Tag: conceptual

Golden Cap, continued

This past semester my photographic practice has been exploring the subject of inequality: wealth and income inequality as well as gender and ethnic disparities. I have been incorporating text from signs into scenes using Photoshop. For the summer, my tutor suggested placing text-based images I create into the landscape and rephotographing them. So before departing on this trip I prepared 3 images. One simply says “Broken Promises,” a famous graffito from the Bronx, another shows mathematical symbols for inequality, “<>” and “≠,” and I also abstracted a sign I saw in the car park of the Palm Springs Art Museum on a trip several years ago that simply says, “Imagine Art Here.” Then I asked Margaret to hold them for me while we were near Golden Cap. I also found places along our walks to place them in the scene. I’m not sure they’re really doing that much for me. Click any image to see them enlarged.

Inequality (draft)

This semester I wanted to start work on much more deliberate, composed subjects. Most of my photographs, for the last 50 years or more, have been just what I happen to have seen. Now I want to create work that shows my intent, leveraging my skills. My subject is inequality both economic (wealth, income inequality) and social (ethnic and sexual inequality). The first scenario I came up with was to have a capitalist (think of the Monopoly Man) at the top of a seesaw, held there by the labor of proletarians at the other end. The shoot was a couple of days ago.

Needless to say, everything that could go wrong did go wrong. I had asked classmates to join as my models and many agreed. However, the day of the shoot our all-day workshop was cancelled due to teacher absence so I had to reschedule since many people were not on campus. I had planned to shoot with the Pentax 645 film camera as well as the Fuji digital. For lighting I planned to use 2 flashes on light stands, triggered independently by transmitters on the cameras, the Pentax tripod mounted. In the end, I couldn’t get the extra flash I needed for the Pentax. I tested the trigger for the Fuji at home the night before but on the day nothing I did would get it to work, so I wound up shooting with the flash on the camera. We started the shoot around 5:00 pm as I wanted it to be somewhat gloomy and the sky cooperated, however it was quite chilly, which was rough on the models (and my hands) and the ground was quite muddy, limiting what I was prepared to ask them to do. Here are a few images from the shoot and notes from my journal on what could be better (click any image to see them all enlarged).

  • Lighting. Obviously, not getting any of the flashes or triggers to work is a big problem but more significantly I need a much better understanding and control of how the light is falling. In the shots above I’ve had to reduce the highlights on the faces significantly and introduce a diagonal linear gradient for the bottom right of most of the images to reduce excessive light on the grass and mud in the foreground. There is also the problem of the shadow under the seesaw and in a few other places, suggesting the need for some reflective fill.
  • Costume – compared with, say, Karen Knorr’s Gentlemen and Belgravia, this looks childish and amateurish. I’ve used unsubtle masks to darken the Capitalist’s red sneakers to black (in some of the images) but it’s either obviously blackened or the white trainer laces are showing. Really need to think about the capitalist attire as well as the proletarian attire.
  • Models – Again, using Karen Knorr’s work as a model, I should use professional models in appropriate attire. Need to think about how the models can represent the ethnic/sex aspects of inequality, too. I can probably still use students, but I’ll need to wait for finer weather and really choose models and attire carefully and deliberately in advance to meet the picture requirements.
  • Composition – Lots of problems here. The seesaw isn’t long enough for the height difference needed to dramatise inequality, so the idea doesn’t come across. So, either the concept doesn’t work at all, or I need a much longer, higher seesaw, which will introduce another set of compositional problems. The angle of the shot might need to be entirely different, looking up at the capitalist from behind/beneath the proletarians, for example, or looking down from his end. There’s not enough room at the low end of the seesaw for all the people I want, so they’re spread out, again weakening the gap between the 2 ends. The muddiness also meant I couldn’t really ask my classmates to get down as low as I might have liked.
  • So, a disappointing outcome but a lot of learning…

Haiku (semi) Final

Pound’s Haiku
12 : 5 width ratio
5, 7, 5 meter scheme
5, 7, 5 meter scheme, alternate take
The apparition of these faces in the crowd; petals on a wet, black bough.

Here are some of the images from my final submission on the Pound haiku. These are the ones where I tried to illustrate the poem fairly literally:

  • The first one has 2 pictures that have a ratio of 12: 5 in width (like the 12 and 5 syllables in the 2 lines of the haiku.
  • The next 2 images go for a more classical 5, 7, 5 syllabic layout of images of the faces in the crowd and the petals on a wet black bough.
  • And the final image superimposes the apparition of the faces in the crowd over the petals on a wet black bough.

Click any image to see them all enlarged on the screen. I also submitted a bunch of other images that have already been shown here.

Al Zoe Leonard: Al río

The day after we went to Paris Photo we went to the Musée d’Art Moderne de Paris and got tickets to the Zoe Leonard exhibit, Al río / To the River, recommended by classmates who had seen it the day before. It’s an immense show that goes on and on for rooms and rooms, vast expanses of white space, perhaps conveyed by the images above. We arrived late morning and were, initially, the only ones there, other than the guards. I was almost more impressed at the opportunity to wander through the vast, empty white space of the museum (reminiscent of my trips to NY’s Metropolitan as a kid, when it was often so empty you could go bowling without disturbing anyone) than I was by the photographs.

The images look at the US/Mexico border area, as loosely defined by the Rio Grande/Bravo. On each wall is a series of pictures, looking at a particular scene, over the course of time (seconds, or minutes, I would guess). Some of these are very affecting; cumulatively, they certainly are. But I was unable to guess at the reason for some of them. One entire room was dedicated to pictures of the swirling water taken, perhaps, over the side of a bridge. While they are far from identical, they are all the same. Another follows a man on horse from a distance, behind, as he travels a short way. The final room is a series of color pictures of a laptop showing security footage of people crossing a barbed-wire-surrounded bridge. No indication of whether this is a public website, or if she’d been granted access to a security control room. Beyond the brochure materials about the exhibit (shown at the link above) there are no placards, captions or other text to explain what you’re looking at or why – which is, in itself, a kind of statement, I suppose. I confess, I didn’t quite know what to make of it. Of course, the same might be said of my series of images of the exhibit.

As always, click any image to see them all full-size.

Soundsuit detail

Jepson Center, Savannah, Georgia

Very interesting construction from Nick Cave.

“Cave’s soundsuits can operate as a second skin, meant to conceal race, gender, and class, thereby protecting and transforming one’s identity in an attempt to eliminate prejudices.”

Double Double Life

  • Manhattan
  • New York

Continuing with my homage to Crewdson I was inspired by Kelli Connell’s Double Life. Since switching to Lightroom for most of my post processing some years ago, and more recently to Capture One, I’ve lost all my Photoshop chops. I have no idea how I finally managed to make these work…