Photographers
Brassai
The renowned Hungarian photographer 'Brassai' was christened Gyula Halász on the 9th if September 1899. He found his fame in Paris during the period between the two world wars, working in photography, sculpture and film. Many of his photographic works stemmed from long meandering walks around Paris at night. He professed a great love for the city, and expressed that his reasons for exploring it in this way where: "in order to capture the beauty of streets and gardens in the rain and fog, and to capture Paris by night." In this way 'Brassai's' passion for photography stemmed ultimately from his passion for his environment, using photography as a way of documenting and displaying his vision of Paris. He published his photographs in his book Paris de nuit in 1933, using his night shots coupled with images of 'high society,' photographing intellectuals, ballet and operas. In his photographs it is also possible to see his cinematic influences, with his images being highly reminiscent of Film Noir style pieces. As common with these films, Brassai's photographs seemed to not only illustrate the innate beauty of the setting,but also to embew it with an air of mystery or danger. A common trope of Film Noir plot lines was to depict stories of double dealing and corruption in the glamorous lifestyle of, either a 'femme fatal' a very beautiful woman, leading the male characters to disaster, or in the life of spies and mafia like associations. The solitary figures, glittering lights and heavy layers of fog illustrate this aurora of mystery and beauty perfectly, conveying Brassai's vision of an equally destructive and awe inspiring world.
Brassai
The renowned Hungarian photographer 'Brassai' was christened Gyula Halász on the 9th if September 1899. He found his fame in Paris during the period between the two world wars, working in photography, sculpture and film. Many of his photographic works stemmed from long meandering walks around Paris at night. He professed a great love for the city, and expressed that his reasons for exploring it in this way where: "in order to capture the beauty of streets and gardens in the rain and fog, and to capture Paris by night." In this way 'Brassai's' passion for photography stemmed ultimately from his passion for his environment, using photography as a way of documenting and displaying his vision of Paris. He published his photographs in his book Paris de nuit in 1933, using his night shots coupled with images of 'high society,' photographing intellectuals, ballet and operas. In his photographs it is also possible to see his cinematic influences, with his images being highly reminiscent of Film Noir style pieces. As common with these films, Brassai's photographs seemed to not only illustrate the innate beauty of the setting,but also to embew it with an air of mystery or danger. A common trope of Film Noir plot lines was to depict stories of double dealing and corruption in the glamorous lifestyle of, either a 'femme fatal' a very beautiful woman, leading the male characters to disaster, or in the life of spies and mafia like associations. The solitary figures, glittering lights and heavy layers of fog illustrate this aurora of mystery and beauty perfectly, conveying Brassai's vision of an equally destructive and awe inspiring world.
Tokihiro Satō
This Japanese born photographer is best known for his unusual expression of light and space, as well as his interpretations of movement. His initial artistic endeavors where based around sculpting, however he felt that photography better communicated his ideas. For example, he is well recognized for his interactions with light or 'light painting' in his images, using large format cameras to create extremely extensive exposures, sometimes for up to three hours, while he manipulates the lights in the space to create flashes, line, and even pictures. In these photographs the long exposure tome mean his movement across he camera is not detected, however his presence is still illustrated through the movements of the light, therefor in his images he manages to convey a human interaction with their environment and imply a far more magical way of looking at the world. [See figure to the far right]
For example, in this image we see a natural environment mingling with electrical elements. The small dots of light around the tree are almost connotative of fairies or elves linking them with fairy stories which often illustrate magical woods or gardens, tying the natural world to the supernatural, and displaying his creative and wonderful way of viewing his environment.
This Japanese born photographer is best known for his unusual expression of light and space, as well as his interpretations of movement. His initial artistic endeavors where based around sculpting, however he felt that photography better communicated his ideas. For example, he is well recognized for his interactions with light or 'light painting' in his images, using large format cameras to create extremely extensive exposures, sometimes for up to three hours, while he manipulates the lights in the space to create flashes, line, and even pictures. In these photographs the long exposure tome mean his movement across he camera is not detected, however his presence is still illustrated through the movements of the light, therefor in his images he manages to convey a human interaction with their environment and imply a far more magical way of looking at the world. [See figure to the far right]
For example, in this image we see a natural environment mingling with electrical elements. The small dots of light around the tree are almost connotative of fairies or elves linking them with fairy stories which often illustrate magical woods or gardens, tying the natural world to the supernatural, and displaying his creative and wonderful way of viewing his environment.
James Casebere
James Casebere is an American Photographer and artist currently residing in New York. His innovative and original ways of photographing different locations are aesthetically linked with some of the most famous photographs of Postmodern artist who emerged in the 1980's alongside him. His earlier photographs where focused on the idea of the US suburban home, dealing with the myth of the American West, however the turned his attention towards more culturally significant issues and their representation through architecture. These constructed photographs are designed to expose beautiful architecture as well as linking them with historical and cinematic sources, in particular, his work with abandoned spaces, which are both hauntingly beautiful and highly suggestive of their troubled and fascinating history. In Casebere's photography, prison images in particular, he addresses the modern attitudes towards incarceration and simultaneously forced his audience to question society's views towards social control and structure enforced by 'the establishment.'
His photography exposes the history of locations by showing them, usually, bare or in some cases flooded. In this way he forces the audience to consider what has happened inside these places, for example [see figure on the far left] this image of the sewer tunnels in Berlin was part of a large series of photographs referencing the Atlantic slave trade. The empty room is highly evocative of loss and isolation, emphasizing the pain of the atrocities committed. In this photograph Casebere forces the audience to dwell upon this serious issue and understand its poignancy, as a moment in world history, and as feature in the history of this country.
James Casebere is an American Photographer and artist currently residing in New York. His innovative and original ways of photographing different locations are aesthetically linked with some of the most famous photographs of Postmodern artist who emerged in the 1980's alongside him. His earlier photographs where focused on the idea of the US suburban home, dealing with the myth of the American West, however the turned his attention towards more culturally significant issues and their representation through architecture. These constructed photographs are designed to expose beautiful architecture as well as linking them with historical and cinematic sources, in particular, his work with abandoned spaces, which are both hauntingly beautiful and highly suggestive of their troubled and fascinating history. In Casebere's photography, prison images in particular, he addresses the modern attitudes towards incarceration and simultaneously forced his audience to question society's views towards social control and structure enforced by 'the establishment.'
His photography exposes the history of locations by showing them, usually, bare or in some cases flooded. In this way he forces the audience to consider what has happened inside these places, for example [see figure on the far left] this image of the sewer tunnels in Berlin was part of a large series of photographs referencing the Atlantic slave trade. The empty room is highly evocative of loss and isolation, emphasizing the pain of the atrocities committed. In this photograph Casebere forces the audience to dwell upon this serious issue and understand its poignancy, as a moment in world history, and as feature in the history of this country.
28th November 2014
Nadav Kander.
The London based photographer Nadav Kander is world renowned for his inspirational and highly evocative approach to landscape photography. His series of images entitled' Half Life' illustrated the issues and aftermath of the 1986 Chernobyl Power Station melt down and the subsequent total evacuation of the many thousands of residents. This astronomical disaster lead to the city becoming derelict and abandoned in just forty eight hours, due to the infected radius of eighty miles, leaving the homes of the residents empty and left to fall into disrepair. In Kander's series, he documented the desolation left behind on the twentieth anniversary of this disaster. Visiting this location Kander stated that he felt an "uneasiness he had never really experienced," driving him forth to create his famous collection of images. These images depicted several abandoned areas of Pripyat, and illustrated the way they had become empty and forgotten.
The top two images below are entitled "Shoe in Dust," and "Classroom, Secondary School." The blunt and uncomplicated titles appear, at first, to contradict the nature of politically influenced photography, however thew do far more to emphasise this event as a part of reality, reminding the spectator that these abandoned places once held life and where a basic part of human experience. Kander chose to document the location without any people present as he felt this would emphasise his idea that what is left behind says more about people than if they where present. for example, 'Shoe in dust,' depicts a haphazard pile of discarded objects, coated in a layer of white, almost frost like dust. The way that the image is composed does not draw attention to one specific point, but instead allows the eye to wonder over the array of mismatched debris. This effect connects the viewer with the people who where effected by the crisis as they are forced to imagine the scenario that resulted in the items moving into this formation. The smattering of objects indicates a panicked atmosphere, with so many shoes left behind, and evokes an image of the families rushing to escape. The thin frosty coating also implies a long period of neglect and has connotations of isolation. This hints at the way in which the evacuated residents where ostracised after their escape with the fear that they would spread radiation poisoning. Kander's intentions in doing this where to, in his words, "make a feeling."
In his photography he strives to make the spectator feel as he feels when they view his images. This image, which can be thematically linked with the photographs taken of the piles of shoes in concentration camps taken from the second world war, instil that sense of unease that Kander felt as he looked upon this deserted livelihood. The process he used to take these images was to use a very large format or 'view' camera. This involved placing himself under a blanket at the back of his camera and looking at the ground glass. He admitted that he preferred this method to looking through a view finder as it enabled him to get the full impact of thew image, isolated in his blanket bubble, and looking at the photograph the way a spectator would. he felt that this enabled him to get a much more careful composition of his image so as to evoke the correct feelings in his audience. In the second image we see a school room with peeling paint on the walls and filth ridden floors. This dilapidated room still retains evidence of the children's movement; some of the chairs stand on the tables, and the equipment is still out. This similarly reminds the audience hat this was once inhabited by real human beings going about their daily lives and instills a great sense of loss in them. The apparatus left out on the tables will crate associations within the audience to their own school days, and further impress the concept that this real vent affected real people and should not be taken lightly.
The half life series was not only created to draw attention to the disaster in Chernobyl, but also take in the "aesthetics of destruction," and the "socio-ecological effect of mankind." This means that he wanted to expose this action as something that was done by the human race looking for inherent beauty in the disastrous. One of his greatest philosophies is in exposing the smallness of man verses the largeness of his ideas, which here means that he was attempting to display the immensity of man's actions, despite their personal insignificance, in comparison the the rest of the world. In a way he almost celebrates the destruction humans cause, as despite the negativity of our actions we still have the ability to achieve immense things, be it good or bad. He believes that the effect man has on the world should be documented, as we need to take into account the vast scarring that we have inflicted upon our world. This concept is impressed in the second image as we are reminded that the pupils who learnt as the school are really no different from those who grew up and allowed the power plant to malfunction, reminding the spectator that any and all humans have the capability to destroy, despite their size.
Nadav Kander.
The London based photographer Nadav Kander is world renowned for his inspirational and highly evocative approach to landscape photography. His series of images entitled' Half Life' illustrated the issues and aftermath of the 1986 Chernobyl Power Station melt down and the subsequent total evacuation of the many thousands of residents. This astronomical disaster lead to the city becoming derelict and abandoned in just forty eight hours, due to the infected radius of eighty miles, leaving the homes of the residents empty and left to fall into disrepair. In Kander's series, he documented the desolation left behind on the twentieth anniversary of this disaster. Visiting this location Kander stated that he felt an "uneasiness he had never really experienced," driving him forth to create his famous collection of images. These images depicted several abandoned areas of Pripyat, and illustrated the way they had become empty and forgotten.
The top two images below are entitled "Shoe in Dust," and "Classroom, Secondary School." The blunt and uncomplicated titles appear, at first, to contradict the nature of politically influenced photography, however thew do far more to emphasise this event as a part of reality, reminding the spectator that these abandoned places once held life and where a basic part of human experience. Kander chose to document the location without any people present as he felt this would emphasise his idea that what is left behind says more about people than if they where present. for example, 'Shoe in dust,' depicts a haphazard pile of discarded objects, coated in a layer of white, almost frost like dust. The way that the image is composed does not draw attention to one specific point, but instead allows the eye to wonder over the array of mismatched debris. This effect connects the viewer with the people who where effected by the crisis as they are forced to imagine the scenario that resulted in the items moving into this formation. The smattering of objects indicates a panicked atmosphere, with so many shoes left behind, and evokes an image of the families rushing to escape. The thin frosty coating also implies a long period of neglect and has connotations of isolation. This hints at the way in which the evacuated residents where ostracised after their escape with the fear that they would spread radiation poisoning. Kander's intentions in doing this where to, in his words, "make a feeling."
In his photography he strives to make the spectator feel as he feels when they view his images. This image, which can be thematically linked with the photographs taken of the piles of shoes in concentration camps taken from the second world war, instil that sense of unease that Kander felt as he looked upon this deserted livelihood. The process he used to take these images was to use a very large format or 'view' camera. This involved placing himself under a blanket at the back of his camera and looking at the ground glass. He admitted that he preferred this method to looking through a view finder as it enabled him to get the full impact of thew image, isolated in his blanket bubble, and looking at the photograph the way a spectator would. he felt that this enabled him to get a much more careful composition of his image so as to evoke the correct feelings in his audience. In the second image we see a school room with peeling paint on the walls and filth ridden floors. This dilapidated room still retains evidence of the children's movement; some of the chairs stand on the tables, and the equipment is still out. This similarly reminds the audience hat this was once inhabited by real human beings going about their daily lives and instills a great sense of loss in them. The apparatus left out on the tables will crate associations within the audience to their own school days, and further impress the concept that this real vent affected real people and should not be taken lightly.
The half life series was not only created to draw attention to the disaster in Chernobyl, but also take in the "aesthetics of destruction," and the "socio-ecological effect of mankind." This means that he wanted to expose this action as something that was done by the human race looking for inherent beauty in the disastrous. One of his greatest philosophies is in exposing the smallness of man verses the largeness of his ideas, which here means that he was attempting to display the immensity of man's actions, despite their personal insignificance, in comparison the the rest of the world. In a way he almost celebrates the destruction humans cause, as despite the negativity of our actions we still have the ability to achieve immense things, be it good or bad. He believes that the effect man has on the world should be documented, as we need to take into account the vast scarring that we have inflicted upon our world. This concept is impressed in the second image as we are reminded that the pupils who learnt as the school are really no different from those who grew up and allowed the power plant to malfunction, reminding the spectator that any and all humans have the capability to destroy, despite their size.
2nd December 2014.
A work of art often gains critical acclaim when its visual elements such as colour, texture or gradient are ascetically appealing, therefore a great deal of emphasis is put on these elements in the fields of art and creativity. The composition of many artwork, including photography, is based upon a balance and thoughtful arrangement of these elements, meaning that the 'formal elements' create impact, meaning and edge in the diverse world of art and photographic works The 'formal elements' is a term traditionally used by artists or critics concerned with fine arts referring to the elements that make up the composition of an image. These include things such as focus, scale , texture, negative space, contrast, scale, pattern and perspective. However these elements are often manipulated in order to show balance, contrast, movement, emphasis, pattern, proportion and unity (the photographic principles). Artists and photographers can use these elements in order to create more beautiful and more meaningful images, to generate the desired level of impact upon their audience. More detailed examples of the formal elements include:
Line or Perspective- When a painting or photograph is analysed closely then it becomes easy to identify the paths formed by the objects within the image. This line can be literal or implied, however, even if it is not depicted clearly, information can be gathered from its direction and nature.
These lines are often categorised into vertical: embedded for defining height, often in architectural works, lines stretch in a perpendicular formation often reaching towards the sky,
horizontal: usually present in order to define objects, often ones parallel to the ground or to give a sense of horizon,
curved: These often illustrate the gradient and contour of landscapes, and diagonal: often symbolic of dynamic or unstable objects, as the angle deviates from its 90 degree starting point it enters a state of unstable equilibrium and can be used in images that depict disaster or distortion, perhaps to create a sense of discomfort in the spectator. The line can also be used in order to create some sense of perspective in a photograph, providing layers and texture for a more visceral photographic experience. Strait lines an also determine an images aestheticism. In other words, they can provide a sense of order or regimentation to the image, as they determine where the eye falls and when.
Shape- The anatomy, line and configuration of objects in the given space provides the sense of shape in an image. These shapes can evoke different feelings in the audience of the image. For example, more regimented and man made shapes such as squares or rectangles can again provide an ordered atmosphere, and occasionally a vaguely clinical one. However, more natural shapes give a sense of the more organic environment to provide a more relaxed or, in some cases, out of control image.
Form- It is said that many artists and creatives consider form and shape to be the same element, however most artistic laws dictate that it refers to more three dimensional objects, with a defined width, breadth and height creating a more 'whole' sensation within the image.
Colour- In terms of artistic law, colour is technically defined as "visual and perceptual property of an image, originating from the light spectrum." The intensity, strength, exposure and purity of the colours selected determines the overall effect and impact of the image. It is important to consider the effect that needs o be created. For example, darker and more greying colours feel much more sombre and in some cases sinister, whereas brighter colours connote a much more positive atmosphere. it is important to consider the effect intended for the image and the contrast of the colours within it when composing a photograph so as to evoke the intended feeling.
Texture- When an object is touched, the texture can immediately be sensed from the nature of its surface, which varies vastly from rough to smooth and metallic to dull. Texture can be perceived either visually or viscerally by layering some sort of manipulation onto the image. For example, many artist such as Gerhard Richter used paints over his photographs in order to generate layers and texture. However this can also be perceived visually through shadowing and the visual texture of the object photographed. The texture in a photograph can sometimes be considered similar to the pattern, as both can give a sense of the texture within the image. However the texture can also be crated over the top of a photograph in order to give a more sensual photographic experience, whereas pattern is a far more visual element.
Value- The value is a term used to describe the tone of the colour in an image. This can be altered either by changing the settings of the camera such as aperture or shutter speed, or by digitally altering the image after it is taken. Darker colours are used to reflect a lack of light, and can convey a sense of mystery or danger and reflection of bright light will do the polar opposite. The saturation of the colours in the photograph can also be altered in order to create more surrealist work.
Space- The space in an image is defined by artists as an entity of conceptual framework. In short, it is essentially the are depicted within the photograph. This can be positive of negative space, defined as the space occupied by the primary subject of the image, and the space around it.
The photographs taken below where limited to displaying the effects or perspective and texture, and where taken of the abandoned swimming pool in Muswell Hill.
A work of art often gains critical acclaim when its visual elements such as colour, texture or gradient are ascetically appealing, therefore a great deal of emphasis is put on these elements in the fields of art and creativity. The composition of many artwork, including photography, is based upon a balance and thoughtful arrangement of these elements, meaning that the 'formal elements' create impact, meaning and edge in the diverse world of art and photographic works The 'formal elements' is a term traditionally used by artists or critics concerned with fine arts referring to the elements that make up the composition of an image. These include things such as focus, scale , texture, negative space, contrast, scale, pattern and perspective. However these elements are often manipulated in order to show balance, contrast, movement, emphasis, pattern, proportion and unity (the photographic principles). Artists and photographers can use these elements in order to create more beautiful and more meaningful images, to generate the desired level of impact upon their audience. More detailed examples of the formal elements include:
Line or Perspective- When a painting or photograph is analysed closely then it becomes easy to identify the paths formed by the objects within the image. This line can be literal or implied, however, even if it is not depicted clearly, information can be gathered from its direction and nature.
These lines are often categorised into vertical: embedded for defining height, often in architectural works, lines stretch in a perpendicular formation often reaching towards the sky,
horizontal: usually present in order to define objects, often ones parallel to the ground or to give a sense of horizon,
curved: These often illustrate the gradient and contour of landscapes, and diagonal: often symbolic of dynamic or unstable objects, as the angle deviates from its 90 degree starting point it enters a state of unstable equilibrium and can be used in images that depict disaster or distortion, perhaps to create a sense of discomfort in the spectator. The line can also be used in order to create some sense of perspective in a photograph, providing layers and texture for a more visceral photographic experience. Strait lines an also determine an images aestheticism. In other words, they can provide a sense of order or regimentation to the image, as they determine where the eye falls and when.
Shape- The anatomy, line and configuration of objects in the given space provides the sense of shape in an image. These shapes can evoke different feelings in the audience of the image. For example, more regimented and man made shapes such as squares or rectangles can again provide an ordered atmosphere, and occasionally a vaguely clinical one. However, more natural shapes give a sense of the more organic environment to provide a more relaxed or, in some cases, out of control image.
Form- It is said that many artists and creatives consider form and shape to be the same element, however most artistic laws dictate that it refers to more three dimensional objects, with a defined width, breadth and height creating a more 'whole' sensation within the image.
Colour- In terms of artistic law, colour is technically defined as "visual and perceptual property of an image, originating from the light spectrum." The intensity, strength, exposure and purity of the colours selected determines the overall effect and impact of the image. It is important to consider the effect that needs o be created. For example, darker and more greying colours feel much more sombre and in some cases sinister, whereas brighter colours connote a much more positive atmosphere. it is important to consider the effect intended for the image and the contrast of the colours within it when composing a photograph so as to evoke the intended feeling.
Texture- When an object is touched, the texture can immediately be sensed from the nature of its surface, which varies vastly from rough to smooth and metallic to dull. Texture can be perceived either visually or viscerally by layering some sort of manipulation onto the image. For example, many artist such as Gerhard Richter used paints over his photographs in order to generate layers and texture. However this can also be perceived visually through shadowing and the visual texture of the object photographed. The texture in a photograph can sometimes be considered similar to the pattern, as both can give a sense of the texture within the image. However the texture can also be crated over the top of a photograph in order to give a more sensual photographic experience, whereas pattern is a far more visual element.
Value- The value is a term used to describe the tone of the colour in an image. This can be altered either by changing the settings of the camera such as aperture or shutter speed, or by digitally altering the image after it is taken. Darker colours are used to reflect a lack of light, and can convey a sense of mystery or danger and reflection of bright light will do the polar opposite. The saturation of the colours in the photograph can also be altered in order to create more surrealist work.
Space- The space in an image is defined by artists as an entity of conceptual framework. In short, it is essentially the are depicted within the photograph. This can be positive of negative space, defined as the space occupied by the primary subject of the image, and the space around it.
The photographs taken below where limited to displaying the effects or perspective and texture, and where taken of the abandoned swimming pool in Muswell Hill.
These images where intended to emphasise the formal elements of perspective and texture. In a way, the two go hand in hand as when perspective s realised, new textures can be revealed, providing a depth to the location that would have otherwise gone unnoticed. The edited images below where also intended to impress the effect of these elements, however in these the images have been digitally altered in order to make the evidence of the elements clearer.
It is clear to see that after the photographs have been digitally altered, more emphasis can be placed upon them, particularly concerning thexture. The lines are much deeper, and the colours far brighter, meaning that the eye is drawn to the texture to create a much more visceral experience of the photograph. Similarly, with the perspective image, [figure to the left] enabling the colours to become much more vibrant means that the eye is drawn down the line of the wooden plank to the end of it, so as to create the feeling of length. The much brighter colours of the moss and leaves make each aspect of the plank more noticeable and enables the eye to take a more in depth journey to visualise its complete extremities.
Increasing the saturation on the image of the abandoned hat evokes the feelings associated with a hot summers day. Combined with the traditional ribbed texture along the hats brim, the audience can get a real sense of the experience before this hat was left behind. This give the photograph much more meaning and enables the audience to consider the loss inherent in age and abandonment. |
These images depict an approximately twenty minute walking route in which the textures of the surroundings where payed close attention to. On this route it became apparent that the most common thing in therms of the textures found was an intermingling relationship between the natural and the man made. It is clear in many of the photographs that the more aged the man made objects the more the organic world seems to take over, for example the fluffed moss on the walls and the creeping algae over road signs. This isolation of the intertwinement of both natural and sinthetic textures enables the viewer to look at them more deeply, and take pleasure in the ways that one has grown onto the other forming the unity that the wider world consists of. By photographing this route, it drew attention to the things overlooked every day and exposed the detail in the natural environment that many people purely exist in, and do not experience even though it forms an integral part of their daily life.
5th December 2014.
The following images where also taken with the formal elements in mind. However they where taken in regards to many more of the elements, and where therefore not limited by any themes. These included: Value, Shape, Forms, Space, Texture, Colour/Tone. They where also taken, in part, to link in with the theme of balance, and illustrate this in the natural world.
The following images where also taken with the formal elements in mind. However they where taken in regards to many more of the elements, and where therefore not limited by any themes. These included: Value, Shape, Forms, Space, Texture, Colour/Tone. They where also taken, in part, to link in with the theme of balance, and illustrate this in the natural world.
Each of these images was taken in order to demonstrate the unity of the formal elements. For example, throughout each image we see a different form of texture which perfectly intermingles with the shapes created in nature. [See figure 2] The images where also composed in order to evoke a feeling of balance which is particularly evident in image one where we see the space in between piles of logs. These not only embody the theme of balance in that they are balanced but also demonstrate a very even and ordered structure, highlighting the way man has enforced are need for balance upon a much wilder natural world. This contrasts however, with the scenario in image eight where we see the relationship between the natural and the man made in the graffitied wall which surrounds the woods. The way the image is composed was designed in order to imitate a creature looking tentatively around the corner of a tree in order to see this vandalism. This gives a slight sense of foreboding and implies that, without constraint, man will eventually destroy nature with our necessity to 'leave our mark' thus juxtaposing with the idea of balance and indication that perhaps the 'wildness' is the natural resting place for nature and in messing with this, imbalance is born. In images four and twelve we are also given an indication of the relationship between man and nature. Image four depicts a break in the bark of the wood, which is coincidentally evocative of a burn or scar in its vibrant red colour. Tis is not only relevant to the fascinating way in which the formal element of colour can change our perception of an object, but is also similar to the spray painted portion of the tree in image twelve. This contrast of a man made imposition on the tree and an unknown, possibly natural one, suggests again a balance in the impacts the two opposing forces have upon each other, as each caused a equally distressed effect upon the tree. Image ten is an interesting example of the way light plays in to the overall effect of an image. The light is caught, glancing off the rainwater on a holly leaf to create a beautiful an in some ways mystical effect. This elfin beauty of the leaf creates a far more imaginative and inspired way of viewing the wooded area and in fact, the wider natural world, as it enables the viewer to look closer at the way the rain warps and distorts the reflections of the light, revealing almost an alternate universe found within reflection.
Rutt Blees Luxemburg.
In 1974 the Heygate Estate was constructed in order to provide a somewhat 'Utopian' solution to the residential issues in a post war community. It housed more that three thousand residents, but due to critical design elements and other issues such as lacks security,low energy efficiency and environmental hazards, it was decided that the residents would be rehoused and the estate demolished to make way for a total regeneration of the area. Forty six years on, it still awaited its demolition. A few residents still remained, as it was not until 2008 when the estate was fully prepared to come down, and their lives where captured by the photographer Rut Blees Luxemburg in her series of work 'London, A Modern Project.' These images outlined the unsettled state of the building between occupation and demolition and also looked at the relationships built between 'estates' and the wider world, looking at the concepts of urban aesthetics. Luxemburg also photographed other areas of London attempting to enter a 'secondary state of perception' of the urban environment.
In 1974 the Heygate Estate was constructed in order to provide a somewhat 'Utopian' solution to the residential issues in a post war community. It housed more that three thousand residents, but due to critical design elements and other issues such as lacks security,low energy efficiency and environmental hazards, it was decided that the residents would be rehoused and the estate demolished to make way for a total regeneration of the area. Forty six years on, it still awaited its demolition. A few residents still remained, as it was not until 2008 when the estate was fully prepared to come down, and their lives where captured by the photographer Rut Blees Luxemburg in her series of work 'London, A Modern Project.' These images outlined the unsettled state of the building between occupation and demolition and also looked at the relationships built between 'estates' and the wider world, looking at the concepts of urban aesthetics. Luxemburg also photographed other areas of London attempting to enter a 'secondary state of perception' of the urban environment.
This image, titled 'Towering Inferno' depicts the tower block, face on, at night, with a smattering of lights in the windows. The direct angle we get on the building makes it appear almost one dimensional, completely separating it from the rest of the city with its angled shapes and layers. In Luxemburg's work, she aimed to emphasise the isolation of the communities who resided in this type of accommodation, therefore she has clearly separated this building from the rest of the city, not only making it seem less than real, but also raising it to a different height level to the other buildings. In this way she has isolated the block and its residents, almost implying that they are in some way other and often viewed as separate from modern society. This is often true of such council estates as they are often occupied by those who cannot afford or where forced to leave their homes due to circumstances beyond their control. In this sense they can often be looked down upon by the richer side of society. The title 'towering inferno' seems to, however, subvert this view, instead giving the impression that this community is viewed as some sort of impending threat, out of control and over-whelming. The photographer is perhaps suggesting that, in isolating and fearing this society, the public has projected onto them this image of a 'towering inferno,' forcing them into a stereotype that is both uneducated and biased. The few lights that shine from the windows of the building almost seem like the eyes of some sort of living creature, using a soft yellowish hue in order to appear welcoming and friendly. This humanizing personification of the block signifies the unity of its residents, and further impresses this image of a marginalized race, rejected by a right wing establishment.
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This second image depicts the reflection of a 'station' sign in a puddle of water. In this image we get a sense of an almost ethereal presence, the words mirrored in something connotative of another realm. It gives the cracked concrete a sense of beauty in its destruction, forcing it into a simultaneously disturbing and alluring position. The orange glow over the image is highly evocative of the street lights which illuminate many people more magical experiences, imbibing the image with the connotations carried by the mystery and magic of night time wandering and adventure. This forces the audience to consider the meanings which basic station and pavement settings hold for them. It enables them to question the meanings they have in our society, suggesting that humans have a spiritual connection with even the most, seemingly dull a location, intimating that it is perhaps the smaller things in life which hold the most significance. However it is also connotative of a certain level of sadness as the cracked pavement implies some sort of loss or destruction. However this could be an indication of the fundamentally broken nature of our environment, and this, coupled with the other worldly glow, indicates, perhaps, that this broken nature should be celebrated as a part of the magic of a human urban environment, suggesting that people should look at the steadily aging and evolving world as a positive thing as opposed to the deterioration of past values.
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Rule of Thirds
The 'rule of thirds' is a photographic term or process used to teach photographers how to create visually appealing and ordered images. The basic principle for the rule of thirds means segmenting the image into nine parts, that is, into tree sections of three. this grid will then enable the photographer to consider the exact points which they are placing each aspect of their photograph for a more balanced composition. It enables the photographer to consider what they are attempting to show through their image and thus make a more educated decision abut what they want to be drawn attention to as the primary focus of the photograph. The theory is such that if you place points of interest at the intersections of the grid that the image will become balanced and will therefore enable the viewer to interact with the photograph far more naturally. Many photographic studies have determined that the eyes of the viewer naturally fall upon these intersection points when they look at any sort of image, thus meaning the photographer works with the audience in order to crate a more fluent image which is largely much easier to enjoy. Examples of where this works are often in portrait photography. When capturing an image of a person, it is useful to position the face of the image at an intersection point, particularly the eyes, which will draw in the viewer and allow them to connect with the subject.However, with some images, creating visual harmony is not the desired effect as discord may be the message they want to convey. In these circumstances the rule is broken and the image becomes much more focused upon the composition conveying a message rather than working with its audience. In todays fast paced society it is common with photographers to pay far less attention to the composition of their images. This is due to the ease with which images can be taken and disposed of, with no real limit to the number of images one is capable of taking. Back when film cameras where the most common form of image capturing, much more care was taken over the composition of each image as 'the photograph' was much rarer and therefore worth more. The rule of thirds enables the photographer to create more compositionally considered photography, and reminds them to consider the composition of their image as a tool for creating visually stimulating and impactful artwork.
The 'rule of thirds' is a photographic term or process used to teach photographers how to create visually appealing and ordered images. The basic principle for the rule of thirds means segmenting the image into nine parts, that is, into tree sections of three. this grid will then enable the photographer to consider the exact points which they are placing each aspect of their photograph for a more balanced composition. It enables the photographer to consider what they are attempting to show through their image and thus make a more educated decision abut what they want to be drawn attention to as the primary focus of the photograph. The theory is such that if you place points of interest at the intersections of the grid that the image will become balanced and will therefore enable the viewer to interact with the photograph far more naturally. Many photographic studies have determined that the eyes of the viewer naturally fall upon these intersection points when they look at any sort of image, thus meaning the photographer works with the audience in order to crate a more fluent image which is largely much easier to enjoy. Examples of where this works are often in portrait photography. When capturing an image of a person, it is useful to position the face of the image at an intersection point, particularly the eyes, which will draw in the viewer and allow them to connect with the subject.However, with some images, creating visual harmony is not the desired effect as discord may be the message they want to convey. In these circumstances the rule is broken and the image becomes much more focused upon the composition conveying a message rather than working with its audience. In todays fast paced society it is common with photographers to pay far less attention to the composition of their images. This is due to the ease with which images can be taken and disposed of, with no real limit to the number of images one is capable of taking. Back when film cameras where the most common form of image capturing, much more care was taken over the composition of each image as 'the photograph' was much rarer and therefore worth more. The rule of thirds enables the photographer to create more compositionally considered photography, and reminds them to consider the composition of their image as a tool for creating visually stimulating and impactful artwork.
These images where taken in order to demonstrate the effects of the rule of thirds. Each location or object was taken, once without, and once with, the rule; thus exposing the effect it has upon the composition of the image.
When looking through them you can really begin to see the aesthetic differences between the two methods of photography. For example, in the first two images, there is a drastic difference in the connexion the audience has with the subject. Even though the subject is a broom, the viewer still feels much more inclined to find a deeper meaning in the image due to both the closer proximity and the more aesthetically pleasing angle. This is similarly evident in the images of the window, the lamp post and the padlock. In other words, as more care is taken over the composition of the image, the mores pleasing it becomes to the eye, and therefore more engrossing and engaging for the desired audience. Of course it must be taken into account with this rule, that sometimes comfort in the composition does not create the desired effect. For example, if the photographer wished to create a dystopian and unsettling image they would wish to evoke the corresponding emotions in their audience and would not, therefore, wish to create a traditionally beautiful image. However this is not often the case with landscape photography, as it is common to wish to display the beauty of settings, thus the rule of thirds is often a useful tool in this line of work. |
Project.
Miniature Worlds
Miniature Worlds
Georges Rousse
Rousse began his photography career when he was given a Kodak 'Brownie' camera for Christmas as a child. Since that day he has never been without it. He became interested in photographic processes while attending medical school in Nice. From that point he became fascinated with professional photography and printing techniques and opened his own studio dedicated to architectural photography. Rousse developed his own original photographic style, combining his photography with painting and playing with the concept of space, and began making instillation's in derelict buildings, juxtaposing their blank appearance with bubbles of colour and intriguing photographic manipulation. He combined his keen photographic eye with his love of art and architecture generating pictorial spaces that are visible only in his photographs. He decided to always show his photographs on a larges scale so as to create an experience for his audience; involving all their senses to create a more lasting impact. His innovative way of presenting the world have marked him as one of the foremost contemporary artists of his time, and since his firs show in his Paris home he has extended to completing instillation's all over the world.
Despite clearly being a photographer, Rousse has personally expressed that he feels for his images the way a painter would feel towards a canvas. He combines his clever composition with sculpting, paint and digital manipulation in order to achieve his vision and thus sees his work as a much more developed art form.
When he takes his images, he focuses his mind on a fragment of the location he has selected, and keeps his mind upon his ultimate goal. He works, in essence, with the environment and space around him, and constructs a kind of Utopian interpretation of that location. In that way his work fully emphasises the power of imagination, overtly displaying his version of the location in regards to its cultural history, and the feeling it evoked within him, making visible, via drawing and painting, the universe in his eyes.
Rousse began his photography career when he was given a Kodak 'Brownie' camera for Christmas as a child. Since that day he has never been without it. He became interested in photographic processes while attending medical school in Nice. From that point he became fascinated with professional photography and printing techniques and opened his own studio dedicated to architectural photography. Rousse developed his own original photographic style, combining his photography with painting and playing with the concept of space, and began making instillation's in derelict buildings, juxtaposing their blank appearance with bubbles of colour and intriguing photographic manipulation. He combined his keen photographic eye with his love of art and architecture generating pictorial spaces that are visible only in his photographs. He decided to always show his photographs on a larges scale so as to create an experience for his audience; involving all their senses to create a more lasting impact. His innovative way of presenting the world have marked him as one of the foremost contemporary artists of his time, and since his firs show in his Paris home he has extended to completing instillation's all over the world.
Despite clearly being a photographer, Rousse has personally expressed that he feels for his images the way a painter would feel towards a canvas. He combines his clever composition with sculpting, paint and digital manipulation in order to achieve his vision and thus sees his work as a much more developed art form.
When he takes his images, he focuses his mind on a fragment of the location he has selected, and keeps his mind upon his ultimate goal. He works, in essence, with the environment and space around him, and constructs a kind of Utopian interpretation of that location. In that way his work fully emphasises the power of imagination, overtly displaying his version of the location in regards to its cultural history, and the feeling it evoked within him, making visible, via drawing and painting, the universe in his eyes.
his image is far darker and more sinister than the others. It is clear that Rouse connected the cold internal atmosphere of this building with the ideas of death and ending. we can see this, not only in the moulding walls ad filthy floor, but also in the large dark orb that has been cast over the image. this dark and threatening shape has very sinister connotations, almost looking like a black hole, known for sucking life out of anything they come into contact with. this could be a metaphor for the way in which the building has been left, lifeless, after its use. However it could also imply that the building harbors great secrets, as it appears to symbolize a view into the white room, seeing only darkness. Although, many of Rousse's images of abandoned establishments were designed in order to represent the ending of life, like this dark disk, a void into the unknown. in this way the image is almost a representation of time as it hurtles towards death, using a dead and forgotten building, ready for destruction, and comparing it with darkness, a representation of the fear of the end. It is in great contrast with the image on the left, as that, while using the same shape as this image, gives off a far more positive outlook upon the image it depicts.
To create this image, Rousse actually painted the location itself. He has used bright colour in order to animate this abandoned, wooden building into being, and has strategically place the paint in order to create the illusion the the pillars cast shadows into it, perhaps suggesting that the colours represent light itself. For this image Rousse has manages to manipulate the real location which he was attempting to illustrate as opposed to merely editing it digitally. In it's way he was far more connected with the location and this perhaps accounts for the added feeling for childhood, as though he was looking upon this setting as a young man and playing with its architectural beauty. Many of Rousse's photographs where designed to deal with mankind's problematic relationship with their industrialized society, expressing the sadness that once beautiful and lively buildings have now been neglected, regardless of their cultural significance. By transforming this forgotten location into a work of art, Rousse hoped to give it new life, however fleeting. He, with the innate precision of the photographer, freezes time, capturing the essence of this building in its current state, making the traces of the past that remain, tangible, filling the image with the energy of hope. this hope is clearly evident in the bright, primary colours, synonymous with childish play. however in this link to childhood he does not attempt to create nostalgia. Instead it is intended to link the modern day with the history of the building. Joining the gaze of the audience with that of those who created and enjoyed this building from its inception, highlighting the transformation it has undergone.
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In this image we see an empty, grand hallway, with arching ceilings and ornate carvings. Rousse has placed red squares over portions of this image in two different forms. Firstly,he has made a grid like pattern over the top of the image with transparent red squares so that the room is still visible beneath. This highlights the fact that this image is, in fact, an image, reaffirming its singular dimension and emphasising the fact that this is a presentation of an empty corridor. This is in high contrast with the second image in which the red shapes are positioned in order to create some semblance of actual dimension and texture o the room, outlining its architectural beauty. This image celebrates the way in which this building was created, not recreating its history, but nodding to the fat that that history exists and should not be forgotten. The rigidity of the shapes is almost connotative of blueprints used in building, and therefore remind the audience that this place, though empty, once held great significance, and as designed with the passionate vision of its creator. When it is placed beside the first image, this concept is reinforced as it reminds the audience that it once went from a one dimensional state to two, and perhaps impresses the sadness that it has been left to now revert to this original singular dimension.
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In all of Rousse's photographs he invites us to view the buildings presented as a static, immobile area, gradually changing our perception of space and reality. He forces his audience to view three types of space: Firstly, the space in which he installs or takes the photograph. In other words the 'actual,' visceral space. Secondly, the space he has created through his beautiful drawings, highlighting varied aspects of his locations. And Finally the space that comes into existence once he has taken the photograph, the space within the image itself: The photograph. His images seem to almost bridge the gap between perception and reality and give an overwhelmingly insightful overview upon the imaginary and the visceral. In this sense Rousse is a perfect example of a photographer specialising in the creation of miniature worlds. Not only does he express the world he has created within his own head, and relish in ways he can create and manipulate the universe, but he also wishes his audience to see the photographs as miniature worlds in themselves, viewing them as an expression of the world that takes up space within the world.
Guy Tal
"I fear that future generations will judge us harshly for our failure to place proper value on wildness, diversity, open space, spirit, solitude and other treasures of the natural world still available to us today. May they at least know that some of us tried." This quote from Guy Tal, the writer and photographic artist currently residing in Utah, almost epitomises the way that he feels about his photography. He works by essentially attempting to express his reverence for the wild nature of the world. he writes about, teaches and photographs the importance of living a creative life and finding fulfilment through ones art. He is a highly philosophical man, and take this photographs purely by walking and thinking. To him the photographs do not need to have hidden meaning or political purpose, they must purely look at the world and record it. His philosophy is that, no matter what you think or feel is important, you are wrong. To him, nothing means anything. Life is purely subjective to the person who lives it. he does not feel that anyone's opinions are right, except to the person who feels them and those who share in those feelings. There is no definitive right answer to any question, so through his art, he hopes to capture the way in which he sees and feels and the effect that his environment has had on him.
Tal feels that his 'job' is to be inspired and convey that inspiration so as to inspire others: "My photography is not about photographs; my writing is not about words; my teaching is not about facts; and my interactions are not about being social. There's a higher purpose – the experience. Am I an experiencer?" He appears to approach his photography with the intention of expression his experiences in the hopes that the wonders of the world will not be forgotten.
"I fear that future generations will judge us harshly for our failure to place proper value on wildness, diversity, open space, spirit, solitude and other treasures of the natural world still available to us today. May they at least know that some of us tried." This quote from Guy Tal, the writer and photographic artist currently residing in Utah, almost epitomises the way that he feels about his photography. He works by essentially attempting to express his reverence for the wild nature of the world. he writes about, teaches and photographs the importance of living a creative life and finding fulfilment through ones art. He is a highly philosophical man, and take this photographs purely by walking and thinking. To him the photographs do not need to have hidden meaning or political purpose, they must purely look at the world and record it. His philosophy is that, no matter what you think or feel is important, you are wrong. To him, nothing means anything. Life is purely subjective to the person who lives it. he does not feel that anyone's opinions are right, except to the person who feels them and those who share in those feelings. There is no definitive right answer to any question, so through his art, he hopes to capture the way in which he sees and feels and the effect that his environment has had on him.
Tal feels that his 'job' is to be inspired and convey that inspiration so as to inspire others: "My photography is not about photographs; my writing is not about words; my teaching is not about facts; and my interactions are not about being social. There's a higher purpose – the experience. Am I an experiencer?" He appears to approach his photography with the intention of expression his experiences in the hopes that the wonders of the world will not be forgotten.
This image has much more economic back story than most of Tal's work. It depicts a spruce tree that has fallen victim to a black beetle infestation. An infestation which is synonymous with climate change. The fact that this image is entitle 'Ghost' could perhaps indicate that Tal wants his audience to take into account the way in which they are killing their environment. The image is very dark, in contrast with the silvery white of the top of the tree, making this image stand out against the backdrop and appear ethereal and, in a way, slightly mournful. the tree stands above the other foliage, making it seem very strong and powerful, this makes its deterioration all the more worrying, as climate change can bring down even the most majestic of life forms. In this image Tal incorporates his admiration of the natural world with his concern for its safety, and, in presenting this image with his other far more positive works, he really evokes a sense of loss and drives his audience to preserve the beauty that they take for granted.
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This image, Blueberries and mosses, purely emphasises the beauty in the simplicity of the world. The vibrant and beautiful colours are shown from a very direct angle, forcing the spectator to really look at the image. they can then see the vast contrast in the red of the leaves and the blue berries and to discover for themselves this innate beauty. The very self explanatory title marks upon the fact that this is really a very simple occurrence. There is no subtext or revelation; just blueberries and moss. This forces the audience to think of this occurrence in context with the rest of the world and see it as something that is very common, but should not be taken for granted as it holds such unique beauty. Here Tal is making the audience consider the beauty of things they would have otherwise overlooked, imbibing these very basic substances with a sense of magic and originality.
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This image is entitled 'Recovery,' and war taken in order to illustrate the vibrant colours of the 'aspens' after a particularly rainy season, celebrating their return after the aspen decline. The word recovery, in Tal's work, does not have any sort of political meaning, but instead marks upon the rehabilitation of this living thing after a struggle to survive and emphasises the beauty in that of itself. This image is very beautiful, and looks out over the trees almost at leaf height, giving a sense of great height and freedom. In all of Tal's photography work he expressed that he worked, not for fame or fortune, but for experiences. He claimed that when it came down to it, wealth was not measured in money, but in how much freedom a person possessed. He stated that his job was not as a photographer, but as being himself, and capturing his view upon life and his environment, therefore it is key to this photograph that a sense of freedom is captured as that, in essence, is the entire point of Tal's existence.
Guy Tal is particularly relevant to the theme of 'Miniature worlds' as his entire philosophy is based off of the way individuals view reality. In a sense he lives in his own miniature world, relishing in the natural beauty of existence itself, as opposed to being encumbered by materiel necessity. He also looks upon the way other people see the world as 'miniature worlds,' expressing the idea that perhaps all people live in their own form of miniaturised reality. Perhaps therefore, there is no larger world, but merely one enormous shared delusion, comprised of millions of individuals wrapped up in their own personal reality.
Eliot Porter
Eliot Furness Porter was born in America 1901 and died in 1990. In his family he was known as a great photographer of the natural world, and he head to be viewed that way by the general public as well. he worked as a chemical researcher at Harvard University, as well as earning degrees in chemical engineering and medicine. This vast knowledge of the elements fed directly into his passion for capturing the various eccentricities of nature, and contributed to him being the first photographer to use colour in landscape photography. His various successes and positive critique from photographer Alfred Stieglitz lead him to leave Harvard and pursue his photography career full time. his fame climbed when his images where printed in 'In Wildness Is the Preservation of the World,' a book published by the sierra club, featuring Porter's studies in nature. This book helped raise awareness of the complexity and beauty as well as the fragility of nature to a wider audience than ever before, it also revolutionised natural photography presented trough books. His instigation of colour as a way of capturing a more accurate representation of the natural world, has become an integral part of moulding the way we see nature today. His photography therefore became a celebration of the colours in nature, and its overall beauty.
Eliot Furness Porter was born in America 1901 and died in 1990. In his family he was known as a great photographer of the natural world, and he head to be viewed that way by the general public as well. he worked as a chemical researcher at Harvard University, as well as earning degrees in chemical engineering and medicine. This vast knowledge of the elements fed directly into his passion for capturing the various eccentricities of nature, and contributed to him being the first photographer to use colour in landscape photography. His various successes and positive critique from photographer Alfred Stieglitz lead him to leave Harvard and pursue his photography career full time. his fame climbed when his images where printed in 'In Wildness Is the Preservation of the World,' a book published by the sierra club, featuring Porter's studies in nature. This book helped raise awareness of the complexity and beauty as well as the fragility of nature to a wider audience than ever before, it also revolutionised natural photography presented trough books. His instigation of colour as a way of capturing a more accurate representation of the natural world, has become an integral part of moulding the way we see nature today. His photography therefore became a celebration of the colours in nature, and its overall beauty.
This beautifully composed image captures the sunlight bouncing off the water of a pond. This light creates a faint orange glow, making it appear almost ethereal end other worldly. this sense of magic separates this pond from the human world, linking with the vast amount of fairy mythology based around water. This separation emphasises the awe often felt at the natural world portraying it as something that humans can never hope to fully understand. The almost lazy way in which the lily pads are scattered across the pool is connotative of some higher power as some would say that it is practically impossible for something to look so perfect purely by accident. This further links the image with the theme of 'miniature worlds' as it not only references the worlds created in myths and legends, but also separates the human world from the natural one, creating two, equally complex, entities.
This beautifully shiny image of whetted pebbles perfectly captures the inherent beauty in natural elements. The slight purplish hue, and the mingling greens and yellows of the image are highly connotative of jewels and riches, expressing these rocks as a commodity that must not be overlooked in terms of the composition of the world. The composition of this image is directly face on, meaning that the pebbles are depicted alone and should be viewed on the basis of their own aesthetic beauty with no allusion to their surroundings. Porter, being the first to introduce colour to scientific and natural photography hoped to emphasise the beauty of the colours found in the natural world and thus draws attention to the individual beauty of these vibrant rocks in an attempt to record them separately from the similarly vibrant world around them. In this way he keeps evidence of their personal meaning and importance in the composition of the natural world without them being swallowed up in the overall impact of a landscape.
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This image displays crevice between two trees, cradling the eggs of some unknown bird. This image emphasises the delicacy of nature, looking at it as the harborer of immensely fragile creatures. This image makes the audience look at he ways in which animal and plant life intermingle, and celebrates the beauty of that union. The feathers in the corner of the nest emphasise this, as they in some ways show a literal intertwinement of the born and grown resources that result in their species surviving. In that way this image represents the very nature of nature itself. Marking the fact that the world we live in survives due to the harmony of beings. It also gives an insight into the livelihood of this creature, exposing the 'miniature world' in which it survives. Porter found all aspects of nature fascinating, however he was particularly interested in bird life, meaning that this image perfectly captures his obsession with the world around him.
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Eliot Porter, in some ways, totally revolutionised the way we see out world today. In this sense is a vital component to the theme of 'miniature worlds' as he not only found a whole new way to express the environment that we still live in today paving the way for an American colour movement in photography that came into its own in the 1970's and 1980's, led by William Eggleston, Joel Meyerowitz, and Stephen Shore. His photography of the natural world also perfectly represented the layer of sub-world beneath the human one. With his fascination with biological science and the lives of smaller beings, he is the perfect representation of a man enamoured with the miniature realm itself.
Observations
Miniature world 1: The lives of smaller creatures.
Part A= When looking at the theme of miniature worlds, it is firstly important to consider the worlds of smaller creatures. These can range from the driving forces that reside within young human beings, to the livelihood of insects and other many legged beasts. In investigating the lives of insects it is important to consider that these worlds are in actual fact, the smallest fully functioning environments within our human world, and thus form a fascinating representation of the layers within our environment. The images taken below where designed in order to evaluate the ways in which the woodland grubs see the larger world. They not only evaluate the things that they must do to survive, but also highlight their use in a much larger sense, as a way of fuelling the natural environment which intermingles and supports the man-made. Drawing on the ideologies of Eliot Porter, we can deduce that the first way of looking at these images will simply be to take in the natural beauty of the environment in relation to our own human experience of it. However it must then be further considered that the lives of the insects that inhabit these locations are in direct correlation to the way they look, and thus the extreme close up shots of plant life emphasise the necessities in the world from the point of view of the insect. These images are then contrasted with their dulled counterparts (using digital manipulation) in order to indicate the way that an insect would not be able to view these plants as a beautiful thing, but, we can speculate, as a complex neural concoction of messages to create obstacles that must be overcome. Without the context of 'natural beauty' that human beings are familiar with and only survival in a mishmash of gigantified dangers. The unusually saturated look of the images when natural light is removed and colour is increased makes them look slightly like insect legs or body parts in themselves. This also indicates the potential way in which creatures attempt to connect their surroundings with things that they know, separating the bug world from our own in mind, but linking it in terms of visual similarity, thus emphasising both the difference and unity of human beings and smaller creatures.
Part A= When looking at the theme of miniature worlds, it is firstly important to consider the worlds of smaller creatures. These can range from the driving forces that reside within young human beings, to the livelihood of insects and other many legged beasts. In investigating the lives of insects it is important to consider that these worlds are in actual fact, the smallest fully functioning environments within our human world, and thus form a fascinating representation of the layers within our environment. The images taken below where designed in order to evaluate the ways in which the woodland grubs see the larger world. They not only evaluate the things that they must do to survive, but also highlight their use in a much larger sense, as a way of fuelling the natural environment which intermingles and supports the man-made. Drawing on the ideologies of Eliot Porter, we can deduce that the first way of looking at these images will simply be to take in the natural beauty of the environment in relation to our own human experience of it. However it must then be further considered that the lives of the insects that inhabit these locations are in direct correlation to the way they look, and thus the extreme close up shots of plant life emphasise the necessities in the world from the point of view of the insect. These images are then contrasted with their dulled counterparts (using digital manipulation) in order to indicate the way that an insect would not be able to view these plants as a beautiful thing, but, we can speculate, as a complex neural concoction of messages to create obstacles that must be overcome. Without the context of 'natural beauty' that human beings are familiar with and only survival in a mishmash of gigantified dangers. The unusually saturated look of the images when natural light is removed and colour is increased makes them look slightly like insect legs or body parts in themselves. This also indicates the potential way in which creatures attempt to connect their surroundings with things that they know, separating the bug world from our own in mind, but linking it in terms of visual similarity, thus emphasising both the difference and unity of human beings and smaller creatures.
Part B= Moving on to further concepts regarding small creatures, one must consider the lives of children and their view of the world. Children are a fascinating group as they not only embody a far more simplistic way of looking at life, and in some ways a much more logical one, but also live entirely in their own separate consciousness. They therefore represent a further layer of the miniature into a wider context of the world. In short, children see the world as much smaller than adults do. They are concerned with what makes them happy and what they feel they need to be so. This makes them entirely more imaginative as, to them, there are infinite possibilities for magic and adventure with no constraints of scientific logic or morality, except perhaps bedtime. This means that, not only do they have a much more positive view of the world, but what drives them to breath and be is essentially the enjoyment they get out of the mundane. Their purpose is to grow and evolve, and thus they are frozen in a state of perpetual experience, no expectation other than to see, think and enjoy. These photos demonstrate that way of looking at the world. They where intended to depict a small village built out of building blocks, but photographed as though they where life-size. This is similar to the previous strand of mages, taken from the perspective of insects to see what they see in terms of survival, this is then set at a contrast with children as their desires revolve around pleasure as opposed to endurance, however they are intrinsically similar as they are both highly single pointed and see the world from a lower, and less understanding vantage point. In a way this embodies the concept of a 'play world' or the idea a childish mind creates of how the world is. When taking these photographs it became apparent that it was impossible to get a low enough angle in order to convey an appropriate level of height in the block houses. This meant that new approaches where explored, by taking images from a much higher angle. When these are compared with the close ups they manage to covey the contrast between the two different ways of seeing the village. One from the child's perspective, imagining the lives and possibility of the miniature residents. And the other from a lofty adult standpoint, seeing it for what it is. Blocks. By demonstrating this contrast it really helped the images to convey the appropriate message. However they where successful in seeing the many different angles to take the photographs from within the village. The soft focus in the foreground particularly evoked a sense of an innocent child 'peeking round the corner' to see the towers and structures of their creation. A faint reddish hue has also been placed over the low angled images to create a sense of warmth and safety in order to recreate the way one feels as a child. This is contrasted with the blue, cold tinted aerial shots in order to emphasise the difference in the two mindsets. In order to improve this series, the images could be taken to an urban location, this time capturing the block village in relation to city scape. This would further impress the contrast between reality and fantasy and emphasise the difference in scale between the more magical imagination and the vastly complex real world. It is clear to see from both these representations of the miniature worlds within a larger one, the vast number of layers that compose reality, and it must therefore be considered that one cannot look upon the world simply as a larger whole, but as a construct of many smaller ones.
Part C= The third segment of this concept continues the concepts explored in part B, that of the minds and lives of children. This, however is much more focused on the imaginative side to their every day lives, and is concerned with the way that they see the real world in relation to their elders. In the following set of images it is possible to see a series of mundane landscapes enhanced using the Photoshop editor to resemble the intervention of imagination. These images show how the mundane can be enhanced by a mind unburdened with responsibility to create an infinite number of infinite worlds. They where designed to raise questions about thought and imagination, and weather looking at the world in this way as an adult would be considered mad or delusional. For example, even as these images where being taken, the eight year old present stated "I like pigeons," when asked why she said "because they're magic and they can see into the future, Dad said." What he had actually explained was the way in which pigeons brains work at ten seconds faster than human ones so they don't have to escape a predator until the last moment, but this is a prime and brilliantly ludicrous example of when the facts and information a child has been fed about the wider world have been warped to become far more magical than anyone else can see.
It is interesting to consider the different expectations placed upon adults and children and is particularly relevant when considering individual perceptions of the world. When human beings begin to grow up they are forced to leave behind the smaller world they occupy and enter the much larger one, containing other people. However if a childlike imagination was placed in the body of an adult they would be deemed insane, seeing the world as something that others see it as 'not.' It could be argued that this behaviour is mad in children as well, though it is not looked upon that way as children have no need to reaffirm their imaginings with the outside world in order to make them believable, it is only as we grow up that we are forced into the necessity to confirm our observations with others in order to make them valid. This perhaps raises questions about the constraints of reality, and questions weather or not it is, in fact, reality that we look upon as adults or just a shared delusion. It also perhaps questions weather or not it is in some ways more sensible to view the world as children do, as really, it harms no one and is a far more realistic representation of the combination of subjective bubbles that we continually compare to find a 'bigger picture.'
These images where taken of the area around the Hornsey Library, Crouch End. This area was the perfect example as it is a prime location for young, middle class families, particularly ones with small children. Whilst walking around, the ways in which the residents see their surroundings became clear, submerging the photographer in what these people see everyday. The Library as a location was particularly significant, as it is not only a place where people can receive information about the wider world but also one in which children can further their imaginations.In these photographs we see the combination of this imaginative mindset and the colder, realistic settings in which the residents thrive. However we can also see a slice of a very middle class society, which is in itself a chunk of the miniature which adds to what we see as the wider world.
It is interesting to consider the different expectations placed upon adults and children and is particularly relevant when considering individual perceptions of the world. When human beings begin to grow up they are forced to leave behind the smaller world they occupy and enter the much larger one, containing other people. However if a childlike imagination was placed in the body of an adult they would be deemed insane, seeing the world as something that others see it as 'not.' It could be argued that this behaviour is mad in children as well, though it is not looked upon that way as children have no need to reaffirm their imaginings with the outside world in order to make them believable, it is only as we grow up that we are forced into the necessity to confirm our observations with others in order to make them valid. This perhaps raises questions about the constraints of reality, and questions weather or not it is, in fact, reality that we look upon as adults or just a shared delusion. It also perhaps questions weather or not it is in some ways more sensible to view the world as children do, as really, it harms no one and is a far more realistic representation of the combination of subjective bubbles that we continually compare to find a 'bigger picture.'
These images where taken of the area around the Hornsey Library, Crouch End. This area was the perfect example as it is a prime location for young, middle class families, particularly ones with small children. Whilst walking around, the ways in which the residents see their surroundings became clear, submerging the photographer in what these people see everyday. The Library as a location was particularly significant, as it is not only a place where people can receive information about the wider world but also one in which children can further their imaginations.In these photographs we see the combination of this imaginative mindset and the colder, realistic settings in which the residents thrive. However we can also see a slice of a very middle class society, which is in itself a chunk of the miniature which adds to what we see as the wider world.
For example, we can see in figure one the way in which the book shelf in the library has been manipulated in order to appear childish and lurid. Each book has been individually saturated and had its colour warped in order to appear overly lurid. As these images where taken of an adults book shelf, the colouring was far darker before this manipulation and appeared a lot more dull. [See figure six of the contact sheet] This is in contrast with figure four, where the books from the children's section of the library have each been adjusted to form a more ordered 'rainbow' effect, thus symbolising the order than the childlike world has in comparison to the adult one in the perspective of a young mind. This particular image was designed in order to demonstrate a childlike and overly enthusiastic and glamorised view of the adult world, intimating the divide between the two environments.
Figure three was partially inspired by the works of Georges Rousse. It took his concepts of changing the colours in the portions of landscapes in order to display a message or meaning, or sometimes to purely explore the shapes of the location. However in this image the intention was to take the ideas surrounding 'play' explored in part B of the observations, using the colours and shapes of the blocks in order to create the impression that the ordinary row of shops can be distorted to resemble some form of toy, also hinting at the idea of another miniature world with a satirical political view about a commercialised society forming nothing more than a toy for the rich. However it also illustrated a 'miniature world' of sorts created by the intervention of imagination and the necessity to 'play.' This links with the concept behind figure two as the bricks in that image have been changed to imitate the colours of the bright primary blocks as well. The last few images are a much more blatant representation of imagination, crating visceral miniature worlds in every day situations.
Figure three was partially inspired by the works of Georges Rousse. It took his concepts of changing the colours in the portions of landscapes in order to display a message or meaning, or sometimes to purely explore the shapes of the location. However in this image the intention was to take the ideas surrounding 'play' explored in part B of the observations, using the colours and shapes of the blocks in order to create the impression that the ordinary row of shops can be distorted to resemble some form of toy, also hinting at the idea of another miniature world with a satirical political view about a commercialised society forming nothing more than a toy for the rich. However it also illustrated a 'miniature world' of sorts created by the intervention of imagination and the necessity to 'play.' This links with the concept behind figure two as the bricks in that image have been changed to imitate the colours of the bright primary blocks as well. The last few images are a much more blatant representation of imagination, crating visceral miniature worlds in every day situations.
These images are highly reminiscent of Slinkachu's works [see images to the left], but where he places actual models in his images, these have been edited via photoshop. This artist creates tiny instillations of minuscule models which he works into the everyday landscape. At first glance, the photographs he takes often seem perfectly ordinary, but he compliments these by taking much longer shots establishing the full extent of the scene. For example, he often takes images of cross country skiers atop the lofty heights of roadside bollards. As well as photographing these scenes he also leaves them for the general public to find, giving his artwork a beautiful sense of fun, with no other intentions than to perhaps fill peoples lives with delightful whimsy. This is an integral part of the desired concepts of the 'miniature worlds' subject, in looking at the smaller aspects of life and delighting in their brilliance, being sure that these aspects of the world are not overlooked and understanding the commonly overwhelming nature of a big city. Combined with this sentimental outlook upon the world, his artwork could also be used to invoke a political message, as it can be used in order to create a satirical look upon public society as he also hoped to make his audience more aware of their surroundings and be able to empathise with the miniature figures, however, this is true of many artworks depending on the subjective view of the spectator.
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Miniature world 2: Smaller than Life.
In order to further investigate the effect that digital manipulation has on images and their subsequent effect in relation to creating miniaturised landscape, this series of photographs where taken using the 'Tilt Shift' method. This method can be done either by using a specially designed camera lens, or through digitally altering the images using Photoshop or similar editing soft-where. Firstly, the image must be taken. This needs to be done in such a way that any people in the image are at a great distance; and the image must come from a slightly elevated perspective. The effect of this kind of photograph is much better with bright or vibrant colours, so it is useful to take the pictures on a very sunny day. However, this effect can be generated in Photoshop as weather can be very unpredictable. Once the images are taken and transported to Photoshop, one must then select a specific portion of the image; down the gradient, and blur that portion whilst leaving the rest of the image in high resolution; defined and sharp. The blurred portion must then be adjusted so that the preferred visible section is in the sharpest resolution possible, and all the desired areas are covered.
This effect creates the illusion that a real life-size setting is in actual fact a miniaturised model. This, in some ways, epitomises the view that was held by the photographer Guy Tal [see above] in that a real commercial world has no significance when you strip away societies laws, and therefore stands and thrives on the shared delusion of mankind that we need a commercialised society in order to be happy. By making the locations appear like small models, they are, in a sense, degraded to looking like playthings or something easily damaged, thus singling this world out as one of little to no real importance and marking it, despite its actual size, as a miniature world. By using the tilt shift method, the city locations are forced to look as though they are much smaller than they actually are making them almost look like toys, thus linking them with the ideas represented in part B of section one, but further evolving these themes to pertain to the adult world and creating an almost satirical effect to expose the way the commercial society manipulates and plays with cities in order to generate profit. It ties in with the concept that the commercial world and the 'retail' environment are a part of the potential 'shared delusion' that the adult world consists of. However it could also evoke a wholly different concept of the world and emphasise the unimportance of commercialisation and wealth by making it look menial and childish. Working under this view we can consider that the modern capitalist society attempts to see the world as a larger whole, pertaining to this idea of a 'bigger picture,' by generating a profit based purpose for life. However when we look at this conglomerate that takes up a large part of our society, we can see that in reality it has no more meaning than children playing with toys as it is given purpose by its self, as is everything else. In short, the world is filled with thousands of layers of miniature worlds, all of which believe that they have found, or are in search of, their purpose in the bigger picture when in actual fact there is no bigger picture, merely a construct of smaller ones covering the fact that no one really has any authority as every life is subjective. In this way, all worlds are miniature, even the larger world depicted in these photographs, as the larger world is entirely made of smaller ones attempting to find meaning.
In order to further investigate the effect that digital manipulation has on images and their subsequent effect in relation to creating miniaturised landscape, this series of photographs where taken using the 'Tilt Shift' method. This method can be done either by using a specially designed camera lens, or through digitally altering the images using Photoshop or similar editing soft-where. Firstly, the image must be taken. This needs to be done in such a way that any people in the image are at a great distance; and the image must come from a slightly elevated perspective. The effect of this kind of photograph is much better with bright or vibrant colours, so it is useful to take the pictures on a very sunny day. However, this effect can be generated in Photoshop as weather can be very unpredictable. Once the images are taken and transported to Photoshop, one must then select a specific portion of the image; down the gradient, and blur that portion whilst leaving the rest of the image in high resolution; defined and sharp. The blurred portion must then be adjusted so that the preferred visible section is in the sharpest resolution possible, and all the desired areas are covered.
This effect creates the illusion that a real life-size setting is in actual fact a miniaturised model. This, in some ways, epitomises the view that was held by the photographer Guy Tal [see above] in that a real commercial world has no significance when you strip away societies laws, and therefore stands and thrives on the shared delusion of mankind that we need a commercialised society in order to be happy. By making the locations appear like small models, they are, in a sense, degraded to looking like playthings or something easily damaged, thus singling this world out as one of little to no real importance and marking it, despite its actual size, as a miniature world. By using the tilt shift method, the city locations are forced to look as though they are much smaller than they actually are making them almost look like toys, thus linking them with the ideas represented in part B of section one, but further evolving these themes to pertain to the adult world and creating an almost satirical effect to expose the way the commercial society manipulates and plays with cities in order to generate profit. It ties in with the concept that the commercial world and the 'retail' environment are a part of the potential 'shared delusion' that the adult world consists of. However it could also evoke a wholly different concept of the world and emphasise the unimportance of commercialisation and wealth by making it look menial and childish. Working under this view we can consider that the modern capitalist society attempts to see the world as a larger whole, pertaining to this idea of a 'bigger picture,' by generating a profit based purpose for life. However when we look at this conglomerate that takes up a large part of our society, we can see that in reality it has no more meaning than children playing with toys as it is given purpose by its self, as is everything else. In short, the world is filled with thousands of layers of miniature worlds, all of which believe that they have found, or are in search of, their purpose in the bigger picture when in actual fact there is no bigger picture, merely a construct of smaller ones covering the fact that no one really has any authority as every life is subjective. In this way, all worlds are miniature, even the larger world depicted in these photographs, as the larger world is entirely made of smaller ones attempting to find meaning.
When creating tilt shift images, there is a great deal of trial and error involved as there is a thin line between making a believable image and an unbelievable one. The real issues seem to be in the saturation and brightness of an image. Usually with an outdoor image one finds that it is easier to create a realistic model environment as raising the saturation of the area makes the location seem like a brightly painted toy. However with internal scenes the ambient lighting makes the image seem over bright and makes the image look far less realistic. [See figure one]
Issues also occurred when the area photographed was not large enough to produce a convincing setting with a wide enough depth of field, this similarly came about when the portions of blurred image where too large, particularly the lower section. [See figure 2] This series of images where taken of Covent Garden in the middle of London. This area was selected as there was ample opportunity to gain an elevated perspective on the streets due to the numerously floored shops. The construction and positioning of the buildings also gives the impressions of winding roads and a veritable maze of shopping locations. This coupled with the neatly cobbled streets gave the perfect impression of a quaint model village or city, thus further emphasising the purpose of the piece. Whilst experimenting with the images, it was interesting to see what happened when the 'in focus' portion of the image was raised higher. For this, the photograph was taken of a balcony overlooking the food hall in the market area of Covent Garden, however in order to achieve this angle the image as obstructed by the reflections coming off the window it was taken through. These issues with the image meant that it was less realistic as a model, but did however bring in new meanings and connotations. For example, the saturation of the image had to be adjusted in order to avoid the reflections coming in to too sharp a focus. This was combined with the presence of the refections made the image seem mildly etherial, linking it to the concepts of other worlds often evoked in reflective surfaces. It also made the image seem somewhat aged and drew up the melancholic feelings that people associate with the past.
Issues also occurred when the area photographed was not large enough to produce a convincing setting with a wide enough depth of field, this similarly came about when the portions of blurred image where too large, particularly the lower section. [See figure 2] This series of images where taken of Covent Garden in the middle of London. This area was selected as there was ample opportunity to gain an elevated perspective on the streets due to the numerously floored shops. The construction and positioning of the buildings also gives the impressions of winding roads and a veritable maze of shopping locations. This coupled with the neatly cobbled streets gave the perfect impression of a quaint model village or city, thus further emphasising the purpose of the piece. Whilst experimenting with the images, it was interesting to see what happened when the 'in focus' portion of the image was raised higher. For this, the photograph was taken of a balcony overlooking the food hall in the market area of Covent Garden, however in order to achieve this angle the image as obstructed by the reflections coming off the window it was taken through. These issues with the image meant that it was less realistic as a model, but did however bring in new meanings and connotations. For example, the saturation of the image had to be adjusted in order to avoid the reflections coming in to too sharp a focus. This was combined with the presence of the refections made the image seem mildly etherial, linking it to the concepts of other worlds often evoked in reflective surfaces. It also made the image seem somewhat aged and drew up the melancholic feelings that people associate with the past.
The diagrams above illustrate the steps involved with the image that worked most effectively. Particularly with tilt shift images, one must pay very close attention to that images being taken, therefore more professional ones should be taken from a more elevated vantage point, with the use of cranes or access to taller buildings and locations. The images also work better when taken of a lone subject, ora collection bound closer together, in order to create a clearer differentiation between the blurred and sharp occupants of the image. The colour is also paramount, as can be seen in the further three edited images below. In the first the brightness of the image has merely been increased, and we can see that this effect does little to enhance the overall effect, however when compared with the subsequent tow images, in which the saturation has been heightened, we can see a drastic difference in the believability of this miniature environment. However this does reach a point at which it becomes too overly saturated and is no longer realistic, or indeed pleasant on the eye, as we can see in the third photograph where the image goes from being a more or less accurate model, not of real life but of a toy, to attaining an overly lurid and gaudy effect.
Miniature world 3: Family life.
The final set of observations was designed to explore the extent to which family life retains importance as they make up the vast majority of the layers of miniature worlds comprising the whole real world. A short series of images have been taken of a family outing, which have then been manipulated using a scourer sponge in order to partially remove the people from the settings. This method has been implemented so as to compare the surroundings of the family and their enjoyment of the situation to the environment without them in it. By fading them from the picture, an air of sadness coats it as it seems to diminish their importance from the scene. This emphasises the importance people feel their individual lives are by looking at them from the outside. The effect given by the sponge wore also holds connotations of age as it replicates the way photographs look when a great time has passed. This was partly done by increasing the yellowish hue of the image, which layers it with connotations of old family photographs. This idea of altering the colours in order to represent a message to ones audience was something explored by Richard Mosse in his work in taking photographs of a war-zone in the democratic Republic of Congo. He used discontinued military surveillance film resulting in a visible spectrum of infrared light. The resulting "psychedelic" colours highlighted the barbaric nature of the atrocities committed and in his words highlights the "points of failure of documentary photography, and its inability to adequately communicate this complex and horrific cycle of violence." [See images to the right] The purplish tones of the images he made could have potentially be applied to the images below, as they would have represented the old polaroid images of 1970's-80's family photographs [as can be seen in the diagrams pictured just below this text]. In other words, the impact of the effects imposed on the images reinforces the idea that the family has no intervention on their surroundings as it hints, that when their time has passed, there will be no imprint of their experiences left behind by generating the representations of a time passed and forgotten. The sadness embodied by these photographs forces the audience to think about their own miniature world and raises the questions: is it important to break out of your world and have an impact on a much wider scale? or is it better to be happy in what you have and find comfort in small pleasures? and it thus embodies key questions surrounding the theme. It makes one consider the reason people continually desire fame as it makes them feel a part of a bigger scheme and suggests the sadness in the fact that this representation of every single subjective existence is forgotten even though it comprises the majority of what people find important in their lives; happiness and family. |
When taking this set of images, one had to be careful about the way the focus was adjusted because of where the image would be manipulated. In other words, the image could not have an out of focus back ground as the forefront and subjects of the image would be erased, leaving a totally out of focus images clear to see the difference between the ranges of focus between the images. For example, some have completely in focus subjects and backgrounds, while others have only the background in high definition and the forefront is blurred. Still others only had the subjects in high resolution with the backdrop blurred to bring them under closer scrutiny from the audience, however when they are erased, there is less attention drawn to the backdrop than there would be it it was in sharper focus, therefore forcing the spectator to dwell upon the meanings presented by the image. The scourer effect on these images forms distinct lines of erased image,crossed over to form a faded mesh. This is also highly evocative of the scribbled drawings of young children, again another form on 'miniature world,' and can be likened to the concepts of 'play' in part B of the observations. The way the messy way the scribbled lines have formed their paths also hints at the idea that it is perhaps these childlike sensibilities and outlooks that separate the 'real' wider, and allegedly more significant world from the familial bubble illustrated.
The images where taken at London Zoo which is a perfect example of an environment that holds significance in family life. Particularly for the family depicted in the images, who spent most of their younger days there, the zoo holds a lot of meaning as a childishly safe haven of educational fun, and can therefore evoke within the viewer similar fond associations and feelings of protection. However, beyond the memories and meanings they hold for this location, their presence there has no lasting significance and can therefore be placed under the heading 'miniature world' as it perhaps epitomises the version of this wider landscape that the family have moulded into resembling significance and importance in their own lives.
In order to improve these images it would be better to use a wire wool as opposed to a scouring sponge as it gives a more authentically aged look and a far more even scouring range. This would have made the images much neater and perhaps more meaningful for the audience, however no wire wool was available for use.
The images where taken at London Zoo which is a perfect example of an environment that holds significance in family life. Particularly for the family depicted in the images, who spent most of their younger days there, the zoo holds a lot of meaning as a childishly safe haven of educational fun, and can therefore evoke within the viewer similar fond associations and feelings of protection. However, beyond the memories and meanings they hold for this location, their presence there has no lasting significance and can therefore be placed under the heading 'miniature world' as it perhaps epitomises the version of this wider landscape that the family have moulded into resembling significance and importance in their own lives.
In order to improve these images it would be better to use a wire wool as opposed to a scouring sponge as it gives a more authentically aged look and a far more even scouring range. This would have made the images much neater and perhaps more meaningful for the audience, however no wire wool was available for use.
Final Outcome.
For the final edit of this piece the concept of erasing portions of the image was developed to use wire wool in order to achieve a more authentic and neatened fade in the picture. However, these pictures had to firstly be adjusted in order to appear like a series of old fashioned and subsequently traditionally 'low quality' style so as to reinforce this idea of past. This was initially done by applying a 'warming filter' to the images using the Photoshop editing software and then additionally adjusting the light levels of the image to firstly make sure it was still appealing to the eye, but to also increase their credibility as a realistic old fashioned 'Kodak' image. As one may deduce from the diagrams below, the process had to be carefully refined in order to achieve the perfect concentrations of colour so that the image does not become unattractive but still retains authenticity. The percentage of density from this filter also varied from image to image, so one had to be careful of the assumption that regularity leads to perfection. When taking the images it was again important to consider which parts to place in the highest resolution, therefore the majority of shots where taken with the whole area in focus, however some where still done with the backdrop slightly softer in order to draw more attention to the subjects and to therefore make for a more surrealist image once they where erased. Though the series could potentially be improved upon if all the images retained a uniform resolution so they form a set, however their sporadic nature could be considered to reflect the lack of uniformity in the traditional family photograph, often with unpredictable outcomes.
To improve upon and develop the images further, it could be considered that they could be manipulated in different ways. For example, if we look to the photographic work of Diane Meyer. She, in her series 'Time Spent that Might Otherwise be Forgotten,' alters her images manually by sewing in a cross stitch over the surface of her prints. She does this in order to highlight aspects of old family photographs or to, specifically, indicate the absence of the Berlin wall. In this way she attempted to get her audience to consider the photographs as objects that could be altered and not jut the representation of a fixed moment. Her work specifically correlates to the theme of miniature worlds as she is in fact considering the photograph as a miniature world in itself, and obscures the faces of family members in a softly pixelated way in order to attain an overview of the way things fade from memory. Her images, as, hopefully, do the ones below, look at the ideas surrounding nostalgia, making, in her words: "seemingly trivial" aspects of the image come into higher attention. By exploring other methods of digitally or indeed manually altering the images for this project, further attitudes or feelings could have been exposed much like in the fuzzy and comforting effects of Meyer's distorted barrier between the moment captured and the memory of it. [See images to the right]
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Similar work was done by Ed Spence, a Canadian photographer based in Vancouver. This artist took his photographs, be it old family ones or otherwise, and replicated, printed and then cut into miniature squares or 'pixels' and rearranged them based on colour. However, he differs from Meyer in his overall effect due to his complete deconsititution of his images. Once they have been pulled apart one can no longer completely see the image it once was, meaning that when it is held beside the original, instead of achieving a sense of nostalgia, he creates a whole new way of looking at the image as a combination of colours and stimulus which still, bizarrely, manage to evoke almost the same emotions as the original image, highlighting peoples associations of experience and colour.
This effect could also have been one explored in this final project, however it would have done less to emphasise the vital components of an individuals miniature world, and more to understand why people make he associations they do with old family photographs by looking at them from a completely different angle. |
The next steps in creating this work involved, first of all, printing the images to the appropriate sizes, and then using wire wool to scratch way the surface of the ink and leave a rustic faded effect. One also had to be wary during this due to the unpredictable nature of the materials as sometimes the wool and paper do not interact with each other well. This mostly comes in the form of some layers of ink either not scratching away well enough, or the polar opposite, with large portions of the image being removed far to easily to leave an uneven pale portion. Further issues would often arise in the light balance of certain images, in that if the colours are too pale the scribbled effect of the wool does not come across clearly. However this can be counteracted by firstly applying more force to the rubbings and then smoothing them over with a small amount of the residual dust which attaches itself to the rough surface and gives subtle definition to the lines.
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In order to provide a feeling of closure for the theme of miniature worlds, it was decided that a series of images would be taken which attempted to encapsulate the previous ideas and musings on the subject and therefore the overall opinion about those two words in relation to the environment we live in. Firstly, the images needed to reference the concept of the capitalist world in relation to the smaller, and indeed the family aspects of life, therefore encompassing the idyllic and comfortable outlook stemming from children. In order to emphasise this contrast between family life and the so called 'wider world' a percentage of these images where taken in central London, more specifically, Embankment. This location was selected as it mot only has a beautiful skyline, but is also home to much of the historic significance of London's great culture and therefore it's commercial history as well, representing the great labyrinth that humans occupy. This labyrinth had to then be juxtaposed with the smaller locations from inside the homes and local parks of the subjects depicted in order to emphasise the larger aspects of the world from the vantage point of the small.
Part of the inspiration for these images came from the photographs taken of family members from around the 1970's when family photography was much more tangible and more meaningful. Hence, the main subject of the photographs had to be continually distracted in order to create that spontaneous 'off the cuff' moment, captured in so many awkwardly imperfect photographs. In this way, it was hoped that the images would represent, and therefore instil, an air of comforting nostalgia of the times people remember most fondly and therefore wash them with the inherent sadness that this time has passed. Hopefully, this will then give the erased sections of the images more meaning as they create an almost ghost like representation of the most dreamlike and protected form of self which, in many people, is now gone. This glorified sadness is commonly connected with a desire to return to these times, reminding the audience of the importance they hold and thus reinforcing the idea that it is really these internal perceptions and experiences of our environment that matter the most. This therefore widens the piece to its more political message of the perhaps idiotic or irrational obsession people have with wealth and commercialisation, and therefore links it to a more philosophical viewpoint as well about the true meaning and great importance of seemingly insignificant 'miniature' livelihood.
The images, once printed and altered where then arranged, in a roughly circular formation, into a collage of images depicting the life of this young character in relation to her surroundings. [See slide show two] This was designed in order to represent the composition of the world as comprised of these perceptions of it from a miniature perspective. This formula for presentation was designed to encapsulate the imagined 'globe of smaller globes' that comprises the world. In short, if all the 'wider world' is perceived by individuals from their own miniature world then there really is no bigger picture, merely the perception of such from a plethora of miniature worlds. It is a shared delusion embodied by the simultaneously unique, and similar impression it has upon individuals, meaning that even though individual lives could be looked down upon as less important or menial , without them, nothing would have meaning, and thus the miniature is what is most vital. However this could be improved by mounting it on a wall or board for viewing as it would become more visible and therefore more impactful as the purpose of this presentation is to show the experiences in the photographs as a mass collaboration of miniature worlds which compose each persons impression of the larger world.
Part of the inspiration for these images came from the photographs taken of family members from around the 1970's when family photography was much more tangible and more meaningful. Hence, the main subject of the photographs had to be continually distracted in order to create that spontaneous 'off the cuff' moment, captured in so many awkwardly imperfect photographs. In this way, it was hoped that the images would represent, and therefore instil, an air of comforting nostalgia of the times people remember most fondly and therefore wash them with the inherent sadness that this time has passed. Hopefully, this will then give the erased sections of the images more meaning as they create an almost ghost like representation of the most dreamlike and protected form of self which, in many people, is now gone. This glorified sadness is commonly connected with a desire to return to these times, reminding the audience of the importance they hold and thus reinforcing the idea that it is really these internal perceptions and experiences of our environment that matter the most. This therefore widens the piece to its more political message of the perhaps idiotic or irrational obsession people have with wealth and commercialisation, and therefore links it to a more philosophical viewpoint as well about the true meaning and great importance of seemingly insignificant 'miniature' livelihood.
The images, once printed and altered where then arranged, in a roughly circular formation, into a collage of images depicting the life of this young character in relation to her surroundings. [See slide show two] This was designed in order to represent the composition of the world as comprised of these perceptions of it from a miniature perspective. This formula for presentation was designed to encapsulate the imagined 'globe of smaller globes' that comprises the world. In short, if all the 'wider world' is perceived by individuals from their own miniature world then there really is no bigger picture, merely the perception of such from a plethora of miniature worlds. It is a shared delusion embodied by the simultaneously unique, and similar impression it has upon individuals, meaning that even though individual lives could be looked down upon as less important or menial , without them, nothing would have meaning, and thus the miniature is what is most vital. However this could be improved by mounting it on a wall or board for viewing as it would become more visible and therefore more impactful as the purpose of this presentation is to show the experiences in the photographs as a mass collaboration of miniature worlds which compose each persons impression of the larger world.
The mixture of locations effectively demonstrated the underlying message of the piece as illuminated above, however the specifics of the subjects where meticulously thought out in order to have the most impact upon their audience. For example, the locations around Embankment of the beach where specifically selected in order to evoke the reminiscence of commonly experienced chilly family holidays to areas around England as well as encompassing the historical relevance of the London backdrop. This was then combined with images of Priory Park and the home life, particularly the birthday cake and the kangaroo costume, in order to envision this idea of the traditional and most valued events of a young persons life, despite the external meaninglessness, in order to give a sense of the vantage point that they they view the world from and one to which most people can readily relate. The images also needed to continually emphasise this sense of loss and time passing, therefore the images of abandoned toys stir up potentially mournful feeling in the audience of that great upheaval in childhood of the lack of comfort when a great friend is mislaid. This along with the look of a damaged memory in the deteriorating photographs emphasises the sadness people can often feel at time passing as these vital moments can never quite be recaptured. By separating the subjects from the locations, the images hopefully illustrate the difference between this 'wider world' and that of the miniature. This was effectively achieved as it not only implies the sadness at the ending to these experiences and therefore a demonstration of the importance of them, but also the alien way in which the outside environment lives on past the self, marking our environments as capsules of moments experienced by thousands of different people and in thousands of different ways. This can then subsequently be linked to the overall exploration of the theme 'miniature worlds' as it perfectly sums up the conclusion that despite an overwhelming and continual search for purpose or a bigger picture that our society is obsessed with, particularly in the commercially driven and money oriented business world which dominates so much of our lives, that perhaps the real meaning and significance of life lies within the miniature, as the 'wider world' is purely comprised of subjective and therefore miniature worlds that compose our perception of it as a whole and it is in the smaller aspects of life in which we can find the most solace.