FLAWS, PERFECTION, IDEALS AND COMPROMISE - Joanna Hooper A2 Exam by Joanna Hooper

FLAWS PERFECTION IDEALS & COMPROMISE JOANNA HOOPER CANDIDATE NUMBER : 0111

STATEMENT OF INTENT

MIND MAP

PHOTOGRAPHER’S ANALYSIS PHOTOGRAPHER INTERPRETATIONS

FURTHER RESEARCH

CONTENTS

THEME PHOTOGRAPHS

SCANNOGRAPHY

SO FAR... DEVELOPED PHOTOSHOOTS DIGITAL MANIPULATION

MANUAL MANIPULATION

COMBINED EDITS

PROPOSALS

FINAL PLAN MAKING PROCESS FINISHED PIECE EVALUATION

STATEMENT OF INTENT: FLAWS,PERFECTION,IDEALSANDCOMPROMISE I think this will be an interesting topic to explore due to the incredible range of subject matter I could photograph and concepts to develop. The theme could manifest itself in a huge diversity of genres: portraiture, still life, landscape, fashion and so on. The issue of perfection has been discusses in depth throughout history, especially in art but also in science, literature, dance and architecture. Such areas could be drawn into investigations to strengthen them with depth and history. I am personally more interested in conceptual art/photography, strengthened by technical refinement and skill. An effective aesthetic with deeper meaning, to me is more interesting then an image with purely technical value or very basic concept. I hope to enforce this interest in my project. In my studies I intend to carry out research into photographers and artists alike with both technical, aesthetic and conceptual strength. Artist research will involve exploration of possible manual techniques not just digital, so techniques like stitch and painting for example. I will look at these in reference to my photographs and themes in an effort to explore the topic more successfully. All artists and photographers I research will in some capacity inform the practical work I create, a piece informed by influential figures and history is far stronger than simply being informed by oneâ&#x20AC;&#x2122;s own impressions. Photoshoots will initially include interpretations of relevant artists/photographers and in progression become more informed by my own motives and intention, ultimately a series of shoots exploring the theme to the best of my ability. I think in reference to this theme I am most interested to explore portraiture and still life. The possibility for visual stimulation is huge, capturing texture and colour and so on. Ideally these shoots will lead to a point of conclusion where I have explored the topic and my interpretation of it fully. In my studies thus far I have developed a reasonable level of knowledge about my camera as well as digital and manual manipulations possible. In this study I will hopefully develop

these further, deepening my knowledge and achieving greater technical quality in my work. I will do my best to tailor camera settings to individual lighting conditions to capture the best exposures I am able. With regard to variety of location and styling of shoots I will interpret photographers and develop my concepts as I progress. I imagine the shoots will be quite stylised; ultimately of they were naturalistic then the photographs would be spontaneous, and consequently I would not be able to go into much depth or planning. In exploring this topic I hope predominantly to develop and deepen my understanding of photography as a medium; itâ&#x20AC;&#x2122;s boundaries and limitations as well as the extent of exploration possible. I see my abilities as always having room for development and improvement, it would be valuable to best utilise this time and theme to improve myself. In reference to the topic itself I think there is possibility to make it a personal expression as well as an academic one. The experience is priceless and I hope to make the most if it. I also hope to develop my understanding of photographic influence on life; and forces which influence it. The evolution of photography as an art and communication medium is rapid, and being as informed as possible will be of benefit to me. At this stage I am unsure as to the format of my final product, but based on my initial thoughts of the theme (PHOTOGRAPHS), I would like to incorporate textural elements, so possibly manual manipulations of photographs would be successful in display of this. Techniques such as stitching and painting for example would create illusion of combined dimensions and layers of texture. I might hope to create either a three dimensional, sculptural and complex piece or a simple display of images. Both paths would exhibit different skills and as of yet I am unsure what skills I wish to communicate. This is something I hope to learn over the course of the project.

INITIAL IDEAS OWN PHOTOGRAPHS:

STRUCTURE & TEXTURE&DECAY

I have been investigating different forms of architecture in different stages of decay and perfection, the intense contrasts in this and the consequent interest created. There is a fascinating juxtaposition here - tackling structure and permanence whilst embodying a strong aesthetic. The structures and cleanliness or lack thereof are paralleled in fashion and portraiture photography also. This investigation of state which berates ideals and draws a viewer in to look closer.

T E X T U R E

P E R F E C T I O N

FLAWS

INSPIRATION

Examining different areas of design and photography to gain a more rounded view of my chosen area of structure - the capacity to which Flaws, Perfection, Ideals and compromise play a role in the fashion industry is immense and there are intriguing comparisons that can be made between fashion/design and architecture. Physical factors of matter and decay, structural and aesthetic approaches and so on. Attention to detail in the fashion industry is key, as with architecture. I am fascinated by the rich detail and deep, raw colours in the images displayed on this spread, there is an intensity to the design of composition and content. I have chosen Alexander McQueen as an area of focus because of his immense range of designs and concepts, the couture of each piece is gorgeous, the colours and aesthetics paralleled in nature and decay. The light in the images is an element of perfection, accentuating assets and pronouncing flaws.

FLICKR: FRANCE,

STRUCTURE

DECAY

ALEXANDER MCQUEEN - INFINITE STRUCTURE AND ARCHITECTURE CAPTURED, INTERACTION WITH SPACE AND BODY

‘Denzzz’ COLOUR,

ABANDONED LIGHT,

PLANT IN COMPOSITION

PERSPECTIVE

TURNER- Goldau, with the Lake of Zug in the Distance: 1842-3

P R O G R E S S

LIGHT Jacob Van Loon - themes of disintegration, rawness, texture, structure

DISINTEGRATION Niklaus Ludenberg - Graphics designer, developing understanding of space and relationship. Design, structure and portrait

Ex military complex Draga atia) interiors by

(Rijeka, CroSanja Jovanovi

CONSTRAIN Alexander McQueen photographed by Irving Penn - fashion, constraint, architecture and design.

Richard Avedon - relationship of model and space, surface and reality. Societal view.

PHOTOGRAPHER RESEARCH -

Richard Avedon

‘‘Camera lies all the time. It’s all it does is lie, because when you choose this moment instead of this moment, when you... The moment you’ve made a choice, you’re lying about something larger. ‘Lying’ is an ugly word. I don’t mean lying. But any artist picks and chooses what they want to paint or write about or say. Photographers are the same. People, unprotected by their roles, become isolated in beauty and intellect and illness and confusion.’’ “The graphs

camera are

has a accurate.

point of None

ofthem view, is

Richard Avedon was born in 1923 and lived in New York City. He attended DeWitt Clinton High School. Avedon joined the armed forces in 1942 during World War II, serving as Photographer’s Mate Second Class in the U.S. Merchant Marine. He spent most of his service at Sheepshead Bay taking thousands of photographs of servicemen for their ID cards. It was a repetitive job, but the format of a full-face portrait in front of a bare background is a motif continued in later work. As he described it, “My job was to do identity photographs. I must have taken pictures of one hundred thousand faces before it occurred to me I was becoming a photographer.” After two years of service, he left the Merchant Marine to work as a professional photographer, initially working with fashion images and studying with art director Alexey Brodovitch. When he was twenty-two, Avedon began freelance photography, primarily for Harper’s Bazaar. Initially denied the use of a studio by the magazine on the basis of the photos being too generic, he photographed models and fashions on the streets, in nightclubs, at the circus, on the beach and at other uncommon locations, showing the resourcefulness and inventiveness that became a distinguishing feature of his art. As a result of these eccentric photographs Avedon was employed. When his second book Nothing Personal appeared in 1964, critics berated him for representing celebrities as freaks and monsters. Time’s reviewer wrote that Avedon’s lens was “a subtler, crueller instrument of distortion than any caricaturist’s pen”. Avedon’s response to these accusations was that he was simply telling the truth about a person. These criticisms came at a time when portrait artists made their subject look as good as possible. The photographs that shocked audiences with their honesty then, now seem strikingly humane and compassionate, more concerned with the loneliness and pathos of celebrity than with its monstrosity or pretension. He was fascinated by photography’s capacity for suggesting the personality and evoking the life of his subjects. He viewed poses, attitudes, hairstyles, clothing and accessories as vital, revelatory elements of an image. He said: “My photographs don’t go below the surface. I have great faith in surfaces. A good one is full of clues.’’ Avedon quit the magazine in 1965 after facing criticism over his working with models of colour. He joined Vogue, where he worked for twenty four years. In 1992, Avedon became the first staff photographer at The New Yorker, where his portraiture reinvented the image of the magazine. During this period, his fashion photography appeared almost exclusively in the French magazine Egoïste. In 1971 Avedon went to Vietnam for a second time, three years before the end of the war. He was not a natural war photographer, but staged napalm burns victims in front of his signature plain backdrop. This isolated the individuals in the same way as he aimed to do in his portraits, only far more harrowing in nature than simple signs of aging or ugliness. Avedon is renowned for erasing the line between art and commercial photography. Campaigns with major brands gave Avedon

all the

phototruth.”

Political and personal passions. He is known for his portraiture of the American Civil Rights movement and the Vietnam War. From 1979 to 1985, he worked on a commission from the Amon Carter Museum of American Art, producing the show and book In the American West. After suffering a cerebral haemorrhage while on assignment for The New Yorker, Richard Avedon died in San Antonio, Texas on October 1, 2004. By capturing American ideals of celebrity, fashion, and beauty in the 20th and early 21st centuries, Richard Avedon played a huge role in establishing photography as a contemporary art form. Avedon’s distinct style of portrait photography is iconic. There is no distraction or context in his pictures, other than the contours, features and expression of the face itself. His stark lighting and minimalist white backdrops drew the viewer to the intimate, emotive power of the ‘sitter’. Avedon relied on generating a moment of tension or theatricality in order to capture the likeness he was looking for. Between 1945 and 1965, he worked as a fashion photographer, revolutionizing it. Later, he moved into journalism and the art world. Avedon’s subjects included pop icons, models, musicians, writers, artists, workers, political activists, soldiers, Vietnam War victims, politicians, and his family. He believed that portraits were pointless unless they had a story to tell, or a truth. While Avedon’s portraits often confronted American preoccupation with celebrity, his intent was to make his subjects show something essential about them. For Avedon the relationship between a photographer and photographed was of exchange and dialogue. Avedon experimented with technique using his sister as a model. Louise Avedon was a precocious beauty, but as a young adult she suffered from severe mental illness; she died aged 42 in a mental institution. Avedon was haunted by her death and beauty. In an interview published in 1985 in the magazine Egoiste, he said: “Louise’s beauty was the event of our family and the destruction of her life. She was very, very beautiful. She was treated as if there was no one inside her perfect skin, as if she was simply her long throat, her deep brown eyes . . . All my first models - Dorian Leigh, Elise Daniels, Carmen, Marella Agnelli, Audrey Hepburn - were brunettes and had fine noses, long throats, oval faces. They were all memories of my sister.”

‘‘I think all art is about control - the encounter between control and the uncontrollable.’’

This arrangement of photographs shows some of the photographs Avedon took in East Louisiana Mental Hospital, Jackson, in 1963. There is such a stark contrast between the mood of these images and that of his fashion images which is fascinating, the separation in motive and aesthetic, the experience of his subject is so different, His intent is to record, as in his fashion and portrait photography, but it is these people’s state, their destruction and pain being recorded not their glamour or personality or how they wish to be. There is a far more sombre tone to these. The grainy look of the images and the lowered contrast in comparison to his other work adds to this mood, further reinforcing the sense that the aim is not for aesthetic but for capturing a moment or state. The experiences of those involved are so tragically different,their life stuck in this illness, confining them to a prison. Be that prison be literally the walls and beds or be it their mentality, the consequence remains. There is a negativity and desperation in the work which is a visualisation of the way in which a mind can be flawed, whether through illness or perception. The stigma associated with mental illness is a discussion of the theme also, compromise and projected ideals of health.

“Cruel? No they are not cruel. What they are is powerful in a way that confronting one’s own humanity as well as the humanity of others we know or admire can be devastating...”

This image would have been taken during the late 40s, Avedon would take his models to location and photograph them. This photograph encompasses all the glamour and sophistication of this era, the luminosity of the woman in the foreground is accentuated but her dress and complexion, the depth of field sets her up as the only component which is in focus. There is a limited degree of styling in the set up, the pose of the model could be a natural poise however she was likely instructed. There are layers in the image, light and dark in appropriate depth in effective positioning. Not only layers within the field but also within the frame, the darkness of the furniture, the faces and poise of those pictured, the surroundings and the location. There is a misty atmosphere in the composition which is broken by the model’s clarity, bringing her further into the audience’s attention. There is an air of politics, courtesy and hierarchy in the infrastructure of such a place as is pictured here, the importance of one figure over another, the events and interactions at the time. The level of the camera involves an audience, giving them the perspective of someone in the room.

Nicholas Cope &

Dustin Edward Arnold

AETHER

PHOTOGRAPHER RESEARCH -

‘’Modern science postulates that movement is life. That all things vibrate at varying frequenciesandatvaryingrates,withincidentstransferringtheirpulsesoutward through space. The intent of Aether was to map the topographies of this trembling’’ This series is a mixture of painting, chemistry and photography that challenge the interpretation of the abstract. The artists played with the molecular composition of the objects, chemicals and liquids with the application of extreme heat and cold, creating their own catalyst of movement. The forms are ever-changing, colours morphing and exploding. The results are perfect and flawed in equal amounts, the perfection of science and matter is all-encompassing and intriguing. The results are stunning and ethereal.

‘Through their imagery they orchestrate captivating visual story lines based on an omnipresent interest in the abstract which is elusively highlighted by scientific, spiritual and cosmological undertones. The aesthetic of their shoots is made up of a combination of atmospheric lighting, rich textures and attention to detail. Heavenly lights complement and at the same time juxtapose dramatic shadows and exaggerated close-ups, thereby creating a series of mesmerizing imagery that shies away from ordinary editorial and flirts with fine art.’ - Demetrios Gkiouzelis Photographer Nicolas Alan Cope and creative director Dustin Edward Arnold begun their collaboration with the mutual desire to go beyond the commonplace and take photography and visual art to a level which has never been approached before. They claim a traditional approach to art making, taking lots of time for planning and preparation. The work still breaks out of the confines of conventional photography, each working beyond comfort zone and practice, they combine the mediums of painting, chemistry, sculpture, fashion and installation. Bringing classical art practices and digital craft into one motion,their work consolidates a visual feast, a display of narrative and aesthetic and depth immeasurable. I chose to look at the work of this collaboration because of the accumulation of space, form and visualisation of decay and disintegration. The work is full of architecture and veiled forms. There is a theatrical undertone which exaggerates colour, form and rawness. All elements here discuss topics relevant to my chosen theme, the decay and disintegration, the disguise and honesty, the architecture and chiselled light.

PUTESCO

Project challenging classical composition and aesthetic through photographing decomposing still life set ups. Based on the principle of still life painting bridging an object’s physicality and its divinity, the series is graphic and honest in capturing this in-between, transient state. Dramatic lighting and rawness of detail and texture leads to the series being reminiscent of baroque vanitas paintings; emulating the futility of pleasure and the certainty of death. The pieces are macabre and arresting, replacing romantic objects and colour with death and desiccation.

‘’Alternating between putrefaction and illumination, past and present, curiosity and disgust, Putesco offers in its own right a subjective liberation from the material body and its constraints’’.

‘Vedas’ means knowledge in Sanskrit, the project presents the artists’ view on fashion photography. It is a broad exploration of the subject of knowledge, whereby props of light and veiling is used to represent knowledge. There is illumination and shadow, power and fragility. There are cosmological undertones captured in the superiority and distance of the figures, faceless models become universal and graceful entities. There is, as with their other projects, a running meeting of the scientific and the mystical. I really like the aesthetic of this particular series, the lack of colour allows focus on the structure and forms, creating an understanding of the content which is greater than may otherwise occur. There are similarities between this series and the work of Avedon, the fashion, the tones, the interest in figure. However there is a great divide in mood, where Avedon’s photographs are full of life and personality, there is a spirituality and a cosmic quality to these which is very interesting. The images are highly stylised and structured, designed intricately to capture detail and precision. The lighting in these photographs is a dominant focus and tool for the photographers, it was used in different channels and intensities to convey a range of messages, knowledge and power. The depth of the images is an interesting element due to the backdrops being entirely blank with the exception of the reflection of light, there is an infinity to the space captured in the images. The compositions of the images in this series centralise the subject matter, adhering to the rule of thirds strictly which is a reflection of the duo’s influences and aims for tradition. The great contrast in mood from one photograph to the next unites the series, those which are luminous accentuate those filled with shadows and depth, and vice versa. Those combining the two unify all the concept and mood available. I am interested in the structure of the pieces, the perfection of the stylisation and precision of the work produced by these artists. There is a finesse and tradition in the work which is resonant of the theme I am investigating. Especially in the ‘Vedas’ series, there is infinite perfection and compromise, striving for the ideal set up and flawless capture of image.

STAMEN Exploring the dual nature of spirit and self, the artists combine conceptual and chemical explorations to crate omnipresent compositions which resemble romantic oil paintings from the 19th century. The submersions have a metaphoric, poetic as well as visual value. There is a sense of fragility and fleeting beauty, there is a heat and corrosion reminiscent of spiritual purification. Fire is a prominent theme among spiritual manifestations and beliefs, encompassing religion and faith.

‘’The act of bathing and submersion is the very first in the process of physical and psychological cleansing; it signifies the beginning of the death and rebirth of the self. Through this process we sought to create images which reflect stasis, conflict and surrender between these opposing forces’’

V E D A S

Side lit / direct light / full scale of tonal values : high key to low key / high contrast / texture of flesh and muscle / shallow depth of field, minimal back ground / centralised in the frame / eye level / centralised composition / lines are organic.

Side lit / diffused, soft light / high key tonal values / low contrast / minimal texture / shallow depth and simultaneously infinite / sharp selective focus / centralised composition within frame / low eye level perspective / organic line and form / balanced.

VISUAL ELEMENTS

SIMILARITIES DIFFERENCES Absence of colour / isolation of figure in composition / plain backdrop / infinite space captured / concealment of figure / concealment of identity / tonal value / sense of tactile quality / shadows and role in composition / dominant mood of figure / centralisation in the composition of the photograph / motion and simultaneous peace of figure.

MOOD AVEDON In Avedon’s photograph there is an intensity and domination in the mood, an understanding whereby an audience is separated from the individual photographed. The finesse of the figure adds to this, his tone and strength, the optimum image of male fitness portrayed unflinchingly. There is perfection in this, the embodiment of the male ideal, there is honesty and no compromise. Despite this degree of perfection the pose of the head continues to be humble and almost shy; the silhouette of the profile un detailed and concealed. Running alongside this degree of perfection there are flaws in equal measure, the strain of the muscles, the wrinkling of skin, the raised veins, unkempt hair.

Height of contrast / physical concealment of figure through veiling / nakedness / exposure / proximity to figure involved / depth of shadow / mood of peace is fairly isolated / tension in Avedon / humanity / separation / intimacy / tone of backdrop / strength of figure / fragility of figure / intensity of light / infinity of space / softness / barriers / veiling / focal point / strength / power / luminosity. The mood of Cope & Arnold’s photograph is fairly muted in coherence with the shallow tones and soft light. There is an ethereal, omnipresent vibe in the image. A sense of religion and purity, the cool calm of the form and it’s surroundings, the perspective given to the viewer are all reminiscent of holiness. The power implied is juxtaposed against the delicate fragility of the form, it’s concealment and secrecy. This contrast creates an interesting effect, celestial in a way and, as with Avedon’s photograph, there is a separation between audience and the figure photographed. This is added to by the infinite space surrounding the form, there is no real depth nor implication of corner or edge, creating no room for the imagination, there is commanding coldness in the space shown.

COPE & ARNOLD

BLOOM’S TAXONOMY ANALYSIS : COPE & ARNOLD / PUTESCO - WHAT DO YOU SEE IN THIS PHOTOGRAPH? Decaying objects, feeling of desiccation and death, colours suggestive of abandonment and isolation. WHAT WORDS WOULD YOU USE TO DESCRIBE THIS PHOTOGRAPH? Decay, unwanted, death, pungent, rotting, stylised, ironic. HOW WOULD YOU DESCRIBE IT TO SOMEONE WHO COULD NOT SEE IT? Still life set up similar to ones you might see in romantics paintings, but the beautiful ornate objects and colourful things are replaced with browns and greens, rusty colours. The objects are indistinguishable but make you feel quite uncomfortable, as if there might be an unpleasant smell accompanying them. The items are piled up and spilling over, incidental but engineered in a way. The objects in the arrangement range from driftwood to rope to animal skeletons. The image is rich in detail and tactile quality, with intense shadows and soft light coming from above. The backdrop appears to be fabric of a khaki colour. -WHATISFAMILIARANDUNFAMILIARINTHEPHOTOGRAPH? All the objects are familiar, but there is an unfamiliarity in the sense that their presented state is not immediately recognisable. - WHAT EQUIPMENT AND PROCESSES HAVE BEEN USED? Stylising skills and set ups have been used here, there is a theatrical understanding of the presentation which makes sense due to the collaboration being between photographer and artistic director. The light is also theatrical, soft and glassy, clear. This was probably emitted from a specially designed lamp or engineered in some way to have this effect. - HOW IS THE PHOTOGRAPH DIFFERENT FROM REAL LIFE? I think the medium of photography allows for a more artistic perception of the objects presented. In a way there is a glorification of the ordinary, romanisation of the dead and decaying. The set up in this way gives a very different experience than might be had in real life. There is a greater intensity, a theatrical undertone which makes the components far more interesting to any onlooker. - WHAT INTERESTS YOU ABOUT THIS WORK OF ART? I find the photograph very interesting for its irony firstly, the juxtaposition between a classically beautiful set up and macabre, decaying objects replacing things of

Objects themselves are aesthetically interesting, intense detail and texture which makes the image rich and pulls me in. The subject matter is very consistent with the theme I am investigating, the volume of imperfection in this image is immense, the flawed objects riddled with disease and death, as far from the ideal state as possible. HOW IS SPACE REPRESENTED? The focus of the image is very centralised, the space surrounding it limited. The composition is similar to that of still life paintings throughout various styles. The space is cut off by the backdrop, containing the composition to the immediate foreground. -HOW DOES KNOWLEDGE OF THE ARTISTS AFFECT YOUR UNDERSTANDING OF THE WORK? I know that the artists/photographers involved with this work were interested in juxtaposing audience response: ‘‘Alternating between putrefaction and illumination, past and present, curiosity and disgust’’ - this indicates an interest in the emotive nature of a photograph, it’s ability to elicit emotion and response in an audience. This knowledge allows me to understand what the image was created to do, the intent of its creators. - PRETEND YOU ARE INSIDE THE PHOTOGRAPH If I were inside this photograph I think there would be smells of decay, damp and stale. The kind of smell an unused shed or basement might have mingled with rust and mould. The textures would be damp and rough, one might receive splinters from the surface. I would need to move with caution for fear of the ground or supports giving way from rotting. -WHATISEFFECTIVEANDLESSSOABOUTTHEPHOTOGRAPH? The image has a strong aesthetic, creating curiosity and interest as well as disgust among an audience. I think it could be interesting to see variations on the composition, despite the fact that the composition is reminiscent of still life paintings, and is effective, variation might be of interest. There is rich life in the image which is channelled in the motion of decay, the movement that comes with rotting is vibrating through the photograph which may be unexpected but it is effective.

PHOTOGRAPHER INTERPRETATION

S H O O T -

COPE & ARNOLD

F5.0 + 1/320 + ISO 400 / F10.0 + 1/50 + ISO 400 / F10.0 + 1/30 + ISO 400

In this photo shoot I was interested in investigating the techniques, subject matter and motives of the work by Nicolas Cope and Dustin Arnold. Particularly focussing on the Putesco series but also on Vedas. I am interested in the presentation of space, the exploration of cleanliness, the subject of decay and death. The various presentations of these things throughout the two series is very interesting and varied, whereby one representation of death is a heap of decaying matter and another is a faultlessly white space with angles and veiled figures. In interpreting this I have tried to look at both living and dead subject matter, dead and dying. Instead of placing my decaying objects in a decaying environment and my flawless in a clean environment, I have combined the two. This combination may seem obvious but I think there is immense conceptual value in the experimentation this way. It allows me to explore the subject’s presence within the given space, the way in which the forms sit, how their rotting interacts with the untouched surroundings. The contrasting components complement each other in a way, placing emphasis on their relative texture and colour, their relative relationship with light. Where the artists keep the clean with the clean and the filthy with the filthy,

I have made it my aim to investigate the effects of combination, the result of integration. The shoot was in fact more successful than I had anticipated, the colours and light worked well together to allow focus on texture and detail. I tried to arrange the ‘still life’ effectively in composition and with my aims. Composition is a challenge with still life because the immediate impact of an image is dependant on a strong composition. The incorporation of my hands in the photographs was unplanned however I feel it was effective and added interest to the images, making them more engaging. The inclusion of human forms in Cope and Arnold’s work is very absent in a way despite their obvious presence. In relation to the theme the shoot has been effective in the sense that I have directly juxtaposed my perfect and flawed, my life and decay, clean and filthy. This addresses the theme both literally and conceptually. Questions of what the objects could represent,motive in their inclusion, their stories can all ad weight to the literal interpretations of my images. I have altered the photographs using camera raw, mostly simple adjustments.. I have enjoyed this shoot, I think improvement could lie in carrying the shoot out at different times of the day to show variation, potentially involving other body parts and layouts.

F5.0 + 1/320 + ISO 400 /F5.0 + 1/250 + ISO 400

EXPERIMENTATION

F5.0 + 1/320 + ISO 400 /

COMPOSITIONAL

As mentioned the composition of an image is a component which greatly influences the impact of a photograph or piece of artwork. Principles such as the rule of thirds are used to identify strengths in a composition, where an image is split into nine sections, three rows of three. The photographs on this page are examples of compositions I experimented with in this photo shoot. I think the photograph in the centre on the right is very effective. The cluster of texture and colour is in successful proportion to the surrounding cleanliness, the line of the corner behind brings the image together subtly. More centralised compositions such as top right are less effective, there is a less obvious focus for the eye.

BLACK / VEIL / SHROUD

F10.0 + 1/30 + ISO 400 The photographs displayed here continue my compositional experimentation but I included the use of a black piece of fabric. In doing so I was inspired by the veiling used by Cope and Arnold in concealment of their figures. The mass of dark dramatically alters the mood of the image, the light plays across the composition differently and the colours are brighter.

In cohesion with the opposite images this series were taken with a flawless white pot as a component of the composition. Again the mood is shifted, the light playing differently. The way this influences the mood is to make it lighter, more ethereal and less like a still life. I especially like the top left image, there is a luminosity captured and the composition is successful, providing focus. Extreme light and extreme dark, areas of flat and areas of intense texture. There is a feast for the eye. The images here are quite satisfactory in their lightness, these are close to the images in the Vedas series, only with elements of decay and destruction pulled in. The shadows, however subtle, create depth in the images, giving context, indication of the objectsâ&#x20AC;&#x2122; relationship with their space.

WHITE / CLEANLINESS

F10.0

1/25

1/40

ISO

400

NARROW APERTURE WIDE APE RTUR E F25.0 + + ISO 400 F4.0 + 1/500 +

APERTURE EXPERIMENTATION

1/10

Within a composition a component of interest is the depth of field depending on the aperture used in the camera settings. Balancing the aperture adjustments with other camera settings, a wide aperture provides a shallow depth of field (right bottom), but allows more light into the lens and so a faster shutter speed or a lower ISO is required. Vice versa with a narrow aperture (right top). This small adjustment in taking an exposure is highly influential as to the impact of a photograph. The point of view a person has in looking at the image, the amount of information available to see, the detail and focus. The images displayed here are a demonstration of this impact; with identical compositions but adjustment of manual settings a completely different result occurs. I have noted these camera settings beside each image. In relation to the artists in question this area of photo taking is always relevant in the sense that every photographer needs to consider such factors. Both Cope and Arnold and Richard Avedon use depth of field in their work, particularly in photographing figures with blank backdrops. This absence in the surroundings, the focus and the intimacy created are all down to an understanding of the impact of depth of field and composition. It is important to understand settings like these as they provide a way to better understand oneâ&#x20AC;&#x2122;s own work and itâ&#x20AC;&#x2122;s impact on the subject matter and an audience.

ISO 400

NARROW

WIDE

PORTRAITURE

INCORPORATING

Both Cope and Arnold and Richard Avedon investigate the impact of the human figure in their work in very different ways. In this shoot I focused mainly on incorporating hands/arms in the composition as opposed to the whole figure; I wanted to explore the hands as a prop of more subtle portraiture. It is more implicit and representational than it is direct and literal. In Richard Avedonâ&#x20AC;&#x2122;s work he photographs people as they are - their beauty, their ugliness, flaws, personality, their career or philosophy. This embraces humanity and simultaneously rebukes it, reprimanding our expectations and confronting our desires. In contrast, Cope and Arnold photograph anonymous figures, representational and illusive. Their identities are indistinguishable, their demeanour calm and powerful. They are veiled and concealed, minimal but dominant. I have tried to take little bits of these two drastically different manifestations of portraiture - the honesty and concealment, the flaws and perfection, the story and the anonymity. I experimented with composition in the images: arranging my arm over, under or among the objects. There is an almost grotesque impact here, the inclusion of a hand implies relationship and interaction with the decay and disintegration in the photographs. The youth of the hand enhances this, if it were aging and thus compatible with the objects here the effect would be entirely different. This strengthens the link to my theme. In a further shoot I might consider also photographing older hands / faces to investigate this more. This set up has been interesting in investigating the impact of structure and space; the space which the arrangement sits in greatly impacts the success and message of the image. Development might include photographing in different locations and spaces, different colours and textures, consequently exploring the way a space or structure can influence the effect of an image. Akin to the images on my mind map, the sense of structure and space is immensely present here which is interesting.

F10.0-22.0

1/10-1/50

ISO

400

EDITS

LIFE VS. DECAY

In these edits I was intending to increase to appearance of decay in the photographs, the death/mortality of the hands in the images. This strengthens the link to Cope and Arnoldâ&#x20AC;&#x2122;s work, the absence and disintegration in their series. I created this effect mainly through enhancements using the Camera Raw plug-in, adjusting clarity and saturation, sharpness. These adjustments placed emphasis on imperfections in my skin - goosebumps, creases, scars, birthmarks, veins and discolourations. This ages my hands and makes them appear corpse-like. It was interesting to explore these adjustments and possibilities, the use of digital medium to create these effects. There is a compatibility between my hands and the objects involved, the textures and colouring, the death involved. The aesthetic is successful and works well in contrast to the clean surroundings. Right I have displayed two photographs taken my Cope and Arnold which have a strong connection to my work pictured here. The incorporation of the ram/goats horn is an obvious connection, but the composition, the presentation, the colour scheme, the contrasting cleanliness of the images all show my interpretation and attempts to consolidate the artistsâ&#x20AC;&#x2122; style in my photography. The adaptation of their aesthetic to my areas of interest is a particular area of focus. Despite the drastic difference in colour and light, and in aesthetic, it is a point to note that there is death and isolation in equal measure. The anonymity and cleanliness of the bottom image holds just as much mortality as the more obviously decaying image. Combining the two creates an successful poetry or juxtaposition.

EDITS BLACK & WHITE The images displayed here are black and white edits of the photographs taken during this photo shoot. There is an immense amount of scope in this; adjustments can create photographs which are light and airy or photographs which are heavy and dirty, despite the exact same image being used. I experimented with aesthetic, adjusting contrast, exposure, clarity, brightness, shadows, black point and sharpness. Small adjustments have a huge impact, the series pictured immediately right for example. In making an image black and white one removes all distraction of colour resulting in more focus on light and detail. This is a technique used by many photographers including Richard Avedon - he photographs people in black and white, resulting in more focus on their expression, their wrinkles and their history. Applying black and white to these images has been experimental, I was unsure of what the result would be due to the fact that the colours in these photographs has been a prominent factor of their impact. The decay, the mortality captured is reinforced by the colour of the components. However, despite this I think the edits have been successful. There is a further depth given to the images through the black and white, the tonal values were enjoyable to experiment with and the aesthetic of the result is beautiful. In a way it immortalises the components, their detail and filth muted to tone and texture. There is now a stronger link to Richard Avedon and to the Vedas series. The impact of the edits on the white particularly is effective, the white pot especially is almost glowing and the tones are clean and beautiful next to the decay and darkness of other components. Further examples of black and white edits are displayed opposite, the variety possible demonstrated in a couple of compositions.

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PHOTOGRAPHER INTERPRETATION

RESHOOTRICHARD + COPE & AVEDON ARNOLD Richard Avedon’s work explores personality and human form. State of humanity in all branches; suffering, celebrity, luxury, success and failure. His work is of fantastic quality and is consistently intimate regardless of the subject matter. His black and white trademark with characteristic blank backdrops are elements I have experimented with in this shoot, isolating features and tones rather than colour. I have also investigated the intimate and interrogatory nature of his work. Focusing on portraiture more directly than in my previous shoot.

Developing explorations in my previous shoot,incorporating the same objects, same themes of decay and life, however using a human figure more actively so the images are moving away from a traditional still life set up. In relation to Cope and Arnold’s work I am moving more towards the Vedas series, the human figure being more dominant in compositions than the objects or set-ups. In a way I am making a still life of the human form, creating a set up and scenario where an individual is made less human through the medium of a camera, with the use of props.

Combining the two both straight forwardly in the sense of portraiture, human state, as well as the black and white edits. More conceptually, I have explored bringing the intimacy of Avedon’s work to the death and isolation of Cope and Arnold’s work. Setting consciousness aside feral, life and perfection against death and absence. Questions are raised of where the lines between these things blur, how do we distinguish between the living and the dead, the conscious and the autonomous.

FABRIC EDITS

One obvious feature of the Vedas series is the veiling of the figures. This I touched on briefly in my previous shoot in the form of incorporating the fabric into the still life set up, the texture and conceptual value achieved were huge. Here I briefly experimented with concealment using sheets of silk, the rough edges added a different quality than the smooth, flawless veiling in the artistâ&#x20AC;&#x2122;s work. They appear more hasty, less habitual and more conflicted. The veiling in itself embody the theme in question; the compromise of disguise, the flaws or perfection potentially being concealed. The edits isolate the prominent tones in the composition which is interesting. The exposure adjustment eliminates other detail, focusing attention on the discomfort in evidence here.

OBJECTS : EDITS

Here I have been experimenting with the objects I used in my previous shoot, whereas instead of the still life set up and inclusion of my hands I have been experimenting with arranging the objects around my face and body. The textures and colours work well, contrasting the skin tones. The above edits were playing with softness and pallor, absence and intimacy.

There is a quality of discomfort in these photographs. The objects are stagnant and rough. The unpleasant act of embracing them and holding them close to oneâ&#x20AC;&#x2122;s body is unnatural and uncomfortable. Placing this discomfort alongside the feral undertones of the figureâ&#x20AC;&#x2122;s pose, the twisting and unconsciousness creates an inhumanity, a separation from how we might perceive the figure as a person, animal or object. The merger with still life objects enhances this, amplifying the stillness and observation. Synonymous with the discomfort is the tension captured, the clutching at the objects and the life previously possess. (Three variations pictured)

Continuing inclusion of objects, creation of still life set up with portraiture. The mess of hair and indirect gaze is concealment in itself, linking the images to Cope and Arnold directly. The equivalent of a veil as it were; more subtle separation, more subtle death. The saturation in an image has a huge impact on the mood it conveys; the two pictured here for example. The larger edit is far more saturated and vibrant, the prominent colours being warmer tomes, there is a lot more life in this version than its less saturated counterpart. The pallor of the edits on the left of this page is effective, the excessive exposure overlaying white to a point of cleanliness and purity. This is juxtaposed against the confusion captured in the image itself.

WHITE E D I T S

At this point in the photo shoot I sprayed my hair and face with white. This was done in response to the cleanliness of the Vedas series, the expanses of white and subtle shadows. The colour white, or lack of colour is associated with cleanliness and light but also with absence and death. The combination of these achieves an ethereal kind of a quality. I found images where I had my eyes closed gave a peaceful mod, whereas with my eyes open (right), there is more confrontation and conflict. The question of absence and presence, feral and conscious is in play. The white is unnatural, creating a separation which would give comfort with distance, but in the absence of distance there is an unsettling closeness. Closeness to death possibly, the white implies an unattainable perfection, an unfamiliarity and innocence which is unsettling.

LIGHT This recurring question of life and death is interesting. These over exposed edits are filled with white, they are almost glowing. This sheet cleanliness is implicit of doth life and desolation. Corpse-like complexion and absent expression meets glowing perfection and life. There is a feral quality present also, the absence and calm of the poses approaches an animalistic level, a separation from consciousness. Veiling in this separation, less literal concealment than the veils used in Vedas. To an extent the set ups are comparable to those used in my still life shoot; the centralisation of the figure, the absence of consciousness, the implication of decay.

DARK These three edits are darker counterparts of those displayed opposite. One major flaw is the backdrop, editing the images in this way meant the folds in the backdrop were far more difficult to eliminate. The darker edits have a dramatically different mood to the light ones. The corpselike effect is amplified, but the figure is closer to the alive than the dead. There is far more presence in these edits which is unsettling. Improvement might include colouration of limbs also, the colour is effective to an extent but the flesh tones detract from the impact which is possible here. Intense darkness is evocative and disturbing, Iâ&#x20AC;&#x2122;m pleased with this as it addresses themes of decay.

BLACK & W H I T E ( A V E D O N )

In addition to the investigation of intimacy and portraiture I have experimented with black and white edits of the photos in this shoot. Black and white removes distraction of colour from an image, allowing focus on tone, texture, detail and light. This is advantageous and incredibly versatile in itâ&#x20AC;&#x2122;s potential for effective imagery. I enjoyed carrying out these edits as the results are effective and the result has a very strong aesthetic. The tonal values are interesting. One disadvantage of the black and white is that the colours representing decay and disintegration are no longer available, which makes it more difficult to convey these. The images which are over and under exposed still relate the same messages, the light and the dark. The contrast and tonal values continue to convey intimacy and presence/absence. To an extent the edits are stronger than the colour versions because they continue to capture the same messages without colour as a tool.

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“What was Yoshihara trying to indicate with the circles? The circle, a fundamental sign that is both global and abstract, should be seen as a new image in painting which, along with the Western style of action-painting, gives the viewer a sense of physical movement, and is related to the traces and expressions that are found in the brushwork of eastern calligraphy. Also, as suggested in “The Gutai Art Manifesto,” Yoshihara maintained a philosophical and practical stance of aggressively linking the diametrically opposed elements of material and the human spirit. On the one hand, owing to his abstract nature, the circle is an image that genuinely approaches the spirit. On the other, by viewing paint as a material, the circle facilitates a contradictory state in which the traces of physicality and individuality compete with each other, and the circle adds a spiritual depth that Westerners might consider “Zenlike.” “ZERO” projects translate the enso, or circle, from ZEN painting into a minimalist object signifying “ZERO”.

Jiro Yoshihara is a Japanese artist born 1905 and died 1972. He co-founded the avant-garde Gutai group in Osaka, teaching western-style painting before becoming the leader . He was a surrealist and abstract expressionist before turning to repeated depiction of circles in his later years. These are reminiscent of ‘satori’, the enlightenment of Zen. He said he could not manage to paint even one circle with satisfaction, saying this is an indication of the depths of his pursuit of this form. No two of his circles are shaped exactly alike, amplifying this struggle. The Gutai group were advocative of novel art, avant-garde and originality. Works using mud and frames, logs and vinyl developed into performance art making use of space and violent physicality. The concept of linking material with creativity was the underlying principle of Gutai: participatory environments taking the form of organic or geometric abstract sculptures. These incorporated kinetic light, sound art. The works transformed exhibition spaces into chaotic machine-like organisms; environments drawing from contemporary architecture, technology and urban design to promote a futuristic aesthetic.

R E S E A R C H

JIRO YOSHIHARA

OWN INTERPRETATION

INTERPRETATION

WHITE

BLACK INTERPRETATION

(PHOTOSHOOT CONTACT SHEETS)

GUNTER BRUS

The work of Gunter Brus is incredibly violent and disturbing, I have selected some images which are less so. I am interested in the aggression of the work. There are links to both Richard Avedon and Cope/Arnold here; the black and white, the relationship to space and structure, the figure, the swathing/ veiling. The difference here is the contortion of the body , the tension and trauma in opposition to the absent calm of the figures in Cope and Arnoldâ&#x20AC;&#x2122;s work. The relationship to space and the use of black paint is interesting.

The work of Hoejlund is a more stylised adaptation of that of Richard Avedon; the fashion motive, the black and white. I am interested in the use of black paint and the use of the human form to suggest art as opposed to human state. The figures are almost imitating art, embodying it. I like the structure of the images.

NIKLAS HOEJLUND

BERTIL NILSSON

The installations of Claire Waffel overwhelm a space with delicacy and tension. I am interested in this work with reference to the structure and architecture of the environments in Cope and Arnoldâ&#x20AC;&#x2122;s work. This use of thread strikes me as an effective method of bringing structure into a space which may not posses angles; such as a natural environment. This is an idea I may use in further shoots, bringing structure to feral forms.

These photographs are writing with texture and colour. There are strong links to the theme photographs I took in relation to surface; involving the human figure with decaying surface and forms. The images are emotive and rich in aesthetic. I could attempt to continue some of these ideas in my work; the paint, the peeling and curling, the merger of these things.

CLAIRE WAFFEL

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SURFACE

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This series of images investigate decay of surface by different means; human action, weathering or time. It is an interesting subject matter because of the textures available,the colours are richer or more washed out, the surfaces aged and there is more literature to a place, more of a story. I enjoyed the process of photographing these also, the exploration involved. The question is raised as to whether a place has more or less life as a result of these processes. The answer to this lies in perception of how a place should be, perceptions of beauty and comfort. Some appreciate history and aging far more than cleanliness and perfection. There were challenges in the sense that each different place I photographed had a different quality of light, different conditions and shade. This means I had to be conscious of changing camera settings to suit light conditions as to best capture the surface concerned. I have noted the camera settings of each image aside it. The aging of a place seems to bring it closer to nature, contradictory because in effect in nearing death it is closer to life. This concept is really quite powerful and representative in many helms; spiritual, ethical and philosophical. These images reinforce my investigations of space, exploring the way in which surface and texture can influence a mood or message of an image. Utilizing such textures in further shoots as either subject matter of focus or as surrounding information could strengthen my study. This question of life and death, relationship with space and the perception of ideal is paralleled in photographing surfaces like these. I found, however, that photographing a flat surface like these images is fairly limited in terms of composition and depth. This realisation is fairly obvious however it poses difficulty because it is not possible to capture the same degree of texture if I were also focussing on effective composition. This is a hurdle I will tackle when experimenting with incorporating the textures into a space and composition; I cannot really foresee how this will work out.

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THEME PHOTOGRAPHS

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THEME PHOTOGRAPHS -

NEGLECT

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This series focuses on inanimate objects / buildings showing signs of abandonment or neglect. This is interesting as it draws attention to the overlooked and the dismissed. There is such intense texture in such areas that there is huge potential for strong aesthetic and concept to be captured. Textures and fading, chipped paintwork, piles of rubble, overflowing bins and poorly maintained appliances. All these scream death and life, the redundancy of an object or a place diminishes its use and therefore its life, photographing them lends life again. There is an energy given to such things through the medium of photography that they would not otherwise posses, they are overlooked and ignored. When photographed they become a source of interest once again. This idea of neglect is paralleled in the theme, in the work of cope and Arnold especially in their Putesco series. The photos I have taken here were incidental encounters,

noticing occurrences I might otherwise overlook if I were not purposefully looking for inspiration. There is a power and ethereal quality to objects and places seen as redundant. It is as though they are beyond humanity and demand all together. They have experienced purpose and need and have gone beyond these to an existence neither purposeful nor useless. An in between as it were. These things give context to our surroundings, a story and history which has no other means of conveyal. I especially like the far left photograph on this page, the composition is effective and the colours intense. The texture is rich with aging and decay which lends a depth to the image which would not be achieved with a clean, cared for surface. The sense of neglect is something I can develop, be it a person or an object or place which is neglected, there is a death and simultaneous new life in this abandonment which strengthens my investigation.

This spread demonstrates my investigation of experience of a space. One’s relationship with the space they are in, the interaction they have with it, what they take from that space in their experience of it. There is a structure in all the images here, a perspective captured which allows an audience to fleetingly experience what the photographer captured. This is the fundamental purpose of photography in a way. ‘Looking through’ is a title I have encountered before, implicit of experience, judgement, understanding and interaction. Depending on the place in question, a new understanding is gained. Be that of aging, architecture, history or of the life of another, looking through poses a separation and simultaneous intimacy. I especially like the top far right photograph on this page. The isolation in the image gives a mood of distance, enclosing. The mirrored lines, the central light, shadows placing and neutral tones capture this. There is uplifting and moodiness set within each other here which is interesting. Questions are raised about the space and its purpose. So little is given away in just the photograph. The below image is highly effective also, there is an irony about it, a suffocation. Abundance of light and life and beauty, enclosed behind a caged window and stained walls.

THEME PHOTOGRAPHS -

LOOKING THROUGH

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STRUCTURE:

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In these images I was attempting to capture the perfection and refinement of space. Where I have also looked at decaying, aged spaces these images pose a contrast, an enhancement as a result. Architecture and design evolves constantly, aesthetic and preference unsteady. I have explored a variety of locations and purposes. The images are an attempt at bridging the gap between inanimate and the living, creating relationship. There is a question of what is living and what is not. When a space is alive and thriving and glowing through simple tools of texture and light, is it alive? Or simply playing a role and serving purpose? The evolution of perception is in play, how we experience a place changes dependant on our own state, on the light and on the age of that place. Relationship with light and space interest me here, the reflections of light. The far left image is especially beautiful, the white and clean cut dimension creates an intensity and a calmness. The space is overflowing with light and air. The composition and positioning of light and shadow here is successful also. Linear tools used to direct the gaze and focus.

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Continuing this investigation of space, I photographed spaces filled with erosion specifically, aged or neglected but purpose built and structured. There is rich texture in the weathering of a stone or paint work, the gradual aging and crumbling of a join. The images have structured compositions and strong light quality, the shadows accentuated and the decay is beautiful. I am interested in the way photography makes things more beautiful, as with the â&#x20AC;&#x2DC;neglectâ&#x20AC;&#x2122; series previously it is interesting to juxtapose visual stimuli in this way; isolating detail of the frequently encountered so that it becomes unusual, irregular and unique. Balancing light and settings when taking these photographs posed difficulty because many of the locations of photographing were indoors / under covering meaning the light available was very limited, setting up the camera to meet this was a challenge.

THEME PHOTOGRAPHS -

STRUCTURE:

EROSION

TECHNIQUES:

SCANNING The images displayed on these spreads are an exploration of the contemporary photography technique names scannography. The shallow depth of field and level of detail is unique to the technique, and characteristically unusual in aesthetic. This â&#x20AC;&#x2DC;squashedâ&#x20AC;&#x2122; appearance is interesting, and the light source unmatched in any other technique of capturing an image. The result is a very two-dimensional effect, achieved with the degree of focus and depth of field. In these experimentations I have been further pushing the definition of still life by placing the objects photographed throughout my project in a new environment, a practically non-existent one, whereby a new perspective on them can be easily gained. I love the degree of detail. Where I have included my hands in the composition there is a development on my initial interpretation shoot. The stillness of the technique as well as the impression of being pressed against a barrier amplifies my exploration of death and absence.

GUNTER BRUS

NEGLECT AVEDON COPE & ARNOLD

FAR

NIKLAS HOEJLUND

TEXTURE STRUCTURE

LOOKING THROUGH

EROSION

DECAY

L I VS.F E DEATH THEATRE

CLAIRE WAFFEL

NILSSON

{

YOSHIHARA

DESICCATION

state. I will continue to use the same objects as I have been using thus far to capture a continuity in the series. There is a feral, inhuman sense to the most recent shoot which I feel captures my intentions well, I hope to continue this. It dehumanises my subjects in such a way which is coherent with the still life set up of the shoots I have carried out. The rich textures in my initial theme images has been carried through the shoots I have done which I hope to continue also.

{

From this point I would like to develop my investigations thus far influenced predominantly but Cope & Arnold and by Richard Avedon. Continuing my experimentation with still life photography and portraiture, I will move my shoots outdoors. This shift will aid the diversity in my work, it will pose a challenge with lighting and conditions of the shoot which I believe will strengthen my project. My intentions with a further shoot are to capture texture, space, light and the human

STILL LIFE / PORTRAITURE / DECAY / FRAGILITY

RESHOOT:

In this re-shoot my intent was to develop on previous investigations as well as incorporating new artist inspirations and themes. Approaching questions about the definition of still life - whether the incorporation of a human form in a still life set up prevents it from being a still life or if the human form is subsequently no longer human but then object. Themes of life and death, objectification and decay. Where before I have carried out my photo shoots indoors in a stylised set up, in this re-shoot I took the stylisation into a more natural setting. The location was selected with the aim of finding somewhere that had depth, dimension, a sense of space and elements of life and decay within it. I wanted to be able to juxtapose the nature against the cleanliness of a studio set up, combining inspiration from Richard Avedon as well as Cope and Arnold. Throughout the shoot I had my model in different clothing and different positions, I applied and reapplied makeup between photographs to explore different possibilities. I have retained the same still life objects as used in the initial interpretive shoot and the first re-shoot. Make up style (as displayed top right) was an attempt at an impression of decay and infection, further objectifying my model and brining her closer to her surroundings. Inevitable difficulty was found in the lighting, being outside light is changing constantly so settings must be constantly adjusted to accommodate this. I tried to capture a wide variety of compositions and angles along with range in subject matter. Using white and black representationally and aesthetically as I have previous, and colours of decay which I have found effective in these functions also as well as taking inspiration from my photographs of buildings and textures.

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The use of fabric in my photographs has, from the be- f4.5 ginning been inspired by the veils used in Cope and Arnoldâ&#x20AC;&#x2122;s Vedas series; the ethereal forms and their anonymity in their concealment. This concealment blocks conception of features or understanding of motive, thus separating the individual pictured from the audience. The separation subsequently leads to objectification of that individual for lack of relationship. In this small series of photographs I intended to investigate this concealment. The contrast between the fabric and the textures holds a strong aesthetic and the compositions are strong in these images. In editing them I made the black deeper and the textures more defined. The three edits directly to the right here represent subtle differences in colour and saturation.

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BODY VS. STILL LIFE

In this series I am investigating the question I asked previously, regarding the consequence of merging still life and portraiture. I was interested in the aesthetic of course but primarily, in arranging the human form with objects in potential set ups I have created compositions addressing this question effectively. In development I could create a stylised set up similar to my original interpretation shoot only with a whole figure involved also. The images displayed here are effec-

tive, I found the gaze of the individual to be effective in engaging the audience. The warmth in a photograph massively influences itâ&#x20AC;&#x2122;s impression, for example the contrast between the images above and those directly to the right here, the mood is drastically different with the colour scheme involved. There is an abundance of texture in the images which is reminiscent of decay and erosion, reflecting that photographed in my theme photographs as well as previous interpretations.

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QUESTION:

IN PLACING A

H U M A N

FIN AOSTILLR LIFE M SET-UP, DOES THE

FORM CONTINUE TO BE

ALIVE

OR IS IT THEN, AS A PRODUCT OF THE PROCESS, AN

OBJECT?

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SPACE & DIMENSION

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These photographs are an exploration of the work of Claire Waffel, she fills rooms with thread/ string, capturing the dimension of the space. As my work is in part an exploration of relationship to space, and the relevance of this to still life and photography, I felt it would be interesting to explore the technique in this shoot. I pinned up string within a limited space between the trees, creating a small entrapment and sense of architecture in a largely organic environment. The string, however minimal, allowed for an immediate modification to the environment, automatic structure lent to organic forms.

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( BERTIL NILSSON )

I used paint and sprays to investigate how I could capture a sense of decay in the photographs. The textures and colours are unnatural, a separation from what we expect from the portrait. The intensity of the images is heightened from having no paint on the face and consequently a new mood is created. In editing the images I have sought to maximise the effect of the paints, increasing contrast and saturation, clarity. On the right I have duplicated a section of the image which in a way extends it. I am experimenting with presentation and impact. The colour schemes and shadows in these compositions are interesting.

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C O N C E A L M E N T

DISGUISE WITHIN ONEâ&#x20AC;&#x2122;S OWN FORM

This series explores the simple function of concealment within ones own body. Continuing to reference both aesthetic and concept from the work of Richard Avedon and Cope & Arnold. The softness of the skin and the concealment of the face creates an interest and a mystery through the creation of shadows. I especially like the composition pictured here, the way the light falls on both the figure and her surroundings is effective. There is a feral vibe received from the image, a development/continuation of the inhumanity in the previous portraiture shoot. There is a similari-

ty and flow between the figure and her environment, the colours and tones are coherent with each other. There is a softness in the inhumanity which contradicts itself. The images on the previous page display a range of possible edits and explore the alteration of the mood of an image through the colour tones and warmth in it. The cooler images reinforce the separation captured and the warmth is more contradictory, more uncomfortable in a way. The flower crown is a discussion of the still life explorations; their decay relating to Cope and Arnold as well as vantias paintings.

LIGHT

EXPOSURE

WHITE

BLACK & WHITE

E D I T S

The black and white alterations displayed here are related to the work of Richard Avedon. The black and white eliminates distraction of colour allowing focus on light, tone and detail to a greater degree. In this vein the person captured is more vulnerable, with more attention on their features and poise than when the image is coloured. In altering the images I experimented with tones, exposure, darkness, contrast, balance, clarity and definition. I like the contrast between under and over exposed images, under and over contrasted images. There is a tension in the photographs, an intense detail especially in elements such as the hands and objects. The black and white moves the photographs closer to portraiture than to still life, which is an interesting observation due to the motive behind the photographs.

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TECHNIQUES:

CROPPING

WHICH IS YOUR FAVOURITE CROP AND WHY? The cropping experiments here play with a variety of shapes and compositions from one initial composition. In cropping I was enlightened to the range of tones and colours in the image. When viewing the original as a whole it is difficult to separate individual components, but in doing this cropping process this became possible. The pallor of the face and features has huge contrast to the gold and orange hues of the hair, making the backdrop look almost blue and cold rather than the initial white impression. I especially like the crops which isolate the details of the hair and eyes; the sprayed white lends an ethereal quality to the features, this is amplified when the features are displayed in the absence of other components. There is an icy beauty to the crops, an absence in the rich detail and pale hues.

WHAT DOES CROPPING DO TO A P H O T O G R A P H ? When cropping an image one completely redesigns the composition of that image. There is an obscurity to a crop in comparison to the original image, an impression whereby it has been reconsidered, presented differently. A viewer is given only a fraction of the information which was previously available to them and there is a discomfort associated with this. An audience is less informed, which has a poetic quality to it. To a degree this takes away from the image; removing its capacity and impact. Alternatively there is greater meaning given in the fact that messages are still presented, concepts still captured regardless of the incompleteness. A whole new image and image is formulated. The tones of skin, colours of hair, fractions of the original image all hold their own importance in contribution, but in cropping become the focus and purpose of that image.

TECHNIQUES:

ROTATION/ REFLECTION

WHICH IS YOUR FAVOURITE AND WHY?

I especially think the composition to the immediate right is successful, the subject still recognisable and familiar but the duplication causing discomfort in the familiarity. There is an isolation in the original photographs which is contradicted here, contrasting the loneliness with excess. The large expanse of blank is interesting also, for actual detain in this composition is fairly minimal, the remainder over exposed and clean. The other images displayed are slightly more uncomfortable, the familiarity is more drastically removed by the grotesque quality of duplication, the features merge, questioning a viewers understanding of the subject matter.

WHAT DOES ROTATION / REFLECTION DO TO A PHOTOGRAPH? Rotating an image presents it in a different way, giving an unfamiliar, uncomfortable quality. Impressions are repeated and reflected, duplicated in such a way that components and features are confused and obscured. Especially when looking at a figurative image of a face, the result of the reflection / duplication process is quite grotesque, the features wind up twisted and distorted, indistinguishable and simultaneously familiar. The discomfort that comes as a result is interesting to me. The compositions have a modernised, futuristic impression. As though looking through a kaleidoscope at a previously rationalised subject matter.

The Harris shutter effect is created by duplicating the layers of an image and then isolating the colour channels of each. Shifting the layers left or right, up or down leads to this effect. I have shown a selection of experiments. The closer to the original position that the layers are, the less visible the variation. An illusion of motion is created. The layering created an impression of jittering, a flitting, confused tension. This is coherent with the feral mood in the photograph itself. The impression is intense and approaching the dreamlike, the surreal and uncomfortable. This technique could be interesting in combination with other digital and manual techniques, possibility I will investigate. I prefer the aesthetic of subtle shifts over obvious, so I prefer the larger image on the left over the smaller immediately left. The tension is more present, this is closer to my themes and explorations.

T E C H N I Q U E S : HARRIS SHUTTER

TECHNIQUES: C O L O U R

ISOLATION

REPETITION

WHICH IS YOUR FAVOURITE AND WHY? I think these compositions are all fairly successful, the variation in transparency provides greater interest than if the transparency was consistent throughout each. The circles were experimental but I feel they have been effective, they are far softer in aesthetic than the rectangular compositions. I especially like the middle circular composition; the image holds a lot of softness which works well with the circular forms and the layering. Experimentation with scale allowed for more depth in the overall composition.

WHAT DOES REPETITION / LAYERING DO TO A PHOTOGRAPH?

When an image is duplicated and layered in the ways demonstrated here there is an impact of confusion, as with the reflection experimentations there is a kaleidoscope like effect. However where those compositions are quite unsettling these are more calming. This is potentially attributable to the translucence, or maybe to the variation in size. Where in the previous experimentations the shapes and sizes are uniform, the variety in these is softer, less rigid and therefore gives a different aesthetic.

TECHNIQUES:

REPETITION /LAYERING

PRESENTATION INSPIRATION:

JOSE IGNACIO ROMUSSI MURPHY

TEXTILES In consideration of possible presentation of a final product for this project I have investigated the possibility of using stitch and textiles in photography. These two artists are ones which stood out to me for the aesthetic as well as the conveyal of concept they achieve. Murphy uses floral forms and magazine spreads in the pieces, the flowers appear to suffocate and embody the human form they are sewn into. The stitching replicates stump work and similar traditions whereby texture is built up. The displayed image is interesting because there is a sense of the cohesion of two images of beauty to create discomfort, suffocation and obstruction. The colour worked into the black and white raises questions of life and death which I have been exploring thus far in my photographs. Anzeriâ&#x20AC;&#x2122;s stitching is more compatible of the figure, flowing with the form and adding a graphic quality to the aesthetic. The entanglement mimics the modelâ&#x20AC;&#x2122;s hair, the lines mimic the structure of his facial features. Working into my photographs in this way opens up various possibilities - adding texture and a further aesthetic to my photographs as a result . I could stitch simple subtle texture into the images or, as with Murphy I could overwhelm the photograph with stitch. A combination of these things could be effective. As far as what I would sew into the images, I could mimic forms I have already photographed throughout the project; be that figure or still life. I could use the stitch to confuse elements of the image or to accentuate them.

MAURIZIO

ANZERI

TEXTILES

INTERPRETATION

The images displayed here are scanned copies of a printed and sewn piece I have made in reference to the displayed artists. I used a needle and thread to sew into the photograph, mimicking the existing tones and forms. I used a black and white image here in an attempt to create a contrast and an interesting aesthetic, making reference to Richard Avedon. The capturing of texture not only links to the artists displayed here but also to my initial shoots in relation to the theme, as well as photographers such as Bertil Nilsson. I like this technique as it creates a further layer and dimension in a printed photograph, and clearly also in a digital one. The paradoxical printing and manipulating and scanning and printing again is representational in a way of processes of living and decay. Themes I have been exploring in photographs such as these.

JESSICA

RIMONDI

The second possibility I have investigating regarding my final piece is painting over the images to both confuse and accentuate. The very action of layering material over image strengthens my concepts of decay and disintegration; the destruction of a composition to mimic the destruction within it. There is also an absent quality achieved with this technique, as displayed here, which is paralleled in the concepts I have been exploring. The artists displayed deal with expression and identity, the human state and its replication. The blank backgrounds and expression shows strong links to the work of Richard Avedon with his portraits ad trademark white background. The distortion and absentness, the disappearing of the form, these things are resonant in the work of Cope and Arnold. I could experiment with painting over my photographs to explore the effects, investigate the subsequent aesthetic. It might me key to stick to monotone shades, in relation to my main photographersâ&#x20AC;&#x2122; work.

PRESENTATION INSPIRATION:

PAINTING ROSANNA

JONES

P A I N T I N G INTERPRETATION

These manual alterations are done in the effort to investigate the implication of layering material on top of an image. Due to my knowledge of the paper I had printed onto I was more about to explore this effectively. The image on the right was achieved using acrylic, watercolour and just water to distort the existing inks. The absorbency of the paper means the addition of the water makes the colour run, whereas acrylic paint sits on the surface of the photograph. Both have very different effects and aesthetic achieved. I am pleased with the result, in scanning the finished image to a file I was able to edit them digitally also, altering colour values, clarity, saturation and so on. There is a new aesthetic achieved which is interesting in comparison to untouched images.

C O N A L

D E E N E Y

ANNETTE MESSENGER

ESTER

STOCKER

PRESENTATION INSPIRATION:

FRAMING

The possibility of using frames in my work is appealing, there could be possibility of a strong reference to the structural environments captured in the work of Cope and Arnold, as well as my investigation of relationship to space through my photographs. Frames could represent containment, structure and architecture. There would also me a link to the initial photographs I took in this theme; the images of architecture and environment. The artists displayed here use frames in containment and suspension. I might aim for a more orderly presentation; closer to Stocker than to the other two works displayed. The angular forms appeal to me especially in contrast with the organic forms and figures I have been photographing.

COLLAGE/ MANIPULATION

LAURA

(

PRESENTATION INSPIRATION:

The images on this page demonstrate my investigation of the possibility for manual manipulation of my images. Techniques such as collage, cut outs, separation and layering. All these things could strengthen my concepts of decay; the changing of a form serving as its disintegration. This can, however be orderly, which poses a different form of decay than I have been exploring in my photographs thus far. Destruction of an image in a structured, orderly fashion could contradict the feral, natural decay in my images. I especially like the work of Strempler, the layering and colour scheme is interesting.

GUARIE

COSTANTINI

)

ANDREA

HTTP://JACB.ME

JONATHAN GREGSON W. STREMPLER

C O L L A G E

INTERPRETATION Experimenting with collage with my photographs, investigating the layering and space of the photographs. This technique challenges the dimensions and depth in the images respectively. The light and an audienceâ&#x20AC;&#x2122;s understanding of this is confused and edges are questioned. The representational value of this layering has strong links to the set up of a still life for example, the shadows and light sources playing primary roles. For example in the top left image, the light sources are contradictory, which confuses the composition.

OB LTEHA EC RH

CSTITCHO + MCOLLAGEB (I W.N STREMPLER I N G)

These images were created using bleach on a photograph. The image was printed onto cartridge paper, which because of its absorbency takes to the bleach very effectively in a way photo paper would not. In altering the images digitally I was able to mute certain tones which was interesting. The black and white versions are effective.

COMBINED TECHNIQUES

These past two spreads display a variety of experimentations combining the digital and manual techniques I have been exploring through the project. Layering, reflecting, rotating, transforming, recolouring and duplicating. Predominantly discussions of aesthetic, the compositions create a new understanding of and perception on the photographs shown. Applying digital techniques to manually manipulated photographs is interesting, the aesthetic is cleaner than the manual alone and more intriguing than the digital alone. It is a definite possibility to incorporate these digital manipulations in my final piece, displayed next to manual techniques and untouched images a process is captured. This process and consideration of presentation, the refinement and theatre is resonant in the work of my most influential photographers. The layers and duplications have strong links to the theme in the sense that perception and experience is twisted and manipulated, pressure is a sensation associated with perfection and compromise. My own interpretation and discussion of the theme, addressing still life, portraiture and issues of life source and importance, are captured in a similar way. The association of arrangement and selection, intent and incident is visually represented in these compositions.

POSSIBLE IDEAS: PROPOSALS:

FRAMES The notion of using frames as the format for my final piece is inspired firstly by the tradition and history of still life painting. The genre dates back centuries and in presenting my work in such a simple, traditional way I would be paying tribute to the presentation valued by such artists. Secondly the traditional and clean style of photographers Cope & Arnold is reminiscent of such a presentation format. The Vedas series shows cleanliness and tradition to the maximum; white and black, right angles and portraiture. The Putesco series reflects tradition of still life work and vantias messages. The use of frames in my final presentation would reflect these aesthetics and concepts. Finally works of Richard Avedon, Conal Deeney, Ester Stocker and Annette Messenger reflect adaptations of tradition also; presentations, cleanliness and history in a modern method of working. In addition to these factors, I feel that the presentation of my manual and digital alterations within such a clean presentation has potential to amplify their strengths and minimise any degree of confusion or messiness which could occur with the application of medium and effects. I have learnt within my experimentations with manual techniques that they are

most successful when applied to cartridge paper then consequently scanned into a digital format and altered digitally. If I were to frame the manual product in itself, the nature of the cartridge paper has potential to reduce the quality of otherwise excellent photographs. This disadvantage is overcome with the scanning and re-printing of the images. In these frames I would include a variety of techniques both digital and manual. I would be aiming to achieve utmost quality in the manual techniques, refinement and skill. Digital alterations would use both original photographs and manual scanned copies. These edits adhere to my interest in texture, decay, composition, space and layering. These have been my main interpretations of the theme. In the most literal sense, the application of medium and manipulation to a perfect image is, in itself a reflection of the theme; flaws, compromise. The content of the images explores still life (in itâ&#x20AC;&#x2122;s definition the study of objects, through time the study of perfection, riches, the futile and mortal) and portraiture (again an exploration of perfection and the human state, frequently used in fashion and documentation. Recordings of ideals and suffering).

POSSIBLE IDEAS:

PROPOSAL 1 SQUARES In the vein of discussing tradition in presentation, squares and organisation of arrangement is a possible method. The order of this presentation allows for centralisation of a particular image and peripheral focus, a direction of gaze. An issue that could arise in this arrangement is the possibility of difficulty with selecting which composition goes where. The psychology that comes with observing a visual arrangement is complex, and it is possible I would not be successful. Another problem

might be that I would not be able, aesthetically, to include black and white photographs in the arrangement in combination with the coloured images. This would be a disadvantage because firstly my interpretation of Richard Avedon is strengthened with my black and white photographs and secondly these are some of my most effective images. However despite these issues the arrangement is an effective one aesthetically and I feel the impact could be successful.

POSSIBLE IDEAS:

PROPOSAL 2 BLACK & WHITE

This second presentation idea tackles the issue I had with the first proposal, that being the incapability to include black and white photographs, thus inhibiting my interpretation of Richard Avedon as well as reducing the variety and success of my work. By creating two identical arrangements, one black and white, one coloured, I am able to not only present a contrast but also I am able to cleanly and effectively present my work with structure and variety. The photographs would be successfully minimal and simultaneously I would be displaying enough images to exhibit a range

of techniques and composition. Slight separation of the black and white against the coloured has potential to emphasise the strengths of each as well as presenting comments about perception and impression, the versatility in our understanding of a single stimuli. The contrast could also be representative of my investigation of the definition we give to life and death; the way these manifest etc. Even from this vague mock up I can see it is effective to contain the confusion and layering of the techniques, the raw textures within the finite borders of the frame.

POSSIBLE IDEAS:

PROPOSAL 3

IRREGULAR A possible development of proposal 1; presentation of images in a large number of irregularly shaped/sized frames, contained within a single, regular boarder. This idea would have a large impact visually however, as with proposal 1 I would not be able to include black and white images which raises issues regarding the interpretation of Richard Avedonâ&#x20AC;&#x2122;s work, as well as with the display of successful imagery. The images displayed here are just possible ones, as stated, each would be a digital or a manual and scanned manipulation of my work, or an original photograph. Issues with this presentation also include the probability that I would find difficulty obtaining the frames I require.

FINAL PLAN: (proposal2) BLACK & WHITE (POSSIBLE ALTERNATIVE ARRANGEMENTS) The minimal number of frames will allow for reduced confusion, in contrast to what might occur with the larger number. The design also allows for inclusion of my black and white images. Displayed here are a selection of possible arrangements for the final piece. Ideally I need a variety in orientation as to allow for display of most effective compositions.

28 cm 24 cm

LAYERS TEXT

COLOUR

Here I will create a digital composition made up of scanned manual manipulations, possibly stitch, in my experimentation I found the circular layers most effective. I will apply different opacities to the layers.

22 cm 18 cm

DIGITAL

DISJOINTED TENSION

A digital combination of both digital and manual manipulations, possibly painting, a disjointed, structured image with texture and tension. Black and white image.

OPACITY + SCALE

REFLECTION This composition will be a purely digital alteration experimenting with reflection and layering, the structure of space in Vedas series with the texture of Putesco.

SIMPLICITY + CLEANLINESS

TEXTURE

ROTATE

A combination of digital and manual manipulations, pre-existing experiments which I have found to be highly effective, reflection and rotation also.

22 cm 18 cm

S T I T C H A simple scan of a manual manipulation, possibly stitch, confined to a small area of the photograph as to amplify and not inhibit the existing strength in the image.

A digital alteration of a manual manipulation, stitch into an image in the style of Claire Waffel, creating space and tension, digital tools to create a more interesting composition.

STITCH/ LAYER

17 cm 13 cm

In this frame I will place a combination of my water colour / ink run technique and collage, creating a composition with a degree of illusion in dimension and aim. I may involve text in relation to the verbal communication I have used in this document and my conceptual values in the piece.

DOCUMENTATION OF MY MAKING

PROCESS The photographs here are a documentation of the processes I went through in the making of my final piece. I initially printed my photographs onto cartridge paper (140 gsm) and these were on A4 size. I imposed the planned techniques onto these in an effort to create textural and effective compositions. Techniques included; stitch, collage, cut through, text, water, running inks, water colour, acrylic, bleach, and stitch. The techniques themselves, especially the stitch, were time consuming when aiming for a high quality of working. I was not as pleased with the acrylic tech-

nique as I was with my preliminary experiments, I feel it could have been better executed however the scanned and edited version is successful in my aims despite this flaw. The cut out photograph could also have been executed better however, as with the acrylic, the scanned and edited version has been successful. In the enlarged images it is clear of the detail in the stitching less visible in the other photographs, of the time taken with the work. These compositions were consequently scanned into files at the highest quality of image possible. These I have displayed opposite.

INITIAL

SCANS Displayed here are un edited versions of the scanned manual images. The nature of the scanner leaves the images slightly over exposed, this is corrected with subtle alterations in exposure, saturation and contrast. These images are in part what I carried through to my final piece, in combination with original photographs and digital manipulation.

FINAL P I E C E PHOTOGRAPHS

Through the project I explored a variety of threads, both conceptual and technical, all of which were relevant to the theme in some capacity. I explored the work predominantly of Richard Avedon as well as the Cope and Arnold collaboration. In addition I took inspiration from artists such as Jose Murphy, Jessica Rimondi, W. Strempler and Annette Messenger, all of whom use manual manipulation and presentation to explore Their imagery. Portraiture and still life genres of photography

were the two main areas I experimented with, ultimately I wound up creating a tension between the two, presenting a portrait as a part of a still life and vice versa, I was interested in the implication of this. I explored texture and decay, humanity and consciousness, and stylization of a photo shoot. Cope and Arnoldâ&#x20AC;&#x2122;s work is stylized down to every detail, their preparation and planning for a series is endless and refined. Richard Avedon shows some variation in stylization with variation in motive. Where photographing for documentation the images are very naturalistic. However in his fashion and portraiture work there is an element of design to the shoots as one might expect. But despite this there is honesty to the images, which is part of his philosophy of photography. I took this rawness and adapted the use of the blank white backdrop into my work throughout. This eliminates distraction and isolates the subject in such a way that is effective with the subject matter I have been using.

EVALUATION OF PIECE AND OVERALL PROJECT

As a final outcome for the project I have produced A collection of frames containing a selection of compositions. These compositions are made up of digital and manual manipulations of my photographs taken throughout the project, those I felt were most effective in exploration of my concepts and were most technically successful. I wanted to include both black and white photographs and coloured ones in an effort to exhibit variety and my most effective workings. The manual techniques I carried out involved stitch, painting and collage. These were done as a consequence of successful experimentation finding they create texture and interest in an image. The digital techniques used involved both the manual manipulations as well as untouched images. I duplicated, rotated and reflected the images as well as adjusting opacity, contrast, saturation, clarity and exposure. This arrangement of frames is a traditional approach to the presentation of contemporary workings. This tradition was inspired by the work of Cope and Arnold who use traditional method and inspiration to create immensely creative and revolutionary images. The cleanliness of the frames holds a visual link to the infinite spaces depicted in the collaborationâ&#x20AC;&#x2122;s Vedas series.

The work I have created addresses the definitions we give to portraiture and still life, texture and decay alongside cleanliness and refinement. In relation to the initial theme, issues of life and decay are intrinsically linked. The expectation we place on art or genre leads to rebellion and compromise, resulting in diversity and exclusion. These interactions are what I have been exploring in my work.

My personal growth during this project has been beneficial, I have a greater understanding of technicalities in photography as well as fulfilment of conceptual intention. I have improved in my ability to understand and interpret the work of other artists and photographers in relation to my own concepts and intentions.