'Black Light' explores the beauty of both natural and man made objects, and how Petersen's specific style portrays these objects. For example, the photographs of man made objects create extremely geometric lines and structured, rigid shapes, whereas the images of nature seem to showcase a variety in texture and forms, often being sporadic yet in-keeping with the admirable precision of Pertersen's thought processes and camera work. What's interesting about 'Black Light' for me is how it works as a book rather than singular images. I enjoy how, for example, Petersen often places two images of man made, constructional objects next to each other on a double page spread. For me, as a viewer/reader, it makes each image more ambiguous than if it was just on its own, as my mind tries to make connections between them, similar to the diptych's I have studied previously. Additionally, this particular example is effective in highlighting the visual themes of straight lines and geometry.
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' Ray's a Laugh ' captures the 'squalid realism' of Richard Billingham's life on the seventh floor of a council block in Cradley Heath in the Black Country, west of Birmingham. Picking up a camera for the first time at 19 years old, Billingham initially started photographing ducks and other various wildlife in his local park, “just to see if they would come out.” This is when the main subject of his photographs became his alcoholic father, Ray. Billingham has previously stated in interviews that he hated growing up on the council estate, and in my opinion this directly correlates to the images he curated, capturing the grit and grime of where he lived, from his perspective. The lack of editing and emphasises the realism of the photographs, creating a more authentic connection to a reader. Furthermore, Billingham decided to add some of the pictures he first took of the ducks in the pond, furthering our connection to him as an artist.
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In terms of how Billingham uses the photobook to showcase his images, every image completely covers each page, and he often places one image across a double page spread. I believe this is effective in enhancing the idea of 'squalid realism' or realism in general, as Billingham shoves these unedited, untouched images bursting with raw life right in front of us in the biggest size he can. Additionally, this technique forces the reader/viewer to consider every detail of the image, which is telling us something about the perspective of Billingham as a photographer. I think using this print size, Billingham is presenting to the reader what he saw and experienced in great emotional depth, compelling us as consumers of his art to turn each page and stay intrigued. Personally, I found the layout and sheer size of the book created a huge emotional connection to Billingham as an artist and a human being, and I found myself lost in his past; from the warts on his mother's double chin to the stains on his father's shirt, Billingham has the ability to immerse us into his world.
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