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https://docs.google.com/presentation/d/1cHjfvH-MYHaz1W_EHdwk2h0MwjodEgA3vH1KrAE4YPw/edit

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Artist Research Post 2

Canadian female photographer Carolyn Cheng is based in Toronto, Ontario, and her current work revisits the old-fashioned aspects of landscape photography from an abstract aerial perspective, recasting water, sand, and earth as means to explore some aspects of the feminine sublime present in the natural world. Featuring different exhibitions, Cheng has shown her photography at Gallery 44, the Toronto Outdoor Art Fair, the Art Gallery of Hamilton, the Robert McLaughlin Gallery, and the Paul H. Cocker Gallery of Toronto Metropolitan University Moreover, her images have featured in On Landscape, Elements, and Photo Ed magazines as well as National Geographic's "Photo of the Week" series. Critical Mass, Prize de la Photographie Paris (PX3), International Photography Awards (IPA), and International Landscape Photographer of the Year program provided her with awards.

Generally, her works appear in massive formats with which one is bound to stay inside the complicated designs and abstract record formats she captures. For her aerial photography, this unique perspective will translate the natural landscapes into abstract compositions towards non-traditionalities in thinking about our environment. The result of light, texture, and color in her images evokes a certain sublime in which one contemplates the beauty and complexities of the natural world.

Cheng has a fresh and different view of landscape photography, which can lead one to see recognized surroundings as new and odd in unexpected ways. Pushing the medium yet again, her thinking and seeing have been nourished by a mixture of art-ethical vision and technique in such a way that produces images that are very beautiful yet intellectually stimulating. The art practice of Kristin Van den Eede is pretty much phenomenal in the fact that it captures and conveys such beauty in such fine detail that it almost entirely feels like you can touch and feel every single pixel and texture in her photographs. It is not only the precision of the lens that makes up the whole picture but also what is done with it, which enters you into the artist's world. It's like every image is breathing, where every little piece-light, shadow, and material-is carefully placed and intensely vivid.

Her photographs can assertively create a very tactile experience. The textures of her works are so strongly pronounced that you reach out to touch the surfaces she is depicting. Be it the soft folds of fabric, the gleam of glass, or the subtle irregularities of natural materials: her attention to detail is awe-inspiring. It is this meticulous focus that makes her photographs not such dry visuals but really experience in itself.

Sharpness and clarity in her photos have equal doses of enticing magic. You can almost see how every pixel gets together to form an image which seems alive but controlled. This precision is entirely devoid of its much sterile and over-technical dimension and rather adds to high emotional value in her work. The textures and details invite you to linger on her images—exploring and almost excavating the nooks as if ripping some secret layers of meanings.

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Artist Research Post 8

Karen Constine is a fine art and documentary photographer based in Los Angeles and is known for her exploration of cultural traditions and transitional spaces. Her work often throws traditional techniques of photography into experimental channels to extract stark contrasts from urban environments. An example of her unique treatment is in the series ''(un)real landscapes: Los Angeles plays itself.".

In this project, she made use of a color-enhanced infrared (IR) camera, one with a 665nm filter that concocts surreal and vivid images that transfigure every familiar landscape into an uncanny scene. This method is like the Kodak Aerochrome infrared film because it captures foliage in the distinctive reds and pinks that juxtapose much of the urban backdrop. The result is a dreamlike image of Los Angeles: one that offers a perspective, fresh and original, on the city's landscape-a natural and otherwise.

Her photographs are usually constructed as either medium- or large-format prints-hence high contrast and rich tones, rendering all in everyday life as something striking. The hi-definition images portray nature and urban landscapes intersecting and challenge viewers' perceptual bearings of indoor spaces-even, in these cases, where the space is transformed by the effects of the pandemic as they are seen and revisited by people.

Constine's work constituted a long list of national and international exhibitions, including such high-profile venues as the International Center of Photography and the Los Angeles Center of Photography. With her growing skills of infrared photography and focus on urban environments in flux, the artist serves up brilliant mindwork on the interdependability of culture, landscape, and passage of time.

I personally find the art of Karen Constine to be quite different from any other, especially when she puts the ordinary landscapes into an infrared (IR) spectrum to produce surreal scenes outside of the world. Her true use of a 665nm filter to capture intense, unexpected colors in urban environments makes the viewer's perception of space and nature very different. One sees foliage in brilliant reds and pinks that contrast with a mostly neutral background-an apparent contrasting to draw attention to the continued presence of nature in the urban landscape. This surreal quality creates a dreamlike effect in my experience, and it's something that I'd love to explore in my own work one day.

For me, the most interesting thing about Constine is how she merges the real with the imagined. In her photographs, viewing the world differently is not just a matter of catching a scene. The high contrast and very bright hues suggest something mysterious, as if one were looking into another world. Using the idea of altering perceptions would be of interest to me in my own work around nature. This is the same potential I see in capturing the natural world in a way that goes beyond traditional representations, as though Constine were reinventing urban landscapes. In the future I would like to try out her style.

[sarvichi]

Artist Research Post 7

Kristin Van den Eede, contemporary Belgian artist, delves into eclectic experimentalism and innovation in her works of photography and installation. Creating concept works that often marry the digital and the physical, she meditates on technology, memory, and perception. Invention here is a combination of photography, video, and digital manipulation with installations that invite viewers to alter their conception of spatiality and temporality.

They are actually great experiments in photography, bringing one's eye closer to digital photography with traditional styles. She has used her photos so much as materials for surrealistic, almost dreamlike images, evoking anotherworldliness. It is often a fragmented or distorted landscape with a floating or dimension-shifting appearance of objects. The greatest effect of strangeness is thereby produced; the viewer is lured into a world in which reality turns out to be, but is still recognizable.

Installations expand den Eede's experience of space with projections, light, and sound. Galleries become physically engaged by the public moving through this work-gallery into different vantage points. To see ordinary spaces transformed into the extraordinary takes remarkable prowess, as it involves both photography and installation-based artistic practice.

Her art has not surpassed these fringes as it is less popular than that of some other artists, but she has exhibited it across various places in Europe and beyond. Her works speak to people who are interested in technology and the human experience and offer few-view interpretations of the surrounding world.

Impressive and contrasting lights are the two conventional things in Van den Eede's artworks, more intriguing to my eyes than any other art. Lighting is the only element by which her images are able to communicate or portray something. Really, I admire her artistic technique of manipulating light in her photographs because contrast in lights and shadows also provides the aspect of depth and mystery to her images. Personally, it does not seem to treat lighting simply as a technical issue, but exudes into an emotional implement that serves to carry the mood of each work along with it. Truly, I take inspiration from this quality as I would desire to possess same in my own art to play with light and convey atmosphere through the images. Van den Eede's way of using lights to interpret the visual narration of her photographs is exactly what I seek to reproduce in my project, as it wells up another story and emotion within the images.

One other thing that sparks and draws me to the artist is the amazing incorporation of glass reflections in her photographs, for example. It has this almost magical quality that captures the merging of reflections through glass, introducing yet another dimension to the least of her images. Rather than seeing the sheer reality of the scene, the evidence seems to take a perspective, blurring limit boundaries between opposing subjects sloshing within an image. Thus glass acts dreamily or otherworldly on my behalf. It's not only the reflection itself, but the way of looking at it increases optical complexity in an image. This is a technique that gives a uniqueness, almost cinematographic quality to her works. I'm inspired by that and have conducted some experiments in my photographs looking into how glass and lights can transform an image, adding yet another meaning to it.

[sarvichi]

Artist Research Post 6

Anna Heimkreiter is a contemporary artist merging photography, sculpture, and installation. With an intricate and thoughtful approach, she contemplates identity, memory, and perception-the human experience and the physical world. Instead, her work captures moments of contemplation and transformation through her lens.

She applies varying techniques to her photographic practice and often plays with light, shadow, and composition to trigger deep emotional responses in the viewer. Marked by sensitivity to texture and space, her images evoke intimacy and quiet contemplation. Her photographs do not capture a certain moment by time but rather explore the most arcs that lie under the surface beyond capturing a moment, inviting viewers to reflect on their own experiences and memories.

Besides photography, her installations add more to her space and perception explorations. She often combines fabrics, glass, and found objects to create spaces that make you question your reality. They provide threshold-spaces when art and audience seem to dissolve into one another-with a strong qualitative promise to actually be touched by these spaces. It invites the observer to participate not only visually but also through the touch.

Her work may not be internationally famous, but her art chisels out a niche for herself in people who admire that tender interplay between the physical world and human emotion. To count her among the most interesting fresh voices in contemporary art, it is this ability that makes a complex theme intertwined into photography and kind of installation-perfect.

I really find Anna Heimkreiter's photography editing very much in lick with me, especially in self-portraits where light and composition reign supreme. This ability of hers to evoke emotion through subtle editing and careful placement in nature landscapes seem to fair a lot with my approach. In some of my photographs, I like to experiment with light and shadow creating a soft, dreamlike effect. Like Heimkreiter, I set out to create an intimate atmosphere that invites the viewer to reflect.

that's how Heimkreiter speaks to me through her photographs dancing with emotions. It tells stories with no words, and the quiet simplicity of her edits makes deeper emotional engravings to every scene. I see that in my works too, whether adjusting contrasts to emphasize a mood or subtle color grading to enhance moods. I often end up aiming to achieve something similar in my photographs.

That draws me to Heimkreiter's style, the balance achieved not just between the subject and the environment but also the two have a grounded quality and yet ethereal tone, blurring the line between reality and imagination that aspires to a similar kind of balance in my project-here the environment along has become as important as the subject, with hanging edits also enhancing this relationship. True inspiration, her work, has progressed the thinking on how minimal yet powerful an edit can be to change a picture into an emotional experience. It is very much an art form I admire, trying to reflect it through my own photography the depth of such apparent simple compositions.

References https://www.wherewonderwaits.com/about-anna-heimkreiter/ https://www.featureshoot.com/2021/11/announcing-the-print-swap-street-exhibition-in-brooklyn/

[sarvichi]

Do's

Edit again

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Dont's

Don’t dare photograph your own apartment.

[sarvichi]

Artist Research Post 5

Kenta Cobayashi is a contemporary Japanese artist known for minimalist organic shapes. He mostly employs mixed media with wood, metal, and stone to create sculptures with raw, naturally occurring materials. Everything combines with resin or glass into an imaginary balance between what is actual and artificial, thus bridging the two.

His sculptures go deeper into spatial thought as form: the idea of how a thing touches its atmosphere. Well crafted and fluid resists gravity concisely in pieces that are otherworldly, as he has done so well. He causes these worlds to draw the view into the simplicity and complexity of all that soulful nature has within it, soft but so powerful.

His works have not yet reached the international art scene like some other Japanese artists. Within Japan and beyond, exhibitions have displayed these works to excite collectors and art viewers. His works possess timelessness-the juxtaposition of nature through age-old materials and the vocabulary of current design. They appeal to people who value both nature and modernity in artistic creativity. Their art makes conventional thinking ready to change and involves new ways of using materials and spaces in contemporary art, leaving an exhilarating promise for the future of sculptural art. Such contagious enthusiasm to draw new parameters into sculpture and new forms into organic and modern could-inspire generations as yet unrealized toward broadening horizons beyond the traditional into which such art elevates the medium.

Kenta Cobayashi is undoubtedly one of the coolest photographers I've found in my research. Quiet yet incredibly powerful, his work really marries the family of natural elements with modern photographic technology and ends up producing images that feel like a snapshot of the world between familiar and otherworldly. What really makes him stand apart is how he's able to capture the fine romanticism of nature even with all this modern technology; thereby, bridging that gap between tradition and innovation. Most of all, he does not just photograph but rather brings life to the materials and environment involved in his shooting sessions. It makes everything rather unexpected.

His work is somewhat obsessive in layer application by effect-image making from several elements and considering various textures and perspectives. His works did speak sculpture by considering that photographs really have this depth almost artistically unrecognizable as an image. However, every photograph is opened to promise every viewer with a more complex experience than that of a still life, nature, or abstract. While natural textures and minimalist compositions speak calm, the subtleties hidden within his work reinforce a deeper appreciation of this world around us.

I think Cobayashi could take photography into fresh new realms of creative possibility. His vision provokes photographers to experiment with alternative mediums, surfaces, and viewpoints in creating and documenting photography, beyond standard preconceptions about what photography should represent. His works compel us to relook at nature through a lens that respects its beauty and yet transfigures it for a contemporary audience. His innovation inspires me to consider alternative approaches in my work, showing how photography may spare the need for mere documentation nurtured by the world.

https://www.kentacobayashi.com/ https://americansuburbx.com/2020/07/kenta-cobayashi-chromatic-angular-cacophony.html

[sarvichi]

Photography Research Post 4

As part of a revolutionary American artist, Jean-Michel Basquiat worked profoundly in contemporary art, infusing street culture with high art and re-defining the borders within which such art was possible. He is the Brooklyn-born son of a Haitian father and Puerto Rican mother-with a birth in 1960-and had a life that thus influenced his work for the rest of his lifetime. Initial fame came from graffiti as SAMO, but the late '70s changed to canvas and public recognition almost immediately again New York. Basquiat distinguished himself by raw energy, a lively palette, and a frankness toward expression, all when conceptual art dominated.

Basquiat's art features a spontaneous thrower, somewhat rushes and chaotic, abstraction and imagery grounded mostly in his life experiences. Pieces have references to text with symbols or even figures in them that culminate in layers of meanings that take the audience into considering the race, identity, and political pressure issues. His well-known crown, frequently crowns heads in his paintings, ranges from a totally regal theme to how one would define claiming authority and propriety. It is his example of skeletal figures, references to anatomy, and bright symbols-he seems, as well, constantly busy with issues of the body and human fragility.

It was in the early 1980s that Basquiat's career erupted, and by 1983 he was among the foremost, most celebrated artists of the world. Its exhibitions ranging from the Whitney Museum of American Art in New York to later retrospectives at the Guggenheim Museum and Fondation Louis Vuitton sealed his legacy in the art book. Such works as "Untitled" (1981) and "Hollywood Africans" (1983) are not just consumed, but agonize with reflections over racial inequity and celebrity as well as violence.

Not that I have any great love for Basquiat's art, but I cannot deny the powerful cultural implications which lie behind it. From writing graffiti as a means of expression to becoming one of the sensations in the gallery scene, Basquiat could easily be placed in the category of such artists who could create a humble bridge between the worlds of urban expression and high, traditional fine artistry.

His work replicates his own personal ordeal as a Black artist in America, dealing issues such as race inequality, identity, and societal power. The boldness of the fragmented figures, symbols, and text in his canvases is a kind of immediate rawness and urgency. For example, the crown is motivated by a desire for acknowledgment and authority, especially within a context of black identity and other marginal voices.

While I may not personally identify with the aesthetic of his chaotic, sometimes unsettling canvases, I feel confident in declaring that it has resonated deeply with concerns of race and power while providing a platform for voice usually shunted aside. His paintings speak with raw energy and urgency; they are made bold with disjointed figures, symbols, and text.

Basquiat's significance extends beyond his art style; his very persona became the voice of rage, complexity, and contradictions within the Black experience in America. Even if it isn't my kind of style, I understand it well enough to know why it still has that status in the public and is hailed for breaking barriers at the art and social level.

Refrences https://en.wikipedia.org/wiki/Jean-Michel_Basquiat https://americansuburbx.com/2013/10/jean-michel-basquiat-art-disempowerment-2000.html https://basquiat.com/

[sarvichi]

Photographer research post 3

Chloe Sells is an award-winning and contemporary artist who created a divergence in photographic work. She was born in Aspen, Colorado, but now calls London and Botswana home. Most of her art gets inspiration from her surrounding rough wild terrain, especially the Okavango Delta of Botswana. She works mostly in analog photography, a manipulating medium through experimental and labor-intensive processes. After developing her film in the darkroom, she intervenes directly on the prints, applying layers of ink, paint, and dyes by hand. The outcomes are local, alive, emotional artifacts, which are strong patterned by their photographic essences yet painterly in their approach.

Each of Sells' pieces is unique; her process demands that no other piece be reproduced, making each individual print a wholly unique work of art. This turns the typically banal subject into a vibrant, surreal offering that throbs with energy, using bold, saturated shades and fluid, organic patterns. Her work often deals with nature, memory, and personal narrative, so the viewer can feel very strongly the emotion of such works.

Some great series of hers such as "Swamp" (2016) and "Hot Damn!" (2019) have toured internationally and been exhibited at various galleries, including Flowers Gallery in London and New York. Large in scale and frequently measuring over a meter, these pieces can draw you in with their intricate layering and graphics. Sells' art represents fearlessness in creativity, urging others to think of the medium as a way to self-expression and storytelling rather than as a means with which to document life. By holding onto imperfections, aliveness, and the tactile potentials of the material, she provides for alternate readings of how tradition in photographic processing need not be merely the same as wringing something new, fresh, and personally intense out of the form.

I really enjoy the inspiration that she carries by being fun and fearless in experimentation and turning nature into art, where the art becomes something alive and dynamic. It shows me that photography isn't only about capturing reality but reimagining it. She uses analog and bold, hand-painted overlays to show how she is taking traditional processes and using them as a springboard for creativity. Vivid colors and fluid forms evoked from nature are, in fact, not as it is but how it feels: alive, chaotic, and deeply personal.Sells illustrates that landscapes as well as organic forms can exhibit indefinite possibilities for creative and artistic manifestation. With the applications of familiar patterns, this gives the information on how one can go to much greater lengths by texture, light, and emotion. It would inspire photography to be more than just a record but a manipulation of materials and the application of boundaries. By accepting imperfection or unpredictability such as Sells's, one would find this in extremely expressiveness and singularity in one's work. This tells me that her work is more of an invitation to explore nature, not just in terms of depicting but working together to create very vivid and emotive visual stories.

Refrences https://www.photoeye.com/bookstore/citation/ZG753?utm_source=chatgpt.com https://www.michaelhoppengallery.com/artists/33-chloe-sells/ https://americansuburbx.com/2016/07/chloe-sells-the-morass-of-sacred-geometry.html

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https://docs.google.com/presentation/d/1kdoL48UnxZdud83Wcs9RpzEHL3F6rMIxhbtV0Q2qh4M/edit?usp=sharing

[sarvichi]

Project Proposal 1 My proposal for this project would be photographing flowers in black and white, except for the color on the petals. I have always wanted to do close, magnified photos of things, and this seems like an opportunity where I can showcase this. I live near a place with a wide variety of flowers, offering me many options to work with. I would like to experiment with unique angles to capture their intricate details, using both natural and artificial light sources to create visuals that are distinctive and thought-provoking. This project will allow me to explore different lighting techniques and compositions, enhancing the dramatic effect of each shot while showcasing the delicate beauty of the flowers in a fresh, artistic way.

Project Proposal 2 My proposal for this project would be photographing Lego land with my cousin n friends . Normally you would take photos of the attractions at the place but I would like to take photos of things that are not really the main attractions of the place

[sarvichi]

Artist Research post

Eliot Dudik is a photographer and book maker, and whose work reflects grappling, until today, in spheral exploration in the many and complex extant connections between a landscape, a culture, a memory, and history. Often, his projects showcased the American South and the many complex narrations and identities that pervade it. The result is thorough and evocative duplicity within the photographic mediums he employs; specifically, the large format camera, which enables creation of images that possess extraordinary detail and clarity. Thus, this technique allows one to deal deeply with textures and subtleties in each frame, evocatively connecting the audience to the subject.

In "Road Ends in Water" (2010), he demonstrates everything from mixed with doors open outside to putting in coming through since it tramps through the extravaganza-in-the-air-live swamps, dirt roads, grizzled porchways, and dilapidated churches in South Carolina Lowcountry. These lush photographs are used in the series to address a part of a realistic place, immersing people within the landscapes and the histories they allude to. They are characterized by the touch of precision and clarity-the tactile where one would almost beable to feel the textures in the artifice.

His photobooks suffused in artistic expression and the love for the craft are a testimony to elongation as Dudik is in collection, published, self-published, or hand-constructed many editions over the years that started with "Road Ends in Water." The dedication complements his photographic practice through a solid form through which audiences may engage in his work.

As an educator, Dudik is an Associate Teaching Professor of Art at the College of William & Mary in Williamsburg, Virginia, focusing on the area of photography. As evidence of high achievement, his membership in this academic community underscores his personal presence and efforts to promote deeper appreciation of photographic arts, particularly in their cultural significance.

What Eliot Dudik's art does to me is capture the very seamless relationship between people and nature. He creates images that are effortlessly beautiful reflections of both the environment and the lives that mingle with it, which, I understand, is very hard work because achieving such balance is never an easy task. In my own photography, I'm often finding that the presence of a human being converses with the natural world in a meaningful way, and either the environment elopes with it in the frame or that presence seems to be misplaced like it was put there and never was purely natural.

It makes the relationship feel real and alive; that is what makes it so inspirational and intimidating at the same time. When viewing his work, you take a feeling of history and relationship into the image: the landscape is more than just a backdrop, it is participating in their story. This is something I really struggle to replicate. The way he renders the subtleties of human trace in the natural spaces without overwhelming essence itself seems something that would involve both technical mastery and an intuitive understanding of storytelling.

[sarvichi]

Weekend photography Assignment .

Going back home to Orlando for my birthday and basically random photos that I got on my camera during the whole trip . Meeting up with friends and doing a lot of stupid random activities.

I did these photos in sets of 2 .

Location : Orlando , Florida

Dates: August 30th - September 2nd

Camera : Sony a6400 Set #1 Day Dream Picture 1 -I basically placed my camera right behind me while I was golfing at top golf and it took photos every 30 seconds or a minute .

Picture 2 - My friend Dylan was just some reason sitting in the frunk of our car while it was charging .

Set #2 ALL RED

We all went to a hibachi place near us at night and Dylan was wearing the birthday hat that they give their customers . He was wearing all red which matched the logo of the hibachi place .

Set #3 Brother's for life

Two of my closest friends as of recently so I named it brothers for life . We were outside of a public library in downtown Orlando . They were pretty distracted doing stupid stuff so I just took these photos . Set#4 Arcade Adventures

We all went to a Dave n busters for this set and the first image is all of us together with a timer set in the camera and the second image is my friend Edward playing a ball throwing game . I only took that photo cause he looks so small compared to the machine as he is a very short person .

Set#5 Day n Night

During my trip we did walk a lot in cities so these were on of the pictures of the city that I took which I really like

[sarvichi]

my name is Sarvagya Bhardwaj , I'm a Junior who is majoring in Graphic design . I'm not a crazy photography type of guy but I do have some experience and have family members who do it .I would like to implement some of my photography into some of my designs or make a poster out of them. I travel a lot with my friends who are all interested in photography too. Every trip we do we have like 5 of us have camera's so will be getting a lot of random pictures.blah blah blah