Suyeon Yun

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Bagpipe/Port Matilda PA. 2007

‘Suyeon Yun is a Korean born photographer who earned her MFA in photography at Yale University in 2008. She won several awards for her previous projects; Daum Prize 2008 from Geonhi Art Foundation, Alice Kimball English Traveling Fellowship (2008) from Yale University, and Tierney Fellowship (2008) from Tierney Family Art Foundation. Her work has been done with North Korean refugees (Incomplete Journey), American war veterans (Homecoming), and Iraqi war refugees (New Haven, No Haven) since 2003. She is based in Seoul and traveling through countries for her fourth war project which is supported by KT&G Photography Fellowship (2010)’.

I came across her work in Portfolio magazine, learning that she photographs American war veterans. Suyeon Yun is not photographing her subjects whilst they are in the midst of war, her work is much more subtle, leaving the reading of the images to the viewer. Within Yun’s images the viewer is left to decipher what emotions and thoughts the subject has. Her work comes across extremely powerful visually and can mean many things. When looking at Yun’s work and seeing very peaceful and ordinary images, knowing the context of who the subjects are and what they have done within their career makes the viewer only imagine what scenes they have been part of in the past. The is the reason i took an interest in her work. Simples images, yet they say so much, it leaves the viewer with many questions, this has made her work very successful.

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‘American soldiers come home from the war. They return from every war since WWII to the Iraq war of today. Spanning 42 states and several hundred veterans and their families, ‘Homecoming‘ documents an unseen American landscape. Glorious and disgusting, abominable and necessary war covers city of Harrisburg with banners to the ‘Hometown Hero’. War leaves Alex’s coffin in his dad’s garage. War teaches us Arabic at a class for young soldiers before their first deployment. And war wets Randy’s pants at Walter Reed’

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Garbage bag/Harrisburg PA. 2007

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Suyeon states that her photographs show no evidence of tragedy or trauma, and that “The deeper wound is hidden beyond its visible scar and no lens can capture that”. As i have said i say again, that her work is for sure visually powerful. So much truth is hidden behind an image and still you’re just left with the thought ‘wow’. The images leave the viewer thinking about the grief and pain the people feel/felt in the photographs.


Viewed 20/12/15

Viewed 20/12/15


Elliot Erwitt

Elliott Erwitt was a documentary and advertising photographer. He is well know for his black and white candid photographs, where he photographs every day things, such as families spending time together, someone cooking, children, eating and everything else. Erwitt started studying photography in 1939 at Los Angeles city college when he moved to America, finishing his education in 1950. Elliot served as a photographer’s assistant in the 1950s in the United States army. Photographers such as Robert Capa, Edward Steichen and Roy Stryker influenced Elliott to take photography further as he was inspired when looking at the images they took of society, making them look natural, within the moment, and what actually happens in real life.

Roy Stryker hired Elliott to work on a photography project for the ‘Standard oil company’. This experience led to him becoming a freelance photographer, producing work for Colliers, Life and Holiday. He then went on to continue shooting projects around the world because he joined the Magnum Photos agency in 1953.

All of Elliott Erwitt’s photographs are very simplistic and observed. He waits to grab the best angle and photo which comes naturally. In four of Elliot’s books that he published, Son of bitch (1974), Dogs Dogs (1988), Woof (2005) and Elliot Erwitts dogs (2008), a subject he decided to focus on was dogs. Elliot went on to spend a lot of time in film making since the 1970s. Some the documentary films that he produced are ‘Beauty knows no pain’ (1971) and ‘Red, white and bluegrass’ (1973), but the most well known one is ‘Glassmakers of Herat, Afghanistan (1977).

I looked at one of Elliott Erwitts latest books called ‘Personal Exposures’. Seeing what few others see and capturing it for us, is the essence of personal exposures. In this book Elliott put together prints that he rediscovered after a long time of not seeing them, creating a unified whole that reflects a consistent, mature vision of photograph and humanity. He photographed men, woman, children in off guard moments, old people, little girls, and many other things. I took ideas from his work, looking at how he approached society to photograph them working, living everyday, something I am going to do. Finding people in the most bizarre places, doing unusual things, or things we see all the time, find that perfect moment and then capturing it.


Book: Elliot Erwitt, W.W.Norton & Co,First Edition(16 Nov 1988).Personal exposures. Schirmer/Mosel Verlag Gm (2012).

Website: viewed 27/11/14

Website: viewed 27/11/14

Eugene Richards

Eugene Richards is an American documentary photographer. Within Richards photographs his main aim is to raise social awareness and they have been characterized as highly personal. In his first book that he published ‘Few comforts or surprises (1973), he photographed the poverty in Arkans. In His seconds book however ‘Dorchester Days (1978), the book comes across more angry and bitter, both political and personal. Eugene has also been a member of Magnum photos.

As Eugene lived in Arkansas in 1968, he became increasingly involved in the black community. He began to use his camera to record what he observed, not only the poverty and suffering of these people but also their laughter, contemplation, and triumphs. His subjects range from children at play to an African style wedding to scenes of work and home life. Death, religion, and imprisonment are major elements of Delta existence, and of these photos. The 110 photographs collected within his book ‘Few comforts or surprises’ that I looked at and studied, express the quality of life in a part of the South.


When Eugene was in Arkans, he helped found a social service organization and a community newspaper, many voices, which reported on black political action and the Ku Klux Klan. Photographs he made during these years were published in his first monograph and book ‘Few comforts or surprises’ which I studied, learning from his work and taking ideas from it to put towards my theme. When Richard returned to Dorchester, he started to document the changing, racially diverse neighbourhood where he was born. His second monograph ‘Dorchester days’ was published in 1978, the same year he joined Magnum photos where he remained for 17 years.

Some of Eugene’s work has appeared in major magazines worldwide including Life, New york Times, Mother Jones, National Geographic and The Nation. Some of the books that he has published include ‘Cocaine true Cocaine blue’ which is an extensive reportorial on the effects of hardcore drug use. Looking at some of the books that Eugene has published that I myself studied here and there, I see how he clearly photographs people in unstable surroundings, showing their actions, which give us an understanding as to why they are showing a certain emotion. Eugene’s aim is to capture moments where the viewer connects with the person in the image, understanding their life and behaviour; this is something I have included within my shoots.


Book: Eugene Richards.MIT Press,New edition (22 Aug 1974).Few comforts or surprises: The Arkansas Delta.

Website: viewed 27/11/14

Website: viewed 27/11/14

Garry Winogrand

Garry Winogrand was a street photographer known for portraying the life of the United States within his images throughout the 20 century. Most of his photographs depict the social issues of that time and the role of the media. His first book that he published in 1969 included two of his well know photographs, ‘Bronx Zoo’ and ‘Coney Island’, a collection of pictures that observes the connections between animals and humans.

Garry shot 700 rolls of films at public events, producing 6,500 eleven by fourteen inch prints between 1969 and 1976. Between 1952 and 1954, Gary worked as a commercial photographer at the Pix photo Agency in Manhattan and from 1954 at Brackman Associates. His photographs powerfully combine the hope and exhilaration as well as the anxiety and turbulence that characterized America during its vital years. Garry completed most of his photo taking in New York City in the 1960s, but he also photographed places such as California, Texas and Chicago. Most of his photographs trace the mood of America itself, showing its chaos and depression that was going on in the 1960s.

At the time of Garry Winogrands death, there was discovered 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures, and contact sheets made from 3,000 rolls. The Garry Winogrand archive at the Centre for creative photography contains over 20,000 fine work prints, 20,000 contact sheets, 100,000 negatives and 30,500 35 mm colour slides as well as a small group of Polaroid prints and several amateur motion picture films of his work.

The great thing about Garry’s documentary photography is that he has the ability to produce pictures richly complex to their description. His images are intriguing, interesting, you feel like you were there when he took it. This is because within his images a lot is happening in them most of the time, so the human mind notices these things and connects with it, giving you the feeling that you’re in that picture, a great technique that Garry has managed to use successfully so that documentary comes across real and truthful. Whenever Garry photographed a scene, he wanted it to tell a story about the life of America. After seeing how he naturally documented people’s lives, I wanted to see more of his work to get ideas for my shoots, ideas of what to document as I photograph. I came across a book that he published ‘Figments from the real world’. The book contains the development of Winogrands pictorial strategies during his years as a photojournalist, the increasing complexity of his motifs as he pursued more personal goals, and the challenge posed for other photographers by the powerful and distinctive authority of Winogrands best work, with its manic sense of a life balanced somewhere between animal high spirits and an apprehension of moral disaster.


I was influenced by this book to go out and photograph ordinary people in the street, close-ups as well as distance, putting together a collection of images that represent that town’s vibe and surroundings. I got more influences from another book that I looked at of Garry Winogrand ‘The man in the crowd’. This book was not created by himself as most of the work within it are images that were found undeveloped after his death which were then processed later on and put together. However by looking at these images, I have created new ideas to put towards my project now that I have a greater understanding of the ways in which street photography can be photographed.


Website: Viewed 22/11/14

Nation Gallery of art- Viewed 22/11/14

Garry Winogrand talks:

Viewed 22/11/14

Book: John Szarkowski, Garry Winogrand.1988.Figments from the real world. Museum of modern art.

Book: Garry Winogrand, Frish Brandt.1999-01-02.The man in the crowd. Fraenkel Gallery