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We looked inside some of the posts by ardn716-harrylowe and here's what we found interesting.
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Research: Josh Michael Windsor
Josh Michael Windsor is a Kiwi photographer now living and working out of the UK. His work seems to carry a similar quality to that of Martin Parr, with his compositions often being multi layered and his approach being quite playful and hinting at satire. Compartively to Parr, these images feel much more approachble as they seem to be a bit more light hearted in their nature. One of the key differenes between this work and that of Parr is their intended context. My understanding of Josh's working is that he largely works as a travel photographer, where as Parr works primarily in a contemporary art space. This distinction is important when considering the similarities and differences in their approaches.. While they may both look to document some of the oddities of british life among other places, by working as a travel photographer Josh tends to frame these as more positive creating a sense of personality and allure for the places he visits. Compartively Parr is much more cynical, making strong satirical commentary as could be expected within a contemporary art context.
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Research: Martin Parr
Martin Parr is a British photographer born in Surrey in 1952. His photos primarily centres around some of the eccentricities and oddities within day to day British life, often with a slightly satircal or humrous edge. The work contains reoccurring motifs of leisure, consumption and communication with a very distinctive use of composition and colour. One of the most defining characteristics of Parr's photography is his compositional style, with his shots often being"multi-layered". This develops relationships between all parts of the image from the foreground to the background with his choice of framing/composition being very busy and active. In using this technique, his work is able to sit very strongly as stand alone images with complex and nuanced readings without a neccesity for a sequence to develop context. Depsite this, Parr still uses the photobook as a way to further the narratives in his work, with some of his notable books being The Last Resort and Think of England.
By using vivid colour in his work, Parr creates an interesting tension between fact and fiction. The slightly unnatural apperance of colour in the work gives a sense of dramatisation to the images. In this sense, it is almost as if Parr's work is "based on a true story" rather than being a more objective view of a traditional documentary photographer.
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Planned Deliverables - Week 10
Primary
Photobook
Printed Maquette x1
Digital PDF x1
Exhibition
Hero Inkjet Print x1
A4 Supplimentary Inkjet Prints x4-5
Digital Wall Mockup (Choose venue)
Secondary
Social Media Tiles (Advertise exhibition)
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Printing - Week 10
Are you intending to print anything? If so what is it?
Inkjet Prints
1x A2 Photo Print (Hero Image)
4-5x A4 Photo Prints (Accompaniment to Hero Image)
Photobook
1x High Quality Photobook Maquette
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Skills - Week 10
List the key photographic technical skills you wanted to improve with this campaign / project
Inkjet printing, post-production and in-camera variables (Sharper/more precise focus, more even/correct exposures, control of depth of field etc)
2. Comment on your progress: what have you specifically learned or improved this semester
Inkjet printing: I have engaged with Cornelius in the inkjet printing studio and produced further prints, learning more about image processing and the printing process
3. Next steps: what else do you need to learn or do?
I would like to learn about darkroom processes as a personal interest and spend more time creating inkjet prints to develop that skill
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Week 10: Photoshoot 8
Photoshoot 8 was primarily intended to capture two specific subjects I had taken note of in my local area. The first was a pair of shoes dangling from powerlines. This interested me as the general connotation of shoes hanging on powerlines directly links to the idea of escapism, without being overly obvious or heavy handed. While shooting this subject I identified that there was a potential compositional link back to the plane and sky images in my photobook to date, by framing the shots to include only the shoes against the sky with nothing else in frame. I took a large number of shots of this to try give myself a large coverage to ensure I got the shot I wanted. The second subject I intended to shoot was the rundown caravan and van. This scene felt similarly evocative to the vintage car I had previously shot, with the distressed nature of the caravan and van adding a sense of detachment from the outer world as if it existed as it's own little hideaway or "bubble". Unfortunatley the caravan shots did not feel overly strong compositionally or in their treatment of light. Other shots from this shoot included things I had found close to the main subjects I was shooting. The blue hand prints on the power pole were particularly interesting as a direct trace of human activity with quite a playful and childlike connotation, evocative of escape/antics and the relative freedom found in early childhood.
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Week 10: Photoshoot 7
Photoshoot 7 was focused on one specfic subject I had seen close to where I live. I had intended to shoot further images during this shoot, but unfortunately made the mistake of my SD card being full with no backup so I was forced to conclude shooting early. Despite this, I would consider the photos from this shoot to be succesful. The relationship between the vintage car and house was interesting to me as it felt evocative of the work of American Documentary photographers. Specifically It seemed to me like the sort of subject that could be found in the work of photographers like Stephen Shore or William Eggelston. The only criticism I would have of these photos is the treatment of natural light. These photos were taken around sunset in an attempt to capture a more dynamic and vibrant quality of light. Unfortunately, the sun direction was opposed to what I wanted, with the type of light I was looking for in these shots probably coming at sunrise rather than sunset. Given this there may be a potential to reshoot this location if it remains how it was during this shoot. In terms of possible links to escapism they are likely more indirect, with the vintage car possibly evoking some sense of nostalgia or longing for a different time.
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Week 9: Photoshoot 6
Photoshoot 6 was not succesful in progressing the project. These images again looked to focus on escapism in an urban environment, but as I moved through the enivronment there was a lack of any interesting/relevant subject matter than caught my attention and overall I could feel during the shoot that it fundamentally wasn't working. I pushed through this to try and get something out of the shoot, but none of these images are ones I want to pursue further.
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Research: William Eggelston
William Eggelston is an American photographer born in Memphis, Tennessee in 1939. He is considered one of the photography greats, producing some of the most seminal and influential work in the medium. Despite this, his work is often quite divisive as his approach to photography is relatively unusual. Many people refer to Eggelstons work as challenging, with it's focus on banal subject matter of everyday life which does not necessarily carry an aesthetic beauty. This style of photography very much emobides the nature of seeing, creating imperfect "snapshots" responding to a moment of interest which catches Eggelstons eye in a fleeting moment of connection. As extension of this, Eggelston would typically only take one photo of a given subject. In a digital age of photography this may not seem completley unusual, but in the age of film photography this required great skill and confidence to execute. People viewing Eggelston's work now often associate it with a sense of nostalgia, with a lot of its subject matter being evocative of days gone by. Eggelston himself pushes back against this idea, saying that his photographs are not inherently nostalgic as they just show what the world looked like at the time. While Eggelstons approach to photography was highly innovative and influential, it was his use of colour photography which truly impacted the medium. At the time Eggelston was predominantly photographing, the convention of art photography was for it to be done in black and white. Colour photography was viewed almost with a grotesque nature, with colour almost being considered cartoonish and associated with things such as advertising. It was Eggelstons use of colour and being one of the first to do so that fundamentally changed this idea, and made colour photography what it is today. Any photographer shooting in colour stands on the shoulders of William Eggelston.
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