StrangeLizzzy's Dawson Blog
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Dec
08

Koudelka

This image is an almost surreal image by Koudelka probably with his Rolleiflex camera. The people appear to be in line for something. The image was taken in Portugal in 1976. Koudelka was photographing european gypsies (of which there are many types) during the time just before the second world war.  The image appears to be taken earlier due to the clothing traditionally worn by the men and women in hat part of the world. The man on the far wall is holding a felt hat and is silhouetted against the wall. The little girl is looking off camera, giving the image a feeling of depth, as in something is happening just beyond the photographers field of vision.  The image is also framed interestingly with the light hitting the man above the neck at a diagonal, yet it accentuates the girl leaning on an opposite flowing line (slanting downwards). By having the two other figures facing the opposite direction, the little girl becomes the main focus of the image.

Koudelka would wander around “in search of pictures of a world that he felt was rapidly disappearing.” Gypsies have always been prosecuted and condemned, mostly because they are a nomadic people who have no home country. “Until the 1970s, the Swiss government had a semi-official policy of institutionalizing Yeniche parents as “mentally ill” and having their children be adopted by more “normal” Swiss citizens, in an effort to eliminate Yeniche culture.” (Wikipedia – Yeniche) This is and example of how they have a very difficult history. The persecution of Gypsies has been going on for centuries. He documented Gypsies and their lifestyles as they travel and lived all over Europe that were slowly disappearing over time. When he took this image, his intention was probably to capture a moment in time that would not be around for future generations to see how the living conditions were.

This image reminds me of people waiting in line to see an official of some sort, waiting to be certified for work or getting their passports to be able to leave the country. This image also conveys a timeline, with the young girl at the bottom of the frame, then the middle aged woman in the middle, with the old man farther off in the background. The look of almost worry is apparent on the girls face, giving the image deep emotion, whether it is impatience or worry. I also noticed how in image the two older people have darkened and partially hidden faces. This also makes me think of how youth has smiling young faces that are bright and catch your attention, whereas the older person usually has a heavy, dark face, weighed down by time and life experiences. It also makes me feel like it could be a  family in a hospital, waiting for the first stage of life, birth. I get this from the stark clean walls I really like how the image is devised by the light and not by the subject matter. The image really did capture the feeling of immigration and of culture.

I feel this image is very effective in giving you a sense of a different time and place. It also gives us the idea that the photographer really captured a moment demonstrating the different stages of life. This would not have been difficult in a non-studio setting, but because he was documenting what he saw in everyday settings and capturing moments like these in a fraction of a second, the image is even more impressive. I still am Trying to figure out what the “U” shaped pole is on the far left of the image. This would probably give a clearer idea as to what the subjects are waiting on.

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Dec
08

Charlie Chaplin 1915 - Richard Sullivan

This is an auto chrome image that was taken in 1915 using the wet plate process. It is a portrait of Charlie Chaplin during a break from one of his movie shoots. When a autochrome image is taken, there are starch particles that are dyed red-orange, green and blue-violet. This is apparent from various the hues that are seen in the image. The black parts of Charlie Chaplin’s coat appear more red-orange than black, because all the light had to pass trough the mosaic of multi-colored particles. This gives the image “colour noise” like we would see in a long exposure taken by a digital camera at a high ISO. Auto chrome exposures take longer than a regular glass plate process, so the image must have been taken on a tripod. Charlie must have been a great subject to work with because judging by his profile, he stayed very still during the shoot.  In the background, we can see that there is lodging available in what could be an inn or a home renting out a spare room.

The image was probably taken to document Chaplin during the peak of his career. “His most famous role was that of The Tramp, which he first played in the Keystone comedy Kid Auto Races at Venice in 1914.[3] From the April 1914 one-reeler Twenty Minutes of Love onwards he was writing and directing most of his films, by 1916 he was also producing, and from 1918 composing the music.” (Wikipedia, Chaplin) So around this time Chaplin was expanding his horizons from acting to directing, producing and composing as well. Chapin was very popular at the time, but there are several other images done in the same fashion, so maybe the photographer was personal friends with Chaplin. But then again,  it could have been an avid crew member who got lucky and was able to take some shots of the star. Perhaps Chaplin was modelling to learn more about photography to be able to start taking pictures on his own!

I really like this image, It makes me think of all the possible things that were going on behind the photographer. Were they on set? Were they on a break walking around? I also like the effect of autochrome on an image, I love how the simplistic colours are much like water coloured  Black and White photographs. The image also makes me reflect on Chaplin, and how he is just leaning on the pole as if tired from a long day of shooting slapstick. It’s hard being hilarious.

I believe this an excellent example of auto-chrome, considering the process was tricky and may of the other images I liked had harsher tones and were sometimes overexposed, from the long exposure time. This image has a vignette to it, and has and overall “blue hue” to it.  The colours of the image could never be accurate, considering all the light had to pass trough the particles, even giving the blacks and whites hues of blue-violet and red-orange. I found other variations that had been edited and sharpened but this has the most characteristics of an un-edited auto-chrome.

Dec
06

Stieglitz

The image features a steam locomotive switching around in a freight yard on a cold winter day. In pictorialism, the image emulates paintings and the mood and atmosphere of the scene is suppose to be more important than the subject itself.  The image is warmer than a stark black and white, making the mood of the setting the main focus of the image. The negatives are often covered in home made emulsions to give the final images different qualities, and this photograph has been treated to make it appear warmer, creating a mood that would be felt despite the winter setting which would have been cold. The original negative probably had strong contrast due to the many highlights in the snow, the blackness of the engine and the tracks, and by using this style and process, it is not so apparent. Also, the image is not sharp,  making it look like a painting and accentuating the artistic composition. The subject however is a warm locomotive, and appears to be taken possibly from the window of a warm office.

Stieglitz was criticized by many for choosing subjects that were not necessarily common for the time. The use of steam locomotives was the most efficient way of transporting goods across the country. This is when became more defined as an art form. This would have been a scene that was quite common and was important for the development of industry during the industrial revolution. Stieglitz intention was probably to document in a romanticized way the golden era of steam. The air was always thick with steam and coal smoke, giving the time period its signature smoggy appearance. This is very apparent in this photograph. in a was, it is a portrait of the times and the machines that fueled the growing world. I also believe that Stieglitz wanted to capture a scene that was apparent everywhere and everyone was use to and ignored. He highlighted a place that was often overlooked and is now not in existence.

I chose this image because it has qualities about it that reflect the process of pictorialism and the industrial revolution.  While running steam locomotive in the winter sounds like a cold and strenuous job, this image gives us a true sense of how it would have felt looking out on the yards. The engine’s cab would have been nice and warm and the raised position of the shot suggests it was taken in a nearby building. This makes the feeling of the place itself come alive, making it easy to imagine watching down on the moving pieces of freight from a frosted window.

The image truly looks like a painting. This image reminded me of the paintings done by David Tutweiler. I do believe that this image is a perfect portrait of a time and place, capturing emotions of the time, which was exciting, mysterious and growing in technology.

Tutweiler

 

 

Nov
17

These are the paper negative portraits have come up with so far.


My final pick is the fist one of DeeDee because this was the first image that worked with her as my model after several tries with my pinhole, and they never developed properly. It is our victory shot : ) I also chose this image because of the brilliant catch light in her eye and how wonderfully she posed.

The one next to it on the right I would chose for my favourite creative portrait from the paper negatives I have done up to this point.

These were all taken with a 4×5 camera and developed in the darkroom at Dawson

Thanks to all the wonderful models!

Nov
09

Here are my first two paper negatives I developed in class. I’ll be making plenty more for certain, because it is soooo fun! It helps having a light meter 🙂

Nov
08

My hand : )

Must be clicked on to see the animation.

Nov
08

Here are my final pinhole images.

by: leggett

by: leggett

My camera had a mishap, so more will possibly be along once I fix my camera.

 

 

Oct
09

 

by: jan kapoor

 

Jan made her pinhole camera out of a hexagonal cookie box and an oatmeal canister. She glued the Canister to the lid of the box, making it easy to change out the film. Since the film is being bent around the canister on the inside of the light proofed box, this causes the image to take on a look almost comparable to a fish eye lens. The reason the image looks so bizarre and the subjects are partially superimposed, is because there is not one pinhole, but six!

 

This is box jan made to produce this image.

 

Each of the holes are of the same diameter, so I assume that the exposure time is equal for all the different angles, meaning it must have been quite a challenge to not get exposure blowouts. This is this is an excellent example of pinhole camera photography because it would have taken much time and effort to get the final images. The shutter must have been a box of some sort put over the camera.

The image itself is magnificent. By wrapping the film into a cylinder, we get a 360 degree view of the Oakland Cemetery. The subject matter alone is very apparent by the way she framed this image. This must have been difficult because she had six different angles to frame. With this in mind, it becomes more apparent how nicely this image really captures the mood of the setting. The cemetery is used by the locals as a park, and it is visited by many people because of its gardens and beautiful headstones. This is apparent in the image, with either side showing the sprawling grounds. The middle of the image highlights one of the many beautiful statues, giving the image a focal point.

Since the image does have a superimposed quality to it, it reminds me of a phenomenon I saw on the popular television series “Fringe” called Retinal Visual Imprinting. This is when the last thing you are looking at is imprinted on the retinas of your eyes when you die.  If there truly was a way to view the raw images the retina picks up, I believe the human sight pattern would resemble something like this.

Here is another one of my favorites from her series “Grotto”. I find it amazing and love it for all the same reasons I love the images from The Cemetery:

 

"Resurrection" by: jan kapoor

 

To view Jan’s Other Images in her series, please visit: http://www.jankapoor.net/HexCamera.html

“Oakland Cemetery, located in Atlanta, GA, was founded in 1850, and is the final resting place of all classes of Atlanta society, from the poorest to the most wealthy. Notables include Margaret Mitchell, Bobby Jones, the founding fathers of Atlanta, and many former Atlanta mayors, including Maynard Jackson. In the Victorian era, when Oakland was at its heyday, visiting the cemetery was a popular weekend activity. Family members would come to tend graves, garden on their lots, and visit with friends and neighbors. Oakland remains an active part of Atlanta life, used not only as a cemetery but as a park for strolling and jogging. The Historic Oakland Foundation is actively engaged in the preservation and restoration of the cemetery, and also conducts regular interpretive tours of the grounds, gardens and monuments.”

“Retinal Visual ImprintThe nerve layer that lines the back of the eye, senses light, and creates impulses that travel through the optic nerve to the brain. Light levels at the macula, chemical levels within receptors and excitation of the optic nerve, at death, leaves an imprint, essentially freezing the last image within the ocular nerve. Not unlike staring at a bright light for too long, the living optic nerve can adjust its bio-chemical balance to eliminate the burned-in image over time – the dead optic system cannot.”

Wanna learn more about “Retinal Visual Imprinting”? scroll down to the “R” section:

http://fringepedia.net/wiki/Portal:Fringe_Science/Theories-Facts-Myths

Enjoy!

Sep
29

It looks better now…

Sep
22
Here is my photogram from photo technologies

by: leggett