With a self-imposed deadline of the end of March approaching, it is time to make some decisions. The most important is the decision to go forward with the ‘two views of a car journey’ idea. The other two ideas were rejected for the following reasons:
‘Mugshots and portraits’. Producing the ‘mugshot’ images would be a contrived exercise. If my sitters had police mugshots then (a) they are not likely to tell me and (b) I would not have access to them anyway. Therefore, I would have to fake something up in the studio and the whole assignment would be a comparison between two different styles of studio shooting.
‘Glamorous skin and oily workings of a car’ fails because it would comprise essentially similar close-up techniques in both sets.
The car journey has the advantage of genuinely showing two different viewpoints, and there is also the possibility of applying different techniques to the two sets – of which more in a future posting.
I have started some research into photographers who have made ‘road trip’ photography. A suggestion from my tutor, Garry, was to contrast Lee Friedlander’s approach with Philip-Lorca diCorcia’s approach, so let’s start with them.
Friedlander’s 2010 exhibition ‘America by Car’ follows a road-trip format with the conceit that images are shot from within the car, using the windows and mirrors as frames. All images are fairly contrasty monochrome and have good depth of field, allowing the car parts to be rendered as sharply as the exterior view. There is good inspiration here, but my versions would have some differences. First, of the images I have seen, there are at least as many shot through the side windows as through the screen; for the driver’s-eye view (which I think this style suits) I would mostly be looking through the windscreen. Second, my impression is that most of these images have been taken with the car parked; I need to be shooting from a moving car, otherwise what is the point? (If the car is parked, both driver and passenger will get out to view the surroundings)
Philip-Lorca di Corcia
DiCorcia appears to be best-known for his series of carefully-staged and lit documentary-style tableaux such as ‘Hustlers’ (gay prostitutes) and ‘East of Eden’ (post-apocalypse), neither of which will be a good fit with my intentions. According to MoMA (2017), diCorcia has ‘influenced a generation of photographers who work with controlled situations and semi-anonymous portrait subjects’ an aspect that I will return later in my studies (either in C&N or in Identity and Place)
He also practices a form of street photography but, rather than ambient light grab-shots he sets up his camera and pre-arranges flashes to give an artificial and frozen look.
The technique will not fit with what I intend to do, but it is worth noting that (in town, at least) the passenger view is an opportunity for some street photography.
I include Eggleston primarily for this image, which I saw at his National Portrait Gallery exhibition in 2016. I was not impressed with it as a portrait, but it makes an interesting ‘road trip’ image. Not much can be seen through the windscreen and the notional subject (Dennis Hopper) is unsharp. Eggleston has focused on the the dashboard and instruments, which reminds me that the driver will spend some time paying attention to instruments and controls – which must be the subject of at least one of my ‘driver-view’ images.
Various ‘Road Trip’ photographers
A Google search on ‘road trip photography’ brings up some lists (example1 example2) of photographers who use the genre, including Jeff Luker, Nic Hance McElroy and Venetia Dearden. In the main, however, they use the road trip as a hook for travel or landscape photography. The photographer is out of the car and, often, neither the car nor the road is featured.
Second-generation surfing from the Google results brought up a page about a 2013 exhibition, ‘Landscapes in Passing’ (Gan 2013) which introduces two interesting photographers:
Mayes’ series ‘Autolandscapes’ is based on a car journey from California to Massachusetts, taking a photograph through the window at each change of landscape. It includes other vehicles in traffic jams, open spaces and some motion-blurred close views (similar to mine that I had regarded as unsuccessful). Of course, the American road experience is rather different from the British but the series is a useful ‘proof of concept’.
The exhibition included Fitch’s series ‘Diesels and Dinosaurs’ but there are several of his later series, such as ‘Western Landscapes’ and ‘Vernacular Assemblages’ that deal with rather quirky things (mainly advertising signs) seen at the American roadside. Again, the British experience will be different, but we do have our share of roadside advertising, which is worth looking for as a subject.
The exercise has been useful. I am reasonably clear on my driver’s view images, although a strict Friedlander approach may be unsuccessful because it would be dangerous to get into the driver’s eyeline. Having studied diCorcia and Fitch, I will expand my vision of the passenger view from simple scenics to street scenes and advertising signs. I suspect that I will not get what I need from a single trip.
Gan, V. (2013). Landscape Through a Car Window, Darkly. [online] Smithsonian. Available at: http://www.smithsonianmag.com/smithsonian-institution/landscape-through-a-car-window-darkly-22480025/ [Accessed 15 Mar. 2017].
The Museum of Modern Art. (2017). Philip-Lorca diCorcia | MoMA. [online] Available at: https://www.moma.org/artists/7027?locale=en&page=1&direction= [Accessed 14 Mar. 2017].
Whitney.org. (2010). Lee Friedlander: America By Car | Whitney Museum of American Art. [online] Available at: http://whitney.org/Exhibitions/LeeFriedlander [Accessed 12 Mar. 2017].