Monday, December 3, 2018

Final Book Format

Final Book Format. 

To go along with the theme of reflections, I wanted to incorporate the main aspect that is used in most of my photos: windows.

For my final book, I will print out better prints again from a kiosk, and to bind them I will paste them in an organized fashion so that each photo will be laid against a window panel.

To visualize what I am trying to achieve, I will present the photos in a “window frame”, as shown below, where each photo is shown inside the panel frame. To actually create the window frame, I will use a window pane picture frame (can get on Amazon Prime). 












If I cannot find one that fits what I am looking for, I will make a window frame out of a single photo frame and clips, most likely the ones that have lights to go along with the light theme. 






























Monday, November 26, 2018

Final Book Theme

Final Book Theme.


For my final project, I have decided to go along with the theme of photographing reflections with light, more specifically, a face in reflection in a window and using lighting from signs to capture different emotions and compositional outcomes. The reason I chose to go this route was because from Week 7, my compositionally stronger photos consisted of using reflections and different colored lighting to my advantage. I think my eye is drawn toward the use of light as a subject element, and reflections are fun for me to photograph. My idea to present the final project is to create a “window” using a clear glass/plastic box and spatially place them in the box to resemble “reflections”, where the similar ones are facing opposite each other. I hope to include small, different colored Christmas lights in the box to not only illuminate the photos, but to go along with the theme. It’s a very simple idea, but I think it represents the photos. 

This idea stems from these photos: 











Monday, November 5, 2018

Final Project Ideas

Final Project Ideas. 

For my final photo book, I have decided to focus on the "editorial" look, working on directing and setting up shots.

To go more in depth with a theme, I have decided to revolve around portraits and still lives that introduce playful color, focusing on youth and the freedoms of being a young adult living in NYC.
This can include expressing one's self by the way they dress, or their overall expressions in a "candid" moment. I think the photos that I am drawn to are the ones that express confidence, empowerment, and happiness.

To do this, my idea for a tangible presentation is to create a "magazine" with photos of the "editorial" type shots of still life and portraits that as I choose. I might end up adding text to the photos or even painting over them, but I am not certain if it would add or take away from the end result. I would add text of quotes of the model and how they were feeling in that moment when I took the photo, or I would paint over certain parts of the photo to draw emphasis to the individual.


Image result for redline magazine the H collective

Image result for redline magazine the h collective

Hub1.jpg
inspiration images of final product 


Another idea is to do a simple photo book, as I think that going along the lines of editorial style photos would convey the "picturesque" look in a better way than anything else. I would either get one made by ordering online, or make my own (DIY). As I continue to shoot, I am going to focus more on working with directing shots rather than taking photos in a certain moment. Below are the photos I took already that I am basing my theme off of:























Monday, October 29, 2018

Photographer: Jimmy Marble

Photographer for Oral Presentation

For the presentation on a photographer, I have chosen:

Jimmy Marble, an American visual artist, film director, and photographer.


Monday, October 22, 2018

Lighting

Lighting.


Part A.
"Hard"
Aperture: f/1.4 ISO: 800 SS:1/250


"Soft"
Aperture: f/1.4 ISO: 3200 SS: 1/80



Part B. 


Front
Aperture: f/1.4 ISO: 1600 SS: 1/400

Side
Aperture: f/1.4 ISO: 1600 SS: 1/160


Behind:
Aperture: f/1.4 ISO: 1600 SS: 1/160


Above
Aperture: f/1.4 ISO: 1600 SS: 1/125



Below
Aperture: f/1.4 ISO: 1600 SS: 1/160
























Monday, October 15, 2018

Composition

Composition. 

Line
Aperture:
f/5.6 ISO: 3200 SS: 1/320


Shape
Aperture: f/5.6 ISO: 1600 SS: 1/400


Repetition
Aperture:
f/1.4 ISO: 400 SS:1/5000

Contrast
Aperture:
f/4.5 ISO: 3200 SS:1/6000


Texture
Aperture:
f/4.5 ISO: 400 SS: 1/640


Rule of Thirds
Aperture:
4.0 ISO: 800 SS: 1/400


Complementary Color
Aperture:
f/4.0 ISO: 6400 SS: 1/340

Analogous Color
Aperture:
f/5.6 ISO: 6400 SS: 1/320











Exhibition Review

Exhibition Review

Photography Exhibition Review: Ryan McGinley’s “Mirror, Mirror”. 

Team Gallery at 83 Grand Street, New York, NY. 

            In review of the recent photography exhibition at Team Gallery, photographer Ryan McGinley presents his work, “Mirror, Mirror”, in an attempt to showcase a project involving mirrors, and the self. His subjects include people, ranging in ages 19 to 87, each who portrayed a wide range of skin tones and shapes. According to the press release, the subjects were given a set of mirrors, rolls of 35 mm film, a point and shoot camera, and a set of instructions to take the self-portraits. Ryan McGinley himself did not shoot the photos, but he chose which images to include as a representation of a greater underlying meaning for a more instructional project. 

The gallery venue was located in downtown East Village, in a small studio space called Team Gallery. He presented around 20 different photographs, self-portraits to be exact, and each taken with a 35mm film camera. These were presented on canvas, of 27 x 40 inches. In an a very minimalist fashion, the focus of the exhibit was strictly the images. The photographs were presented in rows and columns on three of the four surrounding walls in the studio. No descriptions, no titles– just the images. There did not seem to be any distinguishable reason for the placement/grouping of each photograph (per wall), though the featured photos were located on the back wall of the room. 

As a group, the subject matter of the photographs consisted of individuals, one or more mirrors, and the film camera, though the background of each photo was different. The content what was shown in the mirror was determined by the individual themselves. Much like the subject matter, the form of each photograph depended entirely on the individual. Some used only one mirror, others used multiples. Other photos had more than one person in them. The interiors of the project also stood out to me and distinguished one from another. The photos were very intimate, personal, and almost invasive (in the best way possible). It was like looking into that person’s life– their apartment, their meaningful possessions, etc. 

Though taken by different people, the overall style of the photographs was much the same. This could be a direct result of Ryan McGinley choosing the photos himself. Due to the restriction in composition of the photograph, the individuality of each person shined through, but kept most of the “content” the same– the person in their bedroom with a mirror, naked. The internal context of each photo was very intimate. In order to fully understand the meaning of this project, I had to look at the press release, as well as the website for the exhibit. The overall goal of this project was to promote body positivity, as mirrors sometimes do not. It also implied how image culture influences how we see ourselves and the world. The instructional aspect of the prompts also allowed creative playfulness and interpretation. 

A particular image from the show did, in fact, stand out to me. The image was entitled “Carlotta, 2018”. It was of model Carlotta Kohl, who, like the rest was sat in her apartment. However, her choice in the use of the mirror was unlike the rest of them. Instead of showing her reflection, she positioned the mirror away from her, using another mirror to capture her body on the bed. The reflection did not show her, but the remainder of her bedroom, like an open vessel. It covered her stomach, and her body was “halved”, or separated. It was different, not seeing a reflection of a person in the mirror. I did not necessarily feel a personal connection with the image, just noticed that it was quite different than the rest.

In response to the exhibition, my overall feelings towards the photographer, Ryan McGinley, is positive. I had been following his work for the past two years, though I had never been to one of his shows nor have I read external information on him or his work before. This assignment allowed me to critically analyze the work of a photographer in a real gallery setting. I like the aspect of using mirrors in photographs, because for me, it allows the viewer to almost see a greater depth than what is actually present.  

References

http://famedriver.com, Fame Driver. “Mirror, Mirror.” Ryan McGinley : Mirror, Mirror, Team 
(Gallery Inc.), 2018, www.teamgal.com/exhibitions/391/mirror_mirror.

Monday, October 1, 2018

Barrett: Interpreting Photographs

Barrett: Interpreting Photographs. 

10/1/18. Chapter 3 of Terry Barrett's Criticizing Photographs.

1. The author’s thesis is that a critical interpretation comes from understanding the intent of the artwork. This comes from how the work affects the point of view of the critic, emotionally and intellectually. Interpretations can change. 

2. He uses examples from Jeff Wall and Susan Sontag’s review to introduce the concept of interpretation. He also quotes Goodman, Witkin, and Gombrich on his point that “there is no innocent eye”. 

3. Barrett defines interpretation as something we can make sense of, or something that we can convey about something else. It can sometimes be a mixture of descriptions and evaluations. Interpretation should be based on all of the components that support the “conclusion” or meaning. Correspondence and coherence should be considered when interpreting, but feelings and intellectual endeavor should not only be included, as personal significance and the actual meaning of the photograph are different. Interpretations can correspond to the photograph, but it is the ideas that cohere.

4. Interpretation is important in criticism of photographs because it allows us to “ask and answer” questions, to “act as a critic”, and consider the meaning behind a photograph. He reiterates that it might not truly mean what it seems to be at just the surface level. Barrett’s view is that all aspects of a photograph should be considered when interpreting, which includes objects of interpretation. This he suggests could include a single photo or a set of photos, as well as the historical context behind them. Photographs are meant to be communicative, and there is no such thing as an “innocent” eye; regarding the viewer and the camera. 

5. Various interpretations could include comparative, archetypal, feminist, psychoanalytic, formalist, semiotic, Marxist, stylistic influences and context, biographical, intentionalist, and technique. One that stood out to me was the Marxist technique solely for the reason that it introduces the concept that photographs are societal constructs. 

6. In the section, “’Right’ Interpretations”, the author is trying to make the point that interpretation is different for everyone and does not have to align with others, but there is a degree of “correctness” that can occur due to a critic having a better understanding of the photograph. Interpretations are opinions, though the validity of the claims can be more plausible. 

7. In the section, “Interpretations and the Artist’s Intent”, the point the author makes is that intentional fallacy occurs too often and addresses the problems that ensue. Barrett sees intention as a valid approach to interpretation, but also points out that the artist themselves might not be truly aware of their own intentions. He also emphasizes that the authors intent should not rule out, or exclude other intentions, and sees the critic’s view as more important than the photographer. 

8. Two other key points that I learned were that photographs can be “placed in the context of social reality– to interpret them as manifestations of larger societal developments and social history, as well as photography and art history”. This is a very different concept for me to consider, because photography (in my perspective) has always been considered as an art form, and not so much as a technical, societal construct. Upon further evaluation, it makes a lot of sense to consider photographs as so, due to the rising media-influenced society that we currently live in. Another point he made is that discussing art shouldn’t be just: “it’s all subjective anyway”, because it does not allow for reasonability. 

9. The author’s conclusion is that criticism should not be over-intellectualized, and interpretation is a major component in criticism. This stems from multiple different perspectives, and not there is not only one way to interpret artwork. Interpretations can change based on the amount of research is put into analysis, and we should be open to all interpretations. 

Depth of Field

Depth of Field.

10/1/18. Upper East Side, NY. 

Focal length: 85mm Aperture: f/1.4 ISO: 400 SS: 1/2500
Mango
Shallow D.O.F.

Focal length: 85mm Aperture: f/22 ISO: 3200 SS: 1/80
Mango
Greater D.O.F.


Monday, September 24, 2018

Barrett: Describing Photographs

Describing Photographs. 

9/23/18. Chapter 2 of Terry Barrett's Criticizing Photographs.

1. The author's thesis is that critics analyze photos using the many different ways to describe photographs. He explains their impacts on how the meanings of the art are conveyed, and how the audience perceives description. 

2.  He uses examples of many different photographers’ work from Avedon’s American West series and how they present their artwork in a very technical manner. 

3. a) Description: Information that can be used to identify a photograph’s knowns and unknowns 
           based on observation and factual evidence. Description can be internal or external. 
b) Subject and subject matter: subject is the overall main focus, and subject matter is the physical properties that make up the main focus of the photograph.
c) Form: helps to identify how the subject matter is presented in a photograph by looking at the composition and arrangement. Factors including light, texture, color, as well as position makes up form. 
d) Medium: the material that the photograph or art is made up of. In photography, it usually consists of paper and frame, or the type of device used. This affects the formal elements used. 
e) Style: a reoccurring artistic choice that is recognizable in terms of subject matter and form.

4. a) Comparing and contrasting: means to put it in perspective to other artists’ works to 
        relate the meaning of the art to each other by analysis. This can include finding similarities and differences. Barrett's view is that the critic has to understand both of these in order to analyze. 
    b) Internal and external sources of information: the details that are provided in the 
photograph and also from the artist’s previous work, or about the artist themselves. Barrett’s view is that only critics disagree with how much internal and external info is used for analysis. 

5. a) Description and interpretation: are intertwined, and are hard to separate. The individual 
        details/components have to be interpreted, or thought of, as a whole action. Barrett's view is that one has to interpret in order to describe. 
   b)  Description and evaluation: description can have a positive or negative connotation and  
        impact on the evaluation of the art. Basically Barrett’s view is that description is criticism and evaluation. 

6. I learned that there are many components that go into describing a photograph. In a very technical sense, Barrett broke down the different terms that contribute to describing photographs. Barrett's underlying message was that we as an audience/critic have to be able to research, and compare and contrast in order to fully analyze art. Another point that Barrett made near the end of the chapter is that photographs are constructs from people, and not part of nature. This was a very interesting point to me, and I have found his view to be true (in my opinion), in that writing is a form of criticism, and it is very hard to separate interpretation from description. I thought this material was very helpful for the viewers of a photograph in order to fully appreciate and review it for what it is, and form better (more educated) opinions on artwork. 





Shutter Speed & Motion

Shutter Speed & Motion.

9/22/18. Washington Square Park, East Village, NY. 


Aperture: f/22 ISO: 1600 SS: 1/250 (meter at 0)
Fast Shutter 
Aperture: f/22 ISO: 100 SS: 1/10 (meter at 0)
Slow Shutter

Sunday, September 16, 2018

Inspiration Images

Inspiration Images 

These are images that inspire me/resonate with me creatively. 

Title: TKMAXX SA JM-5 Photographer: Jimmy Marble Platform: Instagram @jimmymarble

Jimmy Marble is one of my biggest inspirations. He plays around with color theory and I think his creative direction is so clever and brilliant. This is one of my favorite photos that he has done. It is an editorial, which is my favorite style to shoot. 
Photographer: Tyler Mitchell Platform: Instagram @tylersphotos

Tyler Mitchell is an up and coming editorial photographer. He includes a lot of models of color in his work, which I respect very highly. I love the obscurity of the body positions in this photo. This could have been a candid, or it could have been posed. I like not knowing. 

Bracketing

Bracketing. 

Street view outside my apartment. East Village, New York, NY. 


Focal length: 80mm Aperture: f/5.6 ISO: 1600 SS: 1/4000 (meter at -1)
Focal length: 80mm Aperture: f/5.6 ISO: 1600 SS: 1/2000 (meter at 0)
  
Focal length: 80mm Aperture: f/5.6 ISO: 1600 SS: 1/1000 (meter at +1)

What is Bracketing

Bracketing is a photography technique in which the photographer shoots the same subject, but uses different camera settings to achieve various exposures. In this example, I shot three different photos of the street outside of my apartment using the same focal length, aperture, and ISO, but changed the shutter speed from the original photo to one stop brighter and one stop darker. These are my results.