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My Inspiration / A New Camera

When given the task to write up a short document covering and explaining one thing that inspires me, I became a bit muddled and did not have a clue where to start because I could not recall any moment during the summer where I was inspired due to the relaxation of the six weeks and my need that I felt to not do much work at all. Over the six weeks I became very lazy and didn’t really have much motivation or incentive to achieve something amazing, instead, spent it with a very chilled out mind-set, which looking in hindsight, now regret because I could have used it as opportunity to do something new and challenging as a personal achievement.

However, once I thought hard about a summer that now just seems like a blur because it went so quick, I have come to realise that in fact I did lots of little things that seem so ordinary but have in fact inspired with regards to photography an furthering my skills to improve myself as an artist.

I had been wanting an old, vintage and retro camera for ages so that I can shoot in a new way and experience something different in photography but have never known where to get a retro camera in full working order from. At the beginning of the summer, I discovered a website that sells these exact camera I have been after for so long, in all shapes and sizes with different functions. I decided I would get one because I didn’t want the opportunity to go to waste. I got myself a Canon A-1 Sure Shot from 1994 after reading many positive reviews about it. It is a point and shoot waterproof camera with an underwater macro function and I loved it as soon as I saw it.

Canon A-1 Sure Shot

The camera came in its original case and with the original strap and I was over the moon to shoot with it because it would be a new experience and I hope, now I am half way through my first film that shooting with retro cameras will become a hobby of mine because of the pure satisfaction I get from shooting with film due to the great results which exude nostalgia and good vibes due to the colours that come from film photography. I am yet to use it underwater yet but will look forward to the results once I do. Film photography is becoming much more popular again and is coming back in to fashion as way to shoot professionally. I have gathered many ideas for photoshoots with the camera, such as mini 5-shot fashion shoots on a film of 30 exposures to get 6 mini photoshoots out of one roll. I have seen the use of film photography in many online fashion, music and art sites such as Dazed, It’s Nice That and Wonderland – where I get my inspiration from most of time for new ideas!

Therefore, the addition of this little gem to my photography equipment goes perfectly alongside my DSLR as a contrast tool for new results and I hope to use this in my A2 course this year as well as my DSLR.  I also hope to expand my collection by purchasing anther film camera off the same site which I have seen. It has a half-frame function which is perfect for different results.

The purchase of this camera lead me to delve deeper into photography in the summer by doing other activities that also inspired me to hopefully do something new and creative in the future. For example, I came across a site called Format where in which users can sign up and create their own website using templates from the websites catalogue to display and present their images or artwork or designs professionally and easily. I signed up for a 14 day free trail but this soon ran out and I now wish to, once I am in a strong position wit my work and I feel confident enough to display my own portfolio, upload my own images to my own website where I can control the content whether it be images or text. It is a great tool for any young and aspiring artists as a start-up mechanism as you can view other like-minded people’s work. As well, I was inspired further by watching YouTube videos of ‘It’s Nice That’s’ ‘Nicer Tuesdays’ series where they get a wide rage of creative people in whether the be photographers, illustrators, animators or film makers and they get to talk about their most recent works to an audience. This gives me an insight into inspiring artists who once in a similar to position to me right now where they want to do something with his special skill they are learning but don’t quite now where to go with it!

Also, I have recently subscribed to a contemporary phtooagrohy magazine called Hotshoe. It is the UKs leading contemporary photography magazine and I cannot wait to receive my first issue to give me some much needed background knowledge of the photography world.

 

Reflection of Workshop w/ Tanja Deman

Yesterday, on 11/07/17, Croatian photographer Tanja Deman came into the school to hold a workshop with us. It was centered around looking at the shots we captured form out shoot at Grosnez and L’Etacq a few weeks ago – she wanted us to reflect on what we caught and start thinking about ideas for creating photo montages and photo collages like hers.

She also set a task before her workshop yesterday for us to gather some out favourite images from the shoot, and link them to our artist references to then begin gathering thoughts about what we could o with out images and I began creating some edits. These are on the blog.

The workshop consisted of Tanja getting us to open up Adobe Bridge on out computers and to begin organizing our folders so she can come round to our work areas and look at what we have produced – this was what the opening part of the lesson was made up of. From working with Tanja before in the photographic academy which took place in the Easter holidays, I was aware that she was very reliant of using Bridge to arrange her image and she essentially is an advocate of the software program to use as a tool for seeing all your images together and she encouraged all of us to use it regularly in future work. She briefly went through the essential tools within the program to help us.

Katrin Koenning

I like that in the image above, Koenning has, as it seems, attempted to contrast the effect of land and sea. The left image being land and some sort of bush or tree being the subject contrasted against a black background so that it absorbs the light and makes the red of the tree stand out. The right image being sea and a fish being the subject. I love the contrast between content and colors of the photo – that the right one is almost over exposed and looks as though a flash has been used but I really like this effect and I find the cold blue very enticing. I thought about contrasts in my images when editing in post production. I chose to use the method of overlaying images and creating a collage of just two images to contrast subjects. I like the effect of layering images because it can hide features of the background image and the new image can replace what is missing and create a new outlook and a new narrative.

In the above image I crated, I wanted to show the effect of contrasting two images. I really like using a black and white image that is heavily contrasted so that there are deep blacks against faded out whites and neutral greys and then a more vibrant, smaller image on top. I wanted to contrast the vast and wide landscape in the background that is very empty against the more close-up macro of the yellow plant and greenery surrounding it. I love the juxtaposition of feeling micro and feeling mega! There is also more evident detail in the macro which contrasts to the vaster landscape where you cannot pick up detail as much and to add to this, I also blurred the image in the background using the motion blur tool on Photoshop.

By the timer she had come round to my work station, I had organised all my folders so that she could have a look and give some advice on what I can do next to progress. I really enjoyed seeing Tanja again because it is helpful that she already knows my style and has seen my photography work before so knows that I nave a particular way of photographing and editing images. I think this was evident from my sets of edits I presented her ans I believe she enjoyed looking at them. I did show her my images that I collected from the archive in advance to the workshop but I have no intention of using them because I don’t feel like they would relate to what I want to produce, however, the other artist references, including Superstudio, Luigi Ghirri and Katrin Koenning will be influential to be further edits. In particular, Katrin Koenning’s images – I hope to take into account her work when planning another shoot so I can capture images that reflect her very aesthetically pleasing style and technique of paring two images together – almost like half-frame photography.

Katrin Koenning
My image inspired by Luigi Ghirri’s warm and retro colours and environments

Once Tanja had had a look through my edits and given me her thoughts on them, it had given me some sudden inspiration and there were thoughts going through my head about her I could improve and move forward with ideas she told me she liked. She especially liked the pool images where I had played about with overlaying and re-sizing images to create more of a collage where proportions are a bit confused but had a nice effect on the audience. She told me to progress with this style and play about more and more with overlaying and re-sizing on Photoshop and to just go crazy with it until I have some works that look very muddled but effective. The images of myself in a pool in France on a holiday last summer with the use of an image of L’Etacq are my favorite as well and once again used contrasts to juxtapose man-made swimming areas – being the pool and natural constructions of beach and eroded rock over time to create a seascape.

Tanja then finally showed us some of her work on Photoshop using hr own laptop where she gave us a very quick masterclass on how to make the most of the tools on Photoshop to create a good collage. She demonstrated her skills and told us what she does to create what she does.

Whose Archive is it Anyway? (Essay)

Whose Archive is it Anyway?

An archive is something I had only encountered this year – I had never looked or even come across an archive before the start of year twelve, however, I am now fully aware of their purpose and function. I find this crazy that I had never come across the archive that Jersey holds after seventeen years of living on the island, and, with such a rich history, there is such a vast amount to document on the islands history – which archives such as Société Jersiaise and Jersey Archive from Jersey Heritage do so well. I am now very eager to research into the concept more and hopefully use and expand my own archive of my own life to benefit my progress through year twelve. An archive like the Société Jersiaise was founded in 1893 by a number of prominent islanders who were interested in the study of its history, its language and antiques, so set up the program, in order to aid their knowledge – in-turn helping islanders of today understand Jersey in more depth, and I, for one, am thankful for this.

The official definition of an archive, taken from Google, is a collection of historical documents or records providing information about a place, institution, or group of people.’  Synonyms of the word include records, accounts, papers, documents, files and history. In my opinion, history being the most important or one that stands out most – because an archive essentially holds history of a location or of someone. An archive can be a document, a certificate of birth, an image from several centuries ago or an object that holds significance to someone. I really like the idea of an object holding much importance to someone, because, for me, there is something very pleasing about having something physical to touch because all our sense can play a part in remembering specific moments of your life and an object can bring back much nostalgia for someone – I know it does for me anyway! This is perhaps why so many photographers nowadays create a photobook, or in fact several photobooks because it is much more pleasing to have your work physically published for people to look at and then keep.

My mum has kept, since I was a little child, even a baby, a memory box or what we like to call my ‘special box’ as it holds all the things that relate to the special moments in my life and therefore, my mum and dad’s life. This box contains objects such as my first pair of shoes, my birth certificate, pieces of artwork I completed when I was child at nursery and my first strands of hair etc. This takes its place in the loft for whenever I or my family feel like they wish to reminisce about thoughts that bring back happy memories – not away to be forgotten forever – it is in there for security, which I feel is something very important with photos – because touching something physical can give you a warm feeling – in my instance, love. So, we all have our own archives, whether they’re public, social or personal, we all have our own documentation of our life and it can be digitally on our phones or physically but in any instance, it can be used to bring people together as I feel photography is a strong concept that has the potential to act as a cohesion tool between the people we love. Actions are so quick – they happen and then they’re gone but taking a picture of a simple action provides a snap shot that can be kept forever.

I have made a short video to accompany this essay. It consists of me talking to my mum, almost interviewing her and asking a her few questions about my memory box and why she started it in the first place. The video is intended to give you more of an insight into our archive and why it exists. My mum reiterates throughout that she has kept all the photos from my childhood as well as special objects for me to look back at when I’m older – this idea sticks with me strongly and my mum emphasizes it constantly. She also said that “if you have ever had children of your own, you can compare what you looked like when you were a child to what they look like”. This notion that I can carry this idea of documenting my whole life through to when I grow up and have kids of my own is very true and encompasses the whole being of what an archive is – is that it is supposed to provide a place where memories and nostalgia can live long in the memory of people to then compare and contrast different lives from a completely different decade or even centuries. My mum also said that she took the photographs of me when I was child on an old film camera, which is what they had back in those days – they did not have digital DSLR cameras so used disposable ones where you would get the film developed. However, this introduction of digital cameras has sparked interest in photographic practices and it is now becoming more and more sought after to take up as a hobby. Although with the introduction of high quality, expensive, technological cameras, there has been a recent boost in the use of disposable and vintage film cameras again in order to take photos that give a sense of nostalgia through the effect they have on the images you take once developed – this is achieved through the colours and textures of graininess. Sticking to the idea of technological advancement, David Bates’, in his book Art Photography states that the ‘awareness of historical accumulation of photographic archives has expanded expositional since the invention of the internet’. I believe this is very true because with the endless possibilities of the internet, things such as photo sharing is ever so easy and can be argues that it almost too easy but is hugely beneficial.

I wish to make the most of my personal archive and look through it as much as I can in order to get a better sense of my own life and the life of people surrounding me. I am aware that also my grandparents have left their own photobooks from when they were younger documenting their life and as they grew older to become fathers and mothers to my mum etc. It is evident that archival imagery can be passed through many generations of family members and the all link us together to create a cohesion – like I mentioned before. However, an idea I am really keen to pursue over the course of this next year relates to how my life on Jersey for seventeen years differs to that of my younger sister, of four years. I am lucky enough to have a sibling and even luckier, in my opinion, that she is thirteen years younger than I am. I think this is amazing and I think it would create a perfect project for me to carry out for my personal study by looking at archives from when I was younger in comparison to what my sister has experienced. This is how I will look at archival imagery to enhance and enrich my experience throughout the A2 course. I have no intention of focusing heavily on public archives of Jersey because this won’t relate to what I want to study – being a personal archive between myself and my family. I think there is something mesmerizing about old photos from when I was a child to see what I actually got up to if I can’t remember certain things. I think it will be interesting to see how her life as a child differs from mine – even more so because we have been raised by different mothers because my sister is on my dad’s side after my mum and dad divorced and my dad found another partner. What I have also noticed whenever I go to see my sister, is that she obsessed with Snapchat on my pone and the filters it offers – she is fascinated by them and looking though photos of me and what I get up to. I believe this will make the project a lot more interesting.

All in all, however, every archive in the world functions in the same way – in that it intends to provide a rich documentation of the history of someone or something whether it be place or a person. In my opinion, I find personal archive, carried on throughout many generations much more interesting than public ones’ due to the fact that they are so much more intimate and mean so much more when you look at them.

What I have earned from archives is that they are such a useful tool for anyone who wants to discover more about themselves and they can essentially work as a family tree. Archives provide an open door for endless possibilities to re-create and re-live memories you may have partially forgotten about and the nostalgia that comes with archives, more so for the older generation of Jersey due to how influential Jersey was in the 20th century, can spark new emptions they may not have experienced in a long time.

To answer the question Whose Archive Is It Anyway? – I don’t know, you decide. Maybe it’s all of our archives because each and every one may lead back to the same place or have a link in some way. My archive holds much food for thought and I know that I will be utilizing it fully and my memory box is my archive but the wonderful thing, I want to share it with people – archives can be shared, and therefore instantly becomes a personal archive to other people.

 

Change of Focus

PPT link that was sent by Mr Cole to you (with extra slide of instructions) Tanja Deman Grosnez Site Visit

Please note that in preparation for Tanja’s workshop on Tuesday 20th June, we would like you to complete the following:

  1. Research Tanja’s work (task 3 on blog) https://hautlieucreative.co.uk/photo17ase/2017/06/07/family-and-environment-tanja-deman-jonny-briggs/
  2. Choose 3-5 photographers from the list of photographers in Archive task (on blog and below): include images, key facts, ideas and approaches
  3. Research on the area we are visiting (key features of geography, landscape, history, local culture and identity)
  4. Use images you have made from Landscape module – as a starting point for your landscape work.

Artist  to look at include:

Robert Adams // David GoldBlatt // Thomas Struth // Super Studio // Luigi Ghirri // Richard Misrach // Werner Herzog // Richard Long // Raymond Meeks // Antonioni // Alain Resnais // Katrin Koenning // Andrei Tarkovsky

Family and Environment // Tanja Deman // Jonny Briggs

Tanja Deman (Croatia)and Jonny Briggs (London) are contemporary, cutting edge artists that use photographic techniques as a vehicle to explore the themes of Family and Environment.

They operate and think in different ways…but there are similarities in the way they construct their outcomes, and have their roots in Dadaism, Surrealism and at times Fine Art, Documentary and Narrative photography. They also use archival imagery as an integral part of their practice, and cross reference psychology, psycho-analysis and philosophy too.

We will spend time exploring the background, history and theory of these approaches and creating imagery, film and more that embraces the methods of composite imagery, photo-collage and cut-n-paste.


Jonny Briggs

Jonny Briggs | Artist statement

“In search of lost parts of my childhood I try to think outside the reality I was socialised into and create new ones with my parents and self.

Through these I use photography to explore my relationship with deception, the constructed reality of the family, and question the boundaries between my parents and I, between child/adult, self/other, nature/culture, real/fake in attempt to revive my unconditioned self, beyond the family bubble.

Although easily assumed to be photo-shopped or faked, upon closer inspection the images are often realised to be more real than first expected. Involving staged installations, the cartoon-esque and the performative, I look back to my younger self and attempt to re-capture childhood nature through my assuming adult eyes.”


Tanja Deman

Tanja Deman | Artist statement

Tanja Deman’s art is inspired by her interest in the perception of space, physical and emotional connection to a place and her relationship to nature.

Tanja’s works, incorporating photography, collage, video and public art, are evocative meditations on urban space and landscape.

Observing recently built legacy or natural sites her work investigates the sociology of space and reflects dynamics hidden under the surface of both the built and natural environment.

https://vimeo.com/20713908


You must look at and follow Jonny (link here) and Tanja’s (link here) websites and social media outlets…

Twitter – Facebook – Instagram – Pinterest

LINK TO ARCHISLE FACEBOOK PAGE / JONNY BRIGGS INTERVIEWS

https://www.facebook.com/ArchisleJersey/

You can also use these links to explore the concept and theme of Family and Environment as tackled by previous students…

https://hautlieucreative.co.uk/photo17a2e/

https://hautlieucreative.co.uk/photo17a2/


TASK 1 Intro Blog Post

Create a blog post that reviews your experience of the day at Societe Jersiaise on Tuesday 13th June 2017.

  • what did you see, understand and learn?
  • what were the main talking points?
  • include your images and experiments from the tasks, and outline the process and intentions
  • Karen Biddlecombe / Gareth Syvret (Chief Archivist)Communications Assistant (part-time Mon, Weds, Thurs)Archisle: Jersey Contemporary Photography Programme
    Société Jersiaise
    7 Pier Road
    St Helier
    Jersey
    JE2 4XW

Task 2 Create an extended blog post that shows a detailed description, analysis and interpretation of Jonny Brigg‘s work.

Aim to focus on 1 key example of his work and use FORMAL ANALYSIS techniques as a starting point only.

think about and discuss the content, concept, context, construction, composition,  camera, then compare, contrast and critique

ask yourself ( and Jonny) what ? / why? / how?

You must define the process and include examples of Jonny’s presentation devices eg publications and exhibitions and show clearly how Jonny is influenced and and inspired by at least 2 of these artists…

John Stezaker Tony Oursler Urs Fiscer Greta Alfaro
Cat Roissetter Alma Kaser Gillian Wearing Rene Magriette
Mike Keller Richard Billingham Noemie Goudal Paul Nouge
Gregor Schnieder Julie Cockburn Sarah Jones George Condo
Annette Messager Gabriella Boyd Thomas Demand Gordon Matta Clark
Joana Piotronska Kate Lyddon Henry Darger  
Cindy Sherman Louise Bourgeoise Francis Bacon  

Remember to MAKE YOUR BLOG POST VISUAL

include relevant links, podcasts, videos where possible

Task 3 Create an extended blog post that shows a detailed description, analysis and interpretation of Tanja Deman‘s work.

Aim to focus on 1 key example of her work and use FORMAL ANALYSIS techniques as a starting point only.

think about and discuss the content, concept, context, construction, composition,  camera, then compare, contrast and critique

ask yourself ( and Tanja) what ? / why? / how?

You must define the process and include examples of Tanja’s presentation devices eg publications and exhibitions and show clearly how Tanja is influenced and and inspired by at least 2 of the following artists…

Robert Adams // David GoldBlatt // Thomas Struth // Super Studio // Luigi Ghirri // Richard Misrach // Werner Herzog // Richard Long // Raymond Meeks // Antonioni // Alain Resnais // Katrin Koenning // Andrei Tarkovsky

Remember to MAKE YOUR BLOG POST VISUAL

include relevant links, podcasts, videos

YOU MUST HAVE THE FOLLOWING TASKS READY BY TUESDAY 20TH JUNE

  1. 5 x images of your own (DIGITAL): showing what aesthetics most interest them (all placed in 1 folder named
    ” MY IMAGES”, pictures named 1-5)
  2. 5 x  images from the SJ archive (DIGITAL): in relation to the shooting location on Tuesday, Jersey cliffs, bunkers,
    race tracks (all placed in 1 folder name 2. ARCHIVE IMAGES, pictures named 1-5)
  3. Research on artists references (images placed in 1 folder named 3 ARTISTS REFERENCES, pictures named with the artist’s name)

For an easier work flow in regards to the number of students each student should have a folder on their desktop
called ‘Photo collage workshop 20-27.6.’, with sub-folders inside named:
‘1. MY IMAGES’ (it should contain 5 images)
‘2. ARCHIVE IMAGES’ (it should contain 5 images)
‘3. ARTISTS REFERENCES’ (it should contain 5 images)
‘4. RAW PHOTOS’ (empty)
‘5. NEW WORK’ (empty)

Deadline for Completion

MONDAY 19TH JUNE


Extension Task 1

Research and define the following terms in photography to show an understanding of the influences, concept, history and theory in contemporary photography. Include key examples and try to show how they may have influenced Jonny and Tanja in some way.

Dadaism

Surrealism

Documentary and Narrative photography (visual storytelling)

Fine Art Photography

Extension Task 2

 

Tanja is clearly inspired and informed by her prior studies in architecture, natural forms, structures and sculpture.

During her SJ presentation she referred to

  • Brutalist architecture
  • Modernist architecture

Research, describe and explain what these forms of art are including how they came to prominence, where they can be found and what their legacy / influence is.

Where is there evidence of modernism / brutalism in Jersey?

Remember to include images, hyperlinks, videos etc

Summer Project: FAMILY / ENVIRONMENT

Welcome back after Exams!

In the first A-Level coursework module, Personal Investigation as Yr 13 students you are going to be taught by two contemporary artists, Tanja Deman (Croatia) and Jonny Briggs (London) who are the current Archisle Jersey International Photographer-in-Residence at the Société Jersiaise Photographic Archive.

Over the next 6 weeks a we have arranged a series of lectures, masterclasses and practical workshops that  will offer you a unique opportunity to learn new skills and develop your practice as a student of photography.  Tanja and Jonny will inspire, challenge and make you think differently about the process of image-making and its meaning.

The themes we will be exploring are: FAMILY or ENVIRONMENT

The work that you produce here will be the foundation and starting points for your continued Personal Investigation when you return in September for the new academic year to learn about visual storytelling in contemporary photography.

We will provide support and guidance for this unit…including essay writing skills and a framework to support your understanding. Much of this will develop into a photo-book and you may even create your own book(s) using traditional book binding techniques which has become a strong and unique feature for many contemporary photographers wishing to publish their own work.

This extended project will culminate in a fully curated student exhibition; Constructed Narratives at the Berni Gallery, Jersey Arts Centre 27 Nov – 23 Dec 2017.

Workshops

Day 1 Tuesday 13 June   Societe Jersiaise – all day
Inspirations and starting point from the Photographic Archive and introduction to Tanja Deman’s and Jonny Briggs practice.

Day 2 Tuesday 20 June 
Hautlieu School / location – all day
Workshop with Tanja on location in Jersey

Day 3 Tuesday 4 July  Hautlieu School – normal lesson time
Workshop with Jonny in the Photographic Studio – bring personal objects/items>

Day 4 Tuesday 11 July  Hautlieu School – normal lesson time
Workshop with Tanja developing photo-montage skills from on-location shoot.

Day
5 Tuesday 18 July  Hautlieu School  – normal lesson time
Workshop with Jonny developing photo-montage skills from studio shoot

Read here for a full details of the workshop programme IPR Workshop 2017

Use TRACKING-SHEET-SUMMER TERM_2017 for a full overview of what you are required to do in the next 6 weeks. You are required to self-monitor your progress and will be asked to upload Tracking-Sheet with an update on a weekly basis to your blog.

This unit requires you to produce an appropriate number of blog posts which charts you project from start to finish including research, planning, analysis, recording, experimentation, evaluation, and presentation of creative outcomes.

 

The Process

  1. Moodboard of relevant and inspiring images—link to your title
  2. Mindmap / brainstorm / spidergram to include all ideas and possibilities
  3. Artist Case Study to include analysis and interpretation
  4. Action Plan and Specification
  5. Photoshoot
  6. Select and edit (repeat as necessary)
  7. Compare and contrast your work to the work of your chosen artist
  8. Presentation of final responses
  9. Evaluate your process

Ensure that you show a creative process underpinned by interesting ideas and sustain your approach…

For example, you may want to look at these 3 artists in combination to develop your own ideas…

 

and then move onto colour developments like this…

and create a unique approach to the theme of structure using simple and interchangeable techniques.

 

Or explore the structure of a corroded surface….

 

Use this link to see what kind of ideas are out there…

100+ Creative Photography Ideas: Techniques, Compositions & Mixed Media Approaches

http://www.studentartguide.com/articles/creative-photography-ideas

Now look at these artists to explore the concept of layers and structure…

Jacques Villeglé 1926- (France)

The Jazzmen is a section of what Jacques Villeglé termed affiches lacérées, posters torn down from the walls of Paris. These particular ones were taken on 10 December 1961. Following his established practice, Villeglé removed the section from a billboard and, having mounted it on canvas, presented it as a work of art.

Jazzmen 1961 Jacques Mahé de la Villeglé born 1926 Presented by the Friends of the Tate Gallery 2000 http://www.tate.org.uk/art/work/T07619

 

Robert Rauschenberg 1925 – 2008 (USA)

Pre pop art, neo -dada. Re-appropriation of photographic imagery to explore the structure of society, politics, hope and despair.

Collage / montage techniques + archival material, found objects

Construction / de-construction methods

 

Todd Mclellan…de-conSTRUCTION // typlogies

 

or distort the reality / structure of object, places, people…

 

Alvin Langdon Coburn created vortographs by using mirrros, reflective surfaces, prisms and more to distort his vision of the world and ultimately change the structure of his photographs…(one of the very first abstract photographers)

 

Vortograph experiments by A L Coburn

Think about shape and form…

Paper, paper, paper

 

Naum Gabo / Head of a Woman /1917

 

Interior Architecture

Still Life Objects

 

Time Lapse (constructing and deconstructing) ice cubes melting, flowers wilting and dying etc…

Cara Berer

 

Cara Berer explores the structure of books and magazines by photographing them from above and creating patterns and shapes that we associate with flowers and decoration…

Irving Penn

Franco Fontana

 

More ideas in this link here!

http://www.modernedition.com/art-articles/photographic-form/new-photography.html

Suggestions for exploring “structure”…

Tanja Deman // juxtaposition of changing environments // environments as temples of worship and culture //utopia // dystopia

 

Sculptural (photograph as object, combined with objects and ephemera or photographs as a response to a building or space ie environment)

Marlo Pascual (above)

“Pascual arranges the photos into simple, lackadaisical assemblages that she calls “props,” which rely primarily on found furniture. The images are all painfully elegant, and evoke the seductiveness of old Hollywood. In one photograph (all works untitled, 2009), a nude woman stands behind steamed glass—a scene from a movie descended from Psycho? A photograph of a set of crystal glasses is laser-cut and laid on the floor to look like it was dropped—or shattered by a single delicate stroke of a hammer. A joke about the fragility of the image, it is also a decidedly atmospheric work.”

http://www.artinamericamagazine.com/reviews/marlo-pascual/

Letha Wilson

One of a number of contemporary artists who are blurring the lines between photography and other mediums, Letha Wilson makes artworks that are as much sculptures as photographs. Amalgamations of photographic images and spray paint, lumber and concrete, these hybrid objects, medium sized and mostly wall hung, occupy territory also being explored by sculptors such as Rachel Harrison and Virginia Overton. An exhibition of new pieces (all from 2012) showcased Wilson’s adventuresome way with materials.

Thomas Demand

German Photographer Thomas Demand (born 1964) deals with inanimate objects and sterile interiors. He makes models of pre-photographed locations out of  styrofoam, card and paper but leaves subtle signs of imperfections, then re-produces the images on a grand scale…in doing he alters the meaning and narrative attached to the environment he is re-presenting…

Laurenz Berges

Laurenz Berges is German (Dusseldorf School) photographer. He tackles the notion of loss and removal…and often photographs both personal and shared environments. These can beintimate  interiors, or extensive exteriors.

Candida Hofer

Candida Hofer was a student of Bernd and Hilla Becher in Germany in the 1970’s. Her images are a response to glorious interior environments that explore the contrast between the intention and reality of public and civic spaces…without people interacting with them.

James Casebere

James Caseberes (USA) photographs small scale models that reduce an architectural space to a fragile set of surfaces…they disrupt our belief in the solidity of man-made spaces…what happened ? what happens next ?…we are left disorientated.

Rut Blees Luxemburg

Rut Blees Luxemburg (Germany) uses amber lighting and reflections as found in 1920’s and 1930’s style flash photography…but in a thoroughly modern context.

Andy Goldsworthy

 

Andy Goldsworthy is a well known British Environmental artist. He makes sculptures that integrate with the environment…they are all bio-degradeable and often end up falling apart and becoming “one” with the landscape again. The photographs, however, remain a permanent feature…

Experiment 1

  • You must show that you can COPY, ADJUST, BLUR and BLEND layers using Adobe Photoshop to create a set of images inspired by IDRIS KHAN / STEPHANIE JUNG

METHOD

  1. Open a suitable image in Ad-Ph
  2. CTRL J to copy layer (copy the background LAYER for this)
  3. Move tool to shift image slightly
  4. Repeat 2 + 3 5-10 times
  5. Choose a range of BLENDING OPTIONS eg overlay / multiply / lighten etc
  6. Adjust OPACITY as needed
  7. Adjust individual layers as needed
  8. Add FILTER – BLUR – SHAPE BLUR / SMART BLUR if needed
  9. Flatten LAYERS
  10. CROP where suitable

Extend your result…

Think about layering your image(s) onto acetate or glass and exploit the transparent qualities vs. opaque shapes, colours and tones

for example

Ardan Ozmenoglu

https://www.pinterest.com/pin/315040936408995781/

 

Photoshop Experiment 2

  • Show that you can use a range of function and techniques to create a composite image like those of Tanja Deman (below).
  • Many artists use cut and paste / collage techniques to change the context of their imagery…and challenge the way we look at the world and re-imagine our environment
  • Research cut and paste / digital collage techniques and ideas
  •  

    Method

  • Select  2/ 3 images that you think you can combine to create a composite image and open in Ad-Ph
  • You may need to select one image that you use as your BACKGROUND IMAGE
  • Select the object / building / person from another image that you want to add to your BACKGROUND IMAGE
  • Click CTRL J (to copy via layer)
  • Use the move tool to drag your selection across, then position
  • Use CTRL T or Free Transform to adjust shape and size of selected object
  • Check your layers panel on both images!
  • Now blend the edges in…
  • Add a LAYER MASK and click to activate it
  • Select a brush, adapt the size and reduce your OPACITY to 30%
  • Now click on the edges of your object to blend it in smoothly
  • Take care with this part…zoom in if you need to
  • You can then merge your layers, or flatten and save the image if complete
  • Add to your blog

Or explore x-ray images or household objects like this as part of your response to “structure”

 

Walker Evans

Jim Dine and his “figurative tools”

Two Frame Photography / Diptychs / Juxtapositions

http://www.photopedagogy.com/two-frame-films.html

Luke Fowler

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

AS PHOTOGRAPHY EXAM TITLE GUIDANCE : “STRUCTURE”

AS Photog Exam: w/c Monday 24th April

  • Groups C & D: Monday 24th & Thursday 27th April
  • (Wednesday NO EXAM)
  • Groups A & E: Tuesday 25th & Friday 28th April

Print deadline for finals = Wed 19th April

  • Groups C & D: Monday 24th
  • Groups A & E: Tuesday 25th

Read this carefully and think how you can design a thorough unit of investigation that explores your chosen theme, topic or subject matter…

structure
ˈstrʌktʃə/
noun
  1. 1.
    the arrangement of and relations between the parts or elements of something complex.
    “the two sentences have equivalent structures”
  2. 2.
    a building or other object constructed from several parts.
    “the station is a magnificent structure and should not be demolished”
    synonyms: building, edifice, construction, erection, pile, complex, assembly

    “a vast Gothic structure with strange ornamental spirelets”
verb
  1. 1.
    construct or arrange according to a plan; give a pattern or organization to.
    “services must be structured so as to avoid pitfalls”
    synonyms: arrange, organize, order, design, shape, give structure to, assemble, construct, build, put together

    “the programme is structured around periods of residential study”

<<<CHOOSE 1 STARTING POINT ONLY>>>

Use mindmaps and moodboards to start…

You should aim to complete at least 1 Photo-shoot per week

Structure

  1. Erin O’Keefe often photographs objects propped up in a corner. Her work explores the visual ambiguities of shadow, space, shape, colour and reflection. Originally an architect, her photographs are of real structures without using digital manipulation such as Photoshop. Many other photographers have experimented with constructed spaces and reflections, such as Florence Henri, Robert Smithson, Owen Kydd, David Haxton, Thomas Demand, Paul Strand etc

Florence Henri
Composition Nature Morte, 1929
photograph

2. Robert Frank shocked his adopted country when he published his groundbreaking book The Americans in 1957. Rather than seeing the cosy Middle America personified in later TV cartoons like The Flintstones, he revealed the raw push and shove of a society that was at odds with itself. Other photographers such as Nan Goldin, Jeff Wall, Chris Killip and Sophie Calle have also been compelled to expose the real structures in society and ‘Tell it like it is’.

Robert Frank
Canal Street – New Orleans, 1955
photograph

3. Stories can be told in a single frame, three frames, or, as in films, millions of frames. Narrative structures can be linear, such as with Duane Michals’ sequences, or non-linear such as Paul Graham’s A Shimmer of Possibility and Wolfgang Tillmans’ If One Thing Matters, Everything Matters. Photographers, filmmakers and animators find unique ways to structure the narratives in their work.

Duane Michals
Alice’s Mirror
photograph

Bill Owens
Untitled from ‘Suburbia’
photograph

4. Photographers have been fascinated by the structure of natural forms from the earliest days of the medium. Karl Blossfeldt found a monumental presence in simple seedheads. Edward Weston revealed beauty in the forms of peppers and shells. Robert
Mapplethorpe, Ori Gersht, Todd McClelland and Olivia Parker have also focused on natural forms in different ways, demonstrating personal responses to light and texture.

RM
Honesty
photograph

Here are some other suggestions that may stimulate your imagination  / Starting points for photo-assignments
• Pine cones, pineapples, grapevines, hops, ivy, bindweed
• Scrapyards, building sites, cranes, restoration yards, derelict ruins
• Crystals, molecules, geology, fossils, footprints, tracks
• Stadiums, orchestras, rock concerts, floodlights, staircases
• Motorways, railways, runways, dockyards
• Flowers, plants, trees, fungi, algae, feathers, scales, shells
• Nests of weaver birds, wasps and bees, termite mounds, baskets
• Circuit boards, pipework, telephone poles, towers, pylons, skyscrapers
• Shop displays, escalators, bars, libraries, theatres and cinemas
• Gardens, parks, playgrounds, swimming pools, beaches
• Dolls, mannequins, puppets, cuddly toys, Lego

Assessment Objectives

You should provide evidence that fulfils the four Assessment Objectives:

AO1 Develop ideas through sustained and focused investigations informed by contextual and other sources, demonstrating analytical and critical understanding
AO2 Explore and select appropriate resources, media, materials, techniques and processes, reviewing and refining ideas as work develops
AO3 Record ideas, observations and insights relevant to intentions, reflecting critically on work and progress
AO4 Present a personal and meaningful response that realises intentions and, where appropriate, makes connections between visual and other elements.

Your preparatory studies should show evidence of:

• your development and control of visual literacy and the formal elements (tone,
texture, colour, line, form and structure)
• an exploration of techniques and media
• investigations showing engagement with appropriate primary and
secondary sources
• the development of your thoughts, decisions and ideas based on the theme
• critical review and reflection

Good luck and make sure you ask for guidance at any stage of the process…remember to play to your strengths and approach this unit in a similar way to your coursework units !!!