I went and did my first experimental shoot, and this is the contact sheet.
Tuesday, April 24, 2012
DSDN 144 Project 2: Precedents
For this project, Time, I really wanted to find some precedents that manipulate our perception of time. I want to see how it is they can portray such ordinary things in such extraordinary ways.
My first precedent is Alexey Titarenko, a photographer who in his series "Time Standing Still" explores the hopes and dreams of the Russian people destroyed, and where time literally seems to have stopped for these people. The bleak black and white imagery portrays the people in a depressed state. His ability though to pause time for some things in his shots, but then for other things in the same shot, time continues. He really shows the flow of the people and life around singular things that don't move and for which time has truly stopped.
My first precedent is Alexey Titarenko, a photographer who in his series "Time Standing Still" explores the hopes and dreams of the Russian people destroyed, and where time literally seems to have stopped for these people. The bleak black and white imagery portrays the people in a depressed state. His ability though to pause time for some things in his shots, but then for other things in the same shot, time continues. He really shows the flow of the people and life around singular things that don't move and for which time has truly stopped.
Taken in St. Petersburg, copyright Alexey Titarenko
Taken in St. Petersburg, copyright Alexey Titarenko
The way the people in the shot move but the buildings standing still has such an ethereal feel to it, despite it being common to see that in longer exposure shots. The black and white lends everything a timeless feel, as well as simplifying the overall information that we recieve from the image. This helps convey the sense of time much more efficiently.
My second precedent is Michael Weseley, a German photographer who does extreme long exposures to show extreme amounts of change. His shots generally extend over periods of time longer than 3 months. He chooses his locations based on knowledge of change that is about to occur. In a way, this shows extensive foresight and necessary planning, as well as time, which I simply don't have. However, his images are still very inspiring.
These photos just speak so deeply about the connection of time and space. The time it has taken to make the space what it is, the time it has taken to see the change, the time it has taken to form the photo. It all appears in these images. It's completely fascinating looking at his images, because regardless of the fact that each photo is just one photo, there is so much depth in each image. Completely awesome.
My third precedent is Chien-Chi Chang, a man whose photos usually explore the concept of isolation, alienation, but then also connection. However, a few of his shots explore time through a long exposure, showing the flow of people around the city, and through that their alienation to it.
Taken in Yangon, copyright Chien-Chi Chang
Taken in Paris, copyright Chien-Chi Chang
The portrayal of people in the midst of the city, flowing around and through the city, through both space and time is just as much what I want to portray as well.
The way the people in the shot move but the buildings standing still has such an ethereal feel to it, despite it being common to see that in longer exposure shots. The black and white lends everything a timeless feel, as well as simplifying the overall information that we recieve from the image. This helps convey the sense of time much more efficiently.
My second precedent is Michael Weseley, a German photographer who does extreme long exposures to show extreme amounts of change. His shots generally extend over periods of time longer than 3 months. He chooses his locations based on knowledge of change that is about to occur. In a way, this shows extensive foresight and necessary planning, as well as time, which I simply don't have. However, his images are still very inspiring.
Taken in New York, copyright Michael Weseley
Taken in New York, copyright Michael Weseley
These photos just speak so deeply about the connection of time and space. The time it has taken to make the space what it is, the time it has taken to see the change, the time it has taken to form the photo. It all appears in these images. It's completely fascinating looking at his images, because regardless of the fact that each photo is just one photo, there is so much depth in each image. Completely awesome.
My third precedent is Chien-Chi Chang, a man whose photos usually explore the concept of isolation, alienation, but then also connection. However, a few of his shots explore time through a long exposure, showing the flow of people around the city, and through that their alienation to it.
The portrayal of people in the midst of the city, flowing around and through the city, through both space and time is just as much what I want to portray as well.
Thursday, April 19, 2012
Antiques Hunter: Gothic Revival Dining Set
Screen Capture from Trade Me (Auctioned Piece Webpage), taken 16/04/12
The very strong representation of the Gothic Revival style in this dining set caught my eye while browsing Trade Me for workable pieces for this assignment.
Mills (n.d.) states that "Heavy woods finished in a dark stain, such as rosewood, oak and walnut, are used to construct Gothic revival furniture." This dining table set done in walnut conveys the strength and durability of Gothic Revival. This marks the passing of much more finicky and delicate Rococo. The furniture created at the time was designed to last. The style was representative of religion, which, since it links to God, conveys longevity.
Image from Trade Me (Auctioned Piece Webpage), taken 16/04/12
Mills (n.d.) also states "Upholstery choices are generally heavy fabrics, such as velvet, brocade or leather." The choice of leather for seat covers is distinctly Gothic. Campbell (2006) states "... Gothic architectural features - Pointed arches, lancets, tracery, crockets, quatrefoils and trefoils, and naturalistic foliage - were applied to furniture...". These features make this piece a very specific style. The quatrefoils cut in the tops of the chairs, along with the arch designs as a stylistic support underneath the table, the foliage design in the legs of the table and the top edge lining, as well as the crocket inlay along the top edges of the chairs; all define this piece and its identity.
Image from Trade Me (Auctioned Piece Webpage), taken 16/04/12
I still have one doubt about the piece. The seller states the piece is "early 1900s", which is at least 40 years after the high point of Gothic Revival, which would mean that it isn't original Gothic Revival, however the style is still heavily imbued into the piece, and it is impossible to doubt the nature of the antique and its workability for this project.
Trade Me Link: http://www.trademe.co.nz/antiques-collectables/furniture-woodenware/furniture/19001949/auction-466962094.htm
References
Campbell, G. (2006). The Grove Encyclopedia of Decorative Arts, Volume 1. New York, USA: Oxford University Press.
Mills, A. S. (n.d.). Characteristics of Gothic Revival Furniture. Retrieved from http://www.ehow.com/facts_5730871_characteristics-gothic-revival-furniture.html
Monday, April 16, 2012
Tech Lecture 4: Change
For this Tech Lecture, we were asked to take photos that showed change. Compositionally the same, the photos were meant to show a "spot-the-difference" kind of thing.
What I wanted to capture was the change over time while working at my computer. I wanted to see what kind of things change over the course of a few hours working on projects. Surprisingly, very little actually changes physically. A few things move, but the most noticeable change overall is in the light. Showing the shift from the afternoon to after the sun has set, that shows the most interesting change.
I did manage to show change, however, the physical changes were not as dramatic as I had hoped, however the light provides an interesting alteration.
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