Research a photo-book and describe the story it is communicating  with reference to subject-matter, genre and approach to image-making.

I am going to be researching ‘Impressions‘ by Thomas Lodin. Impressions is a printed book project that was published in 2019 and is a result of three years of photographic work. The book consists of 150 photos across 290 pages and is divided into three colour spaces; blue, white and red. Lodin breaks down and displays the surf culture and the perceptual movement of a surfer within his photobook as his images focus ore on the aesthetic side of photography rather than the technical side. This is demonstrated by the unique images Lodin has created of the surf which has been inspire by Leroy Grannis who was seen as a surf culture legend. Lodin poses a candid look on surfing as he enjoys taking images surrounding the surf culture and the ocean in general. He has always had a love for the ocean from a very young age as he has many found memories from messing around in the sea. He seems to live a very laid back life and enjoys spending time taking surf photos as surfing has a major influence on his life.

The book has a matte lamination hard cover with a soft touch finish. The front cover design implies that the book is going to contain surf images as some may argue that the black shape looks like a surf fin. To back this up more the white gradient background and blue font also implies the photobook is about the ocean. Personally, I think the front cover design is quite simplistic which relates o the theme of what surf culture is all about. The book has a range of different page layouts including double page spreads and basic but effective designs. The way Thomas Lodin has laid his images out is unique

I have interviewed my gran to learn about her and my grandfather. I recorded the conversation and have written it down to put into my photobook. Like Larry Sultan, I want to include writing, and using my gran’s point of view gives an in depth story.

“After the war pops joined his father’s garage in Bath, it was called Bath Garages Limited, and I went to work there, and that’s how we met each other.”

wedding

“So we met in 1962 and we fell in love. We moved in together in 1963  and got married in 1965. We just had a small wedding, four friends, in a registry office. And we went out for a quiet meal after, and checked into our hotel, and his best man and my maid of honour, came up to our room and we were chatting, and his best man left his wallet behind. Pops couldn’t attract his attention as he was walking to his car, so Pops threw a toilet roll out the window and it went flying through the air. I was so cross with him about it. and I think I remember my maid of honour winding up the toilet roll so it didn’t make a mess.”

“During the first six years we were married we did lots of traveling and holidays, and for the first 6 years he joined his father’s firm. His father had a desire to sell and Pops bought it. The garages also had a small boat company where they sell rowing boats and sailing boats, which came with the garages. Pops heard of a Norwegian man who was Building inflatable boats, and he was building them in his lounge because he didn’t have any property. So Pops let him use the space in his garage and build his boats there, which became the C-Craft over time.”

“They were very successful years for pops, he worked really hard and he ended up with fourteen dealerships from Bath right through Swindon, and he expanded buying dealerships from Bath to Weymouth. We had a boat in Weymouth, welI he had it when I met him, which was called a Girl Pat: half motor half sailboat. We used to go down every weekend we could, in the better months, to live on the boat for just a couple of nights. He was able to call in some of the garages on the way down. It was, you know, a lovely life really, but you work very hard and the garage business became very successful. Also, the boat company became very successful. Both of them did. Pops had an offer to buy out the garages, but it was the right thing to do. He was going to get quoted on the stock exchange, but the night before we were due to be floated on the stock exchange, a bigger company offered to buy us out.”

“During the first six years when he was busy with the motor business and the boat company, we did several cruises and had a lovely time on the cruises, enjoyed life a lot. We went to Motor Boat Shows, and had stands at them and it was quite a fulfilled, fun life. But hard work as well for him, it was lovely. Anyway, we decided we would like to start a family after six years and we had twin girls, and when they were five that’s when he decided he’d like to move to Jersey. Of course because he sold the garages, the distributorships and the boat company. He had done business with cars importing cars from Jersey and Guernsey and he always liked Jersey. So he came and had a look around and spoke to different people, and we found we couldn’t get into Jersey unless we had a business to come into, and that’s reported for business or bought a business to come into. He managed to come across a man who owned a manufacturing company. It was a very small company, but it was enough. They made tableware, placemats, vases and napkin Rings, all sorts of things. We had to buy into something that was going to make money for Jersey, and it was good for tourists. Then we found out that he decided to leave the company… for personal reasons. Then he was approached to do soft drinks on draft, which he got to do Soda Stream type soft drinks in bars, where you pour a pint, like cabana soft drinks. He took on an agency for that, there is something else, I can’t remember what, he did several things over here.”

“We moved here when the twins were five, in 1974. We had our lovely Twins and grew up here and are now adults, married and have children of their own.”

Boot

“We were on a cruise once and there was an elderly Australian couple. They were trying to see all of Europe and Britain, and met them cruising around the Mediterranean. When he got off he was visiting England and all around Scotland. The couple came to stay with us for a few days on their travels, and we took them out for a drive and the husband saw some sheep in the field, and he looked to them and he said, “oh look loads of sheep” and he said  “I’ll bet you I know all the names too”. He had thousands upon thousands of sheep himself  in Australia, and this little flock we were looking at were about, sort of 30 sheep. It was hilarious how it was such a small flock. Anyway, we kept hearing him call his wife, “come on you old boot, move your arse you old boot!”, he used to say to her. Pops picked up the expression “you old boot”, and he used to try to call me it, but I would say “don’t call  me an old boot”. But it became quite an affectionate thing because we had happy memories of the time with them. That’s why he bought me that little brass Boot. 

Elephants

“The elephant thing between us, well that was our symbol. When I was with him in the early days, we went to London to a Boat Show, or something, and we walked around to Hamleys Toy store. It was very popular in the day, a great big toy store. They had live monkeys and things like that, exotic animals. Anyway, we went in there and he ended up buying this silly Gray elephant toy, and everywhere we went the elephant had to go with us. Pops was such a clown, and when we would go to the bar to have a drink, the elephant had to come with us, that was the first  elephant. The first elephant Fell To Pieces he was so old. Every time he would order a drink he’d say, “can I have two gin and tonic please, and one for the Elephant”. But he used to drink it, and it was so funny because the barman would look at him as if he was  crazy. We would March around London and he would take the elephant everywhere with us, and that’s how we became stuck on elephants. One of our local pubs in Bath we would drink occasionally at, they had these little plastic animals and, he chose one for me, a red elephant. You stick it on your glass and its legs went over the edge of the glass so you couldn’t get your drinks muddled up with anyone. I’ve still got it after all these years. And from then on he gave me elephants, all the cards that he gave me had elephants on them. Even our girls used to often get them too.”

1. Research a photo-book and describe the story it is communicating  with reference to subject-matter, genre and approach to image-making. 9 what it is about, i.e., landscape, how images were made)

As a part of making my own photo book I have looked at Pamela Roberts’ book called ‘the genius of colour photography’. She made the book to gather a large range of colour photography, looking into the autochrome and many other early processes all the way to current processes. Colour photography has been developing since day one and now we can see just how much it has changed looking through Roberts’ book.

2. Who is the photographer? Why did he/she make it? (intentions/ reasons) Who is it for? (audience) How was it received? (any press, reviews, awards, legacy etc.)

In the book Pamela Roberts has looking into many different photographers such as William Eggleston, Saul Leiter and many others. I think this book is made for people who have an eye for colour and who appreciate the colour in images.

3. Deconstruct the narrative, concept and design of the book and apply theory above when considering:

• Book in hand: how does it feel? Smell, sniff the paper.

the book has a glossy finish which I think works well with the different colours especially the image on the front cover.

• Paper and ink: use of different paper/ textures/ colour or B&W or both.

The images in the book also have a glossy finish which I think makes them stand out more and engage the viewer.

• Binding, soft/hard cover. image wrap/dust jacket. saddle stitch/swiss binding/ Japanese stab-binding/ leperello

The book has a soft cover which has a flap on the inside of the front cover which has more information about the book.

• Cover: linen/ card. graphic/ printed image. embossed/ debossed. letterpress/ silkscreen/hot-stamping.

it has a card cover with a glossy finish and the image on the front is printed straight onto it.

• Title: literal or poetic / relevant or intriguing.

The title of the book is very straight forward and to the point, it describes exactly what the book is and why you may want to read it.

• Narrative: what is the story/ subject-matter. How is it told?

I think the story is told through images and text to make it clear to the reader/ viewer and for those who may only just be learning about it now.

• Design and layout: image size on pages/ single page, double-spread/ images/ grid, fold- outs/ inserts.

Many of the images are presented in a large size to make the detail more clear and visible which I think I will do in my photobook too.

For my sixth and final photoshoot, I had a very clear idea of where I wanted to go for my images. As this was my last shoot. throughout the course of my project I had seen many things that I wanted to photograph. This last shoot was to capture any of those which I thought would add to my project and make it complete.

final images:

Overall, I am very pleased with this shoot and think that these final images add to my project to complete it. I think that they all hold bright colours which is what I was looking for and within the images the colours contrast. As a whole I am happy with the images I managed to take but still think there were other places I could have gone and different images that would have worked well.

Visually my outcomes can only be compared to 2 of the 3 artist references, that being the work of Woody Gooch and Hiroshi Sugimoto. Although Cartier Bresson’s ideas can be referenced in terms of the ‘split second’ ideas of the Decisive Moment.

Hiroshi Sugimoto

An image from Sugiomoto’s photo series ‘Seascapes’.

A response of mine taking inspiration from Sugimoto’s work, incorporating Sugimoto’s ideas of minimalism along with an in water/surf photography twist. The two outcomes can be compared in terms of their similar well balanced composition with an evident split between sea and sky, the use of a black and white colour palette and a simple, clean, minimalist approach.

Woody Gooch

An Image by Woody Gooch

A response of mine taking inspiration from Woody Gooch’s work, incorporating aspects of Gooch’s work. The two images can be compared in terms of their composition and focal point, the focal point being the smooth sea in the foreground with reflections of sunlight. The composition being the even split between sea and sky, once again taking on a minimalist approach.

An Image by Woody Gooch

A response of mine taking inspiration from Woody Gooch’s aspects of in water surf photography. The two images can be compared in terms of their similar foregrounds/backgrounds, subject and overall composition. The subject being a surfer in motion followed by a breaking wave in the background and smooth glassy sea taking up the bottom third of the image/foreground.

Due to difficulties accessing the equipment necessary to produce another set of in water outcomes, my singular photoshoot of 600 images will be used to make up my photobook. Experimentations with images I believed to be of poor quality saw me produce outcomes similar to those of the works of Hiroshi Sugimoto.

Mass cropping and a change to a punchy black and white setting saw my images evoke a similar feel to works of my two artist references.

For my sixth and final shoot, I have a few ideas of where I want to go for my images. I think that once I take these images they will add deeply to my project and will be very inspired by William Eggleston. For this reason I think they will fit in perfectly. I am hoping that the weather is sunny with clear sky’s to make the colour in my images stand out.

inspiration:

Woody Gooch

Background

A young photographer from the Sunshine Coast of Noosa, Queensland. Gooch has been skating and surfing since he was six. It was these sports, plus his love of travel, that ignited his passion for photography. Woody Gooch has become known for his bold, minimal and textural works that cast a fresh and elegant eye over the ocean and its riders. A surfer himself, Gooch captures fleeting moments in the water while honouring the sensual beauty of the waves. In black and white and muted tones, the captivating works of Woody Gooch are the antithesis of high-action, high-zoom imagery often associated with surf photography.

”Viewing his landscapes and oceans is a transcendental experience. One gets the feeling that Gooch is inside the photographs, not merely an observer. His subjects, mostly friends, might be surfing, or carving tracks on dirt bikes in a moonscape, but they move in harmony with the world, with reverence to the earth, to the magic and power of Mother Nature. One stands in awe, breathless at the view.”

Favored Outcomes

Awards

2018 – Finalist, Nikon Surf Photographer Of the Year

2016 – Finalist, Nikon Surf Photographer Of the Year

2015 – Lifestyle Winner – Monster Children

2015 – Finalist, Follow the Light Foundation

2014 – Finalist, Follow the Light Foundation

Inspiration

Woody Gooch’s photography has inspired me to produce images that similarly capture the essence of the ocean and surfing culture. Gooch’s ability to convey raw emotions and the beauty of the sea has motivated me to experiment with differing angles, lighting, and compositions in my own work. By drawing inspiration from Gooch’s style, I aim to develop a unique approach that reflects my similar passion for the ocean and storytelling through photography.

Minimalist Approach

Woody Gooch incorporates aspects of minimalist photography in his work by focusing on essential elements, simplifying compositions, and using negative space effectively. His images often have a clean and uncluttered look, allowing the main subject to stand out prominently. Gooch’s minimalist approach helps draw attention to the beauty of the ocean and the emotions of the surfers without distractions, creating a sense of calm and purity in his photography. I intend to produce outcomes of similar compositions.

Decisive Moment

Woody Gooch captures the decisive moment in his surf photography by expertly timing his shots to freeze the perfect instant when the surfer’s movements, the wave, and the surrounding elements align harmoniously. This approach allows him to convey the dynamic energy and emotion of the surfing experience in a single, powerful image. Gooch’s ability to anticipate and capture these decisive moments adds a sense of drama and intensity to his work, immersing viewers in the exhilarating world of surfing.

Image Analysis

”Weight” – Woody Gooch

Visually – The visual elements seem to capture an essence of heaviness, hence the title, the play of light and shadow adds depth to the image, highlighting the contrast between light and dark.

Technically – Gooch’s composition and framing create a visual balance that enhances the overall impact of the image. The black and white photography choice gives a timeless and moody feel to the piece.

Contextually – “Weight” may reflect themes of struggle, resilience, and the human experience of carrying burdens. The title itself suggests a sense of heaviness and responsibility.

For my fifth shoot, I had a few ideas where I wanted to go in order to take my images. I again focused on buildings, but also included some signs and as well as boats and flowers to give my project more of a range. As I photographed a range of objects, I didn’t take all of these images on the same day to allow myself more time to make sure that my images were of good quality.

Final images:

Overall, I think that this shoot went well, and I was able to produce more images than most of my other shoots. This allowed me to have more options when selecting which images to keep and which to get rid of. I think that they all add to my project and they have a variety of colours throughout.

I made four different zines, combining photographs from each photoshoot in each zine.

When it came to the structure and layout of the photographs, for each zine I tried to follow a narrative pattern so the images could tell a story over a series of events. For every structure of the zine, I tired to keep it symmetrical as well as experimental. I wanted the photographs when next to each other to have the same size, and for the other photographs carrying through the book to follow a pattern when it came to sizing.

I have used InDesign and the square tool to draw a frame for the picture to be placed in, I was able to copy and paste that same frame to have an exact size image on the next page. Once the photo was inserted inside the frame I right clicked onto it and selected fit frame proportionally, this stretched the photograph to the frame. I repeated the process with different frame sizes for all the zines experimenting withe the frame sizes and their rotation and layout.

Frogging

St. aubin and sand dunes

Hotel

Tunnel