VISION (draft) by Helen Jessica

VISI O N DRAFT

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From the Author

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R E S E A R C H Photographer’s & Artist’s

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P H O T O G R A P H E R Ryan James Caruthers

The pictures of 19-year-old Ryan James Caruthers are a dreamy collection, offering an interpretive narrative within each frame. processes to create his artful pieces.

Ryan James

Most of his pictures are post-

creates portraits that are made

of a polish blend of photography and layered ghost like images. and fine art photographer lives and works in

The

young artist

NYC. At a young age he picked up on

disposable film photography, immediately fell in love with it and thatâ&#x20AC;&#x2122;s how the story began.â&#x20AC;?

this project

photography.

am focusing my time to linking people and nature in my

I was drawn to these works because of the simple yet intriguing nature

of them, and the hint of a narrative that runs through the works. palette as a theme that runs through the work, is an area

The dark colour

I am interested in as well,

I like the idea of linking a photo series with a colour theme running through.

Conscious (2013) - R yan James Caruthers

Untitled (2012) - R yan James Caruthers

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P H O T O G R A P H E R

Oscar Parasiego

“Oscar Parasiego

created the series

‘Diaspora’,

about our identity, inspired from his own move to the

a project

UK. Every

day

thousands of emigrants leave their countries to find a better future elsewhere.

At that point, there is a clear transition between the person

we’ve been so far and the person we’re going to be.”

The

images

show

individuals

transparent

silhouettes

which reflect the individuals’ new environment, an environment they didn’t belong to until now.

The

silhouettes occupy a new space and

they gradually merge into this new context, just like a chameleon.

The

artist transmits a powerful feeling by portraying the individuals

without showing them, showing just their camouflage, their inner fight for seeing themselves reflected in their new lives.

‘The

Parasiego

explains:

protagonists of my pictures merge into their new houses, new

neighbourhoods, new countries, in the same way as

find my place

portraying them without showing them, showing just their camouflage.”

Following

on from my previous project

am planning on

using image multiply image compilations to create my final pieces. are many ways of combining images now using

Photoshop

and

There I

currently within this research trying to see all the different ways, both simple and elaborate.

Parasiego’s

work would to me come under the

more elaborate of ways to compose images; however having the concept influence the technique like in this series gives the image a new depth.

Victor (2012) - Oscar Parasiego

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P H O T O G R A P H E R Randy P. Martin

“Martin’s

latest series is called

‘We Are Tiny’,

petty we humans are compared to mother earth.

Rock On (2013) - R andy P. Martin

proving how small and

Nature reveals more breath-taking

beauty than we probably ever could, which gets quite obvious in the following pictures.

All pictures are taken with a Fujifilm X-Pro 1 or a Yashica T5.”

am drawn to the sublime beauty of this series and the epicenes of the

environments captured.

Taking

landscapes with an aspect of the sublime is no easy

feat and is an area of photography

I have never been personally good at. I want to

within this project combine the two areas of photography that

I felt need the most

work, portraiture and landscape; this series shows a very novel way of combining the two.

Cold Reality (2013) - R andy P. Martin

The message is also portrayed very powerfully with in the series.

Mesmerizing (2013) - R andy P. Martin

Taking The Plunge (2013) - R andy P. Martin

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P H O T O G R A P H E R Caroline Mackintosh

“Caroline Mackintosh’s latest personal work centers itself around the reconstruction of natural environments through composition and light-manipulation.

Her series ‘Metallurgy’, features landscapes around Cape Town, South Africa (her place of birth and current base) and uses mirrors to create juxtaposing portals of warped light

– resulting in the beautiful and surreal images of the collection.

When asked about how she creates this unique and eerie viewing experience, she replies: ‘The idea was to highlight the loneliness of the landscapes by establishing the mirror-portals as separate, almost sentient, entities and placing them to hover in isolation, as though forever experiencing an alternate perspective.”

This

technique of using a mirror is one that is currently trending in the

world of photography, with many photographers using it in novel and interesting ways.

am currently planning on basing the main part of my practice on using a

mirror as a major component, so looking at this series has shown me the different ways that the mirror can be used in my compositions, both in obvious way and in more subtle ways.

Metalurgy, Untitled (2013) - Caroline Mackintosh

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Transfer, Untitled (2013) - Kevin Corrado

P H O T O G R A P H E R Kevin Corrado

“For

the project

‘Transfer’, Kevin Corrado

dips his hand in paint and

places it in front of a landscape, creating an interesting visual effect.

The

series

began as a playful idea of the ocean being a giant sea of blue paint rather than water. In its entirety, the project speaks about our intense connection between common landscapes and their assigned colors.

Corrado’s

role as an artist.

The

pictures also address to

Kevin

has to pick a color, just like a painter would for

his painting (but a photographer usually wouldn’t).

Mixing these two disciplines, he

succeeds in creating appealing artworks with an ironic touch.

See more of his works

below.”

This

artistic series is less relatable to my image ideas than the previous;

although the concept behind the works does fit because way.

was mainly drawn to the work

am very interested in combining art and photography in a more tangible

I have always planned in this project to paint on my images. This artist had used

the paint before the image was captured whereas

I plan on adding the painting aspect

in post.

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Untitled (2011) - Amy Harrity

P H O T O G R A P H E R Amy Harrity

“Amy Harrity

is a young photographer based in

California, USA. Her

pictures focus on creating a surreal world where her subjects live. want my images to be emotive

Subjects here.

–

Amy explains: ‘I

the created world is open, whimsical, and freeing.

can really tap into themselves and explore different facets of themselves

I like to explore staging these moments in a more styled/cinematic fashion, but

also continuing to find them in everyday life.”

looked through

ideas, this was until

Harrity’s

works and they didn’t relate to my project

came across this one.

because it seemed to really grab my attention. the ambiguity makes it very versatile.

decided to add it to my research

The simplicity to the image as well as

These aspects I would like to bring to my work,

as an ambiguous image can fit any message.

Moose (2010) - Traer Scott

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P H O T O G R A P H E R Traer Scott

â&#x20AC;&#x153;Natural History is a series of completely candid, in-camera, single exposure images which merge the living and the dead, creating allegorical narratives of our troubled co -existence with nature.

Ghost-like reflections of

modern visitors viewing wildlife dioramas are juxtaposed against the taxidermied subjects themselves, housed behind the thick glass with their faces molded into permanent expressions of fear, aggression or fleeting passivity.â&#x20AC;?

Panda (2010) - Traer Scott

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have come across to date.

This

simple yet effective technique of waiting for the

moment to capture reflections creates a very personal and unique image that truly captures the moment. If

I could create images to this standard and effective I would

have properly achieved my goal of this project.

Ostrich (2010) - Traer Scott

series is by far the most powerful and beautiful photographic series

Tiger (2010) - Traer Scott

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This

RESEARCH\\ISSUE 2\\ARTISTS\\2014 Inside the View, Untitled (2004) - Helen Sear

P H O T O G R A P H E R Helen Sear

“‘Inside produced by

the

View’

brings together for the first time key bodies of work

Helen Sear over the last thirty years, reflecting the artist’s exploration

of the relationship between colour and form, figure and ground, the visible and the unseen.

Sear’s work challenges the dominant view of photography as a documentary

medium, questioning its indexical relationship with the world.

Photography, whether

in its analogue or digital form, may enable us to view in close up the surface detail of objects, but in doing so our perceptual experience of them becomes more ambiguous and fragmented, belying their unity and coherence.”

These

works relate more to my first portfolio where i was specifically

looking at double exposures, however in this portfolio i am explore almost the opposite of

Sears

work.

She

is exploring people becoming part of the environment

whereas i am looking to show the disconect that is appearing in the next generation.

where sears images place the model into the landscape i am to create a visual

seperation.

Aesthetically

i think that the texture

is very eye catching and powerful.

Sear

has produced in these works

tend to have a cleaner clinical finish to my

images, however this does seem visually appealing and i may see if i can potentially incorporate this into my work.

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Inside the View, Untitled (2004) - Helen Sear

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Spot, Untitled (2003) - Helen Sear

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Spot, Untitled (2003) - Helen Sear

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P H O T O G R A P H E R Elina Brotherus

“These previous series

new

photographs

continue

the

The New Painting (2000-2004)

same

and

visual

thinking

Model Studies (2002-). My

work consists of walking with the camera in a back-pack and the tripod under the arm, observing the changing light, looking for the simple landscape.

The

essential questions are the passage of time, the color of light, the human figure.

I’m

looking for what we too often lack in the everyday life: calm, wide

spaces, surprise, veritable solitude and in compensation a shared experience.”

These

work interest me in two ways.

The

first is this idea of the ‘gaze’ that

keeps appearing in the artists work i have been looking at, this idea that a photograph can capture different gazes, these images are focusing on the subjects gaze and the relation between the subjects gaze and there environment.

The second is the format,

the idea of using the diptext layout as a way to show two images.

I have decided that

i want to move away from the multi-exposure way of showing two images and think this is nice clean way of displaying images that even flatter each other or maybe even stand apart in a way that makes the viewer think about the meaning of them being together...

Points of View on The L andscape III (2006) - Elina Brotherus

Points of View on The L andscape II (2006) - Elina Brotherus

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P H O T O G R A P H E R Melinda Gibson

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