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Contextual Studies, Research

Hiroshi Sugimoto | Artist Reference

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Hiroshi Sugimoto is a Japanese born photographer, who first began taking interest during his time in highschool. Although Sugimoto studied Politics and Sociology at university level in 1970, he decided to ratrain in 1974 and recieved a BFA in Fine Arts at the Arts Centre College of Design.

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Sugimoto describes his work as an expression of time exposed photographs which act as a time capsule for a series of events in time.

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Many of Sugimotos photos lack the physical detail which would allow the photos objects to be distinguished, and instead strongly focuses on the lighting and textures. Sugimotos photos do not follow a certain pattern, and his images do not specify the subjects in which we are looking at,suggesting that he follows the surrealist movement.

Sugimoto produces a vast amount of his images using a large 8×10 format camera on a long exposure, creating the blurred effect that some of his images have.

Analysis, Contextual Studies, Planning

Variation and Similarity planning

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We thought that this artist linked in well with page 8 of the exam booklet, which is the fine art response to variation and similarity. This response was based on the artists Nick Greaves and Bluegreen Pictures.

Eadweard Muybridge

Eadweard’s photography of moving animals captured movement in a way that had never been done before. His work was used by both scientists and artists. He developed a miraculous process for capturing movement on film. This approach to photography influenced media and other motion animation industries to produce picture animation. In 1872, Muybridge began photographing a galloping horse in a sequence of shots. He eventually came up with a more complex method of photographing horses in motion. By 1879, he had proven that they do at times have all four hooves off the ground during their running stride. Over the next few years, he produced thousands of photographs of humans and animals in motion. Eadweard presented his photographic methods using a projection device he’d developed called the Zoopraxiscope.

Muybridge’s Zoopraxiscope, 1880
A picture disc for the Zoopraxiscope developed by Eadweard Muybridge (Wikipedia, 2015)

This image portrays several images of a pig running. The sequence of photos shows how the pig is moving. The colour isn’t natural because of the camera that Muybridge used. This old camera that was used in the 1800s creates a sepia, vintage effect. He usually uses images of horses, but in this particular image, he used a pig to show the contrast between the two animals, and how they move in a similar way. The repetition of the images shows the variance of each image, and how each photo differs from the others due to the pigs movement. The way they are produced in a grid makes it easier to compare all the images.

Nick Greaves

He studied geology and environmental sciences at the University of Aston in Birmingham, England. His passion and interest in Africa took him to Southern Africa in 1976. Greave’s interests in wildlife, conservation & photography originally developed independently, but slowly all these came together over the years, and he was able to combine all these passions into his current position as a multi-tasker, dividing his time as a professional safari guide, photographer and author. Nick’s love of wildlife and the outdoors quickly led to an interest in photographing the world around him, and over the years his photography has become a never ending search to capture the moods and wildlife of Africa and elsewhere. This interest has led to a full portfolio covering much of the flora, fauna, culture, and heritage of Southern Africa.

Corpinus Disseminatus Trooping Crumble Cap photograph, Nick Greaves

This image taken by Greave’s is portraying the mushrooms that appear as part of the wildlife’s nature in Africa. The repetition of the mushrooms that spiral up the branch of the tree trunk shows the variance between the mushrooms- although, they are all of a very similar size, shape and colour, which makes all the mushrooms seem very alike – this is similar to Murbridge’s work as they both take photos of the same object, yet they all vary in their own ways. In Greave’s photo, he only displays his repeated objects (mushrooms) in one single image, instead of in a grid format like Muybridge portrayed his work. Maybe this was because in Greave’s photo, the mushrooms were all bunched together already, so that it was easy for him to take his repetition photography in one image instead of putting them together in a grid layout like Muybridge did. This photo has a lot of natural colours, due to Greaves taking this image in 1996; the technology of cameras and online software at this time is obviously a lot more improved than when Muybridge took his series of images of animals in the 1800s.

Contextual Studies, Research

Michael Wolf | Artist Reference

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Michael Wolf was born in 1954 in Munich, Germany and was raised in the United States, Europe, and Canada. He attended the North Toronto Collegiate Institute and the University of California, Berkeley. In 1976 he obtained a degree in visual communication at the University of Essen, Germany.

Wolf began his career in 1994 as a photojournalist, spending eight years working in Hong Kong for the German magazine Stern.

Wolf states that a decline in the magazine industry led to photojournalism assignments becoming “stupid and boring.” In 2003 he decided to work only on fine-art photography projects.

Wolf’s current works are spread between Hong Kong and Paris mainly and
his work focuses on the structure and repetitiveness of daily life in big cities. He has has many notable projects such as ‘100×100’, ‘Bastard Chairs’ and ‘Tokyo Compression’.

Contextual Studies, Developing, Experimenting, Recording, Research, Uncategorized

GIF Experimentation

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What is a GIF?

A GIF (Graphical Interchange Format) is an image format invented in 1987 by Steve Wilhite, a US software writer who was looking for a way to animate images in the smallest file size. In short, GIFs are a series of images or soundless video that will loop continuously and doesn’t require anyone to press play. This repetition makes GIFs feel immediately familiar, like the beat of a song.

I then wanted to go one step further and develop my own GIF use the software Adobe Photoshop. Before doing this I would have to photograph one specific objects and variations of the objects shape and size, the object I decided on were water bottles. I chose bottles because of their common use in the everyday world and how easily they can be obtained, I then gathered together the classes bottles and proceeded to photograph them in the same position as the first, giving off the impression of the bottle changing as the frames moved. For one of the animations I wanted to add shapes moving around the screen to see whether it would effect the overall outcome and create a more aesthetic result. When I came out with the final result I made sure to put each frame at 0.2 seconds so that the animation seemed more fluid, these were my results:

Once I had made the GIFs I found that they related to the topic of variation and similarities through their constant transitioning between different styles of bottle. By doing this in future posts it would allow me to experiment with variations of some of the things photographed such as reflections and rock formations but taken in a topographic way where all subjects are taken in the centre of the image so that their transitions in the animation are smoother.

Contextual Studies, Research

Roni Horn – You Are The Weather

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“I photograph this woman, Margrét, in the water. This optic matrix was very important, as water is a true key phenomenon in Iceland. It was a quite easy relation. I did not say anything about what she had to do. She simply got into the water and I began to take photographs. In sunlight or under a stormy, cloudy sky – the water surrounded her, was on her and her hair was sometimes wet and sometimes tousled by the wind (…) You do not look at this woman in the traditional manner of nude photography. You look at this woman, who is also looking at you (…) Through her relation to the weather, the light or the wind, she takes on these different personalities.”

Horn’s photographic series ‘ You are the Weather’ show a young woman emerging from a geothermal pool in Iceland. Each photo taken milliseconds apart show minute and subtle differences in character almost indistinguishable from image to image.

The series beautifully demonstrate that due to small differences in circumstance and weather, we are not the same from moment to moment, mutated by environments and by others. 
 
 
 
 
Since the late 1970s, Roni Horn has produced drawings, photography, sculpture and installations, as well as works involving words and writing. Horn’s work, which has an emotional and psychological dimension, can be seen as an engagement with post-Minimalist forms as containers for affective perception. She talks about her work being ‘moody’ and ‘site-dependent’. Her attention to the specific qualities of certain materials spans all mediums, from the textured pigment drawings, to the use solid gold or cast glass, and rubber. Nature and humankind, the weather, literature and poetry are central to her art. 

‘Big enough to get lost on. Small enough to find yourself. That’s how to use the island. I come here to place myself in the world. Iceland is a verb and its action is to center.’-Roni Horn on Iceland

Image Analysis

‘These photographs were taken in July and August of 1994. For a six-week period I traveled with Margrét throughout Iceland. Using the naturally heated waters that are commonplace there, we went from pool to pool.’

Horn uses the natural lighting of Iceland to light up the model.

The image appears saturated as the red colour in the woman’s face stands out, however this may just be due to the cold weather of Iceland. The images also feels cold due to the blue background and the blue undertones in the skin.

The images are Close-Up as they are focusing on the differences in the woman’s expressions. A Shallow Depth Of Field is gained by using a larger aperture. Amongst the series, the composition changes to have the woman facing slightly to the right, or in this case, to the left. The use of negative space around her, presenting what is around her, helps to emphasize how her expressions change with the weather.

The series reflects aspects of Minimalism, which Roni is apart of. The series puts a big focus on the relationship between all images rather than as individual images. By offering many perspectives, Horn opens the possibility for infinite mutability and denies the viewer the satisfaction of “knowing” a subject through film.

Analysis, Contextual Studies, Developing

John Coplans

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John Coplans (1920 – 2003) was a British artist, art writer, curator, photographer and museum director. Coplans is a veteran of World War II and emigrated to the US in 1960. He has exibitions in Europe and North America – including the Art Institute of Chicago, the San Francisco Museum of Modern Art and the Museum of Modern Art, NY. He is known for his series of black and white self-portraits which are a study of the naked and aging body. He photographed every part of his body but never his face as his photographs would not focus on a specific person or identity. Coplans’ photographs questioned the taboo of age through the forward style in which he addressed his body. Coplans stopped making paintings in the early 1960s and in 1979 took up photography; he says he decided to become a photographer because “I wanted to go back to being an artist. I had had enough of art history, critics, museology… I chose photography because I could not go back to painting… photography… is a medium to build an identity out of a composite personality, to find an artistic identity”.

“I have the feeling that I’m alive, I have a body. I’m seventy years old, and generally the bodies of seventy-year old men look somewhat like my body. It’s a neglected subject matter… So, I’m using my body and saying, even though it’s a seventy year old body, I can make it interesting. This keeps me alive and gives me vitality. It’s a kind of process of energizing myself to my belief that the classical tradition of art that we’ve inherited from the Greeks is a load of bullshit”

Coplans shows through this explanation that he believes just because he is older his body is not inferior to what a conventional body in its prime is – he believes that an aging body should be celebrated and documented for everyone to see. Coplans began to think about the body as being able to express a language through shapes and lines. The photographs produced by Coplans were always cropped tightly and dramatically enlarged. To capture the photographs Coplans would use a video camera and monitor to view parts of his body. Once he has selected an area, an assistant would take a photograph using positive/negative Polaroid film which would create an instant image as well as a negative used for later printing in large scale. The fragmentation of the male body and the manipulation to create ambiguous shapes recalls artistic classical sculptures such as the Belvedere Torso as well as sculptures by artists such as Franz Xaver Messerschmidt who would explore extreme expressions to create something away from the ordinary in the way that Coplans does.

Coplans/Tim Booth and ‘Variance and Similarities’

The work of Coplans is similar to the work of Tim Booth in ‘A Show of Hands’ in which he photographed portraits of subjects through their hands to show an insight into the subjects lives and professions through markings and objects related to the subjects’ lives, such as a chess piece for Lord Carrington’s portrait. Booth’s work explores the body in detail in the same way that Coplan does and brings emphasis to the small details and flaws within the human body and celebrates the details that make everyone individual. Both photographers also use a black and white filter in order to highlight the blemishes and veins rather than the viewer focusing on colours. These projects fit into the theme of ‘Variance and Similarities’ because they look at how each individual has unique marks, likes and shapes within their body that makes their body individual and unique to them – these may be features that the owner of the body believes is private to them or may be individual but obvious lines such as a person’s fingerprint. I believe that this is what Coplans is trying to show through his focus on his body; he wants to show that everyone has flaws and quirks in their body and they should embrace these individualities rather than feeling ashamed because of them. I plan on responding to both Booth and Coplans by conducting my own photoshoot focusing on the hands of the subjects – I will do this in a style more similar to Coplans than that of Booth’s as I believe that a more macro and close-up/abstract approach to the shoot could be the better option but I will be experimenting with both.

Analysis

In this photograph of Coplans hands and knees it appears that he has used a strong studio lighting to create dark shadows behind the wrists and in the space between the knees below the fingers, resulting in dramatic and contrasting atmosphere within the composition. This dramatic use of light to create shadowing creates a wide tonal range within the photograph ranging from the deep black tones underneath his kneecaps to the light grey of the background. A deep depth of field will have been used when setting up the photograph which can be seen as the whole of the photograph is in focus and both the hands and knees are clearly in focus allowing the viewer to pay attention to details as small as the hairs on his thighs. A quick shutter speed with an ISO as low as 100 will have been used in this photograph as to capture the highest quality photograph possible with correct exposure Coplans will have ensured that he kept the ISO as low as possible whilst having the shutter speed slow enough to allow plenty of light to enter the lens from the studio to create a composition that is correctly exposed. There is a slightly cold colour cast to the photograph which reflects the fact that Coplans doesn’t want to create compositions that are friendly and familiar – his work is about pushing boundaries and comfort zones.

For the same reason as using a cold colour cast to the photograph, Coplans has used a black and white colour palette as he wants to create a cold-feeling to his work. This black and white colour scheme also allows the viewer to focus on the small details within the hands and body, such as the veins and hairs, rather than focusing on the colours within the composition. Although this is a self-portrait, Coplans doesn’t show his face as he instead focuses on isolated body parts such as hands and feet, showing them enlarged and close-up, so that they seem at once familiar and unfamiliar – this leads to an interesting composition that sets his work apart from other artists that have explored the body, such as Tim Booth. The photograph was taken at the level of the knees, viewing them directly from the front. The skin at the joint of his knuckles appears stretched and the wrinkles can be clearly seen throughout the photograph, creating a textured, deep and dramatic composition. The image is tightly cropped, ending at the artist’s wrists at the upper edge and the bottom of his knees at the lower edge. A narrow margin of white background on either side of the legs frames the body. Due to the narrow margin of white background and the framing of the hands and knees there is a slight 3D effect to the photograph which, when paired with the textures and shadows within the photograph, brings the details out to the viewer.

Coplans believes that an aging body should be celebrated and documented for everyone to see. Through photographs such as the one shown, Coplans began to think about the body as being able to express a language through shapes and lines whilst creating an unfamiliar composition using familiar body parts in an abstract way. Coplans would set up the photograph and composition using a monitor and then use an assistant to take the photograph once it was to his liking. By using this style of photography Coplans wants to show that even a body of a seventy year-old man can be extremely interesting as the marks and folds show the events and life that the person has been through. Ultimately, Coplans is showing how individual and abstract the human body can be and that everyone has flaws/marks that they are either proud of or try to hide; but Coplans believes that the way forward is to put these individualistic features on show for the world to see.

Contextual Studies

Colour Meaning and Symbolism

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Colour has the power to portray feelings, being used in all forms of media, from literature to film. It has the ability to influence emotion and is a common technique in Marketing to reflect how a business wants their customers to feel about a product – 90% of snap judgments made about products can be based on color alone.

Colour meanings can reflect personal mentality’s, demonstrating one’s past experience or culture. For instance, while the colour white is often used in many Western countries to represent purity and innocence, it is seen as a symbol of mourning in many Eastern European countries. However, Colour also has international meaning.

RED: Danger, Passion, Excitement & Energy 

Red is a very strong and noticeable colour that is often used on signs for signaling caution or warning. It is a warm colour that evokes a strong sense of passion, lust, sex, energy, blood and war. On the negative side, it represents revenge and anger.

The colour red can increase enthusiasm and confidence as well as
raising blood pressure and heart rate.

YELLOW: Optimistic, Cheerful, Playful & Happy

Yellow is the brightest color that the human eye can see. It represents youth, fun, joy, sunshine and other happy feelings. It is a cheerful and energetic colour hence its use in children’s toys and clothes. Darker shades of yellow are used in life vests, police cordoning tape and hazardous areas as a cautionary colour, as well as representing jealousy, decay and disease.

The colour yellow  sharpens memory and concentration, making it easier to take decisions, yet can also be anxiety-provoking as it moves rapidly forward in life.

GREEN: Natural, Vitality, Prestige & Wealth

Green is the colour of nature and health. It represents growth, fertility and safety. Darker shades are associated with ambition, greed and jealousy.

The colour green provides both mental and physical relaxation
as well as a sense of renewal, freedom, self-control and harmony.

BLUE: Communicative, Trustworthy, Calming & Depressed

Blue is a colour that symbolizes loyalty, strength, wisdom and trust. Being the colour of the sky and the sea, it is a colour known to have a calming effect on the psyche hence its use in hospitals and airlines. However, being associated with the emotional feeling of being ‘blue’, it is also used to express sadness or depression.

PURPLE: Royalty, Majesty, Spiritual & Mysterious

Darker purple shades are traditionally associated with royalty, representing luxury and opulence whilst lighter shades are quite feminine, sentimental and even nostalgic.

The colour purple encourages creativity and imagination being used to represent the future and dreams. It inspires our psychic abilities and spiritual awareness as well as ensuring that we stay grounded and down to earth.

ORANGE: Fresh, Youthful, Creative & Adventurous

Orange is an optimistic and uplifting colour that promotes risk-taking, physical confidence, competition and independence. It is often associated as a colour of youth.

However, darker shades of orange can mean deceit and lack of confidence.

PINK: Feminine, Sentimental, Romantic & Exciting

Soft pinks are stereotypically associated with feminine qualities as  they represent sweetness, playfulness and cuteness. However, other shades can be considered sentimental and romantic, being used as the universal colour of love of oneself and of others. At the other end of the scale, hot pink indicates youthfulness, energy, fun and excitement.

BROWN: Organic, Wholesome, Simple & Honest

Brown is associated with healthy, natural and organic things, and everything related to the outdoors. The colour calls for high priority, a strong need for security, belonging to a family and having lots of good friends. Of colour meanings, brown stands for material security and acquirement of material possessions.

From a negative perspective, the colour brown may also give the impression of stinginess or dirtiness.

WHITE: Purity, Simplicity, Innocence & Minimalism

White is a simplistic colour, often used by charity and non-profit organizations, as it symbolizes positivity and innocence. Hollywood often depicts their actors in white as being good, using such imagery as white horses or cowboys with white hats.

In colour psychology, white is the colour of new beginnings – wiping the slate clean.

The white colour is also used in many medical practices such as dental clinics, doctor’s waiting rooms and operating rooms, as an indication of cleanliness and efficiency.

Although there are very few negative aspects of the colour white, ‘too much’ white can seem cold, isolated and empty. White can give a sense of sterility, distance and lack of interest.

BLACK: Sophisticated, Formal, Luxurious & Sorrowful

Black is most commonly viewed as a colour that portrays something evil, depressing, scary and deadly. The black colour meaning is often negatively charged, as in “blackmail”, “blacklist” and “black hole” etc.

Black is the absorption of all colours and the absence of all light. This makes it popular in hiding ourselves from the world around us. Some use it to hide their weight, while others use it to hide emotions, fear and insecurity.

Black is also a very powerful colour that symbolizes class, elegance and wealth. Stylish clothing is often designed in black, everything from suits, to sexy black dresses, to formal black tie outfits. From formality to mourning to power, black is bold, classic and not to be fooled with.

Websites used:

https://www.color-meanings.com/

https://www.canva.com/learn/color-meanings-symbolism/

Analysis, Contextual Studies, Developing

laura el tantawy ARTIST REFERENCE FOR SECOND SHOOT

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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.’

Much of her work has an impressionistic undertone that, looking back, it feels perfectly in tune with the path my work should take: Finding moments of beauty and optimism, even in the darkest places. But there was one editor who said, “You know what? You can take pictures just for you.” That’s essentially what I’ve been doing ever since. It’s not a selfish or egotistical thing. It’s liberating. I have no expectations whatsoever, only to take pictures that mean something to me in that moment.I was born in Worcestershire in 1980 and my parents moved back to Cairo when I was five months old. We were in Egypt until about 12 and then my father got a job in Saudi Arabia, so we lived there for about six years. Then I went back to Cairo for two years, moved to America for 10 years and I’ve been in the UK for almost a decade now.t gives me a space where there are no boundaries. But living all over the place means I’ve always felt like I’m looking for something and I don’t know where it is. That sense of constantly trying to connect gradually led to Beyond Here is Nothing, which is about the beauty and the tension of living somewhere you don’t really know.

 

 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.’

The work above is from her work ‘Beyond Here Is Nothing’ is a photo-book object meditating on home. A place of belonging, a tranquil state of mind; a nostalgic memory or an imaginary destination – home is a perpetual possibility El-Tantawy is journeying to reach. Her personal experience growing up in contrasting cultures is the window to an intimate and emotive visual exploration of the unsettling feeling of rootlessness, the mental burden of loneliness and the constant search for belonging in unfamiliar places. Drifting between the physical and the whimsical, the book reveals itself through layers of images and words. A mirror of dispositions. A living object harmonising with time. I chose her work as  I see an angelic effect, I see her own narrative of relating her own feeling of love for somewhere else shown with her current environment. Her work looks as though it is a combination of overlapping images and edits, however, her work is a sight which was actually visible, This brings a certain respect of truth to her narrative, it is a reflection of real time. The way she uses colour in such a strong tonal way, yet still occur the sense of peacefulness is beyond what most photographers capabilities. The femininity and the soft touch to the images, create a very female orientated view.

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

 

 

 

Contextual Studies, Developing, Experimenting

Initial Experimenting with GIF’s

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A GIF (Graphics Interchange Format) is a bitmap image format developed in 1987.  It is a widely used format on the internet as it is widely supported.  The format supports up to 8 bits per pixel for each image and supports animation.  The use of GIF’s in the context of photography can be extremely useful to display a range of photographs in a unique and interesting way.  In this instance I have shown different shoes in order to allow the viewer to compare the different shoes shown to see the different shapes and styles even though they are all only shoes.  Creating a GIF is a relatively easy and straightforward photograph – to create the GIF shown in this post I uploaded all of the photographs into photoshop and then loading all of the different files into a stack.  I then created a frame animation and made frames from the layers.  I then chose the time that each frame will be shown to be 0.2 seconds and so resulting in a fast moving GIF.

This use of GIF’s is extremely relevant to the topic ‘Variation and Similarities’ as it is an easily displayable way to demonstrate both variation and similarities between subjects.  I plan on experimenting with GIF’s and working them into my exam as I believe that it is a very effective way of displaying typologies of subjects, such as different high rise buildings/office blocks and the contents of peoples’ bags.  As I further develop my work on typologies I will explore photographing more styles of building and putting these into a GIF format in order to effectively show the similarities and differences between the buildings as I aim to do.  Below I have demonstrated an example of the type of work I could produce whilst incorporating GIF’s into my experiments – I will focus on building a wider portfolio of similar photographs in order to create a variety of GIF’s.

Analysis, Contextual Studies, Developing

repetition – typology research

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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

a lossless format for image files that supports both animated and static images.
“a GIF image”, a file in GIF format., plural noun: GIFs
The possibilities for a gif is to make an almost motion picture animation, and create a formation of separate images, almost forming a real life narrative. However it does have limitations of the way in which you take the image for the similarities to line up and look as though it could be real.