Portrait Transformations
Heitor Magno
Heitor Magno uses the double exposure technique that allows the subject to be cloned and appear alongside himself in several of his pictures. Incorporates glitch on their faces to convey emotions unknowns. Interfered with pictures, invisible expressions and pixelated faces reflect them questioning their identity.
Rémy Poncet
Retaking photographs is particularly suitable when the nature of the added objects cannot be scanned (as in a wet liquid) or when you wish to use alternative angles and other photography techniques to manipulate the image further.
For their History and Chips collages, Rémy Poncet and Arnaud Jarsaillon raided the fridge and dressed up classic movie stills and vintage portraits with everything from smoked salmon and mustard, to ham and pineapple. A testament to the fact that food makes everything better, these old pictures are given a new lease of life thanks to a wry sense of humour.
For their History and Chips collages, Rémy Poncet and Arnaud Jarsaillon raided the fridge and dressed up classic movie stills and vintage portraits with everything from smoked salmon and mustard, to ham and pineapple. A testament to the fact that food makes everything better, these old pictures are given a new lease of life thanks to a wry sense of humour.
Jose Romussi
Jose Romussi (1979) is a Chilean born mixed-media artist who uses hand embroidery to embellish photographs. Romussi grew up traveling with his mother, watching her painting and teaching art around Chile. He was brought up in Chile and then went to live in New York (USA). He studied landscape design, but later became known for his prints and collages. In 2010 he decided to become an artist. Romussi is now based in Berlin, but travels all the time finding new ways and techniques to develop his art. For the last decade he has been working on a number of projects, including several that use decorative needlework techniques, notably appliqué (a needlework technique) and embroidery, to further embellish photographs.
Rankin Destroy
To begin the new unit, we looked at the work of John Rankin Waddell a British Photographer, Publisher and Film Director. Rankin's short project, 'Destroy', challenged over 70 musicians to "destroy their portraits" . After the portraits have been taken, it becomes the artists turn to start "manipulating them". This eventually leads to an iconic, original piece of work produced by the artist themselves.
Below are some of the artists' pieces they destroyed themselves:
Below are some of the artists' pieces they destroyed themselves:
As much as a bad example of a celebrity Donald Trump is, he is still famous enough to destroy a photo of him, and not feel remorseful about it. Unfortunately, I was not able to find the original image but this image should suffice as his face is repulsive enough to recognise in both. To 'destroy' his image I added a few random, ridiculous and images and words on the edges to reflect his outrageous presidency. Furthermore, I coloured his eyes black and tore up his suit to represent his maniacal campaign.
While creating a 'destroy' image of a celebrity was fairly straightforward, creating one of myself was more challenging. So I decided to take some inspiration from Rankin. I used some bright colour on the outside and background and put some newspaper on the background. I also added some purple on my face and outline. |
Christopher Relander
Christoffer Relander was born in Finland December 1986 and grew up in the countryside of Ekenäs. Relander's interest in art started at an early age, but it was not until heserved the Finnish Marines between 2008-2009 that he found his passion with photography.
“Reality can be beautiful, but the surreal often absorbs me. Photography to me is a way to express and stimulate my imagination. Nature is simply the world. With alternative and experimental camera techniques I am able to create artworks that otherwise only would be possible through painting or digital manipulation in an external software.”- Christopher Relander
Christopher Relander uses a technique inspired by multiple exposure to create 'We Are Nature': a series of dreamy, surreal images based on the relationship between man and nature. The series is not about any specific individual, it's about man and nature fusing as one, which is how humans have lived since the beginning. By leaving the identities of the models anonymous it allows the viewer to develop their own perception of the inextricable link between man and nature. The surreal portraits are created by using a multiple exposure to layer two separate photos, which creates a middle point in the photo. This allows for the viewer to not only focus one one part of the image.
“Reality can be beautiful, but the surreal often absorbs me. Photography to me is a way to express and stimulate my imagination. Nature is simply the world. With alternative and experimental camera techniques I am able to create artworks that otherwise only would be possible through painting or digital manipulation in an external software.”- Christopher Relander
Christopher Relander uses a technique inspired by multiple exposure to create 'We Are Nature': a series of dreamy, surreal images based on the relationship between man and nature. The series is not about any specific individual, it's about man and nature fusing as one, which is how humans have lived since the beginning. By leaving the identities of the models anonymous it allows the viewer to develop their own perception of the inextricable link between man and nature. The surreal portraits are created by using a multiple exposure to layer two separate photos, which creates a middle point in the photo. This allows for the viewer to not only focus one one part of the image.
'We Are Nature V' by Christopher Relander
NEONLAND: URBAN OVERLOAD by Christopher Relander
Double Exposures
My response to Christopher Relander:
WWW: I successfully combined the two photos with the correct opacity in photoshop.
EBI: If I took photos of a different aspect in nature for the background.
EBI: If I took photos of a different aspect in nature for the background.
Force of Nature
The intentions of this task was to capture photographs of nature reclaiming man-made environment. This is what it says on the school art and photography website;
'The relentless battle between man and the natural environment that he Inhabit's is one that holds endless visual possibilities. The buildings and structures that man builds as symbols of prosperity and status are, at their basic level, simply a means of protection from the harsh environment that surrounds him.' This project shows that nature will eventually prevail, overtaking and overgrowing human civilisation, unit, all that is left, is what was before.
'The relentless battle between man and the natural environment that he Inhabit's is one that holds endless visual possibilities. The buildings and structures that man builds as symbols of prosperity and status are, at their basic level, simply a means of protection from the harsh environment that surrounds him.' This project shows that nature will eventually prevail, overtaking and overgrowing human civilisation, unit, all that is left, is what was before.
Contact Sheet
Favourite Image
WWW: There was a range of photos that represented nature reclaiming what was once its. I experimented with different exposure to create the right effect.
EBI: I travelled to different locations to try and capture nature's struggle to reclaim man-made places.
EBI: I travelled to different locations to try and capture nature's struggle to reclaim man-made places.
Force of Architecture
In this task I was required to photograph buildings from an angle that gave the impression they were bearing down on me.
Simon Phipps
Many Artist and Photographers have depicted imposing architecture such as factories bridges oil rigs power plants dams and wind turbines to reflect both the physical and visual impact of the places.
Simon Phipps in his series Brutal focusses on Brutalist architecture and the dramatic effect these concrete buildings have had on their environment.
Brutalist Architecture, or Brutalism is an architectural style which emerged mid 20th century. The use of it creates stark contrast in buildings, creating sharp angular structure that boast their rough, unsullied texture. To reflect this imposing style of architecture in his photography, Simon Phipps took his photographs in black and white, also using aluminium as his printing medium. This perfectly mirrors the out of place feeling brutalist architecture gives the viewer, with people viewing his photos with the same feeling.
Simon Phipps in his series Brutal focusses on Brutalist architecture and the dramatic effect these concrete buildings have had on their environment.
Brutalist Architecture, or Brutalism is an architectural style which emerged mid 20th century. The use of it creates stark contrast in buildings, creating sharp angular structure that boast their rough, unsullied texture. To reflect this imposing style of architecture in his photography, Simon Phipps took his photographs in black and white, also using aluminium as his printing medium. This perfectly mirrors the out of place feeling brutalist architecture gives the viewer, with people viewing his photos with the same feeling.
We were asked to consider three composition ideas:
Negative space
When focussing on negative space, consideration needs to be taken into the overall balance of the picture composing the shapes that surround the focal point |
Geometric Shapes
The objects within images can be broken down into series of basic shapes. |
Geometric Shapes
The objects within images can be broken down into series of basic shapes. |
My Response
Contact Sheet
WWW: These photos were well composed in terms of exposure and angles and represented the shoot's goal: to show the sharp lines and rough architecture of the city .
EBI: I visited different locations to capture the architecture there as well.
EBI: I visited different locations to capture the architecture there as well.
Force of Movement
Eadward Muybridge
For this strand of 'Force', we were required to follow and draw inspiration from English-American Photographer Eadward Muybridge. In 1872, the former governor of California, Leland Stanford, a businessman and race-horse owner, hired Muybridge for some photographic studies. He had taken a position on a popularly debated question of the day – whether all four feet of a horse were off the ground at the same time while trotting. The same question had arisen about the actions of horses during a gallop. In 1872, Muybridge began experimenting with an array of 12 cameras photographing a galloping horse in a sequence of shots.e eventually perfected this technique, proving that while in full gallop a horse's feet will be all off the ground at one point. This technique freezes the subject and allows to be edited for a 'multiple exposure'.
My Response
In these photos the camera needed to be kept in the same place to create a multiple exposure. Then as the subject moved, I snapped the progression of the movement.
Three Strands
Strand 1: Layered Images (Movement)
Eadward Muybridge
In 1872 Eadward Muybridge undertook the task of proving whether a horse, while in full gallop, had all four hooves of the ground at a given moment in time. He successfully proved this by arranging twelve cameras and capturing a sequence of photos one after the other. In class, we employed this technique but added the photoshop process where we layered the images to create a multiple exposure.
WWW: These images were taken with the correct exposure, and, for the most part were kept in the same frame. As they were compiled of several shots, it was more difficult to edit them together. The model( Freddie- scroll up to view more photos of him) had a range of ideas he wanted to try, and these really helped the progression of these photos.
EBI: The camera was kept held on a tripod so the images would fit together more seamlessly.
EBI: The camera was kept held on a tripod so the images would fit together more seamlessly.
Strand 2: Manipulating Colour
Richard Mosse
Mosse gained significant attention for his photographs of the war in eastern Democratic Republic of Congo using colour infrared film intended to create a new perspective on conflict. The use of infrared film also created an abstract impression of the landscape and the people photographed in them are the only subject which are normal colours.
My Response
WWW: Most of these images were taken specifically for the strand, however even the ones that did not contain enough colour were capable of manipulation and change, allowing for all of them to follow the trend of inverted, or changed colours.
EBI: I could only change certain tons and colours instead of altering the whole image, but that would prove to be quite difficult as I do not posses an infrared lens for my camera.
EBI: I could only change certain tons and colours instead of altering the whole image, but that would prove to be quite difficult as I do not posses an infrared lens for my camera.
Strand 3: London at Night
Rut Blees Luxemburg
Rut Blees Luxemburg (born 1967) is a German photographer. Cities transform at night. Absolved of their conventional function, architectural structures and public spaces acquire new meanings in the darkness. “The night is a space of freedom, where certain demands of the day are temporarily suspended,” says Rut Blees Luxemburg. Since arriving in London almost three decades ago, the photographer has spent her nights exploring the altered spaces of the capital. From towering office blocks to abandoned buildings, her work captures the nocturnal landscape of the city from unusual perspectives.
My Response
Original Shoot
Favourite Images
WWW: I used long exposures to create bright slightly blurred images, which also incorporated elements of "Movement".
EBI: If I found more night street lighting like the second selected photo, and more photos in general.
EBI: If I found more night street lighting like the second selected photo, and more photos in general.
Second Development
Favourite Images
WWW: I tried out different locations with different lighting. The dark backgrounds give an eerie feel to the pictures, drawing on Rut Blees Luxembourg's yellow tones; the artist specifically chooses that lighting, which creates the same atmosphere.
EBI: I experientmed with different exposure and new angles.
EBI: I experientmed with different exposure and new angles.
Third Development
Favourite Images
WWW: There was a range of lighting, including more white street lamps, which gave bright flared effect.
EBI: If I used wider angles or from different points of view.
EBI: If I used wider angles or from different points of view.
Fourth Development
Favourite Images
WWW: I successfully acquired photos from different angles, using light trails as the subject of the photos and street lights and signs in the background, while retaining some of Rut Blees Luxembourg's inspiration and ideas that influence these images.
EBI: I tried to keep all the photos in focus and planned the route and places to shoot.
EBI: I tried to keep all the photos in focus and planned the route and places to shoot.
Final Force outcomes
DO NOT DELETE. LEAVE THIS TEXT BOX AT THE BOTTOM OF YOUR PAGE.
Annotation
Introducing a task:
Subject matter
ebi:
Subject matter
What’s next
Analysis
What do you think the photographer’s intentions are? There may be more than one. ‘PEC’ each intention.
P (Photographer’s name) creates (what type of images? Fantastical, surreal, objective)
E He / she does this by… (describe something in the image)
C He/she wanted us to consider ….
What wider issues is the photographer addressing?
P (Photographer’s name) is considering (is the photographer talking about a bigger issue in photography, society, politics?)
E This is shown by … (describe something in the image)
C The (Photographer’s name) was interested in this issue because (they felt it was relevant to us now…)
How do the materials and techniques used support your photographer’s intentions?
P (Photographer’s name) has used (the darkroom / multiple exposure / film / digital manipulation techniques) in creating
this work.
E This creates a ______ effect. (describe something in the image)
C This helps to support (Photographer’s name) point about (showing an identity / hiding a person’s identity / the media
/ anonymity)
Annotation
Introducing a task:
- In this task I was required to…..
- This task links to the theme, (project title) as it shows....
- My intention was to respond to ……. because I wanted to explore....
Subject matter
- The subject I chose to photograph suited the theme as it……
- My composition helped to support my response to the theme by….
- I managed the exposure very well. My ISO / shutter speed / aperture settings were…..
- I prioritised my shutter speed to… (capture movement / blur/ frozen moment)
- I prioritised aperture to manipulate depth of field.
- I used a tripod to avoid camera shake.
- My images express my intentions which were…
ebi:
Subject matter
- The subject I chose to photograph did not necessarily fit the brief as it was not interesting enough / appropriate / adequately lit…..
- Next time I should go to (a different location), photograph at a different time of day, organise people in advance, think more about my composition so that….. ect
- I did not create enough depth of field / sense of movement. The image is over exposed / underexposed / too blurred.
- Next time I should use a tripod / use a different type of lens (be specific) / experiment with film…
- My images do not show my intentions which were…
- The concept wasn’t clear in my images, I need to make it more explicit by…
What’s next
- Next time I will consider the work of (a photographer) to inspire a more accurate depiction of what I want to achieve.
- I will experiment further with… (blur / shutter speed / composition)
Analysis
What do you think the photographer’s intentions are? There may be more than one. ‘PEC’ each intention.
P (Photographer’s name) creates (what type of images? Fantastical, surreal, objective)
E He / she does this by… (describe something in the image)
C He/she wanted us to consider ….
What wider issues is the photographer addressing?
P (Photographer’s name) is considering (is the photographer talking about a bigger issue in photography, society, politics?)
E This is shown by … (describe something in the image)
C The (Photographer’s name) was interested in this issue because (they felt it was relevant to us now…)
How do the materials and techniques used support your photographer’s intentions?
P (Photographer’s name) has used (the darkroom / multiple exposure / film / digital manipulation techniques) in creating
this work.
E This creates a ______ effect. (describe something in the image)
C This helps to support (Photographer’s name) point about (showing an identity / hiding a person’s identity / the media
/ anonymity)