Monday, April 28, 2008
Sometimes when I really don't want to be here I just project these surroundings into my head, all of a sudden the concrete melts to sand, the roads into sea, and the city air into sea breeze.
Friday, April 25, 2008
Throughout all of our lives we work to achieve goals. A career is our ultimatium of goals in that we ulitilize our youthful age to investigate, indulge, and transcend into careers. By spending as much as half a lifetime to find this career demonstrates an energy or passion for something. In order to live with ourselves in the situation of working, there must be some reward to all of this struggle and progress. Some find reward in the process, some find it by the income received, and some find it at the end of the day, feeling satisfaction of achievement.
By focusing on the environment of the workplace I create a portrait that balances atmosphere and persona equally. This process is achieved by minimizing the presence of the individual in frame so that there is just enough to form a portrait.
Tuesday, April 22, 2008
Once light exposes on emulsion the image is captured, taken from its never-ending narrative and is now subjected to a different context. Like Walter Benjamin’s theory of the authenticity and optical unconscious, the captured light of a place can be taken and put anywhere, from the cathedral to the exhibition. The authenticity of an image is altered in photography by the means of reproduction, and has become even more questionable in a digital era. When Jeff Wall started his Street series, he set out to reproduce the everyday “real” only to critique on what is real in photography. The empirical value of a photograph has become an artifact to the new perception of photography. Today we see an image and we analyze its significance, placing meaning into symbolic, indexical, and iconic terms in order to understand what the image is saying to us.
In Literally, I set out to altered what the eye sees when I am exploring different genres in art photography. From the landscape to the portrait, reduced to blurred images furthering the gap from the real to the representational. By using an iconic representations the blurred images provoke an understanding of what the image could be, leading to an endless scheme of possibilities. The authenticity is hidden behind a thick layer of shallowness. This practice is what the photographer does, taking light and alternating it by use of the optical unconscious and the mechanism of the camera. The narrative is born from taking the light outside of its origins. The blurred image can be a few things and never just one. There’s something hidden behind a screen of unadjusted optics, like seen in The Hidden Nature series by Virginia Mak, creating a mystery of blurred features and hallways. By using text I format the subjectivity of the images, identifying what something is freely since the context is further altered from the original. Like John Hilliard, the use of text serves as a tool for narrative, where the image lacks in clarity makes up with text thus making the text more important that the actual image. Text holds the power to change one single image into several possibilities like Hilliard’s Cause of Death photograph, where he chopped one single image four times and used different text to narrate each one. By adding different objectives to the text for each photograph like, ‘insert imagination’, to a narrative photograph separate one photographic genre to another by saying, ‘insert an environmental statement’, for a landscape photograph.
The process of the aesthetics will be completely analog, using darkroom techniques such as dodging using vinyl letters over plexiglass. The images will be originally sharp but pulled from focus from the original detail of the negatives. The series will project a look that now appears as "Photoshoped", but are works of labor to preserve the indexical quality of the image.
This series is currently in progress, moving from darkroom to installation-based text work where the text is interacting with the environment it is describing, graffiti-like. Further reference: Lisa Hecht.
Monday, April 21, 2008
Sisters (Aggression) 2008 c-print 30x40
There is as much diversity in how one person is related to another person as there are emotions that exist between two people. These relationships vary from daughters to mothers, brothers to brothers, sisters to sisters, husbands and wives, and onwards, each of them having different complexities in emotions that exist within each one and all of them. With Dissection Of, these relationship and the emotions that come with them are dissected into the universal language of the body. By composing three different photographs to form two sets of complete bodies I am focusing on the individual expression faces make compared to what hands express down to the body language of how we stand. The emotions captured are the result of a comfort that exist when two people are in their natural surrounding, the home, and are left in front of the camera until they are just natural selves.
Saturday, April 19, 2008
Wednesday, April 16, 2008
Side note: If you noticed the change from Photo-Ma-Graphy Daily to Photo-Ma-Graphy Tri-Weekly, this just means now three times a week this blog will be updated, for now, Monday, Wednesday, Friday or Sunday. This just gives me more time to work on presentation of each one better.
Monday, April 14, 2008
The photograph that started it all in 2005.
Sunday, April 13, 2008
The hiss of the record plays on, slow riffs from Jim O’Rourke, Hawai’ian vibes and drunken yesterdays all sink in. Alone in a room with droplets cracking the window. Lazy days are now everything, I’ll sleep again. I’ll wake and do it all over again.
A month of no work, a month away from everything, and I’ll just sleep, walk, swim, and breath sea air in. I’ll drift away, sink my hands into sand, and make my way to the sea.
Each photograph I take is a fragment of my memories, each one triggers a different part of me. Some memories are forgotten, some are thrown away, but these will remain close and remind me of that month away on an island in the sun.
Saturday, April 12, 2008
It is how we perceive the world that changes what we see with our camera. And the focus of the camera is not through the lens but through the photographer’s vision. One takes the world away from its context and into another.
These are the lost memories I have forgotten…
The lost roll before it became as complex as it is now,
Without the clutter, the mess is cleared away.
Thursday, April 10, 2008
I would like to note that I only did photography for this, the stylist and brains behind this was Justin Apperley.
Wednesday, April 9, 2008
I've done my fair share of exploration as a photographer, I've gotten dirty, hell I even spent 12 hours in a torned down building filled with God-knows-what. When I decided to go explore a normal building that people still work in, and that leave their lights on at night, I was a little freaked out. Being all alone in this building expecting there to be someone at every turn was nerve-racking. I would've felt much more secure in a dark building just before I know no one's around to stop me from being there. And the deeper I traveled the weirder it got. In the basement there appeared to be a nuclear reactor, some sort of vault, and all the noises that go along with that sort of stuff. From there I traveled even deeper until I got to the source of all the noise and heat, the boiler room. This was the most interesting part of my exploration of this place and was thankful I still had a good amount of film left. I haven't really been exloring since but I'll always remember the time I went into this place.
Tuesday, April 8, 2008
Monday, April 7, 2008
The after image that is only seen by the eyes but the original image left for the mind to imagine.
And the words that go along with the image.
Mask Without Mask
In the morning I awake, a different person sits there at the edge of the bed. The person who was asleep is gone.
All day and everyday I paint the picture that meets the eye. The hi's and bye's, the smiles and lies.
Inside the story of George continues.
In far off planes, in a desert of though another narrative continues, away from eyes, away from words.
There in the night I retire my mask, alone and empty of the day I write these very words.
All the structures and forms fade before the sun,
going. going. going. gone.
Until I am no longer the mask.
A secret even after told is another life,
A life of imagination, of theory, of perception.
It is something I can't quite say,
Something not ready yet.
The illusion is not how to disappear but it is the magic of reappearing,
Everyday and every night,
Mask without Mask.
Sunday, April 6, 2008
Once the school year started up again I got into the studios a lot more, using the blackline Speedotrons in the cyclorama studio. It took me a fair amount of experimenting to finally come to what I enjoy for what type of fashion shot, this one being softbox with umbrella.
Later when I felt more comfortable with flash, knowing where it falls and lighting ratios I started to minimalize. By using one head I was able to make this dramatic effect with the shapes of the model's body and add to the bizarre subjectivity.
Saturday, April 5, 2008
Friday, April 4, 2008
Thursday, April 3, 2008
Wednesday, April 2, 2008
Continuing with my interest in multiple parallel images I started to do these "tests" to see how the eye reads these images. By shifting focus on the main interest just like how you would in any photograph, the series of images work better as a whole. I think of this approach as an expansion of the context of one image. By having parallel images accompany the same realm as the first one the presence of addition images gives a broader scope. So instead of just having that time and place represented in one image there's a fuller perspective of the overall nature of the scene captured.
The two images above are test I've done in one room that capture a complete 360 angle. The second image is closer to how I want the style to be approached, it is based more of the impression I have for each portion of the room.
Tuesday, April 1, 2008
The relationships shared between two people can form both tension and comfort in accordance to the situation. Dissection Of... is a series I started off creating a fake couple going through the struggles of any relationship. The use of multiple images is to contain each part of the body to further dissect the body language that each portion of the body creates. These images are test shots and taken from the contact sheet. The final piece is being shot right now and is currently halfway done. Instead of fake relationships I am documenting real relationships varying from married couples to siblings to offspring to parent.