I came in a little late on this module. For some reason, it did not come up on canvas. After a few emails and phone calls, it appeared.
So, week one has been catch up, with week two on it’s heels and week three a few days ahead,this week has been particularly stressful attempting to read and digest all the information. I just finished my weekly assignment, albeit a week late. I also missed office hour with my tutor, so that was also a bit annoying.
I just completed this weeks activity, “Place over Time” with the place being an image in my mind and how the time of my image blended physically,also how it ties into my final project both abstractly and imposed constraint wise.
Man Ray’s ‘Lips’ is an image/place/surface that I return to a great deal in my mind. At first glance the Lips seem out of place floating in the sky over the trees and the observatory. However there are some parallels in his surfaces that I like. 1. Made in his studio at #2 Rue Ferrou. 2. including the image of the Observatory close by his studio at the Jardin du Luxembourg which he frequented often. The image was made within a mile of where Man worked/lived. In my final project I’m planing to confine my project to my house and yard.
My image was made up in Monterey California at Point Lobos. When I saw the formation of the “Lips” in the rock, I immediately thought of Man and made the homage. I did a bit of photoshop on it, by liquifying the top part of my lip to match Man’s and image transform to match the angle. Other than that it was a pretty close match.
Strategies employed by other practitioners of particular interest to you.
Challenges met / overcome by other practitioners and any compromises they had to make.
Differences between tools, methods and methodologies.
Various forms in which practice can be communicated and shared.
In your CRJ, write a short summary about:
What your current practice is.
What you did during the week, feedback received and how you will respond to that.
How you would describe your methodology.
The forms your project / photographs could take moving forward.
This week and the next few weeks I am working on my darkroom and studio downstairs. Getting all my cameras and lenses cleaned and checked. I posted my activity, it’s bottom of the list and a week late so will check back later on feedback.
I have a collection of many cameras in many formats ranging from 16mm up to 4X5. I enjoy using them, so I will use them all during this course in one way or another. Every camera makes an image differently and I would like to employ these differences in my project. I will also be using digital and analogue image making processes.
This week I have reflected on chance, serendipity and creative restraint. All these ‘techniques’ have been used by myself at one point or another. It is interesting to find out through critical theory that these ‘techniques’ have been used by many other photographers. I would like to add one more. Synchronicity.
In the end, it all boils down to the fact, that every artistic photographer is looking for a way to have their work stand out, or to use a colloquial term: Find their own voice. As the course goes on, I am learning to find a way that is unique from the rest.
Chance may bring a one off, restraint can bring about a series. Synchronicity, is where nature or the universe and the mind come to-gether and will be able to produce a body of work that is more than chance, serendipity or creative restraint.
I went up to Carmel California, to visit the Weston Gallery and to visit Point Lobos. I stopped in at Wildcat Hill and met with Kim Weston to find out if he knows where I could find out about a statement I had heard about Ed Weston back in 1982 when I went to Point Lobos for the first time. I was in Carmel and heard that Weston said, the he could photograph in Point Lobos his whole life. Kim told me that it is in fact written some where, and that Point Lobos was Ed’s “Go to place” plus he had bought that property: “Wild Cat Hill” that was less than a mile away. I also went to the reserve and made a few images.I also dropped in at the gallery so see an original of Pepper 30, but there was not a single original copy to be seen. There where a few images printed by Bret Weston, but no originals. It was nice to visit the gallery, where I had met Ansel back in 1982 at his last retrospective.