Micheal Paul Smith

About The Artist:

Micheal Paul Smith is an artist whose work concerns small toys in the place of real life objects, therefore, making realistic scenes through the use of plastic toys and thoughtful placement. He then photographs these scenes in a way that makes them look very convincing. He makes these photographs by creating a 1:24 scale ratio to recreate everyday scenes from the mid 20th century to -mid 60s America.

How did it begin?

Smith started off with an interest in making scale models of objects as well as an interest in photography. This combination later grew into something magical. He used his sculptural skills and photography skills to create convincing photographs of olden day scenes. Smith wanted to recreate the town in which he grew up in which was a town in America in the 20th century to mid 60s. His work is not an exact replica of the town he grew up in but it does what he wants it to do and that is to create the feeling of the town he grew up in and bring back his childhood memories.

How is it made?

The buildings are constructed of resin-coated paper, styrene plastic, and basswood, plus numerous found objects. The vehicles are from Michael’s collection of 300+ commercially produced, diecast models.

These photographs were all made through the use of placement. No Photoshop was used in these images; they’re all composed in the camera. He refers to it as  the oldest trick in the special effects book: lining up a model with an appropriate background, then photographing it.

How does his work relate to my work?

I am interested in a similar idea that Smith uses within his work. For my final project I am interested in taking recognizable items/objects, constructing a sculpture and then using photography to make the objects look like much more then they really are. Through photography I will change the reality of the object so it is seen as something different then what it is seen as in person. This relates to Smith’s work because he builds structures and then uses photography to change the structure he built into realistic photographs of a fictional town.

Progress photos vs final photos :

 

His Links:

https://vimeo.com/116577464

http://blog.flickr.net/en/2013/10/04/crafting-scenes-of-iconic-americana/

https://www.flickr.com/photos/24796741@N05/

http://www.nytimes.com/2010/03/14/automobiles/collectibles/14SCALE.html

http://hooniverse.com/2010/03/10/mps-interview-pt1/

 

Advertisements

Tim Knowles

Tim Knowles is a contemporary artist that works in a range of media from photography, video, drawing and light Installations. His work is process oriented and relies heavily on chance. The artist makes his work through the environment and the use of tools and/or mechanisms that he sometimes creates. His work tends to show a lot of emphasis on the recording of a journey or drift. Three of Knowles photographic series/works that provided inspiration was, ‘Night Walks’, ‘Mungo Bush Walk’ and ‘Full Moon Reflections’.

In Knowles series titled, ‘Night Walks’ he created what could be considered a undisclosed scene by illuminating a path at night leaving the rest in darkness. He does this by walking with three wide beam torches, which captures the trace of his journey. He managed to capture this journey with a camera and through long exposures creates a mapped trail of light. This concept of the camera as a tool to captures the environment in a way that would otherwise be impossible to see is interests. This concept is interesting because he uses light in a way that paints a picture. In this series, he does that literally by using a limited light source to only illuminate part of the landscape creating a map of his journey.

In Knowles work titled, ‘Mungo Bush Walk’ he once again focuses on the idea of tracking a journey. This time he does not use light to paint only particular part of the landscape, but instead uses the natural light provided to record his walk-through Mungo National Park. Knowles made this work by removing the lens from a camera and then turned it into a pinhole camera. He also used long exposers to capture motion and then cross-fades the images together creating what he refers to as a, “Turneresque impression of the journey”.

In Knowles series titled, ‘Full Moon Reflections’ Knowles again, like in ‘Night Walks’ and ‘Mungo Bush Walk’ uses long exposer to capture something in nature that would not be possible to see without the camera. This work shows something that is ordinary, something that people understand and at the same time creates this new perception of it through photography. This series presents the reflection of the moon on a slow even flowing body of water. This completely alters the reflection through movement and time into something that is unrecognizable. This is an import concept because it challenges the notion that photographs are thought of as a reproduction of reality. Even though these photographs present the moons reflection, the viewer is presented with something that is not recognizable as the moons reflection. It is instead a trace of the moon distorted by reflection, movement, light and time. The result is a photography that presents the viewer with an image of a common theme recorded in a way that give the viewer a new visual experience.

By using the camera through experimental processes such as long exposers and altering the physical aspects of the camera, Knowles can use the camera as a tool to capture scenes in nature that would be impossible to see otherwise. His photographic works are an inspiration because I am fascinated with the possibility to be able to capture photographs that present an image that is otherwise not visible through the human eye. For my final project, I am experimenting with the idea that light both creates and destroys images through long/multiple exposers. By using multiple exposer, I will be able to create single photographs that contain multiple images that begin to destroy themselves as they are being created. In relation to this concept I am attempting to create this record of daylight. Each photograph will be containing its own individual scene, but through multiple exposure I will be able to capture that scene multiple times at different times of the day.

Anthony Rietze

Links

http://www.timknowles.co.uk/Home/tabid/262/Default.aspx

https://vimeo.com/230134604

Photography III: Final Project

Idea:
The idea for my final project will stem off of Experiment #1: What is colour. Through this project I identified colour as a tangible object, that I was able to manipulate through photographic digital media. I would like to continue this experiment in order to develop a technical, and conceptual focus through the use of digital, and analogue practices. Inspiration has been identified from the following four artists: Jessica Eaton, Keith Rankin, Holly Roberts, Alex Mcleod. I found that each artist has contributed to my idea appropriately, and operate through a range of different photographic elements. I am interested in creating conflicting environments, subjects, and objects in my composition, which will contradict their physical spaces in their environments.

received_10155626911650295received_10155626912455295received_10155626913020295

These are the images that were produced previously for Experiment #1

Influences:
I hope to create surreal images based off the influences below.

Jessica Eaton

static1.squarespace

cfaal 519, 2015. archival pigment print 40 x 32 inches

eaton_jessica_09_0

Jessica Eaton, cfaal (mb RGB) 18, 2010, archival pigment print, 50 x 40 inches

Capture

cfaal 505, 2015. archival pigment print 40 x 32 inches

images

  • Great technical attention
  • Ability to create and identify conflicting colours, shapes
  • Experimentation with different ways of abstraction
  • Presentation quality

Keith Rankin

Rankin8Orange_Milk_Records_-_Giant_Claw_-_Dark_Web_LP_1180_1200_75igN3NP7g_400x400a3717034932_16download

  • Integration of different gradients through the use of digital media
  • Interesting, compelling, confusing composition
  • Inspiration for the surreal

Holly Roberts

6a00e54fcf7385883401b8d062b1ce970c-800wi

Horse Resting (2014)

boybarefoot_rider-48x45_2013

Boy Barefoot Rider (2013)

Holly-Roberts-8

A Bird I Saw Walking (2007)

  • Use of photographic elements which contribute to its creation
  • Interesting uses of imagery to explain the anatomy of nature
  • Inspiration for the photographic element of the project
  • Difficulty in the surreal

Alex Mcleod

ax77

11

Distant Lands (2011)

 

  • Environments created from digital media
  • Attention to colour composition, detail in each object
  • Compositions that are grand in detail and size

Julian Schulze

Julian-Schulze-Photography-Top4

Photographer and artist based in Berlin who focuses on geometric abstraction and minimalistic compositions. His shots are often made up of one or two colours or elements and are of every day scenes, mostly architecture.

In his latest series Some Thoughts on Composition he states, “Whereas I think that these “rules” can be a useful guide for the beginner, I think that strictly following them (as suggested by the term “rule”) can seriously impede your success in finding interesting angles, interconnections, and the true character of a picture”. Relates to how I try to come up with new ideas, ignore rules in order to get better sense of certain aspects of a medium.

https://www.julianschulze.com/

Julian-Schulze-Photography-P13-4

Technical:

  • Takes images of geometric shapes with interplay of colors, turns image in order to create further abstraction.
  • Taken in natural setting in daylight.

minimal7

Conceptual:

  • Thinking outside the “rules” of photography can expand the possibilities even within the most common subject matter.
  • Giving viewer a different perspective on familiar subjects.

Julian-Schulze-Photography-P6-7

Methods:

  • Each shot is composed using light, shadow, and color to create the illusion of a 2D scene within a 3D subject.
  • Minimal detail as well as unorthodox lines/angles give different perspective on familiar subjects.
  • Often little content within image in order to emphasis obscurity.
  • Shot frontally to emphasize 2D plane.Julian-Schulze-Photography-P13-6I feel that his work is a prime example of breaking the boundaries of what makes up photograph and creating something new out of familiar subject matter. This is the goal of my final project, to demonstrate a larger subject whist only providing minimal details. 

     

    Photogrist stuff. (2016). Geometric Abstraction and Minimalistic Compositions by Julian Schulze. Retrieved from https://photogrist.com/geometric-structures-julian-schulze/

    DL Cade. (2017). 13 Beautiful Examples of Minimalist Photography by Julian Schulze. Retrieved from https://petapixel.com/2017/04/26/beautiful-examples-minimalist-photography-julian-schulze/

    Julian Schulze. (2017). Julian Schulze Photography. Retrieved from https://www.julianschulze.com/work/

     

     

     

     

     

     

     

2610: A Sense of Place

THINKING ABOUT A SENSE OF PLACE

Latticed_window_at_lacock_abbey_1835

William Henry Fox Talbot, Lacock Abbey. What is arguably the first and oldest positive from a paper negative.Kep

Image of SATURN, (Saturn, people!) from the Cassini spacecraft.

ANSEL ADAMS
In_tribute_to_Ansel_Adams_McGown_Peak_reflected_on_Stanley_Lake,_Idaho_in_black_and_white
Adams_The_Tetons_and_the_Snake_RiverDCF 1.0
Moonrise, Hernandez, New Mexico, 1941

JOHN PFAHL
Volare Digital CaptureMoonrise Over Pie Pan, Capitol Reef National Park, Utah, 1977

 



SALLY MANN

Sally_Mann_Deep_South_04
Scared Tree, from Southern Landscapes
Art 21 | Website: Battlefields |

OLAFUR ELIASSON
The Weather Project at TATE Modern | About the installation | Artist website-The Weather Project |

HIROSHI SUGIMOTO
Hiroshi-Sugimoto-Indian-Ocean-Bali-1991
Indian Ocean, Bali.

Seascapes

MARK KLETT

klett-interview-zoom-1
Timothy O’Sullivan (1872) + Mark Klett (1978)

Third View: The Rephotographic Survey Project
Good article, description of the project | More about Mark Klett
At Pictured Past Future Perfect

CHRISTINA SEELY
usseattle_03

From, Lux.

LIMINALITY
The Joys of Commuting

salgado_sebastiao_2007_6_1-e1393451366264
Sebastião Salgado, Churchgate is the terminus station of the Western railroad line, built by the British; the railroad system covers much of India. The trains are notorious for being dangerously overcrowded, 1995 (2007.6.1)

JOHN RAFMAN
Rv888__Norway__201_2146084i
Nine Eyes of Google Street View

BILL OWENS
main
Suburbia |

VICTORIA SAMBUNARIS
115
Untitled (Tomato Pool), Yellowstone National Park, 2008.

Taxonomy of a landscape | Review and essay at Salon.com | At Albright Knox

And finally, a good use of social media:

Dronestagram
tumblr_n1v48m5y1P1rjd2s6o1_500

March 2nd 2014: A reported drone strike killed three in the village of Al-Shabwan, 5km from Marib, while travelling in or sleeping near their vehicle. #drone #drones #yemen (at Erq al-Shabwan, Marib Province)

Explanation of the project | Tumblr | Instagram

Andrew Wright | Artist website |

Scott McFarland | Artist website

Isabelle Hayeur | Artist website

Letha Wilson | Artist website

Shirin Neshat | At the Guggenheim | At the HirshornGladstone gallery | TED talk |

AMY STEIN | Domesticated | npr slide show |

https://www.lensculture.com/articles/renee-c-byer-a-pulitzer-prize-winner-speaks-on-the-art-of-photojournalism

http://www.lsimpsonstudio.com/
(The new photo collage)

BRADLEY PETERS


More Bradley Peters

The Helsinki School

Riita Paivalainen | River Notes

 

Janne Lehtinen | Sacred Bird

Matthew Brandt

748832

Matthew Brandt is an American artist, born in Los Angeles, California in 1982; and is known for creating large-scale photographs through “labour-intensive processes” that elicit the origins of 19th century photography. The question Brandt most often refers to in his art is the questions of “What is a photograph?” A question we are very familiar with from our class work. Brandt calls his approach, “A little bit messy and experimental”, as he believes that in order to create distinctive images, he must first separate his work from the rest. His approach often incorporates the use of found materials from the locations in which he captures his images to further represent what he sees in front of him. This is evident in his series “Lakes and Reservoirs” (2011). Experimentation is a notion Brandt is familiar with as he states, “Only through experimentation can you arrive at something new” (Paginton, 2011).

Matthew Brandt has showcased works throughout the United States as well as Europe, and in November 2016, produced his third solo show at the Yossi Milo gallery titled, “Night Skies” (2016). Often combining methods of image-making, such as painting, silkscreen and photography, Brandt successfully creates innovate and experimental pieces that capture the attention of the viewer. Methods of alternative photography are often used by Brandt, as in his series, “La Brea” (2014), where he explored archeological subject matter through the use of a heliograph. (What is a heliograph?)

I am drawn to the work of Matthew Brandt because similar to him, I often use outside materials as a way of physically altering film to convey meaning. In my personal practice, I frequently manipulate the physicality of the image to further enhance the message, and question “what really is a photograph?” and “when does an image stop being a photo?” I enjoyed reading about Brandt’s similar approaches and am interested in his use of alternative photography as a way to create images.

Technically, Brandt uses a wide range of materials and resources to create his works as a way of deepening the meaning and relationship between the piece and the message it is trying to convey. Through the incorporation of natural material, Brandt is also able to create a unique relationship that physically connects the image to the place.  Conceptually, Brandt is attempting to create a physical connection between photo and place, and examines the overall notion of photographic materiality. Through the intentional destruction of the image, Brandt is undoing the process of photography and ultimately exposing hidden meanings that can exists between the photo and the place. This methodology is something that I would like to try and incorporate in my final project.

Paginton, F. “Matthew Brandt”. Dazed. 2011. http://www.dazeddigital.com/photography/article/11080/1/matthew-brandt

“Matthew Brandt”. Artspace. 2017. https://www.artspace.com/matthew_brandt

“Matthew Brandt”. Yossi Milo Gallery. 2014. http://www.yossimilo.com/exhibitions/2014_03-matthew_brandt/

“Process”. Harry Ransom Center. N.d. http://www.hrc.utexas.edu/exhibitions/permanent/firstphotograph/process/

Photo I • PORTRAIT • PERSONA

 

bischof

Werner Bischof | website | Magnum photography agency on Instagram | Magnum Photo Agency

 

Cindy Sherman

sherman
Profile in the Guardian | MOMA | Art 21

Annie Leibovitz
cn_image.size.blues-brothers

American Masters: Life Through A Lens. Bio | Image gallery | At Vanity Fair | Documentary

Yasumasa Morimura

730e4200

HepburnBW0

Luhring Augustine | At Saatchi Gallery

Nikki S. Lee

Nikki S. Lee: The Seniors Project

Nikki S. Lee: The Seniors Project

Nikki S. Lee: The Hispanic Project

Nikki S. Lee: The Hispanic Project

Niki S. Lee

Video interview at The Creator’s Project | Leslie Tonkonow Gallery | Analysis of Punk Project

Robert and Shana ParkeHarrison

430

| Gaultier’s Dream | Architect’s Brother

Hat of Illumination

 

 

Anna Gaskell

Anna Gaskell

At the Guggenheim | Bio | Turns Gravity | Analysis of Gaskell’s use of light

 

Juul Kraijer

298grt
Book of photographs–see the book on Vimeo

Using Portraiture and Identity to Explore Queerness in South Africa | from Slate Magazine’s BEHOLD blog


Image :From Zanele Muholi’s series “Faces and Phases.”

 

 

 

 

Ellen

Endia Beal, who told me about her project in which she took white middle-aged women to a hair salon and gave them “black” hairstyles. She then took their photographs in the style of corporate headshots. Her work had a mix of humor and poignancy, a look at both race and gender; it quickly went viral.

“I wanted people that had a certain idea of what you’re supposed to look like in the workspace, because it would be a challenge for them to understand what I experienced in that space,” Beal said. “And to a degree, many young white women have shared that experience, but for older white women it’s an experience they haven’t necessarily had.”

 

 

 

 

Experiment #3 Drawing and photography

The artwork of Trevor and Ryan Oakes—identical twins who use drawing to investigate vision and sometimes mimic the results of a camera obscura. The Oakes produce their drawings on curved paper, because the curved surface mimics they way light enters the eye. The video won’t embed, so watch it http://graphics8.nytimes.com/bcvideo/1.0/iframe/embed.html?videoId=100000003056293&playerType=embed” target=”_blank”>here.

Read more about the artists in this piece: Redrawing an iconic photograph with camera-like precision from The New York Times.

The video references this iconic image, Edward Steichen’s, The Flatiron Building, (1905)

Steichen_FlatironBuilding_1905

Another video of the Oakes drawing machine:

 

 

Experiment #3 Hillman Photography Initiative

Hillman Photography Initiative.

The Hillman Photography Initiative at Carnegie Museum of Art (CMOA) investigates the lifecycle of images: their creation, transmission, consumption, storage, potential loss, and reemergence. Technology accelerates the pace of this cycle, and often alters or redirects the trajectory of an image in unexpected, powerful ways.

The Hillman Photography Initiative is an incubator for innovative thinking on the photographic image. The Initiative centers around four projects that, taken together, investigate the boundaries and possibilities of photography through the way that an image travels. Conceived through an open, discursive process, unique in a museum setting, these projects include live public events at the museum, a pop-up reading room in the galleries, two collaborative web-based projects, and a series of commissions, including documentary videos, art projects, and writing. This website is designed to foster public conversations around the larger story that these four projects tell, and knit them together in a single experience.

**

The Hillman Photography Initiative has so many cool projects: Orphaned Images, The Invisible Photography, I’m especially excited for the upcoming issue about Physics and photographic processes! (nerd), and This Picture, which asks people to stop, look and respond to one image at a time. One image at a time—how we should all be looking. Looking, not swiping through SnapChat and Instagram.