Posted in 06 Surveys, Coursework, Part Two ~ Landscape as journey

Exercise 2.1: ‘Territorial Photography’ Part One

Synder’s essay starts at the beginning where photography was just starting to climb to it’s feet in a very opinionated world, kind of like starting at a school one week late when everyone already has their friends; photography was pushed out of every genre it tried to settle in. Artists had set ideas about what photography was. It was mechanical and therefore there was nothing human about it, it couldn’t evoke emotion, the photographer played no artistic part in it therefore it could not possibly be considered art. As every detail was captured there was nothing left for the imagination (where they believed art resides) For them photography was a harbinger of doom, photography was a cheat, like tracing a picture.  Science also argued that whilst a mechanical creation it had no place with Science either.

There was a great deal of confusion as to where photography belonged so naturally if you’re different, you don’t belong and photography drifted in a void, an entire level of it’s own. Photography was also seen as a sybolism of industrilisation. People such as Charles Baudelaire saw photography as almost an alien species, they could see it taking over, shifting the lime light! Did they see photography brainwashing the world!

What confuses me is why photography went along with it. Instead of fighting back and arguing that “Actually, we are something different and that’s ok, essentially we are creating magic.” They accepted their fate and ensured their images went along with the stereotypical view, mechanical. They strove hard to create fine definition and machine looking photos depsite offering something the art industry couldn’t. I suppose just like in wildlife conservation, you don’t fight against the farmers you work with them so they are inspired to help your cause. The prejudice against photographers is slightly ironic as, mechanically, it took a great deal more skill then than now where the digital camera provides us with the perfect blue print for photography. Anyone can click a camera shutter but not every photo is a good photo.

Landscape was targeted and perhaps artists felt most threatned as nature and landscape was a common subject.

Despite negative associations of it today, tourism guided Landscape photography to the place it occupies today. Scenic photos were sold at Publishing houses which bought photos from other thus spreading photos of the world available in all locations. Photographic supply houses started to ship out to other countries around the world. They had created their own market.

The ongoing debate of where photography stood continued. A photography was essentially a self portrait in that it ‘implicates the maker…expresses his or her sensibility…how a scene was experienced” Franco Fontane described this too! But Lady Elizabeth Eastlake, wrote how photography was a mechnical process therefore had no human aspect. She believed it failed to show experience and therefore could not be considered as an art. It must have been so frustrating to the photographers being met by this wall of criticism. It astonishes me that everyone can be so snobby about it when only a few years ago the thought of photography could have been seen as impossible as seeing a dragon! Charles Baudelaire wrote “It has ruined whatever might remind of the divine in the French Mind.”

However there was a new generation of photographers. They knew what Landscape composition was but they were bound by no conventions, they were “free to record what they saw” As they adapted to creating exact depictions they in turn appealed to the market. The photos themseleves were disinterested. And suprisingly, arts blatant opinions began to change. The photographers stepped back and created scenes true to reality yet were admired ‘artistically’ for the skill and technique of the photographer. People had their own opinions of photography and the photographer had to be careful to ensure they met that criteria, reality, factual. They had to be different from expected, avoid any landscape conventions so they could not be compared, employ fact to appraise skill both in a technical and factual way. Be attractive and scientific.

Enter, Carleton Watkins a San Francisco photographer. His images were beautiful of sublime views. Even Ansel Adams emulated his works. His images of Yosemite reflected in the water drew the ugly heads of the prejudiced art industry once more. It was argued that (whilst beautiful) the image was not art as it was something that anyone could see were they standing there. Yet of course it is art, because it is artistic vision! Photography created one reality of another reality. Artists began to use their photos as references for their art. Photography had become a doorway for artists.

The art industry welcomed it and photographers were congratulated for creating scientific and detached images with features found in paintings and other media. Images of far off landscapes were being brought to the masses through Watkins photographs in images that were familiar yet sublime.

His images were not appraising nature though. In a dark twist for the environment, he became almost like a travel rep, he saw the landscape as a real estate and edited the ragged landscape and man made structures to appear almost harmonious. That man was meant to be there and had a right to plunder, maim and destroy. This was a lie and almost like cloning out bruises on someones face to conceal the truth. The scenes pleased the eye, yet unbeknown to the viewers, reality couldn’t make it look beautiful, at least not their stereotypical view of beauty. He edited it to suit his idea and mislead those drawn in by his illusion, his illusion of an American Eden.  Photography had only been accepted when it captured reality, but this was no longer a reality.

He ignored all former land owners and thought only of his vision. Charles Baudelaire had seen photography disillusioning the public yet now this was exactly what was happening. American Eden. Watkins was the leader and the viewers his loyal followers, brain washed by lies. Fed the American dream idea which appealed to their romantic nature.

His vista of a new world would be created by slaughtering the present. Creating unspoiled innocence by destroying innocence therefore leaving nothing innocent. Traintracks were created across the area connecting places yet causing the slaughter of thousands of bison and animals. (Ironically, photography may have given rise to this but it also gave rise to conservation as photos captured the brutality behind the scenes and brought it to a halt.

Before, the military had mapped the Western land yet now it was argued they didn’t have scientific training to do this justice. Onto the scene came Clarence King and Geologist, “”Driven by a desire first to understand the vast contents of American and then to put whatever knowledge he gained into the hands of those who could best use it 0 scientists, land management experts and mining company engineers.”

Timothy O Sullivan, a war photographer was was hired to join one such expedition. Synder asks why did they hire photographers like O’Sullivan if the images weren’t used in the official reports, they weren’t of a scientific nature, you couldn’t make accurate readings from them. He was asked merely to provide ‘generally descriptive photographs” to “give a sense of the area.” His images didn’t disillusion people like Watkins, he didn’t depict the land as habitable, theirs for the plunger, instead he used light and scale to depict the true enormity and brutality of this “magnificent desolation (as Buzz Aldrin described the Moon)  He realised this place was heartless, and cruel and that human kind was as dimunitive as the grains of sand that ravaged the skin hurled by the bitter wind. He showed viewers the sublime with the message, we are not as powerful as we might think. He never included people in landscapes merely the echoes of humaity, footprints in the sand, a caravan on a desolate plain. While the images show truth, they are also slightly manipulated yet only in the sense of moving the wagon to the best position. Yet at the end of the day photography is not about science, nowadays photos see a lot of their beauty being created in post processing so I think Watkin’s can be ‘forgiven’ for creating his own composition. It is after all ,  Ansel Adams himself saw them and they were published in in the histories of Beamont Hewahll, a curator of photography at the New York, Museum of Modern Art.

His use of extreme contrasts of light from the blinding open spaces to the dark impenetrable shadows remind me of Plato;s analogy of the Cave, where the prisoner escapes the darkness then is faced by the blinding light and the dark is now painful.

Such images would have shocked the viewers and perhaps put an end to the illusion of Watkin’s photos. His images feel uncanny, they are known in terms of a landscape but they are unknown, and as they are only faintly known they become uncanny beyond uncanny.

 

Posted in Coursework, Personal Projects

Side Project – movie posters

Throughout my degree, I have never developed any personal projects too focused on the assignment and exercises at hand, yet it is something I am seeing increasingly more and something assessors seem to value. I want to create a different type of project perhaps mixing both my loves, art and photography. It states in the course to attend as many galleries and exhibitions as possible, I do keep an eye out but there aren’t as many places as say, London, or at least they are too far afield for me to visit in a day, with my health. However, I can watch documentaries and there are quite a few on SkyArts and Netflix and attend virtual exhibitions online. I was watching a fascinating documentary called 24×36 all about the history of movie posters. Before watching this documentary, my knowledge of movie posters was embarassingly thin,  I know they are used to promote movies, you see them in the cinema entrance, on billboards, stretched across buses and building, we let their artistic influence guide you to the next film you want to watch; however, I’d never stopped to investigate them further. Watching this programme I was opened up to such a new world of art, it was a fascinating and a rather saddening story to see the styles of art used to create these stunning posters. Below you can read about the history of the movie poster. I wonder how landscape could tie in with this as a personal project, in my mind I can pre-visualise a poster made of cut out pieces of photos and art, merged together. Could I create iconic movie posters using landscape? It’s an interesting thought and whilst it may blow up in my face like Jaws perhaps it would be worth investigating. Perhaps I could choose a movie and depict it in that way.

24×36 – my review. 

When the dawn of Lithography brought a whole new level to the artistic world, movie posters were designed by artists using traditional art and the art created was stunning, it was synonymous with the movie. The dedication the artists put into it and the passion is deeply moving. When you thought of the movie you didn’t think of the actor or specific scenes, you thought of the movie poster, Jaws being one of the most iconic. The sense of tragic inevitability as the Great White shark swims open mouthed underneath the woman swimming innocently on the water is imprinted in the minds of all who have watched it and even of those who haven’t. It’s part of our culture.

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The posters are as iconic as the movies themselves, perhaps if not more. To see how this art is revered and symbolised makes the story even more sardonic as the artists rarely received the acclaim the poster generated as they were not allowed to even sign their names! In fact, Roger Kastel who created the Jaws poster has never been reunited with his original art, there is a global search for it using the hashtag FINDJAWS.

As time went by the movie posters became increasingly popular, people started collecting them and eventually, the artists were given the respect they deserved allowed to sign their names and developing their own unique styles that could be seen in all of their works.

However round about the nineties suddenly the art was being replaced, it was no longer the concept of the movie or the stunning art that held the draw but the actors themselves who became idolised. Art was scrapped and shoved roughly out of the way replaced by the movie posters and DVD covers we are familiar with today, cruise through Netflix and you will see the masses of such similar images, photographs of the characters faces, floating heads and dark cinematic shadows. It is interesting how a programme can really change an opinion, whilst I admire the technical excellence of such posters, it really changed my opinion, before I loved movie posters but now seeing what they once were and how art has been pushed aside I feel nostalgic for a past I didn’t even live in. Something in me yearns to see movies taking that brave step and adopting artistic posters and not relying on the stars to sell it? Of course, there is the issue that an illustrated poster denotes an animation movie which could cause some problem, but perhaps over time, a trickle of such posters can become a stream which can become a river and that river can reach an ocean merging the world of art and photography together.

I especially enjoyed seeing how the styles have transitioned over the decades. This seems to be turning into a traditional art course! The movie posters have changed throughout the years, starting in the 1920’s they featured very traditional illustrations, moving on the characters started to be the main feature especially against scenes from the movie yet evolving into almost minimalism, or using abstract images to describe the movie or create a lure. There was a constant experimentation with fonts, one moment it is screaming out of the poster, then subtle then spinning out again. As time went on it seems to show a strong amount of scantily dressed women screaming being captured by some terrifying monster! Eventually, art is replaced by photography which is still unique, beautiful and original but I feel the images that included art really captured a little bit more of the imagination.

My favourite has to be Indiana Jones, I just love the illustration, it’s similar to the style in which I draw, line and wash and really captures that timeless comic book feel of action adventure.

Please note the images below are not yet in order of date. 

My favourite has to be Indiana Jones, I just love the illustration, it’s similar to the style in which I draw, line and wash and really captures that timeless comic book feel which is the perfect base for the wild imagination.

 

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Posted in Coursework

End of Part One + Physical learning log

I woke up today feeling al sorts of feelings, triumphant, that I had finally finished Assignment One, terrified because what if it wasn’t good enough, nervous because it was something different to what I’ve done but pleased because I’d stepped outside of my comfort zone.

I’ve made a list of what I’ve learned so far in Part One, what I will do differently in Part Two and some subjects to investigate.

First though, I have kept a physical sketchbook to accompany my learning log which can be viewed in the below slide show (I suddenly have an obsession with slide shows) I’ve found it essential to gathering my ideas and one can see how I’ve approached the assignment and how new information has influenced my studies.

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Some of what I have learned in Part One

  • I’ve learned how a landscape is not always a physical landscape
  • There is a lot more to a landscape than beautiful views.
  • Going outside your comfort zone is scary but like travelling to a new land, new opportunities arise that you would never have seen had you stuck to the same path
  • Fear can be a good thing when you can use it creatively
  • I am still a sensitive person but getting braver
  • The surface is just one level in study, the deeper you dive the more is uncovered that often doesn’t even reflect the initial interpretation of the surface.
  • Everyone is a philosopher trying to discover meaning. Yet there are times when you can be a watcher and just enjoy what has been created by greater forces.
  • I have learnt to ‘pervert the course to fit your practice and your ideas – this will help you develop thought streams that will run through the course and perhaps develop into assignments.” Steve Middlehurst 
  • There are many interpretations of one subject, the world is subjective, everyone thinks in a different way.
  • It can seem that art can be made a mockery of or see that anything can become art with some inspiration, imagination, understanding and alternative viewpoint.
  • The world would not be the place it is today without photography which has brought to the masses terrible and wonderful events enabling those people to get involved in something that may have lain under a blanket of mystery.
  • The world will be changed with photography, through shocking and subtle images.
    Photography can make people care about something they didn’t think they would (for instance inspiring an individual to help a cause etc)
  • “Where small is more important than big and when small becomes big and big becomes small then something magical happens. These are pictures taken with the heart. Mind and heart. They were not taken by the camera, they were taken by ‘this’ camera (the mind.” Franco Fontane.
  • “Photography is not the camera. Photography is the photographer.  When I take a landscape picture, it is the landscape that takes a self-portrait through me.” Franco Fontane.

Things I would have done differently 

  • Regarding As 6, Despite the confines of the garden, I should have used a tripod. Now I am not confident in the images lining up.
  • Whilst out of my control for As 1 (due to health, new treatment and a change of life) I will submit As 2 within the next two months.
  • I would have discovered the photography section of Apple News sooner, so many unique articles about photography and at.
  • I’d like to say I wouldn’t have changed my assignment idea so much but I feel it was the natural rhythm, it was meant to shift like this until I felt a connection to the assignment idea.
  • Stopped doubting myself and spend time thinking about how to improve rather than ‘am I good enough’
  • Researched more about how painting and photography have grown together.

Subjects I’d like to investigate further

  • Freud’s theory of the Uncanny
  • Caspar David Friedrich’s paintings, they fascinate me in their beautiful and drama.
  • Different mediums of art like dioramas.
  • Non-photographic forms of creating a landscape.
  • The Mythology of a landscape both through fables and modern myths.
  • Poetry
  • Visit some art galleries, photographic exhibitions. I have found an intersting local one depicting the social landscape of the beach and how it changes over just a few decades.
Posted in Assignment 1 ~ Beauty and the sublime, Assignments, Coursework

Assignment One – Beware the Witches Fingers

Assignment One – The Witches Fingers

Chloe Halstead –

 The most beautiful thing we can experience is the mysterious. It is the source of all true art and science.” Albert Einstein

Through imitation of Rorschach inkblots and fear I have portrayed my interpretation of the sublime through an alternate landscape, my fear landscape focusing on Freud’s theory of the Uncanny. A fear landscape in a physical landscape.

Choosing a theme

Like the growth of a tree reaching branches into new possibilities, Assignment One has grown with each topic I read. Psychoanalysis and Freud’s theory of the Uncanny, ‘Das Unheimliche’ was briefly mentioned in the course, I was curious and investigated in detail.

Heimliche, a German word, means ‘familiar’, ‘homely’ a place of ‘comfort or ‘reassurance.’ The antonym, Das Unheimliche is eerie or unsettling. The uncanny is a feeling of unease or fear when an object that is familiar appears at the same time, paradoxically, frightening and unsettling. Like seeing your home at night without the lights, it is both familiar yet the dark generates fear.

As a small child the branches of trees reached out like gnarled witches fingers, I felt they would pluck me from the world. I have a great love of trees, yet even now they create faces or shapes igniting that childhood fear once more, something that is unfamiliar and familiar at the same time. Heimliche can mean secret or hidden and Unheimliche is ‘revealed’ or ‘exposed’ a new level is revealed to us of great discomfort. There is fear in the unknown.

Relating to the unconscious mind Psychoanalysis enters an almost fantasy world, nightmares, dreams and other tools recover deeply hidden roots from childhood which I wrote about here. The Rorschach test uses inkblots to discover a patient’s character, thoughts and fears depending on what they see.

I was disposing of a blurred photo when I felt the trees emulated inkblots. I showed a family member who seemed to feel the uncanny. I was surprised at how unnerved they felt as they saw monsters in the innocent branches.

Fieldwork

I decided to challenge myself to replicate the inkblots through the trees, yet so as not to be one-dimensional I included other images, manifesting the trees as they appeared in my imagination. Monochrome lent itself to the darker workings of a fear landscape. Shooting B&W in camera I saw the world differently, new possibilities opened up, like following a rabbit into Wonderland. The trees were different, foreboding, taking me back to my childhood fear landscape I was depicting. The uncanny was around me.

I experimented with a variety of techniques

Intentional camera movement at slow shutter to create the effect the trees were moving, thrashing!

  • Swirling the camera during exposure. A twisted Hitchcock style image.
  • Using negative space of the canopy to form the blots
  • Different angles to increase drama
  • Use of water, ripples to distort and confuse.

Conclusion

While risky, I feel this has worked. Paul Fry a Professor of English described in a lecture how to encounter the sublime, was to be ‘possessed by experience…to become aware of the imagination.” My images use the uncanny, to allow the imagination to possess the subconscious to see shapes, faces, monsters or dreams. It fills in gaps as it does when people view the Marsyas Installation, a gigantic sculpture filling an entire gallery space, so huge one can not see it in its entirety so are forced to create their own interpretation in their mind. The unseen becomes seen in the negative space.

I didn’t want to emulate the inkblots exactly or I’d have created them from ink myself. I feel I have set out and conveyed my interpretation of the sublime, the images are dark, the black and white images complement each other, and they depict something familiar in an unfamiliar way. They are portholes to areas of the subconscious drawing them out from hiding. I want the viewer to see my fear yet find their own depictions of their lives. Everyone has something that scares us and when faced with something unsettling it has an inherent and inevitable way of being incarnated into the real world. Pareidolia is a psychological phenomenon where people see faces in ordinary objects. A study found that the mind is constantly searching for faces and will generate them in any object or situation and I believe you can see such faces in my photos.

I had planned on including several fears but I feel it has worked better to depict just the one. I had to choose between focusing on the trees as ink blots or the trees themselves as witches fingers coming out of the ground and decided to merge both of them into the series which worked with the uncanny and my study into psychoanalysis.

Fear is something everyone shares. I asked others their fears and was fascinated to see the mixture of fears both rational such as the fear of being attacked by dogs after such an encounter or the way the imagination creates scenarios out of the most innocent of objects such as the fear of doorknobs. How something that once inspired fear now inspires happiness is an interesting phenomenon, from an agreeable horror to an appreciation of the sublime as something awesome and to be respected, it shows how life changes, thoughts differ and everything is in continuous movement.

Here is a diagram  (from my physical learning log) showing the direction the assignment took. All the rest of the pages are in my last post  End of Part One +Physical Learning Log 

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FINAL IMAGES

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The witches fingers echoed ominously in the dark still waters of Scotland. This is my favourite of the set, it has a sinister feel, you don’t feel like wandering too close to the water’s edge.
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Reminiscent of the walking trees in Lord of the Rings and a Monster Calls the low viewpoint is quite evocative of my childhood fear. Arms hurled outwards, a distorted face, it’s the epitome of my nightmares. It also feels like the fearsome Wickerman.
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I wrote on my learning log here about the terrorizing images of Joshua Hoffine in his series ‘Basement’ (the word itself capable of producing such images) and said “ I notice that whilst he uses graphic images that leave nothing for the imagination, these images are shocking but the ones are that are more permeable are those that are suggestions. The silhouette of a clown against the sheet in the garden with the disillusioning bright balloons just visible. The arms creeping out from the back of the couch.” With this in mind I shot the photo below, the trees reflect like the ink blots in the still water yet a hand reaches out, just like the witches my childhood imagination generated from the trees did. This is possibly my favourite image of the set as it is so dark and intensely different to my usual standard of images.
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With horrific hairstyles the trees stare down. Shooting in vertical extended the tree trunk. As you look up the trunk you suddenly realise it’s not just you who is looking closely.
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The trees look almost serpentine, thrashing and writhing; emulating the Rorschach ink blots, I introduced deliberate camera movement during the exposure. It feels evocative of Caspar Friedrichs ‘Tree of Crows’ I couldn’t decide whether the image had too much motion blur but it was the image that started the assignment for me.
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Glancing up at the canopy I saw forms and shapes! Just like the ink blots the imagination uses the negative space to unviel the unseen. Does what you see depict your thoughts and characters. I see a wolf, my mother saw a witch, my sister saw a grotesque face and my father saw a nose!
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A wolf ‘s head seems very clear to me here. Jikta Hanzlová’ used negative space in her woodland images yet focusing on the land whereas mine features the canopy shapes. I’m aware it’s similar to the above image but couldn’t decide on which, I thought I would ask my tutor for advice.

IMG_7884 3The trees get closer and closer swirling and writhing creating shapes out of their flailing limbs.

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The thick black silhouettes emulate the ink blots.

 

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This time the tree branches are photographed in the pond, the water distorts the defined image.
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This image was added at the last moment when I was searching for an image that was different. This looks like a sylph plunging into the depths, but why they are diving in such dark waters are unknown and distinctly eerie!  There are all sorts of mysterious forms in the water (an eye here or panda face there) but I will leave the rest to be discovered by the viewer’s  imagination!

 

Posted in Assignment 1 ~ Beauty and the sublime, Coursework, Research and Reflection

Assignment One – Taking the Photos

With the new direction for the assignment, replicating the Rorschach ink blots and fear of the Witches Fingers I started shooting. Below are all the photos I took at each location.

Carlingwark Loch – Castle Douglas – Scotland 

The trees hung over the lake like witches fingers, I loved the reflections in the still dark waters.

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A Lay-by – North Wales 

While Dad was double checking the map I wandered around the lay by gazing up at the trees that surrounded me. The forest felt so dense, unpenetretable, the barbed wire seemed to reinforce it. I experimented swirling the camera to create the efffect that they were moving.

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Lytham Hall – Lancashire  Boasting many acres of forested land, a wildflower garden and many woodland paths bedecked with snowdrops and bluebells there was an abundance of unusual trees, twisted, strange trunks, interesting formations. I’ve included all the image I shot there (hence the appearence of several duck photos)  When I glanced up I saw the Rorschach ink blots in the canopy.

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Posted in Coursework

Assignment One – Artist Research –

Following on from my research into artists depicting fear I asked on the OCA Photography Level One Facebook page whether they knew of any photographers concerned with trees. Within two hours I had been provided with such a list of photographers, I am immensely grateful to them! Updating this list as I work.

Sally Mann

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Photo by Sally Mann – There is a haunting stillness about Virginian born renowned photographer Sally Mann’s photos. The trees appear personified yet unsettling, the split across the bark like a sewn up mouth, it has tinges of the horror movie industry yet something more sinister, the out of focus background, the shadows in the background and the strong vignette all signify something uncanny.
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Photo by Sally Mann – Light and dark fight each other, in the image below the tree seems to sinisterly welcome you into its realm holding back dark branches. Yet the more you look it felt like I had been hiding under a dark blanket and suddenly it lifted it up and peered in. Each image leads you in further as though you are watching something in the distance but that something is watching you as well. I would like to add this dark effect to one of my images, creating such shapes.

Jikta Hanzlová’

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Photo by Jikta Hanzlova –  I like the use of negative space in Jikta Hanzlová’s series ‘FOREST‘ where the trees and foliage just clip the edges of the frame allowing shapes to be formed in the negative space. Glancing up at the tree canopy I can see this effect strongly, the different leaf patterns and arboreal features create unique ink blots wherever the eye focuses.

Thomas Struth

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Photo by Thomas Struth – Struth’s images are a wild tangle of a beautiful, yet quickly disappearing, world entitled ‘Paradise’ The photos emulate the real forest or rainforest, trees and vines arching together in an infinite claustrophobic loop, as powerful as it is impenetrable. Almost like the trees are linking together to hold man back. Sentries ready to fight, The jungle is alive in these photos and they allow no one past the surface. 
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Photo by Chloe Halstead (myself) Inspired by Thomas Struth my image of the trees reflected in the pond show the dense world in the water, I included just a little gravel to increase the effect of the water. Do you see the hand in the reflections?

 

Posted in Assignment 1 ~ Beauty and the sublime, Coursework, Research and Reflection

Assignment One – Peer Review

Below are the photos that have made the shortlist. I have several in my mind which I believe are the stronger images but I want to hear an honest opinion as to which should complete the final set.

Through imitation of Rorschach inkblots and fear I have portrayed my interpretation of the sublime through an alternate landscape, my fear landscape focusing on Freud’s theory of the Uncanny. A fear landscape in an actual landscape.

Focusing on Freuds theory of the Uncanny where a familiar object, paradoxically, appears unfamiliar and unsettling, I want to depict my childhood fear landscape. As a very young child, I  was scared of the trees which reached out like witches fingers. Part of the assignment will depict the feeling of the trees looming over me, thrashing, reaching out to grab me whilst the others replicate ink blots (used in Psychoanalysis to determine character traits, thoughts, fear. I want my images to use the uncanny, to allow the imagination to possess the subconscious to see shapes, faces, monsters or dreams. I have to include 6-12 images.

I have never submitted an assignment in black and white but felt the monochrome would work well with the theme.

Slide show- Witches Fingers

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