Final Project Proposal

For my final project, I would like to do a portrait series with 5 different people.  I have two different ideas for location, which would definitely change the overall message of the portrait series.  If I did the portraits in-studio, I would like to do them as a fashion series.  I have access to a photo lighting studio, which I am very familiar with and have worked in quite a bit, in Allen Hall.  If I did the photographs on location, I would probably do them at people's homes and they would be a bit more of a lifestyle portrait series.  Whichever I choose, I am interested in looking at the human body as movement shifts it into a different position.  For example, I imagine having each personal standing dead pan to the camera.  Then, I would take a second photograph of them in motion, or in a contorted position.  Either in-studio or not, I plan to work with a tripod and identical camera settings during my shoot so that I can create a seamless photograph with my subject appearing several times.  I have been taking a lighting class, so I would like to use lighting equipment in addition to natural light in each of my portraits.       

Response to "The Photograph as Contemporary Art"

            I chose to examine chapter four, “Something and Nothing,” because I was really drawn to the photographs used in the section.  The type of photography described in this chapter is along the same line of ideas as some of my own.  When I don’t photograph people, I tend to look for objects, things and moments which would normally be passed by or go unnoticed.  Yet I find these aspects beautiful and by putting them in a frame, others do as well.  It is an incredible phenomenon that we can see things so differently depending on how they are presented to us.   The photographs shown in this chapter depict many scenarios or objects that we would ordinarily pass by, ignore or even fail to notice; “objects that would barely constitute proper subjects for photographs,” (Cotton 115).  Yet postmodernist photographers threw out the rule book about what constituted proper photographic subjects.  Photography took on a new meaning; as a medium that could show absolutely anything.  While reading this chapter, I was fascinated by the idea that because an object has been photographed, the photographer has given that object significance. 

            “This strand of photography has been driven by related attempts to make art from the matter of daily life, by breaking down the boundaries between the artist’s studio, the gallery and the world,” Cotton 116.  These photographs make the audience think more about the subject and its significance or origin, than about the photographer and his or her technique or reasoning.  I really identified with Richard Wentworth’s work shown in this chapter.  “His photographs set up a visual pun; the objects are redundant from their original function, often reused or abandoned,” (Cotton 119).  By photographing these objects, the photographer gives them new meaning and characteristics. 

            Photographers from this chapter also attempt to give meaning to “fleeting phenomenon;” capturing a moment that will never be the same.  The effects of rain, snow or ice, for example, when captured photographically these moments become frozen in time.  This makes the viewer consider the significance of these moments that they might never have seen.  My favorite image from this chapter is one by Wim Wenders, specifically the Wall in Paris, Texas.  The quality of the color pallet was what originally drew me to the photograph as well as the almost dreamlike quality of the light.  I love the space that is being photographed in the image and the ways in which that space is being interrupted.  In this case, it is being intersected by the angular power lines, while also being interrupted by the peeling concrete exposing brick.  The construction of the image also provides a sort-of mirroring over the diagonal lines for the brick patch to the small window. 

            “All the photographs in this chapter, in subtle ways, attempt to shift our perceptions of our daily lives,” (Cotton 126).  As a result, I was really interested in the photograph taken by Wolfgang Tillmans of the abandoned jumpsuit.  The photograph really captured my attention because the object almost looks as though it is being worn in the photograph, due to its positioning.  It also has a haunting feel as a result of what is absent from the photograph.  Also, this chapter discussed how objects and scenarios can appear very different depending on the camera position and orientation.  The slightest changes to camera orientation can create huge differences between images and their context. 

            “To what degree does it need to be abstracted by the seemingly innocent frame in order for us to recognize this grouping of non-subjects to be a still life?” (131-2).  The entire chapter seemed to address this question.  All of the objects featured in the photographs in this chapter were being abstracted in some way by being placed inside of the photographer’s frame.  The original context is no longer apparent and our understanding of the scenario is warped.  

            I think that the work of photographer Aaron Schuman would fit into this chapter very well.  His website is http://www.aaronschuman.com/.  The first photograph I chose from his website was the one of a green house with icicles and snow.  I thought this photograph fit well into the idea of capturing “fleeting phenomenon.”  In this photograph, Schuman captured a moment that would never be the same once the snow melts.  The other thing that stands out about this photograph is the cleanliness and smoothness of the asphalt versus the roughness and dirtiness of the snow.  Normally, snow is described as looking like a blanket and ice as slick and smooth.  But in this photograph, the roles have been reversed.  The other photographs I chose from Schuman’s portfolio are depictions of things forgotten or left behind.  But these images also show objects that might be passed by or ignored by the average viewer.  By photographing them, he has given them back a sense of value to the objects as well as a feel of nostalgia.  It is only because these objects have been photographed that we now notice them as viewers and wonder about their origins.  Overall, I think Schuman’s work is beautiful and the use of color is very important in his photographs.  The colors pallets play an important role in the viewers understanding of and relation to the photograph.  For example, the color of the roller skate in the second image is so vibrant compared to the cool, dark tones of the ground.  For me, I immediately connected with that color and the idea of time passed in the photograph.  Thus, it triggered various memories for me which I’m sure are different from what would have been triggered for another viewer.  

 

The second photographer that I chose to look at was Anne Schwalbe, whose work can be found at http://www.anneschwalbe.de/.  I was very interested in the way her work focuses on the minimal and perhaps the visually unattractive.  But, through photographing those things, Schwalbe makes them fill the frame and command attention.  Schwalbe also makes those things appear beautiful and interesting.  The photograph of the hay is really visually interesting.  Regardless of the fact that it is merely showing a single thing, repeated countless times within the frame, it still captures the viewers attention.  The areas of light and dark make you wonder where the photograph was taken, what the light source is, and what surrounds what is shown in the frame.  The neutral color pallet in both this photograph and the one of the worm on cement create a particular mood to be experienced by the viewer.  However, the third photograph employs a much more varied color pallet but has a great sense of ambiguity.  The viewer is forced to look closely and consider what it is that they are being shown.

The final photographer whose work I chose to look at was Karin Bubas.  Her use of light was what attracted me to her work, especially in the three photographs I chose.  The natural light in each photograph is beautiful and gives each of the spaces a kind of luminance.  I enjoyed her focus on commonplace objects and scenes.  Once again, like the other photographers, she chose to photograph things that were not necessarily visually appealing to the naked eye.  But when placed in the photographic frame, this images project a feeling of nostalgia and longing for a comfortable memory.  Also her use of monochromatic color pallets makes the images very visually pleasing.  The color choices also speak well to the mood of each photograph.    

Assignment 4 - 4 Photos

Assignment 4 - 5 Rules

5 Rules for Photographing in Assignment 4:

1. Shoot horizontally only

2. Shoot close-up images only (no shots which identify the location)

3. Shoot at f1.8 with 50mm lens

4. Shoot while listening to music that causes emotion

5. Shoot elements of texture or pattern in every shot (must have both in final contact sheets)

 

Assignment 3 - 4 Images

Assignment 3 - Color Changes

Assignment 3 Contact Sheets

Chapter 3 Summary

This chapter first explained how to use and customize your panels in Photoshop.  Managing your panels is important so that you can use Photoshop efficiently for your editing.  The chapter then explained the function of each panel, such as the histogram, layers, or brush panel.  Various keyboard shortcuts can also help to expedite Photoshop processes.  Layers are an essential part of working with images in Photoshop, working like transparent negatives which layer upon one another.  The chapter also covered the essential aspects of working in Bridge, which provides a complete overview of image metadata.  Camera Raw also allows you to make nearly infinite adjustments to your images, especially for light, contrast, color balance, etc.  Lightroom combines much of what can be done in Bridge, Camera Raw and part of Photoshop.  I knew a lot of what was in this chapter because I am fairly familiar with both Photoshop and Bridge.  However, I have never used Lightroom so it was helpful to learn about how the modules and panels work in this software. 

Assignment 2 Contact Sheets

Assignment #1: Old Work/New Ideas

            Over this past year I have been working on my honors thesis: The Ethics of Image Manipulation in Fashion Photography.  For this project, I am conducting a series of 10 fashion photo shoots with different women.  I shoot half of each photo shoot with digital and half with 35mm film.  I then edit the digital photographs with Photoshop to make them appear like fashion ads.  The film images are printed without editing.  The goal of my process is to show where fashion photography has developed from and how it has changed over time.  I am examining how extreme manipulations made in Photoshop affect the expectations of society and how women relate to their bodies.  The image I chose to show for this assignment is one I took during this project.  It is a digital image but has not yet been edited with Photoshop.  I believe that this photograph shows who I am as a photographer because I am dedicated to showing women as they truly are.  This image brings the viewer close enough to the subject so that some sort of connection is made between them.  The subject’s connection with the camera and with me as the photographer made the photograph very memorable to me.  I think the framing of the subject within the space also contributes to the content of the photograph.  It shows a kind of absence which is also reflected in the expression on the subject’s face.  

            This photograph was taken by Jean-Baptiste Mondino.  It was part of a series of photographs of a model in couture gowns by Dior.  The images go against the audience’s understanding of reality as the model hangs from a chandelier or leans against a chair on the ceiling.  I chose to show this photograph for this assignment because of the intersection between fashion and art.  Fashion photography is not always recognized as an art form.  I disagree with this however.  I think fashion design is a form of art and photography is a form of art.  Combining the two may not always, but can, produce incredibly artistic images, like this one.  I hope to shoot fashion photography professionally one day.  Specifically I would like to photograph couture designs without adding in the practice of image manipulation.  By leaving the clothing and the people in these photographs without retouching, I hope that my images can influence more viewers and avoid discouraging those viewers away from enjoying incredible clothing.  In my opinion, a fashion photograph should show the beauty of the human form accentuated by the beauty of an incredible garment.  This photograph is a brilliant example of that idea.  The photograph cannot be entirely about the garment because style has no meaning with no one to wear it.  Conversely, the fashion photograph cannot only be about the model, because clothes have a presence in our recognition of self, style and even personality.