Saturday, April 23, 2011
Sunday, April 10, 2011
Sunday, April 3, 2011
Adam Bloomberg & Oliver Chanarin
This comes off as a photograph that is dependent on text- but I do not think it is. More so than the text I am drawn to the circular frame- I think it is key to this image and the images from the series. This also comes off as kind of a joke, however, it is a very seriuos subject matter. We can see the subject is clearly not laughing- he is covered in glue and tied to a post. I chose this image because out of context from the series it is very decieving. At first I laughed- but then upon looking at the rest of the series I understood the severity of the content.
Daphne Fitzpatrick
One of the things about color photography that I respond to most is the lack of vibrance and or hue. I like when photographers choose to shoot virtually monochromatic subjects because little hints of color come through. The subtle blue of natural daylight is visible in this image and contrasted by the yellows in the button. I am drawn to images like this that are successful in terms of subtlety and simplicity.
Jessica Craig Martin
What I respond to most in these photographs is the judgemental nature of these pictures. And i like how the photographer uses flash to emphasize the bias that she has towards these aristocunts. Another aspect of these photographs that I respond heavily to is that they have a documentative feel to them- but there is room left for interpretation. For example my initial reaction to these images, before reading any captions, was that they were moments of poeple stealing from one another. I chose these three images to emphasize why I felt that way, but honestly the whole series was visually interesting.
Monday, March 21, 2011
Adam Fuss- My Ghost
Adam Fuss- Daguerrotype- My Ghost
With the images from this series Fuss tries to capture or possess the very thing he has lost. His imagemaking process directly relates to that because this type of imagemaking is generally not done anymore. So he emphasizes the theme or idea of this series My Ghost by relating it to his lust or passion for antique photographic processes.
I believe this is where he got the idea for the photogram of the rabbits. The same thing above applies here- he is directly relating his process to that of William Henry Fox Talbot. And while doing that he is attempting to grasp the essence of a lost loved one.
Images like this in My Ghost are metaphorical- but very clear. Smoke- formless and essentially impossible to capture. This relates to the ideas he is bringing to the surface of My Ghost- the elusiveness of death. The not only speak to the unique qualities and nature of the photogram, but they also speak about his passion for photography because some of this earliest exposures are of smoke and fire.
Adam Fuss- c print- not part of My Ghost
The movement and undulation of the snake is what he is exploring in this particular photogram. As a child in Britain he played the game snakes and ladders- snakes being the chutes.
Friday, February 18, 2011
Sothy
So I do not know if I am just flickr-inadequite or what but I could only get the thumbnail of his image. This was my favorite image out of every ingle photograph I have looked at today. Between the quality of light and the earthtones I am instantly grabbed. I feel like this suitcase was placed in someone's backyard and shot quickly- but at a closer glance I am convinced it is more thought out than that. The camera angle puts us as viewers at eye level with this suitcase- we are supposed to feel it's presence more so than normal. The quality of light is not that of a snapshot at all. The scene is well illuminated which is good because I am interested in the context of this suitcase. It feels at home- where the image was made and where the suitcase belongs.
This photograph is part of a story. It not only gives us the meaning of the encounter or the focal point of the conversation- but it also creates a really nice setting. We know now that the scene takes place over water on a bridge and this is indirectly important to the story whether the photographer knows it or not. I also am responding visually to the horizontal ripples and the strong railing versus the vertical elements. Plus the color seems to be working in a nondescript manner, and the division of space is refreshing.
Again i rebel against Flickr and therefore do not know how to use it. But this image was interesting to me. It is expressive in a documentarian way. The text almost works better with the image- being that we learn a lot about the subject from the text. But the image really tells us about the photographer; central/slighted/small figure, almost monochromatic, and not interesting on it's own. That is why it goes with the text so well. Both aspects of the piece tell us a life story about the model and the photographer.
Raw. A person with a camera taking pictures- a person with a camera taking pictures. One is maybe a photographer and the other one is not- or is he/she? The line is blurred here completely and this image challenges the viewer. If he doesn't use the strap then why the fuck does he have it on the camera? Did the person on the left take a picture at the exact time the other person hit the shutter and fired the flash? If so then a whole other dimension is added to this photograph that is making my head spin in an awesome way but it is too late bye.
Thursday, February 10, 2011
Monday, February 7, 2011
Taiyo Onorato & Nico Krebs: The Great Unreal
These photographers work together creating odd images. Their oddness is achieved through technical work which I like and relate to. This one is more of an odd observation but it demonstrates their ability to speak with the language of photography. Composition, color, crispness, and use of space all work together to tell us something about the obscurity of this scene. They picked a perspective that insinuates something unreal- a community on a cliff. A huge drop off by a street is unreal but with their chosen camera angle it becomes a reality. This reminds me of the article because the idea probably came from a very simple observation- then grew into a book of cohesive beautiful work.
This image and the next one demonstrate the growth of the project. Instead of sticking to manipulating truth through camera angle they move to technical manipulations. But they still incorporate great use of composition, color and crispness as a control. The variable in this photograph is the level of obscurity and truth. Besides how this photograph relates to the article, I can relate to it with one of my projects.
In this image the project grows even further and the photographers do not shun it. This photograph does not have the quality that the others do as far as exposure and composition- but it is heavily manipulated. The effect and the meaning of the project is hammered into the viewers mind and now we get it. We understand the project and we understand the photographers are very open-minded to changes for the better. Onorato and Rebes allowed their project to change in many different ways, however, the meaning of the project remained stable.
This is some other work that illustrates their oddness. This photograph makes it clearer to understand the different paths the above project went down. Untraditional might be a good word- but still excellent photographers who know what they are doing technically and conceptually.
Here is their skill level to say the least. I think they are awesome and this photograph definitely proves that if the others do not. Color relationships are pretty powerful in this photo and the composition is strong. And in a weird way the bed and the figure have this similar stillness to them. They are both horizontal elements in similar spots and the frozenness of the figure seems to relate to the bed. This idea reminds me of the Great Unreal project. The fact that we know that figure is in motion yet in the photograph it is frozen. Manipulating truth with the camera to make an amazing photograph is very interesting to me- and these guys do it very well.
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