WK9: INSTAGRAM

DISCUSSION

Our tutor has begun a discussion board whereby she posts ideas for us to reflect upon. todays was the topic of the new phone app being bought by facebook:

Facebook's recent purchase of the Instagram application for iphone's brought a resurgence of debate about the value it does or does not add to photography. Perhaps even more importantly it questioned the very value/contribution to photography that the application makes through its use.  If you use any social networking it is hard to avoid Instagram. James Robinson has written an interesting blog piece about this whole discussion here: http://galleriesandexhibitions.blogspot.co.uk/2012/04/facebook-buys-instagram-and-why-we.html Please read it and share your thoughts!"

MY REPLY:

"Im in two minds sets about this, as I understand that the purpose of the collaborations is to encourage image taking and to share it to the masses. James has mentioned that the polaroid effect is extremely popular and aesthetically pleasing, so we can see the popularity evolve, and I think we are all cleaver enough to realize that using a photo app has no technical skill whatsoever, so why are we worried?

However, 

I can see how such advanced and accessible shortcuts are intimidating to aspirating photographers as Sophie outlined it can be overshadowing. Im also frustrated that techniques that could take us hours, even DAYS to perfect can take seconds sitting on a sofa, which I think Jordon also pointed out. 

But guys, the world is moving fast especially being a technological and scientific based art form. I think one of the best benefits from digital advancement is the speed it has provided,  if you have learned the analogue techniques, I think it’s a godsend that job on location that could take weeks to finish can be completed and sent off on the day. 

Sarah made an excellent point in saying if people want to take this app seriously then hopefully they will not be so narrow-minded as to avoid the entire history of the medium. I think we have nothing to worry about, as it can be an excellent starting point for young people with an interest in photography.

By the way.. hipstamatic is better."

WK8: COPYRIGHT

DISCUSSION

Another forum post has been made, this time addressing the views of modification among existing images:

"There has been a ruling in court that a photographer who partial recreated an image using the same angle and some of the compositional elements has broken copy right law. What do you think? Full story here: http://www.theartnewspaper.com/articles/-Landmark-ruling-to-be-challenged/25891 Looking forward to hearing your views!"

MY RESPONSE: 

"This is laughable, especially over a technique that’s so basic and flogged by amateurs. Its hardy a master piece to cry over. I think everyone at some point in his or her lives has applied a similar technique to a landmark, I know for a fact you can get tshirt, canvases, pillows, anything for that matter with a variation of this image that’s being squabbled over.

I agree with sophie (again) that maybe if he had noticed his image before hand he should have referenced it, but then again it’s a “re-cycled” idea! Alex makes a good point in countering credibility, which can escalated to extortionate and time wasting level over virtually pettiness.

I cannot see my paths with photography and English landmarks crossing at anytime soon, and even if they did, what a waste of a degree! I would hope a paid education would have taught me to become more creative and original then this."

WK5: BATH

EXHIBITION

The exhibition we visited in the morning was in the city of Bath, where The Holburne Museum was holding an exclusive photography exhibition based on still life called the "Art of Arrangement" which exemplified an array of prints dating back to as early as the first few decades of the 19th century. The collection explored the the traditional value of still life concept and composition while invoking a new medium of creative expression. The space was divided into section displaying theme running through the timeline, the first "A Dialogue with Painting" which was begun with the work of Roger Fenton (b.1819-1869), William Henry Fox Talbot (b.1880-1877) and Frederick G. Tutton (b.1887-1930) which all illustrate a heavy reseambles to 17th Centry painting of fruit, flowers and chalices on cloaked tables resembling  the withering and decay of time in a vibrant manor of a frozen image. 

William Henry Fox Talbot, A Fruit Piece from Pencil of Nature, 1845
gutenberg.org

Roger Fenton, Still Life With Ivory Tankard and Fruit, 1860
guardian.co.uk

Roger Fenton, Still Life with Parain Vase, Grapes and Silver Cup, 1860
firsttimeuser.tumblr.com

Frederick G. Tutton, Dessert, 1923
ocanorjacks.com

The Second section of the exhibition, "On Close Inspection" feature work that used photography for scientific purposes. In terms of recording information through radiography & xray photography, these techniques and approaches were used to unveil hidden forms of natural that could not be seen with the unassisted vision. Here we see more of Talbot's microscopic work, as well as William Henry James Coombs and Josef Maria Eder (b.1855-1944).

William Henry Fox Talbot, Insect Wings (as seen in a solar microscope), 1840
shadedbower.wordpress.com

Josef Maria Eder, Frosche in Bauch-und Ruckenlage. 1896
telegraph.co.uk

Another series of images titled "Arrangements in Negative" illustrated a number of ways of printing using several negatives in order to produce a single photograph. Artists such as Jerry Uelsmann (b.1934) and Henry Peach Robinson (b.1830-1901) experiment with this method of layering and montaging.

Henry Peach Robinson, Fading Away, 1858
photomontage.tumblr.com

Jerry Uelsmann, Memory and the Sun, 1966
flickr.com

The following collection held a focus of view points which explore concept of the time and nature. Legends such as Edward Weston (b.1886-1958) and Ansel Adams (b.1902-1984) carefully construct their images through the techniques of angling and composition to reflect the form of their feeling and mood for desired effect. Sadly i could not find this collection on the internet so i have to use photographs taken of the print on my iphone..

Edward Weston, Detail of Abandoned Car (Mojave Desert in New Mexico), 1937 

Nick Hedges,  (Birmingham Winson Green) Shop Doorway, 1971

Arthur Rothstien, The Bleached Skull of a Steer on the Dry Sun-Baked Earth of the South Dakota Badlands, 1936

This was then followed by "Movement and Stillness" which accompanied artists who's work became fascinated with the notion of passing and and freezing a  moment, such as Eadweard Muybridge (b.1830-1904) Harold Edgerton (b.1903-1990) and Arthur Clive Banfield (b.1875-1965).  Some of these image had scientific and particle purposes, where as some were pure creativity. 

Harold Edgerton, Bullet Through Jack of Diamond, 1955
cs.nga.gov.au

Phillippe Halsman, Dali Atomicus, 1948
utata.org

Eadweard Muybridge, Animal Locomotion (Plate 758), 1887
artlyst.com

We then moved onto the collection demonstrating prints from a variety of artists, such as David Williams (b.1952), Laszlo MoHoly-Nagy (b.1895-1946) and Alexander Rodchenko (b.1891-1956). Their work relates to the topic "Reflection on Light and Dark", which showed the definite link between photography and light whether it be natural or artificial. 

Alvin Langdon Coburn, Vortograph No2, 1917
memoryprints.com

Alexander Rodchenko, Glass and Light, 1928
valentinamoncada.com

Raymond Moore, Ayr, 1979
azurebumble.wordpress.com

One of my favourite sectors of the exhibition was the assortment of images under "Order and Disorder", as not only did these photographs relate back to still life arrangements and objects, but were all taken my documentary photographers who have found structure and chaos in the everyday. Bellow are some of the executed prints from Ian Beesley (b.1954) , Dorothea Lang (b.1895-1965) and Jem Southam (b.1950)

Jem Southam, Horticultural Show Carn Brea, 1992
photomonth.com

Dorothea Lange, Corner of the Dazey Kitchen, 1939
galloimages.co.za

Ian Beesley, Pieces (Drummonds Mill, Bradford), 1986
ianbeesley.com

We being to see the involvement of the human form in the following collection "Still Life with Figure" which is not a usual convention when it comes to this particular genre. However, such artists as Chris Killip (b.1946), Horst P Horst (b.1906-1999) and Edward Steichen (b.1879-1973) are infamous for their portraiture works and have bridged their specialities with the symbolism that accompanies fine art.

Angus McBean,  Miss Dorothy Dickson, 1938
thetranscendentalmodernist.tumblr.com

Alexander Rodchenko, MEHA BCEX, 1924
artvalue.com

Horst P. Horst, Gloves (New York) , 1947
printed-editions.com

Helen Chadwick, Vanity II, 1986
terminartors.com

The final part of the exhibition was named "The Subversive" in which these prints invoke the primary purpose of photography, be that documenting life and events, and reflect the traditional forms of still life. However the images have been dragged into a contemporary context with a dark twist, illustrating the work of Karen Knorr (b.1954), S.M West and Don McCullin (b.1935), who show a sorrowful and 'lifeless" aspect. 

Don McCullin, Body of a North Vietnamese Soldier, 1968
military-history.org

Ian Beesley, Interior in Disused Block (Lister's Mill, Bradford), 1987
saunalahti.fi

Karen Knorr,  A Young Nobleman's Introduction, 1983
eightmodern.net