Tag Archives: published

Art and Photography

Art_and_photography

I have just finished reading this book which was on my courses list for recommended reading.  Art and Photography has been edited by David Campany, published by Phaidon and covers the subject of contemporary photographic art from mainly the 1960s till the late 1990s.   Campany has divided the book in to topics:  Memories and Archives; Object object; Traces of Traces; The Urban and the Everyday; The Studio Image; The Arts of Reproduction; Just Looking; The Cultures of Nature.  He begins his book by explaining what he means for each topic title with the theory and history.  When I started to read this book I had read half way through this introduction section before I realized that it was best to read each part of the Introduction section along with the topic chapter itself as much of the introduction was referring to photos found in the relevant section in the book and reading the intro in conjunction with the section made more sense.  Some of the artists are illustrated and discussed two or three times in different topical sections dependent if their work has crossed over.

A useful book for consulting for ideas and for reference.

Photography a Concise History

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I have just finished reading this book Photography a Concise History by Ian Jeffrey, published by Thames and Hudson.  ISBN: 0-500-20187-0.  This book was first published in 1981; so the history only goes up as fay as 1979 and is typically biased towards black-and-white images.  I guess partly due to the attitude towards colour photography at that time and also most amateurs and artists who may be reading this book would have predominately been working in black-and-white anyway.  Jeffrey sums up in the last lines of his book that he felt that American photographers were producing more diverse and interesting imagery than their European cousins at that time (1970s).

Interesting book for timeline of development of photography for mainly Europe and America the rest of the world is hardly mentioned.  Early images are linked to the technical development of photography but this thread appears to be is lost by the 1920s and the development of the Leica.  However, very little is mentioned about Japan’s development of cameras or examples of artists work using any.  Interestingly by the time this book went to print most professional and amateurs were all using Japanese cameras.

A book to keep for reference.

A good book about semiotics

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This Means This, This Means That, by Sean Hall, Published by Laurence King Publishing.  ISBN: 978-1-85669-735-4

I have just finished reading a good book on the subject of semiotics, this is a comprehensive that looks at how and where semiotics can be found and used.  As semiotics is fundamental to communication this book illustrates how it can be employed in practically any field of study.

I am currently working on me second assignment, the subject being ‘The Unseen’ and this book has helped me think, a little more, outside-the-box.

This is a book I would recommend to anyone studying the Arts, literature, Photography, Cinema, Theatre or even Sales and Marketing.  Perhaps OCA should add it to their list of recommended books to read.

I will keep this hand for future reference.

Project 2, Exercise – Metaphor – working log.

For this exercise I chose the poem ‘Not Waving But Drowning’ by Stevie Smith, 1902 – 1971.

I first read this poem over 20 years ago and re-discovered it when searching for a suitable poem for this exercise amongst the books on my book-shelves.  This particular poem was published in, The New Oxford Book of English Verse, Chosen and edited by Helen Gardener, Oxford University Press.

Not Waving But Drowning, immediately resonated with me as my wife is going through a very difficult time with her family. However, I will not attempt to produce images that make reference to my personnel issues in this exercise; but I will explore other ideas to complement this poem.

I have discovered an interesting short recital by Stevie Smith of this poem on YouTube.  https://www.youtube.com/watch?v=FKHWEWOrL9s

My idea is to take this poem and turn it in to a narrative of my own.

I began by writing down key words and phrases and then looking for ideas.

I also typed and printed the poem which I analysed and looked at each line and each paragraph

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The first paragraph of this poem for my story is a man who is drowning but is not aware of his peril.  Nobody heard him, because perhaps, he didn’t know how much danger he was in.  However, his friends and family may have been able to see the danger; but dismissed it, thinking that he could cope.

For the second paragraph I interpret that our hero has now met his fate and his friends and family are making excuses for themselves.

In the final paragraph our hero has now drowned and is protesting against the excuses and as he now realizes – all too late, just how much danger he really had been in.

As I have thought this through, I was originally thinking of producing as many as 7 or 8 images.  But then having discussed my ideas with my wife, she reminded me that I am searching for metaphors to convey my feelings.  After a nights sleep I returned to my notes, re-read the exercises criteria and focussed on, “develop metaphorical and visceral interpretations rather than obvious and literal ones.” “Don’t attempt to describe the poem but instead give a sense of the feeling of the poem and the essence it exudes.” Re-reading these lines and referring back to my notes, I realized that I only needed three images in total – One for each paragraph:  An image to represent his drowning in his own folly and an image to represent his friends discussing his fate; and a final image representing his loss.

I decided that before I could go any further with this exercise, I had to do some more reading to research ideas.  I first turned to a book that I read when preparing for my last assignment with Art of Photography course, Illustration and Narrative, The Fundamentals of Creative Photography by David Prakel and published by AVA.  I re-read the chapter on Communication which briefly covers semiotics.  I then read Photography by Stephen Bull, published by Routledge.  Chapters 3 and 4 helped me formulate my final ideas for this exercise.  Chapter 3 provided me with a better insight in to the theory of semiotics; but it was chapter 4 on advertising that the proverbial penny dropped and I saw my solution in how to use semiotics for this exercise.  The answer was the theory of relay and example mentioned in this book (page 68) a bank using images of conveying a feelings of joy with the caption, “This is what saving feels like.”  This one passage provided me with the answer to my problem of finding the idea of simple images that can work in relay to my poem.  The first two images will be relay and my last image will be both indexical and relay.

I then went back to my notes and the ideas began to form.  The first image that began to materialise was the middle image and I thought of a wake.  I wanted a fairly simple representation and all the wakes I have ever been to include a fair amount of booze; so I thought of just a picture of a mix of half filled glasses on a bar to represent the mourners.

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I originally had an idea for my drowned victim having been overwhelmed by debt and thought an image representing brochures, catalogues, and unpaid bills pilled up high might make a good representation and so I sketched it as in idea; but on reflection I didn’t feel it was strong enough.  Then I had the idea that drowning could be a metaphor for being overwhelmed by success or the pressure to succeed and drugs are becoming more and more common in the professional high flyer corporate world, with the use of cocaine becoming very common.  I then sketched out some ideas and also looked on the web for images of drug use in order to provide a realistic looking image.  My final image came to me when I was sketching the drug ideas, I thought of a body in a morgue and I found an image on line of naked feet with a label attached to one of the toes.  This I could re-produce easily myself.  Not my idea, but I doubt there is such a thing as an original idea anymore anyway.

I decided that with the resulting images, I would turn then from colour to black and white as I feel that black and white conveys more atmosphere / sense of feeling and emotion that colour does not and was best suited for this poem.

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This is the first image I made.  I used a silver and crystal cocktail tray, icing sugar, a razor blade, a rolled up old Turkish note and my mobile phone with a suitably chosen image downloaded from the internet.  I first tried using strobe lighting but couldn’t get a good image due to the reflection; so I used natural light and two reflectors to direct the family-of-angels for the reflected light off the star etched in to the crystal tray.  I used black felt material under the tray to get the jet black background.  Camera was on a tripod, 105mm, f/2.8, prime-lens, 1sec, f/11, ISO-125, manual focus.  Adjustments made in Lightroom and converted to grey-scale in Photoshop.

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This is in fact a self-portrait, using a white mattress cover and sheet on my bed, I set my camera on a tripod, set to self-timer, 20 seconds, manual focused using edge of the bed as a focus point.  Marked mattress cover with Cello-tape to indicate the boundaries for my feet.  I used my Sekonic light-meter to get an incidence reading for a correct exposure, with my feet pointing towards the window; so using just natural light to keep it simple.  24-120mm f/4 zoom, @ 70mm, 1/125, f/4.5, ISO-320, manual focus.  Adjustments made in Lightroom with grey-scale conversion made in Photoshop.

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I had an arm-band from previous funerals that I draped over a picture, re-introduced the mobile-phone with the same image and added the drinks glasses and bottles to suggest the people  chatting about the dead-man.  Again I kept it simple by using only natural light.  The camera was mounted on a tripod, 105mm f2.8 prime-lens, 1/5sec, f/5, ISO-320, manual focused.  Adjustments made in Lightroom and converted to grey-scale using Photoshop.

My original idea was to start with the image of the drugs, then the image of the drinks and finally the image of the feet; but when I uploaded the images and reviewed it I felt that it worked better by starting from the point of view that he is already dead with the explanation of his death being the last picture.

My first fashion style photo-shoot

1000 Poses

Yesterday I had my first pre-arranged photo-shoot using a model from ‘Model Mayhem’  This was the first time that I have done a photo shoot that wasn’t involving friends or family and wasn’t run through a third party such as the Nikon School.

about a year ago I signed up to Model Mayhem a social website for models, photographers, stylists, etc. to interact.  However, only more recently have I felt confident enough to try to arrange a photo shoot with strangers.

The experience was very good and positive.  I came across a young lady who had signed up as a model looking for photographers who would be happy to work with no financial reward or cost but trading modelling for photos.  After initially getting in touch with her through the Model Mayhems own mailing system and the follow up correspondence I discovered that she was looking for a photographer who could produce corporate style images for her website as a Nutritionist.   The arrangement is perfect, I have a model who can help me build my portfolio and confidence without the pressure of monetary value and I am also providing her with valuable images to promote her business.

She informed me that she ideally needed a kitchen for the location and so I offered the use of my own kitchen which is large and traditionally appointed.  Moreover, not having met her nor her having met me I suggested a Saturday when my wife was around who could also help with makeup etc.

This appealed to her and we exchanged photographic ideas and arranged the date, I also suggested that she leaves putting on makeup until arrival to allow flexibility and avoid over doing it.

Last year I purchased a book on model poses, Photographing Models: 1000 Poses, by Eliot Siegel, published by Bloomsbury, that I am now starting to use as reference material. The first chapter covers preparation including camera angels, creative cropping, lighting, styling, putting your subject at ease. Basic stuff but useful and  nicely to the point.  Two best tips for me was on the best camera angels for this project and best lighting position to use.

My wife helped her with the makeup and was able to help with costume and also provided some costume jewellery that complimented the clothes. We spent most of the day shooting and I have sent her low-res images to select that I will then work on for making good for her website.

Now we have worked together and now know each other I look forward to more photo-shoots both here at home and abroad in locations locally and maybe even further afield.

On Photography, Susan Sontag

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Susan Sontag, On Photography, (1979) London, Penguin, ISBN: 978-0-14-005397-5.

This book by Susan Sontag is a collection of essays discussing how photography has influenced the world since its invention and how it has played a part in the surrealist art movement in the 20th Century.

The book was first published in 1977 and although photography has moved on she spends a lot of time discussing how photography was first introduced accepted or not and how it came to be the most enduring and influential part of the surrealist movement.  She also looks at how photographs are used and how they can be re-used.

Topics and points to note:

  • In teaching us a new visual code, photographs alter and enlarge out notion of what is worth looking at and what we have a right to observe.
  • Photos are a grammar and even more importantly, an ethics of seeing.
  • Photos give us the sense that we can hold the world in our hands.
  • In photographs the image is also an object.
  • As object they can be collected, bought & sold, cherished, thrown away, lost & found, etc, etc.
  • Photographs furnish evidence, they appear to provide proof when something is in doubt.
  • A photograph justifies, for example through use of surveillance and is a presumption of proof that something exists.
  • Photography has become almost as widely practiced an amusement as sex and dancing – which means that like all mass art form, photography is not practiced by people as an art.  It is mainly a social rite, a defence against anxiety and a tool of power.
  • Photographs can abet desire and emotions of morality.
  • The industrialisation of photography permitted its rapid absorption into bureaucratic ways of running society…photographs became part of the general furniture of the environment – touchstones and confirmations of that reductive approach to reality which is considered realistic.  Photographs were enrolled in the service of important institutions of control, notably the family and the police, as symbolic object and as pieces of information….many important documents are not valid unless they have affixed to them, a photographic-token of the citizen’s face.