Exhibitions- Lee Miller
I looked at the work of artist, journalist and model Lee Miller during her exhibition in Copenhagen. She had a wide collection of images such as looking at the war from a glamourized perspective, photographing for Vogue. One of her most infamous images being the portrait of Miller in Hitler's bath. The juxtaposition and history of the setting was striking and drew me into her photography. She also ventured into landscape photography in areas like Hampstead and it's fairground. Her work with Picasso fascinated me as her images showed a different personality to his art as the exhibition explained their affair.
Identity
identity /ʌɪˈdɛntɪti/
noun
the fact of being who or what a person or thing is.
This word resonated with me because I think it describes all portrait photography. My aim when taking images of people is to best describe their identity/ persona through visual representation. It also pushes me to go beyond posed smiles and face shops that merely describe the identity people choose to present on first glance. Photographing with the word identity as a theme forces me to deeply study human form, interest and expressions. The word can also be construed into deeper meanings such as hidden identity, media identity etc.
noun
the fact of being who or what a person or thing is.
This word resonated with me because I think it describes all portrait photography. My aim when taking images of people is to best describe their identity/ persona through visual representation. It also pushes me to go beyond posed smiles and face shops that merely describe the identity people choose to present on first glance. Photographing with the word identity as a theme forces me to deeply study human form, interest and expressions. The word can also be construed into deeper meanings such as hidden identity, media identity etc.
Julian Germain
Julian Germain is a photographer from London. He focuses on capturing the essence of people and humanity. This series of images is my favourite, the project was shot over eight years and looks at the life of Charles Snelling, an elderly man living alone in a small house in Portsmouth titled 'for every minute you are angry you lose 60 seconds of happiness' this intrigued me because it makes you look at the calm aspects of people's lives. Particularly when capturing the older generation it is clear they have come to terms with letting things go. I think his images look raw and unstaged and particularly capture aspects of life.
My dad (Henry)
This photo is my father displaying his beloved mother (Ma). She passed away last year and he has kept this picture on his desk ever since to remind him of her strength, courage and beauty. This photo was taken in her home around the corner from ours in North London. She was born and raised in India and it became an overwhelming part of her identity. As the photo shows, Ma engulfed her London home with Indian fabrics for when she got homesick and to show off her culture to visitors. This pride she took in Indian culture was passed down to my dad, although he only lived there during his childhood he preaches the beauty and diversity of this culture in everyday life.
These pictures are of Henry in his home office. He has had this space to himself for 20 years now so has accumulated lots of decorations and items that represent his life, hobbies and memories. He works for WaterAid and fills out documents at this desk. The bottles next to him are distilled Cranberry and Apple gin, an interest of his . There is also an abundance of pictures of family members.
I rearranged your images into rows- it's far easier to look at fewer in a row and on the same line.
I rearranged your images into rows- it's far easier to look at fewer in a row and on the same line.
This is a collection of memorabilia in Henry's study. Many of these things are from his mother's house or carried from his childhood home in India. It allows him to bring this culture into London and remind him of where he came from. The chain around his neck is the Ahura Mazda, the deity of Zoroastrianism. Although he and his parents are not practising Zoroastrians there are few left in the world and he wears it around his neck always representing the pride in his ancestors.
He has always been a fan of music, accumulating records as he ages. This photograph is of Steeley Dan, greatest hits. Above are two pictures taken 40 years apart, with the same guitar. He played as a teenager and carried on the skill to older age even though the hobby has never been serious.
The final image is where you are most likely to find Henry, in his bed reading the paper. This image almost gathers everything from before about his personality and interests but is far more relaxed and natural.
My godmother (Angela)
her My next personal documentary looks at my mum's best friend Angela. Her home and appearance is centred around her culture and upbringing, which is not described as usual. Born in Pune, India she was raised Hindu by her parents, transporting between India and Kenya, up until the age of 11 when she was brought into a commune. The photograph on her wall is the guru who essentially raised her for her teenage years. This great image on her wall is representative for her past and respect for the guru
Angela embellishes her living room with patterned cushions and fabrics that add her identity to her home.
I looked at Angela's cooking as it is a large part of her identity. She will cook every night whether its for her family or to give in tupperware to friends and family. This is her way of showing affection and caring for people. She introduces people into traditional Indian spices and dishes and likes to imprint her taste onto others
These images are things around her home, that are part of her identity- her favourite book and a pair of earrings given to her by her mother. These show her history.
The images of Angela are successful in showing how important her Indian culture is and how colourful and full of life she and her home are. The picture of spices particularly combines these two elements - with the contrast in lighting highlighting the depth of colour. The images of Henry are more complex, perhaps because he is older and comes from a mixture of different cultures and experiences so there is more going on in the pictures. The lighting in the first picture of his hand holding the image of his mother works to make the photograph more moving, while the soft but bright light in the last picture in contrast show him relaxed and at peace.
Light and shadow
light /lʌɪt/ and shadow /ˈʃadəʊ/
noun
the natural agent that stimulates sight and makes things visible.
a dark area or shape produced by a body coming between rays of light and a surface.
noun
the natural agent that stimulates sight and makes things visible.
a dark area or shape produced by a body coming between rays of light and a surface.
Andre Kertesz
Andre Kertesz, a European photographer who is widely renowned for his composition, was perfect for me to look at light and shadow. He devises complex shapes and reflection with the most common household items and simple studio. These images are effective because they create abstract artworks in mundane everyday objects through careful positioning of lighting.
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In my response, I tried to create the plainest possible backdrop to focus the subject and used natural sunlight as I felt it created a nicer glow and reflection compared to artificial light. When selecting my objects I tried to find reflective and opaque items so the reflection was intricate.
My best edits were transformed into black and white to remove too much information and focus solely on the light and shadow. I also edited the contrast so the shade was highlighted and the details appeared more crisp.
I believe the image above is the most successful, I think the shadows and intricacies of the glass create the most well-rounded photograph. To develop this image further I could have photographed the shadows on its own without the object creating them to make the image more abstract.
Personal environments
Personal environments is my third theme as I wanted to incorporate street photography. I think it allows me to look at a diverse range of subjects. Living in London it is common to have a huge range of wealth in the same area meaning there's also a large contrast in the type of people you will find. One area near me that is one of the best representatives of the major wealth gaps is Kentish Town and Camden Town. It contains a mix of council estates and houses that would sell for millions. This is also reflected in the high street for example having both a LIDL and Waitrose. I wanted to show this through my photography and represent community.
Rob Cartwright
Rob Cartwright is a street photographer from London my favourite work of his is when he looks at Columbia road flower market. The image on the right is titled "Alesha"~ A portrait from last weekend’s fighting through the floral throng at Columbia Road Flower Market. His images are particularly successful in capturing the essence of Columbia Road, the pictures don't seem staged and depict people in their normal role whilst still keeping in mind how to frame a successful photograph
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I looked at Camden Market because I think each individual stall has a different pocket of culture from around the world. I asked two owners if I could take their photograph for this project and they responded of course, with a chuffed smile. I think this embodies the pride people have in their work and the overall embrace of being different that there is in Camden.
My overall aim for the societal structure street photography was to create a collection of photographs evocative of the vibrancy and diversity of Kentish Town and Camden Town, so I took a range of images that included buildings and people on different errands of their days.
My last collection of images is a more topological response. I tried to photograph people walking through the exact same spot down the high street so it is only the subject that differs. This allows you to further analyse the difference in the type of people. I think the juxtaposition of the skateboard and shopping trolley worked well against the similar background. The background was representative of the area however it was quite detailed and draws the eye away. Ideally I could have taken more images of people against a simpler background, however I found it difficult to get close enough without drawing attention to myself and so losing the shot. Taking these images quickly also made it harder to find the best light and composition. Ideally I would have found a place where I was concealed. While the picture held contrast different people, they don't say a great deal about each individuals identity. In developing this idea I wanted to be able to capture my subjects individual identity in more depth.
Development- identity
I thought the word theme 'identity' stood out to me the most. It allowed me to understand the people around me further and understand how photography can tell a story and present a narrative of an individual's life. It was also a broad enough subject matter to also incorporate skills learnt in light and shadow and personal environments. Below were my initial inspirations taken from Pinterest for this theme.
Typology
To develop identity however I wanted to move further from singular portraits and look at how other artists show identity. Whilst researching this I found typology. A photographic typology is a single photograph or more commonly a body of photographic work that shares a high level of consistency. This consistency is usually found within the subjects, environment, photographic process, and presentation or direction of the subject. This interested me because I think it can be used for identity effectively and conveys emotion in a different way to simple portraiture.
Robert Holden- Burning House Project
Robert Holden portrays identity through belongings in his 'burning house project'. It is titled this because he forces the subject to imagine that their house is burning down and they must quickly gather the items that are most precious to them that they wish to rescue. This is a somewhat dark way to accumulate a collection of sentimental possessions. The time limit forces the subject not to get bogged down in what could create the most aesthetic image or make them appear the most interesting, so you get a real sense of who the person is. Holden then lays out the objects in typology form that creates one image to show identity. |
Mum vs Dad
My response to this was to use bedside tables. I think this can most affectively capture a person's identity as it stores the most essential belongings, needed first thing in the morning and last thing at night. It can also become cluttered and contain an array of items. I used my mum and my dad as I wanted to show their contrast in personalities and I think the images highlight masculinity and femininity.
Carrie Mae Weems
The image on the left was my favourite portrayal of identity that incorporated the theme of typology. This project is by Carrie Mae Weems and is entitled 'Kitchen table'. This is a raw and relatable approach to documenting identity as it depicts a routine that is familiar with the all the population, but differs for everyone depending on time of day, age and location- sitting at the kitchen table. Weem's work incorporates a diversity of generations, emotions and storylines while remaining in the exact same frame which is the advantage of typology. The symmetry of the table and the consistent placing of Weem as the subject placed at the head, allows you to focus on and understand the details of the images. These details convey the storyline, for example in relation to the alcohol served with a singular glass of wine representing a more playful tone than the picture above it where she is sat before a whole bottle, with her head in her hands.
I wanted to create my own version of Carrie Mae Weem's series because I thought with little moving and set up I could tell the story of identity of the people around me
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Development 1: My Response to Carrie Mae Weems
My initial response was to photograph my mum whilst having her morning coffee. This is an essential part to her morning routine but is often compromised with other things being a working mum and having a busy schedule so I thought that while it was consistent it also had potential to show variety
With all my images across 9 days, I collected them into a singular image aiming to place them with the exact same size and angle (below). I think including all of my pictures made the image too cluttered and confusing as the background was quite full so I edited it down to 4.
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I included these 4 images because I thought they told the most real story of my mum's daily life and visually were the most different and exciting. I then changed the image into black and white because I think it focuses the image more by drawing the eye to the model rather than the cluttered background. By removing the distraction of the different coloured clothes she is wearing in also focuses on continuity and the morning routine of sitting in the same location. As I took my pictures on different days the light differed and I wanted sequencing to each picture. I think the image is successful because they tell the story of her personality. However had there been a plainer background I think it would have improved the photograph
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Overall, this is a successful representation of my mum, particularly her role in the household, using techniques discovered by Weems. I think the images translate to recognisable practices for all women in the home and convey emotion successfully.
Development 2 - the bathroom
For this set I differed from the subject staying the same and it being the background activities differing to the subject and their movements differing, this was because I wanted to divulge from immediate replication of Weems's work and see if I'd be able to use her method of photographing to portray a different role and emotions. I used my dad this time and photographed him in the bathroom, this was because I wanted to capture where the man's most vulnerable place might be in the home. I like this setting because I can get more creative with framing for example setting up in the reflection of a mirror and created actions identifiable to many.
I took pictures of my dad in the bathroom every day for 4 days. To separate the images I asked my dad what his nightly routine is and comprised the different activities, brushing teeth, washing face and shaving. I set up the images so I was behind him capturing the reflection in the mirror and also his back profile, whilst ensuring to make sure my reflection was not in shot. I edited these in the same manor as before, after learning that the images in black and white are the most successful for dulling the extra information.
I think the framing of this image is successful, I like having his head faced away and the image being the reflection however because of this I had to photograph from difficult angles in order to make sure I was not in frame. I think if I used a faster shutter speed it would have allowed me to focus in on the details of the fast paced movements. I think it also captured raw emotions and depth, the composition of photographing being looking into the mirror reflects identity in how we look at oneself, particularly of an evening when it is time to reflect on past actions and look to the next day.
Sequencing and cloning
My aim to develop typology and identity further was to explore the theme of sequencing. This would allow me to combine multiple and stories within one image. I chose initially to use simple tasks to story tell as not to overcomplicate collaging and aimed to demonstrate progression and movement.
Development 3- sequencing
I took pictures of my grandma setting out dessert and meandering in her kitchen. I used a tripod that stabilized the camera to keep an identical frame then made sure I captured her moving about the frame to fill up the image and create a narrative with a variety of layers and levels.
I think the success of my final products were the framing, the open window frame creates a cosy sense and makes them feel more personal. I told my grandma to be as natural and oblivious to the camera deliberately to catch her mannerisms and natural stance. I created two different products as I had lots of images that I wanted to use but more than three replications I found overcrowded the image. When creating this in Photoshop, I found it challenging and time consuming to highlight and extract the whole body including details such as strands of hair because I did not want to images to look obviously edited by cut and pasting in attempt to add more ambiguity. I think I successfully controlled the lighting so the cloning subject looks coherent and in place, and ultimately replicated my grandma's mannerisms well.
Development 4- cloning
My next development from sequencing photography was to look at cloning. I thought although both forms use very similar editing techniques they present identity in very different ways. While my first development focussed on movement and progression, my second attempt was to convey the impression that all of these forms are existing at the same point in time. I did this because I thought cloning presents an interesting form of identity, it allows you to encapsulate multiple sides to a person, whether it be the way they hold themselves, facial expression or activity. I think this can tell a story about 'false identities' and look into the way we interpret ourselves differently adapting to our environment. My first couple of attempts were simply of friends in a classroom to experiment with techniques and layers and how to understand the editing process so I knew what to look for when photographing my next development.
Daisuke Takakura
I looked at artist Daisuke Takakura, a Japanese photographer who playfully creates multiple cloning scenes that tell a story and capture multiple expressions and levels. I was interested in the environments in which he sets up his images, usually quite busy and hectic scenes that are populated solely with the one model. His photographs often allude to a creepy, dystopian world, with clones filling the space and interacting with one another, he explored identity by portraying multiple selves and individuality. His series is called 'monodramatic' showcasing the behaviour, goals, ambitions, and characters of an individual, which evolve over time and make up a personality. It makes you think about the way you behave around yourself, inciting the question: what if all of these sides of identity were to meet?
In order to set up my images in this style I used a tripod to keep the frame consistent. I needed a wide frame in order to fit lots of actions and poses. I also wanted to find multiple levels and activities available in the frame. I got the model to stand in each position to curate a full image and resemble a crowd. It was important for me to keep dependent variables the same in between photographing, with time gaps in between. Then in Photoshop I extracted the model and cut and pasted her into each position. I found highlighting the person without cutting out small details like strands of hair and bumps of surfaces important as I wanted to make the images look as unedited as possible.
In the first set of shoots, I experimented with different levels and bodily positions to portray a range of emotions and moods, lying down and standing up. The pictures were somewhat difficult to edit as the room was dark with bright spotlights which made lighting and shadows difficult to manipulate. I also did not change camera settings midway which meant that when the model was further back it was harder to focus and capture.
I think this is my best image as it is the most successful at creating an interactive scene. Using table tennis makes it clear what the model is doing as it is a universal sport. The action of her playing against herself creates dual identities and a competition of inner self. I also added spectators to make the scene fuller with a differentiation in reactions and add level and depth
In my final attempt to create an interactive cloned scene I wanted to add personality so used my brother, whose passion is music. He has learnt and studied multiple instruments and performs them live. I wanted to use his different skills in so many areas of music to create his one-man band. I told him to naturally put on a performance with each instrument and tried to capture his array of emotions and stage presence. I think the image could have been improved if the setting was better, I tried to create as much of a stage format as possible but is clearly my kitchen.
Jesse Draxler
In response to my work with layering in Photoshop I looked at the work of Jesse Draxler to put the techniques learnt into a portraiture context. He takes simple headshot photographs that can then be distorted into abstract collages that play with facial profiles and features. The technique of layering angles of portraiture creates an abstract review on the way we perceive ourselves, with many of the cut outs facing and interacting with each other. It also hints to the layering of personality and the masking of human self.
Development 5- facial collaging
During this development, I replicated Jesse Draxler's work in the images above and below as well as experimenting on Photoshop with facial layering. I found it was important to have images from all angles to get the faces interacting and facing each other. I felt the first three images made for interesting presentations because they make you look at the model in different ways. However image below worked best as it is the one where the different emotions and identities of my model are revealed by using different angles and with different expressions.
This image above was my most successful attempt of facial layering when experimenting in Photoshop as I discovered how to portray different personalities and sides to the human face. Although the final edit is not as clean and refined as I would have hoped, it was useful as an experimentation for how to edit portraits so that different emotions and angles are conveyed, which proved useful further in my project.
Photomontage
In my further developments I wanted to look at panoramic graphic cloning to encapsulate multiple viewpoints and angles of seeing things. From this technique I can distort human figures and better show their surroundings without being constricted by the need for a wide focus lens. This was the best possible development to my project as it allows more freedom with including the background and I am still able to experiment with cloning.
Iosif Kiraly
Iosif Kiraly is a Romanian photographer who makes photomontages and plays with perception. He creates panoramic photographs by taking multiple pictures through a range of angles and merges them together manually. These are effective because it shows the whole scene and makes his images more immersive, and the scrapbook effect makes it feel personal. Although he does not reposition his subjects to make them appear multiple times, he uses different angles and exposures to show the many different ways of photographing the same scene. In the train picture below there is scattered numbers across the image that puts a time stamp on each image to replicate the process of photographing.
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Development 6- panoramic collaging
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In my development I looked at cloning through panoramas to expand my frame and give the images more sequencing and activities. I ensured to aim the camera in multiple angles to create a circular shape of the photograph and made my model move around to the different frames. I edited this digitally, unlike Kiraly, in Photoshop, copying and pasting images to collage, I tried to layer upon levels and different types of movements. I played with the capacity (translucence) and lighting of my multiple images to work out what blends most effectively.
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My first response was to use a tube platform, a usually mundane spot where there is often overcrowding and a mixture of people standing and sitting. I moved around angles of where I was photographing and told my model to embody all possible positions taken by people on their commute. I tried to get images from far away and close up, using the ceiling and the floor so the entire carriage was in the final product. Then in Photoshop, I copy and pasted images onto each other to form a collage affect, taking down the capacity so I could align my images with the one behind. I think to improve the collage overall I should have kept the camera and my positioning steadier so there wasn't as much overlap of pictures as it makes the product slightly confusing.
I think my next images, taken in a supermarket are much more successful because the image as a whole is far easier to translate. My first response enabled me to understand how to take the photographs and how to position myself. I moved to the setting of supermarket aisles as I believed it offers an interesting panorama of the shelves and different levels to explore. However, as it was more of a narrow space and I had to cooperate with the people around me, I was forced to adapt to my surroundings slightly differently and merge different aisles in the editing process so there was more space to include all my images.
The first picture at the top, I wanted to include movement and differentiation in stances and positioning. In the second image I thought being in the fruit and veg aisle added more colour improving the image. I wanted to make it more playful and managed to get a wider panorama of the whole aisle. These images overall were successful because I achieved the panoramic movement and incorporated skills from Takakura and Kiraly into one piece.
Jeremy Wolff
I was inspired by the work of Jeremy Wolff for my next development as he uses the panoramic collage effect I have been practicing to capture a more portrait, concentrated piece. He uses real life mediums and textured paper to add life to his images, taking full body stills of different very contrasting people against the same backdrop. He takes lots of close up pictures so they can be layered and stuck against each other to combine multiple angles. The contrasts of models used reflects femininity vs masculinity and forms an abstract piece, comparing the two into one body.
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In first my development I wanted create a panorama of identity using portraiture in more depth to my response of Kiraly. I think the movements and activities captured representation to a certain extent. I wanted to use full body portraiture and take pictures and angles. In taking my pictures I realized I wanted to mix media and photograph two different people. I tried to use both side and front profile to create some form of interaction between the two people of facing each other and play with arm and leg positioning so that the photomontage effect was clear. I think this image could be improved firstly with more consistent lighting, the shadows slightly ruin the effect of presenting one singular figure, and by photographing more juxtaposing identities.
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second development
In my second response I wanted the images to be more personal and in sync. I used my two cousins and their father as models as their similarities and differences highlight the impact of genetics. The two brothers have very similar facial features but are substantially different in personality, demonstrated by the way they photograph, for example the older being dressed in his football kit whilst the younger is playfully in a dressing gown. I then decided to incorporate their father to add generational layers. It worked well in describing the relationship between fatherhood and passing down genes. I think both responses were successful in creating a multi-layered depiction of families and showing human form, however it could have been improved through closer detail into faces and features and more consistent lighting.
In my final edit I decided that the image was most effective with less of the body in focus so more detail could be added to the face without overcomplication. I also added more images within one frame to create a more panoramic collage. I then thought the image looked far more effective when turned into black and white because it dulled the bright colours that were distracting the photos. It also makes the facial features more ambiguous as to who the image was.
To develop my collaging I wanted to make layering more routine and linear, I created a checkerboard effect by getting two layers of portraits and selected a grid of even squares to remove from the first layer. This brought a different perception to my collaging work as it makes the image appear more structured and therefore easier to translate. I think it was affective in my attempt to contrast the two boys' features and make one collective image of them both. I think however if I chose to model two completely different people through this technique it may improve the way the contrast is portrayed.
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third development
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To develop my project I thought the images needed to be more intimate and less posed. I decided to focus in more of the torso section because I think it can be portrayed much more personally and there is less human instinct to pose, allowing a more raw response to my theme of identity. I still wanted to show my work comparatively about how the human form can take shape in a variety of ways, so I used multiple models with contrasting body types.
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Initially, I photographed multiple people's front angled torso, carefully placing lighting to create shadows and highlight detail through the body. With what I chose to photograph on my models, I aimed to capture the full extent of the spectrum of delicacy and strength that can be found on the body. Taking pictures of tattoos also enhances individuality and choices people make about their bodies. Editing these images together, I used techniques learnt previously of how to collage multiple images into a single figure and centred the image around the many juxtapositions in the images I had taken.
After creating my first image, I wanted to create a more rounded piece that was interactive and more abstract. Subsequently, I photographed and edited both side profiles to the front on image. Using the same models, I curated the left and right side profiles so that more sides of the human figure were shown. This adds more depth to the images because it makes them more interactive and shows range. Overall, I think this response allowed me to delve into differences in skin and the body rather than exclusively studying the face which I had been doing prior. I compared greatly varying models into one piece that appears to make up a whole frame of the body.
Christian Marclay
Development 8- profile structures
My initial response to Marclay was to create 3D boxes out of card, that began with making a net and sticking them together, I had to measure out the proportions to that my images would fit perfectly on the boxes. I then printed out my favourite portraits that I had taken, obscuring certain parts of the body so that my model would resemble a deconstructed figure. I chose what images to place on top of eachother to create some sort of continuation in proportions so that the intention was still clear whilst forming an abstract peice of work.
First attempt
My first response had to be created with images that I do not think were compositionally the strongest, but allowed me to achieve somewhat of a coherence to my piece. I aimed to improve my second development with stronger images and connect the different images through including the neck and focussing on realistic proportions more. I think it was successful in depicting multiple angles and features to create interactive profiles that highlighted the difference in the human formation. |
To develop my tower, I wanted to incorporate my angles to make it three dimensional and make it possible to move around the boxes to change what feature aligns with the one below. I also took different images trying to add different backgrounds and more diversity to the features. I then used harder cardboard so I was able to play around with how the boxes were stacked against each other and add the ability to balance them against each other.
Robert Heinecken
Heinecken also influenced my work as he created moving pieces that reflect how the body can change. He was an American photographer who used many different methods in order to challenge the way that art and culture are viewed. He used photo sculpture to given permanency and substance to images, bringing in the political element that I found was missing from Marclay’s work as in his 1967 Fractured Figure Section.
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Second attempt
This is my process of mapping out the size of my boxes and making the net, to eventually assemble it. This proved somewhat difficult because of the physical measurements and assembling especially using a Stanley knife and given it what done during my mock exam, I felt pushed for time, meaning that the boxes were not fully accurate, but I ensured I could stick my images on top and still managed to create a structure that was possible to build my model upon
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These are the images I decided to use for my model. Some images were taken specifically for this piece, but others were accumulated throughout my identity project. Although this presented an issue in that some of the backgrounds were not as I would have planned, I think it was worth it as it means the piece itself is a representation of different aspects of my own identity and relationships.
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My final assembled piece was a challenge in that I was undertaking an ambitious construction project that took me out of my comfort zone in using new materials and skills. Although this produced a slightly messy end product, I was pleased with the result as it represents my approach of vision over form. I was satisfied with the images and how they blended as I used a juxtaposition of parts, clothing and culture I think that I demonstrated the difference in human form successfully. The stronger structure of my boxes allowed me to play with the composition in which they were stacked to have a more abstract take. I successfully combined individual identity with the commonality of our collective identities. By doing this as a photo sculpture I alluded to the mix of flexibility and permanence of human identity.
Third attempt-
My last attempt was in keeping with the intentions behind my project and similar inspiration from the work previously, but I wanted a better execution both in terms of photographs used and the physical assembling of my model. I improved my process of creating the model by working with more stable structures and making them larger. I made wooden boxes that incorporated hinges to add a participative element. The enhancement of the design of my model was to progress from a simple four-boxes tower, to a more interesting, thought out design, with lengthened arms and feet. I also wanted to improve my images to make the model more coherent as although I found that my previous attempts were striking in comparing differences in human form, it did not merge to appear as a single figure which was my aim. I used a more consistent background, aiming to take all of my images against a white wall and include connecting body parties ie. neck, waist etc. because I found that after several attempts, I wanted my model to appear as a single entity and then when looking more closely, understand the differences.
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My intentions for the third attempt was to photograph on a plain white background to improve my synchrony yet still include a variety particularly in fashion. It was not possible to take all my images in the same location so lighting and background are somewhat inconsistent but it proved unnoticeable in the final product. When mapping out the structure for my model, I was sure I wanted to continue the four sections used prior of head, shoulders, legs and feet but to enhance my final outcome I decided to have sticking out elements of feet and arms. I also decided to create a mechanism in which the different boxes can be moved on hinges to make it look more refined and the changing of heads/legs etc was dramatic.
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This response was ultimately the most successful because of the adaptation from mistakes learnt in the previous attempts such as the need for connecting parts of the body and what the background should be. I also scaled up on the creation of the structure, going from paper to cardboard to wooden boxes with moving elements. My final piece demonstrates well the different forms of identity we can portray through the use of fashion and poses by an adjustable model that allows contrast and comparing of human features.