Week 1 of photography has helped me develop an understanding of how the uses of it have developed over time. From the reading ‘Photomediations: A Reader’, photography is acknowledged as an integral part of our lives, shaping our sense of existence. It is a social practice and one that looks forward to the emphasis on aesthetic and semiotic depictions (Zylinska, J, 2016). We spend our time capturing moments to stand still, taking photos to engage us and to remember the experience. ‘Photomediations: A Reader’, also introduces the concept of ‘Photomediation’ meaning the involvement of the flows of data that produce photographic objects, encompassing various light-based practices. As described, Photomediation ‘adopts a process and time-based approach to images by tracing technological, biological, cultural, social and political flows’ to produce photographs (Zylinska, J, 2016, p.11). To simplify, what we find captivating to photograph is influenced by those aspects that change every moment of time.

Besides the reading, viewing ‘The Decisive Moment’ was truly a thoughtful take on photography and how we take photos. Henri Cartier-Bresson touches on a variety of viewpoints from his career in photography. He explains how he did not usually take more than one photo in a moment, as instinct is more important than trying to create the perfect photograph. The idea is that the moment when all elements of a photo come together, the perfect image can be produced. From the screening, I gained inspiration and a different mindset towards my approach to taking photos and how if you need to correct a life moment from photography, then you are ultimately creating a new moment. ‘Life is once. Forever’ (Cartier-Bresson, H, 1973)

Henri Cartier- Bresson exclaims his pleasure in enjoying geometry when taking photographs. When finding a style you enjoy when photographing, it becomes more natural to not overshoot when you enjoy the layout of the photo you are going to capture. The form of shapes and lines to add depth to photos is important to add layers of the foreground and background objects. From the overall screening, I understood how we need to enjoy shooting photographs in the present, not thinking about how the photo will turn out. It will ensure our journey of photography captures the meaning beneath outward appearances and instead find instances of absolute clarity.

Exercises conducted this week were to create portraits of ourselves and other group members. We would establish a unique background that characteristically speaks for how we identify creatively and aesthetically. The exercise and meeting new people to work with, helped me realise how everyone is very uniquely different in how they take photos and view themselves as the subject for the portraits. We all instinctively felt the need to perform and get into position for the photos, not necessarily being natural to how we would behave off cameras. It’s an interesting psychosocial component that makes portrait photos the hardest for genuine reactions. The practice makes me reflect on my future projects to enable a bond before we begin capturing portraits. Taking someone off guard or taking an untimely photo could influence the nature and aesthetic that someone is trying to convey.

REFERENCE LIST

Henri Cartier-Bresson, Cornell Capa, 1973 n.d, ‘The Decisive Moment’, International Centre of Photography, Youtube website, Accessed 20th July 2023. URL: https://youtu.be/14ih3WgeOLs

Kamila Kub and Joanna Zylinska, 2016 n.d, ‘Photomediations: A Reader’, Open Press Humanities, London, Accessed 18th July 2023. URL: https://rmit.instructure.com/courses/122663/files/33022180?wrap=1