘best angle’.
(Photos obtained from ‘They Made This’ interview with Gale).
This guys work is everything I want mine to be and more. With a distinct aestheric, and a focus on using predominantly natural light and interestingly – shadows, his work is beautiful and honest.
Although the apporach to the women in our prospective work will be very different, I find it intersting how he creates these almost empowering an strogn depicitons of women through his work, positinong them close to the camera, and so they have a dominant and close relationship to the viewer. The depicitons of youth and the ‘freedom’ is evidnet, creating a strong atmosphere.
“I think what beauty means to me, is authenticity. Genuine captured emotion, intimacy and feeling. Something you can’t replicate because it existed only in that moment.” Isaac Marley Morgan