Work-in-Progress #4

Work-in-Progress #3

 

       For this critique I chose to explore the photographic medium known as portraiture and it's ability to capture the likeness of an individual or a particular group of peoples. As we have seen over the course of our study, modern portrait photography has made a departure from the traditional idea of the "portrait" using metaphoric representations and suggestion to convey meaning. I wanted to explore the different approaches that we have discussed; my final selection represents a variety of situations in which the individual is established as the dominant focus to those in which objects stand in for actual human forms.

       I employed an indirect approach for the image above; by obscuring the man's face his identity becomes more about the time and space in which he is located rather than who he actually is. I felt that this was a strong image and I thought that there was something quirky about the way that he is examining the half-eaten piece of corn. This image stands in contrast to the last image in this post, despite the subject remaining the same man that we had previously observed, this time his gaze is aimed directly at our eyes. This second image is reminiscent of deadpan style photography discussed in Ch. 3 of "The Photograph as Contemporary Art" by ar. The tone is impassive, matter-of-fact, and detached. It becomes the viewers task to create understanding and the photographers to convey reality as an objective truth.

       The image seen above, to the right, is meant to be viewed alongside the image below, left. I was exploring the role of the natural environment and manipulating the idea of who is the dominant being. Above we can clearly see the features of the girl's face, breaking through the corn stalks. Her mere presence affects the scene that she is a part of, whereas the image below reflects the endurance of the natural world. The person can viewed as participating in the scene that is occurring rather than the determinant of it.

The final image that I wish to discuss in this post will be the one depicting a piece of corn laying in the muddy water; in this case I wanted to see if an object could be used to represent an individual (subject). How does this image work on an individual basis? How does this meaning change once it is part of the sequence shown here?

Comments: Let me know which images register most strongly for you. 
Thanks for stopping by my page!

Work-in-Progress #2

 

I have continued to experiment with the effect of photo manipulations on viewer interpretation and the formation of meaning. My primary focus this week was the introduction of found images. 

For my first critique I had created collages in a physical space, by juxtaposing photographs on a table top. This time, I have utilized the amazing capabilities of technology to create collages of a different sort. The two images (as seen above and below this text) are examples of my recent work.

The first, is a much more obvious overlay, in which the distinction between the two photos used to create this single image is easy to make. This photo is intended for large-scale printing which will call for the full participation of the viewer.

The second photo, on the other hand, possesses a very dream-like quality in which the past and the present flow into one another.

Which method is most effective in conveying meaning? What can you interpret from these images?

For the next set of two images, I delved into the world of portraiture by utilizing some of the different styles that were discussed in our class. The image to the left possess all the qualities of the deadpan genre: blank and expressionless faces, a disconnected photographer. The image below looks much more like a candid snapshot.

Deadpan has often been used by photographers to engage their audience;  rather than directing us toward a particular emotion or response, we are free to create our own meaning.


Which of these two images is most effective?

This last image plays around with our construction of human identity. Does the text take away or add to the image? How can I make this image more effective? How would handwritten text be different than typed in relation to meaning? Any feedback would be greatly appreciated! Thanks for visiting my blog. AM

 

Work-in-Progress #1

 For my first critique I have compiled a series of photos consisting of either photos taken of other photos, as well as, action shots that were captured at a Dream Act rally which took place downtown at Senator LeMuix's office on September 20th. In this early stage of my project, I have been experimenting with different styles and technique which I will discuss in the following:

 (The images that I chose to present to the class were used to illustrate different ideas that I was entertaining at the time. I was hoping to elicit feedback in the form of constructive criticism from my classmates in order to determine what was working and what needed to be worked on.  

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The first three photos seen to the left are handmade collages. I attempted to approach the assemblage from a variety of angles in order to see which had the most effective and powerful delivery. 

For the first photo I used a very direct approach. It gives the impression of a distanced and objective photographer. I can also read this image as being void of emotional investment on the part of the photographer; there is evidence of curiosity. This approach provides a very holistic perspective.
 

  The second photograph focuses on one particular photo within the collection and distorts (using blur/ focus) the remainder. The third photo zooms into a portion of the whole in a much more personal manner than we were initially presented with for Photo numero uno.

In the future, I would like to blow up #1 and #3 to see if that method of presentation would affect how I (and others) interpret the material being presented. I would also like to take these photos out into nature in order to produce photos of them in very organic environments, sort of like stand-in's for real people. Its almost as if it implies that the the person's essence is trapped inside the photograph itself. It would be a very interesting endeavor to attempt. 

These two photos illustrate my attempt to determine whether I wanted to work with B&W as opposed to color. I have never before worked with B&W, but for some reason, I feel much more drawn to this approach at this time. I think that it allows the viewer to spend more time focusing on the principle rather than the actual photo content. Additionally, not seen here, I had written on top of the photo seen to your left, manipulating it in a very Wendy Ewald- esqe fashion.

 

These last two images explored the idea of identity in the context of a photograph. In the image above, you can see the subject carrying a sign which gives us insight into who he may be as a person. We are immediately drawn to make connections between this man and his message. Whereas, in the photo below, the man's identity is concealed. His message comes across first, which makes a much strong statement in my opinion.

 

 I would like to continue exploring the artistic tool of photo manipulation as well as investing photographic portraiture to a greater degree. After reading Chapter 3 in the "Photograph as Contemporary Art" by Charlotte Cotton, I have become interested in deadpan style and I wonder if I could apply what I read about to my current project. I also am curious about the interplay between text and image; taking into consideration difference between handwritten text created on top of the photo in question compared to computer generated text or handwritten text that was captured within the photographic frame itself (such as is the case in the last photograph).

Stay tuned to see what else is in store!

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