This is my idea:
· Still motion Animation. I would make a video of tons of images zoomed on the mouth as the mouth speaks and talks and reads a story out loud. I will copy the video 4 times. Each different copy will have an audio track of me reading the same story. However, each video’s audio will be me reading the story with different emphasis, voices and intonation. The point is to express the difference between voice and body language.
COMMENTS, IDEAS, TIPS, GENERAL THOUGHTS?
A photo filter would be good to use as a means to help express the point, add a filter such as sepia or black and white
Make the photos seem as though they are on an old 1950’s television set
 |
| Still life with breast. 2001. Joel-Peter Witkin. |
 |
| Alexander McQueen 2001 Asylum |
 |
| Sanitarium. 1983. Joel-Peter Witkin |
 |
| Follow Me. Wang Qingsong. 2003 |
Wang Qingsong is a highly political and concept driven artist. This particular photograph was inspired by books meant to teach English to Chinese citizens. It's also a colmination of his ideas about China moving towards a more "open" direction. Wang Qingsong was born in 1966 in the Heilongjiang Province of China and currently works and lives through Beijing, China. According to his own website, he doesn't not have many accolades or awards. However, I chose this photograph because it's so strong, it says so much literally and figuratively, you can get lost in the photo, it's subtle yet brash, overdone yet understated. I really like it.
#19. Can you think of anything that:
1) should not be photographed? Why?
No I believe in art. Nothing is off limits. No one is forcing the viewer to look or even like it. But the artist can and may express whatever they believe
2) cannot be photographed? Why?
No. I don't know actually. is this a can't vs. shouldn't trap.
3) you do not want to photograph? Why?
Not really into flowers. I mean they're pretty and all, just not my thinggg.
1) should not be photographed? Why?
No I believe in art. Nothing is off limits. No one is forcing the viewer to look or even like it. But the artist can and may express whatever they believe
2) cannot be photographed? Why?
No. I don't know actually. is this a can't vs. shouldn't trap.
3) you do not want to photograph? Why?
Not really into flowers. I mean they're pretty and all, just not my thinggg.
#20 Describe at least one photograph that you could take for each of the following “place” prompts.
- An image of a synthetic “place” such as Disney World, Las Vegas, a Hollywood set, a diorama, etc
- A supermarket
- An image of a fantasy/fictitious environment concocted from your imagination.
- Me leading an Army of Mannequins
- An image of a placeless space such as the Internet, cell phones, e-mail, e-bank, surveillance, etc.
- leave the shutter open as you go from page to page on the internet.
- An image of a public space.
- Aerial View
- An image of a private space.
- spying, voyeur
- An in-between space that brings to mind one of the following ideas: nomadic lifestyles, displacement, rootlessness, out-of-placeness, boundaries, movement, expansion, etc.
- A beer bottle in a church
#21
A. Describe some common aesthetic aspects of “news”-related photographs.
The photographs are more about information as opposed to artistically d riven
The photographs are more about information as opposed to artistically d riven
B. Describe some common aesthetic aspects of “snapshots”, including family photographs, cell-phone shots, photos posted to facebook
These snapshots are more about a moment in time.
These snapshots are more about a moment in time.
C. Describe some common aesthetic aspects of advertisement photographs, including fashion photography, product photography, etc
Advertisements, are often highly done in a way that creates a want for it. post-production
Advertisements, are often highly done in a way that creates a want for it. post-production
D. Describe some common aesthetic aspects of film/movie and television stills.
candid
candid
E. Describe some common aesthetic aspects of yearbook photos, senior pictures, and team/club/sports group shots.
Poses, faces, heights, symmetry, etc
Poses, faces, heights, symmetry, etc
F. Describe some common aesthetic aspects of stock images. http://www.corbisimages.com/ http://www.gettyimages.com/
G. Describe some common aesthetic aspects of fashion photography.
Emphasising lust, the idea of beauty or what it should be. etc.
Emphasising lust, the idea of beauty or what it should be. etc.
H. Describe some common aesthetic aspects of paparazzi shots or celebrity photographs.
OH LOOK IT:S A CELEBRATY
OH LOOK IT:S A CELEBRATY
#11____Memory of a Place: Try to imagine a place from your past. Do you have pictures of this place? Describe this place as you remember it. What might a photograph look like of this place if you were to go back and photograph it? What would it look like in the past? What would it look like to you today? Where are you standing in this place? What other items are in this place? What colors do you see? Are there other people or are you alone? Make a “written photograph” of this place using words/description.
- The place in which I am remembering only has a few photographs of it. Nothing remains the same from the photograph to today. There would be different furniture, paint, and considerable aging. I am standing in the same place in which I stood in the photograph. The people have clearly aged. I have aged, the scene, aside from paint and furniture, has stayed the same. I am in a dining room with my parents.
#12____Memory of a Photograph: Which photograph from your past do you remember most? Describe this photograph. Describe how it makes you feel when you remember/think about this photograph. How have you changed? How has the place in this photograph changed? What would a reenactment of this photograph look like? Would you act or look differently if you reenacted this scene today?
- The photograph that I remember the most is one were I am holding my younger sister (by 14 mos). I am 2 in the photography, she 6 months. We are on a carpeted floor during christmas. This image reminds me of the strong bond between one older brother and one younger sister. The place no longer exists, and for me to recreate this photo would consist of me now 21 holding my 20 year old sister, would be rather challenging. The photograph if done correctly would be interesting to see. Personally, I would be as contemporary as possible in the representation of our styles, and yet as historic as possible in the background.
#13____Human-Made Space: In the past, photographers who were interested in how humans impacted the natural landscape grouped together to form the New Topographics. “"New Topographics" signaled the emergence of a new photographic approach to landscape: romanticization gave way to cooler appraisal, focused on the everyday built environment and more attuned to conceptual concerns of the broader art field.”http://www.lacma.org/art/ExhibTopo.aspx
In addition, at the same time in history artists created (and still do create) “land art” in which they use materials found in the landscape to make sculptures that remain in the landscape. Many of these works now only exist as video recordings and photographic documents.
Pay attention to the number of ways in which you encounter humans’ interaction with nature and the physical land. Write these down. Using these as inspiration, describe an idea for a piece of “land art” that you might create that would be documented by a photograph. Describe an idea for a piece of “land art” that you might make in a man-made landscape that would be documented by a photograph.
- I would place twigs in the ground in a manner resemebling that of a tree and lay down behind them to slightly see my face with the camera on the ground to ground perspective. behind more trees, naturally!
#14____Unknown vs. Familiar Space: When photography was invented, it became a way to document and reveal the specific aspects of both familiar and faraway places. Imagine a familiar place. Imagine a faraway place. How would you use photographs to convey the difference? Can you imagine any places that have been “touched” very little by humans? How might you photograph them?
- Take a double exposure photograph of two doors and framing the doors in the center and the facade around it, so the two exposures have overlapping doors. I think if you are to take pictures of a place that is largely left untouched by humans, I would go about it by taking a landscape style pictures, A way in which you can capture the place/scenery as is. With little to no human presence.
#15____In-Camera Collage: Collage brings together two or more items that were previously separate. The resulting piece usually visually references the fact that they were once separate entities. Imagine an important place in you r past. Imagine an important place in your present. Imagine who you were in both of these past and present places. Describe how you might use a slow shutter speed and/or double exposure to capture two moments in one image that tell a new narrative about these important places and how they relate to who you are and were.
- I would take several pictures of the same exact framed focal area from different perspectives. Keeping the center as the center but yet from different perspectives. The doors would be a door which I regularly enter, while the other being a door that i regularly exit.
#16, 17, & 18 Please respond to three of the following quotes.
“I think photographs should be provocative and not tell you what you already know. It takes no great powers or magic to reproduce somebody's face in a photograph. The magic is in seeing people in new ways.” Duane Michals
- With this quote I agree to a certain extent. I think that if you are trying to capture the person for who they are or as the image is then yes. However, if you are purposefully trying to display the subject in a different manner or in a certain concept, then you can change characteristics to suit your needs. However, the base still remains the subject.
“I believe in the imagination. What I cannot see is infinitely more important than what I can see.” Duane Michals
- I am a very curious person. I am always driven by not knowing. I hate not knowing. This drive I believe helps my imagination. My imagination is always working, making a reality for me. I know what I can see and that bores me.
“Landscape photography is the supreme test of the photographer—and often the supreme disappointment.” ~Ansel Adams
- Landscape photography is so hard. You have so much to manage when taking a photograph of landscapes. Space, Lighting, Demension, Porportion, Framing, Detail, etc. You have to fight it being a cliche, you have to work with the perspective and how to make it unique.
“Photography, as we all know, is not real at all. It is an illusion of reality with which we create our own private world.” Arnold Newman
“Photography can only represent the present. Once photographed, the subject becomes part of the past.” Berenice Abbott
- Composition: By placing myself in the center I am the subject the focus, I am the stalked. The tree growing from my head allows my skin tone to stick out from the background. There is a a horizon and texture from the trees.
- Concept: My concept was that I was being watched... but I liked it.
- Motivation: To turn the camera on myself and see what happens.
- Method: I used automatic focus and then manually set my aperature and shutter speed.
- Context: I wanted to switch shoes and views, become the photographed
- Composition: All black foreground. Bright, crisp, illuminated background. in a pattern of irregular spaces and only one distinct person.
- Concept: The so called guilt associated with people when they eat fast good
- Motivation: I wanted to express my concept
- Method: Got as far back as I could and made the shutter speed fast enough to capture the light but not the subject
- Context: the anonymity of fast food and it's guilt
- Composition: A wall with alot of texture is the main composition. I think that the subject on the far left adds to the concept but not to the composition, I find her to be distracting and not needed. The lines of the wall and the texture al add to the composition while the most depth and damage of the wall lies within the center of the photograph.
- Concept: I wanted it to look as though the subject was contemplating about the destruction that had already happened there.
- Motivation: I was motivated by the texture of the photograph. I wanted it to look old and weary. Brokedown and sad.
- Method:I spent forever trying to figure out the best way to capture the texture of the wall and not making the subject the focus, but rather that the subject is a compliment and a way to help allude to the sentiment. I tried to use the line between the differentiating colorsj to add a visual interest, a break, another way of highlighting the texture.
- Context: The context of which is just I wanted to show the wall it's crumbling
- Composition: The only detial in focus is the texture of the hair. The shapes are clearly visable but are not sharp or focused. The center of the frame is the journey, is the road, the car in front adds distance and depth. The focus flattens the image as a whole allowing the sharpness of the details to come out.
- Concept: I wanted to show a figurative journey, I wanted it to seem like I wasn't there and the subject was on a journey of his own
- Motivation: Everyone knows how it is drive alone, to be a journey through time on the road and with the cehicle
- Method:
- Context:
Subscribe to:
Posts (Atom)
