Tag Archives: dynamic

Reflections for Assignment I

Adjusted_Res-2002 img477

Shaun Mullins – 512659 – Photography 1 Context & Narrative – Assignment 1

I am pleased to blog that I received a good report for my first assignment for this course ‘Context and Narrative’.

This assignment was very similar to my last assignment for ‘The Art of Photography’ course which covered the subject illustration and narrative.  For that assignment I had to find or invent a story / narrative that I could produce photos for both as a book / magazine cover and to illustrate the story itself.  Having already researched a method of best practice to both prepare and carryout the work effectively, I put the same methods in to practice with this assignment – Namely, my brain-storming and storyboarding.

I took a risk when I decided to just used a mobile-phone as my only method of recording the images; but I felt I could create a better sense of authenticity for my particular story.  I found Clive’s comment that I had created a character for myself very interesting.  It hadn’t occurred to me.  Nor had I ever considered creating a character for myself.  Moreover, I would not have expected that by even having such an idea it would have made any positive contribute to the work.  However, this is a new dynamic for me and something I will consider further.

Coursework

Adjusted_Res-8372

Clive’s comment on my coursework, is valid.  The exercise for street-photography didn’t go too well for me as I feel very uncomfortable just taking pictures in public like that.  Clive’s comment, “kaleidoscopic presentation of the street-photography and the dizzying angles.” is a fare comment as it was the result of my desperation to try and get some images of interest whilst working in an uncomfortable environment.  Maybe, in a capital-city or historical-town full of tourists it is much easier to work with a DSLR; but in small provincial-towns and villages you get a lot of negative reaction from people that borders on aggression.  To be honest this is not a field of photography that rocks my boat; but I will probably try again, I may book a street-photography course with Nikon and if working on my own I will prefer a more discreet camera such as that on a mobile-phone.

I am very grateful to Clive’s useful feedback and tips; I shall take them all on board.

Overall this assignment and this first section has been a very positive experience.

Advertisements

Research point – What difference does colour make to a genre that traditionally was predominantly black and white?

The medium of photography began with the development of the monochrome / black and white image and for decades photographers honed their skills learning how to work with a very limited pallet of only shades of grey.  However, photographers quickly realized that black and white could produce stunning images and could exaggerate a sense of atmosphere that normal colour vision could not.  The portraits of the Hollywood stars of the 30’s and 40’s are a good illustration on the power of black and white.

When colour photography first came in to being it was a costly process and did not really take off until the cost of film and development fell in the late 1950’s.  At this time established photographers were reluctant to start working in the new medium.  I suggest that this was partly due to being nervous about moving out of a familiar and tried and tested photographic field in to a new area that was also gaining a reputation for amateur ‘snappers’.  Professionals with reputations may have found this intimidating and threatening and at that time colour theory was still a mystery kept and only practised by the painters in the art world.  However, in the film industry colour had been in regular use since the late 1930’s and interestingly one of the great pioneers of colour film photography was a keen painter who enjoyed making copies of famous masters for his home and to understand how they were made.  I refer to the British cameraman and film director Jack Cardiff who was the first British cameraman trained to operate the Technicolor movie cameras.  I would recommend watching some of Cardiff’s films of the 1940’s to see some good examples of how Cardiff understood both lighting and colour: ‘The Red Shoes’, ‘Black Narcissus’, A ‘Matter of Life and Death’ to name just a few.

William Eggleston has been credited as the photographer who made colour photography excepted in the photographic world of fine art when John Szarkowski, )Director of Photography of the Museum of Modern Art in New York City) discovered him and his work.

Black and white works to simplify an image creating a sense of past tense something that happened, an event, a ‘moment’.

Colour adds a new dynamic, if used well, it can add impact, by using colour theory and with the right combination on colours an interesting composition can be created from something ordinary and bland.  We see in colour; and strong colours have impact on our senses and with this in mind, interesting and attention grabbing photographs can be found.