Personal Project - Contrast.
In this unit I am going to be resreaching and working on a new task to do with Contrast in photography, for my final peice I am interetsed in working with Fragments. I find it really intersting with distorting faces and moving pictures around, cutting and sticking them in different places, working with different effects and shapes to make pictures more interesting and eye catching. I would like to take pictures of faces and distort them with other peoples faces maybe even using some nature pictures aswell as peoples faces. I would like to come out with at least two final peices with this, with one distort being about happiness and sadness giving the pictures a range of different emotions etc.
Freudenthal Verhagen
These pictures taken and created by Freudenthal Verhgen are which I am most inspired by, I love the pictures how they are so simple but yet so effective. The way that the pictures are stuck down in shapes and moved around, the way that the picture has been folded and crinkled to give the picture a different kind of effect. The contrast in these pictures are the way in contrast of facial features, contrast in shapes and contrast in texture.
John Stezaker.
John Stezaker’s work re-examines the various relationships to the photographic image: as documentation of truth, purveyor of memory, and symbol of modern culture. In his collages, Stezaker appropriates images found in books, magazines, and postcards and uses them as ‘readymades’. Through his elegant juxtapositions, Stezaker adopts the content and contexts of the original images to convey his own witty and poignant meanings.
In his Marriage series, Stezaker focuses on the concept of portraiture, both as art historical genre and public identity. Using publicity shots of classic film stars, Stezaker splices and overlaps famous faces, creating hybrid ‘icons’ that dissociate the familiar to create sensations of the uncanny. Coupling male and female identity into unified characters, Stezaker points to a disjointed harmony, where the irreconciliation of difference both complements and detracts from the whole. In his correlated images, personalities (and our idealisations of them) become ancillary and empty, rendered abject through their magnified flaws and struggle for visual dominance.
In using stylistic images from Hollywood’s golden era, Stezaker both temporally and conceptually engages with his interest in Surrealism. Placed in contemporary context, his portraits retain their aura of glamour, whilst simultaneously operating as exotic ‘artefacts’ of an obsolete culture. Similar to the photos of ‘primitivism’ published in George Bataille’s Documents, Stezaker’s portraits celebrate the grotesque, rendering the romance with modernism equally compelling and perverse.
In his Marriage series, Stezaker focuses on the concept of portraiture, both as art historical genre and public identity. Using publicity shots of classic film stars, Stezaker splices and overlaps famous faces, creating hybrid ‘icons’ that dissociate the familiar to create sensations of the uncanny. Coupling male and female identity into unified characters, Stezaker points to a disjointed harmony, where the irreconciliation of difference both complements and detracts from the whole. In his correlated images, personalities (and our idealisations of them) become ancillary and empty, rendered abject through their magnified flaws and struggle for visual dominance.
In using stylistic images from Hollywood’s golden era, Stezaker both temporally and conceptually engages with his interest in Surrealism. Placed in contemporary context, his portraits retain their aura of glamour, whilst simultaneously operating as exotic ‘artefacts’ of an obsolete culture. Similar to the photos of ‘primitivism’ published in George Bataille’s Documents, Stezaker’s portraits celebrate the grotesque, rendering the romance with modernism equally compelling and perverse.
These pictures are quite similar to Freudenthal Verhagen. Stezaker's ideas are quite interesting in regards to his old pictures he used to contrasting there faces with other pictures or adding extra cuts to the same pictures making it more illusional and more random. His pictures seem quite simple, but to chose the right images to place on top or to add other pictures in different places must be difficult because managing the excess pictures on top must fit with the filter of the picture, placing old looking pictures onto of old pictures.
my idea
For my final piece I would like to work with the same kind of idea from both of these famous photographers, I want to work with new pictures rather then old. By taking close ups of peoples faces to taking pictures of two people being in love, I want to experiment different themes of pictures. Maybe by taking pictures of older people and contrasting and reflecting that picture with a picture of when they are younger, maybe event taking pictures of babies and contrasting there facial features with older peoples facial features as well.
These are a load of picture that I had taken in the Broadcast studio in the school, the pictures where taken on a Cannon 300.