I chose el tantawy as my second artist think it is fascinating how she manages  to not only capture reflections within different mediums such as glass and water, but also using this with the addition of light. I believe the different uses of natural elements are an occurring  sentiment within her work.  I too want to capture a variation of daytime and njght-time imagery, yet still achieve the same effortless representation of people and emotions. Another area of her work that I belive is very fascinating is how she actually achieves such complex compositions without editing her photos to do so. An article that I found very interesting, was explaining tantawys inspiration throughout her work. It discusses how she finds moments of beauty and optimism even in the darkest places, and she is beyond the point where she sees nothing. ‘Growing up without a fixed place to call home, Laura El-Tantawy struggled with a fractured identity. Then she found liberation in the form of a camera, developing an impressionistic eye that helped her reconnect with her native Egypt.’ There’s a point I always return to when thinking about what photography means to me. I was studying journalism and political science at the University of Georgia when I took a photo class as an easy credit, just to have fun, and fell in love with it.’  She then continues to discusses her love of movement within her photos, and how this movement to her is a parrel between-her inspiration and movement towards wanting to be  in her home town. ‘ One of the first assignments was to photograph movement. I went to a dance performance, just playing around with my camera settings, not really knowing what I was doing.’

 This perception of seeing the smoke is perhaps one of my favourite images, this is due to the interesting composition. I believe the effortlessly of the lighting, and a habit which is deemed as dangerous and unhealthy, is almost presented as beautiful within this image. The lighting is almost embellished within the fluidity of the weaving smoke. And something which was once deadly she had now turned into art. I also think the use of the shadow instead of showing the whole man himself, also creates a more successful piece. it brings out a more occurrent resemblance of mystery within the work. Too the image on the left is a scene of a hardship, and flooding, it is once again something never seen as beautiful or perhaps even a sight portrayed as picturesc. Below i’ve added some quote and reasonings as two why the artist has created these images, and what they mean to her.’ Enclosed between four walls, the sound of silence never seemed louder. It’s claustrophobic. I wait for the phone to ring, check for emails obsessively, eat everything out of the fridge. The hunger remains. I feel like if I dig my hand deep into my soul, I will find nothing. The awareness I am experiencing is unspeakable. Faces change when we meet. Is their solitude reflected in mine? There is an awkward silence.’

I believe through this composition and vision board of her images, you are really able to see the narrative development and artistic influence of abstraction. I like how she not only pictures nature and belongings but she presents people in such a disposition, that they too become part of her own narrative. I have spoken about for this shoot and using this artist as artistic inspiration, I will also use myself through the shoot. I believe it is fascinating how she can even display traumatic events, such as the middle right image, with boundlessness of beauty and see a complete depiction of her own life narrative. You can belive that these were all taken with the intention from being experienced by herself. The lighting in these images, brings a warmth and an aspect which I believe is the most successful part. Images analysis: conceptually all of her images have a conjoined narrative of wanting to show a beauty of her country in someone else’s country. I also believe through the more I see her work, and through the way it is composed, is how they are about beauty and tranquility. Her images still have so much colour and vibrancy within them. And this is an area which I too want to show and use throughout my work. Although her images do not necessarily carry the same theme, they all work so well together as a narrative group, and I believe this is evident as seen above.  My inspiration and how I will develop these concepts from her work, Due to her narrative being focused on her missing home, so creating abstract images full of beauty in order to resemble her love and beauty for her home, Perhaps my narrative journey should be aspiring  to see the beauty within myself and my environment. It should be the ability to see the happiness and capability within my life and my own actions. This is an article about shooting in black and white, however I still believe it shows pivotal demonstrations of capturing a beauty within street photography, and the construction of a narrative with people and the space around them.

 https://fstoppers.com/education/why-its-still-important-shoot-black-and-white-48141

Explain your process and where your ideas came from RE  GIF –Making

the process of creating a gif: File, Script, Stack, Window- what file , add open files, Okay, Select all layers, Window, Open a timeline, Opens at the bottom, Click arrow to frame animation, Must click it, Me he box in corner, Create new make new, 0 seconds, A delay between frame, How long you want the gif, 0.2 secs, Forever as a loop like a standard gif, File, Export, Save for web legacy, Dialogue box preview, Check file size, 8mg on blog, Might need to trim, In image side bring it down.

•      Include your original images to show the starting point of your experiment

•      Define what a GIF is…it’s possibilities and limitations too

Typology and the Bechers

The definition of ‘typology’ is “a classification according to general type, especially in archaeology, psychology, or the social sciences”.  Essentially it is the study of types.  The roots of Photographic Typologies is in August Sander’s 1929 portraits ‘Face of Our Time’ in which he documented German society between the two world wars.  Sanders’ aim was to create a record of social types and classes as well as the relationships between them.  Sanders was so successful in achieving this that the photographic plates were destroyed and his book was banned soon after the Nazis came into power.  Typology can be used to create a visual analysis of objects and the larger environment by extracting visual elements and presenting them in a consistent series and so forcing the viewer to compare the subjects.  The Becher’s and their style appeal to me because when exploring ‘variance and similarity’ I hope to create photographs that successfully show the differences and similarities in structures as the Bechers’ have done in a similar style whilst using the typology grids to emphasise the contrasts.

The term ‘Typology’ first came into use when used to describe the style of photography that Bernd and Hilla Becher were practicing.  The Bechers documented dilapidated German industrial architecture in 1959 – they described the buildings which they photographed as “buildings where anonymity is accepted to be the style”.  Each photograph in their collection of work was taken from the same angle and the same distance from the subject with the aim to capture a record of the changing landscape as these dilapidated buildings began to disappear.  The Bechers influenced generations of photographic typologists, such as Jeff Brouws and John Cyr.

Bernhard Becher (1931-2007) and Hilla Becher (1934-2015) were German conceptual artists and photographers who would work as a collaborative duo.  They are best known for their topographic images of industrial buildings in Germany, as discussed earlier.  The photographs were often organised into grids to show differences and similarities between the subjects photographed.  They are the founders of the ‘Becher school’ or the ‘Dusseldorf School’.  They have received multiple awards including the Erasmus Prize and the Hasselblad Award.  The Bechers’ worked outside of Germany as well including photographs of buildings in Great Britain, France, Belgium and the United States in 1965.

Their work on typology began as they first collaborated on photographing the disappearing German industrial architecture in 1959 – they were fascinated by the similar shapes in which certain buildings were designed, which is evident in their work.  After collecting thousands of pictures of individual structures they noticed that the different structures shared many qualities and were intrigued by the fact that so many industrial buildings were build with a focus on the design.  The Bechers would work with a large 8 x 10-inch view camera and would always use a straightforward point of view.  They would only shoot on overcast days in order to avoid shadows as well as only in the early morning during spring and fall.  A variety of subjects were photographed throughout their work including water towers, cooling towers, coal bunkers and gas tanks.  Often the Bechers would exclude any details that would detract from the central theme.  By photographing these structures the Bechers’ drew attention to the need of preservation of the buildings and some of them were designated as protected landmarks as a result of their work.

The Bechers decided to exibit their single-image gelatin silver prints grouped by subject, in a grid of six, nine, or fifteen and had come to the conclusion to present the images of structures with similar functions side by side to entice viewers to compare forms and designs based on the functions of the subjects.

The work of the Bechers were strongly influenced by the Weimar movement of New Objectivity in the 1920’s which was a movement in German art arising in the 1920’s as a reaction against expressionism.  The term ‘New Objectivity’ came to characterize the attitude of public life in Weimar Germany as well as the art involved in it. It was meant to imply a turn towards practical engagement with the world and ended in 1933 with the fall of the Weimar Republic and rise of the Nazis.  Some artists included in the movement in which the Bechers’ took inspiration are Karl Blossfeldt, August Sander and Albert Renger-Patzch.

In the Becher school they managed to influence a number of photographers including Andreas Gursky and Thomas Ruff; the work of their students also minimizes human presence and explore landscapes in a documentary style. Their school and work has had an impact on both Minimalism and Conceptualism art.  Their legacy can be seen through the work of Lewis Baltz who takes a similar approach with a more modern twist to it.  Their legacy can also be seen in the change in attitude to vernacular architecture – the Becher’s actively campaigned for protection of the structures that they photographed which led to the protection of industrial spaces.

Analysis

In this photograph natural daylight will have been used to capture it. You can tell because of the soft tones and natural contrast within the photograph. A low ISO of 100-200 will have been used for this photograph as the Bechers’ would be trying to ensure that noise within the composition was kept to a minimum.  A shutter speed of 1/60-1/150 will likely to have been used in this photograph – a shutter speed that is not too slow but not too fast to ensure that enough light could enter the camera lens from the overcast condition that the Bechers’ would shoot in.  A deep depth of field has been used at the whole of the photograph is in focus.  There is a warm colour cast to the photograph even though the photograph is in black and white – the warm colour cast reflects the comfort of the countryside in which the structures are based in.

There is no colour in the image as it is a black and white photograph. This shows that the viewer should be looking at the details of the subject instead of colours. There is a wide tonal range, ranging from the contrasting shadows of the structure to the over-exposed background. There is clear texture in the structures which makes the photograph more realistic to the viewer and gives it a slight 3D effect.  There is pattern and repetition in the beams of the structures which makes the photograph more aesthetically pleasing for the viewer.  The structures are placed in the centre of the photograph rather than using the rule of thirds as this photograph is part of a documentative-style approach in which the intentions were to show the form of the structures rather than to be aesthetically pleasing.

Bernd and Hilla Becher would document architectural structures all over Germany. They took photos of similar typologies and would make compositions of them all together. This is just one example of the work that they would do. They captured the pleasing aesthetics in the buildings deemed ugly and showed the country that there is more to it if they look closely. The Becher couple documented all sorts of structures and worked to open the countries eyes to what was right in front of them.  They described the buildings which they photographed as “buildings where anonymity is accepted to be the style” and aimed to capture a record of the changing landscape as these dilapidated buildings began to disappear.  The photograph is part of a collection of photographs intended to compare the structural qualities of different structures and would have been presented alongside another five or eight similar photographs of similar structures to allow the viewer to compare.

I belive as this is my last photography project, I need to start creating photography out of my comfort zone, and images which evoke a true feeling and follow a successful narrative thought. I started to think about all the three concepts I have so far being: fine art, media and family. I have come to the conclusion that this could come under beauty in life, despite pain and suffering. I will do this project from my own personal persona of the world. I belive not only does this project become my first directly connected photography to my own emotions, but it becomes a reflective narrative of my own life. This creates a narrative and meaning to my work. I myself belive there is definitely more good in the world than not. I belive everyone should be grateful in their life, as we are surrounded by so much beauty constantly. Despite all the struggles, disappointments and pains throughout our time, there will always be a positive outcome or ending. Or however hard anything might seem, it is never permeant, and to still keep faith and see the positive aspects within the world. I believe that This way of living contributes to the concepts of buddhism, and a change in mindset of what the world is like. I will use a combination of my daily life, where I go, what I see and experience, and form these beautiful pieces with this positive mindset at hand, as I do belive it is possible to find beauty anywhere I go.

Much of the work that I have in mind to me that speaks positivity and a freeness of life, is work which is abstract, emotive, has bright vivid colour, strong happiness, lighting and finally has a movement to the piece. All of these aspects creating a happier image. The state of seeing happiness and beauty is a state of mind and consciousness that you have the power to control. The state to which your attitude  creates a whole new perception of what is actually in front of you. With the weather getting better, lighter and people being friendly and more united, this to my mind is the perfect time to study a project about my one positive relationships with others. As I will do this project from my own views of how I see beauty in the world, I will possible include myself in some images, in order to show a bonding of myself with the atmosphere, emotions and persona that I too share with the landscapes and objects. My feeling and self should be shown within the imagery and it should be a combination of my own self love, reflected within the work.

An artists work that I belive really inspired me was laura el tantawy, I will study her ideas and inspiration in my next blog post, but for now I see her work has a beauty , softness and elegance. Her images to my mind connote a reflection of peace at mind. And I believe even taking such beautiful images, will benefit my own self, and my thoughts and views of the world. Focusing on the good instead of the bad in the world, should be an ideal way which people should live. Through taking beautiful images and letting my emotions be vulnerably visible in these images, will only benefit myself, and become happier and more peaceful at mind. I believe throughout this project my images will gradually get happier and more positive, as I grow more apart of my project. This piece of art is a relation of family as its close combination with my own emotions and the close relationships with how people should have a close bond with themselves like family. Mental health problems that they view the world, it just as important as the close net relationships we have with others. The media always concentrates the way we think and should feel about ourself, this effect on our mental health, changes an creates prejudice in the way we see ourselves, the world around us and others.

I believe this project will have some undertones and connotations to mental health, This being due to how we view subject matters as a society, and people being very based off of our own thoughts. If we are depressed or anxious it becomes more fogged and harder to view the world in a positive way. My images will be a combination of landscapes, observations but focused on in a more abstract manner. I too believe positive is reflected within light, so lighting will be a large part of this shoot. Luminance and brightness, seen within artificial and real light is abstract. Perhaps I too will look into artists who just study and look at light and abstract work. Additional aspect which I belive I too believe have a large importance to what I am trying to achieve within my own work. People colour, nature Similarity people Dreamscapes, abstract imagery.

Videos, Throughout this project I want to make around 5 videos, showing a visible demonstration of my life, a direct observational of what I see, perhaps featuring myself.The fact of featuring myself is to be done to show and exposure my own insecurities and exposure my emotions to everyone, as this exposure of a real presentation of myself, should be compared to the world around me.  But mostly to show the journey of what I can see and perhaps a literal narrative and final outcome of why I belive this holds importance and beauty. These videos will be short, delicate and focus on small detail usually ignored. I believe I could even add music over some, which evokes a more meditative medium of peace to them, and music which I belive evokes happiness. I really ant this project to be a positive reinforcement of my own thinking, how I feel about myself, and also a sentiment for how people should think and view the world from a positive clean slate.

Beauty of imperfections, is not only a pivotal part of the world which we live in, but it is also learning to love yourself. It is so important to accept you are not perfect, and despite what you or many will think, no one is perfect. It is the people who are able to see their imperfections and still love themselves despite of this who are the most beautiful. Being vulnerable and possible showing myself in ways I don’t such as with no makeup, not dressed up and stripped down to a natural form, trying to show that despite this , it it still okay, I am still me and this should be accepted. with the current high social regard of the media and beauty standards perhaps me doing this is a pivotal point of importance to my work. my vulnerability of my body and my emotions within this project, is what will make it successful and bring it to the next level. My images being along side aspects of the world I view as beautiful literally pulls myself as part of my narrative, and highlights my own importance and a bonding with my project. Images of still life, landscapes close ups, myself, just beauty which is surrounding me, I will too edit and combine images to create more abstract imagery. I believe Finding beauty within the imperfections of life is such a infacturating concept, and such an important part to being happy. To know of all the bad and see through it, To view mortality as something worth living for and not taking life for granted, Rather than death waiting for us. I believe to view and create something beauty from nothing is such a hugely great and important aspect, and perhaps  my own imagery, will enable people to see the beauty they too live in but just haven’t noticed or seen yet. My project is the growth and decay in life, and finding the beauty within the bad and good. and my own personal exploration of my beyond, being and how i should and can view the world as something which is just beautiful and should be seen this way. I will look into some philosophies about how to capture the world in this light, and more asian methods of seeing beauty.

I do belive this project connects with the title similarity and variation, this is due to the first off the connection with fine art, family and media which I previously discussed are a few of the primary starting points for the project. Secondly variation and similarity discusses a-lot about DNA and what makes us who we are and our reality and how it is interesting as we as people are so similar yet so different. This being different in our views of the world our appearances, and are ability to seek happiness. I believe showing the individuality of myself and how I see the world is a pivotal point in this project. This is what really will successfully connect my project to the finished title.