I like looking at architecture and looking at it in various ways from various viewpoints. I am interested in manipulating images digitally using programmes such as Photoshop and other digital media. I like film because of its physical quality and its texture but I also like the idea of recreating this texture with a digital process. I love black and white photography but I am also learning to introduce colour as I move away from my comfort zone.
Cameras ‘see’ the world differently to the way we see the world with our eyes. The photograph (whether this is a printed image or pixels on a screen) can sometimes ‘disappear’ because photography is able to create an almost perfect illusion of reality. We tend to see only the subject of the photograph rather than the photograph itself. However, all photographs are, to some extent, abstractions. The flatness of photographs creates relationships between objects that may not have existed in reality. All photographic images are shaped by the technology the photographer chooses and by a process of selection, editing and manipulation. Each and every photographic image is therefore made or constructed, rather than being a window onto the world.
Tom Hunter
The lighting in the image is quite evenly distributed but it isn't highlighting everything, which suggests that it is natural lighting from a window or something, because the lighting is soft, as an artificial light would make the image more sharp. The lighting is more prominent on the bed and the woman, and the surroundings is much darker. The lighting being quite soft, suggests the time of day is evening, as it isn't too bright, which could also tie in with the women being on the bed, 'getting ready for bed'. Also the light highlights the image on the wall and the religious statue on the mantle, which could suggest religious connotations, as the woman is also laying in a position as Jesus. The red towel the woman has wrapped around her could also suggest further religious connotations as it symbolises hell, and where the religious objects are being highlighted, and the pillows relate to heaven; as white is a colour of purity. Heaven is white and above, whereas hell is dark, red and below. The whole room itself has so many tones of browns, everything is wood and quite traditional and 'old'. The purple or pink bedsheets contrast the brown but they compliment it rather than contrasting against it, as the purple and browns have the same variations, which is why they compliment each other. This makes the image more softer, as i think it gives the image the smallest kick, as its so surrounded by dark brown colours.
The framing of this image is at a really awkward angle, it seems as if the photographer had a limited space to fit in what he wanted, as a lot of things are cut off quite suddenly and it makes the image look off. For example, the corner above the door. The space in the room doesn't look like much, everything seems quite basic, and she doesn't look like she a lot of belongings, which makes the image look empty and the loneliness is emphasised by the body language and emotions of the woman. Making the image emotionless and plain. Whereas, if her body language and emotions were completely different it would portray a different interpretation, and you probably wouldn't have noticed the colours that make the image plain overall.
Peter Fraser
When I first saw this image I couldn't make out what it was specifically, but it seemed like there was something closing together like walls, although the dots made it something metal, it also looked like the image was a reflection in a mirror. This image is quite abstract, as there isn't an instant subject to the image, you kind of have to second guess and look longer, which relates to abstract photography as its not something you'll get straight away. The space in the image seems never ending because of the darkness, it makes the image look enclosed and claustrophobic. The light and colour of this image and various tones of blue, and they gradient from lightest into the darkest which creates depth for the image. The light also isn't evenly distributed, which suggests that it is natural lighting, but it could also be a flash reflecting off, because he can't take an image of the space deeper. Because it looks like something is closing the image makes you look into the dark space, it 'draws you in'. The image is also very close up, so it gives the image more mystery, as people will want to figure out what the object is, also being that the dark space is already giving mystery to the image, as people are likely thinking what's in there?
Although, after reading the article the author had the same thought of 'bafflement' and 'incomprehension' when he first saw the image, but as he came to understand the image a little more, or when he looked at it more, different interpretations and meanings started to come. For example "the blueness of the mage predicates a certain psychological resonance - cold for instance - and the picture would be very different if the trucks were another colour, its metaphors derive more from its formal structure, the claustrophobic space and kinaesthetic sense, which combine to create an aura of unease, yet a state of powerful, unseen energies" I understood the image more, and was able to recognise the same interpretation of the image, even if it wasn't how the photographer meant it to be.
Peter Fraser got his first camera at the age of 7. After spending 2 months with William Eggleston, it was an experience which initiated his belief in the possibilities of colour photography, this confirmed for him the desire to commit his life to working with colour photography. All of Fraser’s photographs are found still lifes, he does not construct his pictures but rather focuses in on the mysterious objects he finds, showing the edges, small and incidental beauty and strangeness in the world. Through this constant and concentrated focus, he creates "highly charged and psychologically compelling images of immense intensity." He has been shown internationally and influentially, being continuously interested in the photograph as a psychological trigger in which colour plays a major role. One of his highest points in life were hearing about his Tate St Ives retrospective, and one of his lowest points were he spent a lost decade living in his Hackney studio, absolutely broke. One of his tips were to "maximise your income and minimise your outgoings." " I almost never interfere with my subjects: there are mysterious forces at work in the world and they know, better than I do, how things should be placed. " I tend to draw my attention to his images that have a lot of contrasting colours, but i'm also drawn to the images that have a lot of tonal range. One of my favourite images are of the fruits in the bowl, i love that the image so soft making the fruits look fake, as the softness of the image gave a it velvety texture. All the colours of the fruit all compliment each other, again because of the softness the colours of the fruit are toned down more, so it isn't vibrant colours that stand out, they're all quite muted. With some of his images they really stand out to me, as it's something that i find myself
My response
For my response I tried to follow Fraser's way of taking images by looking for the smaller things around me, and trying to find the most interesting things that were found like it is, and not myself positioning it. I also tried to use the flash from the camera to get artificial light that Fraser has in some of his images. I found myself already looking for the bright contrasting colours, I liked the small pops of colour. For example, the yellow pole; the background was extremely dull, grey looking and having the yellow pole was a pop of colour which contrasted the image. Also the image with the laptop charger, everything in the image is monochromatic and then a subtle red makes the image stand out more, it wasn't too intense either. One of my favourite images is the image with the hole in the fence. I liked that I focused on what was through the hole, leaving the outside very unfocused. I think it gave the image more depth because you have to look into the hole, as at first glance everything is so blurry, and as you focus through the hole, you can see more detail of the thorns, etc. Also, because the plants behind the thorns are blurred, it gives the image more depth, showing that there is more behind it, rather than making the image look quite flat.
Reading Roland Barthes' 'Camera Lucida'
What causes the author's amazement when looking at a portrait of Napoleons brother? 'i am looking at eyes that looked at the Emperor" What was the first thing the author discovers about photography that makes it seem special? the photograph mechanically repeats what could never be repeated existentially
What does the author notice about the special relationship in photography of the signifier( the photographic image) and the referent( the subject of the photograph)? Why does he find other writing about photography frustrating?
Taking more photographs
For my theme I went with abstract/architecture for my personal investigations, I really liked architecture so I decided to carry it on again. I went around central London and walked to places where I just found various amounts of buildings that have different structures and designs. I focused on capturing the buildings at different angles to focus on the lines that I saw. I like that I was able to take images of modern buildings as well as the older, industrial looking ones. I also edited a lot of my images by adjusting the contrast, colour and light, which I found really changed my images, and made them stand out much more. For example, by adjusting the colour and light it created bold lines. I was confident with my theme, and having already practised it for my photo book, I was eager to improve my images and go to more places to find quirky buildings. I also wanted to experiment with colour, but I found it quite hard to take images