Out of the few I took, here are a select few which I prefer over the others. And i’ll explain the reasoning behind them.
I spoke a little about the inspiration behind this shot in my research post about Andrew Jackson, but I will go into a little more detail now. I remember when Andrew put this image up on screen at our talk with him at uni. Something about it made me really enjoy and connect with the image when I first saw it. I loved the calm expression on his face, eyes shut and blissfully looking into the sunlight. I loved the way his clothes juxtaposed his expression and gives us a look into the subjects personality, rough on the outside, soft on the inside. This is something that I wanted to take and explore with Inan, although in a slightly different way. I knew Inans feelings toward Turkey are very negative, anger and frustration come to mind when talking about it with him. Which is understandable considering Kurdish people have been dying at the hands of Turkish security forces every week. The whole body of work I am trying to create is trying to show Inans anger through the use of my photographs. Bearing that in mind I asked Inan to stand against the wall, look in the direction of the sun. He commented saying I cant, its too bright. But that is what I wanted, the bright light from the sun would make Inan squint and frown, giving him an angry, pissed off facial expression which I was after. I wanted him to look angry to replicate the feelings Inans has. The images, side by side are very simuar, although I decided to manipulate the original a little bit by making Inan look aggressive rather than peaceful and content. I decided to add a bit more free, dead space above Inans head to remove Inans body and posture out of the frame, but keeping the wide angle style of the image, similarly to Andrews.
Next up is this shot of Inan I took standing in the carpark just outside of the shop he owns. Having visited the shop regularly, I knew the outside houses opposite the shop would be the perfect backdrop for what I was trying to say. So what am I trying to say? I wanted a shot that would help put a location on Inan, showing the type of place he lives/works in. the old, 70’s esk 3 story flats in the background were the perfect opportunity for this. I feel that the oldschool, run down flats symbolise the location as being London/outskirts of London. As many people think, most successful businesses operate in/around London as a result of the population and business generated being in the capital. This is the same with Inan, the shop is located in Essex with the main underground tube station into London literally a stones throw away. I wanted to get a sense of location with this shot. I also planned to get the buildings structure to be leading lines which help draw the eye in to Inans face. Thankfully I knew the location well and planned Inan to stand in the carpark so that the houses would help create the image I am after. Back to the topic of posture and facial expressions, I again wanted Inan to look aggressive and angry again, to show his frustration again. I also asked him to cross his arms, to help with the reading of the image as well as show off Inans statue. He’s a big guy who likes to go to the gym, so I wanted to emphasise this by making him look aggressive and muscular. On reflection I should have asked him to take his jacket off.
One of the more obscure and mysterious shots in the book, a moody shadow photograph which raises questions on identity. This is the goal of the image, to question the actual identity of Inan, weather he considers himself as an Englishman or a Kurd. It was also another way to photograph Inan in a way that isn’t just a standard straight on portrait. I wanted to experiment and try to capture unique images rather than the standard face on, dull portraits which anyone can take. Pushing the boat out is what I was trying to do. I didn’t want the photographs to get repetitive so I had to try to do something new.
Wasn’t too keen on using this image, but I wanted a way to create a cross (an X) with props to symbolise Inans views against the civil wars going on. I wanted to incorporate this image in as a result of the X being formed with the sharpening knives, as a metaphor which says “stop the fighting”. But at the same time, a man holding knives can also be perceived as a willingness to fight, so the image can be read in either way. But the way I intended was for Inan to be against the fighting and the X being formed is a plee to stop the fighting.
The final image I wanted to talk about is this one. Out of all of them, this is a tied favorite with the one of Inan against the backdrop of the flats with the clear blue sky. I wanted to create a moody image which causes a lot of questions. I wanted to create a dark and moody image to create the illusion of uncertainty. Uncertainty in Inan and the future of Kurdistan. I plan on putting the images with supporting text either next to or on the page after the image so that there is something to read and enforce the story. I want the viewer to be able to read the comments, turn the page and take in the image in as much detail as possible. I need to figure out the best was of doing this.
I have a rough idea how the book is going to look, but I dont have a definitive idea in my head of exactly how it’s going to look. I just need to get experimenting.