Covert & Obscured AS Extra project In this project, I will be exploring different ways of manipulaBng a photograph and the effect it can have on it’s viewers when they see the transformaBon from normal to abnormal.
Gerhard Richter
1ST Artist Link
‘ Atlas Sheet 23’
Artist Analysis There is a richness to Richter’s photograph; the black and white leaves only the important details to be seen, however, he over layers the original photograph with a sheet that distorts the original photograph and this leaves us with little to no clue who the subject matter is; their identity has been compromised. This brings me to question whether it was intentional and if so, the reason why he did this; I think that the distorted photograph is striking and symbolises the loss of one’s identity over time, because of our experiences and encounters we are never really one and the same over time, we are moulded my our experiences. This idea of distorting one’s identity is what influenced the direction this project went into; playing around with blurring and obscuring a photograph automatically places it in a different light and allows the photograph to develop a presence of its own. Using subtle lightning, Richter captures the sombre nature and emotion of the man within the photograph, the way he has turned to the side signifies his withdrawn nature from the world. This could be because he himself has realised that he is no longer in control of his identity and by putting a sheet over the original photograph, Richter has created a deeper level of understanding between the subject matter and its observer. Furthermore, we are able to see the issues highlighted within the photograph, the issue of identity over time which we all have to deal with throughout our life time. The use of black and white has worked to Richter’s advantage because it brings that simplicity and familiarity with the obscured and therefore allows the viewers to relate and reflect on the photograph as a whole.
IniBal Photographs
IniBal Photographs EvaluaBon My original intention was to have very simple portrait photographs and subtly alter them by blurring sections of them so to illustrate how easily changeable our identities are and to question how and why this is possible. By predominantly blurring the features of the subject matters, I have taken away what makes the subject matter who they are and I would hope that this would influence the perspectives of its viewers. The lighting of these photographs were crucial because I did not want it to be too over powering neither too subtle, so finding a balance was very important to me. Photographs 2,12 and 14 in my opinion are the success of all my initial set of photographs because they held a more tangible presence because of how much more focus they had and the connection from the original photograph to the obscured version. I think that photographing in the white studio was a wise decision because it allowed the innocence of the subjects to come through because of the white background, there is also a stillness that the photograph presents and I think this is from the composition of the photographs; taking them straight on illustrates the formal way the observer communicates with the subject matter. I also wanted to portray a sense of rawness through the tones of the photographs, every feature enhanced, every freckle made prominent because I believe that those are the qualities that identifies with the subject matters. With Photographs 11, the deeper tones around the eyes of the boy symbolizes the hardship he has faced, the sleepless nights he continues to experience is prominent on his face and I wanted my viewers to see this because it was the message I was trying to communicate to them. I wanted my viewers to be able to relate and understand where the subject matters are coming from and for them to be able to feel what they feel and to know why they feel that way. I believe that I achieved the level of symbolism I wanted through the simplicity of the portraits and I would hope that my viewers were able to decipher the message I was communicating and reflect on that message.
Developmental ArBst -‐ Samoamax
‘ les gitanes, 2003’
ArBst Analysis The combination of mix mediums is what drew me to Samoamax’s work; the technique itself is fascinating because of the way it blends in with the photographic half which makes you almost think the whole photograph is a painting . I think that this technique worked to Samoamax’s advantage because it created this strong imagery that would be effective in capturing it’s viewers ; the message I think the viewers would get is the concept of a multiple personality . The painted side has more prominent colors alluding to the more eccentric side of her, whereas the photographic side of her is more muted insinuating the controlled side of her. Personally, I find this photograph visually striking because of the abnormal side of the face that promises an exciting adventure for the subject matter. Symbolically speaking, the brush strokes on her face could indicate the hardships the subject matter has been through and the marks they left behind, on that note, I believe that this photograph is important because it provides it’s viewers with an understanding the photographs intentions. Multiple personality is a disorder that affects many, it is an illness that creates different personalities within one entity and more often than not all the personalities are unaware of the existence of the other, and this can cause problems. I think this is what influenced Samoamax to take these photographs, to enlighten his viewers to this disorder that affects many without their knowledge of its existence and how it takes over a person as shown in the photograph, the painted side is extending to the right side of the face. The concept behind this photograph has influenced my photographs because I also wanted to portray the idea of two or more personality dwelling within one entity therefore I will also use paint on my portraits to bring out that strong imagery. As my theme is covert and obscured I will attempt to prove this through my developmental photographs.
st 1 Developmental Photographs
2nd developmental ar.st Julia Manheim There is a very subtle visual impact on the viewers of this photograph because of the muted choice of colors used by Manheim. She may have done this to highlight the important part of the photograph which is the hand coming through the face. This creates a strong atmosphere within the photograph and within the subject matter herself. The tones and shades of the acetate hand presents a gentle depth but the black part on the nose slightly disfigures her face. There is also a 3D effect going on with the hand that works well as it blends directly into her face. This has influenced me to take a second developmental set that focuses on concealing a part of the face but revealing other parts.
‘ Onehand Mask, 2001’
EvaluaBon of 1st developmental set I enjoyed the process of experimentation with these photographs because I explored different ways of obscuring the portrait photographs and using different techniques to make effective photographic outcomes. My original intention in taking these photographs was to explore how much I could alter my viewers perspective on the portraits when a part of the face was covered or toyed with. I found that when I was experimenting with the portraits I was able to find a place where I knew how I wanted my portraits to come out and I think that I achieved that obscured effect. What worked well was the focus and lighting in my photographs, particularly photographs 8 and 11 where I allowed more light and so you could see every detail and depth and I believe that this was effective. Capturing the tones and shades in the portraits was important for me because I wanted to enlighten my viewers on paying close attention to detail; detail with everything and anything. The message I wanted to communicate was detail with our loved ones, noticing the little things about them like the freckles on the girls face in photograph 11 or like noticing the blueness of her eyes in photograph 8, these things all add up to the happiness of those we love and our happiness too. I think that the set with the words also worked well however, I could have used better lighting to enhance the detail of the text so to make it more strong in terms of its presence. I particularly like the composition of these set of photographs because they were well thought out and I considered the effect I wanted it to have on my viewers, which was for them to question why I composed each photograph that way. Another element that I hope worked well is the texture of the portraits, whether you would feel the need to touch it when you see because there is a 3D feel about it. As a whole, these photographs embodied the concept I wanted to get across and they represented the theme ‘covert and obscuring’ well, through the various techniques and experimentations, I was able to clarify how easily manipulative we can be in terms of altering ourselves. The photographer katrijn Michiels also influenced these set of photographs with her ‘conceptual’ series of photographs, the effortless way in which she blends and manoeuvres her photographs to fit her concept is very inspiring and I aimed to achieve this same results.
2nd iniBal arBst Deb S.Nelson
2nd iniBal arBst analysis I decided to explore still life fruits as a type of obscured reality because the patterns and detail within the fruits I believe symbolises the quality of the fruits. The orientation of the fruits brings me to question the motive behind the photograph itself; the assembling of the fruits connotes the assembling of our society today, the segregation between people of different ethnicities and cultures, one fruit is placed alone whiles the others are grouped together. I also think that Nelson is trying to highlight the issue of not knowing where we belong and at times fitting in also becomes a problem. We also notice that Nelson has used a black background and I think this is done intentionally to have the focus on only the fruits and this has proven effective because when I first saw this photograph, all my concentration was on the fruits and the detail of them. The tones and shapes are really emphasised by the subtle lighting that is focused the fruits; there are reflections from the fruits and I think this was to further accentuate the importance of the fruits. This photograph is not particularly important but the series of Nelson’s ‘Still life’ photographs all together have importance and captures that natural presence with it’s brilliant colours, shapes and tones. I noticed the arrangement the fruits are in, starting from small to large and so on could represent the ups and downs of equality and safety in our world today. This idea that one problem of women rights is solved then the problem of child abuse arises, so we are never really free but only free for a while then it’s back to hardships. Personally, I find this photograph striking because of the colours and shapes but also the vitality of the detail within the fruit that stands alone which is quite interesting and I would hope that I can produce photographs that would likewise have that type of presence.
nd 2 iniBal set
2nd developmental ArBst
Tina Kazakhishvili This piece by Tina Kazakhishvili fluently combines a portrait of a woman with that of natural flowers and I find it particularly beautifully striking in a sort of cynical way because here we are presented with a woman who looks as though she is mourning or in pain or even dead, then we’ve got natural flourishing flowers going across her face and protruding from within which is symbolizing life and this is contradicting her facial expression. I think this was the intention of Kazakhishvili, for us to be able to see the double meaning behind the photograph and maybe to question why she took such a photograph and what kind of mind frame she was in when she produced these photographs. This photograph heavily affected how I took my photographs and how I developed them because the atmosphere that this photograph presented showed me that the process of creating it was well thought out and so I wanted to have that same outcome as kazakhishvili. symbolically speaking, I feel that this photograph is about being able to see through people’s façade and knowing when someone is in need of help or comfort, even when covered by blooming flowers we are able to see right through them to the woman behind them who is suffering; I think that this is what kazakhishvili was trying to communicate to his viewers. Visually speaking, I see this photograph as man and nature co-existing together in unity and not against each other, I see how the flowers fit right into her skin almost like its slowly taking over her face but also fading away from her face which gives the photograph a little mystery. There is a dream like state going on in the photograph, almost like the girl is dreaming or reminiscing about a long lost memory and she cannot get herself back to reality. The tones and shades are quiet muted and in black and white, this photograph is presented in its simplicity with no colors as a distraction and so we are made to take in all the detail and reflect on only the what is presented to us. This photograph has made me consider how well both images should compliment each other and how much time I need to but into making sure that they blend well together.
2nd developmental set
EvaluaBon of 2nd developmental set My original intention in developing these photographs was to explore the sense of oneness and togetherness between two different subject matters and to enlighten my viewers about the connection two subject matters. Usually when you see a photograph with that has more than one subject matter your initial response would be to try and figure out both subject matters and you would want to understand how they go together. I figured that when my viewers looked at the photograph they would be able to differentiate between both subject matters and the shapes within the photographs would be the clues to that. The first two photographs concentrate on the flowers taking over the boy’s face, this idea of leaving a mark behind or even claiming his whole face; the focusing was better in the second photograph than the first photograph because we are able to see the boy’s features as well as the outline of the flowers which was important to me. What worked well was the tones and shades within the photograph, though the flowers were red and green, bits of it blended well with his fair skin almost like a face mask of some sort and I think this effect was interesting. What didn’t work well was the composition and quality of photograph 4 because I did not pay enough attention to the background which consequently came out blurred and unresolved which in turn took away from the concept of the photograph. If I were to do it again I would use a plain more muted background, either white or black and maybe have the girl in black and white with the fruit the only color and focus of the photograph. What I am pleased with is the strong visual quality of the last photograph because the flower is captured directly across the left side of her face which makes it seem as though it’s one of those rare birth marks and this makes both the subject matters connect in a personal way which was important for me.
ConBnuaBon‌  In terms of visual impact on the viewer, I think photographs 2, 3 and 6 are the success of this set of photographs because they had more of both subject matters and they symbolically carried the message I wanted to get across. With photograph 6, the visual impact is more effective because I decided to present the photograph in black and white which allowed a more tangible atmosphere, also having it in black and white meant that the other details were more heightened, thus making it more striking. I also like photographs 3 because the shape of the apple fits quiet well with the outline of the boy and the detail in the core of the apple lays right in line with his features which looks visually exciting. I think that what I have tried to symbolize in these set of photographs is the common way we are able to alter our appearance and therefore although our personality; at times when we go to a new place and environment we alter our mannerisms to fit that environment and sometimes we change our identity all together because we are presented with the opportunity to do so. These photographs are my way of visually and symbolically explaining that concept to my viewers.
4 Final Outcomes