Category Archives: Photography

Final Project

 

In my final project I found a theme in the film that I wanted to convey: feelings of attachment that are shrouded by confusion. What does it mean for a place to change around you and then how do you then live within it? Combining photos of the natural environment with those of my friends and I within them I sought a balance of what is unchanging is what is in flux. In the first page I included a poem that reflected how I felt about this place that speaks to how the woodcock birds nest during the springtime, their mating displays and pleats activities I would often watch during April evening. How do we make these shrubby acres our home, and with enthusiasm? And how when we are done do we reflect on the landscapes that we leave?

Final Project – Work in Progress

Here is a couple of pictures that I was thinking of using for my final project. I definitely wanted things to feel moody and so I went for pictures with lower light. I plan on making a photo book and I still have some work to do with editing the final 10 pictures that I choose. I wanted to focus on the environment around me and focus on using only myself as the subject if needed since this project is supposed to be a reflection of my feelings during this period of time so I relied on self-timer a lot taking some of these and I tried to play with long exposure as well. Excited to see what you guys are thinking!

 

 

These are basically a contact sheet of selected photos from rolls of film I’ve shot during quarantine. I was interested to see from a brief overview by you all what photos stand out, which ones you might want me to go back and ‘redo’ differently. I am using film to capture the moments that simplify the experience of having to turn to friends and the outside world for your primary sources of engagement.  Let me know what you think!

Dan-Recreation

Dakota (Hair) 2003 

 

For this project I recreated a photo by Ryan McGinley and it ended up being quite involved! We used a friends truck and drove down a road in pennelville around 6:30 to try to capture the light correctly. After working on taking the photo I realized some smaller details like the side braid that is probably tied to keep hair form covering the subjects face and other evidence of its lack of spontaneity. I was also interested in taking some photos that did not recreate the photo but were created by the event of recreating the photo, they are connected by a similar situation but unconstrained by reproduction. I did not spend that much time photographing alternative photographs but it seem fruitful in producing a blend of personal and inspired photography.

Inspiration

During this semester I have spent a lot of time looking at two photographers in particular that Christine suggested,  Ryan McGinley and Christian Patterson.

 

The following photos are from Ryan McGinley, the body of his work are of nude young people in dramatic landscapes. He is a bit of a celebrity artist which sometimes seems to make his work ‘poppy’ but he captures expression and moments and dramatic and unexpected ways.

I am drawn to his work by the sense of adventure embodied in the subject ground relationship and the way the photographs portray a sense of movement.

 

Unknown Title

Dakota (Hair) 2003

Jack (Cannes) 2005

Elliot (The Nose) 2013

 

 

I am also interested in Christian Patterson’s work by the way a narrative is tied together by seemingly unrelated objects.

 

According to an article

“The story of the book: Redheaded Peckerwood is a work with a tragic underlying narrative – the story of 19 year old Charles Starkweather and 14 year old Caril Ann Fugate who murdered ten people, including Fugate’s family, during a three day killing spree across Nebraska to the point of their capture in Douglas, Wyoming. The images record places and things central to the story, depict ideas inspired by it, and capture other moments and discoveries along the way.”

https://www.lensculture.com/articles/christian-patterson-redheaded-peckerwood

His work represents a way to tie seemingly unrelated photographs through narrative, in this case the dark and twisted nature of the narrative talks with and changes the meaning of the visual information in the photograph.

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House at Night, 2007

Tree on Fire, 2009

Little Town, 2010

924 Belmont (Barlett) House, 2010

Part 2: I Love It So Much I Had To Make One Myself

I chose to try to recreate Harry Callahan’s “Sunlight on Water” because the way he played with light was something I wanted to try to replicate. It was difficult to recreate the way the light moves in his photo but I tried to trace the light as it looks in his photograph. This was something we looked at when we worked with long exposure which is something I had a harder time with. I wanted to go back to it from a digital point of view and how the two differed. I think the way that lights look during a long exposure shot gives the photograph movement and gives an abstract effect since the image looks as if it was under water.

Daniel Winter Garden

 

I didn’t have the opportunity to go through family photo albums because I am not at home but I was able to scroll through photos on my phone and computer and discovered this photo in a family group chat. I was struck by it due to what seems like the visual similarity between it and the winter garden photograph. Two children standing apart from each other, here in what is likely spring. But for me I was not struck with the same chord of emotion.

All the context I know of this photo is that she standing with her cousin, someone I have never met nor know they name of. Perhaps for me then he is the punctum, this presence of someone familiar to my mother at the time but so unfamiliar to me that creates a distance from me. I also have a difficult time recognizing my mother in this photo which is another sort distancing. It does capture a likeness that reminds me of my mother or the seed that I feel has grown into who she is now.

I know that this perhaps was not the point of the excercise– to find a photo that does not capture the essence of my mother–but I find it almost as interesting. How does time or angle make takes someone likeness away and what does it feel to be distanced from someone you love by not being able to recognize them?

I also was interested in the photo because it does not convey a neccessary warmth or care which might be considered some of my most primary emotions associated with my mother (and Barthes as well). I am interested how we take photos of ones we love and care about when there are also complicated sides of those relationships that often remain unexpressed.

 

Daniel’s Mother

I spent part of this project going back through photos I had on my computer and also taking pictures outside. I wanted to connect my Mom’s passions for family, education, the outdoors, gardening so I compiled photos that I had taken or that she had sent to me. It is a simple collection but it fills me with warmth thinking of the memories that are associated with them–like her old college road bike that my sister and I used throughout our college lives or childhood adventures to the beaver pond exploring and catching salamanders. I also included a photo of me and my sister because I enjoyed thinking that those expression being made were from someone who might be my mother taking the photograph, and so much of our childhood is wrapped in memories of our mother.

I like a lot of these photos because although they can be understood by others they notably express more importance to me as they are transformed by memory.

Photos of My Mother-Frances

 

These are all photos of my mother. Oddly, I felt somewhat uncomfortable taking photos of her with a goal. So much more often when I take photos of her they are spontaneous and don’t feel as forced in a way. That is why so many of the photos are of objects, because for me, it felt more natural to see and feel my mother in them, then to try to force a photo of her that did the same.