Portfolio: Possible Final Installation Photographs

I have chosen four photographs for my final installation. I like these four the most out of the photographs I've taken. I have a few more to take, but I think I'll definitely use these four photographs. I'm aiming to add two more people to the installation, hopefully another male model just to help balance things out a little bit more.  What I like about these is the range in tone and colour. The lighting is similar for them, but there is one or two that are a little two bright. The first two, I probably like the lighting for the most. I also like the shadows across their skin and the small highlights in the glasses of the first picture. When I can, I'll adjust the lighting in the third image, to bring down the exposure and contrast a little to make it resemble some of the others. I don't mind it being a little brighter and I may have to adjust the first two to be a little brighter anyway so it should work out okay. I want to keep the editing to a minimum  to still give it a small documentary feel. 

I love the similar depths of field, the connection runs through all of them, which works really well. I wasn't sure I could obtain this feature, but it worked out quite well. I like the muted colours with the slight brightness in different areas. I love the framing, that's probably one of my favourite features. I looked at the framing a lot when photographing these ones, previously I had trouble with the framing and it was something I thought quite a lot about during these shoots. The focus on the hands works well which is what I wanted and spent most of the time looking at.

Week 4: Sara Orme visit and Experimentation.

Contextualise:

What genre does their work fit into? What sub-genre?
-Editorial, documentary, retail.
-Creative, fashion, commercial.

What ideas are working within their photography?
-In terms of her personal ones, her connection with the people really works and helps create a better feel to the images. There is warmth in those images and a real bond between photographer and model. Working with distant relatives and documenting them growing up has worked well and it reflects well on her more society based images. Her personal projects show a lot of personality and they let her show more creativity. There are no set guidelines and she works well within her own style.
-In terms of her work based photography, they're fun, even when there are certain things she has to do within the photo shoot there's still that flair to her work. I love the running and movement. I like that she doesn't let the confines of what others want prevent her from producing such amazing images. I know that sometimes there isn't much she can do about what her clients want, but she makes it work by adding in little things, coming up with ideas on the scene and working with the environment around her rather than fighting it.

How do you as the viewer respond to the photographers images?
-They give me a little hope, the images are fun and bring a smile to my face. I do love how the models look like they're having a good time, they aren't restricted or being imposed on. It doesn't look as daunting of a task. I like her personally ones a little more than the commercial ones, if feel like there is more emotion there and more of a connection with the people.

Experimentation with movement:

ISO-100
F/8.0
1/320

Evaluation:

It was fun getting my model to move and run, probably not so much for him, he didn't want to run and complained the whole time. But it was an interesting experiment and certainly not as simple as I thought it was going to be. The timing had to be right and I wasn't so successful with that. The first photograph has captured him in motion, but I didn't get the framing quite right. In the other two I caught him moving away from me, both near and far and with the same foot up in the air. My shutter speed was quick and because of that I was able to freeze him in motion. I like photographing motion, I've had a little practice with cars at the track. I find it a little easier to frame it up correctly when you aren't so close to the figure so I think this was something that I needed to adjust for this experiment, as he ran past me he came close enough that it was hard to get all of him in the frame at one time. I think I'll have to practice a little more in capturing people in movement, it's not as easy as it looks but with the right camera settings it shouldn't be too difficult to focus on the framing and where I'm standing in terms of how close he'll have to be to come past me.

Portfolio Research: Emmet Gowin.

Edith, Danville, Virginia, 1971. 10x8 inches.

Emmet Gowin is an American photographer that first gained attention in the 1970s. His photographs ranged from portraits of his wife, which is what started his interest in photography. I liked his portraiture photographs, the shadows and highlights. What I liked most was the close up of this image, even with the grain in the photograph there is still detail in her face. The grain means I can't see detail in her skin however, which is something I'm focusing on for my own photographs.

Ireland, 1972/1986. 8x10 inches.

The second image is an example of what I would like in terms of detail. I like that you can see all the lines and detail in the leaf. I also like the presentation, it works well for the image and I'm considering doing something similar for my own work. I like the vignette and the circular border. It reminds me of older photos done in a similar fashion with old frames. I think some of my photos may fit in with a similar style. It's a thought anyways, I wasn't sure how to present because they aren't exactly traditional photos, but I think this could be a way to mix traditional and contemporary to make the photos look a little more dated. I like the look of older photographs and for this I'll have all the perks of post production as well as sharp images, but in a style that appeals to me.

Portfolio Research: Gary Schneider

Shirley, 2001.

I really love this photograph, I'm not quite sure what's going on in the glass of her glasses whether it's a reflection or something added post production, but the detail in the face of the woman is astounding. I also love how she emerge from darkness and the slight shadows across her face. It was the detail in this photograph that really stopped me, the texture in her face relates to what I want in my portfolio work. The light is really well positioned and I think that's what's bouncing off of her glasses, but I'm not entirely sure. I like that you can also see detail in parts of her eyes. Schneider photographed 'Shirley' in other ways as well, a full body shot focusing on the detail in her body and skin. What I think the idea is, her, he wanted to show her and who she is. It's a really nice photograph and I do like the large depth of field, meaning the entire image is in focus rather than just a section of it.

Research: Portraiture.

I've been researching portraiture from the beginning and found a few links that I thought were interesting. The first one, here, has some beautiful close ups, from the head and shoulders up that focused on the detail in the models faces. The lighting in the images is soft, for the most part, and bring out the details in the faces of the models. The highlights that accentuate their faces is something that interests me and I wonder if I could accomplish something similar with natural light. I think the photographer was in a studio, just by how directed the light is.


This link, takes you to a page where the artist mixes design and photography. It is quite an amazing portrayal of portraiture in the form of ink in water. There is a lot of texture in the photographs and the composition in which the artist used is certainly different. I like the angles the photographer has used when he merged the two together. The faces look almost like smoke. This kind of presentation is different and certainly interesting, I'd like to have a go and trying to create something similar.

The photographs in this link are nothing too unusual. The models look almost statuesque, but there is  a lot of detail and texture in the face. The lighting is what really stands out. Taken in a studio, I like some of the more direct approaches and the shadows they create across the faces of the models. The lighting isn't always the norm and for that the images are a little more unique. What doesn't really work for me is the expression's on their face or lack of. They don't give much away in terms of who they are and what this means to them. I'd like to be able to see a little more about them, to feel like I know something, but with these, I don't get that feeling.

Digital Technology Two (WK 3) Self Directed Task.

Think about and answer the following in terms of your portfolio project:

What were you thinking about when you made this work?
- I was thinking about ways to make my model feel more comfortable. I wanted them to feel okay and less pressured when I took their photograph. I was also thinking about different places to photograph them and how the weather would affect this.

What was going on in the world and did any of these events influence you thinking at the time?
-I'm actually not too sure. When using the tethered shooting, I wasn't thinking about much else, I was more concerned with trying to get the program to work properly, so that took a little more concentration than what it should have. When I photographed my friend, I had a lot more to think about, the lighting, the pose and whether or not it would fit with my previous photographs. I also then had the distraction of what we'd been talking about because we used the chance to catch up, so I guess I probably could have done a little better without the distraction of those thoughts and up coming events.

What photographic genre (and subgenre) does your work fit into?
- It's leaning more towards fine art, there is a little bit of portraiture in there too as I want to include more of the faces of my models. I had wanted to give it a more documentary feel, but I'm leaning away from that because of the ways in which I want my models to pose.

Who are your photographic influences? What photographic genre do these photographers fit into? What ideas or techniques do you take from these photographers into your own work?
-Sally Mann is probably one of my biggest influences. Her photographs are documentary based, but they're also very personal, so they do have a more intimate feel to them which is what I'm going for. With some of her photographs there's also a bit of mystery, you are't too sure what's going on or the relation of the figures in the photograph.
-Welead Beshty is another photographer I looked at, he shoots film and in the developing process exposes it and creates some weirdly coloured images. It's not always the images themselves that are interesting, it's the way he's exposed them to make them a little more unusual.
-Marti Friedlander, I liked her self portraits and it was the inspiration for my experiment with tethered shooting. Her documentary styled portraits were simple, but I really liked them. I liked how the entire image was in focus, but especially her hands and camera. The focus on detail, it was what I was looking for when doing my research into the smaller details.

Are you influenced by artists working in other disciplines? (eg: film or painting)
-I've looked at other fields when doing surface research. A lot of my pinterest involves, designers and painters as well as photography. I haven't really researched anyone in particular, it was just a way to get ideas, for poses and light and little things like that. I did take another look at the portraiture video and other ones similar on youtube to see the way painters portrayed people. I looked at mostly pose and where the figures hands were in the artwork.

Research: Tattoo Photography. (WK 3)

http://www.cuded.com/2012/05/tattoo-photography-by-jake-raynor/

I went in search of artists that used photography that focused more on detail and tattoo photography was one of the avenues I looked at. I looked at tattoo photography because the photographs quite obviously focus on parts of someone's body. A lot of the time, the entire photograph is in focus, which differs a little from the approach I'm taking, but it still gave me some ideas for pose and light. What I liked about the photographs in the link above was that, besides the last photograph, they were mainly focused on certain aspects of the woman's body. There was a lot of detail in those areas and the lighting, while in a studio was quite soft and similar to what I wanted to accomplish. I also liked that in the first two photographs, it wasn't her face and eyes that were the main focus of the images, there was detail in her face, but the positioning of her hair and her pose meant that it wasn't the main focus.

Richard Mosse. (DT2 WK3)

Watch the interview and answer the questions:

1) What genre/s does Richard Mosse's 'The Enclave' fit into?
- Documentary photography.
-Fine Art.
-War.

2) What is the history that relates to this project?
-Conflict in the Congo. The feeling of displacement which was one he was familiar with.

3) Is there anything in his own history that influences his work?
-He grew up around the conflict in northern Ireland.
-This was not his first time photographing and dealing with war.
-His own lack of advancement in other fields of photography spurred the move.

4) Why did he choose to use Kodak infared film for the project?
-It was military made film, used in areas such as the one he was in. The film was designed to reveal what was hidden, which is the reasoning behind the drastic colour change.

5) How does the use of this film fit into the documentary genre?
-Generally, it wouldn't, but because of the way he used and portrayed his photographs it still counts as documentary based. It would be easy -without knowing anything about his works- to just say that it was Photoshopped, but because of the way the figures and surroundings are portrayed it still fits into that category. The figures are cold and distant, there is no real interaction between the figures in the photo.

6) How many times has he been to the Eastern Congo for this project? Why do you think he has been back so many times?
-8 time in 4 years.
-His justification for returning so many times was that everything kept changing. The land and the people, they were constantly shifting.

7) What justification does he have for creating such beautiful images to represent such horrific events? Why would he be criticized for this? How does this differ from other war photographs?
-General war images are graphic and made to shock. He wanted to make photographs that were aesthetically pleasing to the viewer. He wanted to create a conflict of emotion within the viewers, to stretch and make them realise their own ethical standards. In making his images as beautiful as they were, he opened up the viewers self awareness, the viewer was meant to have conflicting emotions over the image, while their eyes liked it, their mind told them they shouldn't.

Week 3: Experimenting with Tethered shooting.

I had a lot of fun with this experiment. I used myself as the subject and attached my camera to my laptop. I had the camera sitting on a tripod and the laptop facing me with a wireless mouse. It was interesting getting a handle on the program I was using and the ways I had to move in front of the camera to get the positioning right. It was a good learning experience and I really liked the results. I would like to try again as there is one photograph in particular that I would like to use for my final presentation, but my hand was out of focus and that is one of the pain parts of the image that I would like to be in focus.

F/2.8-ISO 800- 1/80

F/4- ISO 800- 1/80

This final photograph is one of my favourites out of the three of them. It's a little dark here, but as I'm going to re-shoot, it isn't too much of an issue. What I like about this the most is the pose. In trying to work out how to use the tethering program and getting all of the settings in camera right, I wasn't too focused on the pose in the image. I do like the partial shot of the face, but I would've liked the focus to have been more on my hand rather than lip. I like the way the lip bar and ring stand out in the image, the light reflects off of them, making them a little brighter and a lot more noticeable. Also, when zoomed in on this photograph, you can see all the detail in the skin of my cheek, which makes it look quite nice. The image is a little soft, I was fiddling with the aperture trying to get the hand in focus and because I kept changing the aperture I had to keep changing the shutter speed as well, the images just kept getting darker and darker. If I have this problem again, I can lighten the image in post production or move my placement  so there is more light on my face.

F/8- ISO 800- 1/30

Research: Macro Photography.

I found a link here, with photographs of the human eye. The example of macro photography is astounding and I really love the detail in the photographs. I thought it was an interesting link and worth looking at. It was just something I stumbled across when looking for portraiture examples. I'd like to incorporate something similar either in my portfolio or as a side project as a study on it's own.

Week 3: Allan McDonald Visit.

Research:

I had a hard time finding out how different photographers did their research within the architecture field. I decided to broaden my search to include other fields as well. It was when I was thinking about this, that I remembered what Nick T had said about the way he conducted his research in terms of keeping up with what the public expected of him. Nick T would look at food books and magazines, he even showed us a few of his more favourite resources. This was a different way of working compared to Allan McDonald. Allan McDonald does his research a little differently, through travel and experiencing the sights for himself. I like his method of taking a digital camera and recording the different buildings as well as writing down their locations as he goes, so he can then go back and shoot using his preferred film camera.

Experimentation:

For this experiment I went and found a second hand shop and photographed the interior like he had in some of his works. I visited the shop a number of times to get the exact picture I wanted. What I should've done was taken a photograph on a basic point and shoot and then taken my camera in, as it is, when I went to take the photograph, the shop was just about to close so I was pressed for time. I do like the out come however, even if it is a little different to Allan McDonald's work. The photograph I took is similar in a materialistic way, I have chosen to photograph something that he photographs quite frequently when he can. But where he generally chooses a wall or row of something that interests him. I chose the shelving against a window. There is a lot of light in my image and the shelving is almost silhouetted, there isn't a lot of detail there as there is in his works. I would have liked more time to get it exactly right, but I'm pretty happy with the outcome considering I was pressed for time.

Evaluation:

Second Hand Selection.
 (East Tamaki Road Manukau/Otara.)
 ISO 400. F/9. 1/60.

I do like how the window back lights the shop and contrasts between the colour of the outside world and the shadow of the shop. I think a successful part of the image is being able to see the different shapes, especially the glassware on the shelf by the window. The different colours of the glassware add to the feel, also the different shapes and sizes shows that there aren't complete sets and gives that second hand shop vibe to it. The frames and pictures above the window reminds me of Allan McDonald's work as well, a few of his second hand shops had odd sized frames and shapes hung on the walls. I like that in this photograph those shapes aren't obvious, but you can still see them. The unbalanced nature of the photograph works well for this kind of image. There is some symmetry in the image, but the center structure, chairs and table, unbalances the image and gives it a slightly messy look to it. All of these ideas fit into the theme around the secondhand shop, they aren't meant to be neat and tidy with full sets of cutlery. I like these kinds of shops because you never know what you'll find. In this picture alone there are many kinds of glasses and three different sets of chairs. Overall, this image successfully emulates what I went out to achieve while still being something a little bit different, something more my own. I did like photographing the second hand shop, and I'd like to give it another try with different shops, possibly in a similar fashion to this one. I liked photographing something a little bit different and it certainly gave me some ideas for photographs in the future.

Portfolio Research: Walead Beshty.

Travel Picture Sunset [Tschaikowskistrasse 17 in multiple exposures (LAXFRATHF/TXLCPHSEALAX) March 27-April 3, 2006], 2006–08. Chromogenic print, 90 x 51 inches (228.6 x 129.5 cm), edition 2/5.

Beshty happened across a new way of viewing photography when some photographs he took on a trip were unintentionally exposed during their trip through airport security. Strange colours and lines developed on the film when later processed and developed. This started the sculptors photographic career and since he has developed a somewhat unusual ways of developing film.

What I like about this photograph is that it looks as if an overlay or gel has been used when the photograph was taken or in post production. I never would have guessed just by looking at the image that the colour was made through the developing process. What I really like is how the red of the image brings some detail into the shadows. Without the colour this image would not be what it is, it wouldn't be as interesting, but because of this weird colour formation it is interesting, especially the process through which it was created. The tone of the image contradicts what is actually going on. You wouldn't expect to see a red light in what appears to be some kind of office space and I think this makes the image that much more likeable. The subject matter isn't overly interesting, but I do like the angle the photograph was taken on, it's different to what I would've expected with a scene such as this. My first instinct if I'd been the one to take the photograph would be to stand front on, so the frame of the window lined up with the edges of the viewfinder. I guess that's what makes this photograph different as well, the way he portrayed it is not the norm, giving it a different feel.

Contextualise:

Who took the photograph and why?
-Walead Beshty, he was experimenting with a new way to develop film in which he exposes part of it and creates random streak of colour on the photograph. The photograph could've been taken for purely experimental purposes, or because it was something that interested him. Even if the subject matter is slightly mundane, his style of processing the photograph changes the look and feel of it. Exposing it the way he has has definitely changed the way the photograph is viewed, it certainly made me research how he did and and how he managed to figure out a way to do it.

What is their ethnicity and does this influence their work?
-He was born in London and is now based in LA in the U.S. I don't know if his ethnicity has had any real affect on his work in this case, but I do think his travel and migration from one place to another has. For instance, he was travelling when he accidentally exposed the film in an airport so when he developed it, the photographs came out similar to the ones above.

When and Where did they take this photo?
-The photograph was taken in 2006 and there isn't much on where it was taken. From what you can see in the image, it appears to be an office space or maybe a room in a house being used as an office.

What are their political beliefs and are these relevant to the work?
-I could not find anything on his political beliefs, but I think it was more the relationship of light in photography that was more of an inspiration.

“insisting instead on their material inscription of the structural conditions and possibilities of the medium."

 The photos are a representation of the 'current' (what was current at the time) political and social state of the world after the events of 9/11. He linked this idea to the way security had been altered and the fact that his travels had permanently changed the photographs because of these security measures. So it wasn't the subject matter that was important in the series but more what had happened to the photographs before they had been processed.

What is their social status and background and how does this relate to the subject matter?
-He was very much looked towards with his artwork as he has described them to be in relation to the political and social status of the world. So I do believe he held some status, especially in the art community just because of the way he connected his art and methods to what was going on around him.

In what decade or century was the work taken? Does this influence your reading of the work?
-It was taken in 2006, so it is a pretty recent project. Had the photograph been taken before 9/11 and before the security measures had changed, the photographs may have just been cast aside. But because Beshty linked them to something that had happened that was significantly important to the society he lived in, I think this is where his success lay.

Were there event happening at the time that may have influenced this work?
-As they were accidental I don't believe he set out with the intention of producing work directly linking to 9/11 or any other disasters. I believe it was after, during the processing, that this idea came to mind and made him pursue this method. 9/11 was a major influence on the project as it was the security measures put in place that had created a new medium for Beshty to explore.

How is the work presented?
-As I'm looking at it, in a book, but I do know it has been hung in a gallery before alongsied a few other images processed in the same way. I believe they were prints behind glass.

Where are you viewing this work and how does this affect your reading of it?
-In a book, it was captivating, I kept coming back to it and it wasn't until I was looking for some inspiration that I decided to research the method he'd used in the developing process and why he had continued with it. I was interested in this new way of developing and how he had stumbled across it purely by accident and turned it into something great.

Research: Marti Friedlander.

Self potrait, Paris, 1972.

Marti Friedlander was the photographer that inspired me to experiment with tethered shooting and use myself as a model. I understand that this was taken with a film camera, but what I liked was the detail in the camera and her hands. I haven't taken an exact photo like this one, but I have used the tethered shooting program to take photographs of myself in a similar fashion. For my own photographs I focused on my hands and what they showed about my personality. I used hand gestures to focus the viewers attention on certain parts o the image. I liked the idea of using myself as it is rare for me to be the subject of any photograph and with the anonymous feel to the images, it's hard to guess that it is me in front of the camera. I really like the contrast in this photograph, which is making me consider using black and white and creating a contrast of similar fashion. The contrast helps add to the detail. I like the lack of objects in the background as well, with the wide depth of field if there was much else it would be a distraction, but because it's quite empty the viewers left to focus on the figure and the detail there. Something I would've done differently is her arm disappears off to the left of the image, but that's just being a little picky about detail, as there's detail lost in the blackness there.

DT2: Evaluate an Image. (WK 2)

Bruce Davidson, Untitled, from the subway series, 1980.

Book: What it does not have to be in focus, Jackie Higgins.

What do I see?
-I see a man standing next to a wall in the snow. I'm guessing waiting for a train or someone coming in on a train. There is graffiti on the wall and writing to show that it is a train platform. It's snowing and the man is barely visible, (Even worse so on the screen) and a line marking the edge of the platform.

What camera and compositional techniques have been used?
-It's a wide angle, making the space around the figure seem that much larger. This is a technique used to make him seem more alone. It stretches time a little, when you're waiting for something it seems to take longer than what it actually does and I think this is another reason for why there is so much space around him, it also shows the background, the graffiti on the wall and the writing to show that it is a platform. I like the darkness, it gives into the feeling that maybe this has something to do with loneliness and the snow, it would generally be soft, almost peaceful, if he wasn't standing on his own. It just makes it seem a little sadder. I do wonder who he is and what he's waiting for, a train or a person or something else.

How does this image make me feel?
-I like the eeriness of this image. You don't know who the figure is or what he's doing, it stirs questions about the time and place. I like the image even more after reading about what the photographer went through to get the images for this series, it just seems more thought out and real. Davidson trained for months before hand to prepare himself for the trip down into the subway, it was described as a different time, a lot more dangerous and for that he wanted to be as ready as he could be in case something happened. This photograph feels lonely, the man's alone and possibly waiting for a train or someone off of a train. I like to think it was the latter, it's a slightly happier thought. The man could be anyone and I like the anonymity of it all.

What ideas do I think the photographer is working with?
-The photographer is working with the inspiration from Kasimir Malevich's oil on canvas Black Square, 1915. A figure emerging from near darkness and it's only when you look closely that you see other details. I didn't notice the graffiti at first, I also didn't see as much detail in his face on the screen as what I did in the book.

Portfolio Week 2: Nick T Visit.

Food Photography:

-Natural: Indirect natural light is what is recommended for food photography. Finding information on the pros and cons was hard because a lot of people preferred the natural light as it was softer and created room for adjustments in post production. What was suggested was the use of a diffuser and reflector to adjust the light to how you wanted it, if of course, you couldn't get indirect light by using a window.

-Studio: I actually found a link that was quite useful in creating natural light in situations where you cannot use natural light. Here is the link to a blog that created natural looking light, from artificial light, as they cannot shoot during the day. The blogger uses one specific light, a non-kitchen light as they provide the wrong kind of light- a reflector, the use of side or back light, use 'M' mode, and something white in the photograph.

From the research I've done it would seem most photographers would prefer to use natural light in photographing food as it is softer and doesn't discolour the photograph. The artificial light proved to have more problems than it was worth, the discolouring, the lack of directed light- unless of course you use a separate light source like above. Using natural light coming through a window, it's not only easier, but they required less post processing than the artificial light. I prefer the natural light approach, there is a little less thought involved with natural light, there is enough to think about and taking the light out of the equation, not entirely, gives more room to think about all the other factors involved. The light is a big part of photography, natural lighting is beautiful and soft and using a table on the window is quite simple. There's something a little more natural about using non-artificial light, it gives a better feel, although if you didn't know it, those photographs in the link above could give you the same feeling. They work well with light source the photographer chose.

Experimentation with a natural light source:

 My experimentation with a natural light source was kind of thwarted by the weather. The light outside wasn't very bright and what I really needed to do was turn my ISO up a little bit to get some brightness back into the photograph. All in all it came out pretty well and if it was a little brighter it definitely would look better than it does now. I do however like the contrast between the colours and the angle. The angle was something I had a little difficulty with because of what was in the background, I didn't want to show too much of things that didn't add to the pictures so instead I chose this angle which incorporated the plate and the table. The colours work well together and the contrast between dark and light is what really makes the picture.






Experimentation with an artificial light source:

My experimentation with an unnatural light source turned out a little differently. The light was quite bright and because of it, there is far more light in this picture than what there is in the above one. I like the difference in angle, this angle is a little more interesting although you can see the lining of the board that's around it which I didn't really want. Still, the contrast between the white and the dark works well for this image as well and the narrow depth of field gives you just enough of the image.

I do prefer the natural light approach, I feel like the light used above was a little harsh, but it works well for this experiment and I'm definitely not ruling out the use of artificial light when it comes to photography like this, maybe if there was more of a shiny surface then it would work so well, but for the purpose of this experiment it did work quite well.

Presentation Research: Roni Horn.

Her, Her, Her, and Her, 2002-2003. 245.1x244.5 cm overall.

What I like about this image is the presentation. I like how the images are seamlessly put together and the lines are completely straight. Every photograph is the same size as the next. The consistency in colour is another thing that drew me to the image, I like the lack of any real shadow as well as the rather dull lighting in the image. There is no real variation in tone in each of the images. This is a presentation I have considered using, although not on such a grand scale. I'll have less images photographs than this, much less, but I do like the way the photographs flow from line to line as if reading a story. As much as I like this set up, I do not think I'll use it for my final presentation.

Research: Sally Mann & DT2: Contextualise an image. (WK2)

Untitled, At Twelve Series (Sherry and Granny), 1951. 

8x10in.

 Sally Mann made numerous photographs in which she studied the body. Her works are similar to what I want to achieve within my works, they leave you questioning and wondering who the person is and their relationship with the photographer. In many of her works there is an air of mystery, which is something I would also like to create. Her black and white photographs are beautifully composed in ways that leave you questioning what exactly is going on in the image. For example, the above photograph, it's unusual and I'm still unsure of what is going on in the image. There is a girl (I'm assuming at twelve years old) standing next to an old photograph of sorts. But it leaves you questioning what is going on, why is she standing there and for what purpose? This is the kind of effect I want to create with my own photographs.

What I like about this photograph in particular is the light on the skin. While the detail in the image is quite soft, the light accentuates the skin and brings it to the attention of the viewer. The shadow detail on the skin and the way the light moves from dark to light is something I would like to accomplish.

Contextualise and image:

Candy Cigarette. Large format 8x10. 1969.

Who took the photograph and why?
-Sally Mann, it is debatable what the exact reasoning behind this work. Many think it is most likely a show of a girl trying to grow up too fast, trying to do things out of her age range.  Many of her works allude to darker and more serious themes such as loss, sexuality, loneliness and death.

What is their ethnicity and does this influence the work?
-An American photographer that is best well known for her black and white photography with somewhat darker themes. In the beginning, she photographed her children, they weren't the usual portraits that you think of in terms of children photography, many of them were nude and some were in compromising positions. This could allude to something that was going on at that time or something that touched her in some way. It's quite hard to find information on her motives for the photographs.

When and where did they take this photo?
-1969. Their family farm. 400 acre area. Many of her works were taken here, Sally Mann was just as interested in photographing the environment around her children's upbringing as she was with photographing them. It also meant the children were more comfortable, especially with the nude photographs, at home, many children during that time and nowadays, will run around with little to no clothes on. It's not exactly an unusual occurrence, I've seen it around my house. It's just that not everyone will photograph that kind of scene. For Sally Mann, she saw inspiration in her children playing and running around in little clothes. I think, in terms of time, it was more socially acceptable for children to run around without clothes on during that time. Especially when they had an entire farm, that included a stream amongst other things.

What are their political beliefs and are these relevant to the work?
-Ex hippies, they grow much of their own food and Larry (her husband) walks home from work at lunch time almost every day. Her father was an athiest, so she was most likely brought up with similar views. Sally Mann opposes the norm, her photographs are not always accepted by society. So. I guess it does have an effect on her work, her differing religious upbringing would have affected her political views and therefore would have somewhat of an effect on her artwork.

What is their social status and background and how does this relate to their subject matter?
-She was very much a family person- from what I've read- and in photographing her children she was basically documenting their upbringing. The more controversial images, such as the nudity and injuries. They weren't poor, more of a middle ground, but she brought her children up to have the attitude of 'higher class' citizens. It was because of this that the children were so open and okay with their photographs being taken, they saw it as art, knew it was art and nothing more. Sally Mann did make an attempt to keep the nude and somewhat embarrassing photographs out of their home town, so that the children could leave somewhat normal lives at home. As Sally Mann challenged what was 'right' in society, her status was very much influential in her works.

In what decade or century was the work taken? Does this influence your reading of the work?
-Taken in the 1960's, it definitely reads differently now than what it would have then. It's still a controversial piece, it always has been, but it is easier to see it as art in this day and age. Sally Mann would still face the same social problems she would have during that time, the photographs are controversial and seen by some as borderline pornographic. Nude photographs, they aren't as frowned upon as they would have been during that time. The world is changing and even in the last forty years since that photo was taken, the world is a much different place. When I look at her works, I don't see it as child pornography because I know her connection to the children. This photograph in particular would still be controversial because it is not accepted that children of her age should be smoking, I think it's possibly worse now as there are more people trying to stop those that are old enough and have made the choice to take up the habit.

Were there events happening at the time that may have influenced this work?
-I'm not too sure, I think it was a culmination of her own upbringing and her found inspiration in documenting her children's upbringing that influenced her work. It is possible that this picture holds relevance to something that was happening at the time, but it is also possible that all she was doing was challenging what was normal and accepted in society at the time.

How is the work presented?
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Where are you viewing this work and how does this affect your reading of it?
- I have viewed this in a book before, but right now I'm looking at it on a computer screen. The colours change, the brightness of the screen and the computers settings do alter how the image looks. Having seen both a digital and hard copy of the image I can say there is a difference, it's minimal and mostly colour related. I prefer looking at it in the book, there's something about holding a book filled with artwork, looking at things on the internet just isn't the same.

Portfolio Week 1: Field trip to Wallace Arts Centre, Pah Homestead.

Find three different works and talk about the presentation.

1) Allan McDonald- The Unstable City.
How does the presentation affect the way you view the work?
- With the images pinned on separate sheets, it makes it easier to view the works one by one. The way the works are hung works really well for this kind of series. With so many different photographs, it would be hard to present the works so neatly any other way. There is no hindrance in viewing the works either, if they'd all been put behind glass, they'd be a lot harder to view. With them hung the way they are, you can see all the little details in the work and can properly appreciate their beauty.

Would you use this type of presentation for your photography and why?
-Definitely, it's neat and tidy. There's no boarders or frames to distract the viewer, no glass means there's no glare or reflection. It's a very clean way to present photographs.

Is there anything you would have done differently?
-What I don't like is the gaps, where only one photo was printed on the page. There was no consistency to the gaps, they just appeared random and out of place. I think it may just be me and the way I think, but the inconsistency in these gaps really got to me.


2) Stephen Ellis- The Anchor Drags, 2014.
How does the presentation affect the way you view this work?
-The clips were an unusual way to present the work, but having it behind glass probably would've ruined the effect it had. Having the work hung right there, you could see all the detail and texture to the work. It was incredible and the clips didn't distract the viewer either. I hardly noticed them until I was actually looking at the way the work was presented.

Would you use this type of presentation for your photography and why?
-If I was doing a snapshot style I guess using clips could work, it's not exactly as tidy as I would like though. So, probably not, it is an interesting and very different way to present an artwork.

Is there anything you would have done differently?
-I think, clips aside, a plain white canvas around the work would have worked well as well. The clips do make it an interesting presentation style though and made the artwork stand out from the rest, so no, in terms of the way it was presented, it was presented really well and I wouldn't change it.

3) Carolyn Williams- A pause of Suspension, 2014.
How does the presentation affect the way you view this work?
-The presentation of this work immediately caught my eye when I walked into the room. As someone that loves words and art, it was really interesting to see words presented in such an artistic yet very different way. I loved how the words hung on the ribbons and I don't think it would've had such an impact if it'd been presented in any other way, especially the angle the words were on.

Would you use this type of presentation for your photography and why?
-I'd definitely use this kind of presentation, it was unusual and different from every other work I looked at. It reminds me of Annette Messager and the way she hung her photographs in various shapes using strings.

Is there anything you would have done differently?
-No, I really do like this artwork and presentation wise, it's amazing, it's creative and fun while still appearing tidy and presentable. The font was a little hard to read, but at that angle of course it was going to be a little difficult. One thing I'd be very conscious of, is that the ribbons would have to be the same distance apart.

Portfolio Week 1: Ideas and Planning.

First Brainstorm:
I've always had a problem with sharing and expressing my ideas. For too long I've had my good ideas used to benefit others, it is something I'm trying to change. I have a lot of ideas when it comes to photography, not all of which I feel I'm capable of pulling off completely. I want to mix creative fine art with editorial photo journalism. I'm not sure exactly how I'm going to do this yet, but what I want to do is a study of human behaviour. I want to photograph the little things people do, finger crossing, lip biting, etc. I want the viewer to question what is going on, who the person is, why they're doing these things, how they might be feeling.

I'm considering working in black and white and focusing a lot on light and shadow to portray my ideas. I think for this, I may have to use the studio or a flash in non-studio situations. I have my starting point, focusing on smaller body parts, hands feet, part of the face. I want to keep the identity of my 'models' a secret. I have a few friends that are very camera shy that I think would be perfect for this kind of direction, but I think using little things like hands, feet, knees, shoulders would be okay.

Second Brainstorm:
Since coming up with what I want the subject matter and nature of my photographs to be I have decided to focus mainly on the hands. The way people use their hands, things they're holding and personality traits, things they like as an object or things they like doing. I would also like to include parts of the face, so the viewer gets a small idea of what the person looks like or their gender if you can't already tell that from their hands.

I have taken two sets of photographs since deciding what I want to do. The first was with Kieran, who was painting part of a model car. The images were good, especially the lighting situation, but I didn't include any part of his face and wasn't overly careful about what was featured in the background. This shoot was a good indicator of what I needed to focus on and what I needed to be more careful of for the following shoot. The second shoot was my attempt at tethered shooting. For these images I used myself as the subject. It was a fun little experiment and I liked the results. There were a few things that I need to look at and possibly reshoot. I think I will reshoot because I did like the way they turned out. I would like to be able to include myself and I think it will put my models at ease as well knowing that I'm also featured in the series of photographs.

At this stage, I love the colour in the images, so I'm not completely ruling out black and white, but I am keeping an open mind about leaving the photographs in colour. For a few photographs, using bridge, I've sat the coloured and black and white versions next to each other to help debate my choices, but so far, both images have worked well in black and white and colour.

Portfolio Week 1: Photographic Genres. (DT2)

www.shutha.org/photo-genres - Article on Photographic Genres.

Which Genres require more photo retouching? Why do you think that is?
- The Creative genre of photography would require more retouching than any of the others, this is because the photographic genre opens up the opportunity for fantasy themes. This came mean some photo manipulation to create unrealistic scenes. Within the Creative genre there are very little limitations depending on the sub-genre.

France, 1932. Marseille.

Can you think of any photographers we looked at last term who fit into an editorial genre? Which editorial genre do they fit into? What approach do they take to their style of photography?
-We chose Henri Cartier-Bresson, whose photography is sub categorised as documentary, social documentary.
-His approach is well within the doumentary style, what you see is what you get. With the photograph to the right, it is very simple, but beautiful in the way that there is a lot going on, but you're not overwhelmed by all that is going on. I think the classic black and white of the image helps with this, and the leading lines within the photograph help direct the viewer to the center as well as the reflection. I love how clear the reflection in this image is, I don't think it would work half as well if it wasn't so clear. The composition itself is very much within the documentary style, it almost looks like I hasty snapshot, although this is probably not the case at all.

Untitled 
'Twilight'
2001-2002
48 x 60 in. (121.9 x 152.4 cm)
Digital C-print

Can you think of any photographers we looked at last term who fit into a creative genre? Which Creative Genre do they fit into? What approach do they take to their style of photography?
-For this question, we chose Gregory Crewdson, whose artwork is categorised as Creative-Fine art-Other.
-His approach is very thought out, every little detail that could be in a scene, is there. Crewdson's images are well planned and orchestrated, from the 'natural' lighting to the highlighting of small objects and details. The works are very unusual, like this one. I didn't know what to think of it at first, many questions came to me when looking at this image, but even with discussion, none were really answered. 

Can you think of a photographer who fits into the Creative Fine Art genre? Could this photographer fit into any of the Editorial genres as well?
-There are a few photographers that we studied that could fit into both genres. Ansel Adams fits well into both Creative and Editorial genres. His works are both Editorial-Nature-Landscape as well as Fine Art.

Where will your photography this term fit on these graphs?
-I like the idea of doing something in the style of Robert Frank, so an Editorial based, photo journalism or documentary. I also like the idea of doing something fine art based involving people, so I'm not entirely sure, but possibly one or the other.