"With this project I intend to concentrate purely on taking close up photographs of faces of people from my hometown of Sheffield. I will photograph 100 people, one person for every year of age, each of whom will be asked to provide the clearest photograph they can find taken when they were younger. This picture, along with the photograph I take, will be placed together to form the final version of each piece showing how the subject's face has changed over the intervening years."
Fig.1 Chris Saunders (2012) "Danny aged 3 and 54", One to One Hundred Project.
"The goal of this class is to articulate and explore what intimacy means in visual terms. We will try and assemble a rhetorical rather than a purely emotional guide to the photograph's intimate claims. In the end, we may come to the conclusion that intimacy cannot be photographed directly (as we experience it) because, quite simply, the camera is always in the way. The trick, perhaps, is to understand intimacy as an imaginary space –– an illusion that exploits our very real longing for a profound and authentic encounter with another."
(Doug Dubois, 2010)
Fig.1 Doug Dubois (2003). "My Mother's Scar", Gloucester, Massachusetts.
"Immersion is a project that records video of people 'through the screen' as they play games, use the internet and watch TV. There's three of us involved in the actual production of the footage– Andrew Wiggins is a camera man based in London, whilst Charly Smith is a First Assistant Director, also based in London. In 2010 we'll be working with the Media Center at Bournemouth University, on an 18 month study called 'War and Leisure', of teenagers and war in the media. Using the Facial Action Coding System, developed by Paul Ekman, we'll be analysing the reactions of teenagers to war in video games, movies, news footage, documentaries and online video. Outside of this study we're also filming people consuming a range of media– everything from the shopping channel, porn, sports, to programming created for babies."
Fig.1 Cooper, R. (2010). "Immersion". Bradford, National Media Museum.
"The Tyneside amateur photographer Jimmy Forsyth, who has died aged 95, produced an acclaimed portrait of industrial working–class life in Britain.
in the early 1950s he heard rumours of plans to demolish Elswick and Scotswood Road. A whole way of life was under threat, and Jimmy imagined that he could capture the spirit of the community through photography. Thus he began in 1954, with a second–hand box camera and no formal training, his epic project to produce a portrait of the area by a trusted insider.
Mindful of posterity, he took a systematic approach – his images are indexed and his subjects carefully identified. Crucially, the task also saved Jimmy from unemployment. He assembled the prints, processed by Boots or a local chemist, in tartan–covered albums, and including the price of the films, his photography probably consumed a considerable part of his £2–a–week National Assistance money. Often he would sell people their prints for half a crown to fund the next roll of film. In an effort to improve his finances, Jimmy opened a shop in 1956 in Pine Street, but his generosity in providing goods 'on tick' soon forced him to sell up.
When the bulldozers eventually came to Elswick in the late 1950s, they inspired a period of intense activity for Jimmy, who stayed until the last moment to document the painful process of demolition. He even photographed the demolition men and the families left behind, until, he said, there was a knock at 356 Scotswood Road, where he was living: 'You'd better move out. We're doing this block next.'"
(The Guardian, 16 July 2009)
[Jimmy Forsyth, 1957. Scotswood Teddy Boys]