Field Notebook

This was by far my favorite project of the entire quarter. Here are the project outlines: All students will be expected to use a notebook to record their thoughts and ideas as they occur throughout the quarter. This notebook should include things like detailed observations regarding your experience with the various projects, your process, field notes, schedules for taking photographs, captions from photo shoots, small work prints, whatever is on your mind, etc. 

You may also use it as a documentation of your life. In other words, use it like you do your cell phone camera to record where you go, whom you are with and ephemera such as receipts, business cards, etc. The field notebook is an indicator of your thought process and life experience, therefore very valuable. 

I enjoyed seeing each student’s process throughout the quarter. Some of the images were more captivating when seen pasted or taped into a notebook rather than as a solitary fine art print. Many of the students said they would like to continue doing these field notebooks as they progress through school.

The first images are from Talya’s notebook. The pages showcase the first assignment which dealt with finding a photograph you admire, re-creating that photograph and responding to the photograph. Talya’s project was very successful. The first spread shows the photograph by Tim Walker that she admired on the left. Notice the resemblance in her re-creation photo which is next to her response photograph on the second spread.

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This is one of her Bloedel Reserve spreads. Since this is a nature reserve, I like how she incorporates bugs and plant life in her pages.

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The next two spreads are from her experience with the Final project: Georgetown. You can see the light leak from her film on the left as well as the expired film on the right.

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The next two are spreads are from Project #4: The Portrait as Document.

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Talya also used the brown paper part of her notebook for the discussion posts.

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The next notebook is Ashley’s. Her book is jam packed with words and images. I particularly like how she creates her handwritten type.

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The next spread shows the graffiti art of Georgetown.

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The next spread showcases Georgetown on the left and photographs by Maggie Steber and Lynsey Addario, both female photographers who have photographed wars. Ashley is a veteran so this slide talk was close to home for her.

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I love that she put in Sally Mann’s work from a slide talk regarding portraiture. The students also studied the pioneers of color photography, Joel Meyerowitz, William Eggleston, Stephen Shore and Joel Sternfeld.

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This next spread is about Nan Goldin, Vivien Maier and Bruce Davidson. The page next to it is Mary Ellen Mark’s project with Erin Blackwell (named Tiny), the protagonist in the documentary film, Streetwise. 

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The next spreads are by Joe.

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His beginning spreads are from Bloedel Reserve.

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The next spreads are his images and experiences with Union Gospel Mission. I like reading his thoughts about the photographs he took. He not only records his feelings about the photo shoot but he also analyzes his photographs noting what he meant to do or could do better.

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The last spreads are Brook’s. He documented things about himself and his family as well as showing images he has taken.

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The following two spreads are photographs of textures, vivid colors and abstraction.

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I can honestly say that the field notebooks inspired me to do something similar myself.  It is almost of more value to me than the final photographs!

 

 

 

 

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Final Project: Documenting Georgetown

This is from the final project description. We will be taking the following websites as models for our field trip and project. They are: http://www.seattleframebyframe.com and http://www.portlandgridproject.com

We are going on a field trip where we concentrate on a several mile radius that makes up the area known as Georgetown. Georgetown extends to Boeing Field and Beacon Hill but also has a great downtown with the Trailer Park Mall (vintage trailers that house thrift store goods on the weekends), the hat and boot (old gas station remnants), the rusty truck yard and interesting mixes of development, houses, businesses, motels, etc. It is a visually rich area of south Seattle. 

Most of us met one day for the field trip and started exploring the area from the same starting point, All City Coffee. However, Joe had to come on another day and therefore photographed areas completely different from everyone else. I loved how he documented the funky houses and a growing mix of the old and the new. My favorite is the following image.

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He also got to the waterfront area far from where the rest of the class was.

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The last three are his commentary on America. He made three large prints. The first is a shot of the American flag followed by two images with homeless men in them. Look closely to find them.

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The next images are by Brook. Most of them are black and white. Brook focused on very different aspects of Georgetown. The first photograph is one of the stools in All City Coffee. It is the only color photograph and showcases one of the many textures you find when you look around the area.

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The following two photographs are from storefront windows. The first one is the window of an architecture business. I love the quote.

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The next one is a mannequin in Trailer Park Mall.

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The last is from the abandoned truck yard.  I like his choice of black and white for these images.

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The next photograph is from Scott. His photograph is a typology that he discovered in Trailer Park Mall. He spent a lot of time there photographing all the many interesting items and ended up combining these images together.

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Ashley found some interesting things such as the inside of a piano that had been abandoned, a buddha with flowers and some of the colorful telephone pole art on the streets.

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Nick lost his memory card so photographed with his phone. He captured quintessential Georgetown. There are planes landing and taking off endlessly since Georgetown is relatively near SeaTac airport.

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In keeping with the dramatic skies, here is one more that shows his interest in lines.

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Finally, Talya has submitted two photographs from her shoot. She has taken more which I may add later when she gets them to me. Here are her words: In Georgetown, I was interested in finding a way to use the background and props in a way that would complement my model. I was trying to incorporate colors, textures and lines that complemented each other, even if they did not make sense or go together. Doing this made for some interesting compositions and ended up making a whole new theme for my images, which was self-image and self-reflection.

I found that in a lot of the images I created in Georgetown, I feel that I can see how Carissa, my model, interacts with the objects and relates to them, which made me think of beauty that is found in uncommon places.

Although Georgetown is old and almost completely filled with “left behind” streets, I was able to find beauty within it. I enjoyed trying out new things and opening up to using props. It gave me really neat results that I have not experimented with before.

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The next one is with expired film! She brought a point and shoot film camera that had old film in it along with a new roll of expired film.

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Project #4: The Portrait as Document

These are the words from the project description:  For this project, you will concentrate on a portrait of someone else. It can be anyone from someone you know well to someone you would like to approach or even someone who has passed away. How would you document someone else? Think of your experience with self-portraits and how you felt doing them. For people who are currently in your life, one idea is to spend quality time with them essentially shadowing them for a day and doing what they do.  

You might consider environmental portraiture where the subject is in an environment that tells the viewer something about them. As another option, you could photograph someone where they are essentially actors participating in a fictional narrative of your own creation. In this case, you are the director of the story. 

For someone either alive or who has passed away, you might consider a still life tribute to them. In this instance, you will most likely be photographing their things. You would be gathering photographic evidence regarding their life. This evidence might contain photographs, objects, letters, fabrics, etc. If your person has passed away, consider the evidence as a way of building a shrine to them. If your person is alive, you might still photograph their things as they say so much about a person. 

The first photographs are kids that Talya knows and has photographed before. They visited a farm for this photo shoot. In this case, Talya is working with a fictional narrative which is her own creation. Since she has photographed these kids before, they already trust her and she has a good relationship with them. The old, rusted and decaying parts of the farm are in contrast with the innocence and beauty of the kids themselves.

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The next few images from Scott document his family’s farm. I liked them next to Talya’s. However, they are entirely different. Scott’s images don’t showcase people at all but the surrounding environment. It is a story told through the things (such as the abandoned tractor, the truck, bike and shack) that make up the farm. As viewers, we are looking at a cross between environments without people and the photography and documentation of place.

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The Portrait as Document project coincided with a field trip to Union Gospel Mission that was optional. The goal of the field trip was to document a person or persons who were participating in an event, which was in this case was a therapeutic photography class involving the men’s shelter. There were three of us on this field trip and it was an interesting experience where we dealt with issues like establishing trust and the permission to take photographs of others. I liked the next photograph of one of the men taken by Aaron.

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The Union Gospel Mission class took place in Pioneer Square and the International District. The experience was a mix of documenting an event, environmental portraiture and street photography. We walked around with cameras and photographed each other along with anything else that grabbed our attention. The following photographs were  taken by Joe. They showcase some of the men taking the class.

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The next five images of Joe’s were taken several blocks from the Mission heading into the International District. The area is rich with photo opportunities.

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The most poignant image was taken under the freeway in the International District. One of the men told us about the homeless people there and we went to take a photograph. Some of them hid their faces from view. This is one of the most powerful photographs from the Union Gospel Mission field trip for The Portrait as Document project.

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Obviously the following sign is ignored.

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The Union Gospel Mission is a Christian organization. The following statement is on their website: Seattle’s Union Gospel Mission is a passionate community of people who follow Christ in his relentless, redeeming love for all people. Our mission is to serve, rescue, and transform those in greatest need through the grace of Jesus Christ.

Relationship is key in all we do. By providing 24/7, 360-degree support services for homeless people in King County, we seek to be a consistent friend to those who are isolated and in need. We go where people live, listen to their stories, and regularly connect with each person to provide emergency care and invite them into our recovery programs.

Our goal is to inspire hope, bring healing, and point people to a new life through Jesus Christ.

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Since Union Gospel Mission was a one day event, Joe also chose to photograph his friend (below).

His friend is a fellow photographer so here she is on her computer. I love the next photograph of her things which inform us about the many details that make up her life. Also, she was dealing with orthodontia issues, hence the ice pack when she is lying in bed.

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This following is my favorite. There is so much to study.

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Nick photographed his friend. He had a few of him playing in the backyard with his dog. The ones I liked were these two diptychs.

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Project #3: Self-Portrait

This project was to document how you see yourself.  Note the following description: At this point in your life you may have discovered something about yourself that you would like to have the ability to express in a visual way.  This is a project about self-portraiture. There are two types of portraiture you will explore. One is more classical in style. Classic portraiture is usually to record the physical form and features of the subject. The idea is to convey a sense of the subject’s personality through mood (expression) or pose. In these instances, the background is often secondary. Environmental portraits are different. Environmental portraits are photographs of a person taken in their surroundings, the places where they live, work or play. The resulting photographs should illuminate the subject’s life and surroundings. 

In addition to photographing yourself, you can photograph your things, an interior space that is symbolic for you and/or a conceptual scenario that you create that speaks of you. In this instance you would not be physically in the photographs yet they will still reveal something about you.  You would need to support these photographs with written documentation so the viewer understands and makes the connection.

The first two images are by Talya. Here are her words: This project was a very difficult one for me to do! I thrive off of visual information and when I couldn’t see what I was looking like in real time I felt that I couldn’t get the perfect result.

I also got myself used to working with models that have an appearance that I see as godly, and I never thought of myself as someone who can be on the other side of the lens.

I decided to sort of make my own rules and make a composite of images that represented me best and that visually pleased me as well.

I created my self-portrait from about 10 images of myself. Images that showed me in times where I was extremely happy, wearing my favorite outfits or doing exciting poses. I felt that it would be the best way to represent my personality because I think I can be extravagant at times….!

My environmental portrait is made up of the mess that is the floor of my room! My favorite items in my own space, piled between clothes and random trinkets. I tried to hide the seams with this composite so that the limit between the items is hard to find. I tried to make it so items in this photo would be hard to recognize.

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The next image is by Joe. His words: To me a self-portrait is an image that displays part of who you are as an artist. For this project I had many plans that were much too complicated and generally led me away from a true self-portrait. All of these ideas presented me in a way that was untrue to the photographer and person I am.

I considered a still life of my cameras and lenses to show off the tools and toys I shoot. However that ended up feeling more materialistic and boastful rather than a self drawn window into who I am.

I decided to go with a more environmental approach to my everyday life. I broke down what I do everyday as a photographer and tried to keep things simple.

First, I took away all of my cameras and equipment that I was using as props and found what was behind all the cameras and lenses, my eyes.

Second, I wanted to add a layer of transparency and authenticity to the project by showing “behind the scene,” so I swung the camera around and set it down on the ground and pointed a camera back at the lens almost as a mirror would show me.

I didn’t realise until placing the images together that I had created a motif between the lens and the eye, not perfect but wonderfully accidental.

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The following photograph is by Aaron. I was happy to see Aaron using film and darkroom photography as well as collage in his self-portrait. He sent me this image and I don’t think he necessarily wanted to include the desktop surroundings in his photo. However, I think it speaks to his process and tells us about him so I decided to include it.

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The next photograph is a strip of individual shots of Ashley getting ready to go out on a Saturday night. Her words: I decided to take multiple shots and make a line up of a typical Friday/Saturday night. I probably went overboard but I was having fun because I just got a new remote and a tripod so I was totally messing around while I was getting ready. I felt like it was a decent insight to a good part of my makeup routine.

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Scott made the next two images. His words: For this project, I wanted to try and have one image outdoors, and one indoors, to try and express my internal values, and external values. I have a bad habit of completely covering myself when photographing myself; I suppose it isn’t a completely bad habit. As there is no skin, and very few features outside of basic body language. In one way, it distances the viewer from the image but at the same time leaves some things open to interpretations for the viewer.

The interior shot, is just a picture of a lot of old electronics I’ve acquired and was putting into storage at the time of the shot. I figured it was a good representation of what I do in my spare time, and I quite like all the mixture of natural and artificial lighting.

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Nick wrote the following: Whenever I shoot I am attracted to things that reflect. The mirror in the first photo I think does well to show that. It was a mirror in the office that hadn’t been hung yet and it gave me a perfect view of my feet. I also enjoy just having my feet in the bottom of the frame or something like that so this worked well for me. For the second photo, I just wanted to act a fool for a second. I set up a tripod and put my camera on a timer then ran over to get in the squat and left foot prints on a few of the stones. I did a few photos like this in different locations but I decided on this one mostly because of the footsteps, I just liked how they showed the action that took place.

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Project #2: Bloedel Reserve Field Trip

Bloedel Reserve is an internationally renowned public garden and forest preserve on Bainbridge Island.

The following is the description of what the project entailed: Students were given maps to explore the twelve distinct gardens and house. The field trip involved ideas of place, history and preservation. The theme of nature and human connection to nature will be emphasized. Students will create an experience that concludes with a series of photographs along the lines of their own interests. Student images will be shared with contacts at Bloedel Reserve. 

Talya Alsberg mentioned she would like to bring a model to work with which speaks directly to our human connection to nature. She brought Kaity and posed her with the big house in the distance, at the reflection pool and in the long grasses by the bird marsh. The blue colors are beautiful juxtaposed with the green of Spring.

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The next few images are diptychs by Aaron Horner. Aaron decided on using diptychs. The first two images are of one of the gardeners at Bloedel along with one of the brochures lying in the moss garden.

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The second image is a visitor taking a rest on one of the benches. The bottom is a macro shot of plant life. The directional line of the plant continues in the pathway above.

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Ashley Duke focused more on scenes without people in them. She showcases the lushness of the gardens. On the day of the field trip the temperature got into the 70s and it was the beginning of spring. Her first image is one of branches in the moss garden.

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The next image is the open area and pond in front of the big house. It showcases the bright green of the weeping willow tree. The sun came in and out all day.

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My favorite is the Japanese garden and house.

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Finally, another shot of branches but this time in the sun with budding magnolias and leaves.

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The next four images are by Joe Addison. The one I like the most is the one of the gardener working. Again, the human element is important to the continual beauty of the landscape.

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The following image is a giant root structure and nurse log that is near the moss garden. Prentice Bloedel believed in the process of nature. Trees that fall are left as they are unless they cross one of the trails of the reserve. In the fall, Bloedel employees put pumpkins and gourds in all the crevices of the roots.

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The next image showcases the beauty of the Spring season in this landscape panorama.

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The last image is the restored living room in the house. The downstairs is as it was historically and the upstairs is currently office space for Bloedel employees.

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One of my favorite things about this class were the differences in prior photographic knowledge. Nick Fasano let me know in the beginning that he was not a photographer. However, he went on to answer every discussion post intelligently and definitely has the eye of a photographer.  Notice his picture of the reflection in the water fountain followed by one taken in the moss garden. He also printed on a metallic paper that was unusual with nature images.

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Scott Grant spent a lot of time inside the house whereas everyone else left fairly immediately to photograph the various gardens. He added a few people to this image of the dining room in the house. The photograph after that is looking from the house to the outside lawn with the Puget Sound in the distance.

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His last photograph is the pond in the front of the house.

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Finally, Brook Thorpe ended up on an entirely different journey. His first image is a view from the ferry ride that students took from Seattle to Bainbridge Island.

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The following three are from the Bainbridge Island Japanese American Exclusion Memorial. He stopped there on the way to Bloedel.  He chose to create the next few images in black and white.

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Project #1: A Conversation

The following is the description of the first project: This is an introductory project that deals with research and the finding of your own “voice” as a photographer. Words and photographs can be in a “dialogue.” They can each inform the other. This is common to documentary photography. It is rare for photographs to occur without words and vice versa. The project you will create is in three parts. Part One is to select, research and photograph/scan a photograph that you admire. This process will begin to show you what type of photograph you find interesting. Part Two is to re-create the original photograph according to your interests. Part Three is to make a photographic response (your unique “voice”) to the original photograph. 

Part One: Research: Find a stack of photography books and start flipping through them or do your research online. However, you must look at a photographer’s entire body of work and not just one random photograph you see on the Internet. Think about how the photographer’s work you select might inform your own work. Ideally, the photographer you select is working in a genre you are experienced with or one you admire and would like to try to emulate. Make sure you allow yourself a lot of time to really find something that moves you. If using a book, mark the pages that catch your eye. Find at least 10 images that you like and pare that down to just a few. Make notes about why you like them in your field notebook. Make your final decision. You can be inspired by a black and white or a color photograph. 

Part Two: Re-Creation photograph (analysis, deconstruction, construction): After analyzing the photograph, try to recreate the image from the book you chose. Write out a research document that details how you intend to reproduce the photograph. How do you intend to borrow ideas and techniques? You can recreate it entirely or just choose aspects of it. 

Part Three: Response Photograph: Create a response photograph to your original photograph. You can respond to the same photographic/compositional elements the photographer used. You can also explore the issues that the photograph presents. 

The first student is Ashley Duke. The following is the photograph she admires by Melania  Brescia.

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Here are her words about the one she chose and what her intentions are: I chose a photo by Melania Brescia entitled Sink In. I’ve been a fan of Melania’s photography for quite a while. She usually uses female/nude in her work and creates a lot of very ethereal images. She also uses a lot of emotion, mostly despair and sadness, but she has such a clean and crisp way of capturing images. I chose Sink In because it was one of the few photos with a male model and I thought it would be interesting to re-create with a female face and a bit more exposure.

It’s a very quirky, weird photo yet still slightly sensual with the way his mouth is open. I like how it looks like he is sinking into a pot of paint or even a glass of milk. I think recreating the photo will be a little tricky as I obviously need a tub with water and the lighting in my bathroom is absolutely terrible. This photo seems to have only one light source coming from above and it is white with a bluish tint. I’ll probably have to use light reflector disks and figure out a tripod with angle attachments. For the water, I’ll probably try and find a thick milk bath or even bath bomb that could create that white tint of the water without being bubbly/frothy. If all else fails, I will try to emulate another photo with black water, which I will attach also and use similar methods.

The next image is her re-creation.

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Her words: I decided to go for the milky photo re-creation. Re-creating this was pretty fun and entertaining and I got my lovely boyfriend to do it with me even though he hates having his photo taken. I decided to just use the bathtub and two gallons of milk plus a hot bath to recreate the image. I wish I knew what she used in the photo or I could remember all my Photoshop knowledge because I couldn’t get it that bright white she has in the photo that looks more like watered down paint.

I brought in a vintage eyeball lamp I have in the living room for more light. I wish I had switched it out with a bright white bulb because it currently has an Edison bulb which gives off a very yellow light. I ended up having to do a bit more work in Photoshop than I thought I would but hallelujah for “Content-Aware,” because trying to blend out that milk with the shadows was a pain. Whilst I don’t think it’s exactly like the original, it was still fun to attempt to re-create and sparked my interest in Lightroom and Photoshop again – I really need to touch up on my skills!

And finally, her two response photographs.

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Here is her words: My response is two separate photos. The first one is probably kind of odd but I was eating dessert the other night and realized I definitely should have used coconut milk instead of cow’s milk for this project. Thank you, mango sticky rice. It was the perfect stark white that I was looking for, on top of using a white light bulb instead of an Edison bulb like I mentioned in the last post. The second photo was supposed to be a re-creation of sorts of the dark photo I also posted about in #1 but I don’t think they turned out very well, plus my head is cut off in most of them and I’m not Photoshop literate enough to make it look like like the original or like there is water where there is not. I just used a black bath bomb and it smelled pretty heavenly.

The next three images are Brook Thorpe’s. He was inspired by the following image of Henri Cartier-Bresson. Here are his words: I wanted to go back to my photo one class because I remember learning about Cartier-Bresson and falling in love with black and white photography. I think a lot of his work sort of blends between documentary and abstract photography. This is why I chose him for my first project. Not only do I believe that I can almost perfectly re-create this photo, I also love the abstract nature of it.

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The following is his re-creation. His words:  I decided to recreate Martine’s Legs, by Cartier-Bresson. I think it worked really well, and although I could not get the photo perfect, I am very happy with the result. I think the hardest part was getting the light to work the way I wanted it to. it was also interesting directing a model, I don’t usually take photos of people so it was kind of new to me.

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Finally, his two response photographs. His words: For my response photos, I wanted to have a small story between the re-creation and response.  I decided to try and make photographs that look like they might have been from the era of Cartier-Bresson. Overall, I am very happy with these two photos and I hope they do a good job telling a small narrative.

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Then next set of images are by Talya Alsberg. Here are her words about the photograph she chose: The image I chose is an image of Christina Carey wearing Roberto Cavalli, taken by Tim Walker in 2008, and included in his book Storyteller.

Since I take a lot of inspiration from Walker’s work, I wanted to continue to follow this wave and re-create another one of his images/series. The simplicity is so important to this photo, natural light, minimal props and the most natural subject matter there is but with a twist.

There will need to be some Photoshop compositing in this re-creation, in order to give the illusion that the model’s head is coming out of the ground. For this portion, I’d like to re-create it completely, and then for my response photograph, I would like to use the three elements I found were most important in the photo (ground, apples and model) to create something different, yet giving tribute to these three elements.

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The next image is her re-creation. Her words: I have decided to re-create the original image I thought I would. It was not very hard on the photographing end of the recreation, but it was a lot more work to do the editing and post production.

I went out to shoot and got my photos pretty quickly. I decided to shoot two images separately and composite the images together later, in order to give the perfect effect that the head is coming right out of the ground. I took several photos of the apples on the ground and later on took even more photos of my mom in different angles so I can find one that will look most realistic. I then rearranged the apples on the ground and continued to take photos in case I wanted to composite additional apples in the grass, because I did not have enough apples with me to match the amount in the original image.

During my process I found a couple new ways to get a softer look for the image by lowering contrast and watching my color balance. I also learned that lowering my clarity and sharpening would help with making the image even softer.

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And finally, her response photograph. Her words: This is the response photograph I created. This image is a composite of eight separate photographs. They are put together in Photoshop to create an illusion that the hands are coming straight out of the ground.

I decided to keep my three elements as I said originally, but I changed my mind a lot before I came up with the idea of having hands coming out of the ground instead of heads.

I thought I was going to show the underground perspective, but felt like an image like that would need more creative time. I felt like I was a little bit rushed and I believe that as an extension of this assignment I would like to also create my original idea of “the other world” or “if this is what we see above the ground, what will we see underneath it?”

This assignment was very enjoyable for me because I was able to follow a photographer that I appreciate very much, and take direct inspiration from a specific piece of his work, while giving it my own twist.

If the photos are placed side by side it isn’t difficult at all to see a connection between them. By creating the illusion that the hands are coming straight out of the ground, I was able to take the image to my own “next step” and elongate the story behind the image. as if there is an additional hidden part of this moment in time.

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The last three are from Joe Addison. Here are his thoughts: My image is El Asador (Barbecue Man) by Alessandra Sanguinetti.

I chose this image after putting in extensive research to try and find it after seeing it on display in the Getty Museum. In December, I saw three images by Alessandra Sanguinetti as elements of a exhibition on Argentina seen through the eyes of photographers. I foolishly did not take note of the photographer’s name and couldn’t find this set of images again after I left. The many attempts to find this image were finally fruitful and I located the image that inspired me many months before. Sanguinetti is a Magnum photographer and therefore a large portion of her published work is available to see online.

I love Sanguinetti’s book, On the Sixth Day. Despite the whole book being full of fantastic imagery I was still drawn back to the original image that I saw in California. I chose this image for its complexity, depth, and visual intrigue.

As for re-creation it is not going to be easy but I really want to try to re-create every element I can. Fire and the sun in the woods are going to be practical challenges that I will have to face and figure out a way to replicate.

ARGENTINA. Buenos Aires. 1998. El Asador (barbecue man).

The next image is his re-creation. His words: For my re-created photograph, I chose to emulate the lighting and composition of my original photograph. I had planned out a location along with props, and atmosphere for the shot. I was semi-successful, I had a way to introduce fire into the background and a Photoshop technique to add the hazy smoke. Then I got rained out and I could not start any fires controlled or otherwise. Due to being forced under some cover to still take my image, I ended up with a mirrored lighting setup where I had to bring in flashes to replace the sun. I used off camera flash to emulate the original bounce light of my chosen photograph. I discovered that weather can really impact a planned shoot, so I should have a backup plan to still achieve my image even without certain elements intended.

I learned quite a lot about using flashes outdoors, something that I had never done before. The sun it turns out is quite bright even on overcast days with rain. So it took a lot of experimenting to get the image right. I had originally thought, maybe I should shoot this on a TLR to mimic the original camera that was used to take the photograph. I’m glad I chose to keep things uncomplicated and stick with a digital camera. It was a new experience shooting 3:2 when I knew that I was going to crop it to square, and I definitely could have framed up the shot better while keeping that cropped frame in mind.

Joe3

And, finally, his response photograph. His words: The original photograph I chose spoke to me on many levels, storytelling, beauty, depth, aesthetics, colour, and composition. I was drawn in to the challenge that it would have been to re-create it as well. I wanted to take the feel of the photograph and see if I could re-create an emotion. This is hard and much harder than I had thought it would be. My re-creation was minimalistic in my opinion, the same feel and meaning was not captured in my photo. I managed to re-create some of the elements that the original had displayed, yet there was no emotion tied between the pieces. That lead me to create a new self portrait building on the skills and techniques yet pushing them forwards to create an image strung with emotion.

I wanted depth in my image and I found a successful way of providing separation of foreground, subject, and background in my response photo by using light to wrap around the subject and pull them away from the background. I used a mirror instead of a tripod this time to perfect my framing as I was posing myself. The monochromatic setting for my shot was a side product of helping my brother with a photograph he was making for his photography class. I think the orange and brown hues of that room help my image speak to the feeling of the photograph.

Joe1

 

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Documentary Photography Spring 2018

This is a hybrid class that is primarily online with the instructor and students meeting in a classroom or equivalent space approximately every other week including three field trip locations. Students will explore documentary photography from a historical perspective on up through current times. The college will provide a social learning platform online where students can access course materials, upload work and discuss assignments. The following images are by Stephen Shore from his body of work called Uncommon Places.

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Calla Lilies.

Sometimes a flower just says it all and I especially liked these latest images of Patrick Whitaker’s. It brings to mind Imogen Cunningham and Edward Weston!

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Solace in Spirits.

This series by Patrick Whitaker was best expressed through a poem!

Autumnal spirits, dance in the wind,
Subject to change of direction.
Free though they are, they no longer live
Usurped from natural indiscretion.

Eventually they fall and scatter to the earth,
And become the soil within the ground.
With their death they give way to birth
They need not utter a single sound.

Another cycle, another tide,
Repeat the cadence from the other side.
Another cycle, another tide,
Physically is naught but dimensional divide.

Undead kindred, besotted and riven,
Morbidity and polarity collision.
Free though they are, they no longer live
Forever they are lost in transition.

-Ashen Witherburn

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Figure in Landscape.

Patrick had the idea of expanding on a figure in landscape that he had started with a friend several years ago but couldn’t finish since he moved.  Patrick encountered Talon, a model and MMA fighter, through a modeling website.  Talon expressed interest in collaborating with him on this project.  They spent about 3 hours one Sunday afternoon creating images.  Patrick used his Hasselblad and Calumet SC with a Rodenstock Geronar 210 mm lens to create these portraits.

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Talon (28 of 33)

 

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