Place prompts

An image of a synthetic "place" such as Disney World, Las Vegas, a Hollywood set, a diorama, etc.
I would be fun to do a recreation of one of Lori Nix's photographs. I would enjoy doing a method/technique recreation rather than recreate one of her works exactly. Or possibly do a recreation by photographing one her pieces so that it was in the realm of reality instead of created. The photograph would have to have cartoon-like characteristics or believable/realistic characteristics, depending on which way it was photographed.


An image of a fantasy/fictitious environment concocted from your imagination.
A photograph of this environment would be almost sterile-like. Everything in life is so complicated that I would love to be in a place where everything was minimal. I see a living space with a simple couch and chair, a TV with nothing around it and almost bare walls. This place would become my escape of the chaotic world. 


An image of a placeless space such as the Internet, cell phones, e-mail, e-bank, surveillance, etc.
I would like to do a reshoot of Recreation 3. I like the concept of seeing two spaces through the internet at the same time. I visualize the new photograph to only have the computer screen in the frame, with no context of a desk or the computer itself (other than the screen).


An image of a public space/An image of a private space.
The first thing that came to mind when I saw these prompts would be to combine them. I picture an image of a public restroom. Although it is a public space it is also a private space. I think an image with like that with these prompts would be interesting because public restrooms are not thought of being intimate private spaces, yet they are somewhat private. Conceptually I think it would be interesting because it would be an evaluation of how people define private spaces and public spaces, or at least how they initially think of the two differently. 


An in-between space that brings to mind one of the following ideas: nomadic lifestyles, displacement, rootlessness, out-of-placeness, boundaries, movement, expansion, etc.
A series of photographs from airports. All airports are different and so are the people in them. There have been only a few occasions when I have seen the same people I flew somewhere with flying back to our starting point. Airports are a constant yet always changing space. The images I picture are snap shots of airports and then ideally sitting in the same seat on every flight with the same angle to capture the different people. 

Can you think of anything that...

...should not be photographed?
I do not think there should be a limit on what can be photographed.  Part of what makes photography so interesting is that it captures sometimes private or intimate moments/subject matter. However, I think that there is a difference between what should be photographed and what should be publicized. Things that cause controversy should have be off limits simply because the images might be offensive, but should be off limits if the subject matter feels uncomfortable being photographed. 


...cannot be photographed?
Sometimes I feel that a true candid photograph is never truly candid. I feel that in most cases the photographer sets up the camera in a way that plans on the shot being candid, which makes it less candid, or that the subject is aware they are being photographed and acts differently, even if that act is made subconsciously. 


...you do not want to photograph?
When I went to DC I remember there was a large group of people standing in front of the White House protesting. Many people thought it was a big deal, which was evident because there were several people that were taking the group's picture. Although the protest was a catch, I did not want to photograph it because the protesters were getting exactly what they intended to get; attention. I do not always want to photograph things that will already get a lot of media attention, I would rather take a photograph of something that other people miss.

“I think photographs should be provocative and not tell you what you already know. It takes no great powers or magic to reproduce somebody's face in a photograph. The magic is in seeing people in new ways.” Duane Michals

This is what makes photography an art. Good photography does exactly what Michals said. "The magic is in seeing people in new ways.” Anyone can take a photograph, or capture a moment in time, but photographers do more than that. A photographer's objective is to present detail or characteristics of anything that may have been overseen otherwise. This makes the photographer an artist and makes the photographs eye catching and emotional. 

“Photography can only represent the present. Once photographed, the subject becomes part of the past.” Berenice Abbott

As mentioned in previous blog posts, this quote summarizes why photography is important and what makes a good photograph. In the case of portraits, candid photographs are the hardest to capture because once the moment has passed is is gone. After the moment has passed, the photograph becomes the best way we can remember it. In a sense, a life line for the memory, making it the present. 

“Landscape photography is the supreme test of the photographer—and often the supreme disappointment.” -Ansel Adams

This quotes seems to be talking about the frustration of landscape photography. Landscape photography can either bring out the best of your work, or the worst. It also talks about the difficulty of the subject matter. Often, landscapes are boring and the challenge in photographing them is to give the viewer a complete description of how it feels to be at that place. 

Portraits

Intimate

Composition: Since this was for the intimate prompt, I wanted to capture the figure while he was laying in his bed. The perspective was meant to be zoomed and in somewhat of an intrusive distance. By doing this I wanted the viewer to feel the same closeness to the figure as I did while I took the picture. 

Method/Motivation/Concept: It is rare that Anthony really smiles in photographs. Anthony is a somewhat reserved person; private and quiet. My goal with this photograph was to reveal the "real" Anthony. I tried to make this photograph appear to be candid, and in a sense it is. He is not smiling because of something that was intended to be funny, or because he was happy, but because he was uncomfortable. I told him to lay down and pretend he was asleep, which is what made him uncomfortable. For me, this photograph was a success because it represents the Anthony that I know and with that the reasons why I adore him.

Context: Knowing the relationship I have with Anthony, this photograph brought about the importance of the photographer and subject bond. I think it brings about an appreciation for photographers that can make the people they're photographing comfortable enough with them to take their picture. I've known Anthony for a long time and yet he was still uncomfortable with me taking his picture, and I would have been the same way.

Interpretation: Someone thought that this photograph was taken in the morning light. It was taken in the evening when the sun was coming through the window. Since they saw it as being in the morning light it was perceived that the figure was happy and ready to start the day. Someone else commented on how dark the face is.

Evaluation: This image was hard to capture and edit. There was already contrast with the face and the background, but not a lot when it came to the shirt and the background. I tried to bring out the detail in the subject and background. I will probably redo the edit so that the face is not quite so dark.

Extension: Looking back this photograph is an unintended recreation of an image I had taken with my phone. There are many similarities and I find it interesting how similar he looks in each photo. I did not tell him how to pose, other than to lay down. In both images he is laying down the same way, with the same facial expression.

Midday

Composition: I thought it would be interesting to take a portrait where the figure was important to the image, but it seems to be more about the landscape. To do this I used the portrait format instead of a horizontal landscape. 

Concept: It is overwhelming to decide what to photograph when walking around a place like Washington DC. Although I had to take photographs of people for this assignment, I could not get away from wanting to take photographs of all the buildings. It became impossible not to see the way that people interact with the space they live in. With that, I captured the chaos of city live and the way that people live within the environment they created. 

Method: This image was supposed to be taken in midday, although it does not look like it. The sky had an overcast and the buildings blocked most of the sunlight anyway. There were other shots I had taken with this background, but this one turned out better than the others. I told the figure to stop looking at the camera and pretend to be walking. I think that's what also reinforced the idea of the portrait being about the city and not just the figure. 

Motivation: In a way this photograph is a candid moment of what was happening at the time. I really wanted to go to The Mall and take photos, but there was a problem with getting the images from my camera onto my external hard drive. I had not planned this photograph until we were walking to a store so I could buy a memory card. It was really cold out and neither one of us wanted to walk in the opposite directions to go to The Mall.

Context: I think that it is uncommon to see a portrait with this crop and focus. I'm hoping to bring about a different perspective of what a portrait is. 

Interpretation: This photograph conveyed a more sober emotion than the first. Someone mentioned they thought the figure was sad. It was also mentioned that this photo had balance, referring to the dark jacket and dark car and then with the cross walk creating a dividing line, almost horizon-like.

Evaluation: I am not completely happy with the editing process for this photo. It was hard to create mid-tones and contrast. The sky had almost no detail and the face was really dark. But, I think the overall composition/elements of the piece are successful in creating a balance. 

Extension: I think this image would look better bigger, maybe poster size. It could be the start of some kind of city advertisement. 

Intimate

Composition: The focus and background elements are important for this photograph. The focus of the foot and the blur of the figure create two focal points. The lighting also makes this image visually exciting, which I hope catches the viewer's attention. 

Concept: This is not the first time I have taken a portrait by using the person's feet to convey emotion or capture their likeness. With this photograph I wanted to capture the person's identity. I have unconsciously started to enjoy photographing people's feet. I find it to be an interesting way to identify someone. 

Method: I tried this shot two different ways. First, by having the foot be out of focus and then with the foot in focus. I also wanted to keep the background to be as minimal as possible so that all of the focus was on the figure.

Motivation: My goal was to again show the relationship between the photographer and subject, but also to bring about a different way of seeing people. 

Context: By using the foot to identify someone I am hoping to bring about a new way of seeing people, and seeing them in an intimate way. I like the idea of using a part of the body that is not perceived as beautiful or attractive and using it to convey things that are supposed to be beautiful (face/appearance and emotion). 

Interpretation: The first reaction to this image was, "eww, that's gross". However, people liked the perspective of the figure and how you could still somewhat see the emotion through the face and other body language. 

Evaluation: The fact that most people think of this image as disgusting makes it a success. I wanted to make people feel sort of grossed out in order to see people in a new way. What makes it successful is that it is "gross", but hard to not look at. 

Extension: I think that this image has already become apart of the beginning to a series. Although this is a new perspective of the foot, I have taken a few photographs using someone's feet to portray their likeness/emotion. I feel that this image could continue that series and be a starting point for a different point of view. 

Stranger

Composition: For this image the background is just as important as the figure. It was necessary to show more of the background than the figure to convey the concept. 

Concept: Washington DC, like other urban areas, has homeless people just about wherever you go. The point of this photograph is to show the isolation of the homeless and how they are detached from society.    It is sad to think about living in such an isolated state, especially after seeing how busy the city is in "Midday".

Method: I wanted to keep this photograph as candid as possible. I felt guilty for taking this man's photo so I made sure to keep a distance so I would not be seen. I think it was successful in conveying my idea.

Motivations: I was skeptical to start taking photographs of strangers and especially the homeless. However, I could not convince myself to not take their picture. In a sense I felt as though I was helping them by exposing how they live since I could not offer material things to them all.

Context: Majority of the photographs I took for the strangers prompt were of homeless people. I can definitely relate to the struggle and controversy of photographing people like this man. It was hard to separate the reason why I was going to photograph them from my emotional response of seeing them. 

Interpretation: People pretty much got the concept of this piece as it is straight forward. Someone said it was interesting that the person is not looking at the camera as it adds to the idea that they are isolated. 

Evaluation: In addition to the figure not looking at the camera, the background contributes to the idea of the photograph. The figure does not stand out, but rather blends in with the bushes and other surroundings. 

Extension: Before I took this photograph I thought in some way I could contribute to the homeless by taking their photograph instead of giving them money or other material things. I sort of saw this image as being a part of a series where I could expose the way homeless live to better there quality of life. By raising awareness I could possibly show the importance of community service via soup kitchens, second hand stores, and other places that give to the unfortunate.

Memory Recreation

The memory I recreated was from the first year that my boyfriend was away for school. Skype has become our primary way of communication. I would like to retake this image so that there is more context. As much as I like talking with him, it gets tiring sitting at my desk. Conceptually I focused on the idea of seeing two physical places existing at one time, yet the place on the screen is not a tangible place for the other. I also thought it was interesting that when he was looking at the camera, it was not my camera that he was looking into, but that he was looking into his webcam.

Contemporary Photographer

Lori Nix. The Floater, 2001.

Biography

Birthdate: 1969

Birth Place: Norton, Kansas

Currently: Brooklyn, New York

Education: BFA from Truman State University, Missouri (1993)

MFA from Ohio University, Ohio (1995)

Significance: The contrast of her created places makes Nix unique. In an interview, Nix describes the humorous elements to her subject matter, yet the seriousness of the idea/story being portrayed. "...it becomes humorous after you see what the place is made of."

Composition: Along with her significance, the composition of the work emphasizes the content through the unique perspective and lighting. Everything in her photographs is created by her, even the lighting although it looks as if the subject is in natural light.

Method: Nix creates/makes places into dioramas. The materials she uses vary. For example, in The Floater she used cardboard and paper towel. Also, none of her images are digitally manipulated. 

Motivation: Nix presents disaster/danger in a humorous way, as she witnessed natural disasters during her childhood in Kansas (her series "Accidentally Kansas").

Opinion: Initially I did not like the photograph. I did not like that it was not a real place. It wasn't until I read what the subject matter was made of that I started to appreciate her work. I find it really interesting that she makes the places that she photographs. So, not only is she making a photograph, but she is making everything about/in the photograph. 

Historical Research- George Davison

Biography

Birthdate: September 19, 1855
Birth Place: Lowestoft, Suffolk (London)
Education: Davison joined the Camera Club in London around 1885. In 1889, he became the assistant manager of Eastman Photographic Materials Company. And in 1908, Davison became Managing Director of Kodak Ltd.

Techniques: Davison used a pinhole instead of a lens to soften images. For printing he used gum bichromate.

Significance: He introduced photography as a fine art, not just documentation. He is also known for developing a style of photographic impressionism.

George Davison. The Onion Field, 1890.

In-Camera Collage

Lately something I have been struggling with is religion. I remember being little and going to church with my mom every weekend. Now that I am at college and old enough to make my own decisions, I have come to realize that church, while it was very important to me when I was young, is not something that I prioritize the same way I did.  I still have my faith and it is still important to me, just not in the same way it once was.  I think it would be interesting to use a slow shutter speed to represent the transition of how I prioritized religion then and how I prioritize it now.  

Unknown vs. Familiar Space

When one is in a familiar place they would be more likely to take photographs in more detail. Since they are familiar with the place, the photographs would convey a sense of intimacy and comfortability with that place. In contrast, a photograph of an unknown space would present more general characteristics of the place. This might leave out detail and instead capture a more broad view of the unexplored place. The same is applied to places that do not have a lot of human presence or influence. Although this place would be hard to find, because even the most natural of places, such as the rainforest, have been altered by humans. However, a place that has not been "touched" by humans, would be photographed in a general way. A series of photographs could progress from a "big picture" to something more specific. The idea of "big" to "little". 

Human-Made Space

I think that the idea for this could be as simple as visiting a place and "leaving your mark". Using the idea from Hansel and Gretel, leaving bread crumbs to document where they had been. By taking a series of photographs, I would document where I had been by leaving small objects that represent my likeness, or an experience that has been significant in my life. Another interesting idea this brings about would be a time capsule- other people leaving small objects, which would begin to create a human-made space. 

Memory of a Photograph

The photograph that first comes to mind is a picture of my little brother and me. I must have been about six years of age, which would have made my brother about a year old. I do not remember where we were because the photographer was very close to us and the background is too dark to see any context. But, from what we are wearing I can assume that we were at Grandma and Grandpa's house. I have on a big white hat that I only wore when I was outside playing in their yard. A lot has changed since the photograph was taken. I have since moved to college and even if I was home, my brother would not be. The photo brings back the feeling of  the closeness of family, something that currently is not as present.  

Memory of a place

The place I remember is my grandma and grandpa's old barn. I do not have pictures of this place from when I was young, but the barn is still there today.  I can see my grandma in the barn preparing the pony for us to ride. I can see the horse eating the green grass and my grandma brushing her. The pony is white and brown with a purple bridle, which stands out against the grayness to the wood of the barn. My grandma is going between talking to me and the pony. 
If I took a photograph of this place now, everything would be empty, dull. There are no longer any animals in the barn and only the memory of my grandma places her there. Now, I am standing by myself looking at the barn. There is snow on the ground and when I look into the barn, I only see old trackers and unused machinery. 

Photographs v. Paintings

The difference in the way people view photographs and paintings is that photographs are "intended" to capture reality. When people look at a photograph they expect to see something recognizable, something that they could see as being tangible. This perception is different because while paintings can also reveal a truth or document a past event, they are perceived to be created or fake. One of the things that makes photography powerful is that it is thought of to be absolute truth.

“You don't take a photograph, you make it.” -Ansel Adams

There are times when a photograph is taken and there are times when a photograph is made. Anyone can take a photograph, but it requires more skill to make a photograph. To make a photograph seems to imply that what the viewer sees was posed and not captured in the moment. This would lead me to believe that most photographs are made and not taken.

Erwin Olaf

Erwin Olaf was born in Hilversum in the Netherlands in 1959. He currently resides in Amsterdam. Olaf studied at the School of Journalism in Utrecht in 1980.

He is most famous for his commercial work, but more importantly the way he mixes photojournalism and studio photography.

Olaf's work is often controversial and deals with issues of gender, sensuality, humor, and despair. When looking specifically at his series "Mature", it is evident that Olaf works with his opinion on serious issues in a humorous way.

Erwin Olaf

This photo is apart of the series. I thought it was one of the better images that conveyed his concept of age and beauty. He makes a strong statement about age and society's obsession with youth.

Once the viewer gets passed the humor and being somewhat uncomfortable, it is clear what Olaf is saying about women and sexuality along with age and beauty. Society is often confronted with images of women in sexual poses, and sometimes wearing revealing clothes. However, when a young woman is used for this same pose it can be viewed as a statement of beauty, or degrading, depending on the audience.

I think Olaf's overall goal with this image is to make the viewer feel somewhat uncomfortable while simultaneously mocking photography that only deals with youth because old is beautiful too. It is humorous the way that the woman is posed along with her surroundings. Usually I do not think that people view knitting as arousing.

Olaf uses lighting and framing to place emphasis on the subject. The surroundings of the figure are limited, in that the viewer cannot be sure of where the subject is, although there is emphasis on the props next to her. Lighting is also important, there is obviously more light on the figure which makes her stand out. Conceptually the lighting could also imply a since of privacy and hint toward the sexuality/intimacy of the photo.

I chose to research Olaf because I found his images to be very striking/surprising. Conceptually they are unique and in addition to the way he conveys his ideas is eye catching. I like how different they are and would like to use him as an influence of my photography. I think he does a good job at blending humor and psychological and political issues.

http://www.erwinolaf.com/#/portfolio/mature/gallery/ 

“My portraits are more about me than they are about the people I photograph.” -Richard Avedon

I think that a part of the photographer becomes apart of the photograph when taking any kind of picture. I agree with Avedon in the sense that when a photographer takes a portrait photo they invest some of themselves into the work. It would be impossible not to because there is a reason that the photo is taken, there is a reason that the photographer chose to photograph the people. However, I do not think that portraits are more about the photographer than the people being photographed. It's the photographers ideas that are going into the photo, but it is the subject that is being photographed that makes the portrait unique.