I like all sorts of photos but am always drawn to those where the form is strong. I have come to like order and this is reflected in the images I am often drawn to. Yet I also really enjoy those images that make me work at understanding them. Hesitating Beauty by Joshua Lutz (link) has this quality.
The approach Lutz took in offering a particular type of narrative resonated with me. The narrative is mainly about Lutz’ mother who suffers from mental illness and the images document he ever receding well being. The images create a narrative but its not linear and the photos reflect his mum’s fragmented state of mind, and his childhood. What I found particular interesting was how he used six types of photo to create the narrative. Firstly there is the straight snap shot, then the composed portrait, then the straight documentary image.
I thought a lot about Lutz’s images. Not many photographers that I know use montage so I was surprised to see it. None of his photos offer any sense of the sublime or spectacular – they appear all quiet understated images that document an aspect of his life in relation to his mother. The approach reminded me of 51 months by Carrie Levy (link) because the images after a type of non linear narrative that I find particularly appealing as it evokes a mood rather than just telling a story.
I wonder if this series of images will offer a similar quality.
This photo was taken this morning as I lay in bed pondering and prevaricating on the task of getting up. Rising and dressing takes a long time and if I’m under the weather or experience lots of uncontrolled spasms (paralysed muscles jumping of their own accord) cleaning oneself, changing incontinence kit and dressing all become more burdensome than usual. Today was one of those days.
So as I lay on my back I picked up my new trusty little RX100 and turned it to face me and shot. I took a few without flash but they came out soft so I forced the camera’s little flash on and shot again. My original intension was to show just the sheets and their creases divided by the little gap between Karen and my beds. However this shot caught the edge of my thigh and in so doing massively increased the effect of the image. I think this is because without the inclusion of the edge of the leg the image is transformed into pure abstractness, whereas here the viewer has to work to understand what they are seeing but can achieve that eventually.