Looking, In the Carpenter's Workshop

[Zeeshan Ali]

Thanks to Asher for suggesting the title for the project. I would however like more people to suggest appropriate tiles in light of the description below.

This assignment was part of our photojournalism class. We were introduced to works of some of the greatest photographers even born, people such as Josef Koudelka, Alex Webb, Steve McCurry and so many more. We had the freedom to choose the topic and follow our instincts. I remember going to my carpenter’s workshop a few times to get some furniture made and the place attracted me for a few reasons such as the tools, dim lights and an eerie atmosphere. I decided to pursue this workshop as my project.

My initial idea was to focus on the carpenter himself and follow him around the workshop. Document his duties and how the furniture is actually made. However as soon as I set foot in the workshop, the space overwhelmed me with textures and figures. For a moment I was confused which direction to follow. I decided to follow my instincts and the compositions naturally started falling into place. The project became more of a study in textures, shapes and abstract compositions than about the carpenter or even the workshop itself. The title only gives the idea that the photographs are taken in the carpenter’s workshop but they are not mere documentation of the place.

The project is more of a visual experience. There is no conventional photojournalistic story to tell here. I have used these photographs to express my interpretation of the space and how different compositions combine together to form one piece.

I have looked at the sequencing of the photographs and I think there are three main sets I can arrange the images into.

1. Obscure/ambiguous elements
2. Photographs of the space
3. Photographs of tools

My intention with the sequencing is to start with the ambiguous and end with the ambiguous. However even in their ambiguity they hint at the start and finish of the project. The railings in the first image and the stairway on the right of last image serve this purpose. The first image also announces to the audience that rest of the photographs are going to follow an unusual pattern. The palm print, switchboard and scribbled writing texture on the wall illustrate the purpose. I intend not to explain rest of the photographs in detail as they should lead the audience naturally to the end.

So here I go:

1 (obscure/ambiguous)

2 (obscure/ambiguous)

In my initial sequencing, this was the second last image. However I think I should bring it forward to the start to provide a hint to the audience that the project only provides a mere hint about the carpenter. He is back in the shadows, out of focus and a ghost.

3 (Space)

4 (Space)

5 (Space)

 

[Zeeshan Ali]

6 (tools)

I was presenting on Minor White in my other class and I came across one of his images that I still remember very vividly. Here. I couldnt help but think if this photograph of mine was subconsciously inspired by the White's photograph.

7 (tools)

8 (tools)

9 (space)

10 (space)

 

[Zeeshan Ali]

11 (space)

​

I would like your views now on the series. I have tried to sequence them to the best of my visual ability. Would appreciate thoughts.

Zeeshan

 

[Mark Hampton]

11 (space)

​

I would like your views now on the series. I have tried to sequence them to the best of my visual ability. Would appreciate thoughts.

Zeeshan

Zeeshan,

are they left to right in a line - vertically like on this forum - in a scatter pattern etc. Can you post up how the function in the space (wall) as this will change how the images are read and the inter reading. Could you give us a small layout?

they all look suitably photographic - do you study any other forms of art?

cheers

 

[Zeeshan Ali]

Mark,

are they left to right in a line - vertically like on this forum - in a scatter pattern etc. Can you post up how the function in the space (wall) as this will change how the images are read and the inter reading. Could you give us a small layout?

I havent exhibited or put them on a wall yet. But so far I have only visualized from in a line read left to right.

I'm open for suggestions on the way the images should be exhibited or hanged on the wall.

do you study any other forms of art?

I havent had the opportunity to study art. I only did a one year photography diploma. Wish I had studied art instead of pursuing MBA

Zeeshan

 

[Michael Nagel]

Zeeshan,

I like the overall approach, but for me there is one thing I would like to see included in the series.
We see the tools, we see the space, we see light and shadow and we can even guess the presence of the carpenter through a reflection in the mirror, but where is the material so necessary for his work: wood? Where are unfinished and finished fruits of his work. Where are examples of his skills and workmanship? The sawdust suggests that something was worked on, but what remains a mystery (this could be intended). There is no need for a catalog, but one or two examples can give the series a different turn (unless these would not fit in your concept of presentation).

Best regards,
Michael

 

[Asher Kelman]

I was presenting on Minor White in my other class and I came across one of his images that I still remember very vividly. Here. I couldnt help but think if this photograph of mine was subconsciously inspired by the White's photograph.

Zeeshan,

I missed this important reference of yours on first looking at this thread. So lets stop and give it the attention it merits as, perhaps, it's a kind of window to your work and at the least an interesting proposition.

Zeeshan Ali: Tools #6

]

Minor White
Rochester
1954

© The Minor White Archive, Princeton University
​

Adding this context and sharing your homage to the Minor White photograph is generous. I can see the connection of the motif of an interrupted sinuous form, almost alive, that might have sparked such thoughts in your mind. BTW, did you happen to rearrange any of the objects you photographed. (Not that it's wrong to do that, but I'd love to know your philosophy on such things in this context).

The massive size of the curved interrupted shape in the Minor White picture contrasts with your example, which is does not have emphasis on the strong, breathing, sensuous power of the shape he selected.

You were inspired, but you chose not to drill down to his brutal exclusion of so many other interesting shapes. You chose in the end to be more inclusive.

Interesting difference. Did you ever think of cropping yours to bette match the original?

Asher

 

[Doug Kerr]

Hi, Zeeshan,

Wonderful work.

6 (tools)

Is the pliers-like tool here a saw set (used for offsetting the teeth of a saw so they will make a cut wider than the blade thickness to avoid binding)?

Best regards,

Doug

 

[Zeeshan Ali]

Thank you everyone for your generous feedback.

I like the overall approach, but for me there is one thing I would like to see included in the series.We see the tools, we see the space, we see light and shadow and we can even guess the presence of the carpenter through a reflection in the mirror, but where is the material so necessary for his work: wood? Where are unfinished and finished fruits of his work. Where are examples of his skills and workmanship? The sawdust suggests that something was worked on, but what remains a mystery (this could be intended). There is no need for a catalog, but one or two examples can give the series a different turn (unless these would not fit in your concept of presentation).

For me the carpenter took a backseat in the essay. The space became my primary subject. I did photograph him working in the workshop and some of his finished and unfinished works but then again I had made up my mind to pursue a different interest. Hence those photographs are deliberately not part of the series.

Adding this context and sharing your homage to the Minor White photograph is generous. I can see the connection of the motif of an interrupted sinuous form, almost alive, that might have sparked such thoughts in your mind. BTW, did you happen to rearrange any of the objects you photographed. (Not that it's wrong to do that, but I'd love to know your philosophy on such things in this context).

The massive size of the curved interrupted shape in the Minor White picture contrasts with your example, which is does not have emphasis on the strong, breathing, sensuous power of the shape he selected.

You were inspired, but you chose not to drill down to his brutal exclusion of so many other interesting shapes. You chose in the end to be more inclusive.

Interesting difference. Did you ever think of cropping yours to bette match the original?

I never intended that photograph to be anywhere near a Minor White homage. It is only when I was processing the image that I started to feel if it was indeed the Minor White's photograph that created an impulse to compose my image that way. The shape of pipe in Rochester is intriguing and references to so many things. Knowing Minor White's interests in photography, it wouldnt be wrong to suggest that there is some sexual reference in his photograph as well. Mine isnt close to bringing out that kind of references. I liked how the three elements i.e. pliers, paint bucket and the switchboard were arranged and the pipe concealing the wire separated these elements beautifully dividing the frame in half. The dirty texture on the wall is also what propelled me to photograph this setting.

To answer your question about arranging things, I dont normally like to do that. None of the photographs in this series have objects that I have rearranged. I guess I like the natural setting.

Is the pliers-like tool here a saw set (used for offsetting the teeth of a saw so they will make a cut wider than the blade thickness to avoid binding)?

Unfortunately I dont have an answer to your question. My father used to have a plier just like that one but I never asked him either

 

[Asher Kelman]

I never intended that photograph to be anywhere near a Minor White homage. It is only when I was processing the image that I started to feel if it was indeed the Minor White's photograph that created an impulse to compose my image that way. The shape of pipe in Rochester is intriguing and references to so many things. Knowing Minor White's interests in photography, it wouldnt be wrong to suggest that there is some sexual reference in his photograph as well. Mine isnt close to bringing out that kind of references. I liked how the three elements i.e. pliers, paint bucket and the switchboard were arranged and the pipe concealing the wire separated these elements beautifully dividing the frame in half. The dirty texture on the wall is also what propelled me to photograph this setting.

Zeeshan Ali: Tools #6​

Zeeshan,

Well it turns out to be a picture that's growing on me. It's minimalistic and becomes more interesting with time. Once one has seen the reference image, it's even harder to forget.

Well done!

Asher

 

[Zeeshan Ali]

Thanks Asher for your kind compliments.

Do you think the series has enough potential that I could take it to a gallery?

Zeeshan

 

[Jerome Marot]

Do you think the series has enough potential that I could take it to a gallery?

Would you buy these pictures to hang in your living room? As a rule of thumb, this is the question by which galleries will judge your pictures.