During my studies I have made a new best friend……….my notebook.
It goes with me everywhere, I jot things down recording my thoughts, drawing ideas so I can use it later to either get shots planned or work ideas into Exercises. 40% never gets used but all of it helps me develop.
I thought I would show some random pages here so that if any of my fellow students find themselves here they may see it and maybe think about a notepad for themselves.
I have to confess it wasn’t my idea I saw Paul Strands exhibition at the Victoria and Albert Museum in London. In the display were several of his meticulous notepads. Needless to say mine are not as neat as his notepad.
I have used a separate notepad for each module of my three courses to date. After considering using one continual journal. It seemed right to have an ending and a new beginning each time. You may do it differently there is no right or wrong way.
Reviewing them brings back how I was feeling at the time and reminds me of successes and struggles I have had throughout my learnings. I don’t use all but make notes on most things. The important thing is to have it with you at all times….oh and a pen.
I use pocket notepads from Moleskin, they are hard wearing and in expensive. I use a mini gel pen which has ink that is waterproof. When I draw I do the outline adding colour later. This has helped me understand composition and colour.
Remember it an aide to learning not a stand alone piece of art. You may submit yours or just keep it for yourself. Give it a go I think a notebook will surprise you.
I read my tutors feedback on my submission of Assignment 5 with interest I had tried to show that a place doesn’t have an identity until people give the place one. It didn’t work so I will rework the project. I have left my original work in place and have amended it here so you can see the progress and made during the completion of the exercise.
My tutor was right when he suggested a rework I enjoyed going back to reshoot the exposures with more people using the old industrial areas within my hometown of Leeds. The reshoot includes more people bringing the places to life. I enjoyed (1)Polly Braden’s work “Londons, Square Mile” so much that I bought the book. I could see why my tutor had recommended it for me to look at. I hope I moved a little closer to Polly’s work in my shots. She catches the quirkiness with bright colour and engaging images.
I added the two shots my tutor felt were strong I agree they have a level of interest within the frame which shows the spaces being used for two very different social reasons. All of the shots are now from my compact camera so have a consistency across the whole body of work.
This project is a project that will continue into the future with lots of scope for exposures as the area develops its personality. I look forward to spending more time capturing it.
Recently I have begun to look at architecture differently, so looking at (2)Cameron R Neilson`s work “straight up Oslo: views within the city”, was enlightening especially as Oslo was my destination when i completed my work. It opened my eyes to the possibilities for creating interest just in looking up as well as all around me.
Having seen some of the Architecture whilst walking around Oslo and had seen some of the abstract shapes the buildings create. I will use this technique in my building project around Leeds.
(3)Benoit Paille and his portraits of strangers intrigued me, he had combined photographing strangers whilst getting to know them before photographing them. His work is charming and quirky and very engaging. The subject is in place but the firm eye contact shows the connection the artist has made with the subject.
I read and reread (4)Marc Auges essay about ‘non-places, introduction to anthropology of super modernity’. It made me think of all the places I and we go to that aren’t really places but we make them so. It was interesting to read about the individual being part of the whole. Making part of the concrete that forms the whole of a place. I had already thought about Polynesians like Auges thoughts about Melanesians. They form a whole culture and some Islands never meet but they form a way of life influenced by the place they inhabit. And vice versa Easter Island was forested with Palm Trees but the people who had no threats used them all to move stone heads changing the Identity of the place out of recognition. Even when they got down to the last few trees they didn’t stop to replenish the stock of trees they continued till the land is bare.
Interesting to read about the place and identity being used to control the individual within society’s itineraries. Much as I had seen in New York in my research.
In future work I plan to implement learnings from the articles giving advice on improving architectural shots. I look forward to playing and learning more about the lenses I have and how they can improve my work.
My tutor made a great suggestion talking about the work in “Viewpoint” he was quite right when he said I had missed looking straight up. I have recently completed a flight to Copenhagen so took the opportunity to take a shot looking straight up at the overhead bulkhead.
In my rework I have tried to get closer to my subject without influencing them. I found this daunting but now I have done it I realise if you smile and are inconspicuous people dont even know you are taking the shot. My confidence grows. All of these places are old sites within the city redeveloped, revived and reinvigorated what will they become?
References
(1)Braden, P. and Kynaston, D. (n.d.). London’s square mile.
(2)Neilson, C. (2018). Straight up Oslo: Views within the city.. [Photograph] Oslo: Oslo.
(3)Paille, B. (2007). Strangers Project. [Photograph] Paris: FStoppers.
Having completed this course I feel I have developed new skills looking at new things in a different way being the most important. Assignment 5 led me into areas I didn’t expect to read and learn about. Karl Marx and Town planning was not on my radar when I started.
I was bought the book of Swarsowkis “Window and Mirrors” exhibition. It was the thing that spoke to me most in my studies. I was delighted to find the book was signed by him at the time of his exhibition. I produced my own version which I will include when I send my work in for assessment.
In the middle of the course I went off on a tangent however I left the work I did at this point visible as it is a true depiction of my journey. Also I learnt so much about my work and thinking in this part of the course. Never be afraid to make mistakes its when we learn the most.
I tried to leave my comfort zone. I lacked confidence taking photos of strangers. However I found my confidence grew during my work. Russell made me challenge my approach this aided my learning and allowed me to relax.
I feel my voice is developing and can’t wait to see where Level 2 takes me. To show the development of my voice, here are 5 photos taken at Catania Fish Market on the island of Sicily. At the start of Identity and place I wouldn’t have dared walk around taking photos of people doing there thing. I was so confident after walking around for an hour without my camera then going back with the camera and taking shot after shot.
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I thank my tutor for his patience. I have progressed through this journey. His hints and suggestions have been invaluable to me and my development. He is a good teacher. Looking forward I anticipate developing my practise further and cant wait to begin showing more of my work whilst growing new skills and learning more on the way.
I enjoyed this exercise greatly, it made me think. I have had to think and concentrate all the time paying attention to my surroundings. The hard part has been constructing the pieces into a coherent piece of work that fits the outline of the brief.
I had looked at (1)Anna Fox work in the workbook and liked the way the words added to the picture but only hinted at a story. I wanted to find out more. I was less sure looking at Annas website about her harsh use of flash.
I spend lots of time walking in the countryside around my home, if I head North its open farmland with lots of sheep and defined paths. If I head South the landscape is different, moorland with few defined paths. I tend to head North as it feels easier to find your way around.
For a change I headed South onto the moor…..Ickornshaw Moor. It is a desolate place which seems to catch every knot of wind that streaks across the land. Shooting has always taken place on the moor and the participants need a place to shelter. So the moor is dotted with shooting lodges of all shapes and styles. I took photos of them as they are so outlandish contrasted against the moor.
On my return from my walk I called in at the Pub where a poetry evening was in full swing. One of the readers read out a poem by (2)Simon Armitage Called “Above Ickornsha, Black huts”. This reminded me of the feelings I had just had up on the moor and got me thinking about how the sound of the wind was a key factor. I wrote down the poem in my notebook and marked the lines that struck a chord with me and my emotions on the moor.
Here is Simons beautiful moody poem it captures the feeling of the moor.
Above Ickornshaw, Black Huts
are raised against damp, on footings of red brick, landlocked chalets lashed to the bedrock
with steel guy-ropes and telegraph wire, braced for Atlantic gales.
All plank and slat, the salvaged timber ooze bitumen
out of the grain, a liquorice sweat, its formaldehyde breath disinfecting the clough
for a mile downwind. Seen from a distance, these tarred pavilions or lodges
make camp on the ridge in silhouette – black, identical sheds of identical shape,
though up close no two are alike, being customised shacks,
a hillbilly hotchpotch of water-butts, stoops, a one-man veranda,
a stove-pipe wearing a tin hat. And all boarded shut, all housing
a darkroom darkness with pin-hole light falling on nail or hook
or a padlocked box, coffin-shaped, coiled in a ship’s chain.
Mothballed stations on disused lines neither mapped nor named. Birds avoid them –
some say the hatches fly open and shotguns appear, blazing at tame grouse,
that inside they’re all whisky and smoke, all Barbour and big talk,
but others whisper the locals sit here in deckchairs, with flasks,
watching the dunes of peat, binoculars raised, waiting for downed airmen
or shipwrecked souls to crawl from the moor’s sea.
What if I combined the words of the poem with the photos I had taken and overlaid the sound of a wind storm. Would this create anything like my experience I had encountered on my walk?
I used Photoshop to process the photos and to resize them so they all matched for the slideshow. I then used Lightroom to create a slideshow, adding titles in metadata allowed me to show the five lines that most rang a chord with me at the time. I tried to record wind on my ipad but it didn’t work. I downloaded a clip of wind from the (3)BBC sounds archive and added it to the slideshow.
Below is the slideshow without the words and the sound to see the finished work you will need to click on the URL below.
References
(1)Annafox.co.uk. (2019). 41 Hewitt Road : Anna Fox. [online] Available at: http://www.annafox.co.uk/work/41-hewitt-road/ [Accessed 26 Apr. 2019].
(2)Armitage, S. (2003). Above Icornshaw, Black Huts.. [Poetry] Leeds: Leeds University Archive.
(3)Berger, J. (2019). Savage Wind. [Mp3] BBC FX Acropolis., BBC Sound Effects. London.
My tutor pointed me to creating a black background for my work in assignment 3. I read several online articles on the subject and found it very interesting.
The technique is quite simple you basically minimise the sensitivity of your camera then light the subject with flash. The artificial light turns the background a deep black making the subject really stand out.
Let me describe the process I used in a little more detail. ISO needs to be set at 100 or lower if your camera allows. This reduces the camera sensitivity to minimum. Next start your at f5.6 before you start to experiment. I worked right up to f22. I started with my flash set at full then experimented with lower settings and diffuser on and off.
None of the settings are correct the one you like is the one that is correct so experiment.
For my subjects I wasn’t brave enough to take shots of a person so decided on inanimate objects as they give me full control so I could focus on the process for this session. Rest assured though I will try this with portraits soon.
My subjects were a daffodil, a Basil plant a lucky Chinese cat and a Nut. My lens was a 100mm macro lens.
I tried both indoor and outdoor shots the articles I read said don’t use this technique indoors. I now see why, the flash tends to pick up features in the room. In my case the lines of the radiator. Outdoors it works perfectly with nothing to disrupt the deep black background.
This is a great tool to have in your arsenal, give it a go, the secret to success is to experiment. Below I show some shots to outline my efforts.
I have recently been looking at a new car and would like a mini. At the same time I have been working on Identity and Place on this exercise. For it we are asked to comment on an image we see.
Whilst out I saw this image advertising the car I am interested in a thought it might be interesting to use it in this excercise. I then thought what had the advertisers done in the 60s 70s and 80s to advertise the same car in each decade it has been sold.
So here is the image I saw today.
It just shows a man who is probably the driver at what could be the end of a summer day plugging his car into a charge point. The words just say it as it is the countryman is a plug in hybrid. It is almost a closed image but when you look deeper it has some pointers. There is still a girl in the shot though her presence is less prominent then past adverts. The lighting hints at good weather with the yellow sunlight shining through trees. Tree hinting at the green credentials of the car. In the background there is a bar/hotel hinting at a lifestyle you want to part of?
So what seems like a simple image to begin with, has deeper elements that are their to influence your decision.
So what about previous mini advertising. Below are five examples of Mini adverts I thought it might be interesting to think about these adverts and what they are doing to influence our decisions.
Mini Automatic advert
THe first advert starts with a statement “the low cost action transport” hinting at the facts behind the vehicle. Of the six people in the advert five are girls, all are desirable and the subliminal message is own this car and get the girl.The colours of the vehicles follow the cars of the Italian job with the main one being Red so it stands out and as a hint of danger backing up the word action. The words are open inviting you to find out how low cost by visiting a dealer.
The second advert uses a celebrity owner ie Twiggy a lady who was the number one model of the day. The colour of the car is subdued Gold hinting at quality. Twiggy gives her reasons for her owning one of these cars. It is closed if its good enough for Twiggy then its good enough for……………… Even her signature endorses ownership.
The third advert shows an attractive lady driver who is obviously very nervous of driving a manual car. So what better solution than to give her a simpler option. In fact the message is almost its so simple she can do it….Wow can you imagine this nowadays tan goodness. Again it is closed just informing us that automatic is available.
The fourth is the simplest it appeared at the time of the oil crisis of 1973, The mini was seen as an economical car so it uses this economy to sell. But looking deeper the colour scheme is black and yellow the colours of danger so reinforcing this in our mind. The statement is bigger than the car as the petrol cost is the most important thing at the time. The statement is closed but the small print invites a visit to the dealer to find out more.
Last of all is an advert which celebrates the fact that the Mini has developed into a car that can do it all. It shows the car as a vehicle that is great in traffic but just as great on the open road. The colours are Red White and Blue hinting at the country it comes from. The words state the facts that the Mini is great in town but also wins rallies. It is also closed with an invite to visit a dealer.
It is interesting to look at the way advertising has changed in just 50 years. What was acceptable in 1960 would be frowned on now. The advert from today hints at a lifestyle where some of the older adverts said buy me, get the girl.
Thinking about the essay by Barthes in which he discusses Anchor and Relays it is interesting to see that we have moved away from Anchors to Relays. The older adverts anchored the product with statements reinforced by an image. The modern images use relays to hint at a lifestyle and invite us into this lifestyle if we buy into it.
Both methods are very clever and use our weaknesses to encourage to buy the companies product over another.
Other industries do the same thing including political organisations who have use the same ad agencies to push there ideologies to us. Below are two examples there are many more if you look.
Marginalized people are often misrepresented, they are usually a minority or seen to be weak. This makes them easy targets to be marginalized.
In the past the marginalized in society usually came into contact with local marginalisation. However in our multimedia times we can marginalize people from anywhere in the world from our computer screens. Sometimes without ever meeting the victims of marginalisation.
Marginalisation is when a person feels pushed to the edge of a group. It can be anyone of any race, creed or age group.
In the past ethnic minorities were not shown on the media, however more are now shown in the positive roles that they deserve. This has to be a good change in our society as it reflects the truth and encourages change.
However the media shows less and less people over 50 especially in TV advertising. This makes the audience who include a large number of people over 50 feel marginalized and even worse ignored. Wouldn’t it be better to find positive roll models in ALL groups to encourage others to connect to help society cohesion.
If we get inside the chosen group we can get to know the individuals and see what makes the group function. This then makes it easier to show what is happening from within the group showing what is achieved in a less formal way without prejudice or prior judgements.
Damian Frost spent time getting to know the Night Flowers of London. Doing this helped him gain the trust of these people giving him a great subject matter for some great photographs. I bet he had a lot of fun completing the work as well. If he hadn’t gained the trust he would never have captured such beautiful photographs. They will pass the test of time I am sure. The trust he nurtured enable him to capture photos in the style of Rembrandt they are beautiful to see.
Work Cited
Damian Frost Night Flowers MerrellISBN978-1-8589=4648-1
During the course I have been inspired to look at things in a different way. My tutors have all been different but have all nurtured this change in me.
My research for this assignment led me to think about the way we project our identities onto a place. The legal battle I researched into the changes made to living spaces in New York led me to think of the changes I was seeing in my home city of Leeds. Robert Moses and Jane Jacobs’s battle over areas of the New York highlighted to me how much thought goes into planning development. Leeds is in the middle of such a process.
My great grandparents lived and worked in the Holbeck area of the city, south of the Railway station. They worked in the places now being developed. Construction companies are working hard, making these sites into new living space for the workers of the city.
(1)Karl Marx referred in “Theory of Human Nature” to Gattungswesen or species being. This means that one human being is the whole of humanity. We are all a part of the whole. So each individual contributes to community.
Arriving in Leeds I see a building which has developed in this area, like an oasis within a desert. I wondered what would happen to this new area in relation to people and the place created for them. Would that sense of community my forebears spoke of be visible? I didn’t think it would.
I walked around with my camera and looked at the area, the new building seemed stark, sterile, all concrete and glass, however I liked the way old and new are layered keeping a link between both.
In my photographs of the Polar Regions I like the photos showing detail and wanted to use this approach to capture the identity being developed. Wojtek Ogorselski shows this in the book “Organic Architecture”, his work shows buildings in detail from Norway, Poland and Portugal.
(2)Susan Sontag’s words from “On Photography”, “Be Coaxed from subject matter, profoundly banal. Such as petrol stations, empty living rooms are ideal photographic settings”. These words resonated with me as I walked around thinking, seeing and doing.
(3)Liz Wells says “It seems then. That we may be drawing close to a time when every moment of our lives is capable of being recorded, not by street photographers or happy snappers but by ourselves”. This quote also drives me towards this being a long term project, so these fifteen photographs are just the beginning of a journey.
The second part of my series adds people, once people are added the place takes on part of their identity and becomes a community. I didn’t think these spaces would have an identity so soon after the first phases were finished but they do. People build places by adding their identity. One is part of ALL.
It will be interesting to see how this identity develops over time. This will be a very long term project.
Works Cited
(1)Marx, Karl. 1845. (accessed 3 12, 2019).
(2)Sontag, Susan. “On Photography.” In On Photography, by Susan Sontag. New York: Penguin, 1978.
(3)Wells, Liz. In Photography a critical introduction, by Liz Wells. London: Routledge, 2015.
The view from the trainPlanning beginsCombine the old and newAngles and lines.Lines and edgesLines and curvesBalconiesMultilayered on old.Tiers of communityDwarfing VentilationThe canal links all.Eat Disco?Life returnsIs Apple a Dinosaur?The city sleeps.
In starting the fifth assignment of identity and Place I realised that my understanding of the course was off the mark. I had considered doing a Mirrors and Windows exhibition then a tribute to Cindy Sherman by placing myself in my shots in local locations. It still didn’t feel right so I reconsidered. My tutors comment by email about my work becoming autobiographical was a big influence on my rethink.
I re-read the course material and pondered. I have been tiling my kitchen floor so have been listening to (1)BBC Radio 4. I listened to a programme called “The Country vs Town. It discussed Karl Marx and his thoughts on Identity politics. Then compared life in town and country and the effects of living between London and the Yorkshire Dales.
Karl Marx referred in (2)”Theory of Nature” to Gattungswesen or species being. This means that one human being is the whole of humanity. We are all a part of the whole. Therefore an individual can influence big projects which can feel imposed upon us.
Robert Moses.
Jane Jacobs
Searching online for identity politics I found the legal case Robert Moses versus Jane Jacobs. To understand their story we need to look at them separately, then bring their story back together at the end.
(3)Robert Moses was born to German Jewish parents who owned a store. He became powerful within the parks department of New York’s council. Achieving lots of good things, building 600 parks, 400 playgrounds, 13 bridges and 5 large swimming pools that could take over 20,000 people at a time. He was extremely focussed and built his empire at one time holding eleven positions on the Parks Commission. All this at the time of Roosevelt’s New Deal (1932-1943).
He stood once for Governor of New York but wasn’t successful. losing to Herbert H. Lehman. He never stood again.
The power he amassed changed his perspective on things in the latter part of his career. He presumed he could do anything he wanted to whichever district he chose.
(4)Jane Jacobs was a lady who taught herself to write with conviction and purpose, she freelanced selling her work to the likes of Vogue. holding a staff position at Architecture magazine she developed an understanding of all things to do with urban development. She liked to defend the underdog and their causes. Protecting people within their communities.
(5)Jane Jacobs well received book.
She wrote several books (5)”The death of America’s Cities”, was well received in the academic world. Influencing Melbourne when it redesigned the cities urban areas. She campaigned against urbanisation of places as it took people’s identity away. Setting the tone with her opening statement of “This book is an outright attack on current city planning”.
Jane Jacobs said (6)”When we choose a city to live in, it is not for the resources or Urban buzz. It’s because we identify with them”. This made me think of areas of Leeds which have been developed. I am interested in how it has developed and how the people coming into the place have found an identity.
In 1954 Robert Moses wanted to build a Parkway through the African American areas of lower Manhattan. He was at the height of his power and when challenged about the destruction he answered (7)”I raise my stein to the builder who can remove a Ghetto without removing people, as I hail a chef who makes omelettes without breaking eggs”.
Jane Jacobs was stirred into action to protect the areas threatened by development. She fought hard in the courts and through the Media. When the establishment discussed the heaving squalor of the slum and it’s crime rate, she countered (8)”Large no’s of people entertain themselves by watching people on the streets”. Meaning the community was safe with all watching out for all.
Jane Jacobs won and the Parkway was cancelled. Both protagonists had their faults. Moses was accused of racism after choosing ghettos for the parkways course. He had let power change him. She also had faults. Her efforts contributed to the gentrification of Greenwich Village, having changed a community sweet shop into a home it became a valuable property depriving the local community of a much loved establishment. Her lack of encouragement for infrastructure contributed to the congestion in Greenwich and Soho. Both protagonists we’re focussed on doing the right thing.
Somewhere in the middle a compromise could have worked better for the city and developed greater identity for the place. Both of these people were doing the right thing for very different reasons. The interesting thing to me is how the developments effects people and their lives.
Looking at today’s New York Parks department you can see they are trying achieve a better balance for the community.
(9)Garry Winogrand Two Women hailing a cab. 1973 MoMA.(10)London Gary Winogrand 1969.(11)Roadside Walker Evans.(12)Flood Victims Kentucky Margaret Bourke-White.(13)Fish Supper New Brighton Martin Parr 1982.(14)Dancing on Jackson Vanessa Winship http://www.vanessawinship.com
I have a book of New Deal photographs which contains photos by Lange, Evans, Post Wolcott, Lee and Rothstein. They show all aspects of American life Jack Delgado says in the introduction “ Through these travels and photographs I got to love the United States more than I could have in any other way”. You can see the influence in the work of Winogrand, Arbus, Erwin and Meyer. Martin Parr, Cindy Sherman, Peter Bauzza and Antonio Gibotta show it’s influence on their work through to the modern day. I will strive to capture work influenced by these practitioners.
(15)The New Deal (Taschen) 2016 Dresden Germany.
In considering this Assignment I thought the brief in relation to the way we implant our identity onto a place creating memories and growing life in the environments we choose. Earlier I mentioned Leeds my hometown. The city has had lots of development on what was industrial land. I wonder what identities people have developed by living here?
I will not draw any conclusions for the viewer I think it will be important for each viewer to make their own mind up. I will shoot both good and bad things to give balance. (16)John Berger said of the dangers of a camera in ways of seeing “The invention of the camera changed the way men saw. The visible became something different to them”. I will bear in mind that what is out of frame is just as important as what is in frame.
Using two lenses 40mm on full frame DSLR. Plus a wider lens 20mm to 40mm to capture the large buildings and scenes on offer. The latter may not work but it has to be worth a try.
Using two lenses 40mm on full frame DSLR. Plus a wider lens 20mm to 40mm to capture the large buildings and scenes on offer. The latter may not work but it has to be worth a try. After arriving in Leeds a walk around the site to scope my shots. As I Work I will Remember (17)Susan Sontag’s words from the book “On Photography”. “Be Coaxed from subject matter, profoundly banal. Such as petrol stations, empty living rooms are ideal photographic settings”. With these words ringing in my ears it’s time to get to work.
References
(1)The country vs town,
(2019). [TV programme] Radio 4: BBC.
(2)Marx, K. and Bender, F. (1986). Karl
Marx. Boulder: Westview Press.
(3)Goldberger, P. (1981). Robert Moses
is dead at 92. New York Times.
(4)JACOBS, J. (2020). DEATH AND LIFE
OF GREAT AMERICAN CITIES. [S.l.]: THE BODLEY HEAD LTD.
(5)JACOBS, J. (2020). DEATH AND LIFE
OF GREAT AMERICAN CITIES. [S.l.]: THE BODLEY HEAD LTD.
(6)JACOBS, J. (2020). DEATH AND LIFE
OF GREAT AMERICAN CITIES. [S.l.]: THE BODLEY HEAD LTD.
(7)Caro, R. (1974). Annals of power. The
New Yorker, July(121), p.54.
(8)Lange, A. (2017). Jane Jacobs,
Georgia O Keene and the power of marimekko dress. New Yorker, p.3.
(9)Gary, W. (1973). Two woman hail a
cab. [Photograph black and white] New York: MoMA.
(10)Winograd, G. (1969). London.
[Photograph black and white] New York: MoMA.
(11)Evans, W. (1923). Roadside.
[Photograph Albumen Print] San Francisco: FSA.
(12)Bourke White, M. (1934). Flood
Victims Kentucky. [Photograph black and white] USA: Getty Images.
(13)Parr, M. (1982). Fish Supper.
[Colour Photograph] Bristol: Martin Parr Foundation.
(14)Winship, V. (2016). Dancing on
jackson. [Photograph black and white] London: Vanessa Winship site.
(15)Walther, P. (n.d.). New Deal
photography, USA 1935-1943.
(16)Berger, J. and Dyer, G. (2013). Understanding
a photograph. London: Penguin Books.
(17) Sontag, S. (n.d.). Susan Sontag
on photography.
Michael Green Identity and Place. 