Experimental photography task one

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Experimental photography task one

  1. 1. PHOTOGRAPHER RESEARCH Ryan Goldsmith
  2. 2. DAVID HOCKNEY  Hockney started out his professional artist career as a painter with creations such as “we two boys clinging” and “ a bigger splash”. Hockney created his photo joiners by taking a series of Polaroid photographs and then sticking them all together in order to form the overall image in it's entirety. He used this technique to make images of many things including portraits which is what he had a lot of success with as it was such and unusual and original way to make a portrait. This was a technique that he stumbled across by accident when he was creating a painting of an L.A living room. Despite his talents as a painter this is what he became so well known for. In 2011 in a poll that consisted of more than 1,000 British artists Hockney was voted as the most influential British artist of all time.  Hockney was of a traditional style using collage types of images however it could also be argued that he was also non-traditional in a way as he would take photographs of normal everyday things but reconstruct them in a way that is not entirely normal.
  3. 3.  This is one of his portraiture images and as you can see it is not done in the traditional way rather it is very staggered and abstract. I think that even though the image is broken up in this way you are still able to get the whole picture and possibly even more. This technique gives you the ability to be creative the way you construct the image and gives you total control of the finished product. There are different expressions throughout the image which is also something you would not normally be able to achieve in a regular portrait. I think that even though the images are very staggered there is still a nice flow to the image as a whole
  4. 4.  This image is another Hockney piece that has been created using the same technique as the previous image however in this image he has used considerably more polaroids. He has also got in a lot closer to his subject which helps towards structuring the images to look somewhat like the persons face. I prefer this image to the first as I think that it is constructed better and is a lot more pleasing on the eye as it is closer to the real thing. There is greater clarity in the images on this one compared to the first that also helps towards the aesthetic quality of the piece.  Hockneys work could be displayed in a number of different places as I think it classes as both art and commercial, this means it could be viewed in a gallery or used in a more everyday way like advertising, cover pages, album covers etc.
  5. 5. SCOTT MEAD  Scott mead studied under a well known and respected photographers William Eggleston and EmmetGowin in the mid 1970’s. In 2009 after a long absence from the photography world Scott stumbled across some old negatives from large format cameras in his attic. He has spent the last few years rekindling that lost passion for photography and producing some great pieces which can be seen on the following slide. Scott Mead is a fine art photographer and the main purpose of his photography is for exhibition and auction there on after. The interesting thing is that all of the proceeds from the sale of Scotts work go to Great Ormond Street hospital
  6. 6. SCOTT MEAD
  7. 7. JOHN HEARTFIELD  John Heartfield was a photographer which paved the way for a new type of photography and a style that was all his own. In 1920 he began to experiment with taking different images and pasting them together in a montage type of way. Slightly dissimilar to what David Hockney produced later on where he would use the images in a different way. Heartfield was both a historical photographer and a tradition but also for similar reasoning much like Hockney could also be classed as untraditional because of the way he constructed his images. Heartfield helped to pave the way for this style of photography and showed just what a profound effect it can have on peoples views. Heartfield began to commercialize his style of work in 1930 when he started to produce work for a magazine published by the new German press. This makes it that Heartfields work was of a commercial nature an would therefore be found in magazines, books etc. as oppose to art galleries at that time.

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