To create a narrative I decided to form short series of photographs exploring each case. I believe that a sequence helps to explore the subject, to understand it and to build an emotional link to it. My opinion probably would appear natural if I’d tell that Robert Frank is one of my favourite photographers. Maybe it’s a little bit strange that I more than any other photography adore the documentary styles of post-war era, works of Lee Friedlander and Garry Winogrand and Henri Cartier-Bresso. They all have something common and something outstanding and it’s hard to relate my staged digital images in colour to their photographs. But there is something relevant to how I’m aiming to depict my subjects. In the works of these four artists I see something irregular for the majority of the photographs I’ve ever seen. They were able to show people without blaming, adoring or trying to idealise them. For me, their subjects look more real and alive in their pictures than in most contemporary colour photographs. Moreover, I believe that they all are great masters of compositions, even and especially when it looks like there’s no composition at all. And the last feature about them is that I see a subtle sense of humour in their works. For me it’s important because it has always been a part of my life and often helped me to deal with difficulties. Furthermore, I think that humour helps do depict a person the way he or she really is, without a mask of seriousness.
For the finale selection I decided to choose three photographs from each scene to show something serious, something funny and a close-up of a symbol of a moment.
I’ve chosen these images because I think they appeal to the viewer. The first one together with the title of the sequence introduces the subject. A viewer can easy observe and study my cup of coffee and me. The second image has a gaze towards the viewer. Some people could probably recognise the gesture, drinking coffee in the morning when eyes try to close you rub your eyes or forehead. These two features bring a viewer closer to understanding the emotional state of the subject. On the third image you can see the coffee itself. Eventually after sharing feelings of the previous image, you are now able to smell the coffee while looking at the final image. And maybe after looking at the pictures a viewer can understand what makes this moment the favourite one. In short I would describe the purpose of the photographs like this: 1 – observe, 2 – feel, 3 – understand.
These images are chosen to act in the similar way. The first one and the title introduce the subject. The second one lets you see the interaction between the pet and the owner. However in contrast to the second image of the previous sequence the gaze is directed towards the symbol of her happiness, her dog. I believe that a gaze towards the camera would be inappropriate in this image because it’s all about the alive being. The gaze here equals interaction. If you have a pet you can easily understand what the owner feels in that moment. As a third image I’ve chosen a photograph of the pet near its owner because it symbolises the moment in whole, a pet as a source of happiness. The same scheme works here: 1 – observe, 2 – feel, 3 – understand.
The first image begins a story of a person who enjoys working alone. She looks quiet and thoughtful and a viewer can relate that to the title. The second one is all about interaction with the viewer and with the symbol of the moment. As the moment wasn’t related to a particular object, we used the high heels taken off as that symbol. The picture was just a result of lucky coincidence, but it shows the idea in the best way. She stays at the work, but she denies the officially of it. The viewer that has worked in an office might understand the emotional state of the subject. The final image reveals the whole moment – the symbol of denied strictness together with the working tools. 1 – observe, 2 – feel, 3 – understand.
The first photograph shows a tired person in the workwear. The look of the person and the title help to conclude that she doesn’t want to stay in these clothes. The second image interacts with the viewer mostly because of the gaze.Unlike the others sequences of the project this one is dedicated to experiencing happiness through getting rid of negative emotions. So unlike the previous stories here the second picture doesn’t depict an active interaction with the symbol of the moment. I’ve chosen this image because in it the process of not engaging with the objects becomes an active action of rejecting them. In the third photograph a viewer can see the clothes as the symbol of tiredness. And again it differs from the previous series because they represent something negative. However, the sense of getting rid of the workwear that one has felt while looking at the second picture, makes a viewer understand that the clothes here are also a symbol of rest and joy through abandoning the negative experience. And once again 1 is for observing the photograph, two is for feeling emotions of the subject and three for understanding where lies the happiness of the moment.
So you can see that the project is united not only by the same idea, favourite moment of the day, but also by the repeating sequence.
I think that the project is able to represent a bit of four different women’s lives and what’s more important to tell that all of us have special moments of everyday life that can make us happier. It’s only up to us to pay more attention to these small but powerful things.