“Freeze” Festival 2012

Whilst at the Freeze Festival I decided to take some action shots of the snowboarding championships. I managed to get access to some amazing advantage points to take photographs from. As the venue was at Battersea Power station I thought I would take the opportunity for a great back drop.


 

Whist I was taking my photographs I approached a professional photographer, who I later emailed. This is a great contact for possible later networking.

 

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Mark Power

I was originally quite excited about the idea of a guest speaker, however when the presentation got off to a bad start with technical issue I quickly lost my enthusiasm.

Towards the end though, his work based on the ‘Black Country” project recaptured my attention, I started wondering why hadn’t he just started on this work. He would have had my attention all the way through then. However when people asked questions at the end, they had all sorts of questions from different areas he had done projects on. This made me realize that it is down to your personal interests what people homed in on to be interesting.

Mark Power’s is a Magnum photographer, voted into Magnum in 2002. He was originally from Leicester and now lives in Brighton. Originally he didn’t make enough money from doing photography, so decided to take a carpentry course instead. His friend then gave him £200, to spend on his photography, so he went to Germany to visit a friend; he was lucky enough to be there when the Berlin Wall came down in 1989. This major event of the 20th Century saved his career as Newspapers then wanted to buy his images from him.

Mark Power’s enjoys going against the norm, he didn’t want to photograph like the magazines wanted him to. He wanted to leave the viewer with a mystery; he wanted to be able to choose to leave areas out of view. His series titled “26 different endings” showed the edge of London, the boundary that isn’t shown on the AZ, across the line from London. He photographed this with no people in the shot, as this then looks like a place where nobody lives.

He has been involved in Large Corporate projects, following the structure of a building from start to finish for example the Millennium Dome. He also photographed the refurbishment of the Treasury building to show the destruction of History. Documenting the construction of the Airbus A380 was another major project, he said although there were other photographers his work was hugely different.

We were told to respond to his series “In the Black Country”, his images demonstrated the struggle with the recession. The “black country” was a culture shock for Powers, the photographs he had taken of the Urban Landscape were taken from an outsiders view. Photographing the gritty areas, from tatty buildings to lost dirty teddy bears. Most of the subjects in the images were central and photographed straight on. Then he noticed something; he became interested in the fact that people made an effort still, with glamorous footwear etc. I found the idea that when lipstick sales go up; it correlates with the sign of a recession. This also worked with the sales of nail varnish; when there is a recession people are still trying to make an effort, glamming themselves with lipsticks and cosmetics. The recession also brings about a rise in people going to tanning and hair salons, along with Gentlemen’s Clubs; the women performing make the men feel attractive as they are dancing for them.

Although I wasn’t inspired by many of his projects, I did like part of “The Black Country” project, as I was also intrigued by the idea that people make more of an effort to dress up in a recession. I didn’t personally like his other work as it seem bland and lacking in other stimuli. If I was to take something this experience I would realise the importance of keeping your audience engaged.

Encountering Culture

Brief

“Know thyself”

The thought of knowing who your truly are. To be able to understand the world around you, you need to know who you are and “know thyself”, without this you will not understand why you feel the way you do, to be able to understand the world you need to know who you are.

Many people think they are what they do, for example Johnny is an accountant, so when you ask him he would say he was an accountant; but is that truly who he is.

The idea of knowing who you truly are scares people, they hide behind a mask. What if they didn’t like who they found out they were? People put across a persona that isn’t really them, an act they get used to playing and start to believe themselves.

Unless you were to delve deep down and figure who you are, you may not realize how many masks you use.

Research:

I wanted to look at these images as they look at reflections of how people may see themselves, compared to how they are. The old see themselves as young for example; they see themselves as who they once were. These photographers were taken by Alex Kisilevich; an award-winning photographer from Canada.

by Alex Kisilevich

by Alex Kisilevich

I came across Richard Burbridge, a photographer who has worked for Vogue and Harpers Bazaar. I liked this series that he did on masks, as the ominous masks contrast against the women’s natural beauty. I also want to use the idea of masking.

by Richard Burbridge

Here is a shoot I did on a 35mm film using the Pentax K1000:

by Jenny Stonely

I wanted to show my ideas about peoples reflections and them changing that using makeup and aftershave etc. Making themselves better than they thought they were originally. Changing themselves.

Research:

When I saw Dan Mountfords work I realised that this was a technique I wanted to try; by using a double exposures he superimposes two images together. The double exposure effect against the bright sky means the object cuts the portrait to its shape.

“We are Nature” by Christoffer Relander uses multiple exposure to superimpose portraits with nature. His images are magical and mysterious. I want to try to do this myself, adding a mystical feeling to my images.

I looked through “The Photo Book” and came across Heinz Hajek-Halke, El Lissitzky, Arnulf Rainer, Wanda Wulz. I was inspired how they had all masked photographs in different ways, from multiple exposures to paint.

Heinz Hajek-Halke “Home of the Sailors”

Home of the Sailors by Heinz Hajek-Halke

El Lissitzky “The Constructor”

by El Lissitzky “The Constructor”

Arnulf Rainer “Angst”

Angst by Arnulf Rainer

Wanda Wulz “I+cat”

I +cat by Wanda Wulz

by Christoffer Relander

by Christoffer Relander

A Disguise:

Having thought about not really knowing yourself, I wanted to explore the idea of disguising your self. The idea of masks, and putting yourself across as something you aren’t. Covering the face with objects perhaps, maybe magazine pages ripped out, or multiple exposures to obscure the face.

First Attempt (Digital Shoot Nikon D300):

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

Second multiple exposure shoot (Mamiya RB):

Having tried out the multiple exposure technique, I have decided that this is how I want my project to develop.

I asked people what they use to mask themselves:

-alcohol

-magazine fashion

-make up

-clothes and shoes

by Jenny Stonely

dark room testing

-6 secs and 12 secs F16: too light

-15 secs F16: too bright still

-16secs F16

dark room testing

-2secs F5.6

-4secs F5.6: too dark

-6secs F5.6: way to dark

-2secs F5.6

Digital back up images (Nikon D300)

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

Third multiple exposure shoot (Nikon D300):

Having done the previous shoot against a plain wall, I realise that it is the bright over exposed background that makes the images work, so for this next shoot I will use a window. I need the light to spill through and cut the persons face into the object.

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

Fourth multiple exposure shoot (Mamiya RB):

by Jenny Stonely

dark room testing

-3secs F5.6: too light

-5secs F5.6: slightly too dark

-4secs F5.6

dark room testing

-5secs F5.6

-9secs F5.6: too dark

-3secs F5.6: too light

16secs F16: too light ( not a large enough aperture, need a large hole, more light)

-5secs F5.6

Fifth multiple exposure shoot (Mamiya RB):

by Jenny Stonely

by Jenny Stonely

dark room testing

-2secs, 4secs, 6secs: F11 (strip test)

-6secs F11

dark room testing

-3secs, 6secs, 9secs, 12secs: F5.6

-10secs F5.6: 9 secs too light, 12secs to dark

-Using card I dodged the arm out of the image, however I think I actually prefer the image with the arm, otherwise it looks like a floating hand. I could reshoot and use string to hold the butterfly in place, however as you can see the portrait shows up better on the hand rather than the butterfly alone, as it is a solid object. This means if I was to reshoot using a suspended butterfly it would not work.

Digital back up images (Nikon D300)

I wanted to carry on using the objects that people use as a mask to multiple expose over the portrait.

However I have realised that I need to use a larger window as the framework was getting in the way.

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

I now understand the technical side of what I’m trying to do

However my images just appear like a technical task, they are not beautiful

I now need to develop how I will make my images technically correct as well as beautiful

I need to move people with my imagery; I want the viewer to be caught in a moment of wonder.

Perhaps I could use fantasy objects, to create this, as they are seen as beautiful and mysterious. I like the butterfly image from the previous shoot as this is one that is beautiful as well as technical. I feel that the butterfly has a certain feel of fantasy about it as well as beauty.

I like the idea of using inspiration from childhood stories, for example Alice in Wonderland. I could use objects like the pocket watch, or teacups and fairy cakes; these objects are all linked to a story so will also work well as a series. I will carry on using the multiple exposure techniques to create a mask with the objects.

The idea that society uses makeup, or clothing etc to mask themselves is to make themselves appear better than they think they are. Perhaps I could just use objects of beauty to mask the portraits, as this illustrates how they want to appear, beautiful.

Sixth multiple exposure Shoot (Nikon D300):

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

I had a look through the book “Wonderland” which inspired a few fairy tale ideas.

Wonderland

Having shot some digital images along the idea of Alice and Wonderland, I can now see that there is a weak link to my original idea of  “know thy self”. I looked back over my images and still really like the butterfly image. I started to consider why I used this object to mask the face. Holly had previously told me that since having come to Uni she feels more comfortable in herself. Perhaps she has grown up and due to this has become more comfortable in her skin. This links back to the idea of the butterfly, the hungry caterpillar; the moral of this story is about change and growing to be yourself.I now want to use this idea to take portraits with the multiple exposure technique, about people knowing themselves.

I need to think up other stories from childhood, that people could link to themselves, about why they are the people they are today, and then take an object from that story to mask the portraits with.

Becky Woodall:

“I’ve been thinking… it’s my music that makes me who I am, definitely. I’ve always been in a choir since I’ve been young and I’m always singing and I always really identify music, I’ve got songs that make me cry for happiness or ones that I cry to when I’m sad!”
I plan to link Becky with Fantasia, this film includes classical music conducted by Leopold Stokowski;  mostly performed by the Philadelphia Orchestra. 
Thoughts about Output:

Format/ Print size/ Finish

Format: Book project, Exhibition

Finish: Matt, Semi Matte (satin or pearl), Gloss

Large or small: what will suit the work

All portrait/ landscape or a mix of the two?

In a portfolio?

Large or small paper size?

Borderless?

With borders?

Daido Moriyama- Double page spreads and no borders/ “full bleed”

by Daido Moriyama

Full frame- Thicker base border

Borderless

Full frame

Oversized border

Portrait format, borderless sides (landscape images)

Julian Germain- importance of white space

by Julian Germain

Blurb: on demand print book

Japanese stab bookbinding walk through- CU photography on Vimeo by Jonathon and Matt

http://vimeo.com/37257934

Working in triptych: David Hilliard ( Andreu, Man at mirror)

by David Hilliard

Rinko Kawauchi: doubles/diptych

by Rinko Kawauchi

Photo zines:

http://nothoughszine.com

http://wearefuckingawesome.org/main/storefront/wafa-zine-02/

Sophie Calle: The Hotel (1981)    text gives it an intrigue

by Sophie Calle

http://vimeo.com/26051248

Why she formats her work the way she does

Bespoke portfolio or print box

Concertina Sketchbook by Sea white

Think about how best to present your project

Does it have a linear narrative?

Would it work as a small book?

Do the prints work best as small or large?

After another lecture on how to present our work, I had another think about other Photographers work

Tom Hunter:

by Tom Hunter

Decided to document the area and lives of his squatting surroundings

Decided to mount into model houses

Museum of London

Historical documentation of this squatting in the 90s

Andreas Gurski:

by Andreas Gurski

Epic cityscapes

Huge print sizes

Size does matter

What techniques to artists use to show you their prospective?

Dominque Blain :

by Dominque Blain

Slaves, getting on all fours to look at her work in the gallery

How presentation can effect how you view that image

Barbara Kruger:

by Barbara Kruger

Feminist conceptual artist

How we make asumptions about things

Make a third meaning

Corinne Silva:

by Corinne Silva

2010 work, Imported Landscapes

House of Vernacular at Fabrica

House of Vernacular at Fabrica

“Aircraft fusilage constructed for photographs of 1970’s Dictators Jets”

Had to go into a set to view the work, to do with aircraft, had to enter an aircraft to view it.

I then visited the Herbert Gallery:

© 2012 The Herbert

I wanted to find a piece of work that I think had been displayed well, and a piece where I didn’t think that the display did the work justice.

The Coventry Sculpture by Peter Laszlo Peri

I really liked the presentation of this piece, as you could walk around it and view it all from all angles, it was easily viewed and enjoyed.

Scenes from the passion, Wednesday week by george shaw

I didn’t personally appreciate the display of this work, as the work wasn’t easily viewed because the glass because created bad reflections, obscuring the work from the viewer.

Having look at this work I have decided to show my images in a Fairy tale book. I want to show the link between my images and the type of stories they have come from. Perhaps if I was to do this again I would use a zine format; using scans of fairytale stories from books next to my images.

After thinking things through I have decided to buy an old style book of fairytales to mount my images into; as my project is about childhood stories and their links.

I organised my shoot and asked people about their lives, linking their experiences of why they are who they are today to a childhood story. I then used this story to choose an object from and mask their face with. This used the last lot of films I could get hold of in time, as I needed 400ISO medium format for the light sensitivity of the film to pick up the effects I needed.

Final Shoot (Mamiya RB):

by Jenny Stonely

by Jenny Stonely

Nikon 9000D negative scans:

Test Strips:

Sketch Book test strips scanned in

Lucy Bartlett:”I chose Charlie and the Chocolate Factory as I was able to identify with the main protagonist as a child, and I still sort of can. Charlie is seemingly unlucky, which I can empathise with, particularly as a kid. But his luck changes and his dreams become a reality. Everyone has a golden ticket, but it takes something to happen or change in your life to remind you of that fact. I guess I could say that all you really need is a little bit of pure imagination to realise what you’ve actually got in life.” This is why Lucy has a chocolate bar as her double exposure object.

Becky Woodall:For Becky I planned her shot around Fantasia, as this film includes classical music and Becky feels that music makes her who she is today. “I’ve been thinking… it’s my music that makes me who I am, definitely. I’ve always been in a choir since I’ve been young and I’m always singing and I always really identify music, I’ve got songs that make me cry for happiness or ones that I cry to when I’m sad!” This is why I decided to place music sheets as a double exposure for Becky.

Dan Olding:
“Ever since I was young I never really seemed to grow up, I mean my body aged and I grew in size but in my mind, a child still played and was in control, I still laugh at childish things and the need for constant attention. The ability to grow old but stay young has always appealed, I guess it’s to Never Never Land with me then.” Even Dan realised that he was similar to Peter Pan, the fact that he doesn’t seem to grow up, and will always stay childish; this is why I chose to use the fairy wings, as they all can fly in Never Never Land.
Kerrie Caine:
“Having a best friend that has many different health problems, it was difficult for me to watch her destroy her body with drugs. Seeing the side effects they had on her body and putting her in hospital so many times made me realise how much I am against taking them.” This is why I based Kerrie’s picture around Alice and Wonderland, as it is believed that Lewis Carroll was under the influence of drugs whilst writing this book. I then decided to use cards as I associate cards with Alice and Wonderland.
Aaron Sehmar:
For Aaron I based his around Alice and Wonderland, The rabbit. ” Being someone who is always late, it has made me who I am as people not only associate me with this, but it has made me learn the value of timekeeping. I see myself as the rabbit from Alice in Wonderland as he is rushing to get somewhere and I feel like that is what I am doing with my life.” This is why I placed a pocket watch over Aaron’s face as a double exposure.
Matthew Owen:
“They have made me want to do the degree I’m doing, and have seriously influenced my future decisions for my career. Having done a static line parachute jump I believe I am a stronger person, it has surprisingly not only added to my confidence in adventurous activities but also improved my confidence in many different areas of life. I feel I am the strong, confident person I am today because of the opportunities that the ATC (Air Training Corps) have given me.” I linked Matt with the childhood story of Budgie the Little Helicopter, as he is a helicopter and all his life is based around flying; all his friends are helicopters or planes too. Seeing as Matt is mainly interested in flying aeroplanes, I decided to place a plane in-front of his portrait.
Catherine Pryor:

“My life is similar to the wizard of Oz ad the character Dorothy because there is not place like home as when I was younger at boarding school even though I loved school and had all my friends around me I couldn’t wait to get back so there is actually no place like home.” This is why I placed Ruby red slippers over Catherine’s portrait, as there is no place like home.

Kat Korwaser:
“For a few years now I have dreamed of becoming a photographer but I have stuck by it even when I felt I was no good or got rejected from universities. And now I’m at university and feel like I could be coming closer to my dream. This is similar to the Little Mermaid as she never gave up on her dream of becoming human.” This is why I decided to overlay Kat with a shell, as this reminds my of The Little Mermaid.
Tom Padula:
“Alcohol…The momentary release from a day of worry, or a particular stress. The social appeal, loss of self consciousness, but, how much is too much? Where is the line? Have I yet to reach it? or have I already passed it…” This is why I linked Tom with the drink me bottle from Alice and Wonderland, the choice to drink or not to drink..?
Katie Bayliss:
“Being the youngest of my family, I was often teased by my brother and sister. They would blame me whenever they themselves had done something around the house that would make my parents angry, they would also try and make me do their chores whenever they were too lazy to do it themselves. Being accepted into university meant that I no longer had to do what they said and do what I wanted, when I wanted.” This is why I connected Katie with Cinderella, the first object that popped to mind when think of cinderella was the pumpkin, which is what I chose to overlay her portrait with.
Holly Constantine:
“It’s hard to believe that before I came to University I was the shy, awkward girl that wasn’t confident enough to show who she truly was. From a young age I have always been uncomfortable in making a fool out of my self so was often found quietly at the back to save myself from possible embarrassment. Since coming to university and being able to grow as an individual, I have come a lot more confident in myself and have found that people are willing to except me for who I am. As my father keeps saying, I see myself as a ‘blossoming flower’, I keep on growing and there is know way that I plan on turning back time. I like who I am.” This links to the hungry caterpillar; the moral of this story is about change and growing to be yourself, hence why I chose a butterfly.
Having shot my last films in fear of running out of time, I realise now that I should of bought the fairytale book before hand and linked my ideas to those stories. However now I have used all my films, and the book only has a few of the stories I have covered. However I like the link still, I want to mount my images with a brief explanation underneath to the story and their life experiences.

I like how the book has an old feel to it, however I don’t like that my images stand out as being very white against its stained pages. For this reason I am going to order a sepia tone in the hope that it comes in time for my deadline.

Having got hold of some Foma Sepia Toner, I used it on a few trial test strips. I mixed up the Toner and bleach to a ratio of 1part chemical to 9parts water. I let the prints soak in the bleach for 5mins, and then washed them thoroughly (5mins), Having washed them I then placed them in the toner for 5mins and thoroughly washed again to finish(5mins). I like the effect it had, however it didn’t sepia tone the white area of the print. I want my prints to blend with the pages of my fairytale book. For this reason I decided to finish with a wash of tea (1+1/2 mins), this stained the paper again, making the white a sepia tone as well. The combination of the two stains worked really well, and I am really pleased with the final tones. Having practised with a few test strips I completed the staining on my Final 10 prints.

test strips and colour stains tests by Jenny Stonely

Flatbed scans of Final prints:

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

My Final Piece:

by Jenny Stonely

by Jenny Stonely

Conclusion:

I’m really pleased with my final 10 prints. This technique was completely new to me,and I feel I have grasped this idea, and made it my own. I feel that I chose a successful way to show my images as a final product: a fairy tale book, as my final prints are all about childhood stories, and knowing thyself. This project was a challenge and developed a lot from my first ideas. My first ideas were to document people masking themselves with makeup, and reflections, however this quickly moved on to multiple exposures. At first the multiple exposures were about the objects people use to mask themselves, however I moved on to knowing thyself, and masking people with objects from childhood stories that link to why they are who they are today. I had to solve the problem with lack of light by using huge windows on a bright day instead of a white wall. I also had to figure each individual exposure for the negatives to print from in the darkroom, I found this particularly difficult as they were multiple exposure negatives with differing types of detail. If I was to come back to this project at a later date and work further on it, I feel that I would continue by making it into a photozine or book.I am really proud that my multiple exposures were all done in camera, instead of other methods which can be used such as layering negatives in the darkroom; however I managed to successfully use the all in camera technique.I feel my work is  eye-catching and dreamlike, much like stories were as a child.

Bibliography:

Wonderland (Book)

Edited by Robert Klanten, Sven Ehmann, Birga Meyer

Published by Die Gestalten Verlag, 2004

http://www.theherbert.org/home

“The Photo Book”

First published in 1997 Phaidon Press Limited, London

Pages: 191, 280, 372 and 497

http://shop.gestalten.com/wonderland.html

http://www.toonhound.com/budgie.htm

© HRH The Duchess of York under excl license to The Sleepy Kid Co. / F2008

http://en.wikipedia.org/wiki/List_of_Disney_theatrical_feature_films

This page was last modified on 21 November 2012 at 20:10.

https://www.youtube.com/watch?v=kZewtKJbpMk&feature=endscreen

Uploaded by ‪TheCheshireofQuidget on Aug 13, 2009

http://www.barnabyaldrick.com/blog/in-camera-multiple-exposure-on-a-canon-5dmkiii-inspired-by-cristoffer-relander-by-barnaby-aldrick-photography/

© 2011 Barnaby Aldrick

http://www.tribeuk.co.uk/blog/double-exposure-portraits/

© 2012 Copyright Tribe | Brand communication

http://www.holyholyfashion.com/2012/04/mask-by-richard-burbrige.html

http://www.thisiscolossal.com/2012/07/we-are-nature-new-multiple-exposure-portraits-by-christoffer-relander/

© 2010-2012 Christopher Jobson, all rights reserved, unless otherwise noted.

http://www.photoweeklyonline.com/dan-mountford-double-exposures/

Copyright © 2012 PhotoWeeklyOnline. All rights reserved.

http://leahphoto.tumblr.com

Copyright © 2011–2012 Leah Marshall’s Photography ‒ HD Exhibit Theme by Dustin Hoffman

http://www.amazon.co.uk/Ilford-Multigrade-Deluxe-Sheets-Satin/dp/B00009R6FP/ref=sr_1_1?ie=UTF8&qid=1352817250&sr=8-1

© 1996-2012, Amazon.com, Inc. or its affiliates

http://juliangermain.blogspot.co.uk

http://www.silverprint.co.uk/index.asp

http://www.mymodernmet.com/profiles/blogs/time-traveling-reflections-10

© 2012   Created by alice

http://www.shift.jp.org/en/archives/2007/07/daido_moriyama.html

Copyright © 1997-2012 Shift Japan. All Rights Reserved. Hosted by

http://www.vignettemagazine.com/book-reviews/for-every-minute-you-are-angry-you-loose-sixty-seconds-of-happiness/

© 2011 Vignette. All Rights Reserved

http://www.davidhilliard.com/9604.html

All images copyright David Hilliard. All rights reserved.

http://www.dalpine.com/en/blog-en/rinko-kawauchis-interview

All rights reserved © 2012 Dalpine

http://nothoughszine.com

http://wearefuckingawesome.org/main/storefront/wafa-zine-02/

http://vimeo.com/26051248

http://newsevents.arts.ac.uk/6716/in-the-ghetto/

© 2012 University of the Arts London All Rights Reserved.

http://bouboukos.blogspot.co.uk

http://www.dominiqueblain.com/blog_fr/photo/no-mans-land-1-1990/

© Copyright 2012 Dominique Blain ////////// Site réalisé par Stéphane Najman

http://www.barbarakruger.com/art.shtml

©2003–present BarbaraKruger.com

http://www.corinnesilva.com

http://www.colinholden.co.uk/portfolio5-2.htm

© Colin Holden Associates Ltd 2012

http://www.school-portal.co.uk

http://coilhouse.net/2007/09/el-lissitzky/

http://s241.beta.photobucket.com/user/rhea118/media/angst-arnulf-rainer-maison-rouge.jpg.html

© 2012 Photobucket. All Rights Reserved.

amacharaka.tumblr.com/post/224450928/io-gatto-i-cat-1932-by-wanda-wulz-1903-84

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http://www.tate.org.uk/art/artists/el-lissitzky-1519

http://www.artlimited.net/news/en/7581374

What is Fine Art?

-A creative art form that allows artists to show their views

-Paintings and sculptures

-Expensive art

-Good

-Beautiful

We cannot determine what fine art is, as groups of artists, movements come along and change how we think.What was considered art eye pottery with beautiful carvings, is now sub categorised as arts and crafts.

“The use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others”

Aboriginal art:

-Some of the earliest traces of art

-Stories

-A story, a collection of ideas

-Cultural, cavemen would understand, perhaps we don’t

-Not a linear story

Jimmy Pike:

-Probably the most famous contemporary aboriginal artist

-Lived a traditional aboriginal life

-Had a fight to the death over a woman (aboriginal tradition)

-Ended up in prison

-Psychologist in prison introduced him to our ways of artwork

-Landscape, illustrates the land and where the people gather, similar to an ordnance survey map

by Chris Ofili

Chris Ofili:

-“Virgin Mary”

-Traditional paint and canvas

-However uses elephant dung

-In America this caused an uproar, as it was controversia using elephant dung to paint the virgin Mary

-Although he didn’t mean to cause offence, a christian himself

-Was band from exhibiting it

-Suddenly it was all over the newspapers, and he became a house hold name in america, because of the controversy over it

by John Everett

John Everett:

-Ophelia (1851)

-Shakespeare inspired, drawing inspiration from other aspects of culture

-In 1850 music, metalwork and crafts were all considered fine art

-Family member of the  Pre-Raphaelites, changing the way you think about art

-From portraits of the Kings (similar to celebrity), leading to painting because they were interested in it

by Tom Hunter

Tom Hunter:

“The Way Home” (2000)

-He was the first photographer to show work at the National Gallery

-Re-creating paintings, which is why he was allowed

-taking stories from local papers and linking them to paintings (re-creation of that story)

-The Royal Shakespeare Society then commissioned him

-All his work is based in Hackney

-The neighbourhood and whats going on around, contextualizing it

-a chapter of ongoing stories of his neighbourhood

by Jean Louis Theodore Gericault

Gericault:

“The Epsom Derby” (1821)

-Horse running, though we know now that they don’t run like this

by Eadward Muybridge

Eadward Muybridge:

-Motion Studies (1877)

-Bet that horses galloped differently to how people thought

-Afterward horses were never painted in the same way again

by Duchamp

Marcel Duchamp:

“Art for Arts Sake”

-Found an exhibition where you could submit anything as long as you paid

-At first he wasnt allowed to enter his piece; a urinal

-However he then took a photograph of this and enetered that

-He signed his piece R.Mutt, “Mutt” meaning fool

-Deliberately taking the mick out of the art world

by Tracey Emin

Tracey Emin:

“My Bed” (1998)

-Controversy

-Link to Duchamp

-Is this just another object in a Gallery?

-The difference from just seeing her bed in her room is that in the gallery it is branded a piece of art

by Damien Hirst

Damien Hurst:

“For the Love of God”

-One of the most expensive contemporary pieces of art, Left unsold

-He paid £15million, trying to sell it for £50million

-When he was making it there was an economic high

-Little did he know that when he had finished there would be the economic crash

-Hirst thought it would come across dark however he now thinks its mesmerizing

Gilbert and George:

-“Bend it”

-Something that comes from within

-Performance piece

-Self conscious

-Perhaps it is all about the idea of not feeling comfortable dasncing, how stupid you look at dancing, and celebrating that!

by Gillian Wearing

Gillian Wearing:

-1997 Turner prize

-The notion of the everyday and everyday people

-Front stage and backstage of our lives

-Wearing a mask

-Inner most thoughts clashed against how society sees them

-Public and Private is at the heart of Gillian Wearings work

Tank Development

8 Steps to tank develop your film:

1. In the dark you are to retrieve you film.

2. Enter the film ( still in the dark) into the luggs and pull the end through the ball bearings. Using the twiddle sides real all the way on.

3. Once the film is on the real, place in the tank and firmly shut the top with the funnel screw lid

4. Using a developer of stock solution ID (1chemical-3 parts water)at 20 degrees C, pour into the tank and develop for 20mins, agitating every 20secs

5. Stop with running water, 1 min

6. Use Fixer (1 chemical-4parts water) for 6mins, agitating for the 1st 30 secs, and then every 30secs after that.

7. Rinse through with running water for 10 mins

8. Dry

 

 

What is a portrait?

What do you think a portrait is?

-a picture of someone which identifies them

-an image to depict a person, or could be an animal

-a representation of a person, essence of a person

Where are they found?

-Books, internet, galleries, albums, adverts, publications, social media, ID cards/passport

Who commissions them and why?

-the person, family, magazine, company, agent, the photographer, newspaper etc

What should a portrait include/exclude?

-reflection of their personality, and identity

-it should include anything un-related to the person

The purpose of the photograph, changes the overall image. If the purpose is an ID card portrait it will be radically different from if it was a magazine portrait.

“1. A representation of a person or animal, esp. of the face, made by a drawing, painting, photography etc

2. A verbal picture; a graphic description”

source: the oxford modern dictionary

Historical portraits were commissioned for 2 reasons:

– Forms of identity and surveillance

– As a remembrance/ generally commissioned to flatter

by Irving Penn

Irving Penn was a New York photographer, who captured portraits in a  very formal manner. He used it as a social means, photographing his friends and community; his famous friends such as Picasso and Cecil Beaton.

August Sander was a photographer from 1901 till the 1930’s, he was German and used a Large format camera. He would document the german race, types of people such as tramps. However there are discussions that Hitler stopped his work, because it wasn’t aryan.

by August Sander

Diane Arbus photographed social outcasts, on the edge of society. Her photographs were taken in the 50’s and 60’s, using hard lighting. Her photographs were not about flattery, her images alienating people.

by Diane Arbus

Richard Avedon and his series in the American West, captures portraits that are calm and isolated from their environment. The people seem abnormal, however for their environment and society they were normal.

by Richard Avedon

Mary Ellen Mark, looks at the fringes of society, making abnormal people look normal. looking at things in a different way, I can also see a connection back to Diane Arbus.

by Mary Ellen Mark

Nicholas Nixon, is another portrait photographer, he has taken a photograph of his wifes sisters every year for 25years. Showing the Brown sisters fashion and how they have changed over time with age.

by Nicholas Nixon

Steve Pyke photographed a group of “Philosophers” in the early 1990’s. His photographs seem intimate as they are so close, with a small depth of field.

by Steve Pyke

Thomas Struth, came from a German Art School, with a particular school of thought; objectivity. His images are about the thing, not you. Using daylight and a large format camera.

by Thomas Struth

Tina Barney is an American photographer who photographs upper middle class Europeans and Austrians. From her work you can make assumptions, using the environment to inform you. She only makes 1o photographs and then throws away the negative, her images instantly become more valuable.

by Tina Barney

All of these photographers treat portraiture differently, using their own style to depict a person.

Here are some of my own images:

What is a photograph…

A photograph yields a trace of the real world, 2D and with limited scope and boundaries. These boundaries are set by the photographer, the images framing can change the whole image and how it is read, as you can’t look beyond the lines of the photograph. A key skill a photographer has is that they decide what to photograph into the frame, and what to leave outside.

Everyone sees things differently, and so does the camera, another skill that a good photographer has is that they are pro active, and pre-visualize what the camera will see, altering the settings Shutter, Aperture and ISO to create what they want the camera to see.

A photograph can denote and show the viewer literally what is there, it can also connote and create a feeling, the photographer can lead the viewer to take a meaning from their work.

Some images are captured in a split second, the photographer sees a scene and does not have the time to think of framing. However they think about the framing afterwards in post production and editing. This is how I imagine Helen Levitt produces her images, as street photography is fast pace, everything changes so quickly. The viewer is taken through the image, telling them a story; from the little girl to the suited mans gaze, to the man on the  stairs following their gaze out of the frame and re-entering to come down the banister to the faceless man down towards the other mans gaze of the left, leading back to the suited man, the viewers eyes are lead round in a circle. The viewer however is still left wondering what the subjects of the image are all looking at, this framing has been deliberately used to do this.

by Helen Levitt

A good photographer will deliberately use aesthetic to make the viewer evoke and derive meanings from their imagery. The photographer will go through a set of decisions before creating the piece; will they create tension in the image; are they going to use a depth of field for effect; understanding and setting of the image; and will they adopt another time period etc. Each decision will affect how the viewer will read their imagery.