My Visual Logbook: Research

JH Zane

16:51

I found JH Zane on Instagram after they came up as a sponsored post on one of my friends phones and they thought it would be relevant to me. What I found I liked most was their short moving image pieces; I've still got to edit together my moving image from my Diversity brief, and was planning on doing this monday in our workshop on creating gifs and cinemagraphs, however I wanted to try out this as the combination of still and moving really appeals to me.

Links for the clips:

https://www.instagram.com/p/BPHaMmMh2ds/?taken-by=jh.zane&hl=en

https://www.instagram.com/p/BNPrhEGhXqW/?taken-by=jh.zane&hl=en

BA2a

Lazy Oaf- GIFs

22:47

Lazy Oaf is another brand who's fashion stories containing gifs I thought worked really well. Again, its the combination of both still and and moving image which I want to experiment with.

They use these GIFs as part of editorials to add another aspect other than flat stills, something I really like as its understated but still creates another dimension for the stories to sit in. They're so simple; literally an infinite loop of two images but together with the speed and in combination with the still for the first example, and the fact its such a subtle movement in the second that it still works as a still.

We're going to be taught how to make a cinema graph too as we could submit one as part of the third and final project. It presents itself as a still image, but contains a small element of moving image.

BA2a

Nadav Kander for Samaritans

09:01

I found Nadav Kander's faceless portraits for the Samaritans We Listen Campaign commissioned by communications agency MullenLowe on Its Nice That. I really like the angle which the portraits are shot from, and the coloured backgrounds. The campaign also demonstrates diversity with the idea that depression and suicidal thoughts aren't ageist, sexist, or racist.

I want my set of images to have some personality within them, as well as documenting the diversity of the model. I plan to shoot from different angles of the face as well as from behind like these, and just of the models arm where she has tattoos. I think an image like this would work really nicely within a set of three or four images, where other shots display other parts of the body and the models face.

http://www.itsnicethat.com/news/mullenlowe-london-launches-new-samaritans-campaign-with-portraits-by-photographer-nadav-kandar-240216

Contextualising your practice

Thomas Ruff

20:24

When creating my diversity portraits I am taking a more documentary approach towards my image making. I looked at the work of Thomas Ruff and his typological portraits. He studied at the renowned Düsseldorf Art Academy working under Bernd and Hilla Becher.

I really like the bottom two and the top right image, the top left is quite muted and doesn't reflect my own style as much. The passport style images emphasise same-ness, however this isn't what I want my images to suggest as the purpose of my images is to promote and document diversity. I am not worried that my images will do the opposite of my intentions as they will not be in a typology, which by nature unifies and equalises people together.
The composition of Ruff's work is something which I want to reference in my own work.

BA2a

Francisca Pageo

14:39

I found Francisca's work in the book collage: contemporary artists who cut and stick,
and the simplicity of it resonated with me as I could see my images working in a similar way.

I really like the minimal lines which break up the collage, the use of negative space compliments the shapes and reminds me of the landscapes where the lines of the chairlift break up the landscape and create something more interesting, which is the purpose of experimenting with my images; to spark interest and create something different. Above is a landscape I took on my phone this year over Christmas, and below one from last where the same effect is caused by the leading lines of the lift.

BA2a

Raphaël Vicenzi

15:22

Raphaël Vicenzi is a self taught Artist and illustrator based in Brussels, Belgium. I found his work whilst browsing for inspiration on the web based sharing platform behance, last year when creating my album cover and really loved his style of combining shreds of images with collage and digital work such as words and random marks. When looking for inspiration for Rough Cut I went back to his work and it really helped me when considering compositions and how to combine different mediums to create one finished image and making it look finished rather than still a work in progress. I think theres a talent in knowing when is too much and when an image becomes too busy, and knowing when to stop is key when creating this type of art; the use of space is what defines an artist.

Vicenzi's portfolio can be found at www.mydeadpony.com

BA2a

Rhianna Ellington Textile Design

12:14

In my crit with Sophie this week I showed my still life images where I was experimenting with the addition of a tropical element into my images, and my upcoming collaboration with a textiles student. She gave me the names of a couple designers who I should have a look at. One being Rhianna Ellington, who's designs have been featured on clothing for Motel Rocks, Kuccia for ASOS, menus for All Bar One, and Accessorises for Sanctuary Studio, and more.

Looking through her lookbook and her clients images of them using her prints, I have found inspiration for shoots my own patterns for this project.

This image immediately stood out to me as it reminded of when Corinne Day shot for Penthouse Magazine in 1997; the yellow of the flowers together with the styling here work really well together and its a good example of choosing a location for a shot really works over shooting in the studio.

I selected this image to show here as I plan to try and link my portraits/still life together with my landscapes with the inclusion of patterns and/or plants included in the composition.

I love the composition of this image, both the model and the guideline for swimmers at the bottom of the pool and each corner works really well to eliminate blank space and pull the focus together and towards the model.

I plan to reference this image within my still life, working with different, more interesting crops and using the model to help enhance the shot, with the focus here being on the skirt and jewellery.

BA2a

House of Hackney

17:30

When Ellen saw my images yesterday, in particular this landscape below, She thought of House of Hackney, a British interior and fashion and lifestyle brand reworking traditional for a new generation.

There is such a strong juxtaposition between my incredibly minimal images and the busy, highly patterned shots of their campaigns, that they become similar.

Even though the patterns are busy, the composition itself of them isn't; its very simple, a single sofa, cushion, or even less; in the case of the fourth image, where the shot explores a very simple form of asymmetry. The frame on the wall provides a break and distracts the eye from an otherwise very simple image.

The images never totally lack context, whether it be a model putting context onto the bag or a complete set design.

I really like the crop of this image, similar to that of my still life where the focus is purely on the accessory, rather than the model, who my focus will be on for my portraits.

The A-symmetry in this image compliments the contrasting patterns. I only plan to use one model within my work but I really like the idea of exploring Asymmetry as well as symmetry as seen in Wes Anderson's Grand Budapest Hotel.

BA2a

Matthew Stone

16:44

Yesterday in my 1 to 1 with Ellen she suggested I looked at the work on Matthew stone, a London born photographer, painter, sculpts and performing artist who is most recognisable for his countless iD covers and content, including his most recognisable below. I hadn't heard of him previously but am familiar with some of the covers he has shot.

Ellen suggested me to research into his practice as a route for how I could potentially develop my work in the studio further; digitally manipulating and distorting my models or doing it by hand instead. I did a similar project during my A level photography which I have shown at the bottom. I cut and stuck everything by hand. Looking back on it now looks very amateur, but the principles are still there.

Ellen showed me both Stone's photography and painting to demonstrate a level of consistency across the mediums. I am fascinated by Stone's paintings; where he first paints strokes in 2D, and then photographs them, then using about 7 different softwares, sculpts 3D figures and selectively applies the strokes to the figures. The final image is digitally printed onto Linen. The final outcomes are totally amazing and incredibly beautiful.

My very amateur A level work

BA2a

Tyrone Lebon

23:53

I found Tyrone Lebon's work whilst researching towards my 300 word task on what still life means to me. Lebon has most recently shot the Calvin Klein campaign, which his the main body of work I recognised, but the way he composes his still lives, with a model, especially in these shots for Céline, is something I am looking into including in my work.

Out of all the images from the campaign the one above is my favourite. I am always fascinated to see images where you can see over the edges of the backdrop and the image goes further beyond. The use of strong directional lighting, which I'm assuming is a mix of both ambient and flash, also really emphasises the purpose of the image, which is for the model to feel empowered.

BA2a

The Grand Budapest Hotel

16:05

After Ellen Rodger's lecture on Friday and seeing all the different mediums from which she draws inspiration; from video games to films, I made an effort to expand the pool from which I find inspiration. Films was my obvious genre, and Wes Anderson's films in particular are so considered, you could pause the film at any time and it appears as each individual shot was composed as a single still image or painting.

Auteur- A filmmaker whose personal influence and artistic control over a film are so great that the director is regarded as the author.

The aesthetic, full of pinks and blues, the bright purple uniforms of the cast become part of the set. Every single aspect of the film was made with purpose, every graphic, newspaper, map, was authentic and exact. After researching into the film further, I have a much greater appreciation for the production and set up; the graphic designers and camera work; Anderson is a big fan of long tracking shots, he enjoys seeing actors play the scene through and pushing them, building the tension. These may take ten or twenty takes, and each take may need new props, all identical. The tiniest details are present; even those the camera may not see for more than half a second, they help to build an authentic set for the actors and directors to work around.

Andersons signature use of symmetry is present throughout, this article talks about the science behind why we instinctively fall in love with Anderson's films, and the secret is symmetry. We all have an innate reaction to symmetry, from research demonstrating children as young as four months old recognising symmetry, to adults finding someone attractive because they have a symmetrical face.

Symmetry creates a point of interest, adds humour, and makes for a more interesting portrait.

Frame within a frame was another key compositional technique Anderson used to fit more within the small square aspect ratio used in the 1930's based part of the film, using aspect ratio of 1.37:1, the 1960's ratio of 2.35:1 and 1980's 1.85:1 fitting with the current cinematography of the time period.

BA2a

Benoit Pailley

18:30

Benoit Pailley lives and works New York and Paris. He is inspired by contemporary art and his passion is reflected in his elegant still life and installation photography.
The objects become “works of art” in an environment that recreates gallery spaces. When conceptually appropriate, he builds installations that frame the objects in unique and stunning ways.
His first solo exhibition, Passport, was presented at the Flux Foundation in Geneva in March 2008. He is a regular contributor to Sleek and Double magazines and won German’s Lead Award in 2006 for best photographer in Still Life/Architecture category. I really like the simplicity of his images and the continuity within the colour palette throughout and the soft lighting, but still using light shadows within the composition.

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How is my research informing my practice?

20:30

In our group crit today Matt asked that for next time, we produce a presentation with our images side by side of our research, to illustrate how we are researching and drawing inspiration from, and whether it is informing our practice. After putting my work next to relevant research I am happy with the quality of my research in comparison with my overall images and am pleased with direction my work is taking so far.