Walls talks about how the photographer is either a ‘hunter’ or a ‘farmer’.
The ‘hunter’ being a photographer who tracks down their subject and captures it like prey. Whilst the ‘farmer’ cultivates and constructs their images over time.
I also feel there are photographers who use parts of both the ‘hunter’ and the ‘farmer’ in their approach to the construction of their work.
Such as Tom Hunter, who is becoming a large inspiration for my work and the direction it is taking.
Hunter definitely uses both ‘hunter and ‘farmer’. Looking at the above image in which hunter recreates the painting ‘Christina’s World’ by Andrew Wyeth (pictured below).
Hunter brings the image into a more modern view in which the modern viewer has a larger relationship to the context. I believe that this shows us that Hunter uses both the ‘hunter and the ‘farmer’. From the recreation of the way, the model mimics the painting which is constructed and cultivated in the way of the ‘farmer’ to the buildings in the background which Hunter would have had to track down the location to complete the feel of the image in the way the of the ‘hunter’.
I found myself looking at my work in various ways this week, From the context of the ‘hunter’ and ‘farmer’ and which did I fit into, was I a ‘hunter or a farmer’ I fall into both categories with my work.
My work to date has been revolving around the technical side of the project, understanding the construction and context was something that I did not really look at, but this was unfolding alongside the technical side of the project.
The ‘farmer’ In my practice so far shows in various aspects which can be seen in (fig 3) and (fig 4) above. The positioning of the camera so that the projection works correctly within the interior scene, the positioning of the sitter, who relates to the important parts of their surround world. Such as Simon (fig 4) is sitting next to his recording equipment as these are his livelihood as a music producer.
The ‘hunter’ is constructing how the outside world was shown within the interior space adding to the construction of the imagery. I had searched for this higher location which would give this style of projection, mostly sky with the building rooftops. As the previous shots had been with the buildings filling most of the wall space. (fig 3) and (fig 4)
As one of my peers mentioned in one of the forums
“Potentially the scenes that you have projected onto the interior space form part of that Hunter category as you have sought to track down the ideal scene in which to construct your constructions”
Hill, P, 2020
My construction of the image will be changing slightly over these coming months, as I am moving away from the Camera Obscura for this segment of the course and more into the mixed style of tableau and documentary, possibly even more of a fashion style such as magazines Vice, Refinery29, The New Yorker. Possibly making my work more fictional by using a model instead of a sitter? Maybe even one model as all sitters such as Cindy Sherman does in her work.
This may add a stronger narrative and context to my work? Taking my project into new areas of experimentation and understanding of the overall concept.
(fig1) Hunter, T. Rosen, M. 15 Oct. 2012. (The Way Home). 01 edition. Hatje Cantz. Germany.
(fig2) Wyeth, A, 1984, Christina’s World, accessed February 2020, https://www.moma.org/collection/works/78455
(fig4) Hopes, J, 2019, Untitled, Feb2020, Uploaded by author
(fig4) Hopes, J, 2019, Simon, accessed February 2020, https://justinhopes.com/wp-content/uploads/2019/10/si-1600×1041.jpg
Hill, P, (2020). unknown. [online] Available at:https://flex.falmouth.ac.uk/courses/473/discussion_topics/14511?module_item_id=36885 [accessed Feb,2020]