ITAP Part 2, Genius of Photography, Week 2

Week 2, Part 2 Genius of Photography

Q1. What Are Typologies?

   Typologies are a means of comparison or reference of photographic evidence
of existence and change, therefore creating records and documenting

the characteristics of common objects that have resemblance of previous 

found objects. Typologies consist of subject matters based around;

medicine, criminology, astronomy, material culture, architecture

and even food, therefore the vast analytical study of such areas creates 

an archive for future reference. 
   Each individual photographer will have their own interpretation upon a
 study and analysis of what they are wishing to photograph, making their collection
personalised and unique to their style and preferences, creating their own
constraints for content and completion.

   The images which have been collected over a period of time may often retain 
the appearance of repetition, however, the differences which have been

documented are more obvious when displayed as a series of images.

Bernd and Hilla Becher

   These two artists are prime examples of creatives who have produced  

a typology. However, as a unique approach these two artists have formed a duo

to produce collaborative typologies based upon structures, and buildings during

the decline of industry within Germany, documenting their existence before the 

disappearance and removal of such structures and buildings. 

Q2. What is "The Face of Times"?

   August Sander created a book produced from the collection of images formed 

from his human typologies in which he had been collecting of people 

living in German. Each person used within this published piece had been divided 

into one of seven different categorisations devised by Sander's himself, 

and each category contained sub areas for each individual.

   From each of these segments it documented social classes, 

relationships of the people in which he had photographed, as well as

documenting German society during the years of the war.

   The images do not fully describe the the characteristics of the person 

who has been introduced into this particular typology, however it is showing more

of how the subject wishes to be seen because everything else is hidden.

Q3. What magazine did Rodchenko design?

   Rodchenko designed the magazine entitled "USSR in Construction", 
which displays political propaganda, which glorified the achievements of the
Soviet system. The magazine consisted of cutting edge graphics,
and series of Photo-Montages which manipulated the reality of the raw images
which were issued within the magazine.

Q4. What is a Photo-Montage?
   A photo-montage is the conjoining of two or more images to generate 
a continuation of image which create a sequence, in order to create an 
illusion and trickery of reality. A photo-montage can consist of digital manipulation, 
photographic manipulation and scrap-book collaging.
   Photographs can be treated as raw material enabling editing, manipulating, 
and combing of various images together to change the intention and meaning 

of the original imagery, creating an alternate reality and deception of the 

truth and history through simplistic methods of cutting and pasting.

Peter Kennard

Peter Kennard produces photo-motages, based upon political issues publishing his 

opinions through the photographic medium to create campaigns. 

   Through the manipulation of imagery Kennard has addressed

issues such as war, and nuclear disarmament, displaying his work as pieces

of petition, altering the nature of reality of current/previous occurrences, 

and amplifying and intensifying the original raw photography to produce

imagery which is more striking and powerful as well as persuasive to encourage

his beliefs, and approaches.

Q.5.Why did Eugene Atget use albumen prints in the 1920’s?

   With dream like qualities of brightness attained within his photographic imagery and 
profound shadows, his ability lacked in using modern methods and 
materials for the medium of photographing, despite this Atget produced images 
with intense clarity and precision. Due to his methods being acquired from that
of an older generation it was easier for him to use the Albumen process,
since his knowledge upon other processes was minimal, although his
knowledge of other processes was not extensive, he was very skilful
in this area of expertise.

Q.6 What is Solarisation and how was it discovered?

   Solarisation is the reversing of the tone, creating an alternate reality of surrealism.

The subjects within the photographs appear metallic, robotic and almost

solid due to the appearance the reflectivity creating the effect of aluminium.

   Solarisation was discovered in the late 1920's by Man Ray, his curiosity

of using the camera as a form of instrument to explore his dreams was what bought
his exploration of the medium to this discovery.  

Q.7 What was the relationship between Bernice Abbott and Eugene Atget?
   After Man-Ray's assistant Abbott, became familiar with Atget's work,
discovering his documentary pieces of "Old Paris" which could only be explained 
as an extreme piece of art work, Abbott began to pursue purchasing Atget's work.
   Through this pursuit it began to expose his work, making Atget's photographic 
pieces more widely renowned as well as gaining world wide recognition, exposing
the genius of his photography.

Q.8 Why was Walker Evans fired from the FSA?

  Since Walker Evans refused to fulfil the requests of the government for propaganda

purposes he was fired from the FSA, showing a different perspective upon 

the situation of the Great Depression.

ITAP Part 2, Genius of Moving Image, Week 1

Week 1, Part 1 Genius of Moving Image

Q1. List Two specific key relationships between Sam Taylor Wood's; Photography and Film Work?

 Wood's work consists of the elements of human emotions, which is 
emphasises through the focus upon facial expressions
and also the body language,  as well as this her work is also 
focusing upon the occurrences of life,and the state of situations. 
   These two elements are of both concentrated factors within her work, 
and create this relationship throughout her series of work in both film and 
photography, emphasising deep philosophical meanings showing the
power of human emotion through a range of situations. This causes empathy
from the audience, creating a deeper connection to the pieces, making 
each narrative of work, and the subjects within her work more realistic 
and believable.

Q2. How does the use of multi-screen instillation in her work reflect narrative?

   Dependent upon each film which she has produced depends upon
the purpose, the meaning and the necessity for requiring multi-screenings
for her cinematic pieces, which orient you around the space, enabling you
to be more engaging with the piece. The reflection of the narrative
is clearly emphasised as you are orientated around the space, 
being a spectator for each individual element, engaging in the characters 
emotional responses to situations as you see the story from 
a third angle perspective.

Examples of the use of multi-screening to suit the narrative;

• Travesty of a Mockery; 1995

   This split screened cinematic piece shows the tension within an argument,
creating a physical divide with the screen displays, and begins to introduce
the idea of invasion and claustrophobia as characters begin to cross
screens.

• Pent-Up; 1996

   The basis of this production has been split over 5 screens to operate

this conversation, situating one subject to an individual screen,

surrounded by a differentiation of environments. Voices were pre recorded to

enhance the idea of a social whirlwind, and idea of insanity of each subject 

appearing to be talking to themselves. 

Q3. What other photographers use film as an integral part of their work?

List 2 examples:

Tim Walker - Fashion photographer turned film maker, Walker executed
his first moving image piece, creating a short film in 2010 "The Lost Explorer".
With the integration of both practices, Walker has now begun to direct
and produce several more moving image pieces, which have enticed
a variety of audiences globally, with his visually exciting retrospective 
of movement, camera angles and lighting, this transcends the idea of emotion
and reality to the audience.

Still Imagery captured from the film "Forgetful Green" - Tim Walker

Carolyn Mendelsohn - With three different traits as a practitioner, Mendelsohn

works with photography, film and performance beginning her career as a director

and writer for theatre. This passion for being involved within the creative arts 

encouraged her to begin recording the process of these acts, projecting her 

visions in weird and wonderful places, giving quirky adaptations to the previously

experienced visuals. Of most recently, during experimentation Mendelsohn 

discovered the intensity and power that still imagery obtains, and has began

to use this medium along side her moving image pieces, combing 

the visual elements together to maximise the viewing experience, with added

extras of animation.

Q.4 Research 3 other video artists and explain their work philosophy?

Quentin Tarantino - Tarantino's work focuses upon
non linear stories, transferring the viewers attention back and forth 
in time allowing them to assemble the jigsaw narrative themselves, 
creating almost a memory simulation of events, such as Pulp Fiction.

   His work has aesthetasised the idea of gore and violence, with
intriguing juxtaposition of humour and his style of created violence, which
has generated a branded genre. Tarantino's main influence is the idea
of aesthetising and infusing his ideas with those of the convention
of the cartoon medium, melding comic strip formulations to marry the
expressionism of this art work through live action scenes. 

Guillermo Navarro - Navarro's work is based around the theme of fantasy and
the idea of mythological creatures, entering also into the genre of action
with twisted elements which create a flux state of mind for the audience.
   To add to the aesthetics and give further impact to his film pieces creating 
depth in atmosphere, his work contains vivid blues, and yellows.
The quality of his final product of cinematography fluctuates between 
well-defined, sharp, to smoothed over and very fine, this is due to the 
input of colour which effects the film grain.
   With the use of filters he has the ability to control the mood 
through the idea of colour, creating the impression of warmth and cold,
this technique does not require the emotional input of actors and actresses,
this only emphasis further intensity of the narrative's atmosphere by the 
inclusion of acting. 

Tim Burton - American Film Director/Producer, Writer, Artist and Animator,

his work is often focused upon horror sequences, with macabre gothic fantasies.

Burton's work on the recreation of Alice in Wonderland, and 

Charlie and the Chocolate Factory, clearly illustrates the individuality of his 

dreamscape for ideas, and the adaptation of other artists work. 

   Furthermore, Burton's work still incorporates the integration of his 

eclectic skills of illustration, animation, screen writing and producing and directing.

Each piece of work exercises these practices through the visual expression 

and Burton's work often involves recurring collaborations of actors, 

and musicians therefore ensuring the continuation to create consistent

quality final production pieces which are recognisable and distinguished as 

his own.

Q.5 Show an example of a specific gallery space or a specific location

where a video artist or film maker has created work specifically for that 

space and been influenced by it?

The location for the "Edoras" 

Peter Jackson - The sequel of "Lord of the Rings" was filmed across
New Zealand within its conservational areas and national parks. 
In Peter Jackson's film version, a fully realized set for Edoras was built on
"Mount Sunday" in the upper reaches of the Rangitata Valley, near Erewhon.

From J.R.R. Tolkien's fantasy piece, Jackson decided that the location

that is now Edoras, became the perfectly aesthetasised visual that

the English writer had described with its extensive grasslands, over cast by snow 

peaked mountains, this would become the base for Rohan.

ITAP Part 2, Genius of Photography, Week 1

Week 1, part 1 Genius of Photography.

Q1. What is photography's true genius?

   Photography has the ability to transform what it is describing, 

and is therefore showing the true art of photography. However,

the true genius behind the 170 years of this medium is how

it intrigues the audience, and shows clarity of the mediums particular

secret strangeness that lies beneath appearances.

Q2. Name a Proto-Photographer?

   Henry Fox Talbot was a Proto-Photographer.

Q3. In the 19th Century, what term was associated with Daguerreotype?
   Louis Degar, had began the process of fixing shadows to 

mirrored metal plates in 1824. This process created a form of polaroid image that could not create multiple reproductions; this light operated variable print gave the impression of presence and was therefore associated with the idea that the final product was a "mirror with a memory".

Q4. What is The Vernacular?

   The Vernacular is a genre of photography which contains 

many subcategories such as:

• Forensic Photography.
• Scientific Photography.
• Journalistic Photography.
• Touristic Photography.
• Insurance records/Passport records/Court documents.

The subcategories all of which are for purposes for documentation,

and identification, as the The Vernacular itself is not intended for

an art based aesthetic but for recording in a visual mannerism.

Q5. Who is Nadar, and why was he so successful?

   Gaspard-Félix Tournachon was the creator of his own copyright, Nadar, this business name created an extra element of professionalism to his practices as a photographer, and establishing himself with his own unique signature styles. 

It has been inferred that Nadar is the Andy Warhol of bohemian Paris during the 19th Century. 

   His success was driven by his approaches to ensure authentication to each image he produced, forcing the personality from the subject themselves, creating this idea of projection of self immortality. Non of his images were based

around flattering the subject, but non were to be cruel and give misconceptions, however, this showed the celebrities as equals.

Q6. What is Pictorialism?

   Pictorialism has been described as the serious side of photography,depicting mean

 and moody images, which were occasionally magnificent.

   This was the beginning of the introduction of photography into the category of the Fine Arts,

 creating a more narrowing perspective of the medium, 

imitating other forms of arts and crafts movements, creating a fictional and dream

 like state of mind through the content within the medium of photography.

ITAP, Integrating Theory with Practice 3

Integrating Theory with Practice

Week 2, Principle 1 : Overcoming Mindsets

Throughout the first semester of my course, visual communication, I have engaged in a wide variety of fields, using trial and error to see the subject to my strengths and weaknesses. However, during the process of this I have had the ability to overcome my own creative mind sets by embracing new techniques, methods and technologies.
    As with anything, I found some areas more challenging than others, but despite this I have enjoyed coming out of comfort zone and experimenting with a wider range of creative methods than what I would have potentially ever considered using. From this it has encouraged my creative nature to be more expressive, and for my own natural reactions to be more daring to improve and explore the potential increase of quality in my work.
   From the previous list that I had originally created for myself to use a reflective guide of how to improve aspects of my constricting mind set, I feel I have made significant improvement.

 

Neglecting my inner critic when producing my work, I use RCC to reflect back on my work once in its advanced stages, this is to see with clarity and coherence what could be improved, how and why it should, considering whether its context and content is suitable for the purpose it is trying to serve.
   Within my RVJ I demonstrate different variations of the piece and analyse how effect they are with clear and thorough annotations, leaving in-depth incitement to my visual language I am displaying, communicating my ideas thoroughly before their development to show their progression.
 

Areas of my book which clearly demonstrate the variety of techniques and practices used, and the extent of variation used of some pieces due to their potential.

 

 

Mediums/Materials/Techniques used within the pieces displayed above:

(These amount of material compared to previously have significantly improved, I am no longer restricted to a Biro or Pencil)

• Acetates with marker pens
• Photoshop technology
• In Design
• Photography (A290 Sony Camera)
• Mono Printing Inks
• Water Colours
• Biro
• Charcoals
• Graphites
• Acrylic Paints
• Water Based Inks

 

ITAP, Integrating Theory with Practice 2

Integrating Theory with Practice

 

Week 3, Principle 1 : Notions of Originality
 

It is clearly apparent that originality is no longer existent, and the more appropriated way to discuss forms of art work that appear varied from other pieces, is to classify them as being authenticated, due to the usage of the concept, method or techniques used by an artist to create a particular effect, or appearance.   Considering the factual basis that I as an artist would not be able to create something classified as unique because of the artist influence I have used upon my work basis, I would consider my work to be authenticated, since it has been derived from the starting basis of an artists original pieces which have inspired me to create imagery, or artefacts in a particular mannerism.
    For my interpretation of authentication, I have developed upon the idea of using photographic pieces, to create illustrations to insert into, manipulating and merging the images together to produce a surrealist effect.
    This particular development of my practices, I researched into an artist named Archraf Amiri, basing his work upon fashion illustrations incorporated into photographic environments. Using the concept of his idea, I decided I would photograph areas of Birmingham (for the purpose of the magazine) including human subjects within them to be able to show a true interaction with the surrounding environment. Selecting a different medium and materials to use for my illustrations, I produced mono printed pieces which were then scanned into my photographic pieces and merged. Once completing the merging of my images I began to manipulate the imagery, enhance key elements, and altering areas of colour to create this more surrealist effect so the once contrasting images would compliment one another in more surrealistic mannerism.
    Through this recreation of an artists concept of photographic and illustrative ideas being combined in a different mannerism, showing no reflective nature of likeness, only regurgitation of the concept it would appear to the viewers to be original. My pieces I have created should not be concealed to be considered as originality, but celebrated where my influence has derived from.

 

 

The reflection of inspiration of Achraf Amiri's work demonstrated in the above pieces, and my authenticated pieces displayed below.

 

 

I have also created more authenticated pieces derived from the influence of Dan Mount, and the merging of images. To authenticate my work from the original context, I used images that would be solely relevant to the development of our group magazine, and apposed to using the clarity of Mountford’s merging of images I decided on creating undefined shapes so it would leave the audience guessing, and challenging the visuals of the imagery. (Dan Mountford's work displayed to the right)

ITAP, Integrating Theory with Practice 1

Integrating Theory with Practice

 Week 1, Principle 2 : Brain

Here I can clearly demonstrate three areas within my RVJ where I have included the practice of utilising my creative brain, combining my thought processes in a constructive and more artistic way, exercising my right cortex and also the left of my cortex.
    With this process I have been able to increase my analytical skills, and form clarity and coherence whilst planning, constructing and formulating workable ideas for my own research and for the benefit of the group project.
    Despite the fact that my mind maps may not appear to have connected with my right cortex (child at play) as much as my left cortex (the accountant); I still found that I was able to be more expressive and deeper engaged with my thought process creating mind maps, considering ideas which I had not believed to have been possible, however connecting them to something relatable.
   Through using the structural shape of my mind maps, I felt that this engaged with my right cortex as I believed it to have been rather playful because of the free flowing shapes, yet connecting with my left cortex because of the flowing and surfacing of ideas throughout the process.
   I believe I should have included more visual language to engage my mind furthermore with the ideas I have considered, however, I feel comfortable now working in this manner, being consciously aware of what side of my brain I am working with, allowing myself to be consciously aware of the interchanging of the cortex, and how to adapt my “work mode” so it is more suitable for the task at hand.

Here I have used a mixture of colour and images to create variety of visuals to create accessible and memorable links to each mind map I have created.

 

ITAP; week 9, No Principles - Image and Text

Generalisation of lecture Image and Text

As visual communicators, we often don’t find it appropriate to accommodate text to accompany an image, as they say a photograph says a thousand words, however this is not always the case. As it has been proven from the lecture that has been demonstrated, many images appear either naked and deprived because of the lack of description, also they are hard to understand what the purpose and meaning are, or have been know to cause offence to the audience because of the absence of text not justifying the context and purpose of the imagery.
   Not all images need to be accompanied by text to clearly demonstrate the purpose, meaning or context, such as landscape photography, which may be to create or demonstrate atmosphere, apposed to depicting an emotional state of mind, recollect on memories or be used for reportage purposes. Also, images that are absent of text, it could be to potentially allow the audience to extract their own opinions on the meaning, purpose and context, or to merely allow the audience to connect to the image in a more personal manner without direction from the sub text.
   The use of text within an image could be used as the dominant feature to add emphasis and communicate the idea of the piece, creating a bold statement and showing the importance of the message. Also the use of text can dramatise the imagery, and bring a certain retrospect of subconscious reality to a more conscious state.
   On the other hand, Reportage photography is often accompanied with text to describe and depict the photograph. Despite the accompaniment of words to tag line the photograph which can be seen as a truthful representation of events, this is not always the case, due to the ability to be able to frame pieces, formulating a whole new meaning and context for the imagery, creating more detachment from the truth.

 

Useful and valuable information gained from the lecture:

   To summarise, by ad dinging imagery to a scenario alone it leaves an open span of meaning available and can be potentially perceived in the wrong mannerism. However, by using text it can recontextulised the image to display the meaning that the artist had originally intended, creating the addition of a poetic justice to the piece.

The photographs above are some images I have selected from Richard Averdon’s collection “Drifters”, this collection was based around the homeless community which lived within America. However the series of images were left untitled, and the subjects of the photographs left unidentified. After consumers felt that this work was patronising and disrespectful to the people who were photographed within the book, Averdon then worked along side Lara Wilson, beginning to collect the stories, the details, and the identities of these people, so that the consumers would not feel as though it is an exploitation, but more of a discovery.

Gillian Wearing produced this series of images to criticise the idea and pre-misconception that human emotion can be clearly depicted from facial expressions, and also from the body language. By challenging the idea of this theory, she began to ask a diverse variety of subjects to write down their thoughts and feeling upon a piece of card to express them selves, apposed to being critically analysed by their facial expression.

   This case study shows the lack of relation to an emotion and an expression, so text accompanying the imagery in this instance works in an effective way due to it causing a contrast, proving that photography is not always factual.