I have developed my ideas well by adding more inspirations from artists to influence my final shoots. I have started with the idea of sunlight, but have added on the idea that I wanted to explore light in general, as well as exploring its opposite of darkness to communicate the variance of these 2 everyday factors of life, as well as the similarity of how light and darkness can interact to produce similar effects that will be shown throughout my photoshoots.
Are ideas explored and selective appropriate to intentions?
My ideas have not yet been explored thoroughly; I have experimented with repetition of doors and windows – these 2 shoots were produced from the influence of the Becher’s and their typology approaches. However, I need to experiment with my specification ideas and start to focus on the shoots I have planned – (blog post on planning of shoots).
Are they sustained and focused?
My ideas are sustained and focused as I have researched artists to back up my evidence of where I want my photography exam project to follow.
Are they reviewed and refined?
My ideas are reviewed and reflected as I have followed on from my main idea of ‘sunlight’. I did a lot of research on the Sun and Jersey’s relation to the Sun, and the art movement romanticism and how this links to my project due to its beauty. Yet, I have refined my ideas to light vs darkness, using studio photo shoots as well as outside, natural sunlight shoots within nature etc. This is to make my project more varied so I can explore many different factors within lightness and darkness.
How many responses/ shoots?
So far, I have only done 1 experiment shoot to explore the idea of repetition. However, I have been planning on my other shoots to show my ideas. I am planning on doing a good amount of shoots, investigating sunlight, artificial light, shadows, variance of light and dark tones within nature, seascapes and people.
Command of camera skills/ photographic techniques and processes
I am planning on using my camera to take my other photo-shoots. I am going to experiment within my shoots by adjusting the ISO and white balance etc to whatever lighting I am in.
Understanding of composition/ considering quality of light
I will make sure I photograph my images from a variety of angles to make sure I can gain the best images possible from my shoots into light and darkness. This is also to ensure that my images are better in terms of lighting; I want to be able to have a perfect image so that when it comes to the editing process, I can adjust whether I want my images to be lighter or darker.
What are the overall quality of the images?
So far, I have only done one photo-shoot but the quality of these images were high as I made sure the composition of my images were all from a face on perspective, and were edited and cropped carefully.
How do they respond to research?
I have conducted research on Kanghee Kim, the sun and Jersey’s relation to the sun. I will respond to this research in further shoots. However I have already responded to the Becher’s typology images with my typology of doors and windows. I am planning on making a research blog post on romanticism and an artist from that movement, (J W Turner), and other artists such as Ray K Metzer, Viviane Sassen and Rinko Kawauchi that are giving me inspirations to take my photos.
How do they relate to artists references?
My images so far relate to artist references as I have also done a ‘play’ shoot with links to John Baldessari, as well as my doors and windows shoots which links to Bernd and Hilla Becher.
How do the interpret exam theme?
Bernd and Hilla Becher interpret the exam theme because they are taking images of similar types of building from the same viewpoints, where all the images are the same format (black and white), yet all the buildings are varied as they all come in different layouts but share similar characteristics such as the shapes of the buildings within 1 typology and the structure of them. John Baldessari interprets the exam theme as he is experimenting with how play is a similar thing that everyone does at some point, yet it can be so varied in how people interpret the meaning of play; everyone plays differently.
Metzker was born in 1931 in Milwaukee. He attended the Institute of Design, Chicago. He taught for many years at the Philadelphia College of Art and also taught at the University of Mexico. After his graduate studies at the Institute of Design (Chicago,) Metzker travelled a lot throughout Europe in 1960-1961, where he had two striking realisations in his work of photography: that “light” would be his primary subject and that he would seek a combination of complexity over simplicity. Metzker often said “the artist begins his explorations by embracing what he doesn’t know.” He was a successor to photography where he had developed new and experimental ideas within this field of art and design. Early in his career, his work was considered as having an unusual intensity. “Composites, multiple-exposure, superimposition of negatives, juxtapositions of two images, solarization and other formal means were part and parcel of his vocabulary.” He was determined and committed to discovering the potential of black and white photography. Ray Metzker’s unique and continuous mastery of light, shadow and line “transform the ordinary into a realm of pure visual delight.” His street photography and darkroom experiments made it clear that his core, main subject was always light itself. Ray Metzker died in October 2014 at the age of 83 in Philadelphia. He had made this city his home since 1962.
Mood-board of Metzker’s images
I am intrigued by Metzker’s work as he is approaching the theme of light and darkness in a different way that I have thought about approaching it. He is more focused on light and shadows, mainly capturing street photographs that are exploring buildings and people. I want to experiment with different styles of photography in order to capture a good series of images that are exploring light and darkness. In order to do this, I want to do an architecture shoot that incorporates light and darkness/shadows into my architectural images.
Ray K. Metzker – 80 HY-5, City Whispers, 1980 – Howard
This image of Metzker’s explores light and darkness as he has captured this photo at a good timing in order to get the woman walking past the light toned side of the building. I like how the woman appears to be walking as she has one foot up off the ground as if she is rushing along the street. Additionally, I like how she appears almost like a silhouette due to how dark toned she looks in the image. This contrasts well against the lighter toned marble wall. This marble wall implies that this city is not a poor one; it must be fairly wealthy as marble walls are the type to seem wealthy and substantial. This links to the context of the image; Metzker took this image in the 80’s in New York (Howard is in NY). New York in the 1980s was a controversial time; “A polarizing Republican in the White House, protests for equality in the streets and a new wave of sexual self-identification. This was N.Y.C. in the early ’80s, during the 36 months in which it changed art, design, activism, food, literature and love — forever.” This shows that many aspects of life were changing and evolving – rich people were becoming richer and people who received racism or discrimination were fighting for equality. The way Metzker has chose to go about his street photography that explores light and darkness is he captured the rich, pleasant side of New York. The woman in the centre of the image is dressed well, in a long coat with high heels on, as if she is rushing along to her daily workplace which is probably a well paid job due to the how well she seems to dress. Moreover, you can see the older fashioned cars which also hints that this image was taken on the 80s. On the left side of the image, you can see tall buildings in New York, which are also really dark toned like the main woman in the photo. I like how this is juxtaposed with the light toned, bright sky. On top of this, I like how the huge buildings have shadows on them; on the very far left building you can clearly tell that there is a big strike of shadow that is hitting the left half of this building. The other half of this building is a lot more brighter which had a good contrast with the shadows.
Suzuki was born in 1971 in Kyoto. She lives and works in Kyoto. In 1996, she graduated from The Art Institute of Boston, MA, U.S.A. (BFA). From 2001-2002 she was a guest student in the class of Thomas Ruff at Kunstakademie Düsseldorf, Germany. “Even if photographic images exist as a method for interpreting the world, I believe those images are different from what we sees. I am interested in how the photographic image is perceived, than what the photographic subject actually is, and also in what changes the photographed information” – Suzuki quotes. Suzuki explores many projects – http://www.takashisuzuki.com/projects.html.
Mood-board of Suzuki’s images I am inspired by
“A shadow is a natural phenomenon. And without light, there is no shadow. By using an act of photography, the phenomenon becames substance.” – Takashi Suzuki. This quote was stated under her project “ARCA” on her website. Her images for this project are shown below.
This image here is interesting due to Suzuki’s use of photography to manipulate how light the image is. The image appears slightly blurry and out of focus, which I could achieve by using my camera and not focusing it properly as I take my image. It seems like Suzuki has used a glass in this image, that is being reflected. I like how she has used a white background for these series of images as this communicates a feminine touch to these photos, due to the light tones of the image. The few dark tones that there is create the outline of the object she has used to photograph. I like how this image above has faint lines within the glass. This creates a slight repetition effect; the repeated structure of the lines (straight, thin lines) create an organised, structured vibe – I feel like the consistency of the darker toned lines make the image more appealing as it is almost hard to differentiate what the object is. I am assuming that Suzuki has used a glass in the image above, but I am not 100% sure. These images were taken in 2008, which implies how easy it was for Suzuki to create such an image. Although, this image does not clearly show how modern the photo is; it does not look like such an up to date image – I feel like older photographers back in the 1900s would have been able to create this type of image.
I am inspired by Suzki to take similar images, for example her architectural images of buildings with light and shadows being portrayed onto the buildings; this links to my project which is why Suzuki is a good photographer to use as a starting point for my project. I also am really intrigued by her 2 images that I have displayed above – the photos of the bright, white images that look as if it is a glass being used as the object. I think this also relates to my project of light and darkness well because they are images that are very light and bright.
I wanted to try my own version of Nigel Tomm’s work so I could understand more about the process and see the transformation for myself. I am also interested in developing the idea further and editing then in different styles, potentially going on to making work with a similar concept incorporating my own photos.
I started by looking through existing women’s fashion and beauty magazines for cosmetic adverts, celebrity and model endorsements and features. I chose a selection of full page or blown up images which showed women with airbrushed skin and perfectly placed features, the majority of the images I found showed re touched images of models with not one hair out of place. Most were advertising a product or a way of life which is unattainable by regular people showing a false perspective of the world.
After ripping out a variety of images, some black and white others in colour I started to crumple and fold the pages. I wanted this process to be partially random but to also focus the distortion around the models face disturbing the original aesthetic of the images. The idea of manipulating these photos in a disruptive way of bringing their looks down to a realistic level ultimately undoing the editing process the original photographers have made. I then scanned the crumpled images making sure they were not flattened too much, the scanner captures the depth in the folds and the textures of the edge of the page better than a camera would, it also lights the glossy paper evenly.
I then cropped the scanned images so that you could not see the white boarder and uneven sides.
How well have ideas developed? I have found it easy to find inspiration in photographers that use colour, as well as linking the topic to religious concepts such as the 7 Deadly Sins.
Are ideas explored and selective appropriate to intentions? I have explored my ideas directly by responding to artists with the same ideas.
Are they reviewed and refined? No, I am still considering ideas as I research. For example, after researching the psychological side of emotions, I decided that I want to look into Freud and the psychoanalysis theory in more detail.
How many responses/ shoots? I have completed 1 official shoot and have been taking pictures of things I find interesting when on the go. It becomes more personal when I capture the colour and emotions that surround me in my own life.
Command of camera skills/ photographic techniques and processes: My images have mainly required me to change exposure, especially for the images taken at night time as they were originally too dark.
Understanding of composition/ considering quality of light: I have experimented with different lighting by capturing colour both in daylight and night light.
What are the overall quality of the images? I think I could re-visit the areas shown in my images, for example the phone box could be more exposed or I could show more reflections of the phone like I did so in one image.
How do they respond to research? I have used my research into colour theory in selecting what to photograph. It has aided me in the choice of clothing that I will ask a subject to wear in order to portray the mood I want e.g. pink jacket in shoot to show the love between an owner and their dog.
How do they relate to artists references? In my photoshoot, I have taken direct inspiration choosing to capture a similar subject of a dog to portray the same emotion that the artist had portrayed – love.
How do you interpret the exam theme? My interpretation of the exam theme was the variation of emotion that people show yet there is similarity in that there are behaviours that everyone can recognise reflect a certain emotion.
At this stage, I believe my work is at Level 3 as I have not yet published my research or shown links in my photographic responses.
The term ‘sublime’ has been debated in the field of aesthetics for centuries. Many artists, writers, poets and musicians have sought to evoke or respond to it. The word, of Latin origin, means something that is ‘set or raised aloft, high up’. The sublime is further defined as having the quality of such greatness, magnitude or intensity, whether physical, metaphysical, moral, aesthetic or spiritual, that our ability to perceive or comprehend it is temporarily overwhelmed. The first modern approach to the sublime appeared in Edmund Burke’s 1757 treatise Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful. Burke argued that feelings of the sublime occur when the subject experiences certain types of danger, pain, or terror. The feeling of terror of impending death at the hands of uncontrollable nature, speaks to the power of the sublime. One may experience the sublime through many means, but it is usually explored through nature or through art. A few decades later, German philosopher Immanuel Kant modified Burke’s definition of the sublime in his 1790 Critique of Judgment. Kant considered the sublime and the beautiful as binaries, elements that possess opposite, yet complementary qualities. While the sublime is vast and obscure, the beautiful is small and definite. Consequently, in Western art, ‘sublime’ landscapes and seascapes, especially those from the Romantic period, often represent towering mountain ranges, deep chasms, violent storms and seas, volcanic eruptions or avalanches which, if actually experienced, would be life threatening.Other themes relate to the epic and the supernatural as described in drama, poetry and fiction.
The Great Day of His Wrath 1851-3 John Martin 1789-1854 An Avalanche in the Alps, a sublime landscape painting by Philip James De Loutherbourg Snow Storm: Hannibal and his Army Crossing the Alps exhibited 1812 – Joseph Mallord William Turner
Blanca Vinas born in Barcelona in 1978, graduated in Building Engineering from the Polytechnic University of Catalonia. He has taken an advertising graphic at the Massana School of Barcelona. As a result of his interest in architecture, his photographic work is very focused on urban environments. He currently designs album covers, makes promotional photographs for music groups and is part of the Anodyina Zines collective. His work has been exhibited in different individual and collective shows, and is one of the artists represented by the Atelier Gallery.
Blanca images have a sense of fantasy/dream feel to them, in most of the images they have been taken on a disposable camera, which then allows him to manipulate them once they have been developed. However to create some of the images he tampers with the actually camera so he has no control over what the images will end up looking like, which I think is a brave and different way at looking at photography, and is something that I want to experiment with in my project. One of the way that he does the image is by soaking the images in baking soda which allows the chemicals to run. He then uses double exposure in editing and merges the images together.
This image was taken in Blancas home town of Barcelona, in the image a man can bee seen walking what looks like the side if the beach. But at the bottom part of the image a view of the sky and tree can be seen. Blanca has created this image through the use of a external mask. To do this a film camera has to be used this cover a certain part of the camera lens has to be covered, and then once that real of film has been used it is then but back through the camera and then the reel of film is used again and create images such as these. These image have a sense of dream/fantasy to them. But what I like the mist about them images, and especially with film camera is the sense of unpredictably that happens when using film cameras. Because of the reel of film cam be damaged and can effect/create different light patterns on the reel of film which enhances the image in my opinion.
reservoir: For this shoot I want to focus more on the reflections capable of being caught within the water, this could be a rope floating above the water showing a more delicate and peaceful composition, or secondly to capture colours and more abstract photos of reflections echoed throughout the small waves and refractions of the water. I belive that this shoot Is combining my influence from both a past students work who looked at beauty within daily life. Also as the resivoir is a very open place, not only should I focus on the water, but the large sky from above, trying to capture a soft movement and also elements of vivid colour within the composition.
zoo: This shoot is a more lenient shoot, I believed I could choose a zoo as a possible location, due to the impact of possible new life, and also the more haiku influence of getting images from animals moving and forming colourful shapes and compositions, so birds and such. I was originally influenced by the image below, due to, movement and composition.
abstract nature shoot: This is the shoot which I believe will be the most transformative to my project. This Shoot is one which I have been thinking about exterminating with but haven’t experimented with yet. It is a more dynamic and difficult shoot in order to perfect, but this is the type of imagery which I belive is the most successful. I purpose to take this shoot somewhere like St Catherines, for the prime purpose of many trees surrounding the area, and too the ability to see all the colours and bounder-less extend that the nature reaches. I not only want to capture abstract throughout within different movements, and colour, but images which focus on shape and possibly more photos which cold be considered as fine art. One of the best subjects for ICM is trees. In general, you’ll see two types of abstract tree photos: a dizzying circle and a blurred streak. You can create the circle by rotating your camera during the exposure, and for the streak, simply move your camera up or down during the exposure.
self portraiture: I have spoken about this shoot many times, as I believe it will make a personal connection between what I myself deem as beautiful and as an almost exposure of my own emotions. I again have three basic ideas for this shoot as explained previously, being segmented, black and white, and using small discs and lighting in order to create lighting compositions on my own face. I belive this shoot will be an interesting look into what I deem to be imperfect and what beauty should be a standard of.
Older persons: I believe focusing on feature of myself is important, but it would also be beneficial to take photos of older people, focusing on different part of their eyes, ears and face all-together. I belive this could be a chance to symbolise almost an evolution of life and death ad the cycle of life, it shows a combining lives of people and nature, and I do belive this shoot Will once again show a more conceptual importance to my work, while too allowing separations of repetitive imagery within my own work. My primary inspiration for this shoot was a past students work. And it also reminds me of when I looked into the family tree of life, and moving and age signifying the beauty of life itself.
Light: Lighting painting is a type of long exposure that uses a source of light to create streaks on an image. You can create these streaks yourself with a flashlight, sparkler, etc., or you can move your camera while shooting a stable source of light, like a traffic light. Abstract slow shutter speed light, actually right light: A lot of abstract photography is created through ICM, where you deliberately move your camera while taking a photo. This movement can be quick and random, like camera tossing, or it can be a thoughtful long exposure. Either way, it’s a fun photography technique to play around with. this shoot is obviously one which is best to be taken at night time, this is evident to get the clear contrasts within the bright light and the firming compositions of other lights. I have two main ideas to which I could create this shoot, this being going somewhere which has a-lot of light as night time and showing a more abstract random composition of differing tonal ranges. And secondly like the image below forming compositions which are tightly thorough about and taking photos of a structure which is moving in a formative way repeatedly, this could perhaps be a complex light, or using many offer touches and creating the source of light myself.
rain: water is a concept form my last project I am very sued to observing, so I Believe technically I should not find this shoot to be too difficult. However I want to capture it not with the presence of peoples, but using its form to create its own composition and too influence a sense of peace and tranquility. The elements of light water, wind and fire Could really be a good start of what the natural elements to the world are so what are the most beautiful. Because of this I believe I should not only do this water shoot, going to the shower, and looking as real rain, but also look into the concepts of different natural elements within photography and how they can and should be perceived as beautiful.
reflection glass: I have in my past work experimented within the possibilities of using mirrors within work, but I have intentions to use it within a different context this time. I have experimented within the reflection of a cd previously, but within this shoot I want to try two techniques of directly flipping an image seamlessly, and then secondly using a larger mirror jut to extend lines and then further edit the outcomes, mimicking and showing a more rounded format of the images themselves.
Macro: nature close ups flowers, The macro shoot is the ability to photography beautiful objects such as nature, in such way where you are not even able to see the orin of what it once was, yet it is still beautiful. The opulence shoot I will capture and try and photography flowers close up, but I want this shoot to be a whole new perspective of natural elements and seeing them perhaps even in more of a scientific way.
opulence and luminance: For this opulence and luminance shoot I am evidently influenced by the the artists work: who focus’ on more abstract lighter work filled with different tonal colour of lights and darks. I have done a blog post about this shoot, so already have a primary narrative which I how I am and can achieve this.
golden hour: The book golden hour is a book created by Kim kang-He, With her second photobook “Golden Hour”, KangHee Kim captures the beautiful colours of the magic sixty seconds after sunrise and before sunset. Similar to her previous book “Magic”, Kim’s images are the result of intricate digital manipulation, blending elements of different captures to form surrealistic views: a street lamp illuminating skyscrapers from above, a man wading through a pool of clouds, subway stations leading into the bright evening sky and so on. Her manipulations are never too glaring, and not there as a simple effect. Rather than questioning reality, Kim’s dreamy, longing scenes created from mundane situations are a form of urban escapism. To my mind this book is a proposition to capture the beauty within our surroundings, and possibly as she herself has explained a much more dream related aspect of work. The light used throughout this book is definitely the most important, the use of the light is the most abstract and important proposition the book can propose. Differing from my past experiences of haiku, this artists work can be much more developed into surrealism, and created through much more collage aspects. For this shoot I will do much similarly to this artists, and between The most significant ‘ golden-hours’ I will create imagery focusing very much on light yet also how I can both intertwin light within a composition and an interesting narrative.
Overall I believe Doing all fo these shoot will definitely create the final outcomes that will not only work successfully with each other, but too have an ability to work together with a narrative construct. my main aim is to create a theme where all the shoots work seamlessly together, and I am able to make a book and also a video, or perhaps a couple. These 11 shoots will take part over the two weeks, with myself going out everyday repeatedly to get these images. Due to the dependancy on weather the vast majority, there is no specific order which these outcomes will officially come to life. I will now continue to do further research into artists and differing lighting and concept themes which will allow my to find a purpose for each shoot and to find more inspiration to access the best possible outcomes as possible.
My initial ideas taken from the exam paper, Similarity and Variation have stemmed from the artist Jason de Graaf from the fine art section where reflection is a prominent aspect in his paintings. I want to take ideas from this artist and use it in my photography in regards of reflection. From this I can explore natural reflections, mirrors, kaleidoscopes and layering images to repeat subjects and objects like the repetition and reflection of mirrors. For example, some of Claud Cahun’s work shows layering and reflection of images to create surreal images through photo montages and performances.
179mm x 237mm
I also want to explore creating GIFS, which takes the idea of moving through similar images to create a moving action or performance. For example Edweard Muybridge took pictures of animals walking and running to understand the way they moved. This then created a series of photos that represented film but in the form of a series of still images. Following up on the idea of montages, Thomas Florschuetz creates interesting compositions of individual images to create new images of abstract forms from portraits.
Étienne-Jules Marey was a French scientist, physiologist and chronophotographer. His work was significant in the development of cardiology, physical instrumentation, aviation, cinematography and the science of laboratory photography. Most of his photographs demonstrated and documented movement. All of his photographs are layered individual photos to evaluate movement in one photo. This also directly links to variation and similarity as each everyday movement that people and animals make, from walking to dancing is a variation of different and the same, simple movements.
CONCEPTS
As a drama student, movement is very important to completely portray another person. Whenever I am assigned a new character for a play, I constantly study the people I interact with. I analyse their mannerisms and pick up on the way the repeat movements when expressing themselves in certain emotions or storytelling or interactions with other people. Mannerisms tell a lot about a person, whether they have many or little movements. Even facial expressions are important to create a profile of someone. Certain facial expressions effect the way a person talks and of course, is the direct indicator of someones mood, equally so with their mannerisms. Also linking personalities with movement explains people and helps me understand varied characters that I meet in a day to day basis.
Relating to my previous project based on representation of women and how gender is performed, this analysis of movement highlights the divide between gender. Usually, you can tell when someone is acting in a certain way because they are aware how they are representing themselves and are self-conscious to fit into a particular stereotype that is constantly reinforced and pressured upon them, and when someone is not conscious of this fact. I think documenting simple acts like eating, walking and talking then comparing mannerisms and their performance with other individuals, particularly people of the opposite sex to see how far people have divided themselves within gender.
In this project I would like to research various playwrights who focus on movement rather than words, such as Antonin Artaud ‘Theatre of Cruelty’, and theorists such as Judith Butler and her ‘Performative Theory’.
Nigel Tomm is a modern artist whose work has great parallels with cubist art. He is most knows for his manipulation, distraction and recreation of existing image. Working with pre-existing photographs from magazine he tackles the issue of perfection in the media displayed by celebrities and models. The magazine images he choices are often from editorial, beauty or glamour shoots, they show a glimpse of the beauty standards which are pushed to audiences every day. He manipulated them by crumpling the glossy images, randomly folding sections over and distorting to original. He then partially flattens the images back out an re captured them either using a camera in a studio with bright lights making reflections or a scanner which gives clean crisp look. These final images are then either turned to black and white or left in colour creating abstract pieces. His work subverts the conventions of beauty and critiques the these editorial publications which portray ‘perfect’ people. His work mixes the idea of beauty and ugliness two polar opposites which people have very fixed ideologies. In a way his work brings the ‘beautiful’ models and celebrities in the original photos down to a realistic level of beauty. He works with the idea that consumers are no longer looking to attain perfection but rather to be real instead, letting imperfections shine through showing a more modern surrealist approach.
This photo is a hand manipulation of an existing image in a beauty an fashion magazine. the original image would have been taken in a studio with bright lighting helping the evenly illuminate the models face. When the magazine page was distorted and re captured bright studio lights would have been used again, this helps to show off the glossy pages which we link with editorial images. These lights also create shadows which highlight the texture in the page and give it a more warped effect. The photo has a very high contrast because of the lights used and the shadows and highlights created on the paper. The magazine photo would have also had a high contrast because this is often a a technique used to help make editorials images stand out and look larger than life helping to exaggerate models features. This photo is in black and white which helps to simplify it and helps the viewer focus on the interesting shapes and distorted features. The form of the image has been reconstructed by the random crinkles inn the paper, although the photographer has considered the placing of the the folds he did not have complete control over it making the image more spontaneous. We can still tell the image was originally of a beautiful model however this idea had been challenged, the once smooth skin is now covered in lines from the creased paper and the proportions have been disfigured.
