Blog Prompts, Week 2

#5“I just think it's important to be direct and honest with people about why you're photographing them and what you're doing. After all, you are taking some of their soul.” ~Mary Ellen Mark


With the permission of the subject a photograph is displayed, open for judgment, interpretation, praise, or questioning; also available for not always flattering alterations. For these reasons I agree that it is a somewhat soul-surrendering action to be photographed. The content may be purposeful and important in the present, but who is to say how it will be used or interpreted in the future? The subject can never reverse the decision, especially in today's world.

#6 In your opinion, when is it beneficial, ethical, or appropriate to digitally alter photographic portraits? When do you think it is inappropriate or ethically wrong?

One circumstance in which I support the alteration of digital portraits would be when the changes are made for a strictly artistic purpose without a social agenda. I believe the problems begin with photographs used for advertising, in particular. Images being used to sell should not be significantly altered.

#7 Pay close attention to the types and number of photographic portraits you see in one day. Where did you see them? How do you think that the content of the portrait changes based on the context in which you see the image (news, facebook, magazine, advertisement, television, youtube, etc)? In other words, what is the difference between the portraits you see on facebook vs. those on the news? What is the difference between the “viewpoint” of the photographer in each situation? What is the difference between their “intents”?

Aside from the obvious difference in quality, likely due to the difference in the types of camera’s being used, and the lack of attention to framing and lighting, the biggest distinction between images on social media sights and those seen in advertising and television is the content. Photographers who gather images for work related purposes seek out subjects who provide supportive and effective material for stories or specific documents. Photographers posting images to social media sites don’t often have an agenda, but are more often taking candid photographs of spontaneous moments or interactions. Therefore the intent of a working photographer is generally driven by need and/or a service to the public at large, and the intent of a social photographer is generally to capture unforeseen moments of togetherness or humor with the intent of sharing only with other friends and family.

Please respond to the following three quotes.

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

Photographers ultimately have control over every detail of a shoot and how their photographs are eventually portrayed. Especially when looking over a photographer’s complete collection of photographs, I believe it’s true that we learn more about them than their subjects. When we look at photographs as viewers, we don’t always ask ourselves about the subjects, we ask about why, where, and how the photograph was taken. These questions are asked of the photographer, not the subject.

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


Photographs, like most forms of fine art, should be thought of as complete compositions. There is a process that must be gone through in order to achieve correct balance, lighting, framing, and content. Therefore, a composition is created, much a like a painting. The final image involves much more than simply pushing a button at the right moment. 


#10 “All photographs are there to remind us of what we forget. In this - as in other ways - they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it.” ~John Berger


Especially in regards to modern photography, I tend to disagree with this quote. With such a wide range of uses it would be a huge stretch, in my opinion, to say that all photographic images are there to remind us of what we forget. From advertising to fashion photography, these images are often used to spark imagination, or even to present things that don’t actually exist. While many photographs, especially those taken by amateur photographers, have nostalgic undertones, I would venture to guess that a majority of photos taken in today’s world have a very different purpose. Additionally, it is a great stretch to say that paintings always record something the painter remembers. Sometimes painting is done simply for design for instance. It can be geometric in nature, and many paintings have no social content or human subjects. Spontaneous decisions by painters can also be made, just as they are by photographers. I do agree that photographs can have multiple meanings depending on the viewer, however I believe this is also true of most paintings.  

Aenne Biermann

original image

Born in 1898, Aenne Biermann was born Anna Sibilla Sternfeld in the Rhine Province of Germany. After her marriage and the birth of her two children Biermann began to engross herself in the New Objectivity art movement of the 1920's. This was a highly transitional time for the German state and for the art world. New Objectivity rejected expressionistic principles and favored work with simple form and social content. The movement ended with the fall of the Weimar Republic and the rise of Hitler. Her work was displayed at every major photography exhibition in Germany in the 1920's.
Biermann's work featured tight frames, highly structured material and subjects, and an emphasis on tactile surfaces. She experimented with metaphorical imagery, everyday objects, minerals, and plants.

my recreation

The biggest challenge in developing my recreation was imitating the framing and positioning of the hands. This self-portrait was taken using indoor lighting from above. Although the original looks to have been taken outside on a textured surface, the surface that I used was also very tactile. Due to the differences however, the edges of the shadows in the original are sharper.

Misty Keasler

I am fascinated by spaces and architecture. Misty Keasler's work is a unique combination of ornate design and complex issues of humanity. Keasler began taking photographs at the age of seven with a simple Polaroid camera. She studied photography at Columbia College in Chicago, Illinois and has been a contributer to Newsweek, Texas Monthly, Harper’s, Art in America, Dallas Morning News, and the Photo District News. Her work includes a book recently published entitled Love Hotels, and won critical acclaim for collections such as the Guatemala City Dump and her Orphanage Series.
In particular, Keasler's photographs feature vibrant, saturated color, and amazing light and detail.

In addition to her stunning use of color, Keasler's knack for capturing emotion in a lighthearted and inviting way is evident in her multidimensional work.

Assignment 1

Framing

    This photograph was taken indoors. I played with the framing and focus

to enhance the playfulness that was a prompt for my subject. The edges of 

photograph are slightly out of focus, while the center is crisp. The subject 

is glancing out of the composition which hopefully causes the viewer to 

wonder what lies outside its edges.

Framing

      This composition was also taken indoors. The subject in the foreground

   is largely out of focus, while the background is crisp and clear. I again used

   a prompt of playful to describe this situation. The lighting creates interesting

  shadows which draw our eyes to the Baileys bottle. I intended for the space in\
  between the figure and the table in the background to add depth to the
  composition.

   

Zoom

      In this composition I aimed to create an intriguing design out of a 

seemingly simple object. Using scale and perspective, I zoomed in on the

details in the setting, from the holes in the table, to the shadows, cracks, and

texture on the ground. I increased the contrast in the photograph to highlight

these details.

Indoor Lighting

Recreation Assignment 1

JACQUES HENRI LARTIGUE

Born in the city of Courbevoie, just outside of Paris, in 1894, Jacques Henri Lartigue discovered his love for photography and art at the tender age of seven. Under the careful tutelage of his father, an amateur photographer himself, Lartigue became a dedicated student of the craft. Later on trained at the Academie Julian as a painter, Lartigue's career took many twists and turns. He began simply photographing his home and family life, mimicking the work of his father.


As Lartigue's experience grew, his work began to involve more complicated moving subjects, such as aero planes and athletic events. He was employed with various sporting magazines early in his career. The later stages of his career were geared towards fashion and glamour. He was known as a man of the world, and often took his photographs while traveling. He worked for numerous fashion magazines.

Lartigue's work went largely unrecognized in France. He began to receive attention in the United States in the 1950s during the art photography movement. Being an "amateur" so to speak helped his reputation for creating intuitively creative pieces that were relatable and socially relevant. He was often compared to photographers such as Henri Cartier-Bresson and Garry Winogrand who were known as "hand-held practitioners."

Lartigue's work often featured dramatic lighting and posing. They were full of life and energy, mimicking the free-spirited nature of his subjects. He met his main muse in 1930, Renee Perle. A Romanian beauty, the two often traveled together. He was entranced by her slender silhouette and glamorous hair and make-up. The lighting in this particular photograph i highly dramatic, and the framing, although it doesn't reveal much about her figure, somehow evokes the fashion and glamour that he loved about her. 

original image

my recreation

In my recreation of Lartigue's image, I focused on imitating his lighting and cropping. The model is his photo has a very contemplative feel, emphasized by his use of sepia tones. Although I chose to display my image in black and white, I believe I retained the aged and serious tone of the original.

Blog Prompts, Week 1

#1: Imagine a world without photographs. Describe what this world would be like.

            Simple is the first word that comes to mind when I imagine this scenario. I envision a time without mass advertising, propaganda, tabloids, and magazines; a time when we relied on word of mouth, on letters, on face to face interaction and relationships. In some ways, perhaps, this setting sounds favorable when compared to the complicated and fast paced world we live in today. However, as I sit surrounded by photographs of my friends and family that live hundreds and some thousands of miles away, I am reminded of other reasons why capturing a moment between people, or a moment in time is so essential to our world. Not only does this medium bring those we love into our homes, it introduces us to those we may never have had the opportunity to meet, it exposes problems in places we may never see, and tells stories of heartbreak, triumph, love, and loss that we may never otherwise experience.

#2: What does the word "photograph" mean to you?

            Whenever I think of the word “photograph” I always think of the phrase, “a moment in time.” Whatever the subject, a photograph captures it in a certain state, vulnerable to our interpretations.

#3 “Photography deals exquisitely with appearances, but nothing is what it appears to be.”~Duane Michals. Write a brief reaction to this quote. Is this quote applicable to your experience with photography? What does it mean to you? Do you agree with the idea presented or disagree?

            I think this quote speaks about the creativity and artistic instincts of photographers in general. I also think it refers to the ways this medium is used and manipulated to support the idea and purpose of the artist. With today’s technology, anything can be done realistically to alter an original image. How can we know if what we’re seeing actually exists in the state in which it is presented? One particular example that comes to mind is the airbrushing and altering of models in fashion shoots. We often hear of artists changing the size of the models to promote a particular brand and image. Even in my very limited experience with photography, it is amazing to see all that can be done to a photograph. The concept certainly makes me think twice, as a photographer and as a viewer, when analyzing the work of other artists in this field.

#4 “If I could tell the story in words, I wouldn't need to lug around a camera.” ~Lewis Hine.

Write a brief reaction to this quote. Is this quote applicable to your experience with photography? What does it mean to you? Do you agree with the idea presented or disagree? Describe situations when photographic images reveal “the story” (as compared to words). Describe situations when words reveal “the story” (as compared to images).

                I believe that humans, in general, are more often affected by the things we see as opposed to what we hear. It is much easier for us to walk away from a pile of pamphlets about the hunger crisis in Africa than it would be for us to walk away from a child suffering from starvation. The camera closes the gap in stories such as these. Photographs give us the ability to put a face, so to speak, on issues that may fall flat in a lengthy essay. Additionally, photographs have a relatable quality. Their subjects are things we can touch, things we can see, and things we can prove to ourselves are real.  To me it is an example of the importance of this artistic medium. The challenge to photographers is capturing that quality which gets the point across. How are trying to make the viewer feel? Who are targeting with the photo? Of course not every situation calls for this type of emotion or storytelling. In advertising and design, words can often have a more powerful and poignant impact. One glance at a bold, red, word can capture our attention more quickly than a metaphoric photograph.