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) 

Why does Carolle Benitah and Annegret Soltau use embroidery as a way of understanding identity?

In what way does Carolle Benitah explore childhood memories through her work as a method of understanding identity?

How can memories be presented in the medium of photography as a method of understanding identity?

What are the elements of surrealism in the photomontages created by John Stezaker?

Can photomontages help explore the identity of an individual?

How does Carolle Benitah and John Stezaker present the concept of absence and presence?

How can instability and uncertainty be presented in the medium of photography?

How does Chino Otsuka document her cultural identity, ideas about displacement and international travels?

Why does Carolle Benitah and Claudia Ruiz Gustafson explore their past as a method of understanding identity?

Artist references

Quote: The question arises: if manipulation is the first thing someone thinks of in connection to photography. (Bright and van Erp, 2019: 17)

Bibliography

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

Is It Real:

“The daguerreotype had aspirations to both realistic and theatrical, as well as to the commercial.” Pg17

“Mirror can serve as a metaphor to reality, whereas the red velvet evokes theatre curtains” Pg 17

“A mirror image that would soon be kept in a protective case lined with red velvet.” Pg17

“The question arises: if manipulation is the first thing someone thinks of in connection to photography” Pg17

“What is this picture illustrates is that it is not just photography that is complicated, but the concepts of realism and reality too” Pg18

“The process of manipulation starts as soon as we frame a person, a landscape, an object, or a scene with our cameras: we chose a portrait or landscape format” Pg18

Bibliography:

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

Bright and van

From your Personal Investigation based on OCCUPATION vs LIBERATION write an overview of what you learned and how you intend to develop your Personal Study.

how to take photos in low light

how to use lightroom and create collections and effectively chose and experiment wiht photographs will cvontinue to use effectively

how to use archives to influence my work whihc i will continue to use in my poersonal study (old occupation and liberation stories and family stories)

how to work with models and intreect with them – i may be using people in my photobook therefore i will contuinue to prectice

tha its important to get to kbnow the people youre taking phpotoas of so they become more conmfortable; it makes the images more relaxed

how to pose people

how to set up ligting and cameras for an objects photoshoot

how to place photogrpahs in a sequence that has narrative and tells a stroy – crucial

how to mix togehter archve and original images whihc i will continue to do

through studying still life how objects can carry ,meaning as well as their placement

Describe which themes, approaches (LANDSCAPE, PEOPLE, OBJECTS), artists, skills and photographic processes/ techniques inspired you the most and why.

i enjoyed montagihng archive images and using them to get my inspirations

i also really got inspired by listening to hedleys stories first hand

studying and responding to paul virillio

taking photos of the bunkers and mixing them wiht the surrounding landscape

the textures of the old bunkers

taking low lit photos in bukers

Richard Billingham: Ray’s A Laugh

Robert Adams: Summer Nights

Include examples of current experiments to illustrate your thinking.

PICTORIALISM

time period : 1880s to 1920s

Key characteristics/ conventions : Trying to make photographs look like paintings, Allegorical inspirations, spiritual and religious scenes+subject matter

Artists associated: Hugo Henneberg, Heinrich Kuhn, Hans Watcek (Vienna Camera Club), Julia Margaret Cameron, Peter Henry Emerson, The Brotherhood of the Linked Ring, Photo-Secession,

Key works: Equivalent (Alfred Stieglitz), What Remains (Sally Mann)

Methods/ techniques/ processes: soft focus, blurred and fuzzy imagery, long exposures

REALISM / STRAIGHT PHOTOGRAPHY

Time period: 1920s

Key characteristics/ conventions : accurate and descriptive records of the visual world, wanted too make photographs ‘photographic’ rather than ‘painterly’, Social Reform Photography,

Artists associated: Walker Evans, Alfred Stieglitz, Paul Strand, Dorothea Lange, Jacob Riis, Lewis H. Hine

Key works: The Steerage (Alfred Stieglitz)

Methods/ techniques/ processes: crisp focus, wide depth of field

liberation childhood family separation archive Yoshikatsu Fujii Mateusz Sarello

How have concepts of family separation been explored in the photo books of Mateusz Sarello and Yoshikatsu Fujii?

Explore How both Mateusz Sarello and Yoshikatsu Fujii Convey the theme of separation and loss through their use of archive images.