Roni Horn's details of the River Thames, dark and lushly printed as offset lithographs after photographs, are sprinkled with tiny numbers that refer to texts printed like footnotes beneath each image. Usually the texts refer to Horn's private thoughts, although some are quotations from sources as varied as popular song lyrics, poetry, and news stories of suicides in the Thames (a leitmotif of this print, which is part of a series). If one reads the footnotes of the series consecutively, the reiteration of texts and repeated questions and answers evoke the rhythms and surges of waves and tides.
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Carlo Muttoni founded Brandpowder, a creative think tank for innovation and experiments in visual communication, and specialized in the creation of branded content which turns products and brands into compelling ideas. Paper Surgery.
'It’s a sort of Media-Origami mixed with Trompe-Collage and a touch of Iconoclastic Voodoo. Tree Pulp Mumbo-Jumbo. Paper seems old-fashioned, today, and dismissed in favor of hypnotic media liquidity.' 'I love paper, and this is another essay to celebrate its unpredictable flexibility.' |
What went well was I successfully changed the picture style to monochrome to add more black and white contrast. In addition, the images can be interpreted with meanings with the use of shadows and position of fork rather than just an object. What went well was I was able to create a mood in the image through using red light which are connotations to passion or danger. Furthermore, I used the light off the fork to reflect movement.
It could be better if it was more in focus to emphasise the depth further. |
Edward Weston (1886-1958) was a 20th century photographer who has been called one of the most innovative and influential of all American photographers and a master of photography. His career spanned 40 years and he photographed an expansive set of subjects, including landscapes, still-life, portraits, and genre scenes.
Some of Edward Weston’s most famous work was close-up images of vegetables and fruit, photographed in a way that captured the “essence” of the object, taking them out of context. His manipulation of light to highlight shape, texture and form helped bring photography out of the shadow of painting and stand on it’s own as a credible art form. Through these photographs he transformed his subjects into abstractions of shapes and patterns. |
What went well was I was able to take pictures which have potential for many shadows that can be emphasised in photoshop to black and white, by using different angles from the camera and the object. In addition, I were to be closer up to the objects I could get a better depth of field. Furthermore, I used to shape of the object to use to my advantage as I positioned the light so the object which created more shadows.
It could be better if the main objects were in focus but It did help create a depth of field which I originally wanted. |
Jan Groover born April 24, 1943 and died January 1, 2012 was an American photographer who experimented with space and illusion in large format still-life tableaux that featured everyday objects, particularly kitchen utensils arranged in a sink. "With photography I didn’t have to make things up,” she said, explaining the change of medium from art to photography. “Everything was already there.”
Using a large-format camera, she transformed colanders, knives, spatulas and baking pans into objects of beauty that still hold a visual interest that transcends their common use. Her seductively modern colour palette of greens, pewter, bronze and brown tonalities permeates the space dissected by kitchen paraphernalia. |
In her ongoing series titled Perspective, photographer Suzanne Saroff creates fractured and skewed images of common foods as seen through vessels filled with water and glass objects. The images play with concepts of light and shadow resulting in distorted still life's that appear almost like digital glitches.
“With tools and techniques such as refraction, directional light, and bold colours, my photographs give everyday items alternate visual avenues of expression,” shares Saroff. “Taking shape via shadows or fragmentations, my subjects often become more than the singular and expected version of themselves.” |
What went well was i was able to incorporate a reflection of the object into every glass. In addition, i used different shapes of glass to create different shapes in the glass. Furthermore, i also created shapes by using different angles of the object.
However, it could be better if i had the light source from a better angle, it could bring a different perspective. Moreover, if i were to use objects that pop more in colour, it would enable the picture to emphasise shape of the object. |
What went well was i was able o emphasise elements Jesse Draxler used that wouldn't of been noticed initially (inverted). However, I did not invert all the photos i used to compile the image to had contrast between the features of the models face. I did this well as i was able to line up the photos well that made it seem realistic. Additionally, I made the image upside down to add more creature-like to the image.
Moreover, it could be better if I lined up the necklace and made cleaner cut lines as when its pen lined you can see it more clearly and does not blend into the other images cut out. |
Gordon Magnin is an LA based artist who uses fashion images and turns them into a unique collage of "altered found images" with his use of geometric patterns.
He describes his work as "precise, intricate, geometric and destruction". His alteration of single images using precise geometric cuts and operations completely re structure the form of the original photos, and due to the majority of his photographs being portraits, the repositioning of geometric shapes cause deceptions at first sight as the eye is not used to features of the face being in strange places, which is what makes his work so unique and individual. His use of black and white colouring accentuates the features of the face even further due to the quality and use of shadow in his photographs. His aim of work is to break down the expectations of perfect looking models and to challenge the industry's perception. |
What went well was that i added contrast to the monochrome images to create more shadows so the rotated shape to further emphasise a dramatic contrast. Furthermore, i increased the lightness to make the images 'soft' and essentially not harsh. Additionally, i experimented with different shapes to convey contrast with the softness of the image. Even better if i experimented with placing the shapes over different parts then the eye to add a sense of unusualness.
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Alma Haser creates kaleidoscopic cubist portraits by folding photos into origami structures and then photographing them again over the original same-size photo portraits.Cosmic surgery is imagined as a medical procedure that people can choose in the not so distant future for aesthetic enhancement, mood alteration, and to thwart increasingly pervasive methods of surveillance. Combining photography with collage and Origami, Haser's playfully odd portraits consider the link between identity and image in a culture of visual bombardment. She suggests a fundamental shift in the way we understand ourselves and the world around us, picturing the possibility of a trans-humanist future.
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Patrick Cornillet is a French architectural painter born in 1968 in France. Cornillet resides and works in Nantes. His recent work features austere constructions in empty surroundings. Fragments of architecture left in the center of the painting, in suspense by its visitors. His works capture their spectators in an illusory space. Because of this the viewer struggles to give an interpretation to these concrete structures. Unclear is if these structures have ever served a purpose other than confusing its viewers. Cornillet’s more recent work can be viewed as ‘severe’ or ‘naked’. Similar to his previous work a feeling of motion is perceived in these structures. These images evoke the ruins of a fallen society, standing as naked as fragmented.
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What went well was that my images looked similarly to Cornillet.
Additionally, i photographed buildings that had a odd shapes which allowed me to emphasise Cornillet's idea to an extreme. As well, i kept the background into the unusual background to add a sense of reality to the images as well to confuse the audience. It could be better if i used more plain buildings to photoshop where it could express Cornillets element of 'nakedness'. This is because the images seem crowded and busy, which takes away from the shapes of the building. |
Mauren Brodbeck, a Swiss multisensory artist and singer-songwriter, uses visual and auditory elements to create startling reinterpretations of common objects and experiences. Her multidimensional works invite her audience to step outside their safe and familiar realities and reconsider their relationships with the people and environments around them.
The hue used comes from the location or the season : “I am inspired by the colors of the place and the seasonal colors which can really change the feel of the pictures. I start by using the color palette of the area or the persona. Then I create my own color palette based on the original color. That maintains the authenticity at the base of the work.” |
Kensuke Koike is a contemporary visual artist. The series, “No More, No Less”, includes new silver prints made from the album’s original negatives. These prints were then submitted to Koike’s sharp imagination, who, with a simple blade and adhesive tape, deconstructs and reinvents the images. However, these purely manual interventions all respect one single formal rule: nothing is removed, nothing is added, “No More, No Less”. In such a context that blends freedom and constraint, Koike meticulously explore the possibilities of an image only made up of itself.
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The UNFRAMED Ellis Island project aims to bring alive the memory of Ellis Island, the entry point to America for millions of immigrants. Coming from all over the world, leaving their belongings, their family and their past behind them, with the fear that they may be sent back to it, the presence of these people who have shaped the modern American identity can still be felt in the buildings, although abandoned for the past 70 years. This is the opportunity to interpret the stories of these people through art.
JR born 22 February 1983 is a French photographer and street artist. He fly posts large black-and-white photographic images in public locations. |
wIn this task i was required to use the transparency of paper in contrast to different surfaces/textures/light. This task links to the theme as it shows the manipulation of paper. As well i used the same image to emphasise the possibilities of paper, than not relying on the image itself.
What went well is that you can clearly see the original image through the transparent image. Additionally, i prioritised the aperture to manipulate depth on field to make the paper stand out from the material. I also kept a lot of the paper still on to increase the contrast. Moreover, i kept gaps in the image to add shadows, further adding a sharper contrast. Furthermore, i distorted the images on photoshop to appear as if they were taken from above, making the images more appealing. Even better if i distorted the images to straighten them to appear less messy. This will allow you to focus more on the paper. Additionally, if i cropped images slightly, it will look neater and appear more closely related to my theme. |
The Body Wants to Live sources iconic silhouettes from Richard Avedon’s 1990s campaign for Gianni Versace to frame and reanimate the pages of The Family of Man catalogue that accompanied the eponymous 1955 MoMA exhibition curated by Edward Steichen. Echoing the original exhibition’s layout, the catalogue is filled with small, boxed images that propose a universal narrative from creation to death arranged on white pages. Lipps explores the contrast between the high fashion sensibility of Avedon’s silhouettes and the reconfigured content of their interior photographs, highlighting the wealth and racial disparities that have been in especially sharp focus today. Lipps transforms this printed publication into theatrical tableaux employing collage strategies, sculptural devices, and dramatic staging. Studio lighting combines portrait and product photographic techniques to illuminate the dynamically posed bodies, len ding a film noir aur a to the surreal fashion photoshoot.
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Sculpture:
1. Print the images of the model on A3 and on card. 2. Cut out the silhouettes. 3. Cut out white cardboard into strips. 4. Glue a strip onto each model and the bottom middle, overlapping. 5. Cut out a square base with the white cardboard. 6. Bend the strips and glue it to a cardboard square base. 7. Glue further strips to maximise support. |
Photoshop:
1. Open the image taken with the white backdrop. 2. Adjustments-black and white + lightness and contrast. 3. Place the image of people over, then hide. 4. Using the magnetic lasso tool, trace over the silhouette. 5. Un hide the image of people. 6. Copy and paste image. 7. Cut the original image of people. |
In this final development i was required to incorporate both photoshop and physical work, and collaborate all my previous developments into one. This task links to the theme of paper and manipulation where you cannot tell if it's physically real or not. I took a variety on images of random people in Muswell Hill, to show the diversity and culture of the place through contemporary poses of the silhouettes, to emphasise the peoples individualism and the London location.
What went well was that I chose elaborate poses that would show more of the images of people, showing more of the location as well, adding a sense of realism. My composition helped to support my response to the theme by keeping the poses minimalistic and more appealing so the you focus more on the images of people within. I managed my exposure very well using a low ISO. This makes the images of people pop from the stand and backdrop. I prioritised my shutter speed high to reduce blur when taking picture of the people and to create a sense of stillness, further making you focus more on the people. I used a tripod ti avoid camera shake. Even better if i took pictures of people in Central London as it is more crowded and more diverse, it could fit the theme more and it would show more of an interesting image. Additionally, it may of been better to use a low shutter speed, to add a sense of movement, in contrast to the silhouette which is still as well. Lastly, it could of been better if i incorporated more of my other developments into my final, or made it flow, this helps me convey my theme more. |