I used to refer to Alec
Soth simply as a documentary photographer. However, after much study, I am more
drawn to labelling his work as photo stories. A lot of Alec Soth's major works
are initiated by himself rather than being sent on commissions. A lot of
articles also compare his work to that of Robert frank and Stephen shore, as he
carries on a tradition of American travel photography.
When he goes out on
his projects, he looks for certain things (Sheets, H. 2009) often tapes a list
of things he would like to photograph, or to look out for to the steering wheel
of his car, so that he can traverse an area and constantly have his eyes open
for specific things. He has a route which he wishes to follow. Sure, the list
can change and adapt, but he is not someone who is hoping for some images to
appear to him which he can quickly snap. He is careful, considerate, and
competent. This is quite fitting to his choice of camera.
Alec Soth makes
images on a 10x8 large format camera (Sheets, H 2009). As well as having a
beautiful effect, his images take a very long time to create. Setting up the camera physically on a tripod
(which is always a requirement) takes time, and then adjusting all the
movements and focus to the desired effect takes more time. Even clicking the
shutter takes a lot of consideration, as light readings and bellows extension
compensations apply, and the physical process of loading film and pressing the
shutter take time. All in all, it is a lengthy process which isn’t capturing
any decisive or “off the cuff” moments. All his images are made and people are
posed. This requires a great deal of cooperation from the subject and the
photographer. This is especially evident in Niagara as he photographs several
nude couples, which is not something that can be very easily negotiated.
Through this, Alec
Soth has a tendency to make images, rather than simple report on a story. And
as they are often self initiated, and Soth tends to look for specific things to
photograph, Soth is also constructing the story.
Niagara
“I went to Niagara
for the same reason as the honeymooners and suicide jumpers,”
Alec Soth. (2008.)
“I became interested
in the idea of Niagara as a metaphor for love and passion and began e exploring
those themes. Why do people have honeymoons in Niagara Falls? Why is it
associated with sexuality and passion and new love?”
Magnum in Motion. (2007).
Would you come home? 2005
Alec Soth works in portraiture, landscape, and still life.
The Book includes images of actual “love letters” and “confessions,” using
actual documents and artefacts as devices to tell his story. I suppose most
pieces of documentary photography tend to include portraiture, landscape, and
still life. But documentary work can be made purely from still life and artefacts,
actual documents that have simply been photographed.
Melissa, 2005
Sleeping by the
Mississippi
“The Midwest isn’t
exotic. And photographers (myself included) are attracted to the
exotic. Middle sometimes means bland.... The Midwest doesn’t have the
grandeur of the West or the exoticism of the South. This was one of my favourite
things about working along the Mississippi.”
(Aarron
Schuman. 2004).
St. Genevieve, 2004
Personally. I found his images (at least his still life’s)
to bear some resemblance to those of William Egglestone. Although perhaps that
is only from my view, as they both photographed similar areas of America, which
I have never visited or been too familiar with.
His images are rather beautiful. They are full of style and
aesthetic quality through his use of colour large format film, and stimulating
subject matter and locations.
I am however, quite puzzled as to how he fits in to Magnum. Whereas
Magnum seems to work towards human interest, work such as Sleeping by the
Mississippi could almost be called human “disinterest,” as it looks for bland
and banal scenes and people. They are content with existence. Perhaps Alec Soth’s
work could be a symbol of a new way of working for magnum, (as he is a relatively
new member). How subjects have changed from being of great diversity and
interest, to simply just being about humanity, and photographed very well.
“This is the problem with work like mine, which is more
lyrical than documentary. Like poetry, it’s pretty much useless. Also like
poetry, the audience for this type of work usually consists of other
practitioners, which is actually a rather large audience. But it’s frustrating.”
“What really frustrates me is that photography is not very
good at telling stories. Stories are so satisfying, and sure, there is
“narrative” photography – everyone talks about Gregory Crewdson in this regard
– but really there is no story; the work just suggests a narrative.”
(Aarron Schuman. 2004).)
That last paragraph shall be revisited in a later post, as I
delve into moving image and films role in documentary.
References
- Sheets, H. (2009). Trolling for Strangers to Befriend.
Available:
http://www.nytimes.com/2009/08/02/arts/design/02shee.html?pagewanted=1&_r=0.
Last accessed 11th march 2013
- Alec Soth. (2008). Niagara by Alec Soth. Available:
http://www.steidlville.com/books/374-Niagara.html. Last accessed 11th march
2013.
- Magnum in Motion. (2007). Niagara by Alec Soth.
Available: http://inmotion.magnumphotos.com/essay/niagara. Last accessed 11th
march 2013.
- Aarron Schuman. (2004). The Mississippi: An Interview
with Alec Soth. Available: http://www.aaronschuman.com/sothinterview.html.
Last accessed 11th March 2013.
