Week Eleven: Time & the Image: Final Outcome

I decided to select this image as my final image that I will print out for the exhibition because there are more frames to the image than the previous. It is more reminiscent of a Muybridge work and I am really happy with the outcome. It reflects on the concept of time well because it captures movement and freezes it completely. By making my model wear a dress and keep her hair down, it allowed for the movement to be enforced even more from the free flowing of the material in the breeze. If I was to perfect this image I would be more accurate with the measurements of each frame and even try to make the horizons line up.

This photo will be printed to an A3 size with a border using an inkjet printer and will eventually be displayed in our gallery space along with everyone else's interpretations of Time & the Image and I really look forward to seeing what everyone else has made too.

Week Eleven: Time & the Image: Potential Final Images

Here is the outcome of my images. I used photoshop to convert the images into black and white and used cropping tools to put the images into a grid. 

I haven't yet decided which of the images I would like to use as a final outcome for printing.

Potential Final 1:

Moving Image form:

Potential Final 2:

Moving Image form:

I used an online gif maker called Gickr to put each image together and make a moving image similar to Muybridge's.

Week Ten: Time & the Image (Research): Eadweard Muybridge

One of the first people who came to mind when I thought about Time and the image was Eadweard Muybridge. Here he took a series of images of an ostrich in motion and these frames were then made to make a moving image. I would like to try this kind of technique as a potential idea for my own interpretation of time in the photograph.

Time & the Image: Experimentation: Part 2: Water

I also considered how I could represent time by freezing it and found water to be an effective way of achieving this. I met with a friend and used the water from a shower and a fast shutter speed to capture it. The water is freeze framed and the water droplets remeniscent of diamonds rather than water. I am really happy with the outcomes of the images.

The black and white images are particular favourites of mine. I used photoshop to convert my digital images into black and white and used the sharpen tool to define the water even more.

Time & the Image: Experimentation: Part 1: Old Objects

old and rusting: progression of time and wearing of an arga oven

This is the eskimo doll that was given to my mother when she lived in Canada as a child, she has since passed it onto me, I hold it very dear to me despite it being very worn and well loved.

These images were taken on a Canon EOS 400D

Exhibition Visit

Tim Walker 'Story Teller'

Somerset House, London

Somerset House Website
Tim Walker Official Website

"...And when everything comes together and you look through the viewfinder, there is a window to something magical. Something you have never seen." - Tim Walker

For the past five years Tim Walker has been one of my heroes of the photography world, I first came across one of his shoots in Vogue and have been obsessed ever since then. As a result I was overjoyed when I heard he would be exhibiting his photographs here and have visited the exhibition three times already. The exhibition spans twelve rooms, filled with photographs of different shapes, sizes and content, often partnered with the incredible props Walker uses in his shoots, a real treat for a fan like me to see with my own eyes. Works featured included images from his Mechanical Doll Series and The Wilder Shores. Photographs from inside the exhibition and further reviews of the exhibition can be seen here. My personal favourite photos from the Exhibition included Xiao Wen & Liu Wen As Samurai Nuns and Agyness Deyn in Doorway.

"Walker sees the world through a child's eyes- singularly beautiful, others primed for the monster under the bed." - words from the exhibition

Inside the gallery 

(image source)

Week Three: Further Pinhole Research

Bethany De Forest

 (about the artist)

Bethany De Forest is a pinhole photographer who works by creating her own fantasy worlds using everyday accesable objects such as food, insects and other materials. She makes fantasy worlds in a case or box and builds up a set, much like a child furnishes a dolls house before photographing the final outcome with a pinhole camera. The result is a quirky and brightly coloured image which screams out adventure and magic. I find her work to have an almost Alice In Wonderland feel to it.

Abelardo Morell

(official website)

In the above series of photographs, Morell's pinhole images involve reflecting the view from a window onto the wall from that bedroom. 

Stephen Gill

(official website)

The above images are from Gill's series: Outside In. 

"Recently, I've been trying to photograph not just what the place looks like, but also trying to include as much as I can of what it feels like. I started collecting little bits of stuff from actual places, and then putting them inside the camera. Bits of plant life, seeds, or glass: I drop them in just before loading the film. I've even used insects. These objects then sit on the film emulsion when I'm taking the picture. It's a way of encompassing the actual essence of a place in an image, the visual noise and chaos." - Stephen Gill, extract from The Guardian online article 'Photographer Stephen Gill's Best Shot' (full interview)

Week Two: Staged & Constructed Photography

From this lecture I was made aware of how many painters took their inspiration from literature and these paintings would later go onto influence photographers work also. A prime example of this is Shakespeare's character, Ophelia (Hamlet) and the painting by John Everett Millais (below)

This iconic painting has since been replicated by photographers such as Tom Hunter and Gregory Crewdson (below)

Other Photographers who works are constructed and staged:

Jeff Wall

Andreas Gursky

Week One: Deadpan Photography: Candida Höfer

When researching deadpan photography, Candida Höfer's series of photographs of libraries caught my attention most of all. Höfer's work is very sober and sterile in its feeling, the lack of people in a place that should be bustling with life; the atmosphere remaining undisturbed. All these factors contribute to the deadpan aesthetic.

Week One: Deadpan Portraiture & Photography

What is the deadpan aesthetic?

emotional detachment

cool and detached

sharp and scaled

clarity

Photographers of Deadpan Portraiture:

left to right: Thomas Ruff, Rineka Dijkstra

Joel Sternfeld: 'Summer Interns Having Lunch' Wall street, New York, 1987