Review// reflection

Since the end of year 12 and the start of year 13, my confidence in photography has progressed. I have developed many new skills and learnt a lot about different aspects within photography. At the end of year 12, when we had a workshop with Jonny Briggs and Tanja Deman, I was able to use my skills in manually manipulating an image. We were asked to destory an image in some way, and I was very happy with my result. We were also able to develop our skills on Photoshop.

I used Tanja Deman as inspiration. I was also inpired by Idiris Khan at this point in time. I prefer manipulating an image using photoshop because there is so much more that we can do.

At the beginning of year 13, we learnt a lot about Documentary and Tableaux photography.  I was influenced by the Photographers, Sam Harris and Anna Gasky the most, and I used there ideas to inspire my work. I seemed to enjoy Tableaux photography much more than documentary photography because the creative process of setting up the shoots and coming up with the different concepts wad really good. I also really liked editing the images after the shoot to manipulate them to what I wanted them to look like. I learnt that editing images in certain ways can create a certain atmosphere that can change the interpretation of the image.

My favorite shoot and theme so far was my childhood memory shoot because I was able to be very creative with it by choosing the outfit, the surroundings and the different poses that the model did. I learnt with this shoot that I really like Tableaux photography, and would want to use this concept in my personal study.

Contrast between carolle benitah and Pete Pin

PETE PIN 

http://www.petepin.com/#mi=1&pt=0&pi=2&p=-1&a=0&at=0

http://www.huckmagazine.com/art-and-culture/photography-2/pete-pin-origins-issue/

http://time.com/3785818/displaced-the-cambodian-diaspora/

Pete Pin was born in 1982 in a refugee camp which his family had fled to after fleeing  from the Cambodian genocide. Pin mother was 17 years old when he was born. The refugee camp was along the Thai-Cambodian border. Pin was born during the revolution. His family resettled in Stockton, CA, home to a large Cambodian American community.  Pin has said that he has “struggled for most of my life to understand the legacy of my people.”  He had little or no connection to his identity as a Cambodian American.

Peter Pin is a Documentary photographer and teaching artist.  He decided to use his photography to tell the stories of the Cambodian genocide. He is retracing his roots to bridge the gap between Cambodian Americans and their parents’ dramatic past through photography. In the fall of 2010, Pin set up a makeshift portrait studio in his grandmother’s garage in Stockton, California. With the assistance of his uncle, during one of the portrait sessions, Pin spoke to his Grandmother about his family’s experiences during the Killing Fields. Pete Pin found out that as well as the few possessions that was saved from the war, there was also a family portrait that had been saved during the revolution.  Pin describes the moment he first saw the family portrait. He says “I did not yet know that it was the start of a project that would take me across the country and back, into the homes of Cambodian Americans who would speak of their experiences during the Killing Fields and refugee camps, often for the first time in front of their children. Although I couldn’t imagine it then, the truth is that I became a photographer, in part, in order to tell this story.”

Pete Pin, Untitled, from the series Cambodian Diaspora: Memory, 2013, archival

These are Pete Pins images from the series called Cambodian Diaspora.

Portrait of Pete Pin’s grandmother, Stockton, CA. The Cambodian

 CAROLLE BENITAH

http://www.souslesetoilesgallery.net/artists/carolle-benitah

https://www.lensculture.com/articles/carolle-benitah-photos-souvenirs

Carolle Benitah is a French Moroccan photographer, born in Casablanca, Morocco. She had previously been a fashion designer before deciding to become a photographer in 2001. Throughout her photography, she loves to explore memory, family and the passage of time. She often chooses to pair family snapshots with handmade accents, such as embroidery, beading and ink drawings. Her main aim is to reinterpret her own history as a daughter, wife and mother.

In an interview, Benitah explains how she first became interested in family pictures, ‘I was leafing through a family album and found myself overwhelmed by an emotion’. The photos were taken 4o years earlier, and Benitah describes her annoyance because she couldn’t even remember the moment they were taken, or ‘what preceded’. In the interview, she talks about how the photos ‘reawakened an anguish of something both familiar and totally unknown’. She decided to explore the memories of her childhood to help her understand who she is, and to define her current identity.

She describes the images as ‘fragments of my past.’ The first step in her process is choosing what images she would experiment with. Once these choices of images were made, she would then add needlework, embroidery and beads. In the interview, this is how Benitah describes the process, ‘With each stitch I make a hole with a needle. Each hole is putting to death of my demons. It’s like an exorcism. I make holes in paper until I am not hurting any more.’ Benitah has done three photo series, they’re called PHOTO SOUVENIRS, WHAT CANNOT BE SAID and WHAT CANNOT BE SEEN. Here are three images, one from each of the series.

Carolle Bénitah, Photos-Souvenirs, Adolescence, l'amour est aveugle (love is blind), 2012, Sous Les Etoiles Gallery
love it blind, 2012, Archival Pigment Print with gold thread, Photo souvenirs series
Carolle Bénitah, What cannot be said (Ce qu’on ne peut pas dire), je veux m'extraire de ce corps coincé dans une tenaille géante (I want to extract my body trapped in a giant pincer), 2013, Sous Les Etoiles Gallery
I want to extract my body trapped in a giant pincer, 2013, Red Ink on Archival Pigment Print, WHAT CANNOT BE SAID series
Carolle Benitah, What cannot be seen, villosités intestinale (intestinal villi), 2012, Sous Les Etoiles Gallery
Intestinal villi, 2012, Red Ink on Archival Pigment Print

 

 

 

Childhood memories///Tableaux///Photoshoot

When taking these I wanted them to seem natural however it was clearly staged. I wanted my grandmother to pose like this as when our family used to live with her and my grandfather, one of the main things I noticed was that my gran would always make herself look nice before leaving the house. When she did this she always sit there chatting, joking and laughing with me. This was one of the happy memories of my childhood.

I wanted to re-create this in an almost cinematic tone just like Hannah Starkeys work however also a vintage tone. One of the main things I remember when looking at old photos of my grandmother was that orange tint to photos she was in when she was young. I did this by using a orange filter. The photos themselves remind me of how the movie stars would get ready in front on the mirrors with all the lights however obviously my gran does not have this so a handheld mirror will do.

My favorite photo is the first one as she looks as if she is staring at herself rather than posing. Almost as if she is staring at herself and analysis every feature. Just as an actress would. I also like how the photo is framed.

Alec Dawson///Hannah Starkey///Tableaux///Photoshoot

I enjoyed this shoot as it allowed me to get a message across very easily. This wasn’t a childhood memory however when I researched tableaux photography I found this photographer named Alec  Dawson. Part of his photography focused on how technology can distract us from the way we are living. You can find out more on my previous post. I have also done a separate post on childhood memories however I think this also links to memories. Its showing how these people in the frame could be making memories however they are too busy doing their own thing on their devices. I see this on a daily basis whether that be my own family or other people I see when i’m out.

When taking these photos I wanted to make them look almost cinematic like Hannah Starkey. I went around this a different way to Starkey as I conveyed this looked by cropped the photo in a cinematic looking frame. I also wanted the people on their devices to look lifeless almost ghost like I did this by selecting them only and decreasing the saturation. Also when taking the photos the lighting was very warm however I changed this as I wanted it to seem cold. I did this by places the a filter over the top of the photo and lowering the opacity.

My favorite photo is the photo in this selection as its frames perfectly for what I was trying to achieve and the lighting is also exactly how I wanted. It emotion on the subjects is also the right kind of facial expression I going for. I also like the last photo as it seem very eerie as we do not know what the female subject is staring at.

Tableaux – Constructing Childhood Memories

For this shoot I went back to the area where I used to frequently play as a child and constructed an Environment of what I remember the sort of activities I got up to as a child.  I shot things such as dug holes, sand castles and other things that showed the activities  of playing on the beach, but also other things such as possessions like towels and buckets and spades to show me bringing my own objects to the beach that helped influence my personal opinion of the beach.  I believe this shows my personal relationship that I have with the beach which is quite precious in the sense that this particular beach is quite a quiet beach, allowing me to explore and enhance my understanding of the beach.

 

Best Photographs  

 

Tableaux in relation to a childhood memory shoot

Aim: My aim for this shoot is to create a series of tableux portraits which show the memory of my bestfriend where we first met and first became friends but now 14 years on looking back at the environment.

Photo Shoot Plan:

Genre Location subject lighting Composition Settings Colours
-tableaux photography

-environmental portraiture

 

– St Marys primary school

-explore locations around the nursery as  there are stories here aswell.

-outside the school has the biggest significance.

 

-Friend Naomi to be the protagonist of the portraits (focal point)

-Background subject = the school and environment surrounding it

-message of the images is friendship and how growing up hasn’t stopped us from being friends

 

  • i am planning to go on this shoot on a cloudy day so that there isnt much bright harsh sunlight – im hoping that this will mean the colors of the image will be bolder and more dramatic because the light wont be taking attention away from the image
– main composition element that i want to focus on is breaking the rule of thirds

  • i want to have a running theme throughout this short series of the subject being directly in the centre of the image

 

No flash setting

  • wide angle lens
bold colours

  • colours that will contrast with the subjects purple hair.
  • Bold colours = to symbolise happy and big memories and events in or lives

Contact Sheets:

Shoot Evaluation: i think that altogether the shoot was successful. There were some outcomes which i really liked and captured the story that i wanted to tell. The bold colours of the Blue which symbolizes St Marys has a powerful message and i like the constant story which now runs throughout the images because they all contain the same blue shade in terms of the background and then linking the subject to the environment is the same shade of blue in her outfit as she is purposely wearing blue jeans to match this. i also thing that strong portraits have been captured. Another message i have tried to capture in these images is the differences between the person who used to go to this school when we were younger to the mature adult that the subject is now. This is highlighted in the stance and posture and sophisticated facial expressions in the images.

Best Images:

Plan for Tableaux Photoshoot

Over the last couple days after doing some research into different artists who specialise in tableaux style images, I decided to start planning for my own tableaux photoshoot inspired by tableaux in contemporary photography.

I started jotting down some ideas in the form of a mind-map to get my mind flowing and so I could write down anything that came to my min and I was commenting on the idea of re-creating my own childhood memories by looking at my own personal archive and to do this I would pay close attention to the use of costumes and props in order to tell a narrative. This was a great idea when I first cam up with it because I would take inspiration form artist such ass Irene Werning who looks at her own old childhood memories in the form of images her parents took when she was younger. This was something I was very keen to pursue but I the realised it would not show a very interesting narrative or let me explore the idea of memories and our relationship with our past and the memories we hold in our lives – the moments we cherish which has brought us happiness – I feel like this shoot would not allow me to explore this in the depth I wanted.

I also begun discussing the idea d using certain apps on my iPhone which allow users to take pictures in the effect of old and retro images – an analogue film effect that adds graininess and low quality to your photos to create a sense of nostalgia. The app I won called ‘8mm’ also alters the proportions of the frame/aspect ratio to add to the notion of creating a photo that looks like it was taken on an old film/disposable camera and this is something I still wish to explore but for the shoot I aim to complete this week, I want to look at something more contemporary – something inspired actually by an artist that I have not studied – being Rita Puig-Serra Costa – this is because I was not fully attached to either Almendros or Kapajeva’s images. I love Almendros’ contemporary, very polished style of his photos and I hope to transfer this over to my images but I will be mainly documenting on Costa’s work and in particular her series which focuses on portraits of family members and the objects they cherish themselves.

I hope to, this week compete this shoot once I have planned some more and I full understand what I wish to achieve and how I am going to go about it. I will need to contact several people who are close to me and ask them if I can photograph them individually and I will also ask them to collect an object whether that be a document, a teddy bear, a photo, a pencil – anything that has some meaning to them, preferably something which takes their mind back to when they were a child. I will then photograph this object against a black background in a mini studio set up and once both images of the person and the object which relates to them are done, I will then pair each corresponding one up. I hope to do this task with my mum, my step-dad, my girlfriend, my papa, my nan as well as myself and perhaps my dad and my sister.

Although I am not directly linking this tableaux shoot to my own childhood and re-creating my own childhood memory, I am doing it with my other family members and their own childhood memories so that I am linking the theme of family and archives. As well, I believe it will be nice effect to get each relative to write up a little passage, almost like a diary entry or a description of the object they have chosen and the relevance it has to them for me to then insert and quote this in the final production/sequence of images so it tells more of a narrative.

Rita Puig-Serra Costa
WHERE MIMOSA BLOOM
Rita Puig-Serra Costa
Rita Puig-Serra Costa

 

https://vimeo.com/124694405

Image result for chris verene photography family
Chris Verene used handwritten text over his images to tell a story
Image result for chris verene photography family
Chris Verene

Childhood memory shoot

Here are the contact sheets of the Childhood memory shoot that I did on Friday.  My initial ideas for the shoot was to base it on the story book The Cat in the Hat. However, I decided to change my concept and choose to focus on a character from the book Alice in Wonderland. The character I choose to focus on was the Mad hatter because he was my favorite character. I didn’t want to simply copy the book and create something exactly the same as the fiction character.  I wanted to create my own version of the Mad Hatter with a feminine twist. I chose to stylize the character with feminine  features and clothing. I managed to achieve a wide variation of angles, positions and poses to create a series based on my ideas. I knew what I wanted to achieve in my head so I went to the hospice shop in St Ouen to buy props that I would use in the shoot.

The shoot took place in St Catherine’s woods because I wanted to keep to the theme of Alice in Wonderland. I wanted it to be set in a mysterious and sinister place. I also really liked the wild environment that woods created. It made the images more interesting because the greenery and natural scene added to the sinister and fairy tale theme I wanted to create.  For the shoot I choose what outfit the character would wear. I wanted to make the figure look similar the character the Mad hatter, but I also wanted to add my own ideas. I borrowed a top hat from school because that was the main prop that created the personality of the character.  The model also wore some old jeans, a black top and a big white coat. I wanted to the character to be feminized, so I bought some high heels from the hospice shop to add to the outfit.  To add to the dramatic personality that I want the character to have, I decided I wanted her makeup to stand out, so I used a red tone for the lips, and I did her eyes with bright colors. 

Here are my ten favorite edits from the shoot based on childhood memory. I edited each image by changing the brightness, contrast, vibrancy, saturation, exposure and colour hue. I wanted to the images to contain an autumn scheme, so I brought out the orange, yellow and pink tones.

The image above is an example of one of the close up shots I got when shooting the character. I’m happy with the positioning and framing of this image because the eyes are placed across the center of the scene. I also really like how half the frame is the characters face, an the other half is the greenery behind. The image has a mysterious atmosphere and feel to it because it looks like the character is lost, or trying to hide something as the eyes are looking away from the camera. I edited the image so that there was a slight shadow covering the eyes. I like how this creates a three-dimensional quality to the image. The highlight and reflection on the right side of the nose and right side of the forehead also brings that photo alive. I’m happy with the range of colours within the image, because there’s warm colour created by the orange tone of the hair, and the pink tint in the skin. I also like the contrast that’s created by the green from the background.

I like the image above because its a completely different angle and feel to the other images. In this image, the model was sitting on a fallen tree while i was below taking an image looking up at the figure. The trees are seen above in the background which I really like because it creates this sinister atmosphere, as well as just simply filling the frame. I like the tones and shading in the photo, because it ranges from the darkness created by the shadow of the tree on the left side, and the light coming through the trees at the top. I really like how the model is looking down, because it makes a powerful image.

The image above has a very strong, powerful feel to it because of the way the model is looking straight into the camera. I really like the pastel colour that the models hair has become during the editing. It creates this

I really love the image above and the image below because they have a fun, clever feel to them. I think this works really well with the personality of the mad hatter because it helps create this cheeky, playful atmosphere.

The image above is my favorite from the whole shoot. I love the framing and the colours within the shot. I like how the character is presented as the main point of the image, because shes placed in the middle, which is the main focal point of the scene. The path that starts in the middle, bottom of the image, slowly leads to the place where the character is standing which I really like. I’m happy with the way the model is posing because it creates this strong, stern, serious atmosphere. The colours in this image are my favorite part of it, because the yellow tones and the orange tinges work really well with the feel.

This image reminds me a lot of one of Anna Gaskey’s images taken from the series Wonder. The environment and scenery is very similar. The lighting is very similar as well because the lights coming through the trees, which is making the background a lot lighter then the foreground, similar to my image. The character is placed in the center of the path, which again is the same as my image. There is a lot more color is my photo, which I prefer because it adds to the details and makes the image more interesting.

Documentary Vs. Tableaux Photography

Both contemporary aspects of photography; documentary and tableaux, are paramount for encapsulating a specific scene which conveys a particular time frame in history. Although, the two photographic techniques maintain a common purpose, the method behind using one is a completely different prospect.

Documentary photography is a recording technique utilized in order to understand and reflect upon either previous or current times, whether this be in either the social or political spheres, or perhaps the combination of the two. Documentary photography attempts to reveal the true, (or as close to true), events that have occurred that could serve as “both significant and relevant to history and historical events as well as everyday life”. The value of documentation is unquestionable as it allows us to understand a fragment of history, whether it be good or bad, and much like the role of a historian, it can warn us over what manoeuvres to make or not take, like an adviser. Documentation can also be clinical in the process of creativity as understanding previous ideas and concepts can influence into creating our own which needs planning and documentation of our own ideas. According to https://www.fastspot.com/publications/why-documentation-is-important/, “Documents can be exciting, inspiring, and creative forms of expression … (and) can be ‘living’ data”. The means of documentation via photography is a concept which keeps key information alive through visual representation, adding another dimension to documentary, which is a crucial factor in understanding the past.

Power house mechanic working on steam pump (1920) by Lewis Hine

Unfortunately, due to the photographic documentation work of misleading photographers like Steve McCurry, we must test whether the photographs we view are authentic and are actual representations of events and environments.

https://petapixel.com/2016/05/06/botched-steve-mccurry-print-leads-photoshop-scandal/

RESUME – READ AND WRITE P2

 

Plan for tableaux shoot

The photos above are by a photographer named Alec Dawson. I like his concept that technology is blinding us from what is around us and turning ourselves into numb, motionless human beings. I find almost everyone has spent or spends too much time on technology whether that’d be on the phone, laptop, the TV whatever it maybe, most people living in the privileged part of the world are guilty of this one time or another.  Looking on at this is a sad site to see, in the photos you can see people, animals and even the environment around that person being neglected as these people are so immersed in what ever they are looking at. I see this very often in my own home even now i am typing this on a laptop in my kitchen. To an onlooking person this could be seen as an unhealthy thing.

In my photos I am wanting to convey the same meaning behind these photos showing how these devices are killing these short precious times we could spend living rather than vegetating in front of a screen. I also like the fact that these photos were taken at night this gives the photographer more control over the lights that are being used. This is another aspect I will taking inspiration from as it also emphasises the light coming from the screens. I will be taking photos of my grandparents and my brother as it is showing two completely different generations some drawn to this habit and others not. Alec Dawson’s photos are often very cluttered and in most cases it is to convey a message that is most of the time very obvious however when I take my photos they will not be as cluttered as his are.

I have a solid idea in my head and have the inspiration to have a successful photo shoot. I am looking forward to see the results .