Their stark, beautifully printed images of this mundane but oddly fascinating topography was both a reflection of the increasingly suburbanised world around them, and a reaction to the tyranny of idealised landscape photography that elevated the natural and the elemental. In one way, they were photographing against the tradition of nature photography that the likes of Ansel Adams and Edward Weston had created.
(Eva Kalpadaki ) https://www.facebook.com/EvaKalpadakiBrightonPhotographyCourses/
As far as I can see, Deadpan photography is a cool, detached, and unemotional presentation as well as being a potential partnership between the artist and the audience.
Charlotte Cotton suggests “The essence of the style is neutrality, the photographer is saying “this is it”, “this is the way it is”, “what do you think?”
The viewer is invited to make their own investment of context and subjectivity and together we find the art hidden behind the neutral screen.
Upon learning about the Deadpan approach, I was thrilled to realise there were elements of this style I already adopted when photographing industrial and architectural sites - landscape photography was beginning to win me over. I enjoy flattening an image, possibly giving it an abstract quality, framing the mundane and banal - unfortunately; without a large format camera. The huge size of many of the Deadpan images produced from 1970s onwards are rich in detail and technical ability, something mine are obviously lacking.
So for my response to the following concept:
Landscape is where the human and the natural worlds connect. Framing landscape as a manmade construction: an artifact of the way we live, a projection of human actions, ideals and aspirations onto the horizon.
I decided to show a small part of my investigations into Brutalism - a visit to Southmere, part of the Thamesmead Estate. I do take on board that not every image follows the Deadpan ideals. However, for me, it was about the relationship between nature and human influences on a socially and economically changing environment that I was primarily interested in.
Brutal Waterside Living
The idea of developing the area to the east of London’s ports was first suggested by the Greater London Authority in the 1960s. A team of architects, planners and engineers came up with a plan to house 60,000 people in the area formerly occupied by the Royal Arsenal – a riverside marshland with an abundance of abandoned buildings.