How does fashion shape social identities?

-Opening quote-

-Introduction (250-500 words) Focus on portrait photography, possibly parts of tableaux as well. Artists: Hassan Hajjaj, Rankin, possibly Andy Warhol. I will implement the same bold colours into my work, possibly break stereotypes such as the Kesh Angels portrait series by Hassan Hajjaj. Rankin Focuses a considerable amount on personal identity, through mainly face and top 1/3 portraits. Link to Hassan Hajjaj, fashion can show our social status/ rank in society. Such as how in certain countries women wear hijabs and aren’t allowed to drive or have other rights. Link to Rankin, can express our personality, through colour or style. Or (link to article) try change our identity through editing our photos.

Notes:

• Explain how I interpret the question.
• Identify issues that I am going to explore
• Give a brief outline of how I will deal with each issue, and in which order.
• Use at least one quote

At the exhibition ‘Invisible hands’ i felt it had a political feeling, with the migrant farmers telling us the real story, with so much of it being anonymous with the workers not being able to speak up, it was a way for them to say their side of the story.

Quotes;

“The question arises; if manipulation is the first thing someone thinks of in connection to photography, what does that say about the value of the photograph as a reflection of reality?” (Bright and Van Erp. 2019:17 )

“The Daguerreotype had aspirations to both the realistic and the theatrical, as well as to the commercial.” (Bright and Van Erp. 2019:17)

“One could argue that this actually makes it easier to interpret the degree of reaity in this image, for the lack of human subjectivity, makes it an example of ‘true reality’.” (Bright and Van Erp 2019:17/28)

“The process of manipulation starts as soon as we frame a person, a landscape, an object, or a scene with out cameras: we chose a portrait or landscape format.” (Bright and Van Erp 2019:18)

“The binding principle of photography, however, remains its relationship to reality” (Bright and Van Erp 2019:18)

“Photography has undergone a transformation, not only technologically but conceptually” (Bright and Van Erp 2019:18)

Bibliography;

Bright, S. and Van Erp, H. (2019), Photography Decoded. London; Octopus Publishing House.

Bibliography:

Bright, S. and Van Erp, H. (2019), Photography Decoded. London: Octopus Publishing House.

‘…, the red velvet evokes theatre curtains, within which the beautiful drama would unfold.’

‘The question arises: If manipulation is the first thing someone thinks of in connection to photography, what does that say about the value of a photograph as a reflection on reality?’

‘The process of manipulation starts as soon as we frame a person, a landscape, an object or a scene with our cameras.’

‘… it is not just photography that is complicated, but the concepts of realism and reality, too.’

Biblography

Bright, S. and Van Erp, H. (2019), Photography decoded. London: Octopus Publishing House.

‘The ‘mirror’ cans serve as a metaphor for reality.”

‘The daguerreotype had aspirations to both the realistic and the theatrical….’

‘The question arises: if manipulation is the first thing someone think of..’

‘Daguette’s technique gave a unique image…..photography’s complicated relationship with reality.’

‘truth reality’

‘not just that photography is complicated, but the concepts of realism and reality too.’

‘one can then ask: what are the differences between reality and witness and points of view?’

‘the process of manipulation starts as soon as we frame a person….’

‘At its best, it is a subjective impression that is at the same time both fleeting and enduring -just like any good piece of drama.’

‘Photography has undergone a transformation….’

Bibliography; Bright, S. and van Erp, H. (2019), Photography Decoded. London; Octopus Publishing House

“Photography emerged into a 19th-century world that was undergoing rapid transformation in almost every aspect.” (Bright and van Erp 2019:17)

“If manipulation is the first thing someone thinks of in connection to photography, what does that say about the value of the photograph as a reflection of reality?” (Bright and van Erp 2019:17)

“What does a ‘real photograph’ even look like: Is it something you can hold? Is it something you can see on a screen and alter?” (Bright and van Erp 2019:17)

“Mirror can serve as a metaphor to reality, whereas the red velvet evokes theatre curtains.” (Bright and van Erp 2019:17) (Bright and van Erp 2019:17)

“The daguerreotype had aspirations to both realistic and theatrical, as well as to the commercial.” (Bright and van Erp 2019:17)

“It is not just photography that is complicated, but the concepts of realism and reality, too.” (Bright and van Erp 2019:18)

“What are the differences between reality and witness and points of view?” (Bright and van Erp 2019:18)

“From Daguerre’s age to ours, photography has undergone a transformation, not only technologically but conceptually.” (Bright and van Erp 2019:18)

“Initially described as a means of capturing or freezing ‘real life’, it has gradually taken on an ever more ambiguous, complicated and fraught character as our ability to modify and share images has exponentially increased.” (Bright and van Erp 2019:18)

“The process of manipulation starts as soon as we frame a person, a landscape, an object, or a scene with our cameras: we choose a portrait or landscape format” (Bright and van Erp 2019:18)

Quotes:

“And what does a ‘real photograph’ even look like” (Bright, S. and Van Erp, H. 2019: 17)

“Under what circumstances are these images to be trusted as real” (Bright, S. and Van Erp, H. 2019: 17)

“if manipulation is the first thing someone thinks of in connection to photography, what does that say about the photograph as a reflection of reality?” (Bright, S. and Van Erp, H. 2019: 17)

“The process of manipulation starts as soon as we frame a person, a landscape, an object or a scene with our cameras: we choose a portrait or landscape format.” (Bright, S. and Van Erp, H. 2019: 18)

“At it’s best, it is a subjective impression that is at the same time both fleeting and enduring – just like any good piece of drama” (Bright, S. and Van Erp, H. 2019: 18)

Bibliography:

Bright, S. and Van Erp, H. (2019), Photography Decoded, London: Octopus Publishing House

Bibliography:
Bright, S. and Van Erp, h.(2019), Photography Decoded. London: Octopus Publishing House 

 "reality, witness and point of view can actually blend into one onother." (Bright, S. and Van Erp, H. 2019:18) 

"If manipulation is the first thing someone thinks of in connection to photography, what does that say about the value of the photograph as a reflection of reality?"  (Bright, S. and Van Erp, H. 2019:17) 

"The daguerrotype had aspirations to both the realistic and the theatrical, as well as to the commercial."  (Bright, S. and Van Erp, H. 2019:17) 

"The 'mirror' can serve as a metaphor for reality, whereas the red velvet evokes theater curtains, within which the beautiful drama would unfold"  (Bright, S. and Van Erp, H. 2019:17) 

"it is not just photography that is complicated, but the concepts of realism and reality, too"  (Bright, S. and Van Erp, H. 2019:18) 

"Documentary and news imagery may seem the most realistic genres in photography, but their realism means nothing independantly of how news media applies their ethical codes - if these are stipulated at all."  (Bright, S. and Van Erp, H. 2019:18)