Photographer Arnold Newman would oftenemploy backgrounds in his portraits which helpedtell the story about the subject.Newman said that he didn’t like the “cold studioportrait” but instead wanted to show his subjectsin their surroundings.Quoted from the Palm Beach Post, 2006
Ana Mendieta, from the series Silueta, 1976The silueta (silhouette) was a series of artwoks made by Ana Mendieta in which sheleft an ‘imprint’ of her body in snow, mud, sand, grass etc. These were transientephemeral artworks, at their creation a performance piece, then recordedphotographically.
Artist Richard Long is known for his Land-Art,often photographing tracks made by repeateduse, or arranging natural materials within thelandscape and then photographing them (seealso the artist Andy Goldsworthy).
The landscape photographyof Michael Kenna is clearlyproduced ‘outside’ in thecountryside, yet hisminimalist style is perhapsmore reminiscent ofdreamlike or halfremembered landscapes.In a sense then, theselandscapes could be aboutthe human experience ofencountering a landscape,the subconscious – ourhidden mental interior.
How would it feel like to be an immigrant – a foreigner in a strange land – an ‘outsider’? In this famous photograph Alfred Stieglitz records immigrants arriving travelling to America on board the Kaiser Wilhelm II in 1907, escaping the poverty and oncoming turbulence which would escalate into a world war.Alfred Stieglitz, The Steerage, 1907
The work of Hungarian Andre Kerteszdemonstrates sublime compositionalskills, with shapes within shapes (shapesspaces, shadows & tone inside shapes &spaces).
Shoot through a transparent or semi-transparent surface such as glass with condensation or rain drops, or even a shower curtain as in the film Psycho. The surface is between the distant subject and the camera. Images like this can obscure or hide the subject behind the surface, creating a mysterious, dreamlike or scary effect.Scene from Psycho, Dir. Alfred Hitchcock
Reflections Reflections can distort reality, they can also act as an ‘in between’ the subject and the image.
Use FiltersFilters placed between the camera lens andthe subject can radically enhance or alterthe visual appearance or feel/mood of animage.Similarly a gel filter between light sourceand subject will alter the colour of the light.
The theme ‘Inside, Outside, In Between’ can be interpreted in manydifferent ways.Here are just a few thoughts and ideas to help inspire you:• Outside - forests, the beach, the countryside, moors, mountain passes, highways, tracks, arches, urban landscape, architectural exteriors, the universe – stars & galaxies, aliens,• Outside – alienation, loneliness, exclusion, foreigners (outsiders),• Outside – skin, clothing, raincoats, hats, boots, shoes• Bringing the outside ‘in’ – binoculars, telescopes, microscopes, looking out through a window or doorway, greenhouses, tubing, pipes• Bringing the inside ‘out’ - looking in through a window or doorway, X rays, ducts, conduits• Inside - tunnels, underpasses, subways, arches, Diving, swimming under-water, birth• Inside - cupboards, wardrobes, drawers, boxes• Inside – emotions, fears, dreams, imagination, love• Inside – operations, piercings, tatoos, drugs, syringes• In between - asexuality, apathy, inaction, puberty, pregnancy, birth• In between – thresholds, edges, cliff edges, holes, caves, tunnels, underpasses, pedestrian crossings, bridges, mediation• In between – filters, gels, post production Photoshop effects, windows, masks