Over the course of the last few weeks I have visited several towns testing ideas for assignment 3. As previously discussed (here and here) I have evolved the idea from reflecting change in shop windows through to looking at the high street using reflections in the physical sense and mannequins in a more metaphysical sense.
To help me consider how best to approach this subject I have looked at the work of a number of practitioners (here) and have seen how they use reflections as a compositional tool rather than setting out to photograph reflections.
I have been looking through the best of the images I have captured in Guildford, Aldershot, Farnham and Godalming and culled a few that will not make the final cut. The above contact sheet contains 20 of the culled images. My process has been to work through the raw images editing those that seem to work and then re-visiting that collection of edited images on several occasions to cull the weakest. I find that I have to create some distance between capture and editing and between editing and selecting to allow me to be as objective as possible in my choices.
For various reasons none of the above will make the final selection although they all had some promise at some stage in the process. A number of them take me away from my main theme (Figs. 10, 11, 13, 18 & 20), they all work as images but I feel and I sense my tutor felt that my series on Turks and Caicos (assignment 2) was not as coherent series as I wanted it to be. This group of pictures are directly about people or objects and, whilst reflections play a part, mannequins and retail marketing does not.
Of the others many have been culled because they are vertically framed. I have considered producing the series as verticals but although this works well when I focus in on a mannequin I often need the horizontal format to provide an appropriate context.
A small number of the culled pictures stand out for me at this point because they are close to what I am trying to achieve.
This image works well for me. In the context of assignment 3 the main colour relationship is between shades of blue and brown/orange with these colours both appearing in a range of shades. The image gains a lift from the small group of red accents to the right of the mannequins head and the golden backlight on the photograph of the model. I particularly like the cross relationships such as the necklace on the mannequin being similar to shades in the model’s hair and how the faded denim is close matched with the tarmac road.
My selected subject matter for this assignment dictates that colours will often be muted as there are, by definition, layers of glass and reflections obscuring the subjects and current fashion colours appear to be quite subdued.
Whilst working on this assignment I have become interested in the relationships between us, mannequins that in some way are intended to represent us and photographs of models that often appear with mannequins in shop window designs. This is a good example where the mannequin has body form but the head only hints at having any features. By removing the eyes and mouth the designer has removed all personality but then a large photograph of a real person forms a backdrop to the mannequin. Often, as in this case, the model’s clothing is the not the same, either specifically or generally, to those on the mannequin.
This is close to the end result I am seeking. The colours are harmonious, the layers are complex enough to demand attention if the viewer is to decipher the image and it asks questions about why we want to buy clothes modelled on a being with a body but no personality, is the model aspirational and is that message about her looks or the beautiful summer’s afternoon she is photographed in.
Whilst these complex layers play out on and behind the window life goes on in the street with an uninteresting white van heading into the distance.
There are four main colours, blue, red and yellow and brown. The blues of the nearest shirt are linked to the pink trousers by the strong turquoise of a belt and the left hand mannequin is linked to the right hand mannequin by their brown wooden arms. The colours compliment each other both left to right and up to down with some tension created in the pick to yellow diagonal.
From a subject point of view I was interested in the mannequins holding hands. The designer has gone to some lengths to de-humanise these artefacts, they are obviously made of wood, their joints are puppet-like, they have no heads. However, they have been positioned to hold hands so we have two, presumably “male” mannequins holding hands in a very conservative (in every sense of the word) town centre.
This opens another avenue about how shop displays ask questions and, especially in big brand chains, they tell us something about the physiology of marketing and what is perceived to influence us but at a micro level they might reflect something about the window dresser, their humour, or their reaction to the street outside or their sentimentality.
After a fairly fruitless couple of hours in Godalming I came across this combination of reflections and interiors that appealed immensely. For me, the image is made by the perspective of the five mannequins receding into the distance to the child mannequin in the window at the right.
The colours are the blues in the clothes and sky and the reds and browns in the third mannequin’s trousers, the street and the roofs.
This composition lends a lot to my study of practitioners and the way they often use the reflected sky as a frame for the interiors and other reflections. I began to look for this far more after seeing the work of some of the Magnum photographers. It is a very effective device and in this example forms a tunnel of blue that leads the viewer into the picture.
The nearest mannequins have some personality both in their subtle features and their jaunty styling. They are in an independent shop where the budgets are presumably tighter so they have to work in isolation, no expensive model shoots here, and this might require them to be more than a clothes rail, their fibre glass features have to be aspirational and become our role model in terms of style and dress sense.
This photograph is complex enough to hold my interest without asking me to decode it but the diminishing sizes of the models, the ornate window frame in the centre and the blue sky mixed with the shop interior make a strong combination.
Fig. 06 approaches colour differently and, whilst red/orange is prevalent as a background, the most active colours are the accents of green, in two passerby’s clothes, the red dress bottom right and the gold on the clock. My interest in this composition is in the two squares of the clock and the reversed Body Shop sign and their relationship with the mannequin’s head. The mannequin is another hybrid with a human body but a stylised human head that is rather alien in the Doctor Who sense of the word.
As a composition this has a number of the elements I am looking for. The shape of the mannequin, the two squares, the strip of sky acting as a frame or ceiling and a clear picture of the street with two people reflected within the mannequin’s black dress.
At this stage I feel the theme is taking on some shape and that the ideas I have explored are leading me towards a conclussion. The main decision is whether to edit a series based on what I have done so far or whether to look for more variety. I am conscious that trying to tick off the design elements in assignment 2 led me further and further away from the series that I wanted to produce so I am hoping that I can get near enough to the assignment 3 criteria with the images I now have. I feel that, if I start searching for specific colour combinations, I will start to compromise the theme.