Photographing Annie Leibovitz While She's Photographing Me, 1983
Photographic Collage edition 4
25x61 in
Thursday, 17 January 2008
David Hockney
Photographing Annie Leibovitz While She's Photographing Me, 1983
Photographic Collage edition 4
25x61 in
David Hockney
In the Eighties, Hockney turned to photo collage. Using a polaroid camera, Hockney would assemble collages of photos that he would take as quickly as possible. Hockney was fascinated with the idea of seeing things through a window frame.
This medium allowed him to see things in a whole new fashion. He took a drive in the SouthWest United States taking thousands of photos and fitting them altogether into various collages such as, You make the picture, Zion canyon, Utah. His artwork also began to take on a psycological dimension.
This medium allowed him to see things in a whole new fashion. He took a drive in the SouthWest United States taking thousands of photos and fitting them altogether into various collages such as, You make the picture, Zion canyon, Utah. His artwork also began to take on a psycological dimension.
Tuesday, 15 January 2008
Tim Macpherson
'Tim has been exploring some interesting avenues in the world of compilation photography. Choosing the particularly contemporary theme of children and (un)healthy eating, he has shot a range of pictures which juxtapose a clean innocent and attractive background, with a potentially troubling foreground. Could weathered off days be a thing of the past?!'
Here is a photographer where digital post production is crucial in many of his images. In this series of photographs showing children indulging in bad food, he has placed the children onto different backgrounds, for a greater effect on the viewer.
To me, this project could be seen not only as a shock to all how the children of today are eating, but possibly as starting the debate of body issues and size zero even younger. I wish to focus more on self image and body issues as i research more into the project.
Here is a photographer where digital post production is crucial in many of his images. In this series of photographs showing children indulging in bad food, he has placed the children onto different backgrounds, for a greater effect on the viewer.
To me, this project could be seen not only as a shock to all how the children of today are eating, but possibly as starting the debate of body issues and size zero even younger. I wish to focus more on self image and body issues as i research more into the project.
Richard Kalvar
Richard Kalvar
USA New York City, 1969
Woman looking at herself in store window
I particularly feel this image shows what i like about Kalvar's style. The woman's reflection looks so perfect and the timing of the image feels almost too right. As if the image could have been digitally manipulated.
I like the way the reflection is the focus of this image, and the slight narcissicm here from the woman, by looking in a shop window to look at your own image.
Richard Kalvar
Richard Kalvar is a photographer for Magnum Photos.
'Kalvar's photographs are marked by a strong homogeneity and aesthetic and theme. His images frequently play on a discrepancy between the banality of a real situation and a felling of strangeness that emerges from a particular choice of timing and framing. The result is a state of tension between two levels of interpretation, alternated by a touch of humour.'
Again I have looked at a photographer who, rather than manipulating their images, gives this feeling and look by the way the shot is taken and composed. Also, Kalvar looks at people in his photography, which is something i would like to look at in mine.
'Kalvar's photographs are marked by a strong homogeneity and aesthetic and theme. His images frequently play on a discrepancy between the banality of a real situation and a felling of strangeness that emerges from a particular choice of timing and framing. The result is a state of tension between two levels of interpretation, alternated by a touch of humour.'
Again I have looked at a photographer who, rather than manipulating their images, gives this feeling and look by the way the shot is taken and composed. Also, Kalvar looks at people in his photography, which is something i would like to look at in mine.
Big Rocket
Big Rocket's 'Trim" project is one of the best in book winners in Creative Reviews photography annual, published with the october issue of Creative Review.
Big Rocket (aka James and Will) shot trim, which is a series of before and after portraits at a barber shop in Soho, London.
"We are interested in the idea of how a person's image changes through the process of a simple haircut. We chose a £6 barber in Soho and set up a small studio area inside the shop, where we photographed the customers before and after their haircut. We wanted the two images to be shown side by side as one image, to highlight the change - We stayed in the barbers for a day and photographed literally anyone that agreed to do it, we are very used to working with the public through other projects, such as previous series on trainspotters, skaters and prison officers, so we managed to photograph a broad selection of customers."
I really like the idea of these images, at first glance i thought they had been manipulated to look so subtley different, I intend to explore this more in my own work, whether this project could have worked if it all had been set up and the change in appearance was achieved digitally.
Big Rocket's 'Trim" project is one of the best in book winners in Creative Reviews photography annual, published with the october issue of Creative Review.
Big Rocket (aka James and Will) shot trim, which is a series of before and after portraits at a barber shop in Soho, London.
"We are interested in the idea of how a person's image changes through the process of a simple haircut. We chose a £6 barber in Soho and set up a small studio area inside the shop, where we photographed the customers before and after their haircut. We wanted the two images to be shown side by side as one image, to highlight the change - We stayed in the barbers for a day and photographed literally anyone that agreed to do it, we are very used to working with the public through other projects, such as previous series on trainspotters, skaters and prison officers, so we managed to photograph a broad selection of customers."
I really like the idea of these images, at first glance i thought they had been manipulated to look so subtley different, I intend to explore this more in my own work, whether this project could have worked if it all had been set up and the change in appearance was achieved digitally.
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