Monday, 18 March 2013

Ali Mobasser and Russell Weekes - Products through the ages

From bathing suits to bikinis, ear trumpets to implants: Products Through The Ages, a photography project by Ali Mobasser and Russell Weekes, tracks the evolution of everyday objects from the 1900s to today, and in the process opens a window on items with which we interact on a daily basis.

For more go to: http://www.guardian.co.uk/artanddesign/2013/mar/15/products-through-the-ages-photography



Compiled and executed by the photographer Ali Mobasser and the graphic designer Russell Weekes, each photograph reveals a product that was chosen not necessarily as an example of design virtuosity, or even for being useful, but because it was considered to be typical in a particular decade since 1900. Many of the objects were found in private collections and photographed in their owners' homes, garages or sheds. Others proved more elusive, and had to be tracked down elsewhere, often on eBay. Each one offers a glimpse of our design and social history, and collectively they demonstrate the diverse ways in which design touches our lives: how we feel, what we do, how we look and whether or not we achieve our goals.

Top Portrait Tips from The Guardian


© Sarah Lee 

©Sarah Lee

Kerry Skarbakka - The Struggle to Right Oneself

"Philosopher Martin Heidegger described human existence as a process of perpetual falling, and it is the responsibility of each individual to catch ourselves from our own uncertainty. This unsettling prognosis of life informs my present body of work. I continually return to questions regarding the nature of control and its effects on this perceived responsibility, since beyond the basic laws that govern and maintain our equilibrium, we live in a world that constantly tests our stability in various other forms. War and rumors of war, issues of security, effects of globalization, and the politics of identity are external gravities turned inward, serving to further threaten the precarious balance of self, exaggerating negative feelings of control.



This photographic work is in response to this delicate state. It comprises a culmination of thought and emotion, a tying together of the threads of everything I perceive life has come to represent. It is my understanding and my perspective, which relies on the shifting human conditions of the world that we inhabit. It's exploration resides in the sublime metaphorical space from where balance has been disrupted to the definitive point of no return. It asks the question of what it means to resist the struggle, to simply let go. Or what are the consequences of holding on?

Using myself as model and with the aid of climbing gear and other rigging, I photograph the body as it dangles from dangerous precipices or tumbles down flights of stairs. The captured gesture of the body is designed for plausiblity of action, which grounds the image in reality. However, it is the ambiguiy of the body's position in space that allows and requires the viewer to resolve the full meaning of the photograph. Do we fall? Can we fly? If we fly then loss of control facilitates supreme control.



It is necessary to point out that I do not consider myself a glorified stuntman; nor do I wish to become a sacrifice to art. Therefore, safety is an important factor, however the work does carry with it a potential risk of personal injury as I engage the moment. This is unavoidable as much of the strength of the images lie in the fact that they are all recorded on location.

The images are layered with references to an experienced background in sculpture and painting, and the cinematic quality of the work suggests the influence of commercial film. The dimensions are important to establish a direct relationship between the image and viewer. The images stand as ominous messages and reminders that we are all vulnerable to losing our footing and grasp. Moreover, they convey the primal qualities of the human condition as a precarious balancing act between the struggle against our desire to survive and our fantasy to transcend our humanness."

For more go to: http://www.skarbakka.com/portfolios/struggle.htm



'I collect gingers' exhibition by Anthea Pokroy


Pokroy, who began her collection in August 2010, photographed her subjects in a studio with stark lighting and white clothing. She also shot close-ups of hair, skin and eyes and took a strand of hair from each of them.

As her work progressed she began to arrange the 'gingers' into a more sophisticated classification system. This included colour divisions like copper, burnt orange, light orange and auburn.

 


Colin McPherson - The A41 Project





The A41 Project - visualising inequality, features photographs by artist Colin McPherson taken as he travelled through the West Midlands, passing through some of the wealthiest and some of the most deprived areas of England.

"The project has been one year in the making: the last six months of which I have spent on the road, travelling the length of the A41 from near my home on the Wirral down to London - and back again several times," says McPherson. "Photographers are particularly fond of road trips and journeys as they instil a sense of narrative and direction in the work being made."

"Through the Equality Trust, participatory photography groups were established in London, Milton Keynes, the West Midlands and Merseyside. These groups consisted of people with an interest in the subjects of inequality and photography and who were keen, like me, to experiment and look creatively at how the issues could be illustrated using the photographic image."
McPherson's pictures are based on themes, statistics or ideas he researched, or those that emerged from the workshops with the participatory groups.

"Often I would be looking to illustrate a specific fact or quote, and in the final pieces of work, I turned these into questions," he says. This means that the pictures are shown with a question below them as you can see here.






Saturday, 16 March 2013

How to Determine Exposure with the Histogram

Martin Parr - What would you save in a flood?

The photographer Martin Parr has teamed up with Oxfam to take portraits of celebrities with the one item they would save if their home were flooded.

The series of shots follow a trip Martin Parr took with Oxfam in 2009 to flood-hit Quang Tri province in Vietnam. Here he photographed people who were struggling to cope with increasingly unpredictable flooding owing to climate change. Parr asked them to pose with the possession they battled to save when their homes were unexpectedly hit.

For more images on the photographs from Vietnam go to: http://www.guardian.co.uk/environment/gallery/2009/dec/08/martin-parr-floods-vietnam

For more images on both series go to: http://www.guardian.co.uk/environment/gallery/2011/may/12/martin-parr-floods


Michael Wolf - Tokyo Compression

"Michael Wolf’s Tokyo Compression focuses on the craziness of Tokyo’s underground system. For his shots he has chosen a location which relentlessly provides his camera with new pictures minute by minute.

Every day thousands and thousands of people enter this subsurface hell for two or more hours, constrained between glass, steel and other people who roll to their place of work and back home beneath the city. In Michael Wolf’s pictures we look into countless human faces, all trying to sustain this evident madness in their own way." — Christian Schüle

For more go to: http://photomichaelwolf.com/#tokyo-compression/1


Friday, 15 March 2013

Mike Lusmore: 5 Tips for Photofilm making

Photographer and photofilm producer Mike Lusmore joined CU Photography as part of the free online course #phonar to help students create their own multimedia pieces. Here Mike gives 5 top tips for producing photofilms.

Mike Lusmore: 5 Tips for Photofilm Making from CU Photography on Vimeo.

Ross Rawlings



Rawlings vigorously documents both his own life and that of his relationships and speaks openly and honestly about his approach to image making and why he turns the camera on himself and those closest to him.

For more go to: http://www.rossrawlings.co.uk

Photographer Ross Rawlings 'in conversation' for #picbod from CU Photography on Vimeo.

Briony Campbell - The Dad Project


Hauntingly beautiful and sincere moving image and photography documentation by Briony Campbell on the last few months of her father's life. Powerful and emotive, this is a beautiful documentary that shows how well audio and visuals can work together when done effectively.

Briony Campbell:

"This is the story of an ending without an ending.
This is a relationship I'm still exploring.
This is my attempt to say goodbye to my Dad with the help of my camera.
Being a good daughter to my dying dad was tricky.
I struggled to find the balance between dedication to his needs and distraction from my grief.
At first the idea of introducing a camera into this already un-resolvable equation seemed unwise,
but eventually I think it became the solution."

For more info visit:  http://www.brionycampbell.com


Saying goodbye with my camera from Briony Campbell on Vimeo.


Karl Lagerfield - A dfifferent View

Karl Lagerfeld worked with Rolls-Royce Motor Carson a body of work entitled ‘A Different View’, in the latest of the luxury manufacturer’s Icons of Art series. The series comprises of his own unique photographs of Rolls-Royce motor cars. His latest work explores a fascination with textures, surfaces, shapes and abstractions that transcend his highly acclaimed position in the fashion world. Photography provides an ideal platform from which to appreciate the finest of details and facilitates the juxtaposition of automobile, light and nature. Lagerfeld’s exhibition explores these themes by connecting and contrasting the forms visible before the camera and shaping a different view.

Talking about the exhibition, Mr Lagerfeld said, “I can no longer view life without juxtaposing its abstraction. I view the world, fashion and automobiles through my camera lens. That allows me to keep a critical distance to my work. This approach serves me more than I had ever thought possible in my view of reality. Each of my shots of the Rolls-Royce is the abstract representation of a concrete reality. The technical medium of photography is a welcome means for my artistic work, creating my different view.”



   



Sunday, 10 March 2013

Tethered, H Jennings Sheffield

Tethered is an ongoing investigation into the tethering effect we experience in our everyday lives. It communicates this feeling by portraying what a specific period of time (e.g. 2:00pm-4:00pm) visually looks like when compressed and juxtaposed from different days of the week.

Using a mathematical formula, each print illustrates what a two hour period of time looks like as I balance artist, mother, teacher, wife, and daughter throughout the week. 
As unique as each two-hour interval is, certain consistencies also run through our scheduled days. The look and feel of a two hour period in the morning versus a two hour period in the afternoon conveys a very different set of characters, circumstances, interactions, responsibilities, and roles. In comparison to today, past generations whether by choice or not were very segregated — work and family life rarely converged. 

However with technology today, work can be at home, and while working we can video chat with our family. With the advent of smart phones and mobile devices, we can now check emails and essentially be wired-in 24/7 anywhere in the world. 
It is through these technological advances that our lives have become more confused, intermingled, and merged — thus creating the tethering effect. 

As a mom of two toddlers, my time is always split between being an artist, a mother, a wife, and a teacher. On Mondays, Wednesdays, and Fridays, I am in my studio or classroom “being a teacher or artist”, but on Tuesdays, Thursdays and weekends, I am home being a mother and wife. This is the supposed “schedule”. However, this is never the case. 

We all have similar lives, you do not have to be a mother, or a woman to appreciate the fusing and invasion of time that technology plays on us all.


Pulling from thousands of images, I chose four to six images from the same time of day but from different days of the week. Once selected, I digitally break down those images into vertical slices. I then reintegrate the vertical slices from the four to six images through a mathematical formula, to create a single, compressed image of time. Once compressed, and as in real life, all the the different events and interactions inevitably merge into a singular life experience.

In its completed form, Tethered is a combination of archival digital prints mounted on panels, video and sound installations.
http://www.jenningssheffield.com
— H Jennings Sheffield

Lens Culture Student Awards

We will grant awards for 1st, 2nd and 3rd prize in seven categories. Each of those winners will be presented in a special online exhibition via Lens Culture: “21 New & Emerging Talents”. One winner will be awarded a grand prize of $1,000 cash.


Alma Haser - Cosmic Surgery

If we lived in a universe where space could be flattened and folded to create a new dimension, our faces might look like those in Alma Haser's portrait series, Cosmic Surgery.

She does this by superimposing folded origami structures over original same-size photo portraits — taking 3D to 2D via photography, and then back to 3D with origami, only to be reduced one last time to a 2D image of an image, albeit with a trompe l'oeil 3D illusionist effect...These disquieting "portraits" bring to mind cubist and surreal art as well as bug-like multiple vision and kaleidoscopes.One unexpected side effect, for me, is that suddenly details in each photograph become increasingly important and integral to the success of the images as a whole. So, I notice the scruff of hair on the back of a neck, or the weave of a sweater, the general posture of the sitters, the hint of tattoo peeking out from a lacey blouse.— Jim Casper