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Assignment 2 - Tutor Feedback Reflection

I felt extremely nervous about my feedback for this assignment. I didn't know if I had gone about it completely the wrong way even if I was pleased with my set of images but after receiving my feedback from my tutor I was pleasantly surprised. 

 

Feedback from my tutor included that I had produced a coherent set of images and that I showed my technical abilities within the assignment. He didn't think that my images or final set needed a re work or any changes but said that I really need to start putting my work into context and referencing other photographers who might have influenced my work. We also talked about how I need to start thinking about demonstrating 'personal voice' and how reflecting on and understanding the work of others would help me with this.

My tutor brought up a couple of photographers whose work I should look into who had similar ideas to mine. Rodchenko and Moholy-Nagy both use photography to look at the world in a different new way, similar to how I photographed my series.

He also gave me some other names who I will also look into below.

Overall, I was pleased with my feedback for this assignment. I was told that the lighting was good and my composition was well thought out with reflections and also colour similarities within the frame.

Rodchenko

 

 

 

Aleksander Rodchenko was a man of many artistic talents. Born in Russia, he was a sculptor, painter, photographer and graphic designer and was influential within the photography world. In 1921 Rodchenko founded the 'Constructivist' movement which was art aimed to reflect urban space and industrial society. It wasn't until 1923 that Rodchenko started to experiment with photography and looking at new ways to compose photographs whilst using new techniques. He would look closely at the positions of his subjects and their movements within a space.

Looking at Rodchenko's work, I can see similarities between my 'Collecting' series and his photography. For assignment two I wanted to look differently at what I was photographing and explored different angles and view points trying to see things in a new way just like Aleksander Rodchenko did.

I have enjoyed looking through some of his work. It is non-generic, individual and not like any other photographers work I have seen so far. Rodchenko's way of using a camera is something I hope to put into practice in my own work in the future.

Moholy-Nagy

I looked briefly at Moholy-Nagy for part one of this unit but mostly focused on his images that were taken from a high view point.

Laszlo Moholy-Nagy was a Hungarian photographer who saw his camera as an instrument that allowed him to show the world as a heightened reality. His photos were intentionally abstract and he believed that art should adapt with our ever changing world. 

Maholy-Nagy experimented with the use of light and dark in his images and played with perspective to freeze motion. He often used a lower view point when composing his images but also composed images using a high view point. This way of composing his images gave his photos an almost distorted look, which sets him apart from other photographers.

The three images above by Moholy-Nagy are all very different. The first image of Juliet Kepes is out of focus but shows an interesting use of shadows and contrast. The light hits the subjects face on the left hand side, leaving the rest of her face in a growing shadow.  The second image has been composed at a low viewpoint, giving the man on top of the wall a look of superiority. The third image, taken at the New Yorks Worlds fair has been shot from a very high view point and has an extreme abstract look. The diagonal line cutting through the frame might trick the mind into thinking that it is two images put together.

Laszlo Moholy-Nagy's work is not dissimilar to Rodchenko's. They both look at using their cameras in a unique way and to show the world with a more distorted and abstract outlook. I prefer the work of Rodchenko over Moholy-Nagy. I feel that Rodchenko's photos are much more imaginative and artistic. 

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Rodchenko, A. (1927) Pine Trees, Pushkino. [ONLINE]. Available at: https://www.all-about-photo.com/photographers/photographer/20/aleksander-rodchenko [Accessed 1 July 2019].

Rodchenko, A. (1924) Driver. [ONLINE]. Available at: https://www.all-about-photo.com/photographers/photographer/20/aleksander-rodchenko [Accessed 1 July 2019].

Rodchenko, A. (1930) Pioneer with a trumpet. [ONLINE]. Available at: https://www.all-about-photo.com/photographers/photographer/20/aleksander-rodchenko [Accessed 1 July 2019].

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Moholy-Nagy, L. (1931) Cubist garden at the villa, Noailles, Hyeres, France. [ONLINE]. Available at: https://moholy-nagy.org/photo-album/ [Accessed 1st July 2019].

Moholy-Nagy, L. (1937) Juliet Kepes. [ONLINE]. Available at: https://moholy-nagy.org/photo-album/ [Accessed 1st July 2019].

Moholy-Nagy, L. (1938) The New York Worlds fair, Diagonal. [ONLINE]. Available at: https://moholy-nagy.org/photo-album/ [Accessed 1st July 2019].

Rodchenko and Maholy-Nagy's photography related to my own because of their technique in the way they looked at the world differently, using extreme view points and framing. Below I have looked in to photographers whose subjects are similar to those that I used in assignment two. Before starting this assignment, I didn't know where to even begin with research. The suggestions from my tutor during my feedback have been beneficial and will allow me to contextualise my work in the future.

Melanie Friend

 

 

Melanie Friend started her career as a photojournalist in the 1980's and by the 90's she had started to produce work for galleries that focused on conflict and war. Her series of work 'The Home Front' explores links between militarism, marketing and entertainment, specifically looking into the general publics experience of war and how it has been normalised in our country with air shows and military bases so close to beaches and places of family days out.

Peter Kennard

Peter Kennard is a London born photomontage artist. He started his career as a painter but became heavily involved in the anti Vietnam movement and found that he could showcase his political views with the use of photomontage. Kennard wanted to encourage people to think about what was going on in the world around them and found that image manipulation helped him to get that message across, using images in his montages from press and television news.

 

The image above of Tony Blair taking a selfie on a mobile phone came about during the Iraqi war, when Blair had sent British troops to fight in the war. Many people believed the image was real and were shell shocked that he could proudly take a photo like it but of course people knew it was a representation of the devastation that had been caused because of decisions made by the then British Prime Minister.

Kennard also produced many posters using his photomontage techniques for the Campaign for Nuclear Disarmament. He was never paid for these works and was never officially a member of the group but this again was something he believed in.

Kennard's photomontages have clearly made a huge impact in the media over the years. They display an altered reality that could scarily be or become real. His images allow us to open our eyes wide enough to see things that generally as a humans we don't normally like to think about. From what I've seem of his images, they are c creative and each fit a brief of what he wanted to successfully achieve.

Both Melanie Friend and Peter Kennard's work can be linked loosely to my assignment because of what the images contain. They each feature aspects of war. My assignment features artillery from the war that has been put on show. Melanie Friend's work features aspects of war and nostalgia but with hidden meanings and Peter Kennard's use of image manipulation also holds a different meaning but he has done this in a way that is more in your face and less subtle then Melanie Friend's photography. I have found it helpful to look at both photographers and how we can use photography to portray a deeper meaning.

My tutor asked me to think about what my assignment photos might mean. We talked about the possibility that they could be used in a brochure for tourists but I think that they don't really look like your generic brochure photo. They could be used in an article, if one was to ever be written about the fort in Gravesend. Maybe a celebration to mark an anniversary. I would most like to see them on display, maybe on a big information board or even an interactive one about the fort that states the history of the area and tells you why the guns are there. 

But what do they mean?

I named the series 'History and Harmony', this was because the morning I went and shot the series it was early, no one was around and the area felt calm. Two different time periods were sitting together in harmony. The world around the artillery guns is ever changing, with the seasons and times but the guns that sit there have not changed for a hundred years, give or take a new coat of paint. They sit parallel together in history and harmony. 

The meaning behind these images to me is that they are a nod to all those that fought in the war and are a reminder to all that we lost but also to what we gained and there is a deep respect in every frame that carries the series.

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Friend, M. (2009) Tank riders at Abingdon Air and Country show, Dalton Barracks, Oxfordshire. [ONLINE]. Available at: https://melaniefriend.com/new-page [Accessed 1st July 2019].

Friend, M. (2012) Hawk T1 military trainers (Red Arrows), Dawlish Airshow, Devon. [ONLINE]. Available at: https://melaniefriend.com/new-page [Accessed 1 July 2019].

Friend, M. (2011) Avro Lancaster bomber, Southport beach, Merseyside. [ONLINE]. Available at: https://melaniefriend.com/new-page [Accessed 1 July 2019].

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Kennard, P. (2005) Photo op. [ONLINE]. Available at: https://www.rca.ac.uk/news-and-events/news/peter-kennards-photomontage/ [Accessed 1 July 2019].

Kennard, P., (2011) Penalty. [ONLINE]. Available at: https://www.rca.ac.uk/news-and-events/news/peter-kennards-photomontage/ [Accessed 1 July 2019].

BIBLIOGRAPHY 

 

All About Photo.com. ALEKSANDER RODCHENKO. [ONLINE] Available at: https://www.all-about-photo.com/photographers/photographer/20/aleksander-rodchenko. [Accessed 1 July 2019]. 

Hauser & Wirth. László Moholy-Nagy. [ONLINE] Available at: https://www.hauserwirth.com/hauser-wirth-exhibitions/23550-laszlo-moholy-nagy-2. [Accessed 1 July 2019]. 

IdeelArt. 2016. Abstraction in Photography of László Moholy-Nagy. [ONLINE] Available at: https://www.ideelart.com/magazine/laszlo-moholy-nagy. [Accessed 1 July 2019]. 

Melanie Friend. About. [ONLINE] Available at: https://melaniefriend.com/about. [Accessed 1 July 2019]. 

Spectrum. 2013. Melanie Friend. [ONLINE] Available at: https://spectrumphoto.co.uk/the-home-front-by-melanie-friend. [Accessed 1 July 2019]. 

Royal College of Art. 2014. Peter Kennard’s Research Takes Photomontage into Twenty-first Century. [ONLINE] Available at: https://www.rca.ac.uk/news-and-events/news/peter-kennards-photomontage/. [Accessed 1 July 2019]. 

Imperial War Museums. 6 POWERFUL PROTEST POSTERS BY PETER KENNARD. [ONLINE] Available at: https://www.iwm.org.uk/history/6-powerful-protest-posters-by-peter-kennard. [Accessed 1 July 2019]. 

Tate.org. Peter Kennard. [ONLINE] Available at: https://www.tate.org.uk/art/artists/peter-kennard-10184. [Accessed 1 July 2019]. 

The Guardian. 2013. The Tony Blair 'selfie' Photo Op will have a place in history. [ONLINE] Available at: https://www.theguardian.com/artanddesign/2013/oct/15/tony-blair-selfie-photo-op-imperial-war-museum. [Accessed 1 July 2019]. 

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