Project proposal

Project Proposal: Hands

1.       What:

The concept for this work is the use of hands throughout life- not only human life, but other organisms as well. Though a dog might not have “hands” per se, it might use its paws to hold a bone, scratch an itch, or dig a hole. Though a plant doesn’t have hands, it does use roots, to grasp its nutrient-rich soil, and some have tendrils, that hold on tight to whatever they might find. I hope to create an abstract idea of hands and their function in life as we know it. I hope to show the full range of what we can use them for, and create images that are strange, impractical, and unconventional. However, in each image, I wish to limit myself by having a human hand, or an image of a human hand; the only exception to this rule is if the image is a diptych, but one of the images must have human hands. I also want to explore the things we create, both to use with our hands, and to use as our hands.

2.       Why:

I use my hands for everything, and as a biology major, I have been taught since childhood that one of the unique things humans have is their hands, and the dexterity that comes with them. I wish to dehumanize and demodernize them, in order to provide proof to myself that they aren’t as unique and special as we begin to think. I think this idea is relevant to the course in a very basic form, as hands are used for expression, much as photography lends itself to expression.

3.       How:

I will be heavily relying on the use of a tripod, and (hopefully) a remote trigger. I will also likely be using my friends as “hand models”, in images where I “need a hand” (so to speak). I will carefully compose my images, since I will have to use human-form hands in every image. I will also probably be utilizing the stitching/photomerge function of Photoshop to weave two to three individual images together, to help create bizarre and abstract situations.  

4.       References/Inspirations:

Nick Veasey is one photographer that is inspiring my work. He breaks down everyday machines, people, objects, and life forms to their most basic components, using x-ray photography. His images of man-made machines show exactly how we interact with the mechanisms, structural similarities between our own appendages and machines, and how we interact in everyday life. (http://www.nickveasey.com/) I am also strongly influenced by the graceful sketches of Da Vinci, especially in his studies of human architecture (skeletal and otherwise), and his comparative sketches of bird wings.

5.       Accomplishment:

I think having to use hands in every photograph, and also challenge the concept of “hands” will help me expand my methods of photography. I hope that it will also help me see photography from a different perspective, and promote more abstract thinking. It will be a true accomplishment if I can achieve beautiful but contrived images, because in the past I have relied solely on chance for finding well-composed photographs.

Extra Credit Ringaround

From top left to right, then from bottom left to right:
Original, Blue, Green
Yellow, Magenta, Red

Project 4 Additional Contact Sheets

Project 4 Contact Sheets

Project 3 Extra Images

 "Dinner"

"Deflated"

Rules for Project 4

1. Explore monochromatic color more.
2. Stay within areas that have been or are inhabited by humans. (Constructed areas)
3. Make an effort to photograph people, and the interplay with their surroundings.
4. Explore the conflict between nature's growth and growth of inhabited areas.
5. Avoid the urge to pose people. Allow them to know they are being photographed, but give them complete freedom to do what they want, or to continue with whatever activity was being done previously.

Project 3

Dominant Color (Blue)

Harmonic Color (Complementary)

Borrowed Color

  

Isolated Color (Bike, Lamp, Red Wall, etc.)

Ringaround Assignment

Akihiko Miyoshi Lecture Summary

Professor Miyoshi started his lecture by explaining his background in computer engineering and photography. Once he began branching out into fine art photography, he wished to find out how "photo relates to art", and the nature of photographic images. He introduced the work of Sehgal, noting how the photographer banned any photos or documentation of his work. Miyoshi also spoke about some of the photographers that he respected, and how, when seeing prints of the work outside of the museum, they seemed cheap, poster-like, and confusing. He then presented two facts: photos need context, and they always point to something. With his own work, he wished to blur the lines between photography and other artistic mediums, such as painting. In his photo "Ode to the Pictoralists" (which we viewed in class), he took two simultaneous photos from different cameras with different shutter speeds, then overlayed them to produce a very "painterly" image. He then showed his photo called "18% Gray", which (in the first image) showed a card with many red, green, blue dots arranged in a pattern. In the second image, the focus was on the background, with the card blurred, and the card now appeared to be solid gray, rather than component dots. He played with this theme of component colors in his gray photographs, which he briefly talked about.
      Later, he began talking about how there is no more material substance in this digital age of photography, and how photos are now about the transmission of information. He wanted to investigate this loss of control, and find out why people go to see pictures in places like galleries. Pictures used to be rarer, and were an experience to be visited, whereas now all the pictures come to us. In his "Webcam Series", he took low-quality images shot by webcams, and painted them pixel by pixel. His presentation of these works were interesting as well. Though they are too complicated for me to explain fully, many involved cameras viewing the work being displayed, and having the display of the image projected as a new, modifiable artwork in which the viewers can literally "inject themselves" into the art. Lastly, he explained his exploration of reconstructing images on different mediums, such as laser etching on paper and aluminum. He concluded his lecture with the idea of the suspension of disbelief that is now present in photographic appreciation; fakes are now easy to produce with photomanipulation, and there is the conflict between truth and doubt. He finished with a very true statement: "a picture can support itself either way."

Project 3 Contact Sheets

Chapter 3 Summary

Chapter 3 in Photoshop CS5 and Lightroom 3 is a basic overview of the interfaces of Photoshop, Adobe Bridge, and Lightroom. In Photoshop, Laskevitch talks about all the different setups you can use for panels, including “history”, “info”, and many more. He also talks about Photoshop’s toolbar, and how to use hidden features. Though keyboard shortcuts were covered, he didn’t actually list any other than “undo (ctrl+z)”. He went into quite a bit of detail about photo filters, image layers, adjustment layers, and smart objects. In Bridge, he explained how to find and view images, view metadata, use the search feature, and integrate it with other applications. Next, he briefly wrote about Adobe Camera Raw, and how to use its tools, image adjustment tabs (including some shortcuts); he really emphasized that using Camera Raw to adjust the image was “risk free!” Lastly, he explained how to find your way around Lightroom by using the modules (library, develop, slideshow, print, and web were all featured). Lastly, he explained how to utilize different views, and listed some Lightroom shortcuts.

Contact Sheets Assignment 2

ARTO 354 Assignment 1

My previous work is simply titled “LaVaughne”, the name of the mannequin featured in the picture. I was inspired by postmodernism and the idea of the ‘constructed’ image, and also the idea of uncanny or strange images. To construct the image I deconstructed my mannequin, and photographed her in a surreal broken state. It was my intention to reflect the artificiality of aspects of our current society, and how it can result in destruction. I hoped that the image would also highlight the unreasonable expectations in current modern culture, and how it can break individuals’ sense of identity. The last idea I wanted to express was that of the decreasing levels of individuality in personal interaction; there is so much technology in society it is easy to misconstrue statements, and lose oneself in it all. I took the exposure on 400 Kodak TMax in Black and White Photography (taught by Colleen Choquette) in February 2011. It had just snowed, and was mid-afternoon. I developed it in early March, with a #2 filter. I used spot-tone pens to edit some water spots and other imperfections. It was included in my final portfolio for that course. 

I am very inspired by the work of Ryan McGinley, and in particular, his photo (from the Moonmilk collection) of an individual sitting beside a lake. The photo is framed by the cave beautifully, and it creates a very isolated feeling in the image. I love the interaction of nature with humans, both in dynamic and stoic contexts. I would love to start capturing the very dynamic and complex relationship humans have with their environment; the clashes can be very dramatic, and the harmonies are breathtaking. Being a biology major, I am naturally inclined to simply document what I see, but I want to push myself to truly capture emotions in my photos. McGinley’s images of teenage antics set a variety of different moods, and I hope to emulate this, as well as a stylistic approach that can bring together man and nature. Also, in terms of color, I hope to use a wide range of palettes, from muted earth tones, to vibrant color, and (of course) standard black-and-white. In addition, I want to work on my directional skills when working with people and models, and being able to choose the right moment to take spontaneous or documentary shots.  

Photo: Ryan McGinley
Moonmilk Collection