Robert Adams, 'On Signal Hill' Overlooking Long Beach, California', 1983
What is represented and communicated in the photograph (what do you see in the image and what does it mean)? in this photograph i see a tree that is bare if its leafs, i think the story behind this photograph is to show a tree ageing in time and to depict how things change in time.
How has the photographer chosen to portray his story? i personally think he is trying to portray his age and how in time like trees will die.
What are the visual elements of the image (composition, objects/subjects within the pictorial frame? one main tree with what looks like a start of a forest.
What are the photographer’s visual choices in the image (focus, distance, lighting, camera position etc)? in this photo the photographer has made the tree the main point of focus while having a fair distance from the object to fit all the branches of the tree and to see the visible background, using natural lighing and and a head on position.
What might be the social or cultural background of this image or is the image even political?
How do you feel or react to this image when you see it? when i look at this photograph i fell very little towards it, but it looks artistically interesting.
this photo is a similar recreation of the Seaford Head by jem southam I tried to get closer to the cliff but it was too slippy on this day but i hope to do my final shoot closer to the cliff.
contemporary environment concept idea
for my idea I hope to shoot a series of photographs about my sister and her being ill and shoot locations that mean something to her and her personality.
today i had my tutorial with steffi and we discussed my idea and she spoke about doing a diptych of of a photo of a place that my sister has good memories of and a photograph of the hospital. on a trip to medway hospital in gillingham we had to visit the press office to get permission to photograph the hospital on the inside and outside when i spoke to the press officer she said she would get back to me to discuss wether or not i can shoot in the hospital.
but i didn't ever hear anything from them. so the next day i went to the hospital just too shoot the surrounding grounds and outer buldings on a large format camera. when i got to the hospital i forgot to put the film into the slides. when i realised i had made this mistake i just packed up and left. and come up with a different idea and something that would work better. so i come up with the idea of photographing my sisters bed at home and on the sofa where she became really ill, i also when back to the hospital to take a few pictures so i could have a photograph of the hospital in my set of 3 images. all three photographs were shot on a mamiya
rz medium format camera using ilford hp5 iso 400 black and white
Artist Research
Thomas Struth
A central figure of the new wave of German photography that first arrived in the 1970s, Thomas Struth has continued to impact the world of photography with his large-scale museum interiors, portraits, and architectural photography. Struth has emerged as one of the most compelling voices in contemporary art's critique of the subject and the socio-economic order by creating images that are at once visually arresting and subtly political. This new monograph presents another facet of Struth's oeuvre, assembling a series of flower photographs produced for a unique project. In 1991, Struth was commissioned to decorate a new hospital in Winterthur, Switzerland. He decided to produce a two flower photographs and a landscape for each of the 37 sickrooms. The flower photographs were to be hung on the wall behind the bed, the landscape on the opposite wall. With this project, Struth hoped to bring the captivating environment of the Winterthur area into the interior space of the hospital, connecting patients to the outside word. The images for the hospital shift between documentary objectivity and painterly qualities of light and shadow. Beautifully reproduced here, these pictures brilliantly and colorfully synthesize a tradition of landscape photography that includes Edward Weston, Walker Evans, and August Sander with the tradition of 19th century flower and landscape painting. (by Dieter Schwarz 2001)
here are two images from the book dandelion room by Thomas Struth
Marlene MacCallum : Diptychs
http://www.marlenemaccallum.com/archives/152
Townsite » Diptychs
The photographic component is a modular series of single, diptych and triptych images. As seemingly unmitigated documents of the homes, the photographs elicit a simultaneous reaction of familiarity and disorientation.
here is a few images of hers I like and feel have a relation with my idea.
looking in-depth about the locations where I will be shooting.
- home
- medway hospital
I took a trip to the hospital to do some test shoots and had to talk to a press officer at the hospital and ask permission to take photographs but she said I couldn’t on that day so she arranged to meet with me on the Friday of that week. It come to Friday and got to the hospital to be told the press officer wasn’t in so I couldn’t shoot, as she had to escort me around the wards. But to make things worse I had forgot to load up my dark slides with negatives.
final pastiche print
Environment pt 2 The City
footsteps
footsteps research
mark morrisroe
i started looking at morrisroe because from previously looking at how work i know that the photographs he shoots have emotional ties to them via friends or lovers and i felt that his ideas are in some what similar to mine.
mark morrisroe
photos i have of me and my ex that i took towards the end of our time together.
one thing i have leant is regardless of how much you hate the one you love after they broke your heart is that hating only makes you feel worse...
Sophie calle
clare strand
final prints for footsteps
pastiche
my chosen image for my pastiche is Brassai's 'paris after dark,no.27' 1933
( shown below)
for this task hope to look at the local towns to find a location that is almost a replica of the location shot in the image above. hope to shoot this image on a RZ 6/7 medium format camera using ilford hp5 iso100 120mm b/w film.
about the artist:
Brassaï, original name Gyula Halász, French Jules Halasz (born September 9, 1899, Brassó, Transylvania, Austria-Hungary. the Hungarian-born French photographer, poet, draughtsman, and sculptor, known primarily for his dramatic photographs of paris at night. His pseudonym, Brassaï, is derived from his native city.
Brassaï trained as an artist and settled in Paris in 1924. There he worked as a sculptor, painter, and journalist and associated with such artists as piccaso, Joan Miró, Salvador Dalí. Although he disliked photography at the time, he found it necessary to use it in his journalistic assignments and soon came to appreciate the medium’s unique aesthetic qualities.
Brassaï’s early photographs concentrated on the nighttime world of Montparnasse, a district of Paris then noted for its artists, streetwalkers, and petty criminals. His pictures were published in a successful book, Paris de nuit (1933; Paris After Dark, also published as Paris at Night), which caused a stir because of its sometimes scandalous subject matter. His next book, Voluptés de Paris (1935; “Pleasures of Paris”), made him internationally famous.
(http://www.britannica.com/EBchecked/topic/77894/Brassai visited: tuesday 22nd november 2011) my personal outlook in this image:
when i look at this image i can imagine the back streets of the red light district of paris and a slight feel of lower-class about it. i can picture hookers walking out of brothels
Seminar 4; The City
Deconstructing Environmental Photographers
Photograph 1, The Flatiron, New York' taken by Edward Steichen in 1905.
in this image the building is in the background and the tree branches are in front i feel this is to show that civilisation is paving over the natural world or almost lake a ship cutting through ice. the darkness seems to give off a feel of mobidness to show that Steichen doesn't like what is becoming of the world at that period.
Photograph 2, The Flatiron, 1903' captured by Alfred Stieglitz.
with this image i feel that the motive for takinging the photograph is the same as for Steichen but taken from a different position and maybe a different camera.
for this photograph i feel the photograph the buildings test against time and to show the progression of the revolution
and i feel the photo was taken at a darker time of day to show the building in its full might.
with this photograph i feel the image wasn't taken with full care almost like something you would see on a post card
but the colour of the image gives a vibrant feel to the image.
Photograph 5, Flatiron Building seen from below, New York City' photographed by Walker Evans in 1928.
In this photograph i feel the photograph was taken to show the building for what it really is and its a block of ugly flats. and was taken from street level to show how over barring it is too look at. was taken at mid day so the sun would bleach out the sky so the building would look bold against the sky.
in this image i feel the photographer was trying to capture the building in a kind of art deco kind of style all straight lines and tall,weird and ugly in a sense but at the same time is nice to look at and think about the detail that went in to making the building and the photographer has done this very well.
seminar 5 task
rut blees luxemburg
in all three of rut's photographs i can tell she likes shooting at night in dark urban places and in the photographs the objects all tend to have straight edges as the main point of focus i think she does the to show the strength and power of concrete and the effects it can have on urban culture
ritchard wentworth
in his wok he tends to use litter as a main focus stuck on to urban objects
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