Dadaism

Dadaism is a movement in art and literature based on deliberate irrationality and negation of traditional artistic values.

Surrealism

Surrealism is a 20th-century avant-garde movement in art and literature which sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images.

Romanticism

1. a movement in the arts and literature that originated in the late 18th century, emphasizing inspiration, subjectivity, and the primacy of the individual.
2. 2.the state or quality of being romantic.

Expressionism

Expressionism is a style of painting, music, or drama in which the artist or writer seeks to express the inner world of emotion rather than external reality.

Impressionism

Impressionism is a style or movement in painting originating in France in the 1860s, characterized by a concern with depicting the visual impression of the moment, especially in terms of the shifting effect of light and colour.

It is a literary or artistic style that seeks to capture a feeling or experience rather than to achieve accurate depiction.

Realism

Realism is the accurate, detailed, unembellished depiction of nature or of contemporary life. Realism rejects imaginative idealization in favour of a close observation of outward appearances.

In this project it will be exploring the theme of Union through consideration of unification, the passage of time, change and growth. i will do this by drawing inspiration from the surrealist movement, with the influences of Dora Maar, John Stezaker and Jerry Uelsmann using natural forms to intercept portraits as well comparing aged and young objects and individuals.

My intentions are to work towards a series of images where i will be experimenting with photomontage techniques that I will be presented as a set of prints and possibly also producing a photobook which will be more abstract in nature.

Mind Map

Mood Board

Humanism (Humanist Photography)

What is humanism?

Humanism is a philosophical and ethical stance which emphasizes the value, dignity and agency of human beings. It is based around connectivity. It prioritizes reason, critical thinking and overall evidence over simple superstition which overall promotes the idea that humans can solve problems and improve the world through rational thought and cooperation.

What are the different types of humanism?

Renaissance humanism is a movement from the 14th-17th centuries that focused on reviving classical learning and literature.

Secular humanism is a modern perspective that rejects religious beliefs and emphasizes science, ethics and human rights.

Religious humanism is a worldview that intergrades humanist principles with religious traditions, such as unitarian universalism, which is a liberal religious movement characterized by a “free and responsible search for truth and meaning”.

Union Link

Humanism in photography is about focusing on human connection,empathy and shared human experience. My project will explore emotional bonds through union. For example the unity of people through family,work or community.

Conclusion of humanism

At its core, humanism seeks to promote human welfare, progress, and fulfillment without relying on supernatural beliefs.

Artists to reference

Henri Cartier- Bresson

Who was he?

Henri Cartier-Bresson was a French artist and humanist photographer considered a master of candid photography, and an early user of 35mm film. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment. Cartier-Bresson was one of the founding members of Magnum Photos in 1947.

The decisive moment

It refers to the precise instant when all the visual and emotional elements in a scene come together perfectly, creating a powerful and meaningful image. Cartier-Bresson described it as “the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms.” This means that a photographer must anticipate action, composition, and emotion to capture a fleeting, yet impactful, moment.

How does he refer to Humanism?

Henri Cartier-Bresson’s imagery is deeply connected to humanism, particularly humanist photography, which focuses on capturing the dignity, emotions, and everyday lives of people. His emphasis on the human condition, his photography often depicts ordinary people in moments of joy, struggle, contemplation or connection. His work highlights the universal aspects of human life, emphasizing these shared experiences of emotions throughout different cultures and societies.

His uses spontaneity and authenticity to reflect the humanist approach. The ideas of the decisive movement reflects his aim to capture life as it unfolds naturally, rather than staging or manipulating a scene, he tends to be very candid. This respects truth and individuality.

He shows a clear understanding of social awareness through his documentary work. Many of his images document history events and cultural movement, which offers insight into human struggles and triumphs. His work in war zones for example and daily life which reflects his humanist concern for social justice and awareness.

He proves to be non intrusive within his respectful approach. Unlike some photographers who might exploit their subjects his work shows a deep respect for human dignity. He personally believed in being an observer rather than an intruder, belding into the environment around him which enabled him to capture these authentic moments.

Henri travelled extensively whether it be across India and China or even the U.S, Europe and beyond, he managed to capture many diverse human experiences. His global outlook aligns with secular humanist ideals, which value cultural exchange, empathy and mainly a clear understanding across borders rather than post colonialism.

In conclusion his work is clearly a visual form of humans, it celebrated life, respects human dignity and captures the many universal emotions that connect people across cultures. His images can help remind us of the beauty,complexity and resilience of humanity.

Image analysis/focus

This is up there with some of his most famous decisive moments shots. This image capturers a an mid-air as he leaps over a puddle, being perfectly suspended in time. The photograph follows the rule of thirds, with the leaping man positioned slightly off-center, creating a clear dynamic tensions. This use of framing is subtle yet effective. The eye is naturally drawn to the man’s silhouette and the reflection in the water which mirrors his movement. The frozen movement allows for a sense of suspension and grace, showing beauty in what would normally be seen as an ordinary action. His reflection in the puddle adds symmetry and balance, which gives emphasis on the fleeting nature of the moment. This image is in black and white which enhanced the contrast between light and dark, the use of soft lighting and diffused shadows creates a surrealist atmosphere, feeling almost dreamlike. The fence and the urban elements in the background establish context and environment, creating a clear setting through the scene. With the use of the blurry industrial backdrop contrasting with the sharp silhouette it creates a very clear subject. The man’s leap may symbolize change, transition or even uncertainty as he is frozen in air before meeting the solid ground, Reality vs illusion, movement vs stillness.

How does this connect to humanism?

It represents the spontaneity and rhythm of life, showing an everyday person in an ordinary moment that becomes extraordinary through Cartier-Bresson’s lens. The wooden ladder in the water has been likely placed as a sort of makeshift bridge, which suggest improvisation and resilience, which are key themes central to humanism.

How does this connect to union?

It connects in many ways both visually and metaphorically. The image captures a perfect harmony between movement and stillness, therefore uniting the two realities into one frame. It can also be seen as a union of man and environment, where the man appears to be a part of the urban landscape blending in seamlessly reinforcing a humanistic connection to surroundings’. The action of leaping over water is universally relatable, creating an emotional connection with the viewer, speaking to shared human challenges. The elements of the image are arranged in a way that feels harmonious and interconnected, this acts as a visual bridge uniting the top and the bottom halves of the frame.

Surrealism

What is surrealism?

Surrealism is an artistic and literary movement that emerged in the 1920s, focusing on the irrational, dreamlike, and subconscious mind. It sought to break free from logic and realism, creating art that explored fantasy, dreams, and unexpected juxtapositions.

What are the different types of surrealism?

Dreamlike Imagery, inspired by Sigmund Freud’s theories of the unconscious, surrealist works often resemble hallucinations or dreams.

Unexpected Juxtapositions, artists combine unrelated objects or concepts in strange, thought-provoking ways.

Automatism, a method where artists and writers create spontaneously, without conscious thought, to tap into the subconscious.

Irrationality & Absurdity, surrealism challenges logic and reason, embracing the bizarre and nonsensical.

Symbolism & Metaphor, objects often hold hidden meanings, reflecting deep psychological themes.

Conclusion of surrealism

Surrealism aims to revolutionise human experience. It balances a rational vision of life with one that asserts the power of the unconscious and dreams. The movement’s artists find magic and strange beauty in the unexpected and the uncanny, the disregarded and the unconventional.

Artist Reference

Man Ray

Who is he?

Man Ray was an American visual artist who spent most of his career in Paris. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all.

What are the Dada and Surrealist movements?

Infamously called the “anti-art” art movement, Dadaism developed out of disgust and resentment from the bloodshed and horror of World War I, which began in 1914 and ended in 1918. Dadaism’s main purpose was to challenge the social norms of society, and purposefully make art that would shock, confuse, or outrage people.

Surrealism is an art and cultural movement that developed in Europe in the aftermath of World War I in which artists aimed to allow the unconscious mind to express itself, often resulting in the depiction of illogical or dreamlike scenes and ideas.

Conclusion of his work

Man Ray’s career is distinctive above all for the success he achieved in both the United States and Europe. First maturing in the center of American modernism in the 1910s, he made Paris his home in the 1920s and 1930s, and in the 1940s he crossed the Atlantic once again, spending periods in New York and Hollywood. His art spanned painting, sculpture, film, prints and poetry, and in his long career he worked in styles influenced by Cubism, Futurism, Dada and Surrealism. He also successfully navigated the worlds of commercial and fine art, and came to be a sought-after fashion photographer. He is perhaps most remembered for his photographs of the inter-war years, in particular the camera-less pictures he called ‘Rayographs’, but he always regarded himself first and foremost as a painter.

Image analysis/focus

The subject and composition can be analysed as a nude woman with the suggestive silhouette and a violin in the shade of her back. The woman’s form is sculptural, where her human body is merely reduced to a form of a canvas which depicted woman as idealized forms. The violins shape is drawn in chalk like lines, which echoes his own studies of the human body. Integrating the elements of classical art with a dream like surrealist twist. The violin is an impotent symbol in his work, it alludes to the idea of an artists secondary passion or hobby. Ingres was known to be am accomplished violinist in addition to his work as a painter/photographer. Man Ray cleverly uses the violin as both a literally and symbolic device within the photo, offering a playful suggestion that the female body itself could be used as a musical instrument as well as an artwork. Some key surrealist elements are portrayed, as surrealist were fascinated by the juxtaposition of seemingly unrelatable objects. By placing the violin the image disrupts but also draws attention to the sexualised nature of the female form. The use of the violin is a playful distortion of familiar artists motifs, adding an element of absurdity. The lighting is also key to enhancing the from of the by rendering the violin as something almost unattainable , as if it is a abstraction. This brings attention to the objectification of the female form, using the instrument as a metaphor for desire. The models pose is reminiscent of the classical depictions of the female nude, whilst the violin makes it odd, almost unsettling. This ties into the early 20th century critiques of traditional arts treatment of woman as objects for male pleasure. The high contrast lighting emphasised the figure of the model, creating sharper shadow’s that accentuate the body’s form while drawing the viewers eye to the very exaggerated shape of the violin. The use of light here is reminiscent of Man Ray’s ,artery of experimental photography. Notably his famous use of rayographs and other methods that have explored shadow, texture and form. When this image was created in 1924 the surrealist movement was at its peak, pushing boundaries in both visual art and photography. Man Ray who was a prominent figure in the movement, experimented with both fine art and fashion photography, creating works that blurred the lines between the real and the imagined much like the surrealists approach to art and physiology.

In summary, Le Violon d’Ingres is a masterful blend of playful surrealism, art historical reference, and subversive critique of femininity, objectification, and classical art. It invites the viewer to reflect on the tension between the human form and the arbitrary imposition of artistic and sexual symbols. Through its light, composition, and humour, the photograph remains one of the most significant works in the history of 20th-century photography.

How does this connect to surrealism?

Ingres, whose name appears in the title of Man Ray’s photograph, was a leading figure of Neoclassicism, an art movement that can be seen as a continuation of the humanist tradition, where the human body was viewed as an ideal form to be studied and revered. In Le Violon d’Ingres, the model’s body is positioned in a similar way to Ingres’ classical nudes, suggesting a connection to this idealized human form.

The photograph emphasizes the human body, particularly through its curves, light, and shadows. This focus on the body itself evokes a humanistic tradition that places the human figure at the centre of artistic contemplation. However, the surreal manipulation of the figure with the violin inserted onto the model’s back introduces a surrealist twist to this tradition, creating both a nod to humanism and a challenge to its conventions. This tension between the classical ideal and the distortion of that ideal reflects a key theme of the early 20th century, when humanism was being re-examined, especially in light of modernity, industrialization, and the upheavals of war.

Hoe does this connect to union?

The most direct way the photograph connects to the idea of union is through the fusion of the human body with artistic representation. The model’s nude body, traditionally the subject of visual art, is combined with the violin, which is an instrument often used to create music, an entirely different form of art. This union of two distinct forms of art—visual and musical—creates a deeper connection between the body and the creative expression. The body itself becomes a medium through which both visual art (the photographic representation) and music (symbolized by the violin) are explored.

Man Ray’s photograph brings together two distinct artistic worlds: classical and surrealist. Ingres, the painter referenced by the title, was a master of classical art and Neoclassicism, which emphasizes idealized, often sensual depictions of the human body. Man Ray’s photograph invokes this classical aesthetic with the smooth, curvaceous form of the nude woman. However, by replacing her back with a violin, he injects a surreal, playful element that distorts this classical vision, bringing a modern, irrational twist to an otherwise conventional subject. This union of the classical with the surrealist approach reflects the way modern artists of the 20th century were blending historical traditions with experimental, avant-garde methods.

• How to Incorporate:
  • Union Between Real and Imagined: Explore surreal or abstract depictions of unity. This could mean photographing individuals or objects that merge together in strange ways (e.g., using double exposure, juxtaposing dreamscapes with real scenes, or creating imaginary unions between people or elements in unexpected settings).

Pictorialism

What is Pictorialism?

Pictorialism was an artistic movement in photography that emerged in the late 19th century and flourished into the early 20th century. It was a reaction against the growing technical focus of photography, particularly with the rise of Kodak’s mass-market cameras, which made photography more accessible and mechanical. Pictorialism, in contrast, emphasized the idea that photography could be a fine art, comparable to painting or drawing.

What are the key elements?

Artistic Expression Over Technical Accuracy:

Pictorialists sought to move beyond the purely technical and documentary aspects of photography. They believed that photography should be an expression of artistic vision rather than just an accurate reproduction of reality. They often manipulated the image to create an emotional or aesthetic effect, mimicking the qualities of painting, such as soft focus, rich textures, and tonal effects.

Soft Focus and Painterly Effects:

One of the hallmarks of Pictorialist photography was the use of soft focus. Photographers would often intentionally blur the image or use techniques like gum bichromate printing or photogravure to create a texture that resembled a painting or etching. The result was a dreamlike, ethereal quality that emphasized mood over sharp detail. The soft-focus technique was meant to emphasize mood, atmosphere, and the emotional content of the scene rather than capturing the sharp, clear details associated with documentary photography.

Emphasis on Aesthetics:

Pictorialists were heavily concerned with the aesthetic value of their work, often seeking to create images that had emotional depth and conveyed a personal artistic statement. This approach was in direct opposition to the more straightforward, realistic style of photography promoted by photographers like George Eastman (founder of Kodak) and others who focused on the technical aspects of the medium. Pictorialists often chose to depict subjects in a more idealized or romanticized way, similar to how artists approached painting.

Influence of Impressionism and Symbolism:

The Pictorialist movement was heavily influenced by artistic movements like Impressionism and Symbolism, both of which sought to evoke moods, feelings, and subjective experiences. Pictorialist photographers often sought to express emotion through their work, using techniques that were meant to evoke a sense of mystery, romanticism, or nostalgia. The use of light and shadow in a way that might be seen in Impressionist paintings became a hallmark of Pictorialism.

Conclusion of pictorialism

Pictorialism was an important early photographic movement that elevated photography to the status of fine art. It focused on creating mood, atmosphere, and personal expression through techniques like soft focus and manipulation of the print process. While it eventually gave way to more realistic, documentary styles of photography, Pictorialism helped establish photography as a legitimate art form and influenced generations of photographers to explore the emotional and creative potential of the medium.

Artist Reference

Alfred Stieglitz

Who Is He?

Alfred Stieglitz (1864–1946) was a pioneering American photographer, art dealer, and promoter who is widely regarded as one of the most influential figures in the history of photography. His work helped elevate photography to the status of fine art, and his efforts were key in the development of modern photography in the early 20th century. Stieglitz is often credited with helping to establish photography as a legitimate art form. At the time, photography was often seen merely as a technical or commercial pursuit, not as a form of creative expression comparable to painting or sculpture. Stieglitz worked tirelessly to change that perception and advocate for the artistic potential of photography. Pictorialism: Initially, Stieglitz was a proponent of Pictorialism, a photographic movement that emphasized the emotional, aesthetic, and artistic qualities of images over technical precision. He used soft-focus techniques, grain, and other methods to make photographs resemble paintings or prints, creating mood and texture. This helped elevate the medium as an art form.

What is the 291 gallery?

In 1905, Stieglitz opened Gallery 291 in New York, which became a significant space for exhibiting modern art, including photography, painting, and sculpture. The gallery was a pioneering venue that showcased European modernist painters (like Picasso and Matisse) as well as American artists. Stieglitz also displayed his own photographic work there. The gallery became an influential centre for avant-garde art and played a critical role in the development of modern art in America.

Conclusion of his work

Alfred Stieglitz was a visionary who played a foundational role in elevating photography to the realm of fine art. Through his work as a photographer, his founding of the Photo-Secession movement, and his gallery exhibitions, he changed the way people viewed photography and modern art. His contributions helped shape the artistic landscape of the 20th century, and his legacy continues to influence photographers and artists today.

Image analysis/focus

Stieglitz took a series of cloud photographs, which he referred to as “Equivalents.” These were abstract, poetic images that he viewed as visual representations of emotion, akin to musical compositions. This body of work marked a significant shift in his artistic approach, aligning him more with modernist ideals of photography.

The primary subject of the “Equivalents” series is clouds—Stieglitz photographed clouds in a way that abstracted them from their typical, literal interpretation. The images are close-up, largely devoid of recognizable details like sky or landscape, and instead focus purely on the clouds’ forms, textures, and tonal qualities. Stieglitz’s goal was to capture the emotional equivalence of a visual experience—hence the title “Equivalents.” The clouds become metaphors, intended to convey emotion, mood, or states of mind rather than depict any physical object or scene. Compositionally, these photographs often have sweeping curves and jagged, cloud-like formations that evoke a sense of movement. The use of space is essential to the abstract nature of the work. The photographs often frame the clouds against an empty background, isolating them and focusing the viewer’s attention on the cloud forms and their tonal variations. Light plays a crucial role in the “Equivalents.” Stieglitz was a master at controlling light exposure, and in these images, light is used to emphasize the texture and mood of the clouds .The photographs exhibit a wide tonal range, from deep blacks to pure whites, creating dramatic contrasts. This play of light and dark adds an emotional depth to the images, enhancing their abstraction and making them feel more like musical compositions or paintings than traditional photographs. Stieglitz described the “Equivalents” series as a way to express emotion through abstraction, much like music expresses emotion through sound without any literal representation. The use of clouds as a subject can be seen as an attempt to achieve something akin to musical equivalence in the visual world. Just as a composer might create emotional resonance through the arrangement of musical notes and rhythms, Stieglitz arranged visual elements of light, form, and tone to create an emotional experience. This parallel between music and photography was an important part of Stieglitz’s thinking. He believed that just as a musician does not depict a literal “sound” but instead creates an emotional tone, so too could photography convey emotion through its forms.

How does this link to pictorialism?

Alfred Stieglitz’s “Equivalents” series represents a departure from his earlier work as a Pictorialist photographer, yet it also carries traces of the Pictorialist influence.In the “Equivalents” series, although Stieglitz had moved toward a more modernist approach, some aspects of Pictorialism are still present. For example, the emotional resonance of the work and the focus on mood or atmosphere over objective realism still echo Pictorialist ideals. Stieglitz’s focus on the clouds’ forms and textures, the soft quality of the light, and the romantic abstraction could be seen as a continuation of Pictorialism’s emphasis on expressive aesthetics rather than strict documentary or technical precision.

How does this link to union?

Stieglitz’s “Equivalents” series, though abstract and focused on natural forms, can be seen as thematically linked to the concept of union in several ways. This connection is not immediately obvious in the literal sense, but it becomes apparent when considering the unification of emotion, nature, and the individual’s experience through the photographs. In the “Equivalents,” Stieglitz sought to capture the emotional essence of clouds, not as literal representations but as symbols of inner emotional states. The union of nature and emotion in this series is a key feature. Stieglitz felt that by photographing natural phenomena like clouds, he could evoke the emotional experiences of the human spirit, thus creating a union between the external world and the inner life.

• How to Incorporate:
  • Symbolic Union: Create dream-like or idealized compositions that represent connections between nature and humanity, or between individuals in moments of tenderness, using soft focus and blurred edges to give a sense of unity.

Documentary Photography

What is documentary Photography?

Documentary photography is a genre of photography that aims to capture real-life events, environments, and individuals in a way that tells a story, conveys a message, or documents history. The key characteristic of documentary photography is that it focuses on truthful, objective representation rather than artistic manipulation. It seeks to provide an unembellished record of people, places, and situations, often with a social, political, or historical context.

What are some key concepts?

Realism and Authenticity

Documentary photography emphasizes a realistic and authentic representation of its subjects. Unlike staged or heavily edited photographs, documentary images aim to present the world as it is, often capturing moments that are fleeting or unplanned. The intention is to provide a truthful portrayal without manipulation or idealization. The goal is often to highlight real human conditions, social issues, or historical events, providing a raw, unfiltered glimpse into life.

Storytelling and Social Commentary

Documentary photography serves as a powerful tool for storytelling. It can be used to document significant events, everyday life, or aspects of society that are otherwise overlooked or ignored. Often, the photographs are meant to provoke thought, raise awareness, and sometimes even inspire social change by capturing moments that reveal injustices, inequalities, or the beauty of the human experience. For example, photojournalism is a form of documentary photography that focuses on documenting current events and news stories, aiming to inform the public about important issues.

Unposed and Candid

In documentary photography, the photographer often works in a candid manner, capturing subjects without them being aware or without posing. This approach helps to create a sense of naturalism, ensuring that the subjects are shown in their most authentic form. The focus is not on manipulating the subject’s appearance but rather on documenting their real-life context and the moment’s truth.

Artist Reference

Robert Frank

Who is he?

Robert Frank (1924–2019) was a Swiss-American photographer and filmmaker, widely regarded as one of the most influential figures in the history of documentary photography. He is best known for his ground-breaking work, particularly his book “The Americans” (1958), which is considered one of the most important photographic works of the 20th century.

What is the Americans?

“The Americans” is Robert Frank’s most famous work, a collection of photographs taken during his road trip across the United States in 1955–1956. The book includes 83 images that depict the diversity and complexities of American life, from the rich to the poor, from everyday scenes to the marginalized. His style in “The Americans” was raw and uncompromising, capturing unsentimental and sometimes uncomfortable realities of American society. He did not shy away from showing alienation, inequality, and discontent, which contrasted with the idealized representations of America often seen in the media at the time. The book was initially met with some criticism for its unorthodox style, but it later became a landmark in the history of photography. It challenged the traditional aesthetics of the time and is credited with transforming documentary photography into a medium for personal expression.

Robert Frank’s work is fundamentally tied to documentary photography, as he played a crucial role in reshaping the genre and pushing it beyond its traditional boundaries.

• How to Incorporate:
  • Documenting Union: Capture the collective identity of groups, whether they are families, labor unions, or cultural communities, showing how people come together in moments of shared purpose or adversity.

Futurism

Futurism was an art movement formed in Italy as a way to look past its dark history and instead towards the brighter future, the metaphorical movement through time. It unified artists with a common ideal and approach: ‘we will free Italy from her innumerable museums which cover her like countless cemeteries’ (quote from manifesto). The work is often dynamic and energetic for this exact reason: to inspire and differentiate itself from dull history threatening to overshadow the future. Alternatively it could also be seen as a representation of the rapid post war society especially in terms of technology. The movement proceeded to inspire similar movements such as Russian Avant Garde and Dadaism. This movement was pioneered by a few key artists such as:

Carlo Carrà 

His work shows movement. He captures the appearance of a moving background and seemingly still foreground. He achieved this by painting a detailed bike or horse with the appearance of multiple exposures and a background made of light colours. Additionally to show the movement of the bike lines spread outwards from the centre creating leading lines. Additionally, he only uses the primary colours: blue, red and yellow. He creates the illusion of detail by contrasting fine line work and blocks of basic colour, this creates an image with what appears like plentiful detail but only actually resembles the limited level of detail processed when seeing a snippet of a moving structure.  

Gino Severini

His work shows movement. This painting shows a dancer in the centre of the frame. The image is broken up into squares where each square is a different perspective. The very centre if the image appears still with each detail a similar perspective however moving outwards, each square looks more and more different to its neighbours. These sections show varyingly different perspectives which create the appearance of a spin such as her dress flaring, her hair showing up in different spots which contrasts with the lights which don’t move at all and appear still which makes movement seem clearer. 

Umberto Boccioni

His work made use of bold colours, perspective and movement. This image creates a fish eye effect where the buildings around the edge seem to bend into a circular shape. This effect creates the appearance of perspective and looking out a keyhole. The colours are bold and shows a celebration. 

Giacomo Balla

His work makes use of texture and shape. This image creates the appearance of depth with dark valleys between points and bright faces of points. The colours resemble a metal which creates a sense of danger combined with the sharp points.  

Vorticism

Around the same time, Vorticism was rising in the UK. The British equivalent often appeared more abstract and shape driven due to its heavier cubism influences. The movement gained its name due to its typical appearance of a spiral of movement where the centre is still and the outsides of the frames appear moving. The movement expressed energy and dynamism towards an industrial future which was soured by WW1 dissipating the movement. Both movements started from a still center and created dynamic movement moving outwards as the name would suggest. The most visible difference is usually the subject where futurism may show a bike or performer and vorticism shows abstract shapes. 

Manifesto Categories:

For my shoots they will be characterised as either Blurred or Candid in terms of how they where photographed. As mentioned in the previous post, what constitutes either category is the following:

Blurred images being inspired by my impressionist artist study, Kyohyun Nam. What classifies to this, is that the subject of the image is either motion blurred or intentionally distorted by me.

Candid images being inspired by my social realist artist study Robert LeBlanc. What classifies to this, is that subject of image is photographed regularly within an environment. This will attribute to strangers I photograph, peers who are the subjects of my images or landscapes around the Island.

Experimentation:

Examples of experimentation with my shoots can be found in shoots such as photoshoot Room 1, were I made variants to my already edited images to produce an interesting contrast from black and white to coloured (this is exampled within my magazine construction post where I show my arranging of images). Another example can also be found on my magazine construction post where I had taken a grainy black and white image of myself and experimented with it to produce work, inspired by my artist studies of collaging and montaging. Other examples include the creating of ‘advertisements’ out of some of my images where I experimented with the arrangement of text and images, this also is applicable to the front cover, the music section of the magazine too, also Is an example of experimentation within my project as I had to select and arrange what I thought would make an interesting collage of vinyl covers. Furthermore, experimentation is what led me to be able to produce my remade vinyl cover as by trying out different tools on the app – snapseed – I was then able to create an image which I find resembles it well.

Photoshoot Room 1:

Manifesto:

For these images I primarily shot on a fairly slow shutter speed to be able to produce the blur effect of my images, for ones taken in my room It averaged at around 1”6 With an F-stop of F11 and automatic ISO. These images will fit into the category of Blurred.

Before:

Editing:

For these images I applied the same process, with the only difference between them deciding the colour via white balance and temperature.

For the basic edits I made minor adjustments to the contrast and brightness, sharpening and minor tonal editing to add some depth. Once this was done then added a grainy film filter and then made my colour with the white balance and temperature.

After:

Photoshoot Carpark:

Manifesto:

For the outdoor shoot at the car park, the shutter speed for these images fluctuated between 0”5 – 1/60, with the average being around 1”, with an F-stop changing between 4.5 – 6.3 with an automatic ISO also. The aim for this shoot was to create images inspired by my impressionist artist study but also make my own take on his methods through both still backgrounds on some photographs. This shoot is apart of the Blurred category.

Before:

Editing:

For these images I applied all the same settings, due to the constant same source of lighting in all the images. Choosing black and white, I found this really brought out the detail of the photoshops with the blur as it makes it more interesting to look at and depict what is going on.

After:

Before:

Manifesto – These images fit inside to the Candid category.

Editing:

Little editing was done to these as with my camera, it has pre-built in filters, with this one being the ‘Toy’ filter. Other minor adjustments came with cropping.

After:

Photoshoot Plemont:

Manifesto:

With these images having been unintentionally glitched, they created a unique distorted image which mixed with the grainy texture of the vintage digital camera I took them on. This shoot is apart of the Candid category.

Before:

Editing:

Through Snap-seed, I added onto the glitched effects through altering their white balance and temperature making them more rich in colour.

After:

Photoshoot St Ouens + Sunrise:

Manifesto:

For this shoot, I wanted to continue with the same theme of fashion with the balaclava and merge that with depictions of youth culture. Within this I did it at a variety of locations at St Ouens Bay. Using a Shutter speed varying from between 30″ – 1/200 for images within this shoot I aimed to try and create a variety of image types with both long and short exposures. This shoot applies to both Blurred and Candid categories.

Black and white images:

Before:

Editing:

For these images, I made a it so that the camera flash was still prevalent despite being converted into black and white. To do so I made the image portions of the image less brighter and increased the contrast to create that shadowy depth that can be found with flash photos.

After:

Telephone box:

Before:

Editing:

Adjusting the image to have a more warm and vintage grainy look, I did this through he basic settings.

From that, I was then able to convert it into black and white with some grain and then adjust its tint and temperature through the white balance to recreate the yellow of the original photograph.

After:

+ Sunrise/set shoot:

Manifesto:

This small additional shoot counts towards the Candid category due to it falling under the social realist style of images I am inspired by. These images are collected from across my shoots where I would additionally get some photographs of the suns rise and fall.

Before:

Editing:

After:

Photoshoot Town:

Manifesto:

With this photoshoot being a large one around town, I edited a lot of images that were in the same style with the same settings to simplify the process and to create a matching aesthetic between images. This shoot is primarily in the Candid category with some Blurred category images.

Businesses:

Before:

Editing:

Adjusting the base layers of the image, I was able to add more depth to the subjects within the composition such as the mirror, barber and background objects. Making the image warmer, this was to create a soft blend to the lighter colours such as beige and white but also to add some contrast to darker colours such as the bookshelf and mirror.

After this, I then added a grain filter to add a vintage aesthetic to the image. This I found worked well to outline the barber in the foreground too from the background.

Adding some more warmth through the white balance, I feel this added to it again to create outlines of the subjects.

with other images taken within the same lighting conditions, as well as me wanting to create them to fit the same style, I then applied this to some other photos.

After:

As a result they turned out like this:

Union street:

Before:

Editing:

With the project centred around union, i thought I’d include some Union street images in my project. Due to the image being fairly oversaturated I aimed to distort the brightness to make it have that old digital camera effect.

adding a warmer temperature through white balance this was to create a more richer nostalgia aesthetic.

From this I then applied these settings to the other Union Street signs I photographed.

After:

Buildings:

Before:

Editing:

With these images all being of buildings and monuments around town, framed in the same way, I applied the same edits across them.

Adjusting the images with the base settings I was then able to add a vintage film filter which added grain and low saturation the images.

after:

People around town:

Before:

Editing:

For these Images I applied the following settings to create a more warmer overall appearance.

By then applying a grain filter, This helped to create a stronger contrast between the silhouettes of the subjects in the images against the strong sources of natural sunlight which produced shadows to further add some depth to the image.

After:

Black and white images of people around town:

Before:

Editing:

For these Images I applied the following settings to create more of a tonal contrast between the dark and light areas within the images. With a lot of natural light and shadows being casted within the images, I aimed to heighten their presence through the contrast and ambiance.

After:

Photoshoot Noirmont:

Album cover recreation –

Manifesto:

With this photoshoot, my attempts were to create the ‘Never Enough’ Album cover by Daniel Caesar. With the original inspiration being a blurry photograph made with a long shutter-speed on what I believe to be a vintage digital camera, this image falls into the category of Blurred. For this image in particular, I set my camera’s shutter-speed to around 1/30.

Inspiration Image:

Before:

Editing:

With this image in particular requiring a lot of editing to match the original, once I had made the initial edits, I had to repeatedly darken it through an exposure brush to replicate the original image.

Here was when I repeatedly used the exposure brush to darken certain areas ensuring to keep it as accurate to the inspiration image.

After:

David + self portrait:

Manifesto:

These images are classed as Candid. For these images, I wanted to replicate this image aesthetic of another musician, Malcolm Todd. Although not attempting to recreate his album cover, I did like the colour, texture and tone of his work.

Before:

Editing:

After:

Photoshoot Room 2:

Manifesto:

These images fall into the category of Candid. Taken in my room, I wanted to create a bright and contrasting atmosphere within these images, so in order to do this I relied on my camera flash instead of my room light, this shoot is to focus on how music can represent identity and unite people through what they enjoy.

Before:

Editing:

After:

Photoshoot Harbour:

Manifesto:

These images fall into both categories of Candid and Blurred. For these images I wanted to incorporate some more blurred images, However i did make use of some candid photographs to contribute to other parts of my project such as landscapes and self-portraits to reflect identity. These images were taken on a shutter-speed ranging from 1/30 and 1/50 to 1/200 to 1/250.

Warmer toned images:

Before:

Editing:

For these images I wanted to bring more of a focus into the reflection of the sunglasses so I aimed to achieve this through the following settings to bring darken it some more. By increasing the warmth too, this was to add more vibrancy to the rest of the images I applied these settings to.

Adding a grain filter too, this was to hopefully add some sharpness to define out my reflection more whilst also creating a vintage aesthetic.

After:

Colder toned images:

Before:

Editing:

Through these settings, the aim was to try and create images that had a cold, distorted texture. To achieve this I used contrast and saturation to bring out the images colour.

By then adding a grain filter which contained highlights of blue this was to give the images a cooler toned aesthetic.

After:

Manifesto:

For my Photoshoots, I will base how I create my images on the basis of my 2 chosen art movements of Impressionism and Social Realism and the artists I have studied, associated them, with their individual styles. To simply define the images in a photoshoot I will fit them into either a Blurred or Candid Category.

Blurred –

With the Blurred category being any images featuring:

• motion-blur
• long shutter-speed
• direct inspiration from chosen artist – Kyohyun Nam. – e.g. subject focus.

Candid –

With the Candid category being any images featuring:

• clear image clarity
• short shutter-speed
• documentative imagery – e.g. not focused on a certain individual person but instead environments and the many people within them.
• direct Inspiration from chosen artist – Robert LeBlanc. – e.g. subject focus.

For the amount of Images I took, I find it will be to much of an investment of my time to sort through, rate and flag my images. It is for these reasons, I wish to only display my collection of images I produced into their allocated photoshoots to show the extent of my work.

Photoshoot 1 –

Due to the images being intentionally blurry it is hard to assess which are either good or bad, with the majority of the images being ones that I would or wouldn’t use. For this reason I will instead just display my contact sheet images.

Photoshoot 2 –

Due to the extent of images I took, and the Same factors of the images above, I chose these depending on what I thought looked unique and did not seem too similar to each other in appearance.

Photoshoot 3:

For my social realist images, I took these images in town, capturing the different environments and people as well as using a variety of camera angles and techniques to produce, what I find some interesting images. A small inclusion into this was some blurry photographs such as the intended ones above.

Photoshoot 4:

For these images, I decided to produce a mix of impressionist and social realist inspired images with both blurry and sharp outcomes. With the aim for these images to be turned into magazine pages, a mix of image types would create an impressive composition and show a variety in the mise-en-scene of the magazine.

Photoshoot 5:

Along side other images I produced that explored more-so into the fashion aspects of what union can define, I wanted to produce images about another subject I found can unite people, Music. With this shoot, It primarily focuses on music and how it can define identity, another subject I chose to explore Union’s definitions.

Photoshoot 6:

This shoot was also made to explore music, as within this shoot I chose to take pictures at Noirmont to recreate an album cover. However I also took some more photos to cover identity and fashion as spare images I could implement into my work.

Photoshoot 7:

Taking some photos down at the harbour, I wanted to produce some more blurred images as I felt I had become distracted by doing fashion-inspired social realist photos and wanted to bring a balance with some more work inspired by impressionism.

Project plan:

For my project, I want my work to focus on presenting the theme of ‘union‘ through a blend of Impressionism and social realism inspired images. Although different, similarities can be found between the 2 ‘Isms’ with that being of documenting an experience: Whether it be a memory such as with Impressionism or a point in time like with social realism.

I also wish to take on some creative influence from my artist studies into collaging and montaging and create some images inspired by artists I have studied in those topics.

Outlined structure:

Statement of intent:

For my project, I want to present the theme of ‘union’ through the subject-matter of Youth culture, identity and fashion. With photography being a way to present creativity and identity, I want to show this through images of things I associate to or present myself through things that inter-cross with each other, such as with clothes, music, etc. With the art movements of Impressionism and social realism, being my chosen studies, I will create images, inspired by how my artist studies created their takes on both movements. From the Impressionist paintings that inspired the blurred images from Kyohyun Nam and to the skate culture of LA that started Robert LeBlanc’s photography career of environmental documentation. With the subject of Identity being able to be expressed through many outlets, such as with fashion and music, these can unite people like the youth for example, to associate their identities through trends and styles.

It is from this I find that focusing on Youth, identity and fashion, I can create what will be an interesting synopsis of what ‘union’ can define. Another source of inspiration for this project comes fashion and Skate magazine brands such as Carhart WIP. In their magazine series, they offer a good example of what I’d like to replicate in my own work: combining artistic elements of both ‘isms’, they provide a voice to young artists and hobbyists to express their own experiences whilst also incorporating other topics I have mentioned: identity and youth culture. By presenting my work in a magazine I feel this will be a good way to form an organised representation of the Identity, Fashion choices and youth culture I align myself with. Through this I find I will be able to effectively depict the theme of ‘Union’ in my own way.

Carhartt WIP Magazine:

Other Magazine influences:

skate/fashion brands –

e.g. – Always Do What You Should Do, Palace, HUF, Supreme, Vans, Adidas, etc.

Photoshoot plan:

Looking at these magazines, I will aim to create images, inspired from how they are taken, edited and organized on a page to create an effective magazine layout which will look good when presented. For my photoshoots I wish to photograph in areas usually associated with youth culture such as car parks, outdoors, bedrooms, cars, etc. Taking from other sources of inspiration such as music albums, I wish to incorporate this into it as well through recreating album covers or featuring them within my work.

With magazine pages I have looked at for inspiration having varying design aesthetics and contrasting colours, I wish to incorporate this into my work.

1st Artist Studies:

Impressionism – Kyohyun Nam:

Social Realism: Robert LeBlanc:

To create the affect of my impressionist artist study’s images, when taking photographs of myself, I will have assistance by someone who will shake the camera for me, whilst I have the images set on a timer. For other images where I am not needed to have a blur effect on the images, I will use a timer to take images. The same applies for social realist images I wish to include myself in.

2nd Artist Studies:

Collaging and Montaging: John Stezaker, Christian Marclay, Rafal Milach:

For these style of images, I will produce regular portrait shots and alter them through editing with photoshop to create or replicate a piece of work that is inspired by their work. Other aspects from the influence of collaging and montaging will come from image placement.