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Tatum Shaw
Tatum Shaw’s collection of photographs inspired by nostalgia evoke a feeling similar to what I would like my photography to portray. He describes his work as ‘having an overall off-ness’ that allows the photo to feel like a snapshot of a memory, focusing on facial expressions and lighting to add an element of whimsy. Shaw curates scenes that perfectly blend feelings of anxiety and nostalgia together, drawing inspiration from childhood memories and reimagining them through a more contemporary lens.
His photography is a visual recreation of his own feelings associated with his past that have been altered and abstracted to resonate not only with his personal memory but also as a universal sentiment. I find it impressive how Tatum Shaw's photography seems to combine reality and imagination through a flawless blend of planning and spontaneity, presenting a sense of unease somehow coinciding with comfort.
Todd Hido
I have previously researched Todd Hido before in relation to other projects, although I feel that his work is still relevant to my current FMP. Hidos work possesses a cinematic quality, reproducing the aesthetic of a film still which is what I would like to recreate. An aspect of his work I am intrigued by is how he takes a simple photo and makes it feel as though there is a story behind it. His use of light and editing techniques appeal to me as it gives the photos a glow that appears dreamlike and unsettling.
In an article for Aperture magazine Hido stated “work that is rooted in our own personal experience never disappoints”, this highlights how drawing inspiration from your own personal experience impacts your work with a certain authenticity. As I am drawing inspiration from my own childhood memories, I hope to achieve the genuine emotion that he presents in his work as integrating personal experience not only adds depth but also fosters a universal connection. Although the audience have not shared the same past as Todd Hido they can resonate to the work through the emotions it provokes, I aim to provoke these same emotions and collective sense of nostalgia through my own photography.
Todd Hido - Huxley-Parlour Gallery Todd Hido: Sources and Influences | Aperture
William Eggleston
Although my target audience for this project is specific to those who grew up in the UK/Ireland during the 2000s, William Egglestons imagery capturing mid-to-late- 20th century America evokes a unique nostalgia of everyday life that a majority can relate to. Much of Egglestons work focuses on the Southern American life documenting the preserved culture of suburban houses and old gas stations, I aim to capture British and Irish life in the same way. By photographing everyday locations that hold the same sense of familiarity such as corner shops and rural roads, I hope to provoke a widespread appreciation for the things that are typically viewed as mundane yet give us an insight and reminder as to how the world used to be.
A key element to achieving nostalgia in photography is making the past feel accessible, as if you are almost within the photograph itself, Eggleston has the ability to do this by encapsulating the simplicity of small towns untouched by the idea of futurism. He also enhances colour within his images, using rich yet lifelike tones contribute to a vintage aesthetic and adding a narrative behind the image. His choice of colours and editing style can similarly reflect how memories are recalled with images often being hazy, adding to the dreamlike atmosphere.
Williams Egglestons way of capturing ordinary yet timeless moments, such as a ketchup bottle sitting on a table, show how the most insignificant objects can have an impact on us. Images alike to that lack overt storytelling, allowing the viewer to relate their own memories to the images and therefore intensifying the already present nostalgia.
William Eggleston: Pioneer of Color Photography — about photography
Justine Kurland
Kurlands photographic series, Girl Pictures (1997-2002), encapsulates a certain essence of the past which allows viewers to reminisce on their own journey through adolescence. She portrays a sense of youthful freedom of young girls in natural landscapes, producing an idea of self-governing and camaraderie amongst themselves.
These images display a visual narrative of rebellion against societal constraints as they are pictured sitting amongst grassy fields and climbing in tall trees. I feel that Justine Kurland portrays a story behind her photos so successfully through her eye for composition as she allows the photo to feel natural, as if we are looking back on a memory.
Girl Pictures (1997–2002) — Justine Kurland Justine Kurland on the Girl Picture Problem | Frieze
Martin Parr
The photography of Martin Parr carries deeply rooted themes in nostalgia, depicting British life and leisure. He frequently concentrates on the working-class British society, documenting local fairgrounds and seaside holidays. These scenes depict a feeling that is both familiar yet slightly outdated, serving as a reminder to us of how much our surroundings have evolved throughout our lives. The saturated colours and flash photography create a bold and exaggerated look, reproducing the appearance of vintage postcards and early advertisements to enhance a nostalgic feel.
Parr draws attention to the classic tacky elements of British leisure culture like fish and chips or plastic beach toys to further heighten the sense of fond recollection. He also creates a bittersweet nostalgia by capturing moments of social contrast and incorporating irony into his imagery.
The Florida Project (A24)
The Florida Project, released in 2017, follows a six-year-old girl named Moonee on unsupervised adventures with her friends in and around a rundown motel located beside Disney World. despite Moonee's challenging circumstances the film captures how as kids we so easily found joy in the small things in life and how simple experiences like playing outside or getting ice-cream used to have an emphasised excitement to it.
I love the cinematography within this film as the colourful locations and vibrant colour grading allow the viewer to feel as though they are viewing it from a child's sheltered perspective of reality. Most shots in The Florida Project are filmed at eye level, further reinforcing the idea of it being a child's perspective. Alike to this, I also plan on taking the majority of my shots at eye level to aid me in achieving this same effect on the viewer.
The location of filming also helps convey a sense of nostalgia as it is beside Disney World, a place that many children all over the world have visited, making the film feel ore universally nostalgic. The motel Moonee stays at is rundown as the once brightly painted buildings are faded and falling apart, making it feel like a faded version of childhood dreams and mirroring how memory can distort the past. I will photograph locations that have also changed such as old arcades, shops, and playgrounds. I enjoy how this film doesn't romanticise childhood and balances the struggles with innocent and joyful moments, much like how nostalgia is often bittersweet. The role of freedom and play is also deeply important in The Florida Project as it shows kids exploring the world around them with a sense of independence that we all once had as kids in the 2000s before technology became dominant, causing less and less kids to play outside and use their imagination.
Rinko Kawauchi
The photographic series 'Illuminance' by Rinko Kawauchi captures nostalgic moments that aren't driven by a narrative and instead feel fragmentary, almost like a memory. The sequencing of images in Kawauchis work seems to flow intuitively without narrative, resembling how we often recall memories in a scattered fashion. The use of natural lighting and a soft focus creates a dreamlike atmosphere, further reinforcing the idea that these photographs are not reality.
I admire how these photos evoke nostalgia by representing the sensation of remembering rather than capturing specific people or places from the past. Kawauchi also creates an emotional intimacy by allowing the viewer to connect with her photos whilst inviting the to reflect on their own childhood memories.
Richard Billingham
Richard Billingham doesn't present nostalgia in a traditionally sentimental way in his series 'Ray's A Laugh'. Shot in the 90s, Billingham photographs his mother Liz, and father Ray living their working-class family life in Birmingham. As he was photographing his own family, these photos display a form of intimacy that could not be achieved as and outsider.
I enjoy the authentic sense of nostalgia from these photographs as he captures his own imperfect and unfiltered family that viewers could relate to.
‘Ray’s a Laugh’ by Richard Billingham Review: Home Truths - ArtReview
Subject Matter & Theme
Why We Feel Nostalgia
Susanne Helmert discusses her fascination with old family photographs in this article and how nostalgia can present a familiar feeling that can provoke emotions ranging from sadness to contentment. Helmert talks about how nostalgia can transcend to photos that aren’t from your own past, highlighting how it can be a sensation felt by anybody and how it can relate to any time.
Whilst reading this article I found it interesting that in the 17th and 18th century nostalgia was actually seen as a medical condition with “symptoms” like fatigue, insomnia, and loss of appetite. As more research was conducted into nostalgia it was no longer viewed as a disease but a normal emotion that we all experience.
How Our Memories Are Stored
There are many aspects that effect how well we can recall our memories, often learning information from another source can renew our memory and alter it. Other factors like sleep, emotions, and chronology can affect how accurate our memory is. Sleep is incredibly important and necessary for a good memory and retaining information as the brain uses that time to file all our memories, hence why people that experience less sleep can sometimes have distorted or patchy memory.
We often remember events more clearly where we experienced highly emotional moments varying from a birthday party to the death of a pet because if a memory is emotionally charged, a part of the brain called the ‘amygdala’ will retrieve the details more effectively. In my FMP I would like to explore this concept of mistaken memories and present it visually through editing.
Why do we remember things differently? - BBC Bitesize
Feelings Associated with Nostalgia
Comfort- When looking back on childhood memories it is common for nostalgia to bring a feeling of longing and warmth. The sense of a familiarity carried with it often feels like a mental 'home'.
Melancholy- Nostalgia can possess a bittersweet feeling as we are often pleased we experienced those memories yet it is a reminder that things can never fully be relived.
Joy- Memories can often reconnect people by discussing them and serve as a reminder to be more imaginative like we used to. Most commonly nostalgia sparks joy amongst people as we usually recall memories with the exact emotions we felt during that time.
Embarrassment- A lot of memories can bring second-hand embarrassment for your past self. It is often felt when reminiscing on old trends or how we used to act yet these 'cringe' moments are what makes nostalgia relatable and human.
Reflection- Nostalgia encourages self-reflection and makes us think about who we've become and what has helped shaped us into that person today. When we find ourselves in times of transition and lots of change, nostalgia can be a way of understanding the past in relation to the present.
Grief- A deeper emotional weight can be carried alongside nostalgia, especially when it involves places or people that have changed or no longer exist. It can be a way of processing loss not only of others, but the past versions of our lives.
Nostalgia In Places
Places can be come deeply nostalgic not just for what they are, but what they represent. people often become attached to these locations and when they start to change or disappear, the memories tied to them become more powerful and therefore amplifying the sense of loss. In particular, beaches, amusement parks or playgrounds evoke a vivid sense of nostalgia as these were once places of adolescent exploration and innocence.
The sensory experience of seaside arcades all contribute to a cultural experience that is both deeply regional and personally nostalgic. This aligns with David Lowenthal's idea that "the past is a foreign country"- not just distant, but strangely different from how it felt in the moment (Lowenthal, 1985). By photographing these locations today in their current state I can invite the viewer to reflect on not just where they were, but who they were.
Is Nostalgia Bad?
Nostalgia is often triggered through our senses which is why when you smell a certain perfume or eat an old meal from your childhood you almost mentally time travel back to that era of your life. Once we experience this feeling we tend to dwell on it and use it to escape the present as nostalgia carries a bittersweet undertone, making us yearn for what we deem to be a simpler time.
Nostalgias association with unhappiness is unfair as it is rather a defence mechanism of unhappiness to bring a relief from negative mood. Yet it is not a bad emotion to be experiencing as psychologists conducted an experiment in 2006 presenting evidence that "nostalgia can highly improve our mood and boost our sense of life's meaning".
Although nostalgia may comfort us a reliance on it can ultimately lead to a dissatisfaction with reality as it becomes a way to avoid and distract from present challenges. Often our brain creates an illusion that the past was better than it actually was as our memories become categorised into negative and positive, prioritising the positive emotions we felt at that time over the negative. This can add to the struggle to find joy within our current circumstances as we constantly compare, only increasing our discontentment with our own lives.
It not only romanticises our past but also creates a longing for the familiarity of what once was, making some resistant to change. This sort of reluctance prevents us from embracing new experiences and feeling satisfaction from them, yet clinging onto these memories cannot make them a reality. There should be a balance found within nostalgia to ensure it motivates you to nurture future possibilities and not let it remove you from the present. The Protective Power of Nostalgia - The Atlantic
Nostalgia in Fashion
There has been an uprise in the resurgence of vintage aesthetics in areas like fashion, photography, and design for quite some time. This can all be linked back to nostalgia as it evokes a longing for the past however these trends of aesthetics become fast paced in the modern world and will never be the same as they once were. This emotional connection is often capitalised on by clothing and design companies as they produce products that resemble the vintage feel with a twist that takes away from the authenticity. Often brands benefit more using this marketing technique of visually advertising nostalgia through retro styling, classic fonts, and grainy textures as it urges the consumer to feel a sentimental relationship with the product they are trying to sell, ultimately leading to a compulsion to purchase said product.
Brands also often create an impression with their vintage styles that they carry a sense of timelessness, forming an illusion that the product or brand has longevity and heritage. At this present time the idea of nostalgia could be considered very dominant in the fashion and branding world, I feel that this is because people are starting to get bored of the clean, minimalism and hyper-digital aesthetics. This digital overload makes us feel that we need to counteract this by reverting back to old trends in clothing and consuming our favourite medias from childhood.
The Power of Nostalgia: Why 90s and 2000s Trends Are Making a Comeback | by Insee Samiprem | Medium
Y2K Fashion 101: How the Millennium Started Trending All Over Again | Vogue
Why is Y2K so popular again? - The Johns Hopkins News-Letter
The Theme of Nostalgia in Marc Jacobs-'Heaven'
The 'Heaven' sub-label launched in 2020 by Marc Jacobs explores subversive influences from the 90s/2000s and counterculture aesthetics. The branding for this line mixes elements of rave culture, harajuku street style, and mall goth to produce a style that feels both natural and new. The designs within this line reference the media and culture from this era with an undertone of rebellion as it was an age for exploring identity and standing out. The 'Heaven' line doesn't only re-create the look of the 90s/2000s through fashion choices it captures the essence of youth culture during that time through the campaign photography.
The techniques used in shooting and editing deliberately mimic the candid and raw look of the early 2000s street photography and editorial magazines. Techniques such as harsh flash and grain are reminiscent of party and paparazzi photography, helping to stand out from the high quality perfection you often see in shoots today. I admire how they embrace imperfection through shooting awkward poses and everyday locations like a bedroom or a corner shop. I personally think that this campaign works so well because the 2000s is an era defined by individuality and instead of reshaping it to todays modern standards, they have revived the same spirit that once was by rejecting the hyper-commercialised look of mainstream fashion. Marc Jacobs is creating an evocative connection with the audience by generating more than a fashion line. It is an emotional experience as it isn't only about the clothing, it's about romanticising and reliving the past.
Target Audience
My target audience will be individuals aged 15-25 of any gender, alongside those who grew up in the UK and Ireland during the 90s/early 2000s. This is an ideal demographic for my FMP as these people are at an age where nostalgia can shape their identity and cultural experiences. At this age it is good to revisit memories from childhood as it helps us understand how we have changed and matured. Many of those aged 15-25 are beginning to embrace internet culture and TV shows or movies by rewatching or sharing them online.
Those who grew up in the UK/Ireland share more tailored experiences amongst each other due to our culture. Popular television programmes like CBBC and CBeebies influenced our lives as children and continue to do so as we share this experience as a generation. Platforms online such as TikTok and YouTube are regularly full of discussions surrounding music and pop culture references which reinforces that sense of communal nostalgia among us. By referencing culture, media, and fashion of the 2000s in my own project I aim to evoke collective memories and engage my target audience.
Why Do We Rewatch Shows?: Impact of Social Media and Childhood | The Bubble
How nostalgia became the new normal in TV - Creative Review
Survey Results & Evaluation
What is your age?
86.36% of the participants in my survey are between the ages of 15 and 25. I had predicted that I would get a result similar to this, hence why my project is targeted to this specific age group. There were only 3 other answers that were not ages 15-15.
Did you grow up in the UK/Ireland?
When asked if they grew up in the UK/Ireland 90.91% answered yes, with just 2 participants not having grown up here. It is good that my target audience have a connection to the UK or Ireland as it will make my photographs feel more relatable and personal.
How old were you in the 2000s?
Similarly to the first question, 86.36% of people were ages 0-10 in the 2000s with any other votes being between ages 11-30. Alike to my first question this answer was expected and will help me further enforce the perspective to be from a young child.
What would you most associate with the 2000s?
When questioned what they would most associate with the 2000s, 81.82% chose music with only 31.82% of votes for technology. The other options for fashion and TV/film both were chosen by 54.55%. This tells me that it would be beneficial to reference 2000s music in my project. I found it interesting that technology got the least votes as mobile phones, iPads, and consoles became increasingly popular and accessible at that time.
Do you feel a sense of nostalgia when thinking about the 2000s?
Most participants (81.82%) said they felt a sense of nostalgia when thinking about the 2000s era. This is useful data as it shows that most viewers will feel nostalgic from my photography and hopefully have more of an appreciation and understanding for it.
Which of the following makes you feel most nostalgic?
For what made my audience most nostalgic there was a high of 15 votes for toys/games and a low of just 5 votes for brands. I was surprised that toys/games was votes most as I feel that they do not bring much nostalgia to me personally. However, brands having the least amount of votes is understandable as they aren't something we were concerned or paid much attention to as children. These answers have influenced me to try and incorporate more of a variety of nostalgic props within my photos.
What emotions would you associate with your own memories from the 2000s?
Amongst my answers, the emotions that participants would associate with the 2000s, were overall very positive. The emotion most commonly said was happiness at a total of 5 times. These answers show that I should stick to positively capturing nostalgia as opposed to negatively in the hopes that the viewers will resonate more.
Which platform would you most likely use to view visual content?
40.91% of people voted that they would be most likely to view visual content on Instagram with only 4.55% of people voting for Facebook. This tells me that if I were to promote or post work that I would be most likely to reach my intended audience on Instagram more than any other app.
Would a photographic series based on childhood nostalgia appeal to you?
When asked if a photographic series based on nostalgia would appeal to them, a majority of 90.91% said yes with the other 9.09% saying maybe. Since the response is strongly p0sitive it suggests that the theme of my project will resonate with people. No one said no, also further proving that the theme of nostalgia has a strong relatability and relevance among my audience.
How would you prefer to view this kind of series?
Most popularly, 45.45% chose that they would prefer to view my work in a gallery, suggesting that they would value it more as the physical experience of it is more immersive and memorable. 36.36% chose that they'd prefer to see it online, this is probably due to the fact that people enjoy when art is easily accessible yet it also shows how important it is to put my work on social media to help gauge an audience. It would also be beneficial to present my work online as the audience my project is targeted to tends to use their phones more commonly. Although my results suggest that a gallery exhibition or photo book may have the strongest impact, an online version could expand my reach even further.
Skills & Techniques
4 TIPS to Edit Digital Photos Like FILM
This video gave me an insight into some techniques that will further improve my editing to achieve the desired aesthetic of my images. I also found this video useful as the creator presented two of the same photographs side by side, one taken digitally and one taken on film, to show how easy it is to replicate the look of film through editing in Lightroom.
Ian Howorth
Photographer Ian Howorth takes a distinctive approach to capturing British life through film photography. His technique of seeking out ordinary locations and focusing on everyday scenes can help hold more significance for viewers. Howorth also embraces the authenticity of film as he mentions "film gives me a look I can't yet get with a digital camera". Although I cannot shoot with film due to time and financial restrictions, it is important that I apply Howorth's techniques to my photos by emulating the aesthetic of film when editing.
Ian Howorth: Capturing Silence and Identity — about photography
How to make your photos look like FILM! (Lightroom Tutorial)
When editing my photographs I want to capture the feeling of it being a distant memory, to achieve this look I feel that it is necessary to make my photos resemble film. I would use a film camera for authenticity, yet I do not have the time and resources to do so. This video has inspired me to explore different presets and figure out what ones would best fit my photos.
How Motion Creates Emotion In Your Photography
In this article Jason Row discusses how you can use slow shutter speed to convey movement and emotion. Often creating motion with an image can be associated with the passage of time, interlinking with feelings of nostalgia. By using this technique I can control the emotional narrative of my photographs.
How Motion Creates Emotion In Your Photography | Light Stalking
How To Use Shutter Speed To Create Emotional Photos
Ryan David emphasises how slow shutter speed can add depth to an image visually and emotionally. He also highlights the importance of balancing the shutter speed with other camera settings like aperture and ISO, to achieve your desired effect.
Faceless Portraits: Stay Focused with Doug McKinlay
When taking faceless portraits there becomes an emphasis on context and body language to help convey narrative and emotion. By utilising techniques such as partial profiles or close-ups of hands, and contextual details can create a story open to the viewers interpretation.
Additionally, with the models having no clear facial identity the images become more universal, allowing the photographs to resonate with a wider audience. Although, the absence of a face could also replicate how memories often blur over time, leaving behind impressions of moments rather than distinct identities.
How to Capture Faceless Portraits - 42West
Presenting of Project & Final Product
I will present my final product in the form of printed photographs as last year I previously presented them on a website, since I am also taking less photographs for my FMP this year I would rather they were viewed in a physical form. I will document all my evidence and showcase it on a Wix website that I will create so that it is easy to access any links, videos or images.
Alongside this any photos not included in my physical final piece will be displayed on my digital portfolio with the rest of my project. Due to my project being based on the theme of nostalgia I feel that it is more fitting to display my photographs physically to give the impression that they are from an old photo album.
When a photo is physical it allows the viewer to take more time and appreciate the finished product more so than digital photo as everything online is so fast paced. I aim for my final project to further add to the feeling of nostalgia through the form in which it is being presented as it enhances the experience by engaging with the senses in a way that digital screens cannot replicate. Nostalgia is often linked to tangible objects such as photo albums and Polaroids so a physical display of my work reinforces the theme as it mimics how images were more commonly interacted with in the past.
I also hope that by printing my photographs they will have a stronger emotional impact as it encourages the viewer to slow down and engage as opposed to them being viewed on a phone where they are scrolled past and forgotten. Based on my survey and other research I aim to present my photos physically in a photobook which I will create.
Physical VS Digital Photos - Digital And Discursive
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