Category: Digital

We seek him Here: We seek him There

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A photographic treasure hunt

‘Photography is a system of visual editing. At bottom, it is a matter of surrounding with a frame a portion of one’s cone of vision, while standing in the right place at the right time. Like chess, or writing, it is a matter of choosing from among given possibilities, but in the case of photography the number of possibilities is not finite but infinite. The world now contains more photographs than bricks, and they are, astonishingly, all different (Szarkowski, 1976)
William Eggleston (1973) The Red Ceiling

This session is very adaptable and encourages participants to ‘notice’ the world around them, as well as encouraging to ‘see’ it in photographic terms. In very structrured terms, it instigates a new / differnt type of vision to encourage participants to really notice the world around them, explore the role of aesthetics, framing, vantage point and depth of field, and investigate the idea of ‘photographic seeing’ as the world is transformed / constructed into an image.

This Session could be run in conjunction with:

‘The best photographs always inspire curiosity, rather than satisfy it.  I think that this ambiguity is one of the most thrilling aspects of the medium.  A photograph is only a minute fragment of an experience, but quite a precise, detailed, and telling fragment.  And although it might only provide little clues, the photographer is telling us that they are very important clues’ (Soth in Schuman, 2004)
Alec Soth (2004) from Sleeping by the Mississippi

Aims & Outcomes:

  • For participants to visually notice and explore the nature of a ‘photographic’ way of seeing and framing the world around them
  • For participants to ‘notice’ the world and produce 5 (edited) images which visually / aesthetically transform and change the objects / scenes they have photographed
  • For participants to conduct in depth research on the work of William Eggleston and apply these ideas to thier practice.
  • *This session works best when participants are encouraged to really ‘look’ at the world around them rather than construct or interfere with the scene.
  • Participant Outcome: 5 6×4 digital prints

Research: the work of William Eggleston:

‘The empire of photography expanded, or perhaps shrunk, the world into a grain of sand’ (Badger, 2007, p.48)
Todd Hido (2011) from A Road Divided

You will need:

  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using camera phones or Lumix cameras
  • Card readers
  • Access to computers (or laptops)
  • An introductory presentation for participants to outline the ideas and provide examples
  • A printed ‘Treasure Hunt’ list
  • A booked room to critique participants work (either via a projector or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessments

Presentation ideas: Hunting The Photograph

Find Something; Ephemeral / Liminal / Low / Strange / Mundane / Framed / Broken / Red / Decayed / Quiet / Light / Dark / Living / Empty / Alien / Boring / Fake / Shiny / Slow / Useless / Re-purposed / A Non Place / A Portal

‘The very act of photographing something makes it special and indeed its significance and our understanding of it can change dramatically once it is turned into a subject.’ (Bright, 2011, p.107)

Preparation Work:

    • Ask participants to read Bruce Wagner (1999) ‘Mystagogue’ in American Suburb X  available here
    • Ask participants to read John Szarkowski (1976) ‘Introduction’ to William Eggletons’s Guide available here
    • Ask participants to watch Martin Parr (2007) from TateShots available here
    • Ask participants if they have thier own digital cameras and cards
    • Make sure you have access to computers
    • Make sure there are enough team members to support participants (never assume thier prior knowledge)
    • Decide whether you will project the work or print it.
    • If you are printing it (6×4) make sure the Photo Lab are aware and be aware of timekeeping so they have space to print the work.
    • *If you are running this session off campus, make sure there is access to printers or projectors

Suggested Session Outline:

The Ordinary / Extraordinary Object

Posted on Posted in Banal, Constructed Image, Digital, Introductory, Location Lighting, Object, Studio, TypologyTagged , , Leave a comment

constructing the mundane object

‘To see something spectacular and recognise it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognise it as a photographic possibility – that’s what I’m interested in’ (Shore in O’ Hagan, 2015)
Sian Bonnell (1999) from When the Domestic Meets the Wild

This is an adaptable session in which participants will explore the idea that through photographic construction, ordinary objects can be made extraordinary by making a scene and photographing it. It encourages participants to ‘think’ about these ordinary objects and gives a freedom to explore potential new uses of these. Participants are encouraged to explore aesthetics, lighting, framing, vantage point and depth of field, and investigate the idea of the ordinary being seen in a ‘new way’.

This Session could be run in conjunction with:

‘An ordinary object can be elevated to the dignity of a work of art by the mere choice of an artist’ (Duchamp in Obalk, 2000)

Aims & Outcomes:

  • For participants to explore the nature of the constructed image
  • For participants to work in groups to investigate different ways of ‘seeing’ a single ordinary object
  • To produce 5 (edited) constructed images which demonstrate different ways of ‘seeing’ this object
  • *This session works best when participants are in groups. Studio and location lighting may be introduced.
  • Participant Outcome: 5 x 6×4 edited Final prints

Research: Ordinary Magazine

 

Ordinary Magazine
Ordinary magazine: Issue #6 Air: Air is the general name for the mixture of gases that makes up the Earth’s atmosphere. It is the clear gas in which living things live and breathe. It has an indefinite shape and volume. It has no colour or smell. Air is a mixture of about 78% nitrogen, 21% oxygen, 0.9% argon, 0.04% carbon dioxide, and very small amounts of other gases. There is an average of about 1% water vapour.

See the full images from Ordinary Magazine Air here

 

You will need:

  • Digital cameras for all participants (and appropriate memory cards)
  • Card readers
  • Access to computers (or laptops)
  • An introductory brief & Presentation (above / Ordinary Magazine) for participants to outline the ideas and provide examples
  • A booked room to critique participants work (either via projector or print)
  • Blu-tack if you are pinning up physical prints
  • Costings and Risk Assessments
Gabriel Orozco (1992) Breath on A Piano

Preparation work:

  • Ask participants to watch the Ordinary Magazine presentation of plastic cutlery which can be found here
  • Ask participants to bring along 3 ordinary objects to the session *Or you can bring / devise your own.
  • Ask participants if they have their own digital cameras and cards
  • Make sure you have access to computers * Decide whether you plan to project the work or print it
Felix Gonzales Torres (1992) Untitled

Suggested Session Outline:

 

 

 

 

 

 

The Unseen & Overlooked

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‘Seeing’ the mundane & banal

‘There is no such thing as an un-photographed or un-photographable subject. It is for us to determine a subjects significance, knowing it must have one, for the artist has photographed it and thereby designated it as significant.’ (Cotton, 2014, p.115)
Rinko Kawauchi (2001) from Utatane

This is an adaptable session in which participants will explore the idea that banal/mundane subject matter can be made extraordinary merely by the act of photographing it. It encourages participants to ‘look’ at the world around them, explore the role of aesthetics, framing, vantage point and depth of field, and investigate the idea of ‘photographic seeing’ as the world is transformed / constructed into an image.

‘To photograph is to confer importance. There is probably no subject that cannot be beautified; moreover, there is no way to suppress the tendency inherent in all photographs to accord value to their subjects’ (Sontag, 1977, p.28)

This Session could be run in conjunction with:

Gus Van Sant (2004) film still from Elephant
‘The Fact that the banal image points towards its own status as object suggests that the aesthetics of the banal be approached not just in terms of what we read in the image, but of how we read it.’ (Shinkle, 2004, p.175)

Aims & Outcomes:

  • For participants to visually explore the nature of a ‘photographic’ way of seeing and framing the world around them
  • For participants to produce 5 (edited) images which visually / aesthetically transform and change the objects / scenes they have photographed
  • For participants to conduct in depth research on the work of Peter Fraser and apply these ideas to thier practice.
  • *This session works best when participants are encouraged to really ‘look’ at the world around them rather than construct or interfere with the scene.
  • Participant Outcome: 5 6×4 digital prints

Research: the work of Peter fraser:

You will need:

  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using camera phones or Lumix cameras
  • Card readers
  • Access to computers (or laptops)
  • An introductory brief & Presentation (below) for participants to outline the ideas and provide examples
  • A booked room to critique participants work (either via a projector or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessments

Presentation ideas: Looking at the overlooked

Preparation work:

  • Ask participants to watch the Peter Fraser (2013) Tate Shots interview which can be accessed here
  • Ask participants if they have thier own digital cameras and cards
  • Make sure you have access to computers
  • Make sure there are enough team members to support participants (never assume thier prior knowledge)
  • Decide whether you will project the work or print it.
  • If you are printing it (6×4) make sure the Photo Lab are aware and be aware of timekeeping so they have space to print the work.
  • *If you are running this session off campus, make sure there is access to printers or projectors

Suggested Session Outline:

  • Ask participants what they think most boring objects / scenes they can think of.
  • Deliver presentation / brief and encourage discussion and debate
  • In small groups investigate the local area and encourage visual exploration of banaal objects and scenes
  • Encourage participants not to interfere with the object / scene but to try to show it in a ‘new way’ through the act of photographing it.
  • Download and edit final images (5 per participant) *have a break here to give good time to print these physically or organise a slideshow
  • Critique and feedback with the group

What is a Photograph?

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John Szarkowski & the Characteristics of the Photograph

‘This book is an investigation of what photographs look like, and why they look that way’ (Szarkowski, 1966, p.6).
John Szarkowski (1966) The Photographers Eye, New York: Museum of Modern Art

John Szarkowski was the Director of Photography at the Museum of Modern Art (MOMA) in New York from 1962 – 1991. In 1966 he produced a book called The Photographers Eye in which he attempted to identify and specifically define the characteristics by which the photograph transforms the world in front of the lens. It was based on the 1964 MOMA exhibition of the same name, and placed great emphasis on the photographer’s process of selection from the real world. The Introduction to The Photographers Eye (1966) can be accessed here

 

related POSTS:

The 5 characteristics of photography for John Szarkowski (1966) were:

  • The Thing Itself
  • The Detail
  • The Frame
  • Time
  • Vantage Point
The Thing Itself: ‘The first thing that the photographer learned was that photography dealt with the actual; he had not only to accept this fact, but to treasure it; unless he did, photography would defeat him’ (Szarkowski, 1966, p.8)
The Thing Itself: Unknown (c.1850) Couple with Daguerrotype in Szarkowski (1966) The Photographer’s Eye
The Detail: ‘The photographer was tied to the facts of things, and it was his problem to force the facts to tell the truth’ (Szarkowski, 1966, p.8)
The Detail: Peter Fraser (2005) Untitled
The Frame: ‘Since the photographer’s picture was not conceived but selected, his subject was never truly discrete, never wholly self-contained. The edges of his film demarcated what he thought most important, but the subject he shot was something else, it had extended in 4 directions’ (Szarkowski, 1966, p.9)
The Frame: Guy Bourdin (1978) for Charles Jourdan
Time: ‘There is in fact no such thing as an instantaneous photograph. All photographs are time exposures of shorter or longer duration, and each describes a discrete parcel of time. This time is always the present’ (Szarkowski, 1966, p.10)
Time: Elliott Erwiit (1989) Paris, France from Dogs
Vantage Point: ‘Much has been said about the clarity of photography, but little has been said about its obscurity. And yet it is photography that has taught us to see from the unexpected vantage point’ (Szarkowski, 1966, p.10)
Vantage Point: Alexander Rodchenko (1925) Fire Escape
Aims & Outcomes:
  • For participants to discuss and visually explore Szarkowski’s 5 characteristics of the photograph
  • For participants to produce at least 3 10×8 analogue (edited) images which explore these 5 characteristics
  • Participant Take Away Outcome: At least 3 10×8 exhibition quality black and white photographs
You will need:
  • 35mm Cameras for all participants
  • lford HP5 35 film (24 exposure) for all participants
  • Ilford Multigrade Paper 10×8 size (Lustre)
  • An introductory presentation for participants to outline the ideas and provide examples
  • A booked room to critique participants work
  • Blue tack to pin the work
  • Costings and Risk Assessments
Preparation Work:
  • Ask participants to read The Introduction to The Photographers Eye (1966) which can be accessed here
  • Make sure you have booked the cameras and darkrooms from the Photography Stores
  • Make sure there are enough team members to support participants (never assume thier prior knowledge)
  • Set up the darkroom, enlargers and easels in advance.
Suggested Session Outline:
  • Ask participants what they think the characteristics of photography are. (e.g. light, time, fixed, reproduction) Are these specific to certain ‘types’ of photograph? Is the word ‘photographies’ more appropriate?
  • Deliver presentation / brief and encourage discussion and debate
  • 35mm camera Induction
  • In small groups investigate the local area and encourage visual exploration of each of Szarkowski’s 5 characteristics
  • Break (whilst the negatives are put through the film processor)
  • Darkroom Induction
  • Identify negatives to print
  • Black and White Printing session
  • Critique and give feedback with the group