stella632

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Composition variations: Experimentation

This composition is a variation from a similar one I did with full colour and vibrancy. Still, instead, I wanted to try to accentuate a particular element by depleting colour from the rest of the image and allowing the apple to stand out. This could be quite visually interesting, especially when considering context - why is the apple in colour? What's so important about it against the features around it, and what could it mean?

Another experimental composition. I mainly wanted to practice perspective warp and shadow + curves to create lighting conditions that integrate with the background. Conceptually speaking, this looks like a run-down garage that has been abandoned. It looks quite eerie; somewhere, people usually dump their rubbish and walk away. I think the addition of the clock may draw the viewer to wonder why, of all places, you would want to keep the time.

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ARTIST MODEL: Laura Zalenga

For my artist model research, I have chosen to look at works produced by photographer Laura Zalenga. Zalenga is primarily a self-portrait photographer who creates deeply conceptual works that tell a story through various elements.

This image is composed of the subject (Zalenga herself) as the image's centre point. Around her are vibrant red poppy flowers, which sit deliberately around her figure, creating a 'frame'. Zalenga has intentionally created this layout to communicate a sense of harmony and balance within the image. There is a clear contrast between her (wearing black) and the flowers, creating a divide but also a seamless integration.

It seems she is trying to communicate that she feels as though she fits in perfectly as a flower among a bed of poppies. Maybe she is communicating that, like a flower, she is graceful, elegant and beautiful. The stark contrast in the colours of what she is wearing may determine that she is different/ unique.

Zalenga's self-portrait 'Shine' depicts a nude woman in an almost vulnerable stance, her hands and legs splayed but supporting her upright. We can see through her skin is a glowing orb/ light. The image is overall very dimly lit and has a low exposure. There is a warm tint eminating from the source of light, creating this sense of 'warmth' on the inside and 'cool' on the outside (because of the darkness).

I feel that this composition is trying to communicate something about being your own sense of light/ comfort in a dark and scary world. Zalenga curates this fragile and raw sense of self as if she is stripped to her core. I think this is a very emotional piece curated through artificial lighting and shadow.

'Impact' is a very visually impactful photo captured by Zalenga. This composition involves her being wedged between a wall of ice and boulders. I think the colour palette of this image is very natural and creates a sense of plausibility. It's hard to determine what is and isn't edited here, as such locations may exist to create a shot such as this one. The layout overall is a wide-angle shot with a higher exposure to capture the detail of the ice and rock. The balance of the dark boulders against the ice feels like they are battling against each other, and she is caught in the middle.

The concept of this image suggests that she is caught in this chaotically beautiful setting and, in her rawest form, is inquisitive about her surroundings. She longs for what is on the other side of the ice wall as if she has been trapped in this cave for millennia. It feels like this setting embodies an internal battle, like the saying 'between a rock and a hard place'.

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WEEK 5: STUDIO

In this week's studio, we looked at semiotics and how signs/ symbols are used in images to covey deeper meaning. This included looking at the structure of communication itself, as well as different styles of visual communication.

Semiotics refers to how meaning is created within an image through signs and symbols.

Semantics refers to the meaning of something - unpacking the deeper concept behind a sign or symbol in an image.

Syntax refers to the structure or arrangement of symbols and signs in an image, and pragmatics refers to the relationship between them in a given context, which conveys meaning behind an image. For example, in a cultural context, a photo of a dove may symbolise peace for one culture, while it may symbolise something different for another.

Other scenarios to consider may include:

Social norms and conventions (a collective perspective on concepts)

Expectations from viewer (based on personal experiences)

The way the image is presented in tangible medium - ie. an image presented on an Instagram post will be percieved differently to one that is on a billboard

In short, semantics are dependent on context. Symbols within images rely on these various things to be successfully percieved by the viewer.

A connotation is the less obvious and more contextual meaning behind something. It's the meaning an image evokes through a series of semantics.

Studio activity: Connotation vs. denotation

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[W3] POST-PHOTOGRAPHY, OR ARE WE PAST PHOTOGRAPHY? 

While digital photography is sometimes viewed as a radical shift in the photographic world, it is just an extension of existing practices rather than a transformative tool. From the earliest days, whether through physical (darkroom, staging) or digital (software, editing), photography has always involved an element of manipulation. It is not the nature of the manipulation that has changed; rather, the methods that are available. As pointed out by Lister (1995), the transition to digital technologies (such as photo manipulation/ virtual reality) remains “essentially within cultural continuity with the traditional uses and meanings of photography.” This continuity highlights that the digitisation of photography is not a break from the past but an evolution of the practice. The craft's fundamental principles remain despite adapting to new technological possibilities. 

The scepticism around the truthfulness of photographs did not begin in the digital age- even in the era of analogue photography, there were concerns about the reliability of photographs and their representation of the truth. The article emphasises a “diminution of our collective faith in the photograph’s indexical relationship to the real,” a process digital technologies have bolstered but did not originate. 

Photography’s adaption to digital technologies – from the integration of cameras into phones and the subsequent rise of the “networked image,” further supports the notion of continuity rather than a revolution. Whilst the platforms and tools that are available to photographers have evolved, the fundamental activity of capturing and manipulating images continues to persist. Despite earlier predictions that digital tools may corrupt the fundamental values of the practice, the article notes that “photographic images became more present than ever.” This persistence shows that photography, in its digital form, is an extension of what came before. Adapting to new tools, contexts and methods, yet rooted in the same technical and creative foundations. 

In conclusion, I believe that digital photography should be perceived as an evolution of traditional photographic practices. Advancements in technology have only furthered our abilities and offer expansive possibilities for manipulation and dissemination. The underlying practice, however, remains true to its core. The transition to digital is not the creation of a new medium but the evolution of an existing one. The consistency of analogue/ traditional photographic practice is deeply embedded in the adaptations of digital methods today. 

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[W3] Experimental Composites

This week, we started playing with images from the shared image bank, creating draft compositions to leverage ideas for our final design.

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[W2] SDL Task 1: Photography and truth - Part 2

The article explores the complicated relationship between photography and truth, illustrating how the medium has been manipulated and interpreted throughout history. It begins with the introduction of the Kodak No. 1 camera in 1888, which made photography accessible to the general public. This democratisation of photography led to famous photographic trickery, such as the Cottingley fairies hoax in the early 20th century, where two young women faked images of fairies, deceiving even respected figures like Sir Arthur Conan Doyle.

The article highlights how the rise of snapshot photography created a perception of authenticity and sincerity. However, snapshots, like modern-day social media posts challenge this perception, as they are often carefully curated to present an idealised reality. The introduction of colour photography, beginning with the Lumière Autochrome in 1907, further complicated the relationship between photography and truth. While colour photography was praised for its realism, the process was still subject to manipulation, raising questions about whether the colours depicted were authentic to nature.

The discussion then shifts to manipulating documentary photography, often considered a truthful record of events. Iconic images like “Lunch Atop a Skyscraper” and “Raising the Flag on Iwo Jima” were later revealed to be staged or manipulated, undermining their perceived authenticity. Even photographs meant to document harsh realities, like Dorothea Lange’s “Migrant Mother,” were edited to enhance their emotional impact.

The article concludes by discussing the origin of digital manipulation tools like Adobe Photoshop, which made it easier to alter images. This has led to ongoing debates about the truthfulness of photography, as the medium continues to be used both to reveal and obscure reality. Ultimately, the article invites readers to reflect on the role of photography in shaping our understanding of truth.

A notable memory of encountering a manipulated photograph was when I saw a photo of one of the Kardashian sisters on social media posting her 'new look' during the COVID lockdown. It was obvious that there had been some kind of transformation, therefore I scrolled down to the comments section to see what people had to say. I saw a comment that said, "where is her necklace chain at?"

When I went back to review, I hadn't noticed the small detail. Although I could tell something was slightly off with the image, it wasn't immediately noticeable. Maybe she had just used a light filter - but later news sources called her out on it. The NZ Herald even wrote an article, showing the before and after of her 'new look' which turned out to be a manipulated image. This type of deception is prevalent in today's world, especially with the rise of social media. It tends to be detrimental to perspectives on beauty standards which can be damaging to a young woman's confidence.

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[W2] Studio: Adobe Photoshop layers and compositing

In studio today, we did a Photoshop core skills refresher which took us over the basic tools of PS and how to use them. We made a few compositions and used various tools to achieve them.

These tutorials allowed us to experiment with the various tools available on the software, especially with regard to implementing various foreign elements into a background and integrating them.

I learnt how to use the pen tool with better precision as well as manipulating layer masks to achieve placement of elements with accuracy.

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[W1] SDL Task 2: How Photographs Can Tell Lies

Photography plays a big role in how we understand the world. Even though we know photos can be changed, they still have a big impact on how we see things.

The meaning of a photo is affected by the context – like who, what, where, when, why, and how it was taken. Changing or taking away the context can really change how we see the photo. For example, a photo sequence from 1973 shows how adding context changes how we see the images.

Photos aren't just copies of what's in front of the camera; they're made by people who have their own opinions and ideas. This affects how the final image looks and how people see it. Artists and photojournalists both have a responsibility to show things truthfully, but personal beliefs still affect the images.

When a camera is present, people act differently – this is true in all kinds of photography. Photos can show a truth that's based on a person's point of view, like telling a story. This means the people taking and looking at photos have to think about the ideas behind the images.

Throughout history, photography has helped push for changes in society, e.g. showing problems in child labor. But this also shows how personal opinions affect the images that are made.

Social media has made it easier to spread misinformation (not always on purpose) and disinformation (on purpose). One common way this happens is with memes that use different images to make bad arguments look good. Photos have been staged from the start to show a story. This still happens today, and shows how easily photos can be used to decieve.

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[W1] SDL Task 3: A brief history of photography and the truth of an image.

This article discusses the reinterpreted 'truth' of photography through the ages of its practice- especially concerning how photo manipulation has evolved and adapted over the years. It claims that although photo manipulation and deciphering the authenticity of an image has become a modern issue, photographic fraud was a common practice from the beginning. Photographers dating back to the mid-19th century used photo manipulation techniques to change or enhance natural images through exposure adjustment or analogue post-production. 

As technology has evolved, however, it has become more ambiguous about how much an image can be trusted as authentic. Now that we have state-of-the-art cameras and post-production technologies to manipulate our images, distinguishing between fiction and reality is often difficult. This plays into how photography has been used for artistic expression and social commentary (for example, early staged photographs were used to make political statements/ challenge social norms). 

Power dynamics is another subject raised in this article- especially regarding the representation of culture and social class. Through careful manipulation and staging of a scene for a portrait photograph, Indigenous (or non-colonial) peoples were painted out to be of lower social standing. How some groups have been portrayed in history serves as a testament to the impact of photography as an expression of perspective. This raises questions of ethics and balanced representation in modern photographic practices. 

Photography evolved from being a slow and difficult technology to one that was widely accessible and eventually democratised. This caused a cultural shift in that people could now better dictate how they saw themselves and others around them. This accessibility ended up causing the commercialisation of photography and changed people's views on its role in society. 

As technology continues to evolve, the role of photographers has been challenged. From being mere artists and technicians, photographers now have the responsibility of not just documenting or capturing a said 'truth' but also having the ability to explore deeper narratives and abstract concepts. The potential for creative expression in a field previously bound by technological parameters has led to a revolution in the way photographers work and operate. It gives creative freedom of expression and perspective, both pre and post-production. 

I experienced manipulated imagery when I was scrolling on social media and saw a post with a girl posing. I looked more closely because something seemed slightly off about her face. I couldn’t put my finger on it, so I went onto the profile and discovered that it was not a real person but a generated/ artistic impression of a real person. Some describe the effect of someone looking almost human but not entirely human as the ‘Uncanny Valley’ effect- this was definitely a moment like that. 

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[W1] Activity 2: Reading discussion

What responsibilities do you have as a photographer in the images you create?

You are not only the photographer but also the publisher - you have to be careful about how you present an image. Is it moral and ethical? Does it accurately convey the subject? As a photographer, you have to accept responsibility for every element of the image including what is created naturally as well as digitally/ post-production. Photographers are storytellers and in order to be successful, need to carefully consider how their image tells a story. 

Reflect on your chapter and what you can learn from the reading.

The truth of my photos is dictated at my own discretion and is directly related to how I want to convey my story. There is a metaphoric truth in manipulated images and a literal truth in ones taken naturally. Every element of an image is important in creating an image that accurately conveys something - from ISO and aperture to post-production filters.