In this shoot I will be responding too the rule of manipulation and taking inspiration from, in which he used double exposure to create a 3D effect look. For this shoot I needed to only take very simple and plain images as I knew that most of the work for the images would  have to be done in editing.  I took theses images on the park near my house, I wanted to photograph the tops of the trees and I wanted to create a contrast i within the images as I wanted some of them to me more plain and the others to be more detailed, and as I knew that I was going to edit my images and use the technique of double exposure and if there are a lot of different components to the which when edited the image can look too busy

Edits 

Compare and contrast

I don’t think that the two images when placed next to each other look that similar, this may be due to the process in which I took this image. I took this image on a DSLR, as I didn’t have access to a film camera which is the style of camera that Blanca Vinas uses. I think that his image had more of a fantasy look to it, as many of the colours in the image are either pastel and light and airy. I edited this image on Photoshop I used the same image three times and increased the hie on all of the images dramatically, as I wanted to created an image that look that it had been heavily edited and manipulated . Both of the images have trees as the main focus, but the photographers image only has the silhouette of the tress which I think is a more effective style, so when I edit theses images again I will try to re-create this style.

An article by Lewis Bush called ‘ Eight ‘rules’ of photography that are worth breaking ‘ explains how breaking the rules of photography can be extremely beneficial. Within the article he talks about how breaking the rules can be a new way of seeing the world and how real stories of our time aren’t always plain to see. He follows on from this to say that the most interesting concepts are not clearly visible and to gather what we really want to see, photographers have to break the rules and push the boundaries.

Bush talks about a photographer called William Eugene Smith who is an American photojournalist, very dedicated to his projects.  In 1955, the 36-year-old photographer traveled to Pittsburgh on what was meant to be a three-week assignment, but which became a year-long ‘amphetamine-fuelled photographic binge’. He came away with 17,000 images and then later relocated to Japan, documenting the consequences of devastating industrial pollution. In the process he faced extreme violence from the people he exposed and became very involved with some of the people he was photographing. He was, in the words of one writer, “the man who tried to document everything”. Despite breaking nearly every photographic rule, Smith was one a very successful photographer and gained a well deserved place in photographic history. Some of these rules broken includes, posing his subjects, manipulating his prints, and often becoming dangerously over-involved in his stories. When asked by one interviewer why he so persistently ignored many of the fundamental factors and rules of documentary photography, he said “I didn’t write the rules – why should I follow them?”

During his successful photographic career, Smith broke nearly every rule there was in photography. Some of these included, posing his subjects, manipulating his prints and becoming dangerously involved in his stories. When people questioned him to why he broke the rules he said, “I didn’t write them- why should I follow them?”  Smith proved that successful photographers can break the rules. Bush writes that many rules restrict the medium, “serve vested interests and prevent photographers from revealing the critical issues that are shaping our modern world.”  Here are some images by Smith.

There are the eight rules that Bush talks about. The rule of Objectivity, the rule of Audience, The rule of Manipulation, The rule of Reality, The rule of Technicality, The rule of ownership, The rule of the camera and the Rule of rule breaking. The rule that I will be exploring the rule of manipulation.

This rule is about the way that photographers are forbidden from using digital editing to manipulate the meaning of their images. The purpose of this rule is to provide truthful stories that can be trusted.  Steve McCurry, a long-revered photojournalist, was revealed in 2016 to have been exhibiting and selling prints which had been heavily manipulated to remove elements. Responding to the uproar, McCurry quickly claimed that he was in fact “not a photojournalist”. Bush suggests that almost every stage of the photographic process is a manipulation, and is open to no less shocking misrepresentations. A documentary filmmaker Errol Morris states that you don’t need to manipulate an image to mislead an audience; you simply need to change the caption. He also says that in the right context, manipulation can reveal truth. A Dutch photographer Alice Wielinga traveled to North Korea however found it significantlly difficult to capture the truth. She said “I felt that, with mere documenting, I wasn’t able to tell the story as I was experiencing it”. Her response was to digitally merge her photographs of official North Korea propaganda with her own images of workers and decaying factories.

In an article by photographer Lewis Bush  Eight ‘rules’ of photography that are worth breaking he says how he thinks that breaking the so called ‘rules of photography’ can be extremely useful and can lead photographers to achieve their full potential. The article suggest that by breaking the rules our are able to see the world in a new perspective and that the stories of our time are not always clear to see. 

Bush explains the ideas of William Eugene Smith Smith is an American Photojournalist who is extremely dedicated to his projects. In 1955 Smith traveled to Pittsburgh on what was meant to be a three week assignment, however turned into a year long ‘photographic binge.’ He came away with over 17,000 images. He famously quoted this phrase: “I didn’t write the rules – why should I follow them?” allowing him to follow his own rules and principles to follow without others setting them for everyone to follow. If rules weren’t broken then many pieces of art, photography and media would not be around. Rule breaking allows to create new, innovative and niche process when taking photography. 

Alice Wielinga born 1981 in the Netherlands  graduated from the School of Fine Arts, as a documentary photographer. With North Korea, a Life Between Propaganda and Reality, she won the Photo Folio Review at the Rencontres d’Arles 2014 and the first prize at the Fine Art section of the Moscow International Foto Award in 2015.Her personal projects have taken her from China to Cuba and recently to Pakistan.

In 2013 she started to pursue a project on North Korea. The country fascinated her for over a decade. She wanted to learn what happened inside North Korea, which seemed a bag black hole on the world map.  Where was the story on the 24 million people who live there. How does it feel to live in North Korea? And how will it be possible to convey that in a visible story?

When in Korea she found it incredibly hard to truly document the true side of Korea. “I felt that, with mere documenting, I wasn’t able to tell the story as I was experiencing it,” Because she was not happy with her images, she decided to experiment with her images and digitally merge her images of official North Korea propaganda with her own images of the country and the life that the people lead inside the isolated country.  “I see propaganda and reality as two sides of the same coin,” she says. “Propaganda is an essential part of everyday life in North Korea, and because of that a reality in itself.” 

The Rule of Ownership

Rules of photography from article by Lewis Bush https://www.huckmag.com/art-and-culture/photography-2/eight-photography-rules-worth-breaking/

As a photographer, it can feel futile to keep adding to this visual blizzard, when so much can be said with those that already exist. The solution, for some, lies in a creative attitude to the old-fashioned idea of ownership and copyright.

For seven years the French collector Thomas Sauvin harvested film negatives from Beijing’s vast dump, buying them from specialist scavengers who recycle the negatives for the valuable silver they contain.

In his hunt, Sauvin has created an archive of a million images that offers a unique insight into a pivotal period in modern Chinese history, from the tail end of Mao’s cultural revolution, to the economic success story of modern China.

Belgian artist Mishka Henner, meanwhile, works with images he finds online to dissect the motivations and power of their original producers.

In 51 US Military Outposts, he uses satellite imagery of US military bases around the world to probe the extent of this modern American empire. His interest in these images, he says, lies in the fact that “the people who are running the show, that’s the stuff they’re working with.”

Cropping

Refined Selection

Final Image

Breaking The Rules – The Rule of Manipulation 

https://www.huckmag.com/art-and-culture/photography-2/eight-photography-rules-worth-breaking/

For this project I have chosen the third rule suggested in the article by Lewis Bush. I chose this rule because I think that I could but a lot of conceptual and abstract meaning into my images

Mood board for the project 

The main aim for this project is to show the way the way that images can be manipulated to show things in a different way, can can be changed by the producer to give of there personal feelings on a certain topic and they way that this change influence and effect others. Rather then photographing the whole view of different scenes I am going to take a more abstract view, I am going to do this by the way that I frame and capture my images. The mood boards above reflect some of the final images that I would like to produce, I have also decided that I want to use a a film camera for part of the project as I want to manipulate/experiment  the chemicals that are used in film cameras to create different outcomes of images.

For the political landscape aspect of this project I am going to focus on nature, as my landscape and the way that  nature and modern buildings are co-existing. For my first shoot I am planning to focus on colour and double exposure to manipulate my photographs, to give a dreamy feel to my images. I will manipulate the images by focusing on small sections of the image and then by merging two images together. Or another idea will be to blend to photos together, I have one image and plain such as a sunset of a small abstract part of an image paired with a normal landscape image that would see everyday. I want the photos to have a colour palette of browns oranges and yellows as it is turning into autumn all of the leaves are going to change.

Definition of Political Landscape – A political landscape actually refers to the current state of things, as well as how they are looking in the future. While these metaphors are never actually used, you could say that a recession is hard work, climbing up a hill, and then a boom is the exhilaration of riding down the other side in a go cart. Political landscapes can be connected to conceptual or narrative forms of photography.

An example of an political landscape in jersey is the location of where to put the new hospital. And the resistance when it was proposed to put it on Peoples Park.

https://jerseyeveningpost.com/news/2015/09/28/new-hospital-at-the-peoples-park-no-say-islanders/

https://jerseyeveningpost.com/news/2016/01/22/campaigners-unite-to-preserve-peoples-park/

https://jerseyeveningpost.com/news/2016/01/27/peoples-park-petition-attracts-nearly-900-signatures/

https://www.jaakkokahilaniemi.com/

Jaakko Kahilaniemi born  in Finland, he received his BA in Photography from Turku Arts Academy Finland in 2014 and his MA in photography from Aalto University of Art, Design and Architecture in Helsinki Finland in 2018. He won the prestigious ING Unseen Talent Award Jury Prize in 2018 and Majaoja / Backlight Prize in 2017. He was selected as one of the Lens Culture Emerging Talents in 2017. As a freelance photographer Jaakko is specialized in portraiture, commercial and editorial photoshoots,

His project at the Guesney Photography film festival ‘ 100 Hectares Of Understanding’. The [roject is based off the 100 hectares of land that he inherated when he was only 8.  The project  ‘100 Hectares of Understanding’ is  his attempt to understand the world around him and how man affects the surrounding world. He is willing to challenge himself to find new ways of increasing his knowledge and visual perspectives

He took inspiration from Fluxus and the traditions of Arte Povera, he  seek to encounter the forest with a playful and open approach. 100 Hectares of Understanding consists of the objects that he has found, the acts that he’s photographed, the sculptures he’s made and visual secrets that he has created.