X - BA Applied Media catalogue 2023

Rebecca Williams

REBECCA WILLIAMS

In this series of images, I am exploring fine art photography, focusing on capturing movements, tone, light, and shadow, as well as the semiotics and signs conveyed by the primary focus of the project, which is the critical theory of movement, fluidity, and imagination.

Photographer Keith Carter mentioned in his book, Fifty Years, “something is going on, the feeling that a photograph takes the audience on a journey of imagination and intrigue. This is due to the fluidity and movement of a photograph”. (Carter, 2007)

In comparison, I am inspired and drawn to the work of artists such as Francesca Woodman, with her haunting and evocative images, also the artist Edgar Degar and his ballet paintings evoke the sense of movement within his compositions. Lois Greenfield motivated me with her unique perspective, she redefined

the genre of dance photography by transcending its limitations and capturing the human form in motion.

The ability to capture these staged moments during choreography involves being patient, observant, and waiting for the right moment to click the shutter and capture an unforgettable authentic moment in time. Lighting techniques played a pivotal role along with equipment choices. Capturing fluidity in photography involves creating an photograph that suggests movement, even though it is a still image. It can convey a sense of energy, dynamism, and emotion that makes the photograph come alive. One way I achieved this effect is to use a fast shutter speed to freeze the action and capture the subject in mid-motion. Alternatively, using a slow shutter speed to create an artistic aesthetic, I can create a sense of anticipation or excitement that suggests the action is about to continue.

As a result of the fine art images I created a series of peripheral images, whilst still in the studio, for example, the juxtaposition of the ballet dancer wearing her Doc Martin boots with her ballet outfit. Therefore, capturing the fleeting moment of authenticity or vulnerability that occurs when people prepare for a posed photograph. This moment captures a glimpse of the subject’s real emotions, thoughts, personality and recognition of people’s nonverbal cues that might not be present in a staged or posed photographs. Engaging with my subjects made them feel at ease, which was another way to capture these moments. I achieved this by conversation, asking them questions, making them laugh, and sharing personal stories. Consequently, building a connection with my subjects allowed them to feel relaxed and for me to achieve my compositions.

In my work, I capture time as if it were still, an ephemeral moment is as solid as sculpture and when a split second becomes eternity.

Henri Cartier Bresson stated, “When a photographer raises his camera at something that is taking place in front of him, there is one moment at which the elements in motion are in balance. Photography must seize upon this moment.” (Cartier-Bresson, 1952)

Web: rebeccawilliams.online

Email: rebwillcornwall@gmail.com Insta: @rebeccacreative