Week-12-Project Development

I have edited my 18 images. Spent the week thinking about how to get them into a cohesive whole. I think I achieved my goal this module of making a series linked emotionally, that went from idea to series. I went back to the locations a few times to re-photograph, filling holes as needed to complete the series.

The series is far from perfect, however I am glad I managed to complete it, and had no difficulty coming up with ideas and images to fill the required 18 images. I looked at them for a long time and handled it like a script: Beginning middle and end, including an initiating incident, a crisis point and a denouement. It would fall under the genre of comedy. (things work out in the end) or as Woody Allen so aptly put it:  “Comedy is tragedy + time!”

Quite proud of myself as I refused to do this as a photographer. However, when it became my own story, it changed. I was always writing some-one else story down, and most of the time it was very boring and I developed an adversity to it. This module cured me of that.

Received a last minute email from Krishna with critique on the series which I found helpful as well as from Jesse, points were well taken, however, I think I will take the information into consideration for the next module and use it to improve the series next time around. I am just glad I got through with a series this time instead of half a series like the module before (which was an improvement on the first module) where I had a split series. Krishna mentioned a few images where un interesting, I agree, but as a story progression I think they are needed, also this late in the game I feel I will also apply the information to the next module.  She did send me something interesting on a photographer who also did a series on fences (or course there would be someone else) I did look at his work, and I liked it very much.  Much more simple in concept than mine, but felt he may have a point:  sometimes simple is best, and will look at lightening up a bit in that regard myself.

Week-11-Project Development.

This week, I returned to the locations where I photographed before, to fine-tune the images of my series ‘FENCES’ I shot another two rolls of Ilford HP5+;  400ASA Black and White negative. Developed in my trusty old standard Kodak Developer D-76.

Managed to get quite a few images of Black Birds. After seeing Fukase’s Ravens series I have been quite enamored by them, and have incorporated a few into my series. Interesting to see how they blend into the story very naturally. For me they represent freedom. I will doing some more work with them in the next module.

I feel that my series on ‘Fences’ is cohesive enough. I have finally managed to make a complete series this module, with a linked theme and motif. I feel this module has brought all the scattered elements of my practice to a co-hesive whole and will be able from now, to be able to create series which will have emotional ties as opposed to technical ties like the ones I was doing in the past.

Week-12-Coursework.

This is my Oral Presentation for Module 704

Last week was busy working on my Oral Presentation. This module, I attempted to follow the outline in the brief.  The language is finally starting to make sense and feel comfortable using it.

This in part is due to Dr. Steph Cosgrove, who I met at the F-2-F in Falmouth, who told me to read, and read, and read. And indeed, it is beginning to pay off.

Always feel could have done better, however, this module has been the greatest advance for me in terms of my practice.  I did get all this conceptually, now it turned into a practical manifestation. This is where the biggest change was for me.

This whole year has been a rollercoaster ride without a seatbelt, however, I managed to glean enough information for me to hold on for dear life no matter how bumpy the ride, and I have been through some tight turns and drops.

However, so far so good. Will see what the next module brings. I look forward to it, and hope to fine-tune what I have learned in this one.

Week-11-Coursework

This week watched interview with Felicity McCabe. Always interesting to find out how some-one else starts in the business, and where they came from. In her case started out with nightclub photography.

Interesting to see companies that attempt to do creative commercial work, was quite impressed with Head Over Heals and what they did creatively, shows there are people out there who want creative images, would be nice to find a company like that.

Started as an assistant, very good way to begin when interested in the commercial market. Also built her own portfolio of work that she liked to do, and practicing on weekends.

I think she went about it in a very good way, built up from a simple beginning. Also how she eventually focussed on photography. I think a lot of photographers battle with photography as a true art form and get enamored with painters and photography, and it can be a battle. The advice of the teacher to give up painting ended that for her, so made it a lot less difficult. Even the greats like Arron Siskind, liked painting and did a lot of homages to Franz Klein. I am glad that I came back to photography this module, because I love painting as well, not to actually paint, but love the medium, so I watch a lot of documentaries about painters.

Interesting how she baked the rose and came up with the idea. She had a lot of good ideas about tryptics (band shot)  and associations People+Landscape or something they associated with. I like the way she uses painters of Diptych and Triptychs to fuel her own projects. Nice to see when metier cross pollinate and come out with a new hybrid.

(The Wilton Diptychs)

  

Wilton Diptych:  https://www.history.ac.uk/richardII/wilton.html

Felicity McCabe: Triptych https://www.felicitymccabe.com/c-o-m-m-i-s-s-i-o-n-s

 

 

Week-11-Contextual Research

Took a look at a documentary on the painter Lucian Freud, grandson of famed psychologist Sigmund Freud.  I have seen some of his work at the Getty Museum here in Los Angeles. I like the way he paints the human figure, and it interested me why he interpreted the human body in the way her did. Interests me what the thoughts are that create the image. I like looking at the work of painters, but since this course module, I am looking at their work in a different way. I’m looking from the psychological aspect of image making: from thought to image. Researching why they paint what they do.

Interesting to find out that he represented them honestly, and un compromisingly and the longer he worked with the sitter the more abstract they became.  Even when commissioned to paint the portrait of the queen, he did not paint her any differently than anyone else. He remained true to his feelings.

He worked 364 days a year, and felt he was rallying against time, interesting that as one grows older the sense of urgency seems to be the fuel for the output of work. Never had the urge to retire myself so always interested to find out what fuels these individuals that can give them the energy to work till the end.

Lucian Freud: Painting of Queen Elizabeth.

https://www.pinterest.com/pin/131167407874489202/

Week-10-Coursework

This week I looked at the interview with Francesca Genovese curator of very interesting interview. I think it’s very important for a photographer to know how to deal with their work as far as selling and presenting it goes.

It always amazes me how people tend to talk in abstracts. For example Francesca says: “There is a lot of ways to find out how to price your work.”  Well . . . tell me some ways, don’t leave it open ended.

Very busy this week writing my Oral, gathering my images for presentation and catching up on the CRJ.

Week-10-Project Development.

This week I have been photographing quite a bit on 35mm black and white film, with my trusty old Nikon F with HP5+.

‘Perspective’ A diptych ©Pierre Chemaly 

I have been revisiting locations that I liked, going back to re-photograph my work in progress, after I had some time to reflect on the images I had already made before. It is really nice to able to do this. I have found this to be  a very advantageous way of working. It’s ” decisive over a period of days” as opposed to a  “decisive moment.”  In the decisive moment, one can loose an image, which has happened to me in the past, by not having a camera at the moment, or running out of film. However by working this way, I have been able to go back and rework the image. Improving it by making it at a different time of day, weather conditions, using  a different camera and lens, etc. It all affected the image, producing a number of different emotions and looks.

Week-10-Contextual Research

This week I have been looking into primary and secondary markets in selling one’s art works. As I am primarily interested in fine art photography exclusively. As a photographer, this is very important to me. The eternal question pervades: How does one make the leap from making art to selling it, and selling it in auction houses, museums, galleries and collectors. This is a question that has been on my mind for a very long time. In other words how does once create a work of value. Value not only in terms of monetary terms, but in terms of some-one wanting to own it.

In this weeks reading introduction, talks about the primary and secondary markets. Photographers and artists work is “driven” In others words the value of the work is forced or energized to a position of value and desirability. So in other words, most works start out small or insignificant then a momentum must be built up around it to energize it. I disagree with the statement that the secondary market may be considered second hand, because this is how provenance of the art piece is constructed.

I love watching  videos on Youtube about art and selling it, and am amazed that: Firstly; a painting can command prices upwards of 80 million. Secondly: that so many people have that kind of money available.  Auction houses such as Sotheby’s and Christie’s are packed to the brim. People even standing outside, and remote-bid on the telephone. Over half the room is populated by buyers in another country. Thirdly: what is the reason that some works of art are sold, and others rejected.

I have come to the conclusion, that its all about branding. That branding is determined by who wants the works of art, and what they are prepared to pay for it. So, maybe it is all about stimulating interest.

Was looking at a video recently, where a Winslow Homer ‘Children under a palm tree.”  was found at a rubbish dump, a fisherman found it, kept it for 20 years, finally gave it to his daughter, discovered it was worth a fortune, at antiques roadshow, and tried to auction it at Sotheby’s. They seized it, saying that the rightful owner had surfaced and has to be returned to the owner. A legal battle still rages, between the peasantry and the aristocracy.

‘Children under a palm tree” Winslow Homer.

Now all of a sudden, something that’s was worthless, became worth a fortune because the name Winslow Homer was attached to it. If this had been signed by Luie, an unknown, it would have been worthless.

Somehow, the name of the artist must to rise to prominence, over all the others. Is it pure talent alone that causes this, or are there unseen forces at play. There have been many others artists, as talented and prolific as Winslow Homer, who passed on into obscurity and their works with themes over the next few weeks I will be looking into this arena a little more, and hope to find some answers.

Fake or Fortune: Winslow Homer. https://www.youtube.com/watch?v=An36Rni5LU4

Children under a Palm Tree image: https://hubpages.com/art/Children-under-a-Palm-Tree-Fake-or-Fortune-A-Mothers-Quest

Week-9 Contextual Research.

This week, I looked at the work of Eikoh Hosoe, a contemporary Japanese photographer and film-maker. Interested in making work about death and irrationality. This is what caught my eye. Especially the subject of death, because no one can experience it, and I find that very interesting.   Especially that he wanted to make imagery around that subject.

His work is stark and contrasty black and white, he shoots medium format, so his images are not quite as grainy as Fukase’s, however they still have that specific analogue look, which I find to be very beautiful.

Kamaitachi – 8 © Eikoh Hosoe.

He positioned himself against “real” photography, and was more interested in self  and personal expression. So, even though commercial photography is important, I place, or have a greater tendency to pace my interest in photographers who are interested in more creative image making ways.

Because I am working on my series ‘fences’, and missed an image of a boy sitting on a fence, I found this one, reminding me of what I could have had.

Citations: https://www.michaelhoppengallery.com/artists/89-eikoh-hosoe/overview/

Image above courtesy of: https://www.michaelhoppengallery.com/artists/89-eikoh-hosoe/overview/