It has been an interesting and challenging six months with lockdown and working harder that ever. I’m sure anyone working in education whatever their role will understand having to completely transform their professional practice and the amount of hours needed just to keep your head above water. Though I have taken photos and been engaged in talks and reading about photography my aim now is to get back to a more detailed plan for completing the Foundation in Photography course by December.
Before lockdown, I remember visiting London and seeing the Dora Maar exhibition at the Tate, the V&A photography rooms (loved the work of Linda McCartney, what a revelation), and seeing the Wildlife Photographer of the Year winning images at the Natural History Museum. I came away feeling completely inspired, only not to have any time to follow up and consequently loosing impetus
I’m a strong believer that for creative work sometimes you just have to dive in and get started. If you wait for inspiration to strike, you may have a long wait (well I know I would). So here goes, watch this space and wish me luck! I’m looking forward to the challenge.
The exercise is to take a key photograph of an artist I admire, and use this as a starting point using aspects of the photo that appeal to me to create my own image.
My chosen image is Fork, Paris, 1928 by André Kertész. (Huxley-Parlour, n.d.).
Characteristics
Simplicity
Creative use of light
Composition creating patterns and shapes
Light and Shadow
Contrast
Though the exercise is to take these characteristics and make a new image. I thought it would be an interesting challenge to recreate the image. Though on the surface this could be viewed as a simple photo of a fork on a bowl after dinner, it is a fascinating composition with the frame divided into triangles, balanced by curves. The texture of the table surface provides interest, and the black shadow of the bowl leads to the edge of the bowl, that in turn leads to the black border at the top of the image at the edge of the table.
After trial and error and some editing in photoshop to enhance the contrast I created an image that though not as strong as the original captures some of the characteristics that appeal to me.
Through this process, I learnt a lot about the importance of composition and how one tiny change of angle can create a completely different effect. The light source was a strong torch. Having the freedom to explore different lighting effects from the position of the torch led to the following images, which all look for patterns and shape, and light and shadow.
These images all have a texture added as a blended layer.
Though not part of the set exercise I found recreating the original image a challenge, but a valuable experience. My next step is to explore more with the use of light, strong shadows and reflections.
Reflective practice is much wider than reflective practice and should be built into our work from the outset
Plan Act Observe Reflect Revise Act Observe Reflect
Don’t just reflect at the end
5 mins free writing can help clear your mind, providing focus and structure
Journal at least weekly. It is really helpful for assignments if you have a record of your through processes through all the stages.
Use models e.g.
Gibbs (for me the headings need more explanation to make this clearer, but this tends to be one of my most used frameworks)
A model devised by Andrea.
Review/Action Plan Model
Review
Where am I now?
What have I learnt?
What are the issues?
What are the solutions?
Where am I going?
Action Plan
what do I do next?
When do I do it?There are additional points that I will add when the presentation is made available.
Afterwards, I was reminded me of some training led by Alison Blair, looking at Phil Race’s model of learning. There were some excellent questions at the end for developing an action plan.
Questions for developing an action plan
One thing I am going to do is…
One idea I’m taking away is…
I am going to think about…
I have found out that…
I’d like to know…
In future I am going to…
Documenting the Process
Posted by Kate513940. This is from an essay Documenting the Process by Mike Simmons in Photographers and Research the role of research in contemporary photographic practice, Shirley Read and Mike Simmons, Routledge 2017. Heavily paraphrased and including my own notes in brackets it goes as follows.There are three core questions to ask yourself. What? what did you want to do? what did you actually do? what were the outcomes So What? analyse the situation. What worked well? What didn’t? what influenced your decisions?Now What? This is the most important one for me. I try to take the work out of the OCA assignment “box” and imagine it as a longer term project. What would I do differently? What else do I need to consider?
Google models of reflections, there are many different ways suitable for different approaches.
Writing Strategies
Stream of consciousness
Free writing with a theme
Dialogue
Write a Letter
Lists
I found the session a useful reminder of the benefits of reflecting at all stages of the process, and also to try out different models of reflection. It was a good introduction to the benefits of reflection and made it accessible to students to whom this may have been a new concept.
John Heartfield, original name Helmut Herzfeld (1891-1968) was a German artist known for his use of art to make a political point or a statement. He was a pioneer of photomontage; some of the most famous of these are the anti-fascist montages such as the criticism of Hitler. Using cut outs of photographs and images he created a photolike process achieved without using a camera.(Heartfield Photomontages, n.d.)
The J. Paul Getty Museum describe how his images were a reflection of what was happening in Germany in the 1920s and 1930s, ‘as it slipped toward social and political catastrophe.’ They go on to describe how the impact of his images made photomontage a method of mass communication. The technique allowed him to take images of well-known figures or events published in newspapers and then recreate a new image with a different meaning. (Agitated Images: John Heartfield & German Photomontage, n.d.)
Heartfield was active in the Dada movement in Berlin. Dada flourished at the end of World War I in Zurich, New York City, Cologne, Berlin, Hanover, and Paris. Knierim (2012) identifies common styles that were introduced by Dadism as collage, montage, assemblage and the ready-made. He describes the Berlin Dadaists as ‘the most progressive and politically subversive of the international Dada movement.’ Other artists included Hannah Höch, Raoul Hausmann, and George Grosz.
Many of Heartsfield’s imagers were published in the Arbiter Illustrierte Zeitung (Workers’ Illustrated Magazine), a communist newspaper. One of his early photomontages, The Tire Travels Around the World (1920) was used as a cover. The photomontage includes a tire, slogans, cut out words,. Fragments of words and images represent the tire, adverts, creating an image that is a chaotic representation of Germany’s state following World War I.(Heartfield Photomontages, n.d.)
In a portrait layout, the image appears to feature a slanting table on the left half of the image with a a full white cover and a small grey cloth covering the top and just over the edge of the table. The background is white on the left hand side and third of the way over blends into a light grey shadow. On the table top is a serving spoon with what could be a cerise coloured jam, orange fruit (possibly persimmons), a serving spoon, the edge of a plate, cherry pips and cherry stalks, and a second spoon loaded with what could be cream. However, some of these objects are printed cut outs and it is difficult to tell what is real. The images looks as if the table is collapsing and everything is sliding or falling off.
The composition focuses the eye on the left hand side of the image. The objects on the table top are falling into the greyness of the empty space. There is balance throughout from the first spoon with its thin stem and shadow behind to the left, the reflection of the fruit behind and below, the plate edge curving around the fruit, and the cherry pips and curving of the stems drawing the eye downwards. Everything is carefully place to create aesthetically pleasing curves and shapes.
The effect of the composition is to play with the sense of space of dimensionality. An added subversive element is the use of printed cut outs, which were shot from different perspectives.. It is difficult to tell what is real and what is printed. The lighting and use of shadow contributes to the feeling that all is not what is seems, as some objects are without shadows.
The image leaves me with a sense of being unsettled. Why is the table falling, why is the plate broken? it is an intriguing image that makes you look twice. Everything is moving from the white side of the image, downwards towards the emptiness of grey nondescript background. This is not a static still life, it captures a moment when things are changing.
Peter Fraser (b. 1953) is a photographer who creates his work from everyday objects that he finds. @tate (2013) describes his work as revealing incidental beauty and strangeness in the world and identify recurring themes of things and their status, and journeys and narrative.
Fraser in an interview with Sarah Phillips (2012) describes the importance of small things and objects that he photographs close up. ‘I think small things are really important, not least because everything in the universe is made up of matter to small we can’t see it with the naked eye. I almost never interfere with my subjects: there are mysterious forces at work in the world and they know, better than I do, how things should be placed.’
Looking at Fraser’s work, in the series Material 2002, Fraser states that he is using photography to investigate the ‘physical substance of the world’. This series finds beauty, colour, detail, and patterns in the most unlikely objects, things that usually would not get a second glance. Though the images are photographed in the way they were found, the images are carefully lit, and well composed.
Everyday Icons 1986, are images taken on short walks over an eighteen month period. The images include, two blue buckets, an open empty locker, an empty hay net, washing hanging on the line with snow on the ground, a suitcase up on on a train luggage rack, an empty playground. Viewed as a series, the absence of people combined with the every day objects create a feeling of being removed from reality or a sense of time. As with Material, the composition of the images draws out lines, patterns and shapes. The use of colour is striking in the way that images have a limited colour palette, which works effectively. For example, the different shades of pink of the washing hanging in a snowy garden, or the the brightness of the dark red suitcase against the grey of the train.
Fraser, identified the image below as his best photograph (Philips, 2012). It is an excellent example showing his approach to colour, light, and composition to create a memorable image. At that time he had been very focussed on how humans had affected nearly everything on earth and found this as a timely example. He describes the moment he discovered it. ‘There I saw, illuminated by intense sunlight pouring through a small window, a polystyrene cup with cocktail sticks poked through it – an exquisite example of the brain directing the hand to change the nature of materials.’ (Philips, 2012)
Aesthetica Magazine, 2013. Review of Peter Fraser at Tate St Ives [Online]. @AestheticaMag. Available: /peter-fraser-at-tate-st-ives/ [Accessed 2 Jan 2020].
Charlie Waite (b. 1949) is a leading British landscape photographer. He was a guest speaker at Leeds Photographic Society on 10 December 2019. The programme introduces Waite’s themes for the talk.
Landscape photography as a way of life and an essential method of expression for Waite. In discussing his work, Waite refers to ‘pre visualisation’ first used by the great American landscape photographer Ansel Adams from which he draws much inspiration amongst others. ‘It is the creative act of the artist photographer who, in visualising a poetic or revealing image within the scene in front of him anticipates what the final print must convey to express what he sees and feels’. (Leeds Photographic Society, 2019)
His images can be viewed on his website www.charliewaite.com. Being a landscape photographer takes a lot of patience. He finds he is at his most receptive when interpreting and scene and taking images. He enjoys how a big landscape has so many different related aspects. His aim as a photographer is to pull together the different elements of a landscape to produce a coherent image. He wants his images to produce an emotional experience in himself and the viewers. If it is does this then the image has been successful.
An example of his approach can be seen in his image taken at Amiens, Somme, France.
https://www.charliewaite.com/gallery/view/amiens-somme-france/collection-1 The initial visit to the flooded grove, did not produced the effect he was looking for. Revisiting a week later, the water level had dropped leaving a dark mark at the base of each tree, providing a separation from the trees and their reflection. (Waite, 2019)
It was fascinating to hear Waite talk about photographers who have influenced him, with different reasons for each choice.
André Kertész – for the elegance of his design, and use of pattern and shape
Henri Cartier-Bresson – for the breadth of his work in different countries
Christopher Burkett – for the clarity and detail of his large format images,
Nick Brandt – for his ability to move the viewer.
Ansel Adams – a master of photography who taught him so much, and for his dedication to previsualising an image. He reminded us that Adams said, ‘if you make 12 landscape photos that count, then you are doing well.’
Key Learning Points
A photograph has to evoke the experience that you had at the time and needs to meet your expectations. It is not just a photograph it should provoke an emotional response.
Use a tripod
Take the time to get the result you want, with the sun, light, the clouds, the subject etc. Waiting is part of being a serious photographer
Look at how the light is reflected on different surfaces
Investigate different vantage points
Look for shapes, arcs, contour, shadow and line
Decide what elements are essential and what can be left out
Look for repeating shapes and relationships of form as these can provide a sense of unity to the image
Be aware of what is in front of you. You shouldn’t look at the image afterwards and notice something new.
Look for contrast
Taking good photographs is not an easy process. As with any creative work, you need to make decisions and search for that moment when all elements come together to make a strong image.
Last update 16 Dec 2019
References
LEEDS PHOTOGRAPHIC SOCIETY 2019. Winter Programme 2019/20. Leeds Photographic Society.
WAITE, C. 2019. Charlie Waite | British Landscape Photographer, Tutor and Lecturer | Charlie Waite Photography [Online]. Charlie Waite Photography. Available: https://www.charliewaite.com/ [Accessed 16 Dec 2019].
The American photographer Duane Michals (b. 1932) is known for his innovative approach. His work includes the use of handwritten text to add a different interpretation to the image, the use of series, and multiple exposures. (Gallery, 2019). Jaskot-Gill (2012) describes Michals as a storyteller, and views his photographic sequences as part of a long tradition of storytelling through to contemporary cartoon strips.
I am drawn to Michals use of sequences to tell a story, but with an unexpected twist. There is playful element to his work, in which you can see the influence of surrealist artists such as Rene Magritte. He identifies other influences on his work as Lewis Carroll, William Blake, Thomas Eakins, and Balthus (McKenna, 1993). Things are queer is an excellent example of a narrative series with influences from literature and art.
In this series of nine images, all is not what it seems. The first image is a standard shot of a bathroom and doesn’t appear to be anything unusual. It is only when you see the second image and realise that the it is a tiny bathroom (or a giant leg) and scale is being played with, reminiscent of Alice in Alice in Wonderland, who finds herself changing sizes. The third image confirms that things are out of proportion. It is however the next images when things get very strange, as image 3 is shown in a book, which is then being read by a man walking down a tunnel. A print of this image is shown in a frame, over a sink. The final image reveals that this is the first image with the print in the tiny bathroom.
The series is circular in nature, with the first and last images being the same. However, the viewers perception of the image changes as a result of the series. On looking more closely, the text in the book is from a Brothers Grimm fairy tale, The Story of the Youth Who Went Forth to Learn What Fear Was. The text shown is from the part of the story where the youth meets a giant. Other interpretations of the series suggest that the images challenge our view of reality, ‘the series subverts the viewer’s faith in photography as a faithful window on the work: seeing does not equate to knowing or understanding.’ (Jaskot-Gill, 2012). Weinberg (2019) addresses the sexual connotations of the title, and argues that the queer refers to the world itself, ‘In contradiction to its title, the series seems to say the things themselves are not queer, rather what is queer is the certainty by which we label things normal and abnormal, decent and obscene, gay and straight’.
I find this work, intriguing. In particular I like the fact that the same image (used at the start and end of the sequence), is viewed in different ways. The images reveal more through careful study and encourage the viewer to look reconsider how they initially perceive the image.
Last updated 15 December 2019
References
D C Moore Gallery. 2019. Duane Michaels [Online]. [Accessed 9 Dec 2019].
JASKOT-GILL, S. 2012. Things Are Queer. In: HACKING, J. (ed.) Photography The Whole Story. London: Thames & Hudson.
MCKENNA, K. 1993. ART : Picture Imperfect : For maverick Duane Michals, a photo is worth far less than a thousand words when the questions are about the very meaning of truth [Online]. @latimes. Available: https://www.latimes.com/archives/la-xpm-1993-03-14-ca-543-story.html [Accessed 9 Dec 2019].
WEINBERG, J. 2019. Things are Queer [Online]. [Accessed 10 Dec 2019].
Man Ray (born Emmanuel Radnitzky, 1890-1976) was an innovative artist associated with the surrealist movement. As an artist, his work includes paintings, sculpture, film and photography. Initially, he was inspired by cubism and expressionism, but Dadaism and later Surrealism became the focus of his work. Moving from America to Paris in 1921 he became part of a group of Dada and Surrealist artists (Manray.net).
Bracegirdle (2012) , describes Man Ray’s approach as a photographer as technically adventurous using a range of effects including solaristion (reversing the shadows and highlights though overexposing during printing), camera less prints or photograms (he called these Rayographs), and grain enlargement. The aim was expand the range of approaches to his creative work.
Man Ray’s, famous works representing a range of art forms. The following images I find particularly interesting for the way they were created and their ambiguity, which draws the viewer in.
This is an example of a photogram, where the image is created using photographic paper without a camera. To create this image, the paper was exposed multiple times, each time using a different object to create the silhouettes. In this example, it could have been three exposures with a pair of hands, the heads (himself and his lover Kiki de Montparnasse) and two photographic trays. Man Ray called these photograms, Rayographs. Though the technique existed before, he was the first to use it for fine art, not just as a reproduction of a subject (Manray.net, 2019). His rayographs have been described as visionary and likened to avant-garde painters of the period (The Met, 2019).
This image was inspired by the nudes of French Neoclassical artist, Jean Auguste Dominique Ingres (1780-1867). This is possibly the most well known image of French model and artist, Kiki de Montparnasse (1901-1953). The f holes of the violin were painted onto the image, suggesting her body as a musical instrument. The title is also a play on words as the phrase violin d’Ingres is a colloquialism meaning hobby, perhaps implying something about how Man Ray viewed the subject. The phrase was derived from Ingres’ well known love of the violin (Manray.net, 2019)
All is not what it seems in this image. The model is looking away from the camera and appears to be upset. The model is actually a mannequin and the tears are fake, made of glass. Education at the Getty (2019) describes the image as a metaphor for artificiality in art. The tear drops are exaggerated and could be viewed as fake tears. Taken after Man Ray had been left by his lover Lee Miller in 1932, it could be viewed as a commentary on insincerity.
Karen Gourlay: Foundations in Photography 