Art is a way of life.

Tuesday 27 December 2011

Internships

I have decided to get myself internships this summer as it will be valuable to do so now in my first year and learn from my mistakes and the understanding of the Photography world!

So, this summer I have got internships with Photographers;

  • Megan Taylor - http://www.megantaylor.co.uk/
  • Muir Vidler -  http://www.muirvidler.com/
  • Dean Belcher - http://www.deanbelcherphotographer.com/
  • John Parkinson Agency - http://www.johnparkinsonagency.co.uk/

Friday 2 December 2011

Vermeer to Van Meene Workshop

*Our Human eyes see 20steps of Light!







Today was all about testing out lighting that we would want to use on the day of the Body shoot.
As there were 4 of us in our group, there was only time for two of us to test shots out! Therefore, for one of my peers I volunteered to model!

Monday 28 November 2011

FINISH-Narrative and Semiotics

*Blue Velvet Introduction
Signs of opening sequence

- Red roses = perfection and beauty
-Slow romantic music - calm/peaceful
-White fence - American Dream - Ideology
-Hose pipe leaking - Foreshadows rest of the plot - negative

Nothing is contained in the town - not perfect - only appearance looks beautiful.

Photographers produced work in 80/90's on narrative


  • Philip-lorca Dicorcia = Street Photography - He would highlight individuals with light
  • Jeff Wall - set up photos designed to look realistic - similar perception to painter Di ego Velazquez (Book - The Order of Things) 
  • Gregory Crewdson 

Friday 25 November 2011

Visual Language; The uniform+clothing of the body

Today we looked at artists who focus on specific parts of the body
For example;

Hands

-Cecil Beaton
-Irving Penn
-Yousuf Karsh

Uniform

-Irving Penn
-August Sander
-Charles Freger
-Rineke Dijkstra
-Michelle Sank
-Toby Glanville
-Sarah Jones

Shoulders

-Van Meene
-Jasper Clance



'The Strength of our subject, will be in the strength of your photography'


- Using fill in flash consider posture, props and clothing

*The worker
*The intellectual
*The sales assistant
*The waitress
*The cleaner


I shot the first 5 images with 1 x key light (F11) 1 x fill light (F2 or 3 stops)
- When working with two lights, make sure both lights turn on when firing off




Wednesday 23 November 2011

Saturday 19 November 2011

Cecil Beaton - Beneath the Glitter


As Beaton is my chosen artist for my 'Body shoot', I took out a documentary from the library to get an insight on the artist himself and what he really thought of the people he photographed.


As Beaton grew up he realised his background is not something he would have chosen for himself.
So, photography was his ticket to get out of middle-class respectability - that world into an interesting world. - He began taking photographs at home go his sisters, dressing them up in elaborate costumes and getting furniture out into the garden. Beaton learnt how to create dream like + theatrical environments around his sisters.
Importance of his photography was about where the sitter belonged, the props+lighting

His two sisters - Baba and Nancy 

Nancy Beaton 

- Although Beaton's mother was the daughter of a BlackSmith, Beaton would cast her as the society lady. He wanted to promote himself to the upper-classe's and get his photos published in society magazines like Takler.

Beaton was the favourite photographer of the royal family, his sumptuous portraits flattered his favourite subjects and behind the glitter, Beaton was uneasy about the world he portrayed so elegantly. 



- Mario Testino states how much Beaton has left us an enormous document of his time and how much he's learnt from it today by looking at his work.
- Beaton lived through Beauty in his photography - not just about beautiful features but the notion of high style, elegant living, the person and the environment. 

Beaton was happy to manipulate his subjects appearances into an ideal image of beauty.
He would do a lot of work on his contact prints - virtually would re-draw them
(chest area was lowered, nose were straight and moustaches were illuminated)
It was this, BEATON'S TOUCH which led to demands of his work in New York + Hollywood 

The reason why Beaton was noticed and demanded was due to the fact that his technique was all new in those days, especially to Vogue - as Beaton redefined the style of fashion photographs with his flamboyant use of background and light and revolutionised the way movie stars were photographed.


*Photo-shoot of Monroe


Mario Testino stated - ''Hardest thing to do is to photograph a person, is to get something that the person wants to give to you that won't give you that won't give to anyone else - Beaton captured something inside Monroe's images.

*Photo-shoot of Twiggy


Beaton stated ''This child, she's as light as air, we can't possibly photograph her on the ground, she's really like ariel. Have to punch her on furniture like Tinker bell.
With these photographs Beaton cristimized the 60's. 

FINISH - City shoot!

Friday 18 November 2011

Brandt to Kerstens - Subject Gaze

GAZE - Says it all about the models character



*Steve Mccurry builds up a sense of trust - hope is not a strategy 
'AFGHAN GIRL'  - symbol for the arab world/freedom
  • Mccurry negotiated with a school to photograph the children and immediately was drawn to the shy girl, but was afraid if he approaches her she will run away. So his strategy was - he photographed everyone in the room and after a while the girl felt excluded and therefore participated in the shoot.

Camera Positions and sense of scale = VITAL 


*Brian Griffin took pictures of people in the corporative industry and got to work 24/7 of everyday in his life and never gave up. - It's difficult being a photographer all your life but the rewards are immense.

*Arthur Elgor
*Bruce Gilldon
*Jasper Clarke


------------------------------------------------------------------------------------------------------------------------------------
TASK - Using lighting inspired by Rembrandt, make a series of images that consider the power of the gaze

  1. Vulnerability
  2. Pride
  3. Intimacy
  4. Aloof - Distancing from the camera
FILM - Ilford Delta (less sensitive to light)
 - HP5 400 ISO has; 
- more grain
-light sensitivity 
-smaller Fstops
-faster shutter speed
-less contrast 

The workshop went pretty well in terms of lighting and it was interesting to see how the 'Gaze' works

Contact sheet 

Vulnerability


Pride


Intimacy 


 Aloof 

Body research

Annie Leibovitz

A master of light.
A portraiture genius.
The Michelangelo of the twenty first century.

It's no surprise that Annie Leibovitz is pure magic. She is a master of photography, a master of fine art, and a master at capturing the portrait of a person in still imaging.
She has shot almost every celebrity, magazine, movie... you name it.
Maybe I'm bias, but not only is Angelina Jolie one of my personal favorite actresses and models, but this photo is by far one of my favorite.

Stunning. Simple. Elegant. Beautiful.
This image strikes me mostly because of her use of lighting. It is a high key tonal image mostly involving  tones of beige and grey. Although fairly neutral and bright, the shadow's created  enhance the image. The curve and highlights of the skin, and the creases of the dress in particular are amplified by the bright lights. Because Annie was a painting major in university before entering into photography, she was able to master the art of lighting in an almost renaissance way. This photograph translates into fine art easily by her use of chiaroscuro. The composition is a combination of two contrasting triangles made by Angelina's body and the chaise she rests on; the two peaks being her head and the high point of the chair. This contrast creates a linear balance in the composition that is pleasing and relaxing to the eye.
Annie managed to capture the precise moment of rest in the body which is very typical of ancient greek and roman art and sculpture. Yet in a still frame she enhances a sense of fluid motion and a softness frozen in time that captures the essence of the individual in a frame. She translates this ancient form into a photograph in a very modern way. 

Annie lives her life through the lens of her camera, and captures the moments her eye sees. Life happens before her and she simply records it in a very creative and moving way. 

To this day she continues to push boundaries and creative limits; creating images that will install a lasting impression on the world.

"This is truth, right here." - Annie Leibovitz

Wednesday 16 November 2011

FINISH - The City - Artists and Idea

Seminar - Weegee Presentation


                                       

         
        The City: Arthur “WeegeeFellig





For this presentation, was asked to research Weegee's photographs - as it relates to the city and it documents the effect of the city upon the lives of its inhabitants.





Corpse with revolver



Children on the fire-escape


What is represented and communicated in the photographer’s work?
Weegee documents street life and crime. Most is in New York of the Lower East Side. During his career, the Lower East Side was a working class part of New York; not as established as other areas. This allowed him to find the crime he documented; also aided by The Great Depression in the 1930s.



He often takes photographs in the night while following the various emergency services thanks to the police radio he kept in his car. This meant he arrived at the scene of murders, violence and crime, car accidents and crashes and chaotic events but also allowed him to develop his style. The time of day he took his images relates very well to the dark things he photographs as well as it generally being the time so much of the crime occurred. He mostly always used flash.

    


There are always people and figures in his photos and/or events going on. In some there are groups of people and in others there is only one who he may have found an interesting subject such as a thief he photographed in a police station who was dressed as a woman. Photographing such a wide range of people suggests Weegee is suggesting the diversity of humanity in his work.

How has the photographer chosen to portray his story?
Weegee takes an objective approach to his work; viewing it from an outside perspective. This is a good way of telling the viewer the story because while he is looking at the scenes from a certain distance, we are too. However, he also appears to be in the middle of the scene in the sense that he often gets close to his subjects. This allows us to get closer too and understand more of what’s going on. He chooses to take his photographs at the eye level of the people (unless asleep or preoccupied) which makes these people more relatable.
His angles sometimes dictate the social hierarchy. For example, in his image of a murder victim, his angle is low, looking upwards at the people surrounding the body suggesting their superiority.

What are the visual elements and photographic choices of the work?
As we’ve already established Weegee practically always includes people in his images which are the subjects of his work. The main subject is always completely framed but there are other less significant figures sometimes included in the frame although not fully. He gives the viewer an idea of the setting of the photo but not a clear one. The focus is on the people not generally the location.
The composition of Weegee’s photos is always different to suit the scene. He doesn’t seem to consider the compositions all the time but concentrates more on what’s happening and including the people sufficiently in his image. Like his compositions, his camera angles are ever changing to suit the scenes too.§ 
He used a Speed Graphic 5x4 camera which he often kept set on 10ft and f16 with a flash bulb. Weegee always shot in black and white and increased the contrast of his images. This emphasis the scenes and makes the images more effective.

How is the city present in the images?
Weegee involves things in his photographs for the viewer to see what kind of environment it is or when the photos was taken and they also provide context. For example, his photo “Happy New Year involves a banner which tells us obviously when he took the photo. There’s a sense of mystery in the photo because the people in it look relatively happy but we still don’t know what has happened and whether or not it contradicts the banner.


Weegee’s photograph “On the Spot” clearly shows a murder outside of a Bar and Grill and the sign post shows the exact location. The image looks strange because of the location to begin with and how the police officers seem to be casually standing around near a dead body that nobody really seems to be that aware of.





What do the images say about the existence in the city and what psychological effect does it have on the citizens?

Weegee’s photograph’s display the relationship of the people to the environment. The environment is constant in comparison to the people. The viewer doesn’t see the growth of the buildings and architecture etc. but you see the events of the characters in the photos and what happens to the people every day.

The Great Depression had a very negative effect on the state of the city; not just economically. The aesthetics of the city changed – the new buildings no longer looked glamorous. The city was now run down and dirty. The rate of crime in New York probably had something to do with this. Certainly this is what Weegee’s photographs appear to portray. 



Monday 14 November 2011

The Body Portraiture and Idea Development

* Is your Identity stable?
* Do you attach yourselves to your memories?
* How do you know people are not giving you complete fabrication?

- Lies of their personality and interests

Todays lecture has made me think about how I want to approach my model on the day of the shoot and capture her inner-self and beauty.

By meeting her a few times, I've noticed what character she has got, which instantly reminds me of Cecil Beaton's images of Marilyn Monroe



* Body shoot model questions

  1. Tell me something about yourself
  2. Why Fashion at UCA?
  3. Whats the hardest decision you've had to make?
  4. You miss home? - boyfriend?
  5. you live with him?
  6. What do you see your future as?
  7. How do you feel right this moment? - with these props?

Friday 11 November 2011

The Body RE-BREIF


Had an introduction to the Body unit - just a simple re-breif about artists that we could consider in our work

Artists;
  • Irving Penn
  • Richard Avedon
  • Annie Leivobitz
  • Bill Brandt
  • Jeanloup Sieff
  • Seydou Keita
  • Paolo Roversi
- Cecil Beaton's work is what has inspired me for my shoot


David Hockney - Secret Knowledge


''Pictures give evidence, Lens and Mirrors make pictures''
''For an artist to see it, is to use it''

David Hockney is an artist who uses the style of art by taking Polaroid photographs of one subject and arranging them into a grid layout, so that the subject would actually move while being photographed and it would show the movements of the subject seen from the photographers perspective. - Although later Hockney decided to change the technique and moved the camera around the subject instead.

*Hockney also designs is own Hollywood sets

In this fascinating documentary I learnt something about paintings that absolutely stunned me as it was unexpected - something that never crossed my mind nor my peers about the technique that artists used 600years ago around 1450- Something that artists even now would not have thought of.

Artists such as Caravagio -( whose work I saw in Italy (Rome) in the summer )
used a curved mirror (lens) focusing the sun rays and burning an image - then traced their subject on canvas.


This method of conquered mirror was used for 1 century -(by using a mirror you can only produce a small image 320cm) until the lens was invented which is more versatile. 

Thursday 10 November 2011

Art in Progress-Gregory Crewdson

''If you could freeze a moment in your dream and really look at it in every detail and every aspect of it, you will be in of Crewdsons images'' - This has inspired me to create set builds of what I dream about

Crewdson's earliest work was in 1988 - Spittfields America (Peoples houses/neighbours)
His father was a Psychoanalyst and in Crewdsons teenagehood there was a moment where he used to listen in through the floorboards as his father worked with his patients. - Classic Psychoanalytical father moment.

Crewdson used to attempt, never really heard anything but listen to whats going on beneath the surface.
I feel as if Crewdson imagines that was him as a young boy in the image above - boy with hand in drain (2001) 

Watching this documentary I finally got to see how Crewdson creates his images and where his ideas generate from. He stated that he finds ideas and locations whilst driving around for days. 
''When you see something that feels right and respond to Architecture and setting thats important''
His work comes from what he sees as American Sensibility tradition for instance - paintings of Edward Hopper. 

*Similar emptiness and theme (Ordinary life)
*Crewdson wants to capture emptiness (timeless) and aimless in his images like how Spittsfield is. 




Crewdson stated for him first and for most is to make a beautiful picture but if its just purely ecstatic experience, its not good enough. That meaning needs to be undercut to something psychological or dangerous or desirous/fearful. Ultimately I want it all to become one world in itself. 
- He uses Light to establish a world and tell a story!