Monday, December 2, 2019
Monday, November 25, 2019
Final Project Idea
Final Project Proposal:
For my final project, I want to combine the arts of photography and film. I want my series to have a somewhat open-ended narrative with a linear progression of events. The series should feel as if someone combined the "most cinematic close ups" of a movie into one book. The emphasis on texture and playing with different depths of field will create a movie-like feel to the photographs. The book will feature a storyboard of different "screen grabs" that progress the series' narrative.
For my final project, I want to combine the arts of photography and film. I want my series to have a somewhat open-ended narrative with a linear progression of events. The series should feel as if someone combined the "most cinematic close ups" of a movie into one book. The emphasis on texture and playing with different depths of field will create a movie-like feel to the photographs. The book will feature a storyboard of different "screen grabs" that progress the series' narrative.
Monday, October 28, 2019
Monday, October 21, 2019
Assignment 6 - Lighting
Hard Light
SS: 1/60
F5.6
ISO 6400
Soft Light
SS: 1/60
F5.6
ISO 6400
Lit From Front
SS: 1/8
F5.6
ISO 1600
Lit From Side
SS: 1/20
F6.3
ISO 3200
Lit From Above
SS: 1/20
F5.6
ISO 3200
Lit From Behind
SS: 1/25
F6.3
ISO 3200
Lit From Below (Bonus)
SS: 1/13
F6.3
ISO 3200
Monday, October 7, 2019
Assignment 4 - Composition
Line
SS: 1/50
F4.5
ISO 100
Shape:
SS: 1/100
F8
ISO 400
Repetition:
SS: 1/25
F5.6
ISO 100
Contrast:
SS: 1/60
F11
ISO 400
Texture:
SS: 1/250
F5.6
ISO 400
Rule Of Thirds:
SS: 1/25
F4
ISO 640
Complementary:
SS: 1/100
F11
ISO 400
Analogous:
1/30
F4.5
ISO 500
EXHIBITION REVIEW:
Press Release:
https://static1.squarespace.com/static/5a96b1fc3c3a538b735eff25/t/5d64001b252f130001cb32b0/1566834716122/ME+2019_PR.pdf
Gallery: Sikkema Jenkins & Co.
Exhibition: Property Rights
Artist Displayed: Mitch Epstein
The gallery was located on the Lower West side of Manhattan. From the street, I was unsure if I had come to the right place. It did not look like a photography exhibit existed inside. However, I saw “Standing Rock Prayer Walk” and recognized it from the gallery’s website. As I entered, I observed that the photographs were very spread out on the wall. There were only two photographs in the first room. The ceilings were very high and the rooms all echoed.
The photographs were very large chromogenic prints on the wall. The prints were almost square in shape and spanned feet across. This allowed me to stare at a picture and always be able to find something new to observe. According to the press release, Epstein began this series while he traveled to the Standing Rock Indian Reservation in Sioux County, North Dakota. This was during the construction of the Dakota Access pipeline. Epstein took many photographs of the indigenous tribes in the area. Similarly, Epstein traveled to Pennsylvania to take photographs of local residents protesting an energy companies’ use of eminent domain. After this, Epstein traveled the country and photographed “the current relationship between humans and natural land as one fraught with contradictions.”
As a whole, the pictures were mostly open landscapes or houses. Many of the pictures featured the subject matter of loss or sadness. Most of the photographs were shot using a very deep depth of field. Specifically, “Ironwood Forest” shows the compositional element of repetition. Hundreds of cacti can be seen before becoming too small to pick out. I did notice, however, that Epstein lowers the shutter speed for “Veterans Respond Flag”. The flag can be seen slightly blurred. This decision made the flag feel like it was actually blowing in the wind.
The one photograph that stood out to me was the “Veterans Respond Flag”. It shows an American flag hung upside down and blowing in the wind. The flag, flagpole, and house are in focus, yet the icy mountains in the distance are slightly blurred. Additionally, the contrast between the completely white/gray background versus the bright red and blue creates a feeling of loneliness. The photograph is my favorite simply because of its meaning. An upside down American flag symbolizes distress or danger to your life or property. The Sioux tribe felt their land was in danger from the Dakota Access Pipeline. The photograph fits beautifully with the theme of this exhibition.
In addition to Epstein’s photographs, there was a sculpture in the last room of the exhibit. The sculpture was made of thin, black sheet metal and was intended to look like 2-D. It resembled the picture I linked below. When viewed from the side, two faces were able to be seen. One face looked as if they were laughing, while the other looks distraught.
Monday, September 30, 2019
Andy Bruther
Reading Assessment 2
1) Barrett believes that in order to interpret photography, a critic must narrow a photo down to its core function- whatever it was intended to make the viewer think, feel, do, or understand. Once a critic believes they have figured that out, they must ask how the artist accomplished that objective and why they chose to do so in that particular way. Forming a well-informed and strong interpretation is key in critiquing photography.
2) “Visual metaphors also have two levels of meaning: the literal and the implied. A photograph always shows us something as something. In the simple sense, a portrait of a man shows the man as a picture - that is as a flat piece of paper with clusters of tones from a light sensitive emulsion… in a more complex way, however, the portrait of Stravinsky shows him not only as a man sitting at a piano but also as a brilliant man, or a profound man, or a troubled man” (Barrett).
3) Barrett believes that once a critic has broken down a photograph beyond the surface level, they can begin to understand why a photograph was taken. Whether it be representative of the photographer’s life, culture, or beliefs, every photograph has a meaning behind it. To dismiss a photograph without attempting to understand and interpret the meaning of the photograph is to miss the point of the photograph entirely.
4) Barrett believes that in order for people to see the true meaning of a photograph, they need to ask themselves a range of questions before jumping to judgement. He especially believes that photographs that are made in “straightforward, stylistically realistic manner are in special need of interpretation”. Barrett also points out the fact that there is no such thing as a truly “innocent eye” and that personal prejudices and experiences are reflected in any photograph that is taken.
5) Diane Neumaier’s interpretation of Eleanor stood out to me because her interpretation was the farthest from how I initially interpreted the photograph. I initially interpreted the photo similarly to what Jonathan Green had in American Photography. I saw a woman being praised and glorified as the photographer captured her natural beauty (both inside and outside). However, Neumaier interpreted the photograph as being oppressive and thought it was perpetuating the photographer’s “ownership” of Eleanor. These two different interpretations probably come from the fact that Neumaier and I have different life experiences and beliefs. However, I also have not done sufficient research to come to my personal conclusion and respect her response to the photograph.
6) Barrett is making the point that many people hold the belief that all opinions are equal and no one interpretation of a photograph could possibly be “better” than another. Barrett disagrees with this and believes that a well informed and defensible interpretation is better than an interpretation lacking evidence or reason. He also writes that simply saying “that’s your opinion!” or “art is subjective!” to defend a weak interpretation is intellectually incorrect.
7) Intentionalism is the problematic belief that as long as a photographer has achieved their personal intent- the photograph is “successful”. Barrett writes that it’s not up to the photographer themselves to both capture and criticise photographs. He also believes that when an artist does provide information about their intent, it should be taken into equal consideration with any number of other interpretations, rather than be presented as fact.
8) I learned that even though people can have a variety of interpretations of the same photograph, not every interpretation should be regarded as equal. Simply because one critic’s opinion differs from another’s, it is possible that one of the interpretations can be stronger. Additionally, the artist’s intent should not be taken into more than mere consideration when coming to an interpretation of your own.
I also learned that different people can see the same photograph in extremely different ways. Simply because one critic sees a photograph as empowering, moving, or profound, another critic may see it as conceited or outright oppressive. I hadn’t thought about the vast number of ways a single photograph could be interpreted.
9) The author’s main conclusion is that interpreting photographs requires more than a shallow, quick look at a photograph. Anyone can look at a photograph and pick out what’s physically in front of them. However, interpreting the meaning behind the photograph requires a deeper dive into the true meaning of the photograph. Additionally, differing interpretations are not all created equal. However, every reasonable, grounded interpretation should be met with reasonable criticism or praise.
Reading Assessment 2
1) Barrett believes that in order to interpret photography, a critic must narrow a photo down to its core function- whatever it was intended to make the viewer think, feel, do, or understand. Once a critic believes they have figured that out, they must ask how the artist accomplished that objective and why they chose to do so in that particular way. Forming a well-informed and strong interpretation is key in critiquing photography.
2) “Visual metaphors also have two levels of meaning: the literal and the implied. A photograph always shows us something as something. In the simple sense, a portrait of a man shows the man as a picture - that is as a flat piece of paper with clusters of tones from a light sensitive emulsion… in a more complex way, however, the portrait of Stravinsky shows him not only as a man sitting at a piano but also as a brilliant man, or a profound man, or a troubled man” (Barrett).
3) Barrett believes that once a critic has broken down a photograph beyond the surface level, they can begin to understand why a photograph was taken. Whether it be representative of the photographer’s life, culture, or beliefs, every photograph has a meaning behind it. To dismiss a photograph without attempting to understand and interpret the meaning of the photograph is to miss the point of the photograph entirely.
4) Barrett believes that in order for people to see the true meaning of a photograph, they need to ask themselves a range of questions before jumping to judgement. He especially believes that photographs that are made in “straightforward, stylistically realistic manner are in special need of interpretation”. Barrett also points out the fact that there is no such thing as a truly “innocent eye” and that personal prejudices and experiences are reflected in any photograph that is taken.
5) Diane Neumaier’s interpretation of Eleanor stood out to me because her interpretation was the farthest from how I initially interpreted the photograph. I initially interpreted the photo similarly to what Jonathan Green had in American Photography. I saw a woman being praised and glorified as the photographer captured her natural beauty (both inside and outside). However, Neumaier interpreted the photograph as being oppressive and thought it was perpetuating the photographer’s “ownership” of Eleanor. These two different interpretations probably come from the fact that Neumaier and I have different life experiences and beliefs. However, I also have not done sufficient research to come to my personal conclusion and respect her response to the photograph.
6) Barrett is making the point that many people hold the belief that all opinions are equal and no one interpretation of a photograph could possibly be “better” than another. Barrett disagrees with this and believes that a well informed and defensible interpretation is better than an interpretation lacking evidence or reason. He also writes that simply saying “that’s your opinion!” or “art is subjective!” to defend a weak interpretation is intellectually incorrect.
7) Intentionalism is the problematic belief that as long as a photographer has achieved their personal intent- the photograph is “successful”. Barrett writes that it’s not up to the photographer themselves to both capture and criticise photographs. He also believes that when an artist does provide information about their intent, it should be taken into equal consideration with any number of other interpretations, rather than be presented as fact.
8) I learned that even though people can have a variety of interpretations of the same photograph, not every interpretation should be regarded as equal. Simply because one critic’s opinion differs from another’s, it is possible that one of the interpretations can be stronger. Additionally, the artist’s intent should not be taken into more than mere consideration when coming to an interpretation of your own.
I also learned that different people can see the same photograph in extremely different ways. Simply because one critic sees a photograph as empowering, moving, or profound, another critic may see it as conceited or outright oppressive. I hadn’t thought about the vast number of ways a single photograph could be interpreted.
9) The author’s main conclusion is that interpreting photographs requires more than a shallow, quick look at a photograph. Anyone can look at a photograph and pick out what’s physically in front of them. However, interpreting the meaning behind the photograph requires a deeper dive into the true meaning of the photograph. Additionally, differing interpretations are not all created equal. However, every reasonable, grounded interpretation should be met with reasonable criticism or praise.
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