take clothes for instance BOOK

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In old portrait photographs people would often slip from appearing composed, they’d stiffened to prevent their bodies from collapsing in on themselves, from causing discomfort and even pain. The effect was a rictus appearance with the subjects looking like stiff ill postured dolls. In contemporary photographs, although they are often taken in the moment, and in almost any situation usually with little formality, both the photographer and the subject, who is often the same person, is preoccupied with getting the right shot of themselves to immortalise the moment. How often this goes wrong. The poser/photographer poses over and over again, and only after many shots do they choose the one which they feel most resembles them, as if all the others didn’t. All those other moments are discarded in favour of the edited idea of self, those moments which are less than who they think they feel they are those less than the ideal moments. are here and now, and where we would like to be which can never really be achieved, and what we are left with is something inbetween, a liminal space which we inhabit uneasily. There seems to be a negotiation, as if it could ever really be negotiated, between the temporal and the immortal, of where we
NEGOTIATING THE TEMPORAL AND IMMORTAL SPACE There is an inherent absurdity in memento mori (Post Mortem) photographs. WHEN THE SUBJECT IS THE OBJECT AND OBJECT BECOMES THE SUBJECT When the subject is dead they are in effect an object. It’s interesting to see therefore photographs which featured corpses posed to suggest that they were still alive. The family of the diseased and the photographer created the illusion that the person was still a living being. I’m uncertain what the actual intention was, and although I’m surmising that these were taken as a celebration of the diseased I can’t help feeling that they were holding onto more than the memory: That they were wishing for time to not only stand still, but to also wind time backwards to the point when their loved ones were still alive.
Page 1 and 2: take clothes for instance… Notes
Page 3 and 4: INTRODUCTION My initial response in
Page 5 and 6: CONSTRUCTED IDENTITIES I also consi
Page 7 and 8: The idea of peoples’ clothes bein
Page 9 and 10: INITIAL PLAN My initial plan to app
Page 11 and 12: EARLY TEST PHOTOGRAPHS
Page 13 and 14: Reflecting on these initial photogr
Page 15 and 16: TESTING, THOUGHTS, CONCEPTS AND PRO
Page 17 and 18: 1 ST PHOTO-SHOOT IMAGES
Page 19: The photographic process is one whe
Page 23 and 24: NEGOTIATING THE TEMPORAL AND IMMORT
Page 25 and 26: I had only a rough clue as to the o
Page 27 and 28: OUTCOMES/ARTEFACTS Due to the fluid
Page 29 and 30: The photo-shoot took place in the s
Page 31 and 32: Coal: Gary Clarke Theatre Company T
Page 33 and 34: I came across the work of fashion p
Page 35 and 36: 2 ND PHOTO-SHOOT IMAGES
Page 37 and 38: POST PRODUCTION Following the Photo
Page 39 and 40: POST PRODUCTION IMAGES
Page 45 and 46: VIDEO I TRANSFORMATIONS I also want
Page 47 and 48: VIDEO STILLS
Page 49 and 50: LOCATION AND DISPLAY Late into the
Page 51 and 52: ...summary reflections
Page 53: take clothes for instance… All ma

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