Abstract Form
Photographing Paper Task
With this task, the classes objective was to photograph a simple piece of paper in a variety of ways. By photographing the paper in different perspectives and styles, it made an object as plain as a piece of paper into a very versatile subject which was fun to experiment with.
Tate Britain - Painting With Light Exhibition
Lady of Shalott (1860-1861) - Henry Peach Robinson
This photograph was made by combining separate negatives of the images barge and background, using albumen prints on paper. With Robinson recreating an oil painting, and using multiple negatives, he received backlash for supposedly 'undermining the photograph' The Valley of the Dragon (1909) - John Dudley Johnston
John Dudley Johnston, who served two terms as as president of the Royal Photographic Society, took this image using the gum-platinum process he used frequently. The grey tint this process brings adds to the murky, misty atmosphere of the mountains. |
Isabella Grace on the Terrace (1861-1862) - Lady Clementina Hawarden
This portrait shot of 'Isabella Grace' on a terrace in London was made with albumen prints on stereo card. The process gave the image a yellow tinge because of the albumen emulsion (egg white) and the chloride chemicals reacting. The dress and pose Isabella has is seen again in Frances Haden's 'The Assignation' The Odour of Pomegranates (1889) - Zaida Ben Yusuf
This so called 'photogravure' was made with platinum print, mounted on green paper. It shows a lady in a long gown, facing left with a pomegranate. Some observers notice the 'curving lines' that resemble 'writhing serpents'. |
Photography Walk
What are the intentions of the task? www ebi. selects and edits
Photographing a Market Task
With this set task, the class was required to visit and photograph a market of their choice. I decided to visit Portobello flower market. I feel like I made this decision because of the obvious colourful visual appeal of the market but also because of the sort of personalities I would see there, including market sellers. I intended to take a voyeuristic approach to photographing the market, and I tried to separate the market and its produce from the people selling and visiting. I also wanted tot show the interaction that goes on at the market, from sellers to customers and from the flowers to the market goers.
The market provided me with a constantly changing setting for me to capture. The hustle and bustle of the market allowed me to capture some interesting photographs. The cramped market was mainly effective for capturing shots of the market goers, and it allowed me to get in close proximity to the heart of the market. The behaviour of the customers was fun to photograph as I was allowed to slyly capture the behaviour of the crowds.
WWW: I feel I met the aims I had in mind for this assignment. I wanted to have a location that allows me to capture the best things of a market. Portobello flower market was an ideal location, with flocks of people and enthusiastic sellers. The flowers on display gave my shots a burst of colour, as well as the setup of the stalls allowing me to get another perspective on the market, showing families picking and choosing flowers.
EBI: This assignment could have been even better for a few reasons. I would have liked the market to sell a variety of things to give my shots some variation. I would have also liked if my location had different levels to it, as I feel that a birds eye view of the market would allow me to capture the market in a way that it is not normally seen.
Dark Room Experiments
With this experiment i wanted to use a wider variation of materials, whilst going for a similar approach when developing the negative. To do this i decided to use more honey on this piece, to bring out a blurry, less defined
Art Student Response
I like this response but ANNOTATE!
Telling a Story
Journey
A Trip To Belfast
For this task, I photographed a journey into Belfast, Northern Ireland
Exhibitions
Edward Barber Peace Signs 26 May – 4 September 2016 Imperial War Musuem London
Tate Modern Switch House - 'Living Cities' / 'Red'
Sirkka - Liisa Konttinen - 'Living Cities'
Sirkka - Liisa Konttinen is a Finnish photographer who has photographed in parts of Britain since the 1960's. In her youth Konttinen studied photography in London in the 60s, and ultimately helped curate the Amber Film & Photography Collective which was founded in Newcastle in 1969. It was this time in Newcastle that led to the creation of her project 'Living Cities', with the series depicting the lives of residents in the Byker and Tynemouth areas of Newcastle.
Konttinen and the Amber Film & Photography Collective helped shed light on working class citizens who witness their cities face gradually changing. Speaking on her work with her collective, Konttinen said “We felt that the working class were not represented and if anything, were parodied rather than given a genuine voice”. Taken over a span of 7 years, Konttinen photographed in urban and coastal areas of Newcastle, covering the backroads of Byker in the city as well as the decrepit shipyards.
Sirkka - Liisa Konttinen's work varied in style, with the photographer using both the cities residents and it's industrial landscape to capture gritty and emotive photographs. The concrete suburban housing and the burst of life in amongst it helped Konttinen produce a series that has been shown in prestigious galleries in the North-East and the Capital.
Konttinen's fondness of Newcastle lasts into modern times, with the photographer going back to the photographed areas between 2003-2008 to create the follow up project 'Byker Revisited'. The series depicted residents Konttinen previously photographed, as well as images of asylum seekers that have found themselves in the city.
Konttinen and the Amber Film & Photography Collective helped shed light on working class citizens who witness their cities face gradually changing. Speaking on her work with her collective, Konttinen said “We felt that the working class were not represented and if anything, were parodied rather than given a genuine voice”. Taken over a span of 7 years, Konttinen photographed in urban and coastal areas of Newcastle, covering the backroads of Byker in the city as well as the decrepit shipyards.
Sirkka - Liisa Konttinen's work varied in style, with the photographer using both the cities residents and it's industrial landscape to capture gritty and emotive photographs. The concrete suburban housing and the burst of life in amongst it helped Konttinen produce a series that has been shown in prestigious galleries in the North-East and the Capital.
Konttinen's fondness of Newcastle lasts into modern times, with the photographer going back to the photographed areas between 2003-2008 to create the follow up project 'Byker Revisited'. The series depicted residents Konttinen previously photographed, as well as images of asylum seekers that have found themselves in the city.
Boris Mikhailov - 'Red'
Boris Mikhailov is hugely recognised as being one of the most supreme photographers to rise out of the USSR. Mikhailov taught himself photography in Kharkiv, then part of the Soviet Union, now considered Ukraine. Mikhailov started to capture abundances of social documentary photographs, which perfectly captured the lives of citizens under communist rule, and added to his respected archive for another 65 years.
Boris Mikhailov's career spans since the late 1960's. His work in the Soviet Union continued with series capturing the collapse of the Union, in which he photographes homeless people who struggled to become part of community based systems after it all. Between 1968 - 1975 Mikhailov shot a number of candid shots for his project 'Red'. The project takes everyday scenes that can give off many impressions, which in his case is down to the communist rule the Soviet Union was under. The communist government has been a key aspect of Mikhailov's work that has gained praise for its special insight into Soviet life.
At the exhibition at the Tate Switch House, Mikhailov's work was placed along walls with the images varying in size. One element of his project which is easy to spot is the consistent presence of the colour red in his photographs, not only suiting the projects title but also creating a direct link with the colours heavy association with communism.
Boris Mikhailov's career spans since the late 1960's. His work in the Soviet Union continued with series capturing the collapse of the Union, in which he photographes homeless people who struggled to become part of community based systems after it all. Between 1968 - 1975 Mikhailov shot a number of candid shots for his project 'Red'. The project takes everyday scenes that can give off many impressions, which in his case is down to the communist rule the Soviet Union was under. The communist government has been a key aspect of Mikhailov's work that has gained praise for its special insight into Soviet life.
At the exhibition at the Tate Switch House, Mikhailov's work was placed along walls with the images varying in size. One element of his project which is easy to spot is the consistent presence of the colour red in his photographs, not only suiting the projects title but also creating a direct link with the colours heavy association with communism.
Personal Brief
"create a series of images that present the identity of a city and its inhabitants"
Observational Starting Points:
- Changing ideals e.g demolished Heygate Estate
- Traditional buildings juxtaposed with modern buildings, and the building of new developments
- The way in which people in a city go about their lives/interact with each other, and the city
Research Starting Points:
- Eugene Atget, late 19th century Parisian photographer, capturing areas of Paris before vast re-development
- Find areas that are due to go under such changes
- Locations in which its inhabitants has made their own
Observational Starting Points:
- Changing ideals e.g demolished Heygate Estate
- Traditional buildings juxtaposed with modern buildings, and the building of new developments
- The way in which people in a city go about their lives/interact with each other, and the city
Research Starting Points:
- Eugene Atget, late 19th century Parisian photographer, capturing areas of Paris before vast re-development
- Find areas that are due to go under such changes
- Locations in which its inhabitants has made their own
City Sights
First Set of Observations
When I set out to capture my first set of observations, I wanted my images to correlate strongly with my brief, and evoke the points in my brief in more than one way. Considering I wanted to capture both the development of a modern city, in my case London, as well as the way it's inhabitants interact with the city, i chose to shoot around Soho and Old Street.
Old Street and Soho i felt accommodated my aims really nicely. I feel this is thanks to a whole load of reasons, one being the mix of old and new architecture, with the streets featuring new expensive developments and much older brick buildings. Another reason why I felt these areas combined well with my aims is because of the hundreds of quiet, sometimes narrow streets. I feel this encouraged me to capture the people on the city's streets in a more individual way, either photographing them as the subject or as part of a group.
One theme I wanted to convey in this observation was the scale and familiarity of new developments in London, however I also wanted to capture the impact the city's inhabitants has on t's urban landscape. This is often evident with street graffiti or workers near they're practice of work. It can also be conveyed by people that are homeless, as they make a home in the streets for themselves.
WWW: I feel like in this observation I varied out my locations wisely. Despite wanting to capture London's citizens interacting with their city, capturing the visual evidence and clues of these citizens was also an aim of mine. By photographing this and combining it with the gradual development of the city, it gave me some freedom with my shots. The themes of old vs new and poor vs rich came through my pictures and give the observation some sort of comment on London's society.
EBI: I feel like for this observation, I could have veered away from purely candid shots. By photographing subjects asking them to pose I could capture more emotion from the public rather than just their visual patterns. By doing this i could also tap in to social stereotypes and bring my work a theme of typology.
Second Set of Observations
Third Set - Shooting in Croydon
The City's Buildings
First Set of Observations - Ainsworth Estate and Old Street
Second Set - Shooting in Waterloo
Third Set - Shooting in Islington
Artist & Me - David Hepher
David Hepher is an English painter born in Surrey, England, 1935. Hepher's best known work is his paintings depicting tower blocks, with experimental illustrations layered on top. The buildings Hepher uses like the Aylesbury Estate are known for being drab, and boring due to their concrete brutal architecture.
Hepher's illustrations give such buildings a burst of colour and light. It add's some individuality to these tower blocks filled with people. Hepher's love for tower blocks started during the 50's in Sheffield, and he comments on his long standing inspiration, saying that he 'often thinks of Mondrian and Corbusier's flats in Marseille - that whole are of modernism.' With Hepher's style in mind I wanted to incorporate photographs I take of such buildings with the elements of colour and personality that he brings to the rock solid structures. |
EVOL
Berlin-based Tore Rinkveld, aka Evol is a German artist/photographer, who city scape photographs with some mundane materials. Rinkveld takes images of various buildings, often brutalist around Berlin, with the aim of capturing what goes unseen, e.g hanging tarpaulins and other typical parts of a buildings construction.
Evol's purpose behind this technique is to 'draw our attention to the striking geometry of the architecture and everyday details we sometimes take for granted'. The use of industrial, mass produced materials like cardboard create a visual link between the sights of a modern city and the materials that are so commonly seen. Considering Evol's technique, I felt i could create artificial city -scapes, to help draw attention to the micro features of a city, that are overshadowed by the geometric architecture that surrounds it. |
Charles Sheeler
Charles Sheeler was an American artist and filmmaker who's most famous for his illustrations of the New York skyline. Born in 1883 in Pennsylvania, Sheeler studied at the Pennsylvania Museum School of Industrial Art, and then the Pennsylvania Academy of Fine Arts. Sheeler was a self proclaimed 'Precisionist'. He gave himself this title because of his painting style, which had great linear precision.
Sheeler was a big fan of various movements. Cubist artists like Baque and Picasso. After discovering that he would struggle to make a living as a modernist painter, Sheeler focused more on architectural photography. He started taking pictures on a 'Brownie' camera, which at the time cost $1 for the camera and a roll of film. His photography skills were self-taught, as he felt that having a photographic eye could help his architectural paintings.
Sheelers works have been exhibited and marketed by carious big companies and museums. From his early exhibitions in the now closed Macbeth gallery, to the huge collection of works in the Metropolitan Museum of Art. Sheelers talent in painting and 20th century photography even got him a deal with Ford Motors Co., who employed Sheeler to have his paintings and photographs at their factories.
I feel like Charles Sheelers work inspires me because of the way he captures the cramped, colourful nature of a major city like New York. His paintings show the deep analysis he once had of his surroundings. His works consistently feature an emphasis on the brash and brutal structures in New York, with the towering sky scrapers and their dramatic, overlapping shading becoming a tell tale sign of Sheelers work. The unnerving angles and claustrophobic feel his paintings had put a further emphasis on the rapid growth of the metropolis, with New York being at the forefront.
Sheeler was a big fan of various movements. Cubist artists like Baque and Picasso. After discovering that he would struggle to make a living as a modernist painter, Sheeler focused more on architectural photography. He started taking pictures on a 'Brownie' camera, which at the time cost $1 for the camera and a roll of film. His photography skills were self-taught, as he felt that having a photographic eye could help his architectural paintings.
Sheelers works have been exhibited and marketed by carious big companies and museums. From his early exhibitions in the now closed Macbeth gallery, to the huge collection of works in the Metropolitan Museum of Art. Sheelers talent in painting and 20th century photography even got him a deal with Ford Motors Co., who employed Sheeler to have his paintings and photographs at their factories.
I feel like Charles Sheelers work inspires me because of the way he captures the cramped, colourful nature of a major city like New York. His paintings show the deep analysis he once had of his surroundings. His works consistently feature an emphasis on the brash and brutal structures in New York, with the towering sky scrapers and their dramatic, overlapping shading becoming a tell tale sign of Sheelers work. The unnerving angles and claustrophobic feel his paintings had put a further emphasis on the rapid growth of the metropolis, with New York being at the forefront.
Experiment:
First Attempt
WWW: I think I chose the right pictures that complimented each other well. The burst of colour from the paint markers adds vibrancy to the piece, which contrasts the bland aesthetic of concrete structures and cardboard.
EBI: I feel like I could have made pieces on a much larger scale, perhaps making a mini city out of cardboard.
WWW: I think I chose the right pictures that complimented each other well. The burst of colour from the paint markers adds vibrancy to the piece, which contrasts the bland aesthetic of concrete structures and cardboard.
EBI: I feel like I could have made pieces on a much larger scale, perhaps making a mini city out of cardboard.
The City and the People
First set of observations - Shooting in Muswell Hill
In this observation I wanted to experiment more with the way I photographed over the course of the weekend. I looked at some of my main inspirations behind my project theme. Amongst my inspirations, one photographer who I rate very highly is Rutt Blees Luxemburg. In her project 'London Dust', Rutt chooses to shoot the urban streets in London in lots of ways, utilising lighting. But her photographs using long exposures of travelling cars impressed me.
With Rutt's techniques in particular being in my head I went on a night shoot in Muswell Hill, with the aim of capturing light trails. I wanted to capture the dynamic motion and lighting parts of London can have at night. By capturing recognisable London symbols like big red buses, i felt it would make it recognisably taken in London.
For other parts of my third observation, I visited the one and only place to capture raw street photography, the streets of London. I revisited Soho. Luckily the sunny weather allowed me to photograph with some interesting shadows. Other areas i visited like Covent Garden felt like a haven of bustling scenes to photograph, whether it be large and small groups of people, or street salespersons.
WWW: I felt like I captured long exposures in the way I wanted to quite well. The results sense of motion has made me want to experiment with this technique more in my project. I also feel I captured some interesting street scenes in central London.
EBI: To make this observation even better I feel like a broader range of locations could've been complimentary, to capture more evocative street scenes and long exposures of a variation of faster paced street scenes.
With Rutt's techniques in particular being in my head I went on a night shoot in Muswell Hill, with the aim of capturing light trails. I wanted to capture the dynamic motion and lighting parts of London can have at night. By capturing recognisable London symbols like big red buses, i felt it would make it recognisably taken in London.
For other parts of my third observation, I visited the one and only place to capture raw street photography, the streets of London. I revisited Soho. Luckily the sunny weather allowed me to photograph with some interesting shadows. Other areas i visited like Covent Garden felt like a haven of bustling scenes to photograph, whether it be large and small groups of people, or street salespersons.
WWW: I felt like I captured long exposures in the way I wanted to quite well. The results sense of motion has made me want to experiment with this technique more in my project. I also feel I captured some interesting street scenes in central London.
EBI: To make this observation even better I feel like a broader range of locations could've been complimentary, to capture more evocative street scenes and long exposures of a variation of faster paced street scenes.
Second set - People Integration in Kings Cross / Euston
For this observation, I took my camera and my tripod out to Kings Cross and Euston at night. With the work of Rutt Blees Luxemburg in my mind I set out to capture some long exposures, both of cars and streetlights, and of London commuters. I felt like the bustle of a big train station like Kings Cross and its multiple levels would allow me to capture some long exposures of people from lots of angles. By choosing a train station, I captured the patterns and movements of commuters as they rush through the station.
I wanted my shots to take away the publics identity, as they create an abstract form with their movement. By doing this I felt it would further emphasis the patterns commuters take in the cities buildings and on its roads. I wanted to shoot from various angles, from both up high and ground level. I did this so I could get a greater sense of movement, with the high up angles showing a large amount of people moving past each other as if they were an army of ants.
WWW: I feel in this observation I captured the elements that I wanted to photograph. Because I wanted to capture the patterns of the publics movement and interaction with each other, I chose my location well as Kings Cross is the capitals 2nd busiest station. I feel like my use of long exposures further emphasised the publics movement.
EBI: I feel like I could have varied out my chosen locations. By doing this I would be able to capture more subtle and minimalist examples of the patterns of movement the public take. To do so, I'd ideally photograph a crowd of people watching a fast moving street performer. The contrast in movement would make my photographs capture more than a split second in time, but more capture the unseen movement that would be missed without a long exposure.
I wanted my shots to take away the publics identity, as they create an abstract form with their movement. By doing this I felt it would further emphasis the patterns commuters take in the cities buildings and on its roads. I wanted to shoot from various angles, from both up high and ground level. I did this so I could get a greater sense of movement, with the high up angles showing a large amount of people moving past each other as if they were an army of ants.
WWW: I feel in this observation I captured the elements that I wanted to photograph. Because I wanted to capture the patterns of the publics movement and interaction with each other, I chose my location well as Kings Cross is the capitals 2nd busiest station. I feel like my use of long exposures further emphasised the publics movement.
EBI: I feel like I could have varied out my chosen locations. By doing this I would be able to capture more subtle and minimalist examples of the patterns of movement the public take. To do so, I'd ideally photograph a crowd of people watching a fast moving street performer. The contrast in movement would make my photographs capture more than a split second in time, but more capture the unseen movement that would be missed without a long exposure.
People interacting with the City - Kings Cross / Euston
With this observation I wanted to capture the movement of people in the city they live in. Whether or not the person was clear to see in the shot didn't really matter to me as there were means of capturing their movement which I wanted to have a go at. By taking long exposures, normally still frames have a sense of movement added to it. Not only does this added motion make the photo look much more dramatic, but it also allows viewers to see the paths of movement the subjects took. This makes their mind start to see the picture in a different light.
WWW: I think I chose my locations very well. With King's Cross and Euston having hugely busy tube/train stations, fast movement was easy to come by. I wanted to still capture the slow elements of the stations interacting with the rushed bustle side of the station. To get the best angles I wanted to get high up, and have a wide scope over the whole of the station.
EBI: I could have perhaps interpreted this strand in the shape of a film. Films would definitely make capturing the movement easier, and give me more means in which to do so. For example time lapses
WWW: I think I chose my locations very well. With King's Cross and Euston having hugely busy tube/train stations, fast movement was easy to come by. I wanted to still capture the slow elements of the stations interacting with the rushed bustle side of the station. To get the best angles I wanted to get high up, and have a wide scope over the whole of the station.
EBI: I could have perhaps interpreted this strand in the shape of a film. Films would definitely make capturing the movement easier, and give me more means in which to do so. For example time lapses
Third set - London short visual
For this interpretation I again was focusing on interaction with the city. I wanted to show this relationship with the city by following the activities of some mutual friends as they walked through Southbank. I wanted to have a voyeuristic approach to making the film, without any staged shots. I decided Southbank would be a good location as its rather busy on the weekend, which I felt would accentuate the feeling of the group of friends being a small part of the flow of the city, which I wanted to try and touch upon.
WWW:
WWW:
Visit to London Bridge
Fourth Set - Barbican Short Visual
WWW:
EBI:
EBI:
Visit to the World's End Estate
I visited the World's End Estate in Chelsea. The estate is one of the largest council estates in the area, with Chelsea having lots of expensive residential homes rather than a large concentration of council estates. Built in the 1960's, the 20-storey tower block is one of London's most famous estates. The thing I found most interesting about the worlds end estate is its location. The estate is located on Kings Road in Chelsea and Kensington, just yards away from some of the most expensive houses and mansions in London.
Compared to lots of other diminishing estates in London, the Worlds End has a high rate of its residents being the full owner of the apartment, with 25% of its residents having their apartment for themselves. Compare this with the Trellick Tower, which only has a handful of such owners due to private owners renting their apartments or having it empty.
The high tower blocks the Worlds End is known for stood out the most, with the prominent tower blocks being visible from all around the estate and beyond. Whilst shooting, the sheer contrast between the estate and its surroundings became clear, with little roads leading out of the estate into much more expensive, upper-class areas. The estate is very urban, with red bricks and rusting metal fences being some of the estates most common sights.
WWW: I fond that whilst shooting, I came to the estate on the right day. Walking round on sleepy Sunday morning allowed me to capture images that focused entirely on the city space, and all of its foundations. The empty ghost town I was left with made shooting the estate much easier. I also feel the main idea of going to the Worlds End was also good, as it had long been on my checklist.
EBI: I feel to improve on my observation, I could have tried finding a way to shoot the state from more hard to reach areas like balconies. Although hard to complete I feel if this was done by myself I would be even more pleased with my results
Compared to lots of other diminishing estates in London, the Worlds End has a high rate of its residents being the full owner of the apartment, with 25% of its residents having their apartment for themselves. Compare this with the Trellick Tower, which only has a handful of such owners due to private owners renting their apartments or having it empty.
The high tower blocks the Worlds End is known for stood out the most, with the prominent tower blocks being visible from all around the estate and beyond. Whilst shooting, the sheer contrast between the estate and its surroundings became clear, with little roads leading out of the estate into much more expensive, upper-class areas. The estate is very urban, with red bricks and rusting metal fences being some of the estates most common sights.
WWW: I fond that whilst shooting, I came to the estate on the right day. Walking round on sleepy Sunday morning allowed me to capture images that focused entirely on the city space, and all of its foundations. The empty ghost town I was left with made shooting the estate much easier. I also feel the main idea of going to the Worlds End was also good, as it had long been on my checklist.
EBI: I feel to improve on my observation, I could have tried finding a way to shoot the state from more hard to reach areas like balconies. Although hard to complete I feel if this was done by myself I would be even more pleased with my results
Personal Brief Overlook
When looking back on the correlation my observations have with my initial personal brief I feel satisfied. The aims of capturing the interaction and actions the citizens of London share with their surroundings. With that aim my main idea was to capture movement, rather than personal emotions, as I wanted to capture the routines and patterns the people have with London. By capturing the movement of cars on roads using long exposure's, I felt I captured the movements and routines that I wished to photograph.
Another point from my brief that I feel I worked alongside is my aim of photographing the buildings of old and new developments in the city. With that aim in mind, my immediate thought was to capture both old, neglected estates that I have visited in the past and new buildings in the process of being built. To capture such scenes, I headed to central London, around Waterloo. I captured large, industrial cranes placed in a building site. The overlapping cranes and the harsh lighting allowed me to get a naturally contrasted shot.
Another point from my brief that I feel I worked alongside is my aim of photographing the buildings of old and new developments in the city. With that aim in mind, my immediate thought was to capture both old, neglected estates that I have visited in the past and new buildings in the process of being built. To capture such scenes, I headed to central London, around Waterloo. I captured large, industrial cranes placed in a building site. The overlapping cranes and the harsh lighting allowed me to get a naturally contrasted shot.
What do I plan to do next?
For the next stage in my Unit 3 project, I want to
Mock Exam Final Piece
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For my final piece for my mock exam, I decided to continue on with my David Hepher and EVOL inspired observations. Using the creative use of cardboard that EVOL consistently utilises, and the street art inspired pieces from David Hepher I created mini cardboard scenes using pictures I have taken, cardboard and some paint markers.
In this set of obervations I decided to give segments of my pieces a 3D appearance, with it bursting off the surface rather than being flat against it. To do this, I cut out small squares of card, which I then stacked on top of eachother in groups of 3. I then used the card piles to attatch my photographs to the cardboard, with them not touching the surface, giving a 3D appearance.
WWW: I feel I selected the best segments of my photographs, whilst considering the ways in which I could manipulate it once its composition is in place. The link between the grey, solid structres I feature in the pieces and the street art inspired graffiti added over it gives each piece a unique appearance, and another mood or meaning that viewers would not usually receive from estates and other brutalist structures.
EBI: I feel as if my work would have been better if I had set myself up with a larger scale canvas to mount and manipulate my work. I feel like having more ways to distort and damage the images and materials I used.
In this set of obervations I decided to give segments of my pieces a 3D appearance, with it bursting off the surface rather than being flat against it. To do this, I cut out small squares of card, which I then stacked on top of eachother in groups of 3. I then used the card piles to attatch my photographs to the cardboard, with them not touching the surface, giving a 3D appearance.
WWW: I feel I selected the best segments of my photographs, whilst considering the ways in which I could manipulate it once its composition is in place. The link between the grey, solid structres I feature in the pieces and the street art inspired graffiti added over it gives each piece a unique appearance, and another mood or meaning that viewers would not usually receive from estates and other brutalist structures.
EBI: I feel as if my work would have been better if I had set myself up with a larger scale canvas to mount and manipulate my work. I feel like having more ways to distort and damage the images and materials I used.
Development towards a final piece.
Look back to the vorticists.
No negative space- layer different buildings
Select shapes and use average blur to convert your buildings to flat colour shapes.
Translucent shapes of other buildings overlaid
Look back to the vorticists.
No negative space- layer different buildings
Select shapes and use average blur to convert your buildings to flat colour shapes.
Translucent shapes of other buildings overlaid