Monthly Archives: June 2016

The Handwritten Word

The image and text come together in many different forms and so frequently that we usually view photographs in the context of accompanying text. Most commonly the text is external to the frame, a caption, title or a longer piece of writing … Continue reading

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Redlands: Photography Embedded Literature

The photograph is evidential so when it comes together with text we are conditioned to expect the words to support that function. The printed press and magazines rely upon this association and advertising continually exploits it so whilst it is never a … Continue reading

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Captions and the Appropriation of the Photograph

This photograph is Dorothea Lange’s most famous image, endlessly reproduced and discussed and that has become the most iconic image of the Great Depression. It is shown here with its original caption (i) as written by Lange. It goes beyond Henri … Continue reading

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The Verbal and Visual in Concert

The obvious place to start exploring the relationship between image and text might be captions and titles, whole books have been dedicated to the subject, but my starting point is the less commonly seen and rarely mastered work where the verbal and visual … Continue reading

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Image and Text

“Viewing one of these works involves looking briefly at the image, then looking away to read the text, and then looking anew at the image, lingering on it, drinking it in fully once it is loaded with meaning. By that … Continue reading

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It’s Not Happening Here But It’s Happening Now – Part 2

In an earlier essay I considered Dawn Woolley’s (1) analysis of the Walker Agency’s 2006 Amnesty International advertising campaign Not Here But Now (here) and was interested to see that she positioned her conclusions in the context of Susan Sontag’s argument, expressed over … Continue reading

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It’s Not Happening Here But It’s Happening Now – Part 1

Dawn Woolley (1) analysed the approach of the Walker Agency’s 2006 Amnesty International advertising campaign and positioned her conclusions in the context of Susan Sontag’s argument that a proliferation of images of suffering has led to our being desensitised. Sontag used the example in 1977 that, because … Continue reading

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