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2013년 10월 2일 수요일
Artist Precedents (Project 3)
1.
Artist name:
David Levinthal
Series:
Hitler Moves East
Title: Untitled
Date:
1975-77
Medium: Gelatin
silver print, Kodalith Film
Size: 15
15/16 x 20 inches
Genre/approach: Documentary, narrative, constructed imagery,
post modernism, image manipulation
Method and techniques: Film is used with this monochromatic
images, this allows the series to be highly documentary and realistic. Composition,
arrangement and lighting in the image are fully controlled by the photographer
since David uses artificial figures to manipulate the scene.
Description: This image is very well made up. Initially
viewers look at the soldier on the bottom left corner as it is the clearest
figure in the image, then we are directed to look at the person standing in the
light by the way composition and lighting are set. Camera is looking at him in
a low angle which implies that he has a power. The tone of the image provides sense
of depression and antiquity. The composition of the image creates tension
between the two figures.
Context and Ideas:
b.1949, San Francisco, USA
Graduated from Yale University with an MFA in photography,
currently working in New York
“Levinthal has produced a diverse oeuvre,
utilizing primarily large-format Polaroid
photography. His works touch upon many aspects of American culture. Levinthal
uses small toys and props with dramatic lighting to construct mini environments
of subject matters varying from war scenes to voyeurism to racial and political
references to American pop culture. He creates miniature scenarios
using shoeboxes, cardboard, and foam core to make miniature offices, hotel
rooms, pool halls, foyers and narrow corridors. These shadowy and dark scenes
expose the secrecy and intimacy of small spaces. Levinthal is particularly
interested in exploring the different emotions that each scene produces”
Deliberate construction of light and angle of view, scenery
becomes more dramatic and narrative
Response:
The main aspect I took out from Levinthal is constructive narration,
the way he uses composition and lighting to tell a story and to deliver
different emotions. The way he uses props to manipulate the scenery seems very
realistic.
The tone of the image seems very natural and relative to the
story that Levinthal is trying to set. However with my series it would not work
very well because the series is dealing with the present and surrealism.
Compare and contrast:
Two photos share the same storyline but it is constructed in
a very different way. The photo on the right is more symbolic and meaningful
whereas the one on the left seems more realistic, dynamic and emotive.
2.
Artist name:
Sian Bonnell
Series: When
the domestic meets the wild
Title:
Untitled
Date: 1999
Genre/approach: Landscape, abstract expressionism, constructed
imagery, comedy/satire
Method and techniques: A method Bonnell implemented in this
series is very simple. She literally takes and places the domestic goods into
the context of natural landscape and photographs it. Composition and colour is
also considered deeply to create its intended visual effect.
Description: This image is at a glance quite humorous and
charming. The odd placement of everyday object is quite powerful to challenge
our common recognition of objects. Compositionally the image is set up very
precisely. . Arrangement seems rather convincing after looking at the image for
a while. Vibrant colours of the objects add to playfulness of the image
Context and ideas:
b.1956, London, UK
Studied Sculpture at Chelsea School of Art.
“Her series achieve its effect- sometimes simply comically
absurd, sometimes disquietingly, complex and ambiguous-through what might be
called ironies of displacement. Domestic objects with specific function are set
in ‘natural’ locations inappropriate to their utility. The implications of such
displacements are directly derived from our recognition of the objects,
relating to our knowledge of their everyday uses. Their synthetic colours and
manufactured textures emphasise their alienation from their new surroundings.”
Response:
I think her images are especially interesting because she
brings daily objects to life merely through reconfiguration of context.
Personally, I feel this idea is quite fascinating and innovative. Hence I
decided to take the idea of considering personifying the objects as well as the
placement of each objects. Also I quite liked the vibrancy in the image. So my
series could implement that vibrancy to create a similar visual effect.
Compare and contrast:
Two photos above are both from the same series “when the
domestic meets the wild”, therefore it shares a lot of similarities. The way
she manipulates is very much similar except she uses different object on
different context.
3.
Artist name: Slinkachu
Series: Little
People
Title: Local
amenities for children
Date: 2008
Medium:
digital print
Genre/approach: Narrative, Constructed imagery,
Comedy/Satire
Method: Slinkachu uses similar method to Bonnell. The whole
series involves of miniature model character that has been simply placed on the
streetscape or on another objects. These miniature models are then photographed
with the context in different scales.
Description: A set of images above really challenges with
the scale. The image on the left shows vastness and emptiness of the city while
the one on the right feels humorous and dynamic. The contrast between the two
emphasise on the importance of scale in photography.
Context and ideas:
b.1981,UK
“The series, “Little people” is both a street art
installation project and a photography project. The street-based side of my
work plays with the notion of surprise and I aim to encourage city-dwellers to
be more aware of their surroundings. The scenes I set up, more evident through
the photography and the titles I give these scenes aim to reflect the
loneliness and melancholy of living in a big city, almost being lost and
overwhelmed. But underneath this, there is always some humour. I want people to
be able to empathise with the tiny people in my works.”
Huge emphasis on scale and context
Response:
The juxtaposition of the two photos is very successful in
terms of delivering his message. In my opinion, his innovative approach to
scale is really interesting. It creates a strong visual impression. Also the
arrangement of a mini figure, I think, is very crucial to reinforce the idea of
scale and different notion of context.
2013년 9월 26일 목요일
2013년 9월 19일 목요일
project 3 ideas
In project 3 i am to explore chosen objects in terms of scale, lighting and composition.
The aim is to to extract different perspective out of it. First of all i am to chose an object from everyday life and study the physical traits of it. Most importantly i will experiment to find a relationship of lighting against the object.
2013년 9월 11일 수요일
Evaluation. Project 2: Time
Positive
The series was successful in terms of illustrating the intended style. Each photos consist of motion blur which allows it to look like landscape paints. The relationship between the landscape and the moving component in the frame is very natural and i think this makes the images look even more like a painting. The colour balance and lighting i think was quite successful throughout the series. Visually each image is very expressive and successful. The idea of containing two different type of motion in one image i think was very interesting idea to see the time differently. Through this project i have become completely familiar with the camera settings. I now have better understanding of each settings. I can now accurately control the settings depending on time and lighting of the environment.
Negative
Overall the series lacks in relationship to time. Although my argument was that the movement within the frame conveys perception of time to viewers. I think this didn't work very successfully. They are visually strong but it could have been better, in terms of relationship to time, if a sense of time was a primary factor instead of the landscape.
I found it really hard to generate strong bond between each photos of the series. Most of my photos were noticeably different to each other and it was hard to create the natural transition from one to another. In that circumstances i could have made each photo totally different and that could actually create a concept of variation in a series.
The series was successful in terms of illustrating the intended style. Each photos consist of motion blur which allows it to look like landscape paints. The relationship between the landscape and the moving component in the frame is very natural and i think this makes the images look even more like a painting. The colour balance and lighting i think was quite successful throughout the series. Visually each image is very expressive and successful. The idea of containing two different type of motion in one image i think was very interesting idea to see the time differently. Through this project i have become completely familiar with the camera settings. I now have better understanding of each settings. I can now accurately control the settings depending on time and lighting of the environment.
Negative
Overall the series lacks in relationship to time. Although my argument was that the movement within the frame conveys perception of time to viewers. I think this didn't work very successfully. They are visually strong but it could have been better, in terms of relationship to time, if a sense of time was a primary factor instead of the landscape.
I found it really hard to generate strong bond between each photos of the series. Most of my photos were noticeably different to each other and it was hard to create the natural transition from one to another. In that circumstances i could have made each photo totally different and that could actually create a concept of variation in a series.
Final Blog Proposal-Project 2: Time
Aim/Objectives:
The aim of this series is to capture movement in long exposure shots to convey sense of time.
Method:
To capture the movement in one image the camera shutter needs to be left for long, at around 1-10seconds. This will mean that the aperture and lighting need to be controlled very carefully to avoid over exposure. I am planning to take photos during the night time or during sunrise and sunset.
I will not be using a tripod when shooting in oder to create motion blur through the whole image. I am to intentionally move the camera while shooting to control the blur.
The focus also needs to be taken in mind. Nautral landscape or seascape are thought to be the base context of the series. In addition I am planning to have a focus within the landscape that involves movment such as people, cars, birds and boats. So that it would have stronger relationship to time.
I am to experiment with the colour balance of the image on photoshop. This way i have more opprtunities and better control of colours. I have tried using different K-values on my own slr but it seemed limited with set values.
Rationale:
Main intention of this series is to explore movement. And the movement not only derives from the object that is being photographed on but also from myself who is taking the photo. Hence there is a collision between the two different souce of movements. The images are intended to be blur and sort of hard to define in general. This is inspired from my artist precedent, Chris Friel. In my opinion motion blur throughout the whole image simplifies the image dramatically and only leaves the core substances. Therefore although it loses visual details with the blur, the idea behind it would become more clear and the image could look visually more powerful.
Output:
In general the series came out how it was intended to be. It carries the style that i was going for. All the images seems almost like a piece of painting. Each image has a different moving element in it and so the perception of time is keep changing dynamically. The flow was again only difficulty i came across with this project. I had to take out some image that looked too isolated from the whole series. Also i think i could have made the project better by introducing deeper meaning with overall conept of the series.
Main Artist Precedent
Chris Friel
Chris Friel was a british colour-blinded painter. In 2006 Friel bought a camera and started taking photos, he has not hand-painted ever since. He instead 'painted' with his camera. He is best renowned for long exposure landscape photos. Friel’s images look almost like abstract paintings. Each photo is difficult to define yet there is a definite connection between the subjects and groups of images. Friel works both with colour and black and white.
Chris Friel was a british colour-blinded painter. In 2006 Friel bought a camera and started taking photos, he has not hand-painted ever since. He instead 'painted' with his camera. He is best renowned for long exposure landscape photos. Friel’s images look almost like abstract paintings. Each photo is difficult to define yet there is a definite connection between the subjects and groups of images. Friel works both with colour and black and white.
Series: Seascape
Title: Untitled
Year:2011
Genre/Approach
Painting, Abstract expressionism, landscape, long exposure, colour balance
Method/ Techniques
Friel takes photos with long exposures but unlike other artist that I have studied he does not use a tripod when shooting. This creates motion blur on the whole image which makes his photos almost like an abstract painting. This technique is called to be Intentional Camera Movement (ICM). Friel also experiments with colour balance setting when shooting, he tries to make them unique and different by shooting with a “wrong” colour balance. He usually takes photos at night time or dawn, mostly of landscapes.
Description
The photo is visually very powerful. The colour and composition are especially strong, they are basic but effective. However the most prominent feature has to be the blur and movement within the image. Most elements in the frame are simplified by a motion blur and this makes the image very abstract. The blur also emphasizes the shadow and brings out the contrast in the image, hence it becomes emotionally significant. Unlike other long exposure landscape photographers, Friel doesn’t use a tripod, therefore motion is created from the movement of his natural body shake. Friel puts aside the rule that everything must look sharp. Another important feature of his photos that is equally interesting is the use of vairous colours. He is colour blinded photographer who is not scared of using vibrant colours, therefore most colours in his images happen to be highly imaginative and unique.
Context/Ideas
I think Chris has successfully incorporate ICM technique into his photos. His background as painter would have helped him to suitably use this technique. The image studied would come under his seascape series. It is taken during the sunrise with long exposure. The camera is moved vertically while shooting. The colour and the blurriness of the image allow the photo to be like painting. This builds stronger expression delivered through the image.
I personally feel that the image is significantly appealing. The colour, movement and contrast is all very well managed to deliver this dark but warm feeling. We as viewer are able to guess the rough shape of the seascape but we are intently obstructed to figure out the exact look of the site. I think this is one of the most fascinating things about his images. Friel intently make the images to be interpreted differently to each person. However with this image I think it could have been better if it has a focus. For example if there was a boat floating on the sea, it could create a narration in the image and give more depth to it.
Response
I came across Chris Friel when i started doing more research on long exposure photographers. His unique style of photography really fascinated me. I especiallly liked the unpredictability in the process. The outcome seems abstract and unexpectable.
Personally i enjoy his natural landscape serieses. I think they are more dramatic and emotional. However they could be too abstract sometimes that it wouldn't have any potential idea behind. So i have to be cautious of taking meaningless photos that does not show the idea of time.
I am planning to apply his techniques very directly for this project. Primarily ICM technique will be considered when taking each image. Unlike Friel I have decided not to play around with a colour balance setting of slr because my slr model has set k values which means it can be quite limiting. Colour balance is to be adjusted after in order to gain more controls and oppotunities.
Other photos from Friel
Artist Study 2
Michael Kenna
Series: Hokkaido, Japan
Title: Sulf Mountain, Iozan
Year: 2009
Genre/Approach
The images I have chosen to analyse can come under several different genres. Primarily it has main approach to landscape but in my opinion it also shows an abstract and symbolic expression that delivered by the nature.
Methods/Techniques
Kenna’s photos are monochromatic which helps the images to be more dramatic and as well as to emphasize more on the form and movement of the wind in this case. He concentrates more on lighting and the movement within the frame to set up the atmosphere of this image. He carefully controls exposure, often take photos with extremely long exposures of up to 10hours in order to catch the movement out. He used a tripod when taking this image in order to differentiate the sharpness of stillness and movement of the wind.
Description
This image’s focus is the blowing wind. This is indicated quite precisely through the contrast between the stillness of the landscape and the movement of the wind. The difference in texture and sharpness due to their different state of movement allow the picture to be more fulfilling. “Sulf Mountain” is also compositionally well arranged. The image can be roughly divided into three sections horizontally, from mountain and wind to the sky. The basic rule of third vaguely appears here.
Context/ Ideas
Michael Kenna is an English photographer born in 1953. He is best known for his black and white landscapes. Kenna focuses on unusual landscapes with ethereal light.
The image is taken in Hokkaido Japan, famous for their untouched landscape. The image shows all about the scale and grandeur of the nature of Hokkaido.
Exposures are quite subjective and usually long when Kenna takes photos. In this case it is controlled in order to show the movement of smoke very subtly. Miscellaneous movements and changes of atmosphere during those long periods make for unexpected happenings. Contrast is increased. Black shadows and faint light behind the smoke add to the mystery and drama of the image.
Response
In general, the way he controls the exposure to convey different level of movement is astonishing. These movements speak for themselves and the nature seem to deliver us its own emotion. However the scale and possibility of doing this sort of series is almost impossible in the situation I am at. Anyhow his techniques and style of image could be appreciated for my work. I could additionally look at human beings and their movement against the nature.
Other photos from Kenna
Series: Hokkaido, Japan
Title: Sulf Mountain, Iozan
Year: 2009
Genre/Approach
The images I have chosen to analyse can come under several different genres. Primarily it has main approach to landscape but in my opinion it also shows an abstract and symbolic expression that delivered by the nature.
Methods/Techniques
Kenna’s photos are monochromatic which helps the images to be more dramatic and as well as to emphasize more on the form and movement of the wind in this case. He concentrates more on lighting and the movement within the frame to set up the atmosphere of this image. He carefully controls exposure, often take photos with extremely long exposures of up to 10hours in order to catch the movement out. He used a tripod when taking this image in order to differentiate the sharpness of stillness and movement of the wind.
Description
This image’s focus is the blowing wind. This is indicated quite precisely through the contrast between the stillness of the landscape and the movement of the wind. The difference in texture and sharpness due to their different state of movement allow the picture to be more fulfilling. “Sulf Mountain” is also compositionally well arranged. The image can be roughly divided into three sections horizontally, from mountain and wind to the sky. The basic rule of third vaguely appears here.
Context/ Ideas
Michael Kenna is an English photographer born in 1953. He is best known for his black and white landscapes. Kenna focuses on unusual landscapes with ethereal light.
The image is taken in Hokkaido Japan, famous for their untouched landscape. The image shows all about the scale and grandeur of the nature of Hokkaido.
Exposures are quite subjective and usually long when Kenna takes photos. In this case it is controlled in order to show the movement of smoke very subtly. Miscellaneous movements and changes of atmosphere during those long periods make for unexpected happenings. Contrast is increased. Black shadows and faint light behind the smoke add to the mystery and drama of the image.
Response
In general, the way he controls the exposure to convey different level of movement is astonishing. These movements speak for themselves and the nature seem to deliver us its own emotion. However the scale and possibility of doing this sort of series is almost impossible in the situation I am at. Anyhow his techniques and style of image could be appreciated for my work. I could additionally look at human beings and their movement against the nature.
Other photos from Kenna
Artist Study 1
Alexey Titarenkko
Series: City of Shadows
Title: Untitled
Year: 1992-1994
Genre/Approach
This photo can be classified under both expressionism and non-realism.
Methods/ Techniques
Similar to Kenna’s techniques, Titarenko takes images with a long exposure and put the images mono-tone to reinforce the emotions delivered out of it. He also uses tripod to maintain sharpness with still people. Titarenko's prints are subtly crafted in the darkroom. “Bleaching and toning add depth to his nuanced palette of grays, rendering each print a unique interpretation of his experience and imbuing his work with a personal and emotive visual character.”
Description
Movement of people is the core element of this photo. Old women standing in the middle of the frame naturally become the focus of the photo for their stillness. Emotion of loneliness and depression is effectively embedded in the image. The old women almost seems lost and separated from the whole world. Photo is in black and white in order to magnify the emotions of the women. Titarenko intentionally generate feeling of sympathy out of the viewers by setting the photo these ways. The contrast between fast moving people and still women emphasize the intention even more.
Context/Ideas
The series is taken during the collapse of the Soviet Union in the fall of 1991. Titarenko tries to convey the negative emotions of everyday soviet people during the time by extracting movement of people. Titarenko describes that “More than anything, I wanted to convey my ‘people-shadows’ metaphor as accurately as possible. This metaphor became the core of both the new vision and new series.” Movement of the crowd of people flowing through the frame forms a sort of human sea, providing viewers with a feeling of non-reality. This abstraction lets the viewers to feel the emotion itself much better.
I think his idea of delivering people’s emotion is very successful with the above image. The movement of people forms faint human shadows around the three women and suggest non-realism within the image.
Response
The concepts and techniques that Titarenko used in the series are really interesting. I am especially impressed with his expression of the situation during that time and the way he set up the camera and controls each component. I believe, the image above especially, has a significant relationship to time. It almost seems like time has stopped although we could visually see the movements around the image. In my opinion the way he focuses on the still people instead of moving people cause this effect. Juxtaposition of motion and still also contributes to put an emphasis on either components.
Other images from Titarenko
Series: City of Shadows
Title: Untitled
Year: 1992-1994
Genre/Approach
This photo can be classified under both expressionism and non-realism.
Methods/ Techniques
Similar to Kenna’s techniques, Titarenko takes images with a long exposure and put the images mono-tone to reinforce the emotions delivered out of it. He also uses tripod to maintain sharpness with still people. Titarenko's prints are subtly crafted in the darkroom. “Bleaching and toning add depth to his nuanced palette of grays, rendering each print a unique interpretation of his experience and imbuing his work with a personal and emotive visual character.”
Description
Movement of people is the core element of this photo. Old women standing in the middle of the frame naturally become the focus of the photo for their stillness. Emotion of loneliness and depression is effectively embedded in the image. The old women almost seems lost and separated from the whole world. Photo is in black and white in order to magnify the emotions of the women. Titarenko intentionally generate feeling of sympathy out of the viewers by setting the photo these ways. The contrast between fast moving people and still women emphasize the intention even more.
Context/Ideas
The series is taken during the collapse of the Soviet Union in the fall of 1991. Titarenko tries to convey the negative emotions of everyday soviet people during the time by extracting movement of people. Titarenko describes that “More than anything, I wanted to convey my ‘people-shadows’ metaphor as accurately as possible. This metaphor became the core of both the new vision and new series.” Movement of the crowd of people flowing through the frame forms a sort of human sea, providing viewers with a feeling of non-reality. This abstraction lets the viewers to feel the emotion itself much better.
I think his idea of delivering people’s emotion is very successful with the above image. The movement of people forms faint human shadows around the three women and suggest non-realism within the image.
Response
The concepts and techniques that Titarenko used in the series are really interesting. I am especially impressed with his expression of the situation during that time and the way he set up the camera and controls each component. I believe, the image above especially, has a significant relationship to time. It almost seems like time has stopped although we could visually see the movements around the image. In my opinion the way he focuses on the still people instead of moving people cause this effect. Juxtaposition of motion and still also contributes to put an emphasis on either components.
Other images from Titarenko
2013년 8월 22일 목요일
Weekly exercise
Long exposure image
I've got my friend to jog a ball while i photograph the moment through a long exposure. The result is that various leg movements are captured in one image.
Short exposure image
I threw a ball in the air and took an image with a short exposure. Everything appear really sharp and still in the image, the ball seems to be floating on the space.
I've got my friend to jog a ball while i photograph the moment through a long exposure. The result is that various leg movements are captured in one image.Short exposure image
2013년 8월 7일 수요일
Evaluation of 'The University'
The initial proposal has been well considered throughout
the series.
Firstly, the series, in terms of telling a narrative, was
very successful. The fourth and fifth image strongly indicates an identity of
the space. The beginning and the end is very clear and symbolic. Most
importantly the overall sequence and flow of the series is comprehensive and
well planned. However I feel that the relationship between each images are imprecise,
what could have been really interesting is to emphasize on one particular object
(chair) or colour (red) that appears throughout the series using light or contrast
so that the images have stronger connection and meaning behind them.
Emptiness is represented strongly throughout the series, therefore
allowing it to have symbolic meanings of a particular space or feeling. The concept
of emptiness derives from Neil Pardington. He explains the significance of one
image comes from allowing viewer’s own story to fit in it, “interest to me is
the personal experience an audience brings to the act of viewing”. The
emptiness here plays important role, it allows the viewers to interpret the
image differently according to their own experience. I think this intention was
well applied in my series.
The
sixth image, I think, is quite vague in terms of conveying its intended
idea. This images was added majorly to
reinforce the flow of the series.
In conlcusion the series generally fulfills my intention. The composition and sequence is quite successful but the relationship between images could be improved.
2013년 8월 6일 화요일
Blog proposal, refined
Project 1: Space
Aim/Objectives:
The aim is to deliver a story of university life, based around my personal experience and understanding of universities.
Method: -Observe the space chosen carefully and experience the space in order to examine the quality
-Take a series of photos that relates to each other and use the sequence to set up a narrative -Plan props of the image profoundly to deliver a message
-Consider effective photographical techniques to magnify or add meanings e.g. Symmetry, perspective, composition, etc.
Rationale:
The primary intention of the work is to introduce my own feelings of university through a series of photos. Each photo will be a metaphor of the feelings or stages that most students go through in universities. Emptiness of the space is to be appreciated throughout the series. Hence it will allow the images to be interpreted differently according to viewers own experience of education.
Aim/Objectives:
The aim is to deliver a story of university life, based around my personal experience and understanding of universities.
Method: -Observe the space chosen carefully and experience the space in order to examine the quality
-Take a series of photos that relates to each other and use the sequence to set up a narrative -Plan props of the image profoundly to deliver a message
-Consider effective photographical techniques to magnify or add meanings e.g. Symmetry, perspective, composition, etc.
Rationale:
The primary intention of the work is to introduce my own feelings of university through a series of photos. Each photo will be a metaphor of the feelings or stages that most students go through in universities. Emptiness of the space is to be appreciated throughout the series. Hence it will allow the images to be interpreted differently according to viewers own experience of education.
This concept was highly inspired by Neil Pardington’s one of
the prominent series, called “The Clinic”. “He makes ‘nothingness’ both
poignant and meaningful.”
Output:
Consequently the series very strongly represented the university life. Each photo has quite direct expression of a particular feeling or moment. Similarly the sequence is really direct and comprehensive. In terms of techniques and styles the series has strong appreciation of Neil Pardington.
Output:
Consequently the series very strongly represented the university life. Each photo has quite direct expression of a particular feeling or moment. Similarly the sequence is really direct and comprehensive. In terms of techniques and styles the series has strong appreciation of Neil Pardington.
2013년 8월 1일 목요일
Third shoots
Analysing Photographs
Artist: Neil Pardington
-photographer based in Wellington, Aotearoa, New Zealand.
Series: The Vault
-Polynesian Spear Storage
-2008
-LED/C-Print
-dimensions variable
Genre- documentation, expressionism and narrative
Approach: “A concept of the camera being a storehouse of
ideas and images.” The series focuses on the places where things are being
stored.
Method and Techniques: Pardington uses perspective very
frequently in this series to indicate the scale and order of the storage space.
He also uses colour, line and composition very carefully in this photo to guide
viewers to understand the meaning behind it.
Description:
-perspective,
symmetry and order
-door being a focal point
- Array of spears direct our eyes
into the door
- Blue colour of the door stands
out against the rest of the image
- Compositionally emphasised by the
door being on the centre
Context and ideas: The idea of storage is relatively weak in this image. However there are signs and traces which represent the
storage space. The image, I think, clearly communicates to us; it unfolds a
story as we carefully look at it. The photo has a strong focus on the door. The
horizontal spears immediately lead our eyes into the door. But what’s
interesting about this is that our eyes are drawn back out through a vertical array of spears. There is almost a duplex spacing appearing on the image.
Response: Polynesian Spear Storage is one of the most
successful perspective photos in the series. I was attracted by the unfolding
nature of the image. I believe the quality of the photo has risen by a
narrative embedded in it. I intend to use some of his techniques (composition, perspective,
colour, etc.) to build a narrative upon my series.
Series: The Vault
-Film Archive #4
-2006
-LED/ C-Print
-dimensions variable
Genre- documentation, expressionism and narrative
Method and techniques: Pardington uses colour, lighting and
composition quite dominantly on this photo. He, unlike “Polynesian Spear
Storage”, emphasized the shapes by taking an image almost in two dimensions.
Description:
-flat image
-Objects lined-up on the ground
-variety in shapes of the objects creates vibrance and contrast
against the rest of the image
-Combination of blue and yellow colour is dominant
Context and ideas: A concept of narrating a function of storage
spaces has continued in this image. The idea is shown very well. The image
seems compact and full but well organised which precisely represents a typical storage
space. The lighting provides glimpse of different potential sense to emerge upon
the hidden storage space. I think this photo not only narrates a story but it is
also visually powerful. The image is compositionally very successful and the shapes
of objects aligned on the floor create an interesting visual aesthetic to the
image.
Response: Through this image, I was inspired
to take flat, less distorted, images and to deal more carefully with shape and composition
of objects. I think what was really successful about this series, “The Vault”,
is that Pardington kept a consistency with the narrative whilst introducing contrast and variety in his photographical techniques.
Series: The Clinic
-Chairs
-2003
-LED/ C-Print
-dimensions variable
Genre: documentation and narrative
Approach: “The Clinic”
intends to document interior space of hospitals to generate a strong narrative of patients life in the hospital.
Pardington said photos “act as a metaphor: although not present in the image,
traces of events or people somehow remain in the spaces represented, and
consequently the images seem like stages set for unseen stories already told,
or about to unfold.”
Method and Techniques: Colour, composition, perspective and
lighting has planned and used deliberately to communicate a story.
Description:
-perspective and replication
-empty blue chair which lead our eyes to follow the
perspective line and eventually fade away
-the colour of the chair and emptiness of the space creates
a depressing atmosphere
Context and ideas: The idea of narrating the story is really
well done in this image. It feels almost like patient are still on the chair
waiting for their surgery although it is merely an empty chair. This emptiness is
a key element of the series. “He makes ‘nothingness’ both poignant and
meaningful.” His idea of enticing viewers to see the image with their own experience
works really well in this photo. The lighting is also well used here. The
darker space at the end of the perspective line, to me, indicates the death approaching
patients.
Response: I really admire the way Pardington construct the
photo to direct a story to be seen and identified to viewers very
concisely. Nevertheless Pardington also sets the image in a way that it is absolutely
up to viewers and their personal experience how they interpret the image.
“While an appreciation of the
importance of observation and metaphor underpin my current practice, of equal
interest to me is the personal experience an audience brings to the act of
viewing.”
I intend to deliver my own narrative of the space through some
of the techniques Pardington uses while allowing the viewers to imagine their
own journey through my images.
Reference:
Ewen McDonald, ‘Neil Pardington’, Contemporary New Zealand Photographers, Eds. Hannah Holm & Lara Strongman, Mountain View Publishing, Auckland, 2005, pp.48–55
Neil Pardington. The Vault information text. web
Neil Pardington. The Clinic information text. web
2013년 7월 30일 화요일
Second Shoots
2013년 7월 25일 목요일
2013년 7월 18일 목요일
Egarements and Quotidien
"Egarements" and "Quotidien"
Day to day distraction
My favourite series of photos at the moment done by Cerise Doucede, french photographer.
This series appeals to the audience with a concept of surrealism, rejection of gravity. It very well displays the nature of photography of capturing a single moment. A disorder of the floating objects could create a chaotic feeling but the stillness of the whole image provides calm atmosphere instead.
Apparent focus on a person in each image allows the audience to indirectly experience the space.
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