Combinations and Alliances
For this exam project I want to continue with previous ideas I had descovered during my Unit 3 Coursework project. I became interested in the idea of collage and the effect it can create within photography. Furthermore, the particular theme for this exam is combinations and alliances, a theme that I feel my partcular ideas and style will work well with. I also came up with the idea of the alliance of football fans and believe wish to combine photographs of football fans in a collage style image. Below is a selection of images that apeal and that I will use as inspiration towards a final piece:
Exhibition Visits
Eve Arnold - All About Eve
Eve Cohen was born in Philadelphia, Pennsylvania, the middle of nine children born to immigrant Russian-Jewish parents, William Cohen (born Velvel Sklarski), a rabbi, and his wife, Bessie (Bosya Laschiner). Her interest in photography began in 1946 while working in a New York City photo-finishing plant. Over six weeks in 1948, she learned photographic skills from Harper's Bazaar art director Alexey Brodovitch at the New School for Social Research in Manhattan. Arnold's images of Marilyn Monroe on the set of the actress's last film, 'The Misfits' were iconic, but she had taken many photos of Monroe from 1951 onwards. Her previously unseen photos of Monroe were shown at an Halcyon Gallery exhibition in London during May 2005. Sadly, Eve Arnold died in London on January 4, 2012, aged 99. This exhibition was in memory of her work and almost a century of her photographs.
I first became interested in Eve Arnolds work after observing her famous photographs of Marilyn Monroe and would later descover that she photographed a number of famous people in history and key events with style and often an oozing message within. As well as photographing Monroe, Arnold also photographed Queen Elizabeth II, Malcolm X, and Joan Crawford, and traveled around the world, photographing in China, Russia, South Africa and Afghanistan. Arnold left the United States and moved permanently to England in the early 1960s with her son, Frank Arnold. The particular image that cought my interest at this exhibition was the one seen below. It is a world famous photograph of Malcom X at a rally for the nation of Islam.
I first became interested in Eve Arnolds work after observing her famous photographs of Marilyn Monroe and would later descover that she photographed a number of famous people in history and key events with style and often an oozing message within. As well as photographing Monroe, Arnold also photographed Queen Elizabeth II, Malcolm X, and Joan Crawford, and traveled around the world, photographing in China, Russia, South Africa and Afghanistan. Arnold left the United States and moved permanently to England in the early 1960s with her son, Frank Arnold. The particular image that cought my interest at this exhibition was the one seen below. It is a world famous photograph of Malcom X at a rally for the nation of Islam.
I find this image particularly interesting due to the propaganda message it could be seen to create. The words at the top read, 'there is no god but Allah' as a preaching Malcom X stands in front of them clutching money from the collection box in either hand. The photograph portrays Malcome X to be something of a mad dictator by the way Arnold has captured his off-balance stance and cunning smile. Throughout her work, Arnold could be seen to take clever photographs like this one, with subtle messages behind them. Perhaps the message within this one is that of Malcome X becoming almost mad with power and illusioned to the point where the civil rights movement was neglected and the focus was purely on his Nation of Islam movement.
A particular photograph of Eve Arnolds that could not be found online, but I found very interesting and especially relating to this work was called 'Dawn, New York City, 1961'. This photograph had been taken from the statue of liberty looking back at the city at dawn, yet the city landscape and skyscrapers are almost impossible to make out due the lack of light on them. its and amazing photograph however because the harder the viewer looks the more of the landscape in the background can be seen. It is a technique I would like to attempt within this exam project as it is almost like an alliance with the natural landscape in the foreground with the industrial sky scrapers to be just about made out in the back ground. Furthermore, the framing of this work is inspirational for this exam project as Arnolds uses a Cibachrome print that i think over laps another photograh in the back ground, I am going to attempt this within this exam project.
A particular photograph of Eve Arnolds that could not be found online, but I found very interesting and especially relating to this work was called 'Dawn, New York City, 1961'. This photograph had been taken from the statue of liberty looking back at the city at dawn, yet the city landscape and skyscrapers are almost impossible to make out due the lack of light on them. its and amazing photograph however because the harder the viewer looks the more of the landscape in the background can be seen. It is a technique I would like to attempt within this exam project as it is almost like an alliance with the natural landscape in the foreground with the industrial sky scrapers to be just about made out in the back ground. Furthermore, the framing of this work is inspirational for this exam project as Arnolds uses a Cibachrome print that i think over laps another photograh in the back ground, I am going to attempt this within this exam project.
Out of Focus Photography Exhibition
I found that the Saatchi gallery introdused its first major photography exhibition for over a decade and went to observe the photographs that would go under the categorie of combinations and alliances. I found numerous photographers that I admired, for example Marlo Pascuals work which I found interesting.
Marlo Pascuals photographs are often blown-up beyond their original formats (a tiny graduation photo destined for a wallet, for example, or an 8x10 glossy publicity still destined for a newspaper), torn in half or folded in such a way as to obscure vital information (not unlike the approach of Stezaker and with echoes of Baldessari), then mounted on stiff supports and leant against walls, sometimes stabbed cleanly through by bright, fluorescent tubes or lit by candles. I found Marlo Pascuals photographs an extrodinary perspective and use of different combinations. For example the image below interested me and related to this exam project as its a combination of one photograph, apparently torn in half and placed beside each other. I found this image interesting as the mounting of it makes it seem disgarded although its clearly been allied together in a way that makes it appear deliberate.
Marlo Pascuals photographs are often blown-up beyond their original formats (a tiny graduation photo destined for a wallet, for example, or an 8x10 glossy publicity still destined for a newspaper), torn in half or folded in such a way as to obscure vital information (not unlike the approach of Stezaker and with echoes of Baldessari), then mounted on stiff supports and leant against walls, sometimes stabbed cleanly through by bright, fluorescent tubes or lit by candles. I found Marlo Pascuals photographs an extrodinary perspective and use of different combinations. For example the image below interested me and related to this exam project as its a combination of one photograph, apparently torn in half and placed beside each other. I found this image interesting as the mounting of it makes it seem disgarded although its clearly been allied together in a way that makes it appear deliberate.
I found many other photographers at this exhibition interesting, amongst these was Luis Gispert. Luis Gispert sees his work as an interest in concepts of the picturesque and sublime in landscape photography. Unlike a number of his fellow artists, however, he has no interest in a seamless image. On the contrary, it’s the rough seams that give the work its vigour. Gispert puts the viewer in the back seat of richly upholstered cars or trucks and takes us off on a ride through the Californian desert and the Grand Tetons. Or so it would appear. It’s hard not to think of these interiors as a video game, but fact is stranger than fiction, and facts they are – of a kind. I find his work similar to mine as Gispert appears to clash the worlds of fiction and reality in a way that seems to play with the viewers perspective and imagination.
A final photographer I admired and wish to relate my work to is Pheobe Rudomino. I found Rudominos work fasinating and exhillerating. I later learnt that she is a commercial diver and underwater photographer based at the Underwater Stage at Pinewood Studios, the only facility of its kind in the world. She specialises in behind-the-scenes underwater stills and video for feature films, TV and commercials. This photograph was taken during a shoot for a commercial and was part of 'Water on the Lens', an exhibition of underwater set photographs taken at Pinewood which took place at County Hall on London’s Southbank in 2009. This is one of two particular photographs I was interested in in relation to my work as seen below.
A final photographer I admired and wish to relate my work to is Pheobe Rudomino. I found Rudominos work fasinating and exhillerating. I later learnt that she is a commercial diver and underwater photographer based at the Underwater Stage at Pinewood Studios, the only facility of its kind in the world. She specialises in behind-the-scenes underwater stills and video for feature films, TV and commercials. This photograph was taken during a shoot for a commercial and was part of 'Water on the Lens', an exhibition of underwater set photographs taken at Pinewood which took place at County Hall on London’s Southbank in 2009. This is one of two particular photographs I was interested in in relation to my work as seen below.
The final photographer I found interesting was Dutch artist Berndnaut Smilde. Smilde is interested in the phenominal and the nuemenal -- impermanent states of being which he documents through photographs. For Nimbus II, he used a smoke machine, combined with moisture and dramatic lighting to create a hovering indoor cloud in the empty setting of a sixteenth-century chapel in Hoorn, a small town in Holland. “I imagined walking into a museum hall with just empty walls. The place even looked deserted. On the one hand I wanted to create an ominous situation. You could see the cloud as a sign of misfortune. You could also read it as an element out of the Dutch landscape paintings in a physical form in a classical museum hall.”. I found Smilde's and Rudomino's work the most influential of all as the concepts of imagination and reality are so defined and clear within their images. Smilde's work "Nimbus II" i find glorious and interesting as he makes the obvious and boring room come to life with the hope and brightness of a lone cloud. I further find Rudomino's image stunning and would like to attempt to imitate this style of photograph through the use of photoshop, however i would like to imitate solely the ideas behind both of these photographers and create the impossible within a photograph.
Set 1 - Alliances with water
AIM: For this set my aim was to photograph alliances with water in our every day lives. The photographs were of every day objects that could be found around the house.
PROCESS: For this set the images I was photographing were very basic, so I used a very high ISO in order to make the photographs seem more interesting and to get as much in focus as possible, almost to flatten the image and draw the viewers attention away from the focused object. CRITIQUE: I feel this set could be made better possibly by using a subject within the image that wasn't a still life object. I could also use objects i found outside the house as well for example canals and rivers. I also however, think that this set was successful as i was able to capture photographs of house hold objects that have an alliance with water in an interesting light. FURTHER DEVELOPMENT: I could take this set further by using a subject in my photographs other than still life. For example a photograph of someone in a bath or a person using a hose. Further more, I could have taken photographs within the studio as well of more still life objects and in different lights. |
Set 2 - Still Life
AIM: The aim of this set was to capture images of still life objects and create a combination of several of them together outside of their natural environments. I also thought of photographing objects such as newspapers folded over, so that they are observed in a different way. I also attempted this with a television set that was turned off, bringing the observers view away from that which is normally viewed in a natural environment and making the focus broader.
PROCESS: For this set I worked in a classroom environment with several people, organising the subjects of my images into the positions that I thought would be appropriate to my photographs. I photographed objects together and in some cases on top of each other. I also took photographs of images out of focus from previous influence in my work by photographer Uta Bath and her work. CRITIQUE: I feel this set was successful in capturing the still life objects in ways in which they would not normally be photographed. I particularly liked the plain and simpler images such as the small television set and the tea pot and cup on its side, as they show a simplicity to them and are displayed in a plain and boring light, unlike their functions. FURTHER DEVELOPMENT: To take this set further i would change the scenario from a studio and maybe focus on photographing the still life in every day life. Objects that aren't observed on the streets yet remain still and simple every day. |
Set 3 - Outside Art
AIM: For this set my aim was to capture the world as a canvas that people have literally used as theirs. Rather than people focusing on their work in an art studio, i was interested in the work done both legally by invitation and illegally under the risk of being caught by the law.
PROCESS: For this set i travelled around the streets of London, particularly Brick Lane. I photographed the art work i saw in the surrounding environment and attempted to capture the individuality and inventiveness within english culture that seems to be stereotypically over looked.
CRITIQUE: I feel this set was successful in the sense that i was able to capture photographs of the work that artists have done in a particularly interesting environment. The difference between the legal and illegal art work is clear within the photographs, however there is also a similarity that could be seen between the pieces of art, particularly the messages and statements people attempt to push across.
FURTHER DEVELOPMENT: To take this set further, i could attempt to capture the artists at work. Both illegal and legal graffiti artists i feel would be interesting to capture both doing their work and outside of their working environments.
PROCESS: For this set i travelled around the streets of London, particularly Brick Lane. I photographed the art work i saw in the surrounding environment and attempted to capture the individuality and inventiveness within english culture that seems to be stereotypically over looked.
CRITIQUE: I feel this set was successful in the sense that i was able to capture photographs of the work that artists have done in a particularly interesting environment. The difference between the legal and illegal art work is clear within the photographs, however there is also a similarity that could be seen between the pieces of art, particularly the messages and statements people attempt to push across.
FURTHER DEVELOPMENT: To take this set further, i could attempt to capture the artists at work. Both illegal and legal graffiti artists i feel would be interesting to capture both doing their work and outside of their working environments.
Set 4 - Vanishing Points
AIM: The aim of this set was to photograph vanishing points with a symmetry on both sides, as a combination of distance and similarity.
PROCESS: For this set i travelled to the river Themes south and north bank and photographed vanishing points along the river.
CRITIQUE: I feel this set could've gone better as i could've taken more photographs, however i feel the technique i used in order to take these photographs was very good and i produced some good prints out of them. I particularly like the last, alley way shot as i feel it shares a similarity to the work of photographer Michael Wolf with an element of mystery amongst the combination of urban scenery.
FURTHER DEVELOPMENT: To take this set further i would like to continue in this respect and capture the combinations of urban scenery and life as Michael Wolf does.
PROCESS: For this set i travelled to the river Themes south and north bank and photographed vanishing points along the river.
CRITIQUE: I feel this set could've gone better as i could've taken more photographs, however i feel the technique i used in order to take these photographs was very good and i produced some good prints out of them. I particularly like the last, alley way shot as i feel it shares a similarity to the work of photographer Michael Wolf with an element of mystery amongst the combination of urban scenery.
FURTHER DEVELOPMENT: To take this set further i would like to continue in this respect and capture the combinations of urban scenery and life as Michael Wolf does.
Set 5 - Stop Frame Animation
AIM: The aim of this set was to create a stop frame animation and combining the photographs I took in order to create a video
PROCESS: For this set i took photographs whilst slowly and repeatedly changing the position of the mannequin. I experimented with music over the top and decided to move the mannequin in order for him to dance with the music.
CRITIQUE: I would say this set was successful as I was able to create an interesting and entertaining stop frame. I was able to keep the camera in the same place the entire time using a stand which helped as it made the end product more effective.
FURTHER DEVELOPMENT: To take this set further I would extend this particular stop frame to see what happens after the dramatic end scene where the mannequin is taken away and out of his dance by a mysterious hand.
PROCESS: For this set i took photographs whilst slowly and repeatedly changing the position of the mannequin. I experimented with music over the top and decided to move the mannequin in order for him to dance with the music.
CRITIQUE: I would say this set was successful as I was able to create an interesting and entertaining stop frame. I was able to keep the camera in the same place the entire time using a stand which helped as it made the end product more effective.
FURTHER DEVELOPMENT: To take this set further I would extend this particular stop frame to see what happens after the dramatic end scene where the mannequin is taken away and out of his dance by a mysterious hand.
Set 6 - Public Speakers
AIM: The aim of this set was to photograph people that were allied to their beliefs so much that they would preach them in public.
PROCESS: For this set I went to Speakers Corner in hyde park where unfortunately only a small number of people were speaking. I wanted to capture their emotions as the men spoke and their reactions to the crowd of hecklers refusing to believe as strongly as they do. CRITIQUE: I feel I was able to capture the emotions and the passion from the speakers that I photographed, however I would have liked to have photographed more speakers. I also feel I could improve this set by photographing the emotional reactions to other people in public places. FURTHER DEVELOPMENT: To take this set further I would be interested in photographing the emotions and reactions to other members of the public. Possibly football fans who will happily show their emotions from within a mass, but who would not stand up on their own and preach. |
Set 7- Football Fans
Set 7B - Football Fan Videos
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AIM: The aim of this set was to capture the fans outside of the crowd, almost as a test of their alliance to their football team to see whether it is just crowd mentality or they were truly passionate about their individual clubs. The alliance made by football fans to their clubs is one of global scale, hence why this subject interested me so much. Football has almost become a combination of both players and fans to make a song.
PROCESS: I asked fans of different clubs to stand on their own and sing their favourite song that they like to sing within the crowd at a game in order to take away the element of being within a large group I videoed the fans on location and so in public places and not in a studio in order to see if they would still sing the songs in public but on their own, almost as a test of both passion and character. CRITIQUE: I feel this set was successful as i was able to capture the fans in a unique light, singing the football songs and displaying their passion or their embarrassment on their own. I admired the bravery of all the fans singing the songs by themselves and that they weren't afraid to show their emotions on camera. FURTHER DEVELOPMENT: To take this set further i would like to capture individual fans before or after a game going into the stadium or coming out of it, capturing their anticipation, joy or disappointment. |
Set 7c - Football fan collage
AIM: The aim of this set is to photograph one particular fan and his alliance to his football club and make him into the crowd. Almost to take away the individuality within a football crowd and to capture the team and the fans as one.
PROCESS: For this set I photographed one fan many times and, using photoshop, created a collage effect using the images to create a crowd of the same football fan. I layered these images over each other to create the idea of a crowd and layered them over an image of a football stadium in order to give the impression of being within a stand.
CRITIQUE: I feel this set was successful as I was able to effectively create a crowd of the same fan. I repeated this with another similar collage of a crowd of the same fan and i feel both of these final images worked effectively.
FURTHER DEVELOPMENT: I am going to use these images for my final piece and would frame them by making a football stadium and having the opposing fans flanking a football pitch. I am also considering having a video in between the fans of a goal keeper acting as a goal keeper would during a match, to emphasise the context of these photographs and to depict the comical side of a football match.
PROCESS: For this set I photographed one fan many times and, using photoshop, created a collage effect using the images to create a crowd of the same football fan. I layered these images over each other to create the idea of a crowd and layered them over an image of a football stadium in order to give the impression of being within a stand.
CRITIQUE: I feel this set was successful as I was able to effectively create a crowd of the same fan. I repeated this with another similar collage of a crowd of the same fan and i feel both of these final images worked effectively.
FURTHER DEVELOPMENT: I am going to use these images for my final piece and would frame them by making a football stadium and having the opposing fans flanking a football pitch. I am also considering having a video in between the fans of a goal keeper acting as a goal keeper would during a match, to emphasise the context of these photographs and to depict the comical side of a football match.
Set 7d - Football Video
AIM: The aim of this set was to video a goal keeper as you would see one behaving in an actual match. It gives an entertaining insight into what it looks like if you focus solely on the goal keeper during a football match.
PROCESS: For this set I experimented with angles and found a shot i found interesting where the focus was in front of the goal. I videoed the goal keeper for just under two minutes and will display it on a constant loop when it is included within my final piece.
CRITIQUE: I feel this set was successful and interesting as it captures the plainness and simplicity of a goal keeper when not near the play of the game. The sound of birds in the back ground i would decide to keep as it further takes away the loudness and context of a busy football match.
PROCESS: For this set I experimented with angles and found a shot i found interesting where the focus was in front of the goal. I videoed the goal keeper for just under two minutes and will display it on a constant loop when it is included within my final piece.
CRITIQUE: I feel this set was successful and interesting as it captures the plainness and simplicity of a goal keeper when not near the play of the game. The sound of birds in the back ground i would decide to keep as it further takes away the loudness and context of a busy football match.