Form over function
Andre Kertesz
Andre Kertesz created the image 'Fork' in 1928. At this time he lived in Paris, where he mixed with artist from the Dada movement.
This image is deliberately simple. Kertesz is paying attention to the photographs composition, emphasising the forks geometry and form. The fork becomes more than just a kitchen utensil. Kertesz expressed this. loneliness through the subjects of his photographs. He was able to combine formal composition with an emotive charge. Henri Cartier Bresson said 'Each time Kertesz shutter clicks I hear his heart beating. |
My Response
My Best Edits
WWW:I liked the shadow I got, I was achieving to get those shadows and the position of the cutleries was very nice.
IBF:It would be better if it was less blurry on some pictures.
IBF:It would be better if it was less blurry on some pictures.
Ordinary to Extraordinary
Edward Weston
Natural light
In this task I was required to take pictures of the fruits, they are normal things people eat, were trying to make them look rich and wealthy and like make them stand out.
Best edits
WWW:It focuses on the fruits and the quality is very nice, makes a normal ordinary life food stand out.
EBI:It would be better if the position of the fruit/veg was more centered with the full frame of the picture.
EBI:It would be better if the position of the fruit/veg was more centered with the full frame of the picture.
Artificial light
WWW: my exposure was very good and it was dark behind it.
IBF: Some of the pictures were too low exposed to see, so I had to pick the ones with the correct exposure on.
IBF: Some of the pictures were too low exposed to see, so I had to pick the ones with the correct exposure on.
Homework
David Hockney Photojoiner
David Hockney is connected to the Pop Art movement (Pop Art, Impressionist, Vorticist) . This movement was interested in responding to Pop Art aimed to employ images of popular as opposed to elitist culture in art, (Portraiture, Popular Culture, Poverty)
Hockney created ___________ (installation, a cookbook, photojoiners) that consisted of photographs taken of the same object from different perspectives. The images were then ___________ (collaged, painted, burned) together to recreate the place, person or object even though the overall appearance may look distorted. This work connects with the ___________ (Futurist, Abstract Expressionist, Cubist) movement, one of Hockney's major aims.
Hockney Chair
Eating Sequence
Ute Barth: light
Uta Barth (born 1958) is a contemporary German-American photographer whose work addresses themes such as perception, optical illusion and non-place. Her early work emerged in the late 1980s and 1990s, "inverting the notion of background and foreground"[2] in photography and bringing awareness to a viewer's attention to visual information with in the photographic frame. Her work is as much about vision and perception as it is about the failure to see, the faith humans place in the mechanics of perception, and the precarious nature of perceptual habits. Barth's says this about her art practice: “The question for me always is how can I make you aware of your own looking, instead of losing your attention to thoughts about what it is that you are looking at."[2] She has been honored with two National Endowments of the Arts fellowships, was a recipient of the in 2004‑05, and was a 2012 Barth lives and works in Los Angeles, California.
Best Edits
WWW: Theres a nice amount of contrast i believe that in these sets of photographs that i captured the task of making the subject of the photograph distorted, full of vibrance and lastly making the shadow appear.
Independent Development - Coppi Barbieri
Lucilla Barbieri and Fabrizio Coppi and first met in Milan at design school in the late 1980s, forming an alchemical partnership in work and in life.
Before their commercial career took off, Coppi Barbieri were honing their craft with early experiments of photographs of flowers submerged in water, household objects like plastic bottles and glassware, and backlit dresses animated by fans. Now, a monograph published by Damiani traces these formative creative years, from 1992-1997, and how they mastered the art of the still life from their Milan home and photography studio. Although the pair have now adopted digital cameras to keep up with the mercurial pace of commercial commissions, Coppi Barbieri first sharpened their photographic skills on a large-format Sinar camera. The process was inherently slow, calm, and intimate: shooting 5x7 inch transparency film allowed them an all-important control over colours, while also providing immediate results that did not need to be printed. They would develop sheets of film – sometimes sending one at a time – at nearby lab, before making any adjustments to the set-up of the image. |
For my project i plan to take inspiration from Coppi Barbieri in the sense that i plan to capture domestic objects and make their shadow create a weird form.