Layout Planning Inspiration

I was looking at Wolfgang Tillmans exhibition as they displayed a lot of images, which relates to my work as I too plan on displaying a lot of image. I like how not all of the images are the same size, it brings the viewer closer to the images as they have to get close to see within the smaller images. The colours within the images allow each one to stand on its own even though it’s in a sea of other images. They have almost scattered images over the wall but some how it doesn’t look a mess, to them it is an organised mess. It shows me I don’t have to place all my images perfectly straight next to one another along the wall. Even though they have more space to display their work than I do I am going to take inspiration and apply it to my display by scattering my images in a way that to me is organised

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Video Art

Gillian Wearing

Gillian Wearing was born in 1963, Birmingham England. She is an English conceptual artist, one of the Young British Artists, and winner of the annual British fine arts award, the Turner Prize, in 1997. Wearing is known for her method of documentation of the everyday life through photography and video, concerning individual identity within the private and the public spaces, where Wearing blurs the line between reality and fiction.

I like how simple it is, yet so different. It shows that everyone’s view is different, in life and literally. This relates to my work as I’m showing the lives multiple people and how different each and every one of them are. When it comes to the moving image aspect it shows that you don’t have to do a lot of editing and effects to show the beauty.

 

Bronte Cordes

Brontë Cordes is an artist/photographer who graduated from Coventry University. Using a mixture of video and photography, her work explores emotions and likes to play contrast of love and sadness. Tying together ideas about memory, femininity and cultural history, her work has a dream-like quality to it that’s rooted in her interest in impressionist romanticism. Having shown as part of Insite CU at Free Range Shows in 2016, she’s continuing to create work as well as carrying on her study, specialising in curation.

Twenty-One is a video installation that explores love and sadness through imagery, archival material and self-portraiture. Using layered pieces of footage, this piece expresses an apprehension towards growing up and coming of age. Essentially, it’s an ode to childhood, nostalgia and the generation of millennials.

Her work has given me inspiration in little ways how to edit my clips. She overlaps the clips that work well together, such as a fairly still clip of some natures and then another clip with more movement, this makes sure nothings over complicated. I might take this into my work and place a clip of the location around that the images were taken in and then ass the models moving in a clip on top.

 

 

Caption Artist Research

Tracey Moffatt- Scarred for Life

Tracey Moffatt was born in Brisbane, Australian in 1960. She is an artist who uses a lot of photography and video but has previously done art. She holds a degree in visual communications from the Queensland College of Art, graduating in 1982.

‘Scarred for life’ is a very deep and dramatic series of work, but is set in very mundane ways of life that happens every day around the world. Majority of the viewers recognise some of the events within the images as they’ve been through similar things or have witnessed and not understood. The words in her captions may grab the viewers’ attention but they don’t explain the images themselves, they do add some detail not enough to tell the full story. This may be a bit strange to some people as you’d think to look at the caption to get more context of what’s in the image and get a better understanding. This does allow the viewer to think more about the image and almost come up with their own story, based on the little information from the caption with the image itself. Moffatt has said that this series may be a continuing project as ‘everyone has a tragic tale to tell’.

I really like how basic the captions are and really reflect sourly on the image. It gives us a quick view into this person’s life without revealing their whole life, leaving the viewer wanting more. It’s a way of showing the little or big struggles everyone goes through. I may experiment with using basic captions for my images maybe stating a bit about them or what is happening. I want my viewers to see that we may all feel different but we all go through the same things, good or bad.

Jeffery Wolin- Pigeon Hill Portraits: Then and Now

Wolin now is a Professor of Photography at Indiana University but was born in New York, 1951. His photographs are in the permanent collections of numerous museums including the Metropolitan Museum of Art, New York; Los Angeles County Museum of Art; San Francisco Museum of Modern Art; New York Public Library; Bibliotèque Nationale de France, Paris; Museum of Modern Art, New York and more.

Pigeon Hill Portraits: Then and Now was photographed from 1987-1991, and included the people of Bloomington’s housing, in an area on the west side of Indiana known as “Pigeon Hill”. At this time there was a lot of discussion about politics, the problems with rising crime, drug abuse and also the enduring poverty. He had spent some years working as a police photographer and the experience inspired him to go to Bloomington and photograph some of the residents of Pigeon Hill, who had not seen the best walks of light. 20 years on he wanted to find out were those people had ended up and comparing the images.

During school Wolin had come across artists like Frida Kahlo and Sister Gertrude Morgan who had written directly onto their projects. He took inspiration and applied the same technique to his images, it was a way to connect the memories to the images. He says “Speaking about our memories is a creative process that changes and morphs all the time. That isn’t to say they aren’t truthful. Sometimes your memory becomes clearer after some time as well.”

I’m mainly looking at the captions he has created and I think it’s such a unique way of incorporating text. In a way it literally puts the story in the image. It really fits with his theme as he’s telling a story/ memory and the caption really helps bring context to the image, giving the viewer a deeper look into the models lives. If I were to add text I know this is something I would experiment with, trying different lengths of text, sizes and what I what the text to actually say. I haven’t really seen any other photographers who have used a technique like this when adding captions to their images. I think the way the text fits perfectly around the subject doesn’t distract from the image itself and in fact enhances it.

Duane Michals – Sequences & Talking Pictures

Duane Michals was born in 1932, Pennsylvania. He is known all over the world for his photographic inventions, especially his series working with multiple exposures and text. In the 1960s Michals made great creative progress within his photography career, which was heavily influenced by photojournalism. His handwritten text that he has one some of his images adds another dimension to the meaning, instead of being basic and normal. The past five decades, Michals’s work has been exhibited in the United States and abroad. He received a BA from the University of Denver in 1953 and worked as a graphic designer, until fell in love with photography during the late 1950s. He currently lives and works in New York City.

Michals has played many parts in many short film doing the roles of writing, directing and acting. This past experience inspired him deeply when creating new ideas within photography, basing the images on short films and creating a movie poster, in his style. He advertises each movie/ photograph with titles, credits and lists of actors, written in Michals’ handwriting to add a personal touch. To add to the over dramatic fiction movie theme he uses techniques like multiple exposure to convey the deep, emotional complexity of what he’s showing his audience. In ‘Are You Still A Faggot’ Michals plays a grandfather struggling to understand his grandson’s sexual identity. The images capture the conflicting emotions towards one another and having the texts adds to the harsh tone to the image and reflects the character discomfort.

First looking at the images you wouldn’t be able to really tell they were movie poster, but once looking at the text you can quickly tell. This style is unique to Michals which I good as if anyone saw a piece of his work without a name they would be able to tell it was his. I really like how the text is placed, also including the title within the image and smaller text. Giving a glimpse into the movie gives the viewer more of an in site to the images itself, allow the tile to do most of the talking. As Michals writes all of the text on the images it instantly makes them more personal, even if the story within is all fiction.

I’m going to take inspiration from Michals work when experimenting with different ways of using captions, also referring to his use of titles. His work shows that even if the text is handwritten it doesn’t have to be perfect and in line.

Rafael Yaghobzadeh

JEUNESSE À FLEUR DE PEAU (ON EDGE) – FRANCE

Rafael Yaghobzadeh was born in Paris in 1991. His family were well travelled and were in journalistic circles. It was in 2002 when he found his love for photography and began covering what was happening in the news, from politics to fashion, for the ‘Sipa Press’. At this time he was still in school so he had to make sure to balance the two. As he evolved a strong interest in the economic and political issues that were surrounding him, he wanted to learn even more so began to study history in 2011. But he wanted to keep on covering the important events that carried on around him, still balancing both education and photography. Since then Yaghobzadeh has travelled to many places around the world that have been struggling under the bad economy and war, to document what life is like for these people. He has also collaborated with Associated Press, Le Monde, Paris Match, VSD, La Vie, Neon and more.

The work from Yaghobzadeh I’m looking at is called “Jeunesse à fleur de peau”, which roughly means how the youth these days are constantly on edge and something small could make them explode. It’s based around a group of 6 friends who live in eastern Paris, who have finished education and are starting their adult lives. The project has turned into a ‘personal essay’ to him, as he documented their personal lives throughout the day, documenting both moments of complicity and intimacy between friends, from 2010-2016

All of his images are in colour, as they’re all documentation of their life right now and everything they see in in colour. But a lot of his images are quite dark, either dimed by the night sky, low lighting indoors or covered by shade while outside. I think this is to show the comfort of keeping to neutral colours, having bright colours would maybe be shown if the group were of a younger age group. As they’re going into adult life they’re worried on what they’re going to make of their life and are scared to make the wrong decision. Most of his images have two or more people in them, showing the interactions that these youths have and showing how they spend their time. He makes sure to include interesting angles and viewpoints, when taking some of the images of the whole group he takes them as if he’s someone watching over them. I like this as in the shots will less people he includes some of the detail that is also around the models, making sure not to over fill the frame. In these shots he uses his aperture to make sure his models are in focus, and are the main point, while keeping the detail slightly blurred but still recognisable. Having a mixture of wide angle and cropped images is very important especially if there are many images taken over several years. He wants to keep the viewers engaged so to do that using different locations along with different viewpoints and other technical features. In some of his images he manages to capture some really interesting shapes within the objects that where around, from playground structures to the shadows from the trees. I feel like using these simple things and incorporating them into his images takes them up a level as they add extra texture and shape, when sat next to some of the more basic images it helps brings the whole project to life.

From the images you get a vibe that the models are living their life day by day, not really thinking about what’s to come, trying to make the most of their carefree youth. They’re making the most of the time they have with each other, even if they’re not doing anything exciting being in each other’s company is better than time alone. Within my project I want to capture the moments where my subjects are just enjoying having others around them, if it’s one person or five people. I want to capture their interactions, trying to document how differently they act/ look compared to when they’re going about their daily life alone. I’m not doing my project for as nearly as long as Yaghobzadeh but I still have a connection with all of my models as I’ve known them a long time. Hopefully this means my models will feel comfortable around me and my camera, acting as they would if I weren’t there documenting their lives.

Noelle Swan Gilbert

Based in Los Angeles, Gilbert is a fine art and documentary photographer who likes to also incorporate moving images alongside her still images when showing her visual stories. In 2007 her sister was murdered, leaving a grave loss in the family. She did a project ‘Life After Death: How Murder Affects A Family’ documenting the lives of the children who’d lost their mother. This project opened Los Gilbert’s eyes to how precious each moment we have is and never to take that for granted which inspired her to do a project on her own children, ‘Right Now, This Is The Way It Is’. Her work has had a lot of recognition as she was a Critical Mass finalist in 2010 and in 2011 she was nominated for the Santa Fe Prize in Photography for Right Now. Noelle is a founding member of SIX SHOOTERS, a group of six female photographers engaged in a daily photographic dialogue, as well as the copy editor and a staff photographer for Lenscratch, a daily journal that explores contemporary photography.

‘Right Now, This Is The Way It Is’, a fine art series documenting insignificant yet moving moments in a teenager’s lives. It gives us an inside to the world that her daughters and their friends live in, capturing a range of emotion. She feels these everyday moments in each of their lives to be just as important as the next, taking nothing for granted. She wants to capture the moment and all the emotions within before it’s gone as she believes ‘it’s a world where black and white dreams turn into colour and it only happens once.’ This is the only world she knows and capturing it and sharing it with others who have a completely different world is important to her, especially if it can inspire others to never take their moments for granted.

As she is documenting the modern world it’s appropriate that here images are in colour, bringing the bright youth to shine through. I really like how the colours complement each other in an image, she has made sure there were no clashing colours or colours that stood out over the rest, distracting the image. She is always making sure to change her view point, cropping and angles to make every image unique. I feel this makes the series even stronger as it makes every image interesting, having her subject in the centre of the fame in one image then incorporating the rule of thirds shows she’s really thought about every shot. I do like how some of the images are wide angle setting a whole scene through a distanced shot and other images have the framed filled with one or two items but the image is still able to set the scene just like the wide shot, just in a different way. Having all the images cropped as squares helps unify her project, where she has so many different locations and subjects having that same crop can help tell the story in a way that we can understand. She uses the day light a lot to light her images which I feel is the best when taking documentary images as you don’t want them to look staged, all her images are all taken in the moment, allowing them to be real and free. In some of the images that have one main focus she uses a low aperture so the subject will be the main focus. She also makes sure that in the wider shots she makes sure the image is all in focus, using a higher aperture. Looking at her whole series you get a playful happy feeling from it, which is what he wanted to portae.

What I love about this series is how true it is, as everyone was kid ones so can relate to the joyous moments Gilbert has captured. She makes a point to make every image different than the last by changing the angles, depth of field and framing which I love. Even though every image is different she still manages to unify the whole series but allowing all the colours with their saturations to flow together nicely that combined with the square crop and carefree teenage sprit pulls everything together well. Her images make me, as the viewer, to go out and enjoy life while I still can, appreciating every moment, which is such a powerful notion. Within my images I want to capture the life of my teenage friends in a way that will give inside to how everyone lives a different life but we can all come together and enjoy it. I want to tell my viewers, through my images, to appreciative the life that they have with the people who mean a lot to them, as well as making sure we keep some time to ourselves to reflect and rebuild.

Anne-Stine Johnsbråten – East side to West side Youth Culture in Oslo

Johnsbråten, born in 1983 on the eastern part of Oslo, is an independent documentary photographer. Her main style of work includes combining reporting stories with portrait images to explore topics like gender, identity and discrimination. She spends a long time on each of her projects to really connect with the story and the people involved, allowing her images have a real meaning. Some of these long-term projects have been exhibited in galleries and festivals in Norway and abroad, not just getting her name out there but the message within the images as well. She has covered subjects from her family to how the workers in Bangladesh are treated.

Her work of the ‘East side – West side – Youth Culture in Oslo’ is a series of hers that has inspired me. In Oslo August 1624, there was a huge fire that destroyed the city. When it came to the rebuilding of the city King Christian IV said it would be near Akershus Castle Fortress. He also decided that it would be best to split the rich and the poor into different areas on opposite sides of the city. This divide had the rich community in the West Side and the poor working class in the East Side. As the years went on the divide become more and more present. Within her work Johnsbråten tells this story through two groups of teen girls from opposite sides of the city, questioning how different the two are brought up, how people deal with the split and are the people really that different.

East Side-

West Side-

All of her images are in colour as she’s documenting the lives of teenage girls and if she were to edit the images into black and white it would take some of the story away. In some of her images there is a colour or two that does brighten up the image, allowing the life of the image be brought out. You can tell she thinks a lot about the composition of her images, as all the subjects in her images are places perfectly in the frame. There isn’t an image were she has framed her subject in the centre of the frame, incorporating the use of rule of thirds. I feel by doing this it allows us at the viewer to look at the setting/ location of the image that really sets the scene. The majority of her images have a wide angle, including the whole body of the subject, not really honing in the details. It’s like she’s a fly on the wall in the way she is using different angles, levels and viewpoints that really makes the images interesting. A lot of her images are taken using daylight; this allows the images to be lit well without crating harsh shadows or an orange glow. For the images that use artificial light you can tell she has paid close attention to the while balance and where the light is that is actually lighting the frame. I feel she uses a low aperture as this allows the shot to be lit better but creates a depth of filed but this doesn’t affect her images at she is focusing on how her subjects live their lives. The editing quite light and natural as with documentary you don’t want to take away from the focus of the models.

I love how she has really captured the contrast of the more privileged West side compared to the more second-class East siders. You can clearly tell they have been brought up in a different way, but at the end of the day they’re all teenagers who want to have fun while they still can. I really like the casual approach she took to this project, really capturing the true spirits of the subjects. Even though Johnsbråten is from the Eastside she is still objective while taking the images. I like how she’s captured a lot of fun and real emotions, shedding light on how the other side live. Once I knew the context behind the images I loved the series even more, as it was telling an on going story of two sides of the same country were divided, showing us the differences and the similarities. While taking my images I will think about Johnsbråten and how she was documenting how different people of the same age live and I want to take that thought and put my own twist on it.

Patryk Karbowski– The New Poles

Karbowski was born in Warsaw, Poland in 1989 and graduated from the Leon Schiller National Higher School in Łódź, mastering in photography. His main interest is within documentary photography, which he uses to present the real world that is surrounding him, in a social way. He feels more connected with his work emotionally when doing documentary as he’s following the subjects around for a long period of time, creating a bond or growing the one that was already there. He has been given many awards for his outstanding documentary work for example Photolucida Critical Mass, Lucie Foundation Emerging Scholarship and New York Photo Festival. He has also been exhibited at various festivals in Poland and abroad, which has allowed him to grow as a photographer reaching out to new people. He currently works as a lecturer at the Academy of Photography in Warsaw but still likes to document the parts of his life he wants the world to see.

The series ‘The New Poles’ is a body of work documenting middle class teenagers in Poland who were born and brought up following the demise of them Communist Regime. He followed around some of the youths (aged around 10-15) in Poland and took a series of environmental portraits showing the impact the Communist Regime had on them. The social aspect of his work shows when he tries to represent a certain class of the age group in a specific location.

The majority of his portrait images with models look as if they are candid, so the person seems oblivious to the camera. In my opinion, this makes a good image as it’s relaxed and there is no pressure on the subject, but it does put some pressure on the photographer as he needs to make sure the framing and settings within the camera is right before there is any movement that might ruin the shot. He makes sure not all of his images have people in, as he is documenting what he sees he takes images of the parts of his day that may be overlooked, like the shot of the computer with the objects on the desk tells the viewer a lot about that one person even without seeing their face. So including close ups with environmental detial like this can really bring the character of the model/subject to life as you see a bit more of who they are. His images are all in colour as that’s what he sees, if he were to edit them to black and white it would take away some of the personality of the image it would make them less real in a way. The colours he seems to capture have a low saturation so in most of the images there is nothing too bold that stands out in the image, distracting the viewer’s eye. You can tell he’s thought a lot about the framing, thinking about rule of thirds and/replace by or the symmetry of the image, which makes it more aesthetically pleasing. Some of his images are inside but he has used the windows of the location to his advantage allowing them to light the shot without creating harsh shadows on the models. Having the windows means he won’t get an orange tint to the images that would come from artificial light, the outside light will keep everything bright a white. When he shoots inside but with no/ little natural light he makes sure the most important parts of the images are illuminated so there is no need to completely light the room. The viewpoint for his images are taking at eyelevel so we see what he sees , there’s not really any difference with the levels/ angles but this works for the projects are he’s showing the social life through his eyes. He does change the depth of field between his images, focusing on what he feels is most important in the shot or focusing on what he in his mind is what stands out the most. His style is very unique and personal which makes it stand out as his work, which I feel, is important to do as photography.

I like that you can’t see the subjects full face in some of the images but can see other parts of the body, leaving the viewer wondering what type of person they may be. He takes such a personal approach as he uses the depth of field to focus on what he himself sees clearer than the rest of the shot, allowing us to see exactly what he sees. I really like how he has a mixture of candid images of his friends and the some images of what else he sees that tells us more about the location and person, as it allows us to get to know the people better and feel as if we are Karbowski. I want to take inspiration from his images to help develop my images for my social documentary, I’m going to think a lot about the lighting and framing of my images as well as taking some of my images from my point of view. I want to show everyone how I live my life and what I see but where he only takes the images from his viewpoint I want to include different levels, angles and interesting cropping onto small details that say a lot about the model. Having Karbowski’s work to reference to while shooting for this project will remind me what the basic ideas are within social documentary and that will help me to not go off track.