Theoretical Positions affecting Photography

The Terry Barrett reading is an overview of the major theoretical positions affecting photography today. The discussion resolves around trustworthiness of a photo, modernism and postmodernism, Marxist theory and criticism, and feminist theory and criticism. This article explores the idea that a photo can be magic, trustworthy, and a natural phenomenon all at the same time. Just like any theoretical perspective, there will always be varying views on it. This article serves to emphasize the importance of affecting photographic purposes. Additionally, this theoretical scope helps us to comprehend and appreciate the medium as well as the means and ends of photography.

Photo competition

Soho Photo initiated its Annual Alternative Processes Competition in 2005 with the objective of recognizing the achievements of those photographers who continue to craft their images the way photographers have done since the beginning of the medium. These alternative processes include (but are not limited to) Albumen, Cyanotype, Van Dyke Brown, Platinum/Palladium, Gum Bichromate, Bromoil, Salt Print, Ambrotype, Tintype, Image Transfer and Ziatype. 19th century photographic processes dominate this genre, however some modern methods have joined the accepted ranks. Alternative photographic printing processes result in the creation of one-of-a-kind handmade images, with the imprint of each photographer’s special individuality and artistry.

• The juror will choose approximately 35 photographs for the exhibition.
• First (provided by the Center for Alternative Photography), second and third place prices will be awarded.
• At least two honorable mentions will be given at the discretion of the juror. Winning participants will be listed on our website: www.sohophoto.com

Juror: Jill Enfiel

Online submission of digital photographs spg.slideroom.com

Artist Statement

Artist statement
http://www.smnesbitt.com/about/

Making Sense of What We Have

I find that written and visual information has incredible power on our actions, thoughts and relationships. Information is formed effortlessly, through interpretation. When it’s created and executed, it is no longer in the sole possession of the creator, leaving it vulnerable and open to re-interpretation. Many times many people share similar thoughts, creating different ways of transferring those ideas. How that information survives, depends on the one(s) who decides to carry it forward. This constantly reshapes a concept for people to understand, and it could lose its original meaning. That’s what makes research important, providing substance from additional resources strengthens what is delivered, but how is it that we determine what information holds more value? These ideas are communicated by combining traditionally separate disciplines such as installation, sculpture and photography and the surfaces of the printed media used are disrupted by physical alterations through sewing, dissecting, writing and pinning. Using existing objects that contribute to the sculptural element of the work with stories of their own, that serve as tools of organizing, identification, and creation of these histories.

Sarah Nesbitt

Who Cares about Books Discussion Questions

 

1.     The author says that photography and books are, “burdened with sentimental value.” Do you think that this sentimental value is inherit with the medium or is it something created by the artist?

 

 

 

2.     Do you personally believe that books will ever disappear completely with innovative technology?

 

3.    Since after the democratization of photography books, what do you think is the future of the photo books? What would be our next step, or is there going to be one?

 

 

4.     The development of book production has allowed for many artists to bypass the process of editors, designers, and booksellers allowing for a lot more people to display their work to the public and allows for a diversity of voices. Do you believe that the mainstreaming of photography books takes away from the artistic value of a work? What influence does this have on the life of an image?  In other words, “How does an image stay memorable amongst such a vast sea of images?”

 

5.     Why do photographers feel the need to produce their work in a book? How did you fall in love with photography?  Did photo books have anything to do with it?

 

 

6.    Why do photographers care so much about books? Is it the same case for artists of other disciplines?

 

 

 

7.    What do you think is more effective way to illustrate and show a work of art/photography, in a book form or in an exhibition, or in any other forms? What's the best way to show photography work?

 

8.     Roth defines a great work as: “books whose images were destined to be seen printed in ink and bound between covers.” Do you think that an artist whose intent to produce a body of work specifically to be displayed on an online blog does not have the intent of creating a great work?

 

 

 

9.     Do you think a photo book is an art form?

 



 

10.     After reading this article, do you think you are more aware of how you will present your work in the future?

F-Stop Shutter Speed Fine Art

f/5.6 1/250s

 

 f/10 1/15s

f/3 1/15s

Conceptual Art: A Repetition of Impossible Originals

Conceptual art is quite basically the idea that a concept becomes a driving force behind a piece of art. The concept takes precedence over tradition aesthetics and material concerns. This forms the challenging idea of what a photo is of and what a photo is about. The two hold very different meanings. The conceptual focuses on the about while the aesthetic and material concern addresses the of. The problematic nature with conceptual art is determining where it begins; does it start with an idea or with an aesthetic?

We're looking for something dumb to do. Hey baby, I think I wanna marry you

Marc Hermann

Karin Hanssen

Sarah Nesbitt

The Survival of Photography

 

Working Harder To Reclaim That Context



Batman & Robin

 

A Picture You Already Know

“What appears to be reality is in fact only a reflection of a forgotten past.” (pg. 2.)

The sum of our past sometimes repeats itself in the future. It is heard that history repeats itself. It is no surprise then that the same ideologies and subject matter come in to focus if they were present in our past.

Repetition is a subject that Leong explains is particularly apparent in the realm of photography.

“Photography is the easiest medium in which to be competent and the hardest medium in which to have a personal vision because there’s no touch, there’s no hand, there’s no physicality, there’s no interface.”

Leong explains that through photography we are often less likely to generate a unique response to a subject matter because we do not have the same artistic space to create. We use a subject matter that may have already been captured, but there are only so many technical ways to produce an image. Leong explains that uniqueness, however, can only be comprehended in the context of repetitiveness and similarity. We can only say an image is unique by not being able to compare it to anything else. Therefore we look to repetition in order to maintain and generate uniqueness.

Leong challenges that photographers have added value in creating a series of images because it is more likely that the collection of images will be more unique than an image alone would be. A series by photographers is according to Leong more likely to create a more focused particular view.

 

Rules

 

Project #2 Rules

1.  No Black and White filter

2.  Human figure present

3.  Unconventional, consistent setting: Basement

4.  Use of different medium within all photos: Paint

5.  No talking during shoot

Project #2

 

 

 

 

 

 

Wet Scan Negatives

 

 

Battling for Desire

Desire; A word that must not be mistaken for meaning. Where desire is contingent to the author, meaning is not. This battle between meaning and desire pokes it’s head in Wyse’s chapter entitled, “Too Drunk to Fuck (On the Anxiety of Photography.) Wyse explains that “desire permeates photography” (Pg. 71). It has a way to be manifested in a retrospect of ways. We may project meaning that is not among a photograph, but desire is dependent on a photographer. Photographic pieces transmit the weight of desire. Through photographs, we can display in fact our objects of desire. Williams, (a photographer mentioned in Wyse’s article), leaves us with the idea that restraining emotion is a solution for the anxiety of photographic desire.

5 things I now know, thanks to Photoshop

1. You can resize an image to a preset that you have created.

 

2. Layers can be organized into layer group folders.

 

3. Birds eye zoom. If you are zoomed into an image, you can hold down H while clicking and holding down your mouse to go from a zoomed in area to the birds eye view of the image while highlighting the zoomed area you were working in.

 

4.The graphic converter can open mildly corrupted image files.

 

5. Save image pyramid saves an image in a pyramid structure giving you a scaled down version of a full resolution image (able to preview with out full TIFF file)

Scanography

Class Work

"Photography as Art, or, is Photograpy All It Can Be?" Bedford Summary

Bedford addresses if photography, and accordingly photography criticism, is all that it is possible of becoming. The idea that photography can be viewed as a process and practice stimulates the reader in to thinking of photography in a nontraditional way. Bedford talks of Demand's work that presents intention, intellectual reflection, and considered action (same execution as painting) and displays this through stages of production. Demand introduces the idea that a photograph can be viewed as an incidental conclusion to a creative process. Viewing photography in this sense may provide for a more technical evaluation of photography. Currently, there is no model for evaluating photography with regards to the medium  in a way that addresses descriptive vocabulary and technical understanding. Bedford leaves us with the idea that perhaps the remedy for instrumentalization of photography is to produce a criticism that looks at photographs with a true understanding of technical aspects of production and the effects they have on the work itself. 

Is WHAT over?

I think the biggest question addressed in the responses to the SFMOMA question, “Is Photography Over?” perhaps is what exactly we are talking about. What is it that is questionably over? The medium? The art form? The process? The word? Accordingly, responses varied based on individual’s interpretations of what “photography” is. Some participants claim photography is over. Some allege it just started, and others suggest it is, perhaps, simply tired. Do I personally believe photography is over? No. I think the only thing that is really quite over is the way that we perceive the word photography. The art form exists, the medium, while ever-changing, still exists. The idea that we question what “photography” means implies the idea that it has grown from meaning just a singular concept. Photography is not over, but the way we think about it is.