For these I simply adjusted the vibrance, saturation and temperature, I like these photos but again they do not achieve what I want to show in my series of photographs.
Wednesday, 20 January 2010
POST 38
More colour experiments...
For these I simply adjusted the vibrance, saturation and temperature, I like these photos but again they do not achieve what I want to show in my series of photographs.
For these I simply adjusted the vibrance, saturation and temperature, I like these photos but again they do not achieve what I want to show in my series of photographs.
POST 37
Colour experiments...
I went back to my first shoot to experiment and see what colour would do to the photos. I feel it adds too much comfort and warmth but it was interesting seeing what they would look like adjusted.
I went back to my first shoot to experiment and see what colour would do to the photos. I feel it adds too much comfort and warmth but it was interesting seeing what they would look like adjusted.
POST 36
Plans for video...
I plan to set up my video using two cameras, one on a tripod constantly filming and one that I will direct an assistant of how to film me and when. My location is going to be in my next door neighbours box bedroom - nothing on the walls, plain bed cover and just simple surrounding... to focus on me and my actions in the video. I will be experimenting filming using a strobe light to see what unusual effects I can get with it similar to what I could do in editing but its less controlled and I want to see the effect it makes. The idea is to look back at my research for my video on art in mental disease and Rebecca Horns work and the videos I have looked at by Chris Cunningham and other artists and take my main ideas from that with the editing style, it will be in black and white to emphasise texture and my actions. It will be documenting me letting my emotions and feelings out through repetition art and scribbling. I will also get my assistant to talk to me about what I have created to show my true emotions about the work I produce. In editing I am going to use the idea of quick edits, slowing down and making the speed faster.
When it comes down to sound I am still using my main inspiration from the first video I looked at, the sound will be loud, unnerving and make you feel upset and depressed.
The aim for my video is to make the viewer feel uncomfortable, scared and anxious.
I plan to set up my video using two cameras, one on a tripod constantly filming and one that I will direct an assistant of how to film me and when. My location is going to be in my next door neighbours box bedroom - nothing on the walls, plain bed cover and just simple surrounding... to focus on me and my actions in the video. I will be experimenting filming using a strobe light to see what unusual effects I can get with it similar to what I could do in editing but its less controlled and I want to see the effect it makes. The idea is to look back at my research for my video on art in mental disease and Rebecca Horns work and the videos I have looked at by Chris Cunningham and other artists and take my main ideas from that with the editing style, it will be in black and white to emphasise texture and my actions. It will be documenting me letting my emotions and feelings out through repetition art and scribbling. I will also get my assistant to talk to me about what I have created to show my true emotions about the work I produce. In editing I am going to use the idea of quick edits, slowing down and making the speed faster.
When it comes down to sound I am still using my main inspiration from the first video I looked at, the sound will be loud, unnerving and make you feel upset and depressed.
The aim for my video is to make the viewer feel uncomfortable, scared and anxious.
POST 35
Rebecca Horn
Since the beginning of the 1970s, Rebecca Horn has been creating an oeuvre which constitutes an ever-growing flow of performances, films, sculptures, spatial installations, drawings and photographs. The essence of their imagery comes out of the tremendous precision of the physical and technical functionality she uses to stage her works each time within a particular space.
In the first performances, the body-extensions, she explores the equilibrium between body and space. In later works she replaces the human body with kinetic sculptures which take on their own life. Her new works define and cut through spaces with reflections of mirrors, light and music.
I chose to look at her work as my self portraiture in video has become very similar to performance art, this work above is a mask she made for her face with pencils sticking out so she cound draw on the wall, I love this idea as in my main video I wanted to document this idea of scribbling and vigorous drawing. Below she has also tied herself up handing from the ceiling (reminds me of the work I looked at by Araki) she then swung herself around and painted her surroundings in scribbles.
I absolutely love this image above, exactly what I want to explore further maybe, like the work i looked at by David Moyle it creates an idea of where I could change my stills outfit to all white instead of all black and getting it dirty to accentuate the gritty grimey location.
Since the beginning of the 1970s, Rebecca Horn has been creating an oeuvre which constitutes an ever-growing flow of performances, films, sculptures, spatial installations, drawings and photographs. The essence of their imagery comes out of the tremendous precision of the physical and technical functionality she uses to stage her works each time within a particular space.
In the first performances, the body-extensions, she explores the equilibrium between body and space. In later works she replaces the human body with kinetic sculptures which take on their own life. Her new works define and cut through spaces with reflections of mirrors, light and music.
I chose to look at her work as my self portraiture in video has become very similar to performance art, this work above is a mask she made for her face with pencils sticking out so she cound draw on the wall, I love this idea as in my main video I wanted to document this idea of scribbling and vigorous drawing. Below she has also tied herself up handing from the ceiling (reminds me of the work I looked at by Araki) she then swung herself around and painted her surroundings in scribbles.
I absolutely love this image above, exactly what I want to explore further maybe, like the work i looked at by David Moyle it creates an idea of where I could change my stills outfit to all white instead of all black and getting it dirty to accentuate the gritty grimey location. book - women artists
POST 34
Experiment...
Here I simply edited in RAW taking the saturation up and the vibrance to 100% this gives the water more depth and my body more life, I really like how they have come out although they don't represent what I am trying to achieve as much as the black and white ones.
Here I simply edited in RAW taking the saturation up and the vibrance to 100% this gives the water more depth and my body more life, I really like how they have come out although they don't represent what I am trying to achieve as much as the black and white ones.
POST 33
Edited Favorites...
I used the smart sharpen filter on these 5 of my favorite photographs of this shoot, it brings out the texture of the water and the movement is brought forward. I love this filter on these photos, they now look like they go together with my other shoots.
I used the smart sharpen filter on these 5 of my favorite photographs of this shoot, it brings out the texture of the water and the movement is brought forward. I love this filter on these photos, they now look like they go together with my other shoots.
POST 32
Edited...
I haven't used the smart sharpen tool yet but I think it would definatly benefit from it.
I haven't used the smart sharpen tool yet but I think it would definatly benefit from it.
POST 31
Shoot 3 - Echo
For shoot 3 I set up my camera on my tripod over my bath at home, above to get the idea of the small space I was in. I set up a remote and simply got my assistant to click the trigger every 5 seconds, I am really pleased with the variety I got and how the water movement came out in the end. I experiemented with just moving my head to make my face unidentifiable and I explored the idea of blowing bubbles to cover my face too, both ideas worked really well. I prefer the photos where my whole body is in it scrunched and curled up rather than the more still ones lying on my stomach. I pretty much drowned myself doing this shoot and my body definatly wasn't happy at the end of it from the amount of water than went down my nose and throat! It was definatly worth it! I also experimented with the idea of trying to get out of my own skin and pulling my clothes about to show the pain i have inside.
I again am going to simply change them into black and white but this time to highlight the water movement and texture I am going to use the smart sharpen filter on photoshop.
For shoot 3 I set up my camera on my tripod over my bath at home, above to get the idea of the small space I was in. I set up a remote and simply got my assistant to click the trigger every 5 seconds, I am really pleased with the variety I got and how the water movement came out in the end. I experiemented with just moving my head to make my face unidentifiable and I explored the idea of blowing bubbles to cover my face too, both ideas worked really well. I prefer the photos where my whole body is in it scrunched and curled up rather than the more still ones lying on my stomach. I pretty much drowned myself doing this shoot and my body definatly wasn't happy at the end of it from the amount of water than went down my nose and throat! It was definatly worth it! I also experimented with the idea of trying to get out of my own skin and pulling my clothes about to show the pain i have inside.
I again am going to simply change them into black and white but this time to highlight the water movement and texture I am going to use the smart sharpen filter on photoshop.
POST 30
More Adam Knott
BIO
Los Angeles -based Australian Adam Knott (38) has travelled the world as an award winning portrait and fine art photographer, working for the most respected magazines and corporations, photographing everyone from world leaders to major Hollywood celebrities. Knott’s fine art photography has received critical acclaim in both private and public art galleries.
His bold and dynamic portraits of people such as Audrey Hepburn, Nelson Mandela, Jeff Bridges, Shirley Maclaine and Hilary Duff, to name a few, have had prominent placement in magazines such as Stern(Ger), Glamour(Ger), The Independant(UK), People(US), Entertainment Weekly(US), Marie Claire(AUS) and Vibe(US).
Knott’s offbeat, humorous and sometimes dark fine art work has landed him many coveted commercial/ advertising assignments for clients such as News Corp, Kodak, Time Warner, and World Vision.
His work has appeared in major exhibitions in Australia including shows at the National Gallery of Victoria (NGV), the National Portrait Gallery (NPG) and the Art Gallery of New South Wales (AGNSW). With the success of his solo show ‘Bondi’, four pieces were chosen to be part of the permanent collection at Australia’s most respected public art gallery- The Art Gallery of New South Wales(AGNSW) and the National Portrait Gallery (NPG) also purchased his work for their permanent collection.
He believes his unique vision stems from his early years as a classically trained painter in the ways of the Renaissance masters and his lifelong goal of using strong, dynamic imagery to provoke thought and emotion within the viewer.
Knott also combines his portrait and fine art skills for use in photojournalism assignments where his high energy and compassion for the subject result in an original perspective. This work has taken him to the student demonstrations in Tiananmen Square, China, the struggle of HIV positive orphans in Romania, retrospectives of the Nazi Concentration camps in Poland, and the tragedies of Vietnamese refugee camps in Hong Kong.
Adam Knott has been based in Los Angeles for ten years and he lives with his wonderful wife Erin and his pet crab Charlie.
ARTIST STATEMENT
My goal is to stimulate not manipulate.
I want to provoke thought and emotion through simple, offbeat imagery.
Whether it’s a photograph of a Romanian orphan or a humorous picture depicting our culture’s obsession with beauty, my aim is to make you feel something when looking at my work.
I believe images are one of the greatest influences on society. However, more often than not they are used in a negative way.
The average person sees at least 3000 images every day... driving down the street, in the newspaper, on television. We are bombarded by meaningless images... some harmless and others that reinforce negative attitudes towards women and other members of society.
BIO
Los Angeles -based Australian Adam Knott (38) has travelled the world as an award winning portrait and fine art photographer, working for the most respected magazines and corporations, photographing everyone from world leaders to major Hollywood celebrities. Knott’s fine art photography has received critical acclaim in both private and public art galleries.
His bold and dynamic portraits of people such as Audrey Hepburn, Nelson Mandela, Jeff Bridges, Shirley Maclaine and Hilary Duff, to name a few, have had prominent placement in magazines such as Stern(Ger), Glamour(Ger), The Independant(UK), People(US), Entertainment Weekly(US), Marie Claire(AUS) and Vibe(US).
Knott’s offbeat, humorous and sometimes dark fine art work has landed him many coveted commercial/ advertising assignments for clients such as News Corp, Kodak, Time Warner, and World Vision.
His work has appeared in major exhibitions in Australia including shows at the National Gallery of Victoria (NGV), the National Portrait Gallery (NPG) and the Art Gallery of New South Wales (AGNSW). With the success of his solo show ‘Bondi’, four pieces were chosen to be part of the permanent collection at Australia’s most respected public art gallery- The Art Gallery of New South Wales(AGNSW) and the National Portrait Gallery (NPG) also purchased his work for their permanent collection.
He believes his unique vision stems from his early years as a classically trained painter in the ways of the Renaissance masters and his lifelong goal of using strong, dynamic imagery to provoke thought and emotion within the viewer.
Knott also combines his portrait and fine art skills for use in photojournalism assignments where his high energy and compassion for the subject result in an original perspective. This work has taken him to the student demonstrations in Tiananmen Square, China, the struggle of HIV positive orphans in Romania, retrospectives of the Nazi Concentration camps in Poland, and the tragedies of Vietnamese refugee camps in Hong Kong.
Adam Knott has been based in Los Angeles for ten years and he lives with his wonderful wife Erin and his pet crab Charlie.
ARTIST STATEMENT
My goal is to stimulate not manipulate.
I want to provoke thought and emotion through simple, offbeat imagery.
Whether it’s a photograph of a Romanian orphan or a humorous picture depicting our culture’s obsession with beauty, my aim is to make you feel something when looking at my work.
I believe images are one of the greatest influences on society. However, more often than not they are used in a negative way.
The average person sees at least 3000 images every day... driving down the street, in the newspaper, on television. We are bombarded by meaningless images... some harmless and others that reinforce negative attitudes towards women and other members of society.
Looking further into Adam Knott's work I realised how much I love his style of photography, the high contrast black and white images, the texture, the blur and the emotion. I picked out these two specific images because they seem so emotional and I feel I can relate to them. Although he doesn't work with self-portraiture he brings out feelings and reactions like I want to achieve.
Tuesday, 19 January 2010
POST 29
Depression Diary - Adam Knott
'These "Diary of Depression" photos were taken during a time when my wife was suffering from chronic depression. She was writing a memoir "Grief Girl" (Random House, 2007) about her parents being killed when she was 14, and to her surprise, it sent her into a downward spiral. The handwritten words are copied from my journal.'
TEXT - I was browsing through JPG Mag and came across these photos called Diary of Depression, I love the diary like idea that I have decided to pursue in my own work. I love the honesty, emotion and depth of the writing on the photographs Adam Knott has taken. I want to explore this idea of writing on my photographs maybe taking pages out of my diary or writing down things when I feel down and scanning them in and manipulating the photos with the text.
POST 28
LensBaby
Lensbaby manufactures a line of camera lenses that combine a simple lens with a bellows or ball and socket mechanism for use in special-effect photography. Lensbaby lenses can be used on cameras which accept interchangeable lenses, mainly of the 35 mm or digital SLR formats. The focal length of the Lensbaby is approximately 50 mm, making it a normal lens in 35 mm format.
The front standard can be manipulated off axis to move the sharpest area of focus (called the "sweet spot") to almost anywhere in the frame. Therefore the important part of the subject can be rendered fairly sharp with everything else out of focus, even if it is the same distance from the camera. Aperture is controlled by a series of interchangeable discs. The Lensbaby naturally focuses at approximately 2 feet; closer focus is achieved by pushing the front of the lens out, and infinity focus is achieved by pulling the front of the lens toward the base of the lens.
Results achieved with a Lensbaby can mimic that of the Holga camera (though without the light leakage) or other toy cameras. There is extreme spherical and some chromatic aberration outside the central sweet spot. The lens produces oval bokeh that point to the sweet spot, as seen in the sample photo on this page.
The front standard can be manipulated off axis to move the sharpest area of focus (called the "sweet spot") to almost anywhere in the frame. Therefore the important part of the subject can be rendered fairly sharp with everything else out of focus, even if it is the same distance from the camera. Aperture is controlled by a series of interchangeable discs. The Lensbaby naturally focuses at approximately 2 feet; closer focus is achieved by pushing the front of the lens out, and infinity focus is achieved by pulling the front of the lens toward the base of the lens.
Results achieved with a Lensbaby can mimic that of the Holga camera (though without the light leakage) or other toy cameras. There is extreme spherical and some chromatic aberration outside the central sweet spot. The lens produces oval bokeh that point to the sweet spot, as seen in the sample photo on this page.
I want to use my lens baby to create distorted images that I simply take of my surroundings or of things that represent how I feel inside, sort of like a diary style. I decided to look into the lensbaby because of the research I have been doing on the combination of blur and crisp focusing. I think this will be an interesting experiment and an unusual and new tangent to try even if it doesn't work it will help in my research and loosen me back up as I feel because I've been thinking so enclosed that my work has become enclosed too.
POST 27
Lawrence Ripsher - Fragments
FILE Magazine
'I've always been interested in narrative/storytelling photography - images that go beyond pure aesthetics. "Fragments" was a project I undertook to further explore this theme. The intent was to create a series of images which would invoke emotions in the viewer, encouraging them to ask questions of what are, in some cases, fairly dramatic scenes.'
Viewers who come across the shots have interesting and varied reactions. Some see the images as scenes conveying depression. Others see hope and resolve. For me, this ambiguity was one of the goals of the project - my attempt at providing questions but not necessarily the entire answer.
These images have really inspired me, his use of locations and how you feel looking at the images, creating questions and helping you to create your own story to them. I've now decided this is what I want my viewers to feel because then they can relate in some way to what I have presented. Although they will still be to explain and put into sight what I feel inside.
I love this photo simply the pulling the top over the face, I am going to use this idea in my next photoshoot in the bathtub as another way to cover my face other than the bubbles.
The mystery in this photo captures me and draws me in, if i had more time on this project I would love to explore this idea of creating what seem like random 'fragments' but really they are of an extreme story or action.
Shadows - need to look further into shadows, for my mini videos.
FILE Magazine
'I've always been interested in narrative/storytelling photography - images that go beyond pure aesthetics. "Fragments" was a project I undertook to further explore this theme. The intent was to create a series of images which would invoke emotions in the viewer, encouraging them to ask questions of what are, in some cases, fairly dramatic scenes.'
Viewers who come across the shots have interesting and varied reactions. Some see the images as scenes conveying depression. Others see hope and resolve. For me, this ambiguity was one of the goals of the project - my attempt at providing questions but not necessarily the entire answer.
These images have really inspired me, his use of locations and how you feel looking at the images, creating questions and helping you to create your own story to them. I've now decided this is what I want my viewers to feel because then they can relate in some way to what I have presented. Although they will still be to explain and put into sight what I feel inside.
I love this photo simply the pulling the top over the face, I am going to use this idea in my next photoshoot in the bathtub as another way to cover my face other than the bubbles.The mystery in this photo captures me and draws me in, if i had more time on this project I would love to explore this idea of creating what seem like random 'fragments' but really they are of an extreme story or action.Shadows - need to look further into shadows, for my mini videos.
POST 26
Looking further into movement I came across this guy called
James Meaken
James Meaken
I love how mysterious his photographs are, and how he captures movement but keeps crisp parts of the photographs, this technique he has used simply using a long shutter speed with a flash set up so the flashed parts are crisp and the movement is blurred.
I like this idea but working with water it won't work because whatever angle I have the flash at it will make too much of a shine off the water.
I have also been thinking about keeping my locations looking tight in frame so you can feel the uncomfortable closed feeling of it. For my bath photos I am thinking of using an angle from above rather than from an end or a side because then it will seem like a box like its enclosed.
I want to move around in the bath and use the body language and poses in shoot 2, I also aim to give a sense of pain and restlessness.
I want to move around in the bath and use the body language and poses in shoot 2, I also aim to give a sense of pain and restlessness.
Subscribe to:
Posts (Atom)
