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AO1 Develop Ideas, AO2 Explore Ideas

Artists to reference in my essay and analysis of their work

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Artists to reference and how they discuss emotions and the sublime:

Tim walker:

Tim walker is a photographer who specialises in out-there and almost wordy tablo shots for magazines and lots of fashion looks and developments. Similarly Peter Lindbergh has a similar fashion style. Walker is evidently the most vibrant artist I have chosen, and he will be subject to interpretation as a comparative to my other two photographers. His work is something of a fantasy and brings the word sublime into a chaotic visuality. I would love to develop and experiment more in his style, however for me to create these scenes of such a strong tablo photography would be difficult due of the large set pieces used, However I could use a combination of both a set and photoshop in order to  show a negotiated  medium of his style into my work itself. I have recently read the following articles from Tim walker which addresses his work in order to connote a whole story, although he clearly states ‘When you work as a photographer you’re working more with a mood and with a suggestion of something that enables the viewer to be able to put themselves in to the picture and imagine themselves in that situation’ his work is done in order to be generous to the reader. The production of the image is essentially allowing someone to be part of a fantasy. It is inviting them to enter his work and his element of ‘escapism’.  To my mind he does this as when developing a portraiture of someone you’re playing with their identity, this is not a fantasy, this is a very vulnerable. When collaborating with  a person you are in a direct expression of what that person is feeling to the camera. This is why I think Tim Walker is such a necessity when thinking about how emotions and surrealism work hand in hand to connote abstract themes of the sublime . His images have so much meaning and fluidity to them, the vibrancy does not take away from the emotions given by the persons themselves.  A photograph should enable yourself ‘to learn something’ there should be an ability to tell a story of the person themselves. 

Claude chaun:

Claude chaun I have previously spoken about in depth and the way she uses gender in order to form and effect her emotions. Interestingly I have responded to a set of her works already, with a model being submerged within the landscape. I believe there was a delicacy within that work. Claude Cahun was born October 24th 1894 in France. She was a surrealist and performance artists who was well known for self portraits that portray her as  ambiguous gendered. Cahun outwardly rejected identity and wanted a new political reform of more freedom. Her portraits presented herself occasionally as man sometimes as a woman, sometimes thoroughly androgynous. By refusing several gender stereotypes into a single character, she obstructed her identity In some of her work cahun departs radically from a linear or chronological telling of her life and she talks the reader through her attempts to discover who she is. I belive much of her work is about self discovery reflected in a political refusal to be normal. Her work is such a vulnerable exploitation fo her inner most emotions and has allowed herself. Her work soon become increasingly radical with political views and constructs she soon cofounded a philosophy book discussing the radical cultural groups at the time, Perhaps I could further use this as a explorations to how her philosophy could compare to someone such as Burke or Barthes.

Peter Lindbergh;Through his lents fashion meets art and photos see under the surface Fashion photography can not be confined to a mere communication and advertising expedient, especially if you look at one of the names that have made it a form of art, excluding it from historic, cultural and geographical landmarks.he sues fashion and his table works in order to access a true inner beauty of women and capture a personality through their emotions which makes up his main inspiration, intangible to be captured through the lens, the desire to go beyond the other fashion photographers.

Francesca Woodman:

Is an electronic artist. Woodman started taking photographs when she was 13 years old. She moved to New York in 1979 with the dream of pursuing a career in fashion photography. She took inspiration from surrealism and fashion, blurring her images in order to create movement and express conceptual themes into the narrative of her work. ‘Ordinary objects and materials, such as mirrors and pegs, to transform her body parts into distorted and surreal versions. She experimented with glass panels, pressing them against her body to squeeze, reshape and flatten her flesh to make her physical features appear grotesque and exaggerated. When questioned about why she was the subject of her own photographs, Woodman replied ‘It’s a matter of convenience, I’m always available’. Many of her images have a Secretive quality and a powerful sense of backstory. Not that I should get the wrong idea. “This wasn’t a performance. She was concentrating on the picture. That was why she didn’t want people around. She didn’t want any distractions.” Her work somewhere managed to combine an array of emotions succeeding of funny, artful, neurotic, and occasionally painfully honest. She was whole heartedly letting herself and all her emotions be so painfully shown to everyone and exploited. It shows how emotions can not only be so powerful, scary and beautiful but also a discussion of surrealism. However she soon become suicidal and killed herself as just 22, however this raised extraordinary attention as her primary subject was herself.

Roland Barthes :

Roland Barthes had a great fascination in what photography is and what it really means to be in a photo and if this photo should be considered reality or even a reflection fo time. He link his personal past memories within photos and question why photography creates an emotional effect occasionally. Camera Lucida is a book written by Barthes to determine a new mode of observation, and a new consciousness by the way of photography. He attempts to account for the fundamental roles of emotion and subjectivity in the experience of and accounting for photography. He stated that the irreducible singularity of the photographic images as an index indicating, ‘that has been’. photography is distinguishably from all other forms of representation, this is a symptom of a disorder which renders it ‘unclassifiable’ photography is mechanically a repetition of that which could never be repeated existentially. ‘When we look at a photograph, it is not the actual photo that we see, for the photograph itself is rendered invisible; thus the photograph is unclassifiable, for it resists language, as it is without signs or marks—it simply is’ I find this fascinating as it questions how the sublime comes to be an actually occurrence. A photo is just a a chemical reaction not repeated existentially, how does a piece of paper allow such a strong emotions to be relevant within work. How does something which does not exist, and only did exist for a moment show such a prevail of passion and pain for so many. Are people so vulnerable and materialistic they do not have to see something in the moment but can feel such strong emotions over something which possibly never even happened. However Barthes soon goes into focus on the factor of ‘duality that was characteristic of certain photographs: a ‘co-presence of two discontinuous elements’—what he terms, the stadium and the punctum. The studium refers to the range of meanings available and obvious to everyone’  the studium speaks of the interest which we show in a photograph, this inspires to want to know and think more about the own subjectivity. Puntum is a word to describe trauma, it is as private meaning to escape language, it is an experience which is irrefutable intertextuality of the photograph. it attracts the view and pick a wound. This could be were we see emotion, we use our own emotions and memory and amount them onto a photo, this is the way in which we would be able to see and fell the sublime. The ambiguity of the book lends itself to address the photographic meaning to have grander implications for the human consciousness in the pursuit of truth. His formulation fo a new science called  ‘absolute subjectivity’ this is an escape of ho a photo can bring the conscious and also the unconscious into a meaning.

Edmund burke:

Burke was probably if not THEY most influential philosopher when it comes to scissions upon the sublime and what it means and it able to achieve. Most of his ideas are those which are capable of making a powerful impression of the mind, wether this is pain of pleasure. this could even be seen through the preservation and society. This piece of work by burke is divided into many different sections talking about, sublime, sex, society, beauty  and solitude. All of which are combined and made successfully to fit into the sublime, however I will focus on the main themes of the sublime itself. whatever operates in a manner analogous to terror is a source to the sublime. It is productive of the strongest emotion which the mind is capable of feeling. Burke is said saying ‘ When danger or pain press too nearly, they are incapable of giving any delight, and are simply terrible; but at certain distances, and with certain modifications, they may be, and they are delightful, as we every day experience. The cause of this I shall endeavour to investigate here after.’ He speaks about the differences to which sexes belong in society, this could be further divided into man and animal. this answers the purposes of propagation of the individual. when men talk about f pain and danger they do not dwell on heath and comfort for security, but the actually pain and horrors itself which they endured, however if you listen to these complaints of a lover he is is insistently on the pleasure he enjoyed from it. Men differently to women did not fear the lack fo comfort of security  but the effect of love which lead to madness and loss. Love is capable of producing extraordinary  effects, not that its extraordinary emotions have any connection with positive pain.  I believe it would be fascinating to not only look into the effects of emotions on people such as love and pain, but perhaps and depending on your sex the different reactions people have to the event and what they feel and can see of the situation. ‘ Beauty is the passion which belongs to generation’ passions are more unmixed and which pursue their purposes more direct.  The relationships of sexes chance when talking about the emotions of friendships, we derive these off of kindness, whereas love is one based off beauty. To my mind this is Burkes way to which he is able to explain humanity and our action are all consequences of emotions linked o that of the sublime.

Overall I think these five texts all intertwine and will create a successful text. I believe forming and expanding on this information that I already know I will successfully be able to communicate my themes visually throughout my work, and analytically explore the conceptual’s behind my work and why I am intending to do something in a piece.

A2 Personal Investigation, Analysis, AO1 Develop Ideas, AO2 Explore Ideas, Essay

Essay introduction and plan

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Essay Question:

My hypothesis and narrowed down six possible questions are:

.Examine how the sublime and reality work hand in hand to  visualise how they reflect a personal emotion. And how the artists… and ….. show this in different ways.

.How can politically movements of photography such as surrealism and the sublime effect the way which photographs see and demonstrate emotion in their work.

.How does the power of pain and beauty found within the sublime, have such s strong influence on the emotions of artists and photographers.

.Does objectivity and reality effect how we view and react to our emotions. How does the sublime have such an emotional response dependent on the persons current emotional status. And how do photographers capture such a unique set of emotions all at once.

.Merging the boundaries of the sublime and surrealism; How are emotions and personal identity represented conceptually throughout photography. Why do these photographers …..consider their work to be sublime.

.Examining the sublime: A photograph should not be able to have such strong emotional occupancy, so that it effects how someone perceives reality and views their own emotions.

I belive I am able to start writing this essay now as all of these titles link in a  successful manner and I should still be able to communicate the same ideas and themes through the beginning of the essay without knowing the specific title itself.

Essay Plan:

Make a plan that lists what you are going to write about in each paragraph – essay structure.

  • Essay question:
  • Opening quote:”the sublime is something which has power to compel and then destroy us. Pleasure is only pleasure if it is felt and the is to be said about pain. ” Edmund burke 
  • Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?

“The sublime is something which has power to compel and then destroy us. Pleasure is only pleasure if it is felt and the same is to be said about pain. ” E:burke .The area I have chosen to study is the Sublime. I have done so as I belive the sublime owns such power it is often metonymic. It allows the thinking eye to add more value of what it is sees, but it is sole proof of seeing emotion as a medium. To develop a photo is a chemical reaction but what is develops is undevelopable in the essence what has been taken and experienced by someone, can not ever be repeated. The sublime is an instance of instances, It causes an independent reaction to each persons’ emotions and what they believe to have seen. It is not only something to be shown through art and photography, but a philosophical question which I want to look further into. My area of study will be how can the sublime be shown through the representation of emotions through the human body. I have chosen to compare two artists and two philosophers within my own subject of work, as they both focus on the ideals of human form reflective through such powerful emotions. The hypothesis I propose to answer is ‘Merging the boundaries of the sublime and surrealism; How are emotions and personal identity represented conceptually throughout photography. Why do these photographers …..consider their work to be sublime.’ The argument I intend to prove and also challenge, is the argument derived  as a  defence of the deliberative value of immoderate speech from an unlikely source, the  account is ‘ I say the strongest emotion, because I am satisfied the ideas of pain are much more powerful than those which enter on the part of pleasure. Without all doubt, the torments which we may be made to suffer are much greater in their effect on the body and mind, than any pleasures which the most learned voluptuary could suggest, or than the liveliest imagination, and the most sound and exquisitely sensible body, could enjoy.’ Burke states here how a persons emotions are strongest when pain and terror are so closely used, yet not to the extend of deat. This certain pleasure has a breadth of imagination that people can use for enjoyment. To my mind, this is has some truth, so through my three artists and two philosophers I will develop and explore their hegemonic and oppositional ideas, responding  trough the work of Tim Walker and how his style has such a strong juxtaposition to that usually expected within the sublime. Walkers tablo worldly images that inspired a transgressions of out of place beauty combined with incoherent objectification of mythology form interesting compositions that could be addressed as ‘sublime’. However I will be comparing his work to Claude Cahun and Franceseca Woodman, These two women’s styles catapulted the understanding of social and political issues when it comes to dealing with emotions It is ironic how they were both raised and worked in a time before the period of post-modernism, as their work stemmed from the view to change and explore how authorship of work should be an expression of identity and not to follow a path paved by those gone before. Historically the sublime is a term in which refers to a greatness beyond all possibility of calculation, measurement, or imitation’  It was first written in the 1st century AD though its origin and authorship. However it is evident that the sublime did not become a common influence until the 16th century, having a strong contextual reference to that of the renaissance period and its association to ‘romanticism’. My official aim is mimicking how photography can access political and emotional dependancy of reality through landscapes and portraiture to express a non direct emotion. My images will form a narrative of emotion further expressed through the colouring and text developing the surrounding piece itself. My investigation to how strong emotions can be seen such as pain and beauty ( which makes up the sublime) links successfully from my practical work and both my analytical.  This ares of work has always fascinated me as it s so fabricated and philosophical that there is no direct answer but just a group of proposals and theories. This allows my artists never to be wrong while expressing their opinion but just subject to exploring in various ways without being deemed as wrong or incorrect. The relation to romanticism and emotions seen within a landscape still has a clear connection to the subject matter of political landscapes, and if anything forms more themes of cohesion throughout my project itself.

Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian. Link to powerpoints about isms and movements M:\Departments\Photography\Students\Resources\Personal Study

  • Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
  • Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
  • Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
  • Bibliography: List all relevant sources used

Essay Introduction, to include: 

  • Begin to read, make notes, identity quotes and comment to construct an argument for/against.
  • Explain how you intend to respond creatively to your artists references and further experimentation and development of your photographic work as part of your POLITICAL LANDSCAPE project.
  • Complete a draft version of your introduction 250-500 words) and upload to the blog by Mon 26 Nov.
  • Establish coherent and sustainable links between your own practical work with that of historical and contemporary reference.

Think about an opening that will draw your reader in e.g. you can use an opening quote that sets the scene. You should include in your introduction an outline of your intention of your study e.g. what and who are you going to investigate. How does this area/ work interest you? What are you trying to prove/challenge, argument/ counter-argument? Include 1 or 2 quotes for or against. What links are there with your previous studies? What have you explored so far in your Personal Investigation, or what are you going to photograph? How did or will your work develop. What camera skills, techniques or digital processes in Photoshop have or are you going to experiment with? Show evidence for an on-going critical and analytical review of your investigation – both your written essay and own practical work in response to research and analysis.

Overall essay structure: 

The plan: ,My question,Post modernism,Barthes analysis of photos,The emotion ,Cahun living and working what movements and ism why (modernism and post hadn’t come about),Sublime,Edmund Burke ,Discuss what I want to capture,Discuss about those three words of reality and such,Tim walker ,Tablo and created the likelihood and false reality of the danger of the sublime itself,My official aim wanting to access political, emotional dependancy of reality,How this links to political landscape,Overall what I want to have in my images and shoots,How these artists and philosophers have changed what I think about my work,My overall aim,Closing and finial analysis of question

 

Analysis, AO1 Develop Ideas, AO2 Explore Ideas

Analysis of past student essay

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Notes and evaluation on another book:

Anna Houiellebecq: Inside Out

 Houiellebecq speaks much about the project being about capturing the physical representation of hidden emotions. Her body ‘inside out’ includes images of the subjects posing in a certain way that represent a specific emotion. Her images focus on particular areas of the body, this being hands and faces; small sections at a time. Her book also allows a creative way that allows shapes and movement to be seen throughout. It has a very contemporary feel because of the way the human body uses light and abstract visions. The variation of images spreading from the whole page to half of the page allows a portrait oriented angle of the book itself. There is no category to her images, which I enjoy as this is similar to the narrative aspect that I too am looking for in my images. To do so the images are linked in similar ways through either colour or perhaps subject.Her images have a variation of coloured and black and white as this allows a contrast within the flowing format already. She decided to choose the ‘bath images’ to go into black and white as this looked better this way as the contrast of tones work better in black and white. An aspect of her book I throughly enjoy is the use of poems about particular aspects of the body itself. And for these double pages she used a similar colour themes and aesthetic as much as possible.

I think her title is very suiting and successful when thinking about the completion of this book ‘Inside out’ came from an expression of hidden emotions in a physical embodiment of human form. Another aspect I thought was successful was how the colour throughout looked professional and clear and precise to the overall Finish of the book itself. She was very clear with the amount of research she produced when speaking about body image and exploring how body expresses hidden emotions. She released though her research how bodies are usually intertwined and inspired by daily physical contact. she decided photographing political, social and emotional groups of a person was successful. I think this is interesting as this was similar to one of my first ideas about the exploration of human emotion reflected in a landscape. However I think when considering the sublime, I might consider the emotions behind the sublime itself, This would be considering how sublime emotions are within ourselves, and we do not know others emotions or inner feelings.Her essay question is quite substantial asking ‘how and why do photographers use the human body to physically express hidden emotions’

I believe her work is full marks, her work is conceptual and allows many bodies of work to inter-twin successful into one working concept. Her essay is clear and expands onto the following topics of politics, culture, sexuality and gender issues. Her images not only show political issues but they show emotion through the smallest of areas on the body, which I think is so hard to accomplish yet she achieved this so well. I find it fascinating how she talks about how the human body can be used as a tool to express what cant be said in photography.  or as a ‘physical visualisation of unheard emotions’. The way she so successfully analysis her images making sense of what is happening and what she is trying to connote, is easily understood yet also well in depth and creates an awareness to whats he is trying to achieve.

She talks about the physiology of her work, clearly expanding from just a photographers view on the subject. Her references to other artists that successfully join into her work. Her analysis is also divided into conceptual and surreal forms of looking at the body, I think this important because there are so many possible variations and ways in which you could view the art so doing a clear depiction divided in a way such as this is very clear and shows conceptual thinking. I think many of the conceptual themes of her book such as the colour scheme not only intertwine the written work to her visual but also creates a sense of mimicry within the colours symbolising the emotions she is trying to convey.she also successfully links her written work and the whole book itself to specific photographers and this essence of cohesion really helps to achieve her subject matter and her artists linked and wholly visible within her work.  The  Themes I would like to take out o this book are t pieces of text she uses in order to almost explain and deep then the thought of her work. I also believe how she used colour was so well thought out and received. I think her images themselves have such a strong overall theme yet and narrative yet without having to tell a chronological story which I would also like to show within my own work. Her subjectivity and images work well hand in hand and I think this piece as a whole was so well thought out ,presented and achieved and I will sue this as the basis of my own inspiration .

A2 Personal Investigation, AO1 Develop Ideas, AO2 Explore Ideas, Contextual Studies

reviewing and relfecting

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Lesson 1 – Reviewing and reflecting: Objective: Criteria from the Syllabus

  • Essential that students build on their prior knowledge and experience developed during the course.

when considering what I should further investigate within my project I started to think about my prior knowledge of my personal investigation and my overview so far. So far within my work I have investigated three main themes, this started off within the demonstration of narrative photography demonstrating how a political landscape should and is able to re create a personal emotion if someone  has an experience within that space. My second idea was a development of what is reality and if I could capture a false reality within my images, this being seen within the reflection of time. Lastly and currently the theme I am working within, this being the sublime and what images can be considered as painful and yet also beautiful. I have learned about how to show emotion through a piece of work and how to tell a story through not a direct narrative but fragmented images being grouped together to express a theme. I intend to further develop a theme that both links, reality the sublime and most importantly emotion. I decided if I used emotion I could denote factors about my own feelings and also those of people I photograph. I believe I want my project to be very unique but most importantly to have very interesting and individual imagery.I belive if I develop emotion I could use factors of the sublime to divide emotions into being beautiful and painful, and how emotions are so subjective to each and every person so much so that it is not the same reality for someone else.  Due to no one knowing what someone else is feeling I belive I could develop a book that shows the ups and down of what people feel. I believe living in what happens between planning for their future. So creating a book based on all my past research and shoot so far will really benefit myself. I could use the sublime to create further imagery in order to create a metaphor for how people feel during these emotions. I still want to use both a picture of landscape and portraits as this genuine combination presents a whole picture of what someone is possibly going through. To my mind when describing what themes are in my work I would say themes which have a sufficient meaning to a person and would effect their emotion shown within a sublime way. So a theme of vulnerability and perhaps a certain amount of truth to the person themselves. I have done much research on an array of artists, But I belive the most influential are those which achieve a sense of beauty and  such a unique appearance to the image itself.I believe focusing on people such as Tim walker and Claude chaun creating an interesting and subjective juxtaposition of techniques and aims within their work. Tim walkers outgoing and almost surrealist manifestos of tablo photography would enable oneself to create the eye-catching unique and sublime imagery. Whereas Claude chaun has a combination of political and social views which would allow me to achieve an emotional representation of individuality of people. Her account for fighting for gender rights and such should be prelivant within my work as the vulnerability of people is such a huge aspect. I have already done a direct response to her work, but if continue to do so with the intent of using her narrative responses this should successful work as an artists inspiration. I believe the difficult aspect of my work I am trying to achieve will be that of what approach I take. I have so many ideas and vision and I need to find the correct approach to tie all the serpent narratives into one intertextual idea. However because I want to find emotion I the sublime this is Both a combination of narrative as a reflection of what people are going through, to trying to create breathtaking and table photography images to then further demonstrate their emotions in a metaphorical physical interpretation. The skills I need are both successful convening an emotion. Through my images and yet also having an interesting composition to the images themselves. Also I think editing will be a large part of successfully creating the images I want to show. I believe I need to take a lot more photos and developing them to create the atmosphere within colour and the angle of the image itself will be difficult but would really advance and help the overall effect of my images. Techniques that inspire me the most are those which I find fascinating and eye catching, this is experimenting its under water photography, night time and light traces, close of textured work, seeing a sublime beauty within nature and lastly using colour a directed narrative to show a sense of atmosphere and the surroundings of myself and the people I aim studying around myself. what techniques am I using to create an overall synced view? As said previously I want to experiment within using many photoshop techniques as well as photographic sutures of using an experiment of slow shutter speed synced with fast capture to show many different atmospheres and characters within my work. Why am I inspired by this? I Find these ideas interesting to me because, showing emotions in such a sublime and new way, possible allows people to be more vulnerable and expressive wihtin their emotions and what they are really feeling. So many people when talking about emotions derive only negative connotations from doing so and belive emotions can only be spoken about in a negative and ill mannered way. I believe emotions should be an expression of who we are, it shouldn’t be reflected as a mirror of oursleves but should be seen wihtin our environment and those around us. Emotion have the ability to show strength and happiness. Examples of current experiments I am thinking about achieving are the following; Overall I am inspired by this through my wanting such an abstract surreal book that express emotion in such a why that is so unexpected yet so obvious to threader about its contact and the feeling it is trying to convey altogether.Emotion and sublime to my mind work hand in hand and I believe this would really successful tie my work in together.

Analysis, AO1 Develop Ideas, AO2 Explore Ideas, Case Study

contextual study

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Invention of photography:

invented In 1839 developed but two people, developing different techniques. silver nitrate is sensitive to light, so enables an imprinted image. in the renaissance period the 15th century artists and painters used a device called the camera of obsscura, placing the images which is then projected onto another surface. although you are unable to move or change the image being copied. this vies is tons lated and flipped. In modern cameras a mirror is used to effect the shutter and flip the image once again, so when looking through the view finder it is correct in the way of you seeing it. Additionally our eyes are a form of optic, this cannot be replicated through cameras in the same way. the beginning of photoghohry was a scientific cendavour to record something more accurately, and how these experiments found a solution to capture light and shadows .

PICTORIALISM, and time period: 

Pictorialism was occurrent in the 1880s-1920’s this is when new cameras were developed in this time and jersey was part of a large revolution and hot bed for photography and experimentation. There was 18 phoqogorhic studios in jersey in the 1940’s many pioneers of photography. soon photography was the  heigh of impressionism and was developed less from science and more into art. This made photographs think their work has to resemble a drawing of pencil or charcoal going against the nature of photography. looking more blurred and out of focus. They oddly scratch developing negatives and smear Vaseline over the lenses. They  wanted to move photos into art galleries alongside impressionist drawings and such. Then they looked at paintings for ideas of subject matter. These allegory paintings, they are based off a short story and myths from more biblical tales and then further depicted into literal paintings. They are full of symbolic meaning to convey a message and provide a lesson fo how to live your life, as this was the only device to express a view. They have a romanticised and whimsical feel within the photography images, and they recognise the aspects of artist landscape and nude pieces.Key characteristics/ conventions : This was a Reaction against, and what hey did this was due to whenever something becomes a trend their will always be a reaction and a challenge against the normal. they used many charchatertics inspired by renaissance art, and also the new development of individual expression in an artists manner which had never been done before in photography. These allegorical and spiritual matter of religious scenes applied the principles composition and deign but the subjective spiritual motive.

rule breaking:This characterisation of work could lead onto past themes I have studied such as rule breaking and how the concept of breaking a rule in photography or challenging the normal is atypical and rebirth of a new ism and movement within photography. Without these pioneers Turning science into art we would never have surrealism, romanticism cubism or be missing vital angles within the development of photography.

Artist: Julia Margaret Cameron is an artists who was a photographer in the victorian era. The bulk of her work from the categories, this being illustrative allegories based off religious and literary works. In the allegorical work in particular her work had a clear influence from that of pre rapaetlite. her work has delicate limp poses with soft lighting. Her work was unconventional through the intimacy created through he long exposure, her subject moved and by leading the lens intentionally out of focus. This leads me also into looking at how unique it was to have a own who has. algae influential photogoher at the time. Her work is very different to anything that a man would producjuce. Women are looked at as pure and seen to have. loving relationship with fmilay and sister in a clearly taboo and posed setting, almost table like. The has a strong juxtaposition to that of the male sense of photography at the time.The mans eye and the photographical gaze, Women historically are being looked at different through the representation is often eroticised and objectified.these naked figures seen as art for only the pleasure of men. However a female would show herself being empowered as a mother and ally clothed showing the sexism wihtin the period and soon this leads onto larger post modernism topics such as feminism and the fight for women rights and want for less sexualisation of their bodies.

Groups of artists: A group of artists that I think it would be beneficial to look at  a small group of artists called, photo-secession.The Photo-Secession was an early 20th century movement that promoted photography as a fine art in general and photographic pictorialism in particular.A group of photographers, led by Alfred Stieglitz and F. Holland Day in the early 20th century, held the then controversial viewpoint that what was significant about a photograph was not what was in front of the camera but the manipulation of the image by the artist/photographer to achieve his or her subjective vision. The movement helped to raise standards and awareness of art photography.The group is the American counterpart to the linked ring an invitation-only British group which seceded from which was the underlying value of the Photo-Secession, argued that photography needed to emulate the painting of the time. Pictorialists believed that, just as a painting is distinctive because of the artist’s manipulation of the materials to achieve an effect, so too should the photographer alter or manipulate the photographic image. Among the methods used were soft focus; special filters and lens coatings; burning, dodging and/or cropping in the darkroom to edit the content of the image; and alternative printing processes such as special toning, carbon printing , platinum printing or gum bichromate processing.

The theory of naturalists photography: Soon contemporary artists decided that pictorials wasn’t what they wanted to continue due to the lack of detail to their minds this is not what photography is about. this leads onto that of:this is the mind of he outlined a system of  aesthetics. He decreed that a photograph should be direct and simple and show real people in their own environment, not costumed models posed before fake backdrops or other such predetermined formulas.

REALISM / STRAIGHT PHOTOGRAPHY

The theory of straight photography ; Is this that could also be viewed as realism within photoghrohay, reaction against pictorials and started the narrative documentary approach, often with a social concern related to it, and the athletic of people within their environments. They argued that photography should not be blurry and out of focus as this is not why is was invented and wrongly captured the formal elements.Time period: straight photographers were in the intricate qualities of the photographic medium with the ability to provide accurate and descriptive records of the visual world. These photographers strove to make pictures the were ‘photographic’ rather than ‘painterly’.  Straight photography’s time period started towards the end of the pictorial era. ‘straight photography’ is the cameras ability to record objectively then an actual world as it appears in from.aight photography emphasizes and engages with the camera’s own technical capability to produce images sharp in focus and rich in detail. The term generally refers to photographs that are not manipulated, either in the taking of the image or by darkroom or digital processes, but sharply depict the scene or subject as the camera sees it These straight or pure approaches to photography continue to define contemporary photographs, while being the foundation for many related movements, such as Documentary, Street photography, Photojournalism, and even later Abstract photography.The camera’s distinctive vocabulary includes form, sharp focus, rich detail, high contrast, and rich tonalities. Straight photography is also synonymous with pure photography, since both terms describe the camera’s ability to faithfully reproduce an image of reality.

Artists associated:Dody Weston Thompson was a 20th-century American photographer and chronicler of the history and craft of photography. She learned the art in 1947 and developed her own expression of “straight” or realistic photography, the style that emerged in Northern California in the 1930s. Her camera work is represented in dozens of museums and private collections as well as in many photographic books and magazines. She also participated in multiple solo and group exhibitions from 1948 through 2006 in the United States and Japan.In her work it is evident the inspiration se has both seemed from the new straight movement yet till themes reminiscent of that of pictorialsm.