Tuesday, 29 October 2013

Humans of New York

My name is Brandon and I began Humans of New York in the summer of 2010. HONY resulted from an idea that I had to construct a photographic census of New York City. I thought it would be really cool to create an exhaustive catalogue of the city’s inhabitants, so I set out to photograph 10,000 New Yorkers and plot their photos on a map. I worked for several months with this goal in mind. But somewhere along the way, HONY began to take on a much different character. I started collecting quotes and short stories from the people I met, and began including these snippets alongside the photographs. Taken together, these portraits and captions became the subject of a vibrant blog, which over the past two years has gained a large daily following. With nearly one million collective followers on Facebook and Tumblr, HONY now provides a worldwide audience with glimpses into the lives of strangers in New York City.

"Don’t spend it all in one place. If I hadn’t spent it all in one place, I wouldn’t be here right now." “And what place did you spend it?” “Fast women and slow horses.”

"I’ve got an interview tomorrow at Mt. Sinai. I’m trying to get into their medical program." “What’s the most frustrating thing about the human body?” “That there’s so much we don’t know about it. Studying the human brain is like staring into outer space.”

"What was the happiest moment of your life?"
“When I got hit by a car.”
“When you got hit by a car?”
“They gave me $16,000.”

"I perform in angle grinder shows."
“What are those?”
“I put on a metal outfit, then I grind the metal off it so that sparks shoot everywhere.

"I’m retired now. But I was the CEO of the NY State Energy Research and Development Authority.""What’s something about energy that a lot of people don’t know?""Energy is the main source of pollution. I don’t think enough people make that connection. They think of pollution as giant industries spewing smoke into the air, but in reality it mainly comes from the energy that we use everyday— driving our cars, lighting our houses, even that camera you’re using. We’re never going to stop needing energy, so we just have to find the most efficient ways of creating it.”

Danielle Tice - Carpe diem

Crying "carpe diem" with LA-Portland Nan Goldin-worshipping photographer Danielle Tice. Stereotypical representation of youth or gritty, candid documentation of the truth?


Tuesday, 22 October 2013

A2 Exhibition visit at Birmingham Library

The A2 Photography students visited the Reference works exhibition at Birmingham Library yesterday to begin their research on their personal investigation.

For more on the exhibition go to the previous blog post with videos: http://21rdh.blogspot.co.uk/2013/09/reference-works-exhibition-at-new.html

ART3 Personal Investigation

Research guidance from christimothy12



ART1 - Portraiture Project


Photograph, print, annotate and explain 6-10 different lighting and compositional techniques printed no smaller than A5 each in your sketchbook. This can include:
1.    Classic portrait – create your own home made studio
2.    Environmental Portrait – shooting on location using natural lighting demonstrating some of the following: even tones/split lighting/shadows/direct sunlight
3.    Using 3 different reflectors
4.    Natural light using a window
5.    Portraits at night using an ambient light source e.g. lamp/computer screens/led video light (NO FLASH)
6.    3 different crops: close up/mid close up/full length

Sunday, 20 October 2013

Jean Francois Lepage - drawing on images

Jean Francois Lepage - cinematic transitions

Alejandro Chaskielberg - Forgotten landscapes, the remains of the Dutch surinamese sugar industry

Eleonora Ronconi - Once upon a time

Of all my memories of childhood, I most cherish the trips my father and grandfather made with me to amusement parks. As most kids of my generation, I was an avid reader, and I created stories full of intrepid characters and riveting adventures like those in Alice in Wonderland. These parks were the perfect place to bring this world of fantasy to life. Beneath the obvious, I could hear hidden voices that called from inside plastic creatures, sleeping giants waiting to be awakened for one more thrill.
As an adult, I began to revisit some of these parks, just after sundown, when tired families were heading home. Twilight evokes an ominous feel to these places and the absence of people opens a space for me to create my own stories, just like when I was a child. There is a stillness that allows me to bring back my memories. I feel the echoes of my childhood and my family, and, even though they are no longer physically here, their presence is still palpable. 
These photographs represent my past and my present. Not only do they remind me of fun and fantasy, but also of fear and uncertainty. The empty spaces remind me of what I have lost, but they also invite us for one last ride, one last adventure before the lights go out.

Richard Billingham - 3 different bodies of work from 1 photographer

Richard Billingham Zoo
In recent years he has photographed zoos, exploring the confinement and peculiarities of the animals' cages:

"Less formidable artists than Billingham would not have been able to resist making points about these images; either about cruelty or anthropomorphism. The bluntness of his composition refuses either. He routinely thinks of himself, or the ways he was formed, as the product of 'neglect'; some of that is on display here, but once again he transforms it with the honesty of his attention into something hard to look at and harder to stop looking at." - The Guardian

In his recent series Black Country, on view here, the artist focuses on composition—how the lines, forms, and shadows fit inside the picture’s four edges—rather than subject matter. “I wanted to take some photographs that stripped away any hint of sensational subject matter but would remain very good photographs.” He notes that he chose his hometown as the series’ focus because “I wanted to take some photographs that stripped away any hint of sensational subject matter, and it was the most boring subject I could think of.”

Ray's A Laugh
We all have family pictures somewhere close to hand, but as the world of photography became increasingly introspective, subjective and confessional the door to family life, usually closed, was kicked wide open. The very private was becoming very public.
Artist Richard Billingham didn't care about how his family ought to look when he turned his gaze on them and their situation at the heart of working class life in Thatcher's Britain. Nor was he concerned about photography when he was living with his father Ray. He was simply a would-be painter in need of a patient model.
"I was living in this tower block; there was just me and him. He was an alcoholic, he would lie in the bed, drink, get to sleep, wake up, get to sleep, didn't know if it was day or night. But it was difficult to get him to stay still for more than say 20 minutes at a time so I thought that if I could take photographs of him that would act as source material for these paintings and then I could make more detailed paintings later on. So that's how I first started taking photographs." (Richard Billingham)
View the whole book here:

Billingham's snap shots form a kind of family album no ordinary family member would ever make, let alone show. This is not a family life of fake smiles and awkward calendar events. They're more like a backstage glimpse of the chaotic rehearsals. It's a view that turned Billingham from a would-be painter into a celebrated photographer.
"My dad had moved into my mum's place by this time and I could not believe how it looked. She'd had two years away from my dad so she had created her own psychological space around herself that was very 'carnivalesque' and decorative. There were dolls, jigsaws everywhere. She'd got load of pets by this time; she had about ten cats ... two, three dogs." (Richard Billingham)
An interview with Richard Billingham about his work: