photo sharing and upload picture albums photo forums search pictures popular photos photography help login
Phil Douglis | all galleries >> Galleries >> Gallery Twenty Four: The Workplace -- essence of a culture > Abandoned meat packing plant, Bandon, Oregon, 2006
previous | next
12-JUN-2006

Abandoned meat packing plant, Bandon, Oregon, 2006

While visiting Bandon, Oregon, I had an opportunity to photograph the abandoned remnants of a once thriving meat packing plant. This was the room where customers placed their orders. Today, a jumble of abandoned furnishings and ancient suitcases takes precedence over steaks and roasts. Each object adds to the history of a failed business. This image invites viewers into that history, asking them to observe, think, and wonder. A documentary photograph such as this one takes a fascinating inventory of past and present. What once was an orderly room is now dysfunctional. The image acquires much of its meaning from the menu of products that still fills the far wall. It speaks to us of slaughtering, purchasing, and eating. Today this room, like the rest of this plant, is a melancholy sight. Years after the last loin has been carved, and the last pig slaughtered, all that is left remains suspended in time. I offer this image as a corporate epitaph – a memorial to a business, which, like so many others in our times, has crumbled and vanished.

Panasonic Lumix DMC-FZ30
1/8s f/2.8 at 7.4mm iso200 full exif

other sizes: small medium large original auto
share
Phil Douglis22-Jun-2006 20:13
You ask wonderful questions, Likyin, and I hope my answers will not only help you but others as well understand the difference between expressive photography and journalism, and also how my own style works in images that do not require a stylistic approach. I don't like to get labels or semantics in the way of teaching photographic expression, photographic style, or photojournalism. My own style is based on being as flexible as I can, and do whatever is possible to make pictures that will stimulate the viewers imagination. I think that any picture that triggers thought and emotion in a viewer can be called "expression." This picture is therefore expressive, even though I am not going out of my way to alter this subject, or to significantly abstract it, or make it seem more incongruous than it already is. This is a "straight" photograph, but my choice of subject matter to begin with is anything but "straight", Likyin.

I chose to make this picture because the subject matter screamed for attention -- just the way it is. We are in a chaotic room suspended in time. You are right -- it is not an image that I have created with my own stylistic devices such as deliberately creating incongruous juxtapositions, stressing one thing over another, or abstracting things down to an essence. If you read the introduction to my gallery on "how style and interpretation combine as expression" athttp://www.pbase.com/pnd1/style_and_interpretation , you will see that my style simply reflects the way I see, and how I personally choose to work with my camera. And that can vary significantly from image to image. I don't impose a "unique look" to my pictures. I use my style here to simply interpret the meaning of this room by showing it as clearly and and forcefully as I can. It is a very expressive image, even though it is a straight document, and not a stylized approach. I am expressing my feelings about what you see here just by choosing to make this image in the first place. I was struck by the uniqueness of this subject and I wanted to simply let my camera make you enter this room with me and feel a sense being suspended in time along with me. And that's really the essence of it, isn't it?

I believe strongly in my style of expression, Likyin-- a Phil Douglis picture is always a part of Phil Douglis, because of that style. My style is my voice. I speak about this room in one way. And I may speak about another room in quite another way. For example, my image of the power cleaver athttp://www.pbase.com/pnd1/image/62016405 was made in the very same building as this one. I used my a stylistic approach by changing its normal appearance, abstracting this cleaver to show only part of it, and using a black and white format. I remove it from its normal context, and instead stress only the words on its housing. I could have used that same stylistic device here by moving in on the large menu board, and stressing the now useless words that fill its spaces. But I did not. I chose instead to thrust you into the entire room with me, and feel its sense of suspended time

As for the difference here between expression and journalism, there is none. I see photojournalism as a form of expression. Yes, we must report the facts in photojournalism. But we also try to express a point of view on those facts. This image could certainly be journalistic. It is also expressive, in that it arouses thoughts in the viewers mind and imagination.

As for all those cases being "in the way of customers" -- they were not in the way when the company was operating. I am sure that they were not even there! But when the business closed down, this room became a storage area, and nothing more. I have no idea what is in those cases. And like you, I do not want to know. I hope they will add a bit of mystery to this image, one more trigger to viewer's imagination. Thanks, Likyin, for asking these questions. I hope my answers are helpful.
Guest 22-Jun-2006 19:15
I mean, comparing expressionism and journalism, I can't tell the difference here.
You could say that what you wanted to express was the historical feeling, the fact, that's your expression ... but, by saying so, how can you notice your style any more and defense it? Or, actually you don't care about "style" as long as it's the image that you WANT to make? If so, why did you ever spend the effort to explain/define your style?
Guest 22-Jun-2006 19:11
(You are incredibly quick to make the response!)

I remember you mentioned in one of your gallery that you have your style to express your feeling, other than what you've done here. I am very curious about the definition, too. But, it doesn't matter too much for me as long as the image could touch me.

And, I am really curious about what are those cases in the middle of the room, they are so in the way for costomers, whoever ... well, I am not sure if I really want to get the answer, true, that it might decrease my struggles in this place ... well, don't know ...
Guest 22-Jun-2006 19:05
You presented a PLACE, other than an IMAGE, a PLACE that invited me to step into it, to observe it, to question about it, and even to pick things up to examine them closely. It's magic.
Phil Douglis22-Jun-2006 19:03
What a beautiful analysis, Likyin. I call this image a document -- a straightforward image that defines the subject by putting the viewer into the middle of it. Documents work best on subjects worthy of such documentation, and this one is. As you say so eloquently, it is naked history, right in your face. It is as real as I can make it, yet it is filled with questions to be asked and answered. I am not making my point here, as you note. I leave it to you to make your own observations and find your own experience within them.
Guest 22-Jun-2006 18:58
It's a very straight forward shoot which seemingly everyone could make. Maybe other photographers will even try not to make it. But you did, Phil, and it turns out great, at least for me. I feel a genuine, naked history. I could easily imagine how people were walking around looking at the wall and making orders. And I also kept wondering about the strange settings with all those cases, and the chairs that couldn't been sit on, and the basin, too, what are in there ... Everything looks so still, that I can observing them one by one ... and why does the typing machine facing the door? The image could hold my interest because it looked so true and naturally keep at the beginning, and then more and more things were found not making sense ... It had this implicitly astonishingly historical scene, and at the same time kept evoking my curiosity!

I think this image is distinguished from many of your others, Phil. Because in this one, I don't have the attempt to guess the photographer's will, not that I didn't want to, but it simply directed me straightly to the place itself. Yes, you presented a PLACE here, that invited me to step into it, and observing it, other than an image.
Type your message and click Add Comment
It is best to login or register first but you may post as a guest.
Enter an optional name and contact email address. Name
Name Email
help private comment