Go to the artist’s website and look at the other images in Shafran’s’s series.
You may have noticed that Washing-up is the only piece of work in Part Three created by a man. It is also the only one with no human figures in it, although family members are referred to in the captions.
● In what ways might a photographer’s gender contribute to the creation and reading of an image? Gender I wouldn’t have thought has anything to do with it. Had it not given you his name in the workbook I wouldn’t have thought twice about if it was male or female or whatever gender someone chooses to use in today modern world.
● What does this series achieve by not including people? I think it has a sense of ambiguity going on in the series. Had this been taken during these few weeks while parts of the world have been in isolation/lockdown then I think it would show a side of life that a lot of people are witnessing today. There are a few images I like where light has been used or could have been used to create some abstract paintings.
● Do you regard them as interesting ”still life” compositions? I think its more still life. Some have an abstract kind of feel to them when others look like a photo diary insert that someone did the washing up today and they are proud of it. Slightly tongue in cheek feel. It would be something I would send to my wife when I’m on leave to wind her up like I’ve done the washing but not separated the colours just chucked it all in. Then send her a picture to prove it.
The three images above are something I would do whilst I’m home in isolation playing with how light comes into the house.
Part Two Context and Narrative BA HONS in Photography OCA 