Rejected Photos List

Here is a list of my rejected photos:

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In regards to the first image, the photograph was too overexposed and the subject’s eyes were not fully in focus, unlike some of the other photos of that subject, so it falls among the pictures I must discard. The next set of three I discarded because of the framing. The subject is too far from the camera which detracts from the detail of the shot, making it harder to distinguish the subject from the background. To fix this, I rephotographed the same subject with a different framing which encapsulates the emotional display more definitively. The final set of three suffered from a multitude of problems. The subject, although displaying the emotional response well, is lit poorly, due to my use of natural light and the fading hours of the day, and the poor quality of the indoors light which provides this orange glow. The subject was therefore unable to be easily altered by the use of shadows, and the photo has lost quality. I discarded all of the photos of this subject as the daylight was too poor to have many decent photos, and the lack of studio lighting we could book out made the task more difficult.

 

I hope from the array of those I did not select as my final work, you can compare the differences to see why I chose the photographs I did as my final result.

Research: Maud Fernhout

dailymail.co.uk/femail/article-3798419/what-sadness-joy-REALLY-look-like-photographer-captures-men-crying-women-laughing-claims-sexes-suppress-emotions.html

Maud Fernhout is a dutch student who created a duel project known as ‘what real men crying looks like’ with ‘what real women laughing looks like’ in order to challenge stereotypes around each genders use of emotion.

She comments that “we are unlikely to see men crying and women laughing.” and that “Photography for me is a way to express myself and my view of the world, and to help others do the same.”

She says that “men are often told to: be a man…they are real and they are truly beautiful, and they have something to say.”

She got each of her subjects to tell her something about the expression of their emotion, much akin to my own plan of action.

Job: “For me, crying is not showing your weakness. When I cry, I can accept my feelings and I’m able to continue. It makes me stronger.”

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Jip: “Emotional crying is one of the few things that differentiate us from animals. Ironically, so is the urge to suppress our nature because of social constructs.”

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Aditya: “I used to see myself as strong because I did not cry; now I feel weak because I cannot cry.”

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As we can see with these photographs, Fernout keeps the background of the subject matte black, with the subject centred and the focus on the eye. Shadow barely hangs off the edge of their faces to create a distinct intensity and centralisation of the crying. The use of the subject’s words direct us to why they are crying and what it means to them. This is something I hope to replicate in my work.  She distinctly wants to present the message that it is okay for men to cry, which matches my own motivator in allowing people to reveal their emotions more frequently rather than bottling them up.

aplus.com/a/men-cry-women-laugh-maud-fernhout?no_monetisation=true.

Mariana (a female laughing) : “I won’t quit laughing, dreaming, or fighting because of someone else’s ideal.” This really inspired me as a motivation for my work, that people are able to stand against stereotypes in favour of the truth and carry on with their lives in a way they see fit, without the danger of being judged.

Kevan: “Crying of laughter and laughing of crying. These two forms of emotional expression are so closely related that it almost scares me. As if people need this balance between sadness and happiness to be able to live. Each individual deals with it. The world is filled with sadness, pain and joy. It’s something that sn outlet like crying exists to be able to move on in life. And people should be able to experience that feeling in their own way”

The framing and use of softer lighting compliments the subject, enhancing the message that they are trying to convey, and by uniting the images together as apart of a sequence.

Psychology of crying

Citation: Vingerhoets A.J.J.M, Boelhouwer, A.J.W, Van Tilburg, M. A. L, & Van Heck, G. L (2001). The situational and emotional context of adult crying, In A. J. J. M Vingerhoets, & R. R. Cornelius (EDS.), Adult crying. A Biopsychosocial approach (pp. 71 – 90). Hove (UK): Brunner-Routledge.

 

“Crying is also common in situations where sadness is not the predominant emotion” In effect, some people cry not because they are sad, but because of other emotions too.

“Particular situations or events will induce a specific emotional state if they have been appraised in a certain way.” If a child is punished for doing an action, then performing that action is likely to expect punishment, and hence more prone to an emotional response.

Overflow Theory (Breuer and Freud, 1845/1995) – “A kind of hydraulic/overflow process, that is, as a safety valve.” To summarise, sometimes crying is exhibited as a build up of a “high intensity of emotions” which causes the body to overflow.

Frijda (1986) “Crying occurs in situations in which people feel overwhelmed and experience a loss of control.” Someone with poor emotional control is more likely to have a lower threshold for emotional capacity, and cry more often.

The episode is unimportant to the crying itself.

Wood & Wood (1984) “Happy events might induce crying because of memories of unhappy experiences or unfulfilled wishes.” In essence, even in situations where people cry from happiness, it is because they draw upon memories or experiences which were bad, or were unable to fulfil. E.g. someone else may fulfil their dream which causes them to cry because their dream is being fulfilled even though they were unable to.

“It is important to find out why sadness is often associated with crying, while in a substantial number of other cases this emotional state does not evoke tears.” As sadness does not always evoke crying, crying is not always because of sadness.

Borgquist (1906) “Identified three types of crying situations: 1. Grief or sadness. 2. Anger. 3. Joy. ” Primary reasons why people cry.

Frey (1983) “40% interpersonal. 32% media matters. 7% sad thoughts. ” why people cry. Simply put, crying is largely caused by our experiences.

Williams & Morris (1996) “Women cried more often in conflict situations and in situations inducing anger.” “Men, cry in tender situations more easily.” To say that why men and women cry are different.

Vingerhoets (1997) – a sample of 250 women. “Adults cry in response to discrete emotional events, but also without any clear external trigger when reflecting on their lives or situations. Stimuli that are essentially weak and neutral may evoke strong memories also resulting in crying. Second, the inducing situations are often conflicts, feelings of personal inadequacy, and/or loss events.” He summarises that Women mostly draw upon past experiences to evoke feelings that stimulate crying, rather than the event itself being a trigger. Situations usually involve in inability to do something or as a result of a conflict or the loss of something/someone important.

Williams & Morris (1996) “Men appeared to let their tears flow more easily when experiencing positive events compared to women.”  Women are more likely to cry because of something bad, and men because of something good.

 

 

In summary, this gives me an idea of why people cry, and I will test this in my project by seeing what experiences actresses draw upon to make themselves fake cry, or even if they are unable to, why that may be the case.

Research: Sam Taylor-Wood

Sam Taylor-wood is a photographer who did a project called ‘crying men’ in which I intend to imitate in my work. She photographed male actors as a sign of masculinity to subvert stereotypes that men can’t cry. However, as actors, the audience are unsure whether or not the crying is real or faked. As a question I will be exploring in my own work, I found this particularly useful.

Taylor-Wood uses back lit photographs with the setting just as important as the subject, portraying a comfortable space in which the subject may have memories with. The framing holds the upper half of the body, usually showing the arms. The focus, again is on the eyes, with the tear appearing to glisten.  Natural light usual appears from a window to the side, casting a half shadow over the subjects face, crossing over one of the eyes. This is something in which I intend to imitate, picking locations the subjects are familiar with and by positioning them next to windows in order to mimic the shadow.

“installations depict human dramas and isolated emotional instances” – guggenheim.org/artist/sam-taylor-wood

“explore social expectations and the conflict between the inner and outer expression of self” – artspace.com/sam_taylor_wood

“crying is oftentimes seen as a sign of vulnerability” – thephoplographer.com/2013/08/27/sam-taylor-woods-crying-men-cuts-right-to-the-core-of-masculinity

“stereotype that real men don’t cry” “some of the men cried before I even finished loading the camera, but others found it really difficult.” “people can decide for themselves which they think are the authentic tears and which they think are fake”

-sam taylor-wood quoted on – slrlounge.com/real-men-cry-visceral-series-explores-societys-emotional-response/

 

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Research: Rineke Dijkstra

Rineke Dijkstra is a photographer whose work started as a reflection of her survival of a car crash. In her work she tries to emulate the tragedy of the human condition and to show how humans show emotion. In her piece “bullfighters”, Dijkstra manages to capture photographs of bullfighters as they exit the ring, a full scale violent physical struggle, but their faces are soft and saddened, perhaps by the act of violence or by their own pain. Dijkstra’s use of minimal backgrounds and the lack of smiling in her subjects aims to portray the teansitions of life. She use a soft blue/white hue to encapsulate her subjects, focusing on their eyes and framing the top third of the body. They are turned at a slight angle to create a soft shadow that blends in to the background.

“artistic inspiration is borne of tragedy” “Honest portrayal of the human condition” – americanphotomag.com/wall-rineke-dijkstra-guggenheim

Her photographs feature an aftermath of struggle and “Transcend the medium of photography” The “reveal their fragility as human beings”- theincubator.line/2016/11/27/rinke-dijkstra-bullfighters-1996/

 

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