Meetings, Encounters and Experiences
- These photographs explore conceptual ideas as well as questioning viewers ideas and interesting them in the subject matter.
- In my final project i want to explore peoples emotions towards everyday routines or objects and to get the audience to be intrigued into the story behind my photographs.
- I will aslo use other artists techniques in order to capture a picture that will capture the imagination of the audience.
shadows and mystery
kickstart the film noir movement.
-Film Noir-
Film Noir is a cinematic term used primarily to describe stylish Hollywood cime dramas, particularly those that emphasise cynical attitudes and sexual motivations. Hollywood's classic film noir period is generally regarded as extending from the early 1940s to the late 1950s. Film noir of this era is associated with a low-key, black and white visual style that has roots in German expressionist cinematography.
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The term film noir, French for "black film", first applied to Hollywood films by French critic Nino Frank in 1946, was unknown to most American film industry professionals of the classic era. Cinema historians and critics defined the noir canon in retrospect. Before the notion was widely adopted in the 1970s, many of the classic film noirs were referred to as melodrama.
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-Meeting of Elements-
Guy Tal"I've been called a nature photographer, a landscape photographer, an author, an artist. In my mind, none of them truly describes what I do. I know nature photographers; I know travel photographers and adventure photographers and landscape photographers; I know writers and authors. What they do is not what I do."
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"I don't make things for a living. I live for a living. I am myself for a living. I seek beauty for a living. I think and contemplate for a living. I experience for a living. Seems so easy and obvious to me, and yet there is no term for it. In our society, it seems, you have to be defined by your job title. When meeting new people I can usually count on "what do you do?" being one of their first questions as they form their perception of me. To date I believe I never repeated the same answer, nor do I feel I have given one that was readily understood. I do what I once thought was impossible and, I suspect, in most people's minds still is."
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I like the way Tal uses saturation and colour to add energy, but also adds to the interest in the shapes in the photo. Plus i like his use of locations, that are almost symmetrical, which makes you focus on the whole picture and the colours invloved.
- Process: In these photographs i tried to use techniques displayed in Guy Tal's work. However i decided to reduce the saturation and contrast on some of the pictures, to see if i could still get the meeting of elements and effect of the location without boosting the colours.
- Critique: It may have looked better if i had boosted the colour on photoshop and if i had found some bigger more dramatic landscape in which i could have done some more symmetry and the photographs may have look more Guy Tal like.
- Further Developments: If i could do it again i would have tried to find more adventurous scenery and maybe use less depth of field so that the images seemed flatter, so that everything in the photograph has equal value.
-My Brief-
Jenny Holzer
I have decided to replicate Jenny Holzer's use of landscapes and, as she does, use them as a background media and a backdrop. I am also will be using her ideas about consumerism and try and show how she utilizes the homogeneous rhetoric of modern information systems in order to address the politics of discourse. In my work i will also use very little colour or do it in black and white, as Holzer does.
Kenneth Lum
Ken Lum is one of Canada’s leading artists, and his rise to international acclaim coincides with the increasing prominence of photo-based practices in contemporary art. Ken Lum Works With Photography, a retrospective of Lum’s photographic oeuvre, also includes video and photographic documentation of performance works. |
Lum has worked consistently with photographic portraits bound to texts, and his investigations into this territory embody his most significant achievements. Lum's major series from the 1980s onward – Portrait Logos, Youth Portraits, Portrait Attributes, Portrait-Repeated Texts, and the public commission There is no place like home – depict a broad range of individuals from across the social spectrum. Each portrait is paired to a logo, a person’s name, or a descriptive and sometimes highly emotive text.
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- Aim: I this set of photographs i tried to incorporate techniques from both Jenny Holzer and Kenneth Lum. In doing this, i set out to capture photos that seem to invite a story and that could be described by a philosophical quotes or poems.
- Process: I tried to capture very ordinary photos (in the style of Kenneth Lum) and then use Jenny Holzer's use of poems instead of doing speech or conversation with the objective to intrigue the viewer. This involved lowering the saturation and contrast and making subject look away from the camera lens.
- Critique: Could have maybe found quotes that were more personal, but could have also tried to get people to question the photos more.
- Further Developments: If i did these pictures again i would maybe have done some more landscapes in the style of Jenny Holzer instead of just portraits.
David Shrigley
David Shrigley has been making some of the most darkly humorous and slyly disquieting art of our times. He first became known for his stripped down drawings, usually accompanied by words, which displayed an inventively mordant wit, while encapsulating the banalities and failures of everyday life and society.
ANALYSIS
'Lost' by David Shrigley
Form: In this picture you can see an A4 makeshift lost poster on a tree in a park. Everything seems very ordinary, there is nothing obscure about the scene. In a a ordinary 'Lost' poster you would see a picture and would feel emotion to the subject missing. However, in this picture the pigeon is described as completely insignificant, which is has a element of humour in it. Process: very average looking: perminant marker on a standard A4 piece of paper. |
This was my first set, so i tried to get used to where i would need to position myself and if i should do it outside or inside. I also practiced with a variety of posters.
Critique: Lack of depth of field on the camera made the photo lack the humour and value of the poster, i also thought that i put myself at a point where there was not alot of cars and people so it was hard to get alot of good shots and to experiment. Further Developments: If I could do this photograph again i would do it with people with signs and indoors so that you the poster and the subjects emotions where the most important things in the photograph. |
Aim:
In this set i tried, unlike david shrigley, to add more of a human affect, expressing both emotions and posture when they hold up certain posters. In addition i thought it was key to simplify my colour pallet in order to put forward my idea without being intrigued into the colours and atmosphere around it.
Process:
Unlike the last set, i decided to go for more of a studio based approach focusing on people expressions and they way they interact with the posters. I used the lighting to create shadows to add affect, such as the day and night picture, which i felt splits the two people in half and makes them seperate from each other.
In this set i tried, unlike david shrigley, to add more of a human affect, expressing both emotions and posture when they hold up certain posters. In addition i thought it was key to simplify my colour pallet in order to put forward my idea without being intrigued into the colours and atmosphere around it.
Process:
Unlike the last set, i decided to go for more of a studio based approach focusing on people expressions and they way they interact with the posters. I used the lighting to create shadows to add affect, such as the day and night picture, which i felt splits the two people in half and makes them seperate from each other.
Different Final Project Ideas
1. Stop frame animation:
My plan is to use this technique to show time or the speed of life. If i used this technique, i would photoshop a slogan or poem in the background of, as an example, cars driving past.
My plan is to use this technique to show time or the speed of life. If i used this technique, i would photoshop a slogan or poem in the background of, as an example, cars driving past.
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2. Hole in the wall:
Another idea was to build a box with holes in it and display my photos with in the box. This will mean the only way you will be able to see the photos is the same way as everyone else, through a small hole. As the Harry Roseman video says, that if you look through a gap you become part of the installation, this would work very well with my idea of bring ideas from David Shrigley, Jenny Holzer and Kenneth Lum together as it would enable me to play with the viewers and to allow them to involve themselves in the photographs.
Another idea was to build a box with holes in it and display my photos with in the box. This will mean the only way you will be able to see the photos is the same way as everyone else, through a small hole. As the Harry Roseman video says, that if you look through a gap you become part of the installation, this would work very well with my idea of bring ideas from David Shrigley, Jenny Holzer and Kenneth Lum together as it would enable me to play with the viewers and to allow them to involve themselves in the photographs.
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