Unit 1
The first homework of A level photography
This is my mind map on the image 'Ernst Haas- 1996 The Cross NY' i included all of the formal elements. I believe this image is like an illusion as there is two different view points, and the mist give a mysterious feel to the photo, the lights fade into the mist to add to that effect.
|
The background behind the way I made my layout like this is because I perceive contrast as two things 'contrasting' against eachother so in this case I contrasted the cyanotype with the photogram, I showed this by dividing the page into two, I then made one side a colourful side and the other a dull black and white side. I continued to show the colour comparison by drawing several flowers on each side, and one in the middle showing the colour divide.
|
Research - camera less photography
The trick of photography lies in its ability to fix shadows on light-sensitive surfaces. Normally, this requires a camera, but not always. Several artists work without a camera, creating images on photographic paper by casting shadows and manipulating light, or by chemically treating the surface of the paper.
In contrast, camera-less photographs show what has never really existed. They are also always ‘an original’ because they are not made from a negative. Encountered as fragments, traces, signs, memories or dreams, they leave room for the imagination, transforming the world of objects into a world of visions.
Processes & techniques
Camera-less photographs can be made using a variety of techniques, the most common of which are the photogram, the luminogram and the chemigram. These techniques are sometimes used in combination. Many involve an element of chance.
Chemigrams are made by directly manipulating the surface of photographic paper, often with varnishes or oils and photographic chemicals. They are produced in full light and rely on the maker's skill in harnessing chance for creative effect. Documented experiments are often an important part of the process.
PhotogramPhotograms are made by placing an object in contact with a photosensitive surface in the dark, and exposing both to light. Where the object blocks the light, either partially or fully, its shadow is recorded on the paper. Cyanotypes are made a similar way but fully exposed and created in the light.
My next homework was to research two famous photographers which were Frederick Sommer and Christopher Schaad, both of which have previously worked with cameraless photography. Christian Schad was a German Painter who was recognisable for his work with cubism and futurism, In 1918, he started experimenting with cameraless photographic images inspired by cubism. By 1919 he started making photograms, he was the first to do so. Whereas Frederick Sommer began to make photographs in 1957 using synthetic or cameraless negatives by applying smoke or paint to cellophane and glass. For something he likes to call 'Paracelsus negatives' as he manipulated oil paint between two pieces of cellophane and pulled them apart to reveal a textured shape.
On the left is a couple of examples of cameraless work by Frederick sommers and on the right is Christian Schad
In contrast, camera-less photographs show what has never really existed. They are also always ‘an original’ because they are not made from a negative. Encountered as fragments, traces, signs, memories or dreams, they leave room for the imagination, transforming the world of objects into a world of visions.
Processes & techniques
Camera-less photographs can be made using a variety of techniques, the most common of which are the photogram, the luminogram and the chemigram. These techniques are sometimes used in combination. Many involve an element of chance.
Chemigrams are made by directly manipulating the surface of photographic paper, often with varnishes or oils and photographic chemicals. They are produced in full light and rely on the maker's skill in harnessing chance for creative effect. Documented experiments are often an important part of the process.
PhotogramPhotograms are made by placing an object in contact with a photosensitive surface in the dark, and exposing both to light. Where the object blocks the light, either partially or fully, its shadow is recorded on the paper. Cyanotypes are made a similar way but fully exposed and created in the light.
My next homework was to research two famous photographers which were Frederick Sommer and Christopher Schaad, both of which have previously worked with cameraless photography. Christian Schad was a German Painter who was recognisable for his work with cubism and futurism, In 1918, he started experimenting with cameraless photographic images inspired by cubism. By 1919 he started making photograms, he was the first to do so. Whereas Frederick Sommer began to make photographs in 1957 using synthetic or cameraless negatives by applying smoke or paint to cellophane and glass. For something he likes to call 'Paracelsus negatives' as he manipulated oil paint between two pieces of cellophane and pulled them apart to reveal a textured shape.
On the left is a couple of examples of cameraless work by Frederick sommers and on the right is Christian Schad
Viewpoint
Our first photoshoot out of class had the topic of viewpoint, I really enjoyed this as there is so many possibilities and viewpoints you can experiment with. The gallery below are of all of the photos me, Nadia and Ben took that lesson.
Using photoshop
On the left are the photoshopped images and on the right are the original images.
The next individual photoshoot.
In this set of images I have based my photos on pattern, colour and texture, and a little of focus where I have focused the background and unfocused the foreground or vice versa, I thought I'd try and mix up the different formal elements to take a range of different photographs.
Evaluation.
The next people to research were Stephan shore and William eggleston
Firstly, Stephan Shore was most famous for his conceptual work, his 'American surfaces' and 'uncommon places' projects and the landscape photos etc of Israel/West Bank. I love his work because most of it is so natural, it's not something he has had to create just to take a good photo. Below are some examples of his work:
Next to be researched is William Eggleston. He is widely recognised by his colour photography of which is displayed across a range of art galleries. I absolutely love Egglestons work, he seems to creates very powerful photos out of almost nothing, the colour in his photos are absolutely amazing, he gets something that a normal person would class as boring and changes it into something colourful and dramatic. Below are some examples of his work:
Overall I believe these photographers are fairly similar as they both have a rather colourful yet way of photographing the world however I believe Stephan Shore has a more man made than William Eggleston as his is more natural due to him turning something ordinary to something powerful.
My photograms
The order these photograms are is the order in which I made them. As you can see they improve the more I made them.
The first one was not so good as it did show all of the objects, this was because I exposed the paper for too long, this allowed me to see that I needed to reduce the exposure time to show more of a pattern.
In my opinion photograms think to contrast as it shows multiple of the formal elements I.e pattern, shape, texture, edges, lines etc, you could compare photograms with Cyanotypes as eventhough they are made in similar ways they hold different characteristics and formal elements.
In order to make photograms we had to go in the dark room, we had a big container holding loads of objects that have different patterns and shapes etc.
Firstly we had to make sure the light was off as we didn't know if any of the photographic paper was out so we didnt want the paper to be exposed to the light.
Then we got down to making them, we got a piece of photographic paper, we made sure the red safe fanel was over the light before we turned the light on then we got the objects that we wanted to use, we put the objects on the paper, took the red safe panel off and exposed the paper to the light for about 4 seconds then the light on the enlarger was switched off, we then had to put the undeveloped photogram in the developer for about a minute, then the stop for a few seconds then fix for about 5-10 minutes, then after that time has finished you would rinse the photogram under a tap with clean water and then you should pin it up to dry.
The first one was not so good as it did show all of the objects, this was because I exposed the paper for too long, this allowed me to see that I needed to reduce the exposure time to show more of a pattern.
In my opinion photograms think to contrast as it shows multiple of the formal elements I.e pattern, shape, texture, edges, lines etc, you could compare photograms with Cyanotypes as eventhough they are made in similar ways they hold different characteristics and formal elements.
In order to make photograms we had to go in the dark room, we had a big container holding loads of objects that have different patterns and shapes etc.
Firstly we had to make sure the light was off as we didn't know if any of the photographic paper was out so we didnt want the paper to be exposed to the light.
Then we got down to making them, we got a piece of photographic paper, we made sure the red safe fanel was over the light before we turned the light on then we got the objects that we wanted to use, we put the objects on the paper, took the red safe panel off and exposed the paper to the light for about 4 seconds then the light on the enlarger was switched off, we then had to put the undeveloped photogram in the developer for about a minute, then the stop for a few seconds then fix for about 5-10 minutes, then after that time has finished you would rinse the photogram under a tap with clean water and then you should pin it up to dry.
Mind-mapping
opposite elements.
Light - dark
Inside - outside
Night - day
Soft - hard
Loud - Quiet
Still - Motion, travelling, movement
Straight - bent, curved
Close up - far away, distanced
In focus - out of focus, blurry, unclear, fuzzy, obscured
Miniature - Enormous, large, life size
Wrinkled - smooth, soft, young
Up - down
Complexity - simplicity
Open - closed, shut, barriered, barred, locked
Compact - open, far apart
Luxurious - ordinary, plain, poor
Transparent - opaque
Hidden - shown, exposed, seen, revealed, found, discovered
Central - outer, outskirts, peripheral, decentred
Red - Green
Flat - round, raised, bumpy, steep, slope, uneven
Multiple - Single, divide, mono
Bright - Dull, dark, dim, absence of light,
Organic - synthetic, artificial, man-made, geometric, pollution, angular
Black - white, dull, colour, equality
Inside - outside
Night - day
Soft - hard
Loud - Quiet
Still - Motion, travelling, movement
Straight - bent, curved
Close up - far away, distanced
In focus - out of focus, blurry, unclear, fuzzy, obscured
Miniature - Enormous, large, life size
Wrinkled - smooth, soft, young
Up - down
Complexity - simplicity
Open - closed, shut, barriered, barred, locked
Compact - open, far apart
Luxurious - ordinary, plain, poor
Transparent - opaque
Hidden - shown, exposed, seen, revealed, found, discovered
Central - outer, outskirts, peripheral, decentred
Red - Green
Flat - round, raised, bumpy, steep, slope, uneven
Multiple - Single, divide, mono
Bright - Dull, dark, dim, absence of light,
Organic - synthetic, artificial, man-made, geometric, pollution, angular
Black - white, dull, colour, equality
Christopher Nunn - Edith series.
My chemigrams
Research
The boyle family
The opposite working practise to the Boyle family
In what ways can people be organised?
tate shorts
moma shorts (museum of modern arts)
The Boyle family
ica (institute of contemporary arts
- Inspiration was just luck (throwing darts on a map is how it started) - they try inspiring
- world series (barra)
- scottish family project- working with family, coming to an understanding, compromising, communicating, trusting each other
- free spirited artists - using friends, open minded to possibilities
- own bodies but not their face, not overt presence
- quite relaxed
- excitement
The opposite working practise to the Boyle family
- choose the subject of matter straight away?
- vague ideas
- not clear at first but then you develop the idea - look at past work
In what ways can people be organised?
- making a guess - a shot in the dark, trusting, emptiness
- learning from family and friends
tate shorts
moma shorts (museum of modern arts)
The Boyle family
ica (institute of contemporary arts
Homework: To take a thousand photos.
Mr Kiff set a homework that was to take 1000 photos, I wasn't that keen on the idea of having to take that many photos, but Mr kiff then said that if i didn't want to take 1000 photos I should write a detailed explanation stating all of the reasons why I did not want to take part in this homework, so this is what I am doing.
The first reason was because I didn't feel like it was relevant to the course, I felt that this task was unnecessary as it would not help me to create another final piece or anything like that so I didn't want to waste my time on something that was not going to develop to something else, so i wanted to use my time wisely and to catch up on my work and evaluations, that is the reason I think that this homework was irrelevant.
Another reason why I didn't want to complete this homework is that I feel it would have been quite difficult to complete, it would have also took a long time to complete, I don't think I would have stayed focused enough as I would keep on getting distracted.
The third reason is the fact that even if I did take the thousand photos, they would take up a lot of storage space, and putting them on this website would take too much space; it would also be extremely difficult to pick the best few photos out of the thousand photos that I took.
The first reason was because I didn't feel like it was relevant to the course, I felt that this task was unnecessary as it would not help me to create another final piece or anything like that so I didn't want to waste my time on something that was not going to develop to something else, so i wanted to use my time wisely and to catch up on my work and evaluations, that is the reason I think that this homework was irrelevant.
Another reason why I didn't want to complete this homework is that I feel it would have been quite difficult to complete, it would have also took a long time to complete, I don't think I would have stayed focused enough as I would keep on getting distracted.
The third reason is the fact that even if I did take the thousand photos, they would take up a lot of storage space, and putting them on this website would take too much space; it would also be extremely difficult to pick the best few photos out of the thousand photos that I took.