Kate palmer e book by Kate Palmer

PHOTOGRAPHY FLAWS | PERFECTION | IDEALS | COMPROMISES

K AT E PA L M E R 0 1 7 7 - A 2 P H O T O G R PA H Y

FlAWS|PERFECTION IDEALS|COMPROMISES Title Page 1 Contents 2-3 Statement of Intent 4-5 Mind Map 6-21 Photographerâ&#x20AC;&#x2122;s analysis & interpretation 22-52 - Martin Parr

22 - 27

- Alina Szapocznikow

28 - 35

- Stephen Gill

36 - 41

- Irving Penn

41 - 46

- Jiro Yoshihara

47 - 52

Photoshoot based on the theme 53-60 So Far 61-62 Techniques 63-72 Possible Ideas 73-80 Evaluation 81-84

CONTACT SHEETS 85-115

[Left - Alina Szapocznikow]

S T A T E M E N T OF I N T E N T What is your chosen theme and why have you chosen to study this? My chosen theme for my A2 photography exam is ‘Flaws, Perfections, Ideals and Compromises’, whilst specifically focusing on the subtheme of ‘Flaws and Perfection’. I chose to study this theme as I believe it will allow me enourmous scope to explore and specialise the skills and techniques I have learnt throughout A-level photography.

Which artists, photographers and galleries do you intend to research in order to suport this project? I intend to extend my knowledge of this theme and support the project by visiting a variety of exhibitions and museums, such as the Tate Modern and the National Portrait Gallery, where I will visit displays such as Lord Snowden’s ‘A Life in View’ exhibition. I will also research artists and photographers such as; Stephen Gill, Rita Berstein, Cornerlia Parker, Alina Szapocznikow, Irving Penn, Aaron Siskind, Rubens, Martin Parr, Elliot Erwitt, Richard Avdeon, Ansel Adams, Turner, What research do you intend to Friedrich, John Pfahl and Jeff Wall. Each of these carry out based on this theme? artists/photographers will influence by ideas and To produce a successful, creative and unique final piece help to extend/build upon my knowledge of the I intend to carry out a variety of research centred around theme ‘Flaws, Perfection, Ideals and Compromises’. the theme. I will research and interpret a variety of both artists and photographers, such What techniques with the camera and photoshop as the work of Irving Penn ‘In would you like to use to help develop the theme? Transit’ - an editorial piece represented ideals of Throughout this project, I will use a varieairport shopping whilst featur- ty of techniques with the camera and photoshop ing a flawed display. I will also to help develop my theme. I will explore both extend my knowledge of this theme manual and automatic techniques on the camby visiting exhibitions and museums. I era (helping to portray themes of ‘Flaws and hope to explore all options in terms of Perfection’ through focused and blurred work). I will media and visual exhibitions to build up an intricate also use a variety of ISO, aperatures and shutter speeds to understanding of my chosen theme, which will emphasise features within my photoshoots. I will also allow me to project my influences and ideas into my work use digital techniques, such as using Photoshop CC and final piece. I will also create a Pinterest account to and Bridge to edit photographs I have taken. I will also maintain and gain inspiration from a vari- construct an E-Magazine, using the InDesign software. ety of outlets, furthermore, aside from creating an E-magazine, I will maintain a What do you hope to learn more about in doing website in which to document my ideas and work. this project? In doing this project, I hope to learn more about the theme What photoshoots do you intend to complete of ‘Flaws, Perfection, Ideals and Compromises’. I will during the project to help explore the chosen topic? carry out extensive research on a variety of artists and I intend to capture a variety of photo- photographs, which will allow me to speshoots, centred around each sub-theme. cialise and finalise the skills I have learnt I will involve myself in a number of throughout the A-Level photography course. photoshoots, both inside and outside the school environment to progress my ideas - both capturing spe- What do you see your final format as being? cific photoshoots influenced by certain artists but also I see my final format as being a 2D series of photobroader photoshoots to indulge in creativity. I hope to graphs [3-5] taken from my favourite photoshoot, with include a variety of photographic genres into my work, a variety of manual and digital technqiues applied to for example - photojournalism, portraits and still lifes. them - ones that I have learnt throughout the course.

[Left - Alina Szapocznikow]

FLAWS PERFECTION IDEALS AND COMPROMISES MIND MAP

On these following pages I have chosen to research a series of photographers and artists whom were referred too in the A2-Level photography exam booklet. There is variety between each artist/ photographer etc. shown below, whom each have their own personal style. Each person represents a different photographic genre and identifies with atleast one subtheme under the heading of ‘Flaws, Perfection, Ideals and Compromises’. I found the research interesting and

extremely useful in helping me to fully understand the meaning behind my chosen theme. Each photographer/ artist who has been researched has allowed me to look further than the immediate pairings linked to my chosen theme and made me think ‘outside the box’. On the following pages, I have displayed my favourite image from each notable person, accompanied by key words relating to both the photograph/painting and the artists/photographers lifestyle, achievements and inspiration.

JEFF WALL Flawed, composition, poverty, dirt, dust, mess

JOHN PFAHL Flawed, composition, perfection, symmetry, nature

FRIEDRICH Flawed, graveyard, mist, shadow, midground

TURNER Perfection, golden, reflections, oil

ANSEL ADAMS Perfection, contrast, monocrome, high tones

A n s e l Ad a m s | A m e r i c a n p h o t o g r a p h e r a n d e nv i r o n m e n t a l i s t | B l a c k a n d w h i t e | Na t i o n a l Pa r k | P r e s i d e n t i a l Me d a l o f F r e e d o m 1 9 8 0 + Ha s s e l b l a d Aw a r d 1 9 8 1 |

RICHARD AVEDON Perfection, editorial, fashion, ideals, typification

R i c h a r d Av e d o n | A m e r i c a n f a s h i o n a n d p o r t r a i t p h o t o g r a p h e r | D e f i n e d A m e r i c aâ&#x20AC;&#x2122;s i m a g e o f s t y l e | 1923 - 2004 |

ELLIOT ERWITT Perfection, monotone, ideals, masculine, gym

E l l i o t E r w i t t | Ad v e r t i s i n g a n d d o c u m e n t a r y p h o t o g r a p h e r | B l a c k a n d w h i t e | C a n d i d | M a s t e r o f He n r i C a r t i e r- B r e s s o n s’ ‘ D e c i s i v e m o m e n t’ |

MARTIN PARR Ideals, culture, age, beauty, perfection

M a r t i n Pa r r | B r i t i s h d o c u m e n t a r y p h o t o g r a p h e r a n d p h o t o j o u r n a l i s t | S a t i r i c a l | anthropological |

IRVING PENN Perfection, Vogue, Ideals, power, social class

RUBENS Ideals, perfection, flaws, ancient, rich, god

Perfection, rich, colours, contrasts, composition, ideals, solider, brave, knight, protection, saviour, sacrifice, flawed, beast, killing

AARON SISKIND Flawed, graffiti, deviance, perfection, compromise

A a r o n S i s k i n d | A m e r i c a n p h o t o g r a p h e r | Ab s t r a c t e x p r e s s i o n i s t m o v e m e n t | Guggenheim Fellowship for Creative Arts, US & Canada |

STEPHEN GILL Perfection, Hockney, compromises, flowers

ALINA SZAPOCZNIKOW Flawed, perfection, beauty, body, cancer, conflict

RITA BERSTEIN Perfection, beauty, pure, symbol, ideals

PARR Photographer’s analysis & interpretation

Martin Parr is a British documentary photographer and photojournalist, born 23rd May 1952. He is known for his photographic projects that take an intimate, satirical and anthropoligical look at aspects of modern society, particularly within social classes of England. His most notable projects include: The Last Resort (1983-85), The Cost of Living (198789), Small World (1987-94) and Common Sense (1995-99). Parr sites his grandfather, an amateur photographer and member of the Royal Photographic Society as his influence from an early age. Parr’s photography is famous for its saturated appearance, with each photograph being captured with use of a macro lens which allows him to put his subjects ‘under the microscope’ in their own environment, giving them space to expose their lives and values in ways that often involve inadvertent humour. As mentioned on his website, at first glance his photographs appear exaggereated and grotesque. The motifs he chooses are strange, the colours are garnish and his perspectives are unusual. However, each of these aspects is what seperates him and dinstinguishes him from other photographers. Parr has been awarded a large variety of awards and honours, including the Honorary Fellow of the Royal Photographic Society in 2005 and a Lifetime Achievement Award in 2008. Parr’s work delivers a unique and unusual perspective of Britian’s desire to be ‘perfect’, and his work is extremely compatable with theme of ‘Flaws and Perfections’. In photographing the British public, who are trying to achieve a sense of perfection, he contrastingly and indirectly photographs their flaws. “The fundamental thing I’m exploring constantly is the difference between the mythology of the place and the reality of it... Remember I make serious photographs disguised as entertainment” - Martin Parr

MARTIN PARR T h e “ L A S T R E S O RT ” a n d o t h e r c o l l e c t i o n s

PARR Photographer’s analysis

The photograph above is taken by Martin Parr for his photographic series ‘The Last Resort’. Here, Parr is trying to communicate the common need of the British middle class to appear ‘perfect’. However, the women is burning herself, thus providing a flaw - connecting to the theme of ‘flaws and perfection’. The saturated tones of the photograph, and increased red tones, emphasis the holiday, warm atmosphere. The photographs pigments also reflect the nature of the photograph, the hot sun and the subject burning. The women is lying on her back, on the beach on a towel, with her hair sprawled out, in a bikini and yellow sunglasses. The women appears relaxed, which is suggested by her open pose and closed eyes. This particular subject matter reflects the class and society issues within the late 1900s. Whereas in previous historial periods, such as the Victorian era, women were desperate to keep their skin pale and often used chalk to stain themselves. However, this photograph clearly shows the changes in trends within British society, as by the 1980s, the time period when this particular photograph was shot, the women is burning her skin in order to achieve a tan. The composition of the photograph is very appealing and aesthetic, there is a variety of warm tones, such as red, pink and crimson. The yellow sunglasses are a clear contrast, drawing connections to the sun and lastly, the white circles around the lady’s eyes signify her actions and the effects. Parr was a photojournalist, which suggests that this photograph was not entirely stylized or set up. However, the arrangement of hair framing her face

suggests otherwise. The photograph was taken on a beach on a sunny day, thus the lighting would be natural and directly above the person photographed. There is a little depth of field, as the camera is relatively close to the subject. The whole photograph is in focus, however the focal point is situated on her eyes, emphasises by the colour contrast of her skin. The distance between Parr and the lady captured is relatively small, measuring only a roughly 30cm away as her arms and torso are cut off from the print. All the main aspects that an audience would associate with a beach outing have been included e.g. sunglasses, bikini, towel and sand, but lack of suncream (which symbolises Parr’s humerous side). In terms of composition and blocks of colour, there are three main distinctions: the towel (beige and crimson stripes), her skin (various tones of red and blush) and her bikini (purple, red and pink). The composition helps the audience to digest the photograph, which at first glance would appear overwhelming in colour and content. The use of patterns, particularly the contrast between the dots on the bikini subjected next to the stripes on the towel further emphasis the close contrast between perfection and flaws. The colours within this photograph have been over edited, by increasing the saturation, thus add a comedic effect and show an exageratted view of reality. I have chosen to study Martin Parr as I find the context and saturations within his photographs very unique and unusual and thus often debated - a sign of success, and this is a skill I would like to interpret into my own work.

PARR Photographerâ&#x20AC;&#x2122;s analysis

A i m i n g f o r p e r f e c t i o n - t a n - f l a w e d - b u r n t , m a k e u p, a g e , b o d y, i d e a l s - B r i t i s h s u m m e r

PARR Photographerâ&#x20AC;&#x2122;s interpretation

F: 2.2 // ISO 50 // 1/30

F: 2.2 // ISO 32 // 1/350

PARR Photographerâ&#x20AC;&#x2122;s analysis

In these photographs, I have tried to interpret the style of Martin Parr. I took inspiration from work, which in particular portrayed British ideals. I chose complete my photoshoot in an outdoor setting, around London, in natural daylight. I captured famous symbols that are often associated with Britain, and in particular London, for instance: the tube station, the underground sign, a red telephone box and a pub. I edited these photographs in Photoshop CC and Camera raw, attempting to copy Parrâ&#x20AC;&#x2122;s famou saturated style in his photographs, however, I found this difficult to successfully implement. This is because there was no specific colour in each photograph, but just a subtle mix, so it was harder to make the photograph one hue without it looking over-edited and unrealistic.

SZAPOCZNIKOW Photographer’s analysis & interpretation

Alina Szapocznikov was a Polish sculptor, known for her sculptures, drawings and photography work. Szapocznikov was born 16th May 1926 and died 2nd March 1973. Szapocznikov, was a Jew, thus experienced the horrors of the Holocaust during her upbringing. Amazingly, she survived the extremes of the Lodz Ghettos and Auschwitz, which later served as a massive influence within her creative work. Having survived the Holocaust, Szapocznikov trained as a sculptor in Otokar Velimski’s study in Prague. She later went on to study at the Artistic Industrial Colledge and attended Paul Niclausse’s atelier at the Ecole nationale superieure des Beaux-Arts in Paris. Aside from her own previous experiences, Szapocznikov sites the works of Jean Arp, Ossip Zadkine, Henry Moore and Alberto Giacometti as her influences. However, in 1951 Szapocznikov was diagnosed with tuberculosis and returned to poland. She participated extensively in Polish artistic life and took part in numerous competitions to creat public momuments for places such as Auschwitz. After her diagnosis, Szapocznikov began to produce casts of her breasts, legs and stomach working mainly in bronze and stone. She aimed to materially document her own embodiment, and immortalize a personal language informed by her exposure to death in childhood, traumatic memories of the Holocause and witnessing premature collapse of her own body. Szapocznikov began making her famous ‘tumour’ scultpures following her 1968 breast cancer diagnosis, using resin, gauze, crumpled newspapers and photographs - intending to preserve the impermanence of the body as a source of pain, trauma and truth. Her legacy today reads as Szapocznikov being one of the first female scultors in psot-war Poland to relate her work directly to the materiality of the female body. “My gesture is addressed to the human body, that complete erogenous zone… I am convinced that of all the manifestations of the ephemeral, the human body is the most vulnerable, the only source of all joy, all suffering, and all truth.” - Alina Szapocznikow

ALINA SZAPOCZNIKOW “PHOTOSCULPTURE”

SZAPOCZNIKOW Photographerâ&#x20AC;&#x2122;s analysis

F l a w s i n s o c i e t y - G u m - L i t t e r - Me s s - P r o h i b i t e d

SZAPOCZNIKOW Photographerâ&#x20AC;&#x2122;s analysis

F l a w s - s o c i e t y - l i t t e r - r u b b i s h - e nv i r o n m e n t - e c o s y s t e m - p e r f e c t i o n - a r t

SZAPOCZNIKOW Photographerâ&#x20AC;&#x2122;s interpretation

F: 4.5 // ISO 400 / 1/60

My i n t e r p r e t a t i o n

SZAPOCZNIKOW

F: 4.5 // ISO 400 / 1/50

Photographerâ&#x20AC;&#x2122;s interpretation

My i n t e r p r e t a t i o n

SZAPOCZNIKOW Photographerâ&#x20AC;&#x2122;s interpretation

F: 4.5 // ISO 400 / 1/60

My i n t e r p r e t a t i o n

“An extraordinary collection of abstract sculptures was passing through my teeth”. I chose to replicate Alina Szapocznikow’s gum ‘photosculptures’ through using the medium of blue-tac. I photographed the blue-tac in an indoors setting, with the lounge acting as a backdrop. I positioned the blue-tac down the side of a wooden cabinet, to act as a the cocktail stick shown in the orginal versions. I captured this series of photographs using a Nikon camera, on manual close up settings. By adjusting the camera manually, I was able to have the blue-tac and wooden prop

in focus, contrasting with the blurred, out of focus background. I chose to edit these photographs in black and white on Photoshop CC and Camera Raw too maintain the simplicity shown in Szapocznikow’s work. In comparison with her work, I believe my photographs also show a level of perfection within the percieved flaws of society. Whereas gum can often be viewed as a deviant object which litters the street, it can also be viewed as a symbol of art - the unique variation of patterns and textures created within chewed gum.

My i n t e r p r e t a t i o n

GILL Photographer’s analysis & interpretation

Stephen Gill is a British Photographer, born in 1971 in Bristol. Gill first became interested in photography during his early childhood, and gives credit to his father for influencing him. His father was also a photographer, who taught Gill how to develop and print his own pictures in the darkroom in their attic. As Ian Sinclair once commented “What I like about Stephen Gill is that he has learnt to give us only as much as we need, the bones of the bones of the bones...”. The majority of Gill’s work was shot and created in Hackney, with his earliest work symbolisng the ‘photojournalism’ genre. As shown in the photographs above, Gills best work is a hybrid between documentary and conceptual work. One of my favourite photographs from Stephen Gill’s collection is the one directly above, of a extendable chair dumped in a garden, with overlays of moss and flower symbolising the flaws within the overgrown environment, entangling the chair. The photograph has been taken outdoors, in natural light. The dull lighting suggests the photograph was taken on a cloudy/damp day - thus hard to describe the direction of lighting. The textures within the photograph are emphasised by the overlay of dried flowers that are placed over the orginal photograph - this process could have been commissioned manually, by putting objects such as flowers found within the photographed environment inside the camera lens, thus leaving a trail. Or they could have been digitally added, by scanning the dried flowers into the computer and layering the seperate frames in software such as photoshop. The use of layered objects over the photograph creates a depth of field, with the dried flowers appearing to jump out at the audience - creating a 3D effect. Thus the elements within the photograph are unbalanced, with the chair leaning towards the audience. The chair within the photograph is framed by the overgrown, surrounding folliage, which engolfs the chair. The fabric of seating, an old fashioned floral print, suggests the chair is dated and draws an impressive similarity to the flowers next to it - this could represent a coincidence or stylised set up. I believe that in this photograph, Gill is trying to communicate the perfection that can be found in the flaws - a perfect match with the theme of my project - flaws and perfection. The mood created by the photograph is one of melancholy - the flowers represent a mellow emotion, however the dull overtones e.g. pale yellows and beiges reate a simplistic, calming feeling. The photograph represents the change in consumerism, that this chair once would have been new and cherished but now is left in the weeds, abandoned. The foliage, overgrown and untidy, together with the print on the chair also represent nature. I have chosen to research Stephen Gill as I find the format of his photographers both unique and interesting. I would be able to interpret his work into my theme, not just in the context but also the presentation - by using actual dried flowers and placing them over printed photographs. With Gills work, there is a lot of scope for interpretation. With past projects, I have also incorporated natural plants into my work, as they are readily available and easy to manipulate and thus I can draw certain similarities from my work to his.

STEPHEN GILL “ HAC K N E Y F L O W E R S ”

GILL Photographerâ&#x20AC;&#x2122;s analysis

Pe r f e c t i o n - F l a w s - l a y e r i n g - o l d - n e w

GILL Photographerâ&#x20AC;&#x2122;s analysis

Pe r f e c t i o n - F l a w s - l a y e r i n g - o l d - n e w

GILL Photographer’s interpretation

I took inspiration for this photoshoot from the work of Stephen Gill’s ‘Hackney Flowers’. I chose to photograph dried flowers in an outdoor setting, using natural light from the sun - representing the sub theme of ‘flaws’, which I then contrasted with the theme of ‘perfection’ by layering with scanned, fresh flowers. This polarisation is emphasised with the contrast in colours betweenthe duller tones of the dried flowers,in comparison with the bright vivid tones in the foreground. I think this was a successful photoshoot and editing technique as it has allowed me to portray both ‘flaw’ and ‘perfection’ as titled in my project theme. I chose to use the medium of scanning within this photoshoot as it is a successful way of capturing high detail photographs that would contrast successfully against a dull background. I edited these photographs in Camera raw and photoshop CC.

Pe r f e c t i o n - f l a w s - l a y e r i n g - s c a n - f l o r a l - o l d - n e w

PENN Photographer’s analysis & interpretation

Irving Penn (1917-2009) was an American photographer, best known for his work in fashion, portraiture and still life. His career includeds working at Vogue magazine and independant advertising work for the likes of Clinique and Issey Miyake. Penn attended the Philidelphia Museum School of Industrial Art from 1934 to 1938 where he stuided drawing, painting, graphics and industrial art [during which, his work was published at Harper’s Bazaar]. Penn then worked for two years as a freelance designer, learning the basics of photography before becoming art director at Saks Fifth Avenue in 1940. Shortly afterwards, Penn was offered a position as an associate in the Vogue magazine Art Department, where he was asked to try photography by Alexander Liberman. Penn’s first photographic cover for Vogue was published in October 1953 and he continued to work at the magazine throughout his photographic career, photographing covers, portraits, still lifes and fashion for Vogue. In the 1950s, Penn founded his own studio and began to photograph advertising shoots for clients such as De Beers. Penn passed away at the age of 92 in October 2009. As shown in the photograph above, titled ‘In Transit’, Penn was one of the first photographers to pose subjects against a simple grey or white backdrop. Using this as a base point, Penn constructed a set of upright angled backdrops to form an acute angle, in which he photographed the likes of Pablo Picasso and Marcel Duchamp. Penn’s still life compositions perfectly coincide with my theme of flaws and perfect. This is because despite assembling an array of objects that articulate the abstract interplay of line and volume, thus appearing very messy and to some, flawed, his compositions are spare and highly organised, thus #representing perfection. Penn finds an equilibrium between the two contrasts of flaws and perfection, and leaves all judgement to the audience. The photograph above [In Transit], is an editorial image, representing what the average women would take in her bag when travelling abroad e.g. passport, maps etc. The photograph has been stylised, due to the nature of the position and composition of each object. However, the photograph has been stylised in order to make it appear as if the bag has been dropped and that the contents are sprawled out on the floor. The lighting within the photograph is very bright, this could either be the effects of natural light, taken outdoors on a sunny day or due to artificial lighting such as flash. The perspective of the photograph places the audience or viewer in the handbags’ owner’s position; looking down at the bag. In terms of composition and colour, the main features are black rectangles/blocks. The smaller objects are scattered around these black, bold objects such as the bag, the purse, the chanel make up case, the passport and the phone. The colour within the photograph is realistic. The unusual angle of the photograph, an almost diagnol viewpoint of the bag, is unique and effective in showing the entire contents of the bag dropped onto the floor. I have chosen to further research and study this photographer as I believe he reaches a perfect equilibrium between both aspects within my theme: flaws and perfection. I like the simplicity of his work and organisational skills, so that even though the photograph is busy, it appears clear and crisp. When interpreting Irving Penn, I would like to translate this skill of simplicity into my own work. If I were to chose words to describe this photograph, I would use ‘organisation, contents, airport, female’ as each of these relates to the context. If I were to describe this photograph to someone who could not see it, I would tell them to imagine if they had dropped the contents of their bag onto the floor, but in the most orderly fashion possible. Despite being a naturalistic image, it can also be concieved as absract due to the stylised nature. Each item, such as passport and purse, within this photograph is easily recognisable, relating it to the audience and general public. This photograph would have been taking on a camera, during an indoors shoot using artificial lighting. What interests me most about this work of art is that composition, how each photograph is carefully laid out and preesented, so none are overlooked. Space is represented within a cluttered manner within this photograph. What strikes me as the most interesting aspect of the photogrpah is the distortion of objects, which are bunched and dramatised at the opening of the bag, but which are singled out towards the end. After learning that Penn was one of the first photographers to use a simple, plain backdrop to his photography work, this photograph can be interpreted as unique and modern compared to others of that generation. The title given to this photograph “In Transit” is a suited title, in my opinion, as it can be interpreted by context of the bag (often taken out on a journey) or in terms of the items within the bag (travelling). As mentioned before, this photograph is an editorial image, perhaps advertising airport shopping. I will be using Penn’s work in order to extend and challange the theme of my photography project.

“A beautiful print is a thing in itself, not just a halfway house on the way to the page”

- Irving Penn

IRVING PENN “IN TRANSIT ”

PENN Photographerâ&#x20AC;&#x2122;s analysis

Pe r f e c t i o n - F l a w s - i d e a l s - a i r p o

ort - shopping - luxer y - spillage

PENN Photographer’s interpretation

After researching into the work of Irving Penn, I chose to complete my own photoshoot, using his work as inspiration. In a similar format to his, I chose to use office such as rulers, pencils, pens, scissors and rubber bands which were arranged to look as if they had falled out from within a plastic tube/pencilcase. I photographed this a classroom setting, using a mixture of natural light from the windows, but also artificial light from the flash of my camera and ceiling lights within the classroom. I arran ontop of a plain, white card which acted as a background, gesturing to Penn’s influence within this aspect. I then captured a variety of snapshots, using a variety of man changing the aperature and shutter speed as I went along. I wanted to show a variety of techniques within my work, thus photographed still-life focused portraits, bu photographs that ally blurred by adter speed and quickzoom, focus or angle have edited the phoware such as photoera raw within phoadjust brightness els. I would use the ary’, ‘objects’ and describe these phowere to describe one who could not when describing the Penn, I would inthat it appears as if been dropped, and of that case have a clean, crisp, white er, when describing which have had with manual blurthem to carry on imagine if you were took your glasses could see was a faint The photographs both naturalistic stract (below) imagobjects within the ordinary household easily recongisable. these photographs, camera and manualsettings, in the hopes Irving Penn’s work. graph above, I the lines and conand sharp, drawing to the blurred and objects in the photo-

beautiful print is a not just a halfway way to the page”

After researching Irving Penn, I chose own photoshoot, usinspiration. In a his, I chose to use items such as rulers, scissors and rubber were arranged to had falled out from within a plastic tube/pencilcase. I photographed this composition, in a classroom setting, using a mixture of natural light from the windows, but a from the flash of my camera and ceiling lights within the classroom. I arranged these objects ontop of a plain, white card which acted as a background, gesturing to within this aspect. I then captured a variety of snapshots, using a variety of manual settings and changing the aperature and shutter speed as I went along. I wanted to techniques within my work, thus photographed still-life focused portraits, but also capturing photographs that had been manually blurred by adjusting the shutter sp altering the zoom, focus or angle of the camera. I have edited the photographs in software such as photoshop and camera raw within photoshop CC to adjust brightn

e stationary items s composition, in nged these objects nual settings and ut also capturing had been manujusting the shutly altering the of the camera. I tographs in softshop and camtoshop CC to and contrast levterms ‘station‘arrangement’ to tographs. If I them to someview them, like work of Irving form the listener a pencil case has that the contents spilled out onto surface. Howevthe photographs been applied ring, I would tell thinking, but dizzy, or if you off and all you blur of objects. presented are (above) and abes. Each of the photograph are objects, that are When capturing I used a Nikon ly adjusted each of interpreting In the photowould describe tours as definite a clear contrast undistinctive graph below. “A

thing in itself, house on the - Irving Penn.

into the work of to complete my ing his work as similar format to office stationary pencils, pens, bands which look as if they also artificial light o Penn’s influence show a variety of peed and quickly ness and contrast

My i n t e r p r e t a t i o n

YOSHIHARA Photographer’s analysis & interpretation

Jiro Yoshihara lived from January 1st 1905 until February 19th 1972. Yoshihara was a world renowned Japanese painter, whom co-founded the avant-garde Gutai group in Osaka. Yoshihara had taught Western-style painting before becoming leader of the Gutai group. He formally wrote the Gutai Manifesto in 1956, leading the group of ‘internationally acclaimed avant-garde artists’ whom represented Japan’s post-war art work. Yoshihara’s work represents both surrealism and abstract expressionism, however in his final years he switched his painting style to that of the repeated depiction of circles, reminiscient of ‘satori’, the enlightenment of zen. He created such paintings by leaving the canvas unpainted, whilst painting the background white or black. When asked about these circles, Yoshihara proclaimed that he could not manage to paint even one circle with satisfaction, thus depicting the theme of flaws, perfection, ideals and compromises. Circles represent perfection, as an accurate circle is a distinguished yet unachieveable shape to manually create, thus further representing compromises. Furthermore, the theme of flaws is presented through Yoshihara inability to manage to paint even one circle without satisifaction. Ideals being portrayed through the aim of creating a perfect circle. Indeed, no two circles are shaped exactly alike. Unlike many artists whom I have researched, Yoshihara did not recieve any formal art education during his youth. Only until his late twenties did he recieve guidance from Kamiyama Jiro, who taught European art and philosphy. During his early life, Yoshihara joined the Nika-Kai (a group of predominately fauvist style painters) that came from the Ministry of Education’s academic salon.

JIRO YOSHIHARA “s h a p e s”

YOSHIHARA Photographerâ&#x20AC;&#x2122;s analysis

Aiming for perfection - abstract - monotone - f law

YOSHIHARA Photographerâ&#x20AC;&#x2122;s analysis

Aiming for perfection - abstract - monotone - f law

YOSHIHARA Photographerâ&#x20AC;&#x2122;s interpretation

My i n t e r p

pretation

YOSHIHARA Photographerâ&#x20AC;&#x2122;s interpretation

Perfectio

on or Flaw

Effects of smoking

No n - S m o k e r

Effects of smoking

No n - S m o k e r

Egg Shell Series

I captured photographs of eggs to experiament with my chosen theme of ‘flaws and perfection’. A theme which I believe is perfectly encapsulated within the form of eggs - a delicate object, seen as perfect, yet can easily be dropped, smashed or cracked to create certain flaws in appearance. In the photograph above, I cracked an egg and lay it down on its side, until the yolk ran out. The composition within this photograph is very effective, and the pattern created by the yolk frames the egg - and the bubble beneath the egg emphasises its shadow and form. The words I would use to describe this photograph include ‘cracked, broken, destruction, FLAW, yolk and split’. If I were to describe this photograph to a person who could not see it, I would explain that it appears if an egg has been dropped onto a white, blank background, and its contents are

oozing out, forming a moat of self-destruction. In the sense of context, this is a naturalistic image - it is easy to describe and understand the situation in which it has been photographed in. Everything in this photograph, from the egg to the plate are objects and everyday items that I recognise. The image has been captured on an Iphone camera, then uploaded to photoshop and edited by increasing the saturation slightly - to emphasise the colour intensity of the egg yolk. This photograph reminds me of my childhood, when making a cake or pancakes, and dropping an egg onto the floor. The lines and contours within this photograph are centred around the egg, where the cracks have flawed the egg shell. The yolk has no lines - merely a merging substance. The texture on the egg skin, rough and speckled, is contrasted with the smooth and slippery looking egg yolk

and whites liquid. The light, coming in from the window (natural) has bounced off the liquid, thus the light creates shadows and illusions. The photograph is relatively realistic. The angle of the camera represents spacial awareness, with the view of the audience above looking directly down, diagonolly at the egg. The part of the photograph which is most interesting is the formation of the egg yolk, which forms around the shell and creates a protective barrier, keeping the egg afloat. If I were to title this photograph, I would call it ‘egg self-destruction’ or a similar phrase. Other titles could include ‘substance’ or ‘spoon versus egg’ for a comedic appeal. The photograph is very self-explainitory and thus is easy to tell what is going on. This photograph represents the theme of ‘flaws and perfection’ which I have tried to encapsulate.

Egg Shell Series

I have chose to capture the theme of ‘flaws and perfection’ through the medium of eggs - an common household object which I believe is perfectly encapsulated within - a delicate object, seen as perfect, yet can easily be dropped, smashed or cracked to create certain flaws in appearance. In the photograph above, I cracked an egg and lay it down on its side, I then photographed the egg through the transition of being cracked until the egg yolk ran out and created a moat around the shell. The composition within this photograph is very effective - the natural light is portrayed both within the egg whites surrounding the egg and on the shell, where the light has trapped the bubbles. The variation of light and shadows further adds to the contrast within the photograph and creates a satisfying and visually asethetic vision. The words I would use to describe this photograph include

‘broken, light, shadow, reflection and destruction’. If I were to describe this photograph to a person who could not see it, I would explain that it appears if an egg has been dropped onto a white, blank background, and its contents are oozing out, forming a moat of self-destruction. The reflections from the window and lighting have created distortions within the yolk spillage. In the sense of context, this is a naturalistic image - it is easy to describe and understand the situation in which it has been photographed in. Everything in this photograph, from the egg to the plate are objects and everyday items that I recognise. The image has been captured on an Iphone camera, then uploaded to photoshop and edited by increasing the clarity and sharpnesss slightly - to emphasise the texture of the shell and reflections in the egg whites. This photograph reminds me of

my childhood, when making a cake or pancakes, and dropping an egg onto the floor. The lines and contours within this photograph are centred around the egg, where the cracks have flawed the egg shell. There are also contours within the egg yolk and whites, created by the shadows and reflections. The texture on the egg skin, rough and speckled, is contrasted with the smooth and slippery looking egg yolk and whites liquid. The light, coming in from the window (natural) has bounced off the liquid, thus the light creates shadows and illusions. The photograph is relatively realistic. The angle of the camera represents spacial awareness, with the view of the audience above looking directly down, diagonolly at the egg. The part of the photograph which is most interesting is the shadows and light reflections from the window onto the yolk and egg whites.

SO FAR

Alina S.

What made me decide on my chosen theme? I chose the theme ‘Flaws, Perfection, Ideals and Compromises’ as I felt would allow me a wide creative scope to finalise the skills I have learnt over the entire photography course.

How

have

explored

the

theme?

I have explored the theme in a variety of ways, from researching artists and photographers whom were named in the A2 exam booklet, searching on Pinterest under a variety of headings, interpreting my research and creating mindmaps full of ideas and inspiration. What did I learn from search about the

I have used each researched photographer and artists ideas to develop my own ideas. For instance, Stephen Gill’s Hackney Flowers has shown me the impressive detail of scanning, a skill which I aim to use in my final piece. Similiarly, Alina Szapoznikow’s ‘photosculptures’ have encouraged me to think outside of the box and progress my ideas, particularly in terms of the effects humans have on the environment, for example gum. Gum is seen as a deviant material, however, Alina has highlighted its condensed state as an impressive, flexible art form.

What this re- helped theme?

Having extensively researched my chosen theme of ‘flaws, perfection, ideals and compromises’ I have learnt to look outside the box and become more creative in applying a particular theme to a photoshoot. I have attempted to interpret each sub heading under my theme and apply them to a variety of photoshoots, such as the series of gum photographs based on the work of Polish sculptor Alina Szapoznikow. Alternatively, I have created photoshoots based on my own ideas, such as portraying the effects of smoking on the human body. Which photographs have I researched into and how have they helped develop my understanding of the theme?

other influences to develop my

have ideas?

I have used a variety of influences to help develop my ideas. For example, I have visited a wide range of galleries in London such as the Tate Modern and the National Portrait Gallery, where Lord Snowden’s exhibition ‘A life in view’ taught me the skill of capturing both beauty and personality through black and white poignant photographs. Equally, I have more modern sources such as the website ‘Pinterest’ to document my interests and inspirations which comply with my chosen theme. I have watched a variety of YouTube videos, enabling me to expand on my manual and digital photographic skills. By watching how-to videos, I learnt the skills needed when showing the fast-aging effects of smoking on the human body.

Which photoshoots have I completed so I have researched into a far and how do they relate to the theme? variety of photographs, photographers and artists but in particular: I have completed a variety of photoshoots Martin Parr, Alina Szapoznikow, Jiro so far, which each relate to the theme. I Yoshihara , Stephen Gill and Irving Penn. captured a series of photographs based on They each have helped to expand my un- my orginal ideas surrounding the theme, derstanding of my chosen theme, particu- photoshoots influenced by researched larly Alina Szapoznikow whom has ex- artists and photoshoots based on the plored a more unique portrayal of flaws and theme. I have also completed a variety of perfection, particularly with regard to the photoshoots within class, emphasising human body and damage inflicted upon on manual techniques such radial blur. the environment by humans themselves.

I have used different camera settings in each photoshoot, depending on the conditions surrounding the object that day. For instance, when inside I have used a lower ISO setting then when capturing photography outside. Similarly, I have used multiple shutter speeds and aperature settings, frequently shown in photoshoots such as interpreting Irving Penn. Which techniques and processes have I used to develop my theme? I have used a variety of techniques and processes to develop my theme, such as : using cameras on both manual and digital settings, using scanners for more detailed photography, using software such as Photoshop CC, Camera Raw and InDesign to edit my photographs. How did develop

use my

techniques to theme?

In particular, I have used manual techniques such as ripping and tearing to emphasise the sub theme of ‘flaws’. By portraying themes both within the context of the photograph and the presentation, my work becomes more intracut and detailed. What refinements to these techniques could I apply to improve the effects? P

Which es do

techniques and I want to take

processfurther?

I would like to take further the following techniques, and apply them to my final exam piece: ripping, tearing, manually blurring and focusing photographs etc. What further

ideas could I take to develop my theme?

I would like to take the idea of gum being a flaw to society, but perfection in the form of art. I could extend this idea What camera settings have I but manually editing with other media How did I use the photographers used in the photoshoots and why? forms such as gum packets and tinfoil. ideas in my work to develop my ideas?

TECHNIQUES - Manual and Digital -

â&#x20AC;&#x153;On these following pages I have displayed a variety of techniques that I have learnt throughout this A2 photography course. I have displayed my favourite edits on the following pagesâ&#x20AC;?

CROPPING

CROP

CROPPING

Example of the cropping technique

The

photographs to the left portray the cropping technique. To do this technique, you need to find a suitable photograph that you wish to crop. From there, you would select the rectangle frame tool and draw out a box [to your wanted size]. You would then press control and D, opening up the images folder to select your photograph. Once you have chosen your photograph, press okay and it will be importated onto your page. This will act as your orginal photograph. The next step is too double click on the photograph and copy it, then right click and

paste. So now you have 2 photographs, side by side or in whichever chosen position. You would then select the Direct Selection Tool (the white arrow) and drag out the photograph image, whilst maintain the same size frame. Repeat this step several times until you have cropped and duplicated the image as you wish. This is a easy technique that offers an alternative to traditional presentation. Furthermore, it can be used to create abstract images out of normal photographs. I like this edit as it is quick, simple and easy to do whilst also giving an eye catching effect.

CROPPING Technique

ROTATION

ROTATE

ROTATION

Example of the rotation technique

The rotation is an easy technique that allows you to flip and manipulate an image to give a reflected, mirrored appearance. To do this technique, you need to select an image and display it on a page. Then, you would duplicate the image [depending on how intricate you want your edit to appear]. You would then select the duplicated image and click the object tab on the menu bar, from here you would then select transform and choose which transformation you want to complete e.g. rotate 90 CW. The rotation is an easy technique that allows you to flip and manipulate an image to give a reflected, mirrored appearance. To do this technique, you need to select an image and display it on a page. Then, you would duplicate the image [depending on how intricate you want your edit to appear]. You would then select the duplicated image and click the object tab on the menu bar, from here you would then select transform and choose which transformation you want to complete e.g. rotate 90 CW. The rotation is an easy technique that allows you to flip and manipulate an image to give a reflected, mirrored appearance. To do this technique, you need to select an image and display it on a page. Then, you would duplicate the image [depending on how intricate you want your edit to appear]. You would then select the duplicated image and click the object tab on the menu bar, from here you would then select transform and choose which transformation you w ant to complete e.g. rotate 90 CW. The rotation i s an easy technique that allows you to flip and manipulate an image t o give a reflected, mirrored app e arance. To do this technique, you need to select an image and display it on a page. Then, you would duplicate the image [depending on how intricate you want your edit to appear]. You would then select the duplicated image and click the object tab on the menu bar, from here you would then select transform and choose which transformation you want to complete e.g. rotate 90 CW. The rotation is an easy technique that allows you to flip and manipulate an image to give a reflected, mirrored appearance. To do this technique, you need to select an image and display it on a page. Then, you would duplicate the image [depending on how intricate you want your edit to appear]. You would then select the duplicated image and click the object tab on the menu bar, from here you would then select transform and choose which transformation you want to complete e.g. rotate 90 CW. The rotation is an easy technique that allows you to flip and manipulate an image to give a reflected, mirrored appearance. To do this technique, you need to select an image and display it on a page. Then, you would duplicate the image [depending on how intricate you want your edit to appear]. You would then select the duplicated image and click

ROTATION Technique

LAYERING

LAYER

LAYERING

Duplicate your chosen image, layering each image ontop of eachother, increasing or decreasing the intensity each time. Example of the layering technique

LAYERING Alina S.

Technique

TEXT

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TEXT Technique

The edits on the left represent the text technique. To complette this technique, you need to create a text book and fill with either your own text or placeholder text. You would then import a photograph onto the page and place over the text. To then create the hollow effect,

you would double click onto the image and select the â&#x20AC;&#x2DC;wrap around bounding boxâ&#x20AC;&#x2122; on the menu panel at the top of InDesign. Alternatively, you could layer up the text and photograph.

Example of the text technique

POSSIBLE IDEAS FLAWS | PERFECTION | IDEALS | COMPROMISES

possible ideas I n s p i r a t i o n

possible ideas I D E A N U M B E R

In this idea, I would display 3 photographs [as shown on the left] side by side, mounted upon a scanned photograph of a gum wrapper, to act as the outside shell. I would then apply a series of edits to each photograph, overlapping one another. Edits would include: scratching, bleaching, sewing, tracing, drawing, writing etc. Each edit would emphasise and highlight the qualities of flaws and perfection within the piece. The aim of this possible final idea would be to portray the perfections found within gum, despite being a flaw in society [as shown in the context of each photograph] but then to reapply those flaws onto the presentation of the work.

FINAL IDEA P h o t o g r a p h s

possible ideas I D E A N U M B E R

In this possible idea, I would use photographs from my â&#x20AC;&#x2DC;flaws of smokingâ&#x20AC;&#x2122; photoshoot [as shown on the right] and create a 3D series of turning blocks, in which the audience could twist and change in order to compose the perfect person. This would be a more difficult challange, however It would successfully portray each of my themes and sub headings.

EVALUATION Flaws | Perfection | Ideals | Compromises

What have you produced as a final outcome based on the chosen topic? Why? My final outcome is a series of 3 photographs from my Alina inspired photoshoot, featuring the flaws and perfections found with-

How successfully does the work explore the topic?

in gum. I then mounted these photographs against a gum wrapper

As an overall project, I believe my work succesfully explores all an-

background. On the photographs, I completed a series of man-

gles of the topic ‘flaws, perfection, ideals and compromsies’. However,

ual edits both emphasising the flaws and perfections of the piece,

in critique, I have not researched the sub theme of compromises as

such as using string to highlight the shape and dimensions of the

thoroughly throughout my work, compared to the other sub themes.

gum, whilst using bleach to write out the perils of gum in society.

In terms of my final piece, I believe my work succesfully explores each

What techniques did you use in the production of your work?

aspect of the theme ‘flaws and perfection’, thinking outside the box.

In the production of my project, I used a variety of techniques that I

How could the work be taken further?

then specialised in, in my final piece. I experiamented with a variety

I could take my work further by expanding on ideas, stretching them

of manual techniques using the camera lens, which I carried forward

to their full potential. For instance, I could create a 3D composition

into my exam photographs with use of manual focusing the fore-

when showing the flaws of smoking, such as a series of blocks combin-

ground and blurring the background. I then used photoshop to digi-

ing both perfection and flaws in which people would mix and match.

tally edit photographs, such as creating black and white compositions as shown in my final piece. Furthermore, I learnt manual edits that I appplied to a series of photographs both inside and outside my exam work, such as bleaching, scratching, sewing and using 3D mediums. What ideas did you explore - describe those that were successful and carried forward and also those that were dropped and why? Throughout this project, I focused on the four key subthemes of: Flaws, perfection, ideals and compromises. I specifically focused on ‘flaws and perfection’ which I then carried through to my exam work. I chose to research a variety of artists, such as Alina Szapocnikow, of whom I took inspiration from when creating my own photoshoots. I found this photoshoot particularly successful, hence why I chose to carry it forward. The idea of a flaw in society, such as gum, being turned into an impressive, perfect art form appealed to me, acting as a challange. However, other photoshoots such as my interpretation of Irving Penn, using manual and radial blur, was not as successful hence why I chose to disgard this technique in my final piece.

How does the work link to the artists, photographers studied? Each of the photoshoots I have created throughout this project link to the artists and photographers I have studied in one way or another, taking inspiration and expanding on ideas from their work. In my final piece, there is evident comparisons to the work of Alina S, both in context and meaning behind the photograph. How have you interpreted the work/taken risks with the ideas? In terms of my final piece, I chose to think outside the box. I captured photographs based on the work of Alina, showing the beauty of gum as an artform, in contrast with the usual opinion of it being seen as a flaw in society. However, to add dimension to my work, I chose to then reapply these flaws onto the layout and presentation of my work. Such as the string, highlighting the key contours, also acting as a reference to the stringy, messy effects of the gum. What do you understand about the topic chosen in relation to photography that you didnt know before? In relation to photography, from studing this

project and

theme, I have learnt how to use the skills of technique and presentation, and apply them to the context behind a photograph.

Perfect ion or flaw?

Scratching, emphasisng, sewing, tracing, 3D lift up, bleach Tracing paper, emphasising contours, highlighting, layer Layering, ripping, tin foil, scanning

MARTIN PARR

ALINA SZAPOCZNIKOW

STEPHEN GILL

IRVING PENN

JIRO YOSHIHARA

FLAWS AND PERFECTION