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Josh Romberg: Structures That Click

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Image design as it relates to constructing visual content from both emotional and technical standpoints.

Published in: Art & Photos
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Josh Romberg: Structures That Click

  1. 1. JOSHUA ROMBERG PHOTOGRAPHER/VISUAL ARTIST C O N TA C T @ J R P H O T O A R T S . C O M WWW.JRPHOTOARTS.COM
  2. 2. Emotional Viability of Work
  3. 3. Why I do work Obsession with the mechanism Collection Safety Release
  4. 4. Mechanics  Love of the Mechanics  Thousands of parts creating a single impression  Understanding systems:  Before: magic  After: manipulation
  5. 5. Collection  Early on, this collection, is very autobiographical  Collect that which is immediately around you  An image’s transporting ability  Disambiguation of memory
  6. 6. Safety  Inexplicably find yourself drawn to an image  Everything but the information in front of you melts away  Indicator of well designed UX  Carves a place out for the viewer to safely occupy  Facilitates introspection and learning  Possession of the artist body/eyes/experiences  Then personal interpretations follow
  7. 7. Release  Expression of an idea as exorcism  Cycles of satisfaction, perpetuation of work  Become aware of these cycles  Become aware of the power of structures  Structures defined give impetus to continual movement  Removes the shroud that keeps us from starting
  8. 8. Designing Emotional Experience
  9. 9. Creation of Dialogue  Digital Archaeology  The timely uncovering of information  Allows for easy digestion by the viewer  In the seemingly complex, order reveals itself
  10. 10. Creation of Dialogue  Digital Archaeology  The timely uncovering of information  Allows for easy digestion by the viewer  In the seemingly complex, order reveals itself  Narrative: “A representation of a particular situation or process in such a way as to reflect or conform to an overarching set of aims or values.” -Oxford Pocket Dictionary
  11. 11. Processes and Practices
  12. 12. PROCESS Inspiration/Planning Application/Shooting Aftermath
  13. 13. Inspiration  Write the book you would want to read  Building and experimentation  Room for a broad range of results  Resilience  My objective still is not complete without viewer’s interaction  Personally: Emotional growth with the piece is a necessary component  Tools facilitate technique/new kinds of interaction
  14. 14. Inspiration Scouting  Seeking out form/light/structure  When in a home environment, always taking place… passively Filed away in the mental database  Travel, always taking place, actively Like bringing in a fresh set of eyes
  15. 15. Planning Strategic technical choices for emotional considerations  Don’t bring a knife to a gun fight  Know your gear or it’s just dead weight Packing Tree
  16. 16. Packing Tree
  17. 17. Application/Shooting Anything that takes time has phases  Usually the first ones are hideous  Wear many hats on any given project Eventually, you develop your rhythm
  18. 18. Aftermath Creation of the final product Technical Aftermath Emotional Aftermath
  19. 19. Technical Aftermath  ORGANIZATION  Importing/Labeling  Sorting, pairing down  Backup (onsite)  weekly  Backup the backup (offsite)  Monthly
  20. 20. Emotional Aftermath  Immediate moments of connection  Growth with a piece  Creation of new narratives over time  For the creator  RELEASE  Fuel to keep the machine alive • Positive feedback loop
  21. 21. Perspective Photography, like any data collection, is an editorial process  A single reference point cannot give a complete picture, but is instead a point of departure  Layered images let all semblances of objectivity fall away
  22. 22. Creation of a final product Selections Defining a Feel Threading the narrative needle Construction (for layered work) Layered Work Goals  Engage the viewer, invite inspection  Give a feel, let the creation of a narrative happen organically  Final product is more than the sum of it’s individual images
  23. 23. Closing Because, especially with the advent of the digital, we no longer see images as objective representations of data, they become more powerful as touchstones for the creation of an emotional journey. Without sound structure and organization throughout the process of making, that power cannot be fully exploited.
  24. 24. JOSHUA ROMBERG PHOTOGRAPHER/VISUAL ARTIST C O N TA C T @ J R P H O T O A R T S . C O M WWW.JRPHOTOARTS.COM

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