Tuesday, 27 November 2012

Truly outstanding cinematography - In the mood for love






Director Wong Kar-wai can make the ordinary look extra ordinary.


How to reflecting on a photo shoot


TitleReflecting on Photo shoot 1

Introduction

Write a general paragraph explaining the details of the shoot. Where did you go? Why? Who with?
Explain overall how the shoot went. What were your overall goals for the shoot?

Produce a contact sheet and printing

Produce the contact sheet and circle your best shots. Choose a shortlist of your best shots and print at a Kiosk (minimum of around 3 images)

Critiquing your selected images images

Then reflect on those particular shots and compliment what has really worked and criticize the shortcomings. Use these categories to help you;

Visibility of concept, 
Composition, 
Camera tech, 
Consideration of Lighting, 
Vantage point, 
Framing, 

Conclusion

Set your self goals and targets. See it as a to do list you set yourself to ensure your work ends up complete body of work and completed at a high standard.
Do you need to reshoot this idea because of technical errors in lighting or camera?
What are you going to do next shoot ? Have your ideas changed slightly from your last shoot?
What do you need to put right to help complete this body of work? 

Monday, 26 November 2012

Presentations - what to include


PechaKucha presentations

An example of a PechaKucha presentation based on a simple idea: 20 images x 20 seconds. It's a format that makes presentations concise, and keeps things moving at a rapid pace.

Erin Riley's presentation is about the role of military chaplains and she set out to find the stories behind these people. Her presentation reveals the results of her interviews and photographs.

Sunday, 25 November 2012

A2 photography targets

I need to ensure all my previously assessed work takes on board the the improvements/short comings given (give examples)

I need to increase the time spend on my personal/individual body of work. I firstly must shoot....... idea

I need to finish off the ................. section within my sketchbook, This involves............

I find ......... difficult to understand, I need to re visit it on the subject blog and would like it revisited in lessons.

I need to plan my shoot to ensure natural light or artificial light is being considered/ manipulated. A shoot idea I have where this would add value is ...........

I need to print out my ........... images at a kiosk

I need to transfer my ......... completed work  to my sketchbook



Thursday, 22 November 2012

John Stezaker's - Marriage

John Stezaker’s work re-examines the various relationships to the photographic image: as documentation of truth, purveyor of memory, and symbol of modern culture. In his collages, Stezaker appropriates images found in books, magazines, and postcards and uses them as ‘readymades’. Through his elegant juxtapositions, Stezaker adopts the content and contexts of the original images to convey his own witty and poignant meanings. 

In his Marriage series, Stezaker focuses on the concept of portraiture, both as art historical genre and public identity. Using publicity shots of classic film stars, Stezaker splices and overlaps famous faces, creating hybrid ‘icons’ that dissociate the familiar to create sensations of the uncanny. Coupling male and female identity into unified characters, Stezaker points to a disjointed harmony, where the irreconciliation of difference both complements and detracts from the whole. In his correlated images, personalities (and our idealisations of them) become ancillary and empty, rendered abject through their magnified flaws and struggle for visual dominance. 

In using stylistic images from Hollywood’s golden era, Stezaker both temporally and conceptually engages with his interest in Surrealism. Placed in contemporary context, his portraits retain their aura of glamour, whilst simultaneously operating as exotic ‘artefacts’ of an obsolete culture. Similar to the photos of ‘primitivism’ published in George Bataille’s Documents, Stezaker’s portraits celebrate the grotesque, rendering the romance with modernism equally compelling and perverse.








Tuesday, 20 November 2012

ART 3 Brainstorm


ART 3 Brainstorm
Preparation to your personal starting point
To record our generation of ideas we need to create brainstorms
1.On your brainstorm, there must be your initial thoughts on possible concept ideas for  your photography project. Write down any key themes, issues and ideas that spring to mind. (the more the better)
2.Consider what genre those ideas would be shot in. What is your access to that issue? How? Where/locations? When? Is time an issue? And most importantly Why its personal to you or someone who is close to you?
3. Its early days but include as many photographers and artists you can think of who make work under similar themes/concepts/locations. Write down Influence-Name-Body of work-Image if at all possible.
4. What other subjects do you do at college, can the issues you learn about be used as inspiration as a photograph project?
5. What are you passionate about? What do you care about? What interests you?
6. How will you visualise your idea, from that an idea into stunning images?
7. Do you have any medium ideas? Effects, techniques, camera tech?

Saturday, 17 November 2012

Peer marking task (ART3)


On one another’s research two, write comments and suggestions on how to improve. Use the points below to help you;

Section 1 - Concept description
1.Is it clear what the purpose and meaning of the body of work is?
2. Do you know the body of work title?
3. Has the student referred to the photographer in their first name or surname?
4. Throughout section 1, is their any repetition? Is it too text heavy

Section 2 – Extracting the concept from 2 images
1.Does the student describe the images in section 2 and then explain how the specifics in the images (For example body language, description of location, clothing etc) reflects and projects the concept you have described in section 1

Section 4 – Camera Tech
1.Does the camera tech add up?  For example 1/200, F/22, I.S.O 100 would not.
2. Is there justification for the camera tech –For example F/22 because everything is in focus?
3.Is the camera tech contradictory to what they have written? For example – The photographer has used a quick shutter speed such as 1/6.
4. Is the terminology deep focus or shallow depth of field used?

Wednesday, 14 November 2012

Handsworth self portrait project by Derek Bishton, John Reardon and Brian Homer

In 1979, Derek Bishton, John Reardon and Brian Homer set up a self portrait 'studio' on the street outside their workplace in Handsworth. It was an experiment: the photographers surrendered control of the decisive moment and the ‘subjects’ took over and presented themselves to the camera in subtly different ways. The photographs became deeply influential for Bishton, Reardon and Homer, who went on to form Ten.8 magazine which focused extensively on issues of representation and power – and how people who had been oppressed by imagery could, literally and figuratively, put themselves in the frame.




For more on the project go to: http://bit.ly/VQCfp6See the full book on blurb here: http://www.blurb.co.uk/books/3385800

Road to 2012 exhibition

Fantastic series of images documenting the Olympics, this is show by a series a different photographers in very different ways. As well as numerous participation projects too.

More info and images: http://roadto2012.npg.org.uk/







Expermintal photographs by Dominic Rouse

Read the full interview with B&W magazine here: http://www.bandwmag.com/articles/757/
See more of his work on his website: http://www.dominicrouse.com/



Grandmothers’ Best Cooking by Gabriele Galimberti

Gabriele Galimberti: "I will never forget grandma Sara’s artichokes. They have become a cult since when a famous Spanish cooking blog published their recipe, which I transcribed from memory, following the thread of the taste left in my mouth (just like Proust’s madeleine)." 

Gabriele Galimberti pays homage to all the grandmothers in the world and to their love for good cooking, starting from his own grandma Marisa who, before the departure for his tour around the world by couchsurfing, took care to prepare her renowned ravioli. She was not so concerned about the possible risks or mishaps her grandson might face in his adventurous travelling worldwide, but her major worry was, “what will he eat?”. That is because only at home you can eat well and healthily...

Read and see more images on:  http://www.gabrielegalimberti.com/projects/delicatessen-with-love-2/






Sports Photography - The stories behind the most stunning Olympics photos


Ideas to print and mount for portraiture project (as photography)


Tuesday, 13 November 2012

Street Portraits bu Niall McDiarmid

Niall McDiarmid: "I had the simple idea of going for a walk in the streets near where I live in south London to see what interesting characters I could meet - see who I crossed paths with. I was pleased with the images I was getting so I decided to expand the series to cover the whole of London. I took to the streets in my spare time, going to different areas and stopping off at places I hadn't visited for years, meeting engaging people and taking their portraits.

Within a couple of months I had branched out to cover towns across South East England and then, in the summer 2011, I had the crazy idea that I could go to every major town in the UK. Since then I have visited more than 75 towns, covered thousands of miles and photographed more than 500 people.

Although many of those who agree to be photographed tell me a bit about their lives, I really just want this to be a visual project - a record of that person on that street at that time.
It's hard to say who I chose to stop and photograph, but I suppose I am looking for people who have a certain charisma that sets them apart from everybody else."

For more go to: http://www.bbc.co.uk/news/in-pictures-20166741


Monday, 12 November 2012

Middle England by John Myer


John Myers - Middle England from Ikon Gallery on Vimeo.

Middle England by JohnMyers comprises of photographs made throughout the early 1970s including Middle England (1970-1974), a selection of portraits of individuals and families living in and around Stourbridge and the Black Country. Myers’ approach is documentary in style, concerned with taste, of the self-perceptions and aspirations of his subjects and the spaces they occupy, as well as of the artist himself. Myers was a Senior Lecturer in Fine Art at Stourbridge College from 1969, during which time he made a series of portraits of people known to him, taken in locations within walking distance of his home. Myers used a Gandolfi plate camera set on a tripod with a dark viewing cloth, prompting a sense of occasion in his subjects and the results are remarkable. Subjects are at once self-conscious and seemingly at home, pointed up as specimens of humanity yet touching and sympathetic.