PHILIPPE HALSMANN
Philippe Halsmann believed that people expressed their true selves when they jumped: "Starting in the early 1950s I asked every famous or important person I photographed to jump for me. I was motivated by a genuine curiosity. After all, life has taught us to control and disguise our facial expressions, but it has not taught us to control our jumps. I wanted to see famous people reveal in a jump their ambition or their lack of it, their self-importance or their insecurity, and many other traits." |
ROBERT LONGO
The Men in the Cities series made Robert Longo famous in the 1980s: larger-than-life drawings from photographs of sharply dressed business people writhing in contortion, a sort of death dance of the modern man. Created between 1977 and 1983, the figures appeared trapped in a tortuous moment, limited by their daily grind. The lack of background exemplifies this idea. Despite the dynamic movements the figures are sharp with no sign of movement or blur. |
FRANCESCA WOODMAN
Although she was the model in most of her work, Francesca Woodman’s photographs do not function as typical self-portraits. Rather, she used her own image to explore the representation of gender and the relation of the body to its environment. Now that we know that Woodman committed suicide at 22 we can project a greater meaning on the images. Some critics have considered the images in the context of her mental health at the time and reached conclusions that she felt trapped and was looking for a way to escape. |
Laurence Demaison
use herself exclusively as the subject of her photographs. Freed from the burden of words and the presence of others, she embraced the solitude, silence and freedom, while struggling to confront the image of her own body. Rather than portraying her body as it was, she sought to conceal, modify, even destroy it and reconstruct it in a form more acceptable to her. The result is a series of self-portraits which expertly use the reflective and distortive qualities of her materials along with the shadowy effects of light and negative images to create "paper phantoms", ghosts of herself that are there, yet disappear in an instant. |
For this response, i developed the negative in the darkroom and slightly overexposed the photograph. I then put it BLEACH and scratched it, With the bleach still wet i then burnt the faces within the image. Finally i soaked the image in tea leaves.
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to create this piece, I DEVELOPED the negative in the darkroom i then painted around the figure in the image. while the paint was still wet i took a metal brush and went over the paint in circular motions. Finally i put the photograph in bleach.
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For this edit I used the distortion tool in photoshop along with adjusting the exposure and levels.
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For my final edit I used the LIQUEFY tool in photoshop and dragged out the eyes creating an almost melting face. I also PLAYED around with the tone of the image.
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after looking at the idea of CHANGING the exterior of the FABRIC, i want to look at taking the changed fabric and shooting a short film. i've thought carefully about the location of shooting and i think i want to stick to empty locations as i feel the represent the feelings of isolation quite nicely.. THis time i will shoot at the barbican centre, i think the history of brutalist ARCHITECTURE and the idea of it being raw. In brutalist ARCHITECTURE concrete is used for its raw and unpretentious honesty, therefore shooting in this location creates a further JUXTAPOSITION with the honesty of the concrete being the STARK opposite of the covered EMOTIONS. |
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FOR THIS NEXT DEVELOPMENT I'M GOING TO USE THIS IDEA OF GAUGING THE PUBLIC'S REACTION USING THE FABRIC. I AM GOING TO TAKE THE SUBJECT INTO A VERY CROWED AREA SUCH AS OXFORD STREET AND TRY AND CAPTURE THE REACTIONS OF THE PERSON IN THE FABRIC GOING ABOUT THERE EVERYDAY LIFE. WHEN FILMING I'M GOING TO KEEP IN MIND MY PREVIOUS FILM AND REPLICATE THE SAME ANGLES AND PERSPECTIVES. THIS WAY IT WILL BE EASIER TO DIRECTLY OBSERVE THE CONTRAST. |
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