In this diptych, the images are connected visually rather than contextually. The two images seem to share not much in common besides the colour, implying they were taken at a similar time of day. This image shows that very loose similarities can still create a very strong connection between two images and tell a whole new story. Unlike some of his other photos, this photo uses a less direct connection between images. The framing is also something that gives the images the ability to be put together: they are very tightly framed and have very little context to them meaning they can be differently interpreted and go together well aesthetically as well. |
the relationship between poem and photograph has always been one of disruption and serendipity, appropriation and exchange, evocation and metaphor
To me this poem is about anticipation about what the future will be and the story of someone who is in a stage of their life where every day is the same, passing the same betting shop every day, waiting for a different day. The white cloth and the laid table act as a metaphor for this anticipation: the future is a meal that is yet to be served - it is "out of sight". I wanted to use this idea of anticipation in my photographs so that I could create a more vague link between the photo and the poem. I also recognised a certain level of conservatism about the end of the poem, almost as if the poet is waiting patiently in a metaphorical waiting room for the next part of his life. I went out to take photos and eventually narrowed my photos down to these 4. |
This poem conveys the desperation and hopelessness that young people feel in the current age. I tried to capture that feeling of defeat through my images by finding photos of things that look abandoned and hopeless the same way the poem feels. The poem perfectly presents the loss of youth that our generation has felt in such a familiar way that it further emphasises it. |
Max Pinckers 'The Fourth Wall' is a series of recreations of real events constructed to look like Bollywood film sets, using the same lighting and backgrounds to create constructed scenes.
|
THE TWO CREATIVE MOTIVES THAT HAVE BEEN CONTRASTED HERE ARE NOT DISCRETE. ULTIMATELY EACH OF THE PICTURES IN THIS BOOK IS PART OF A SINGLE, COMPLEX, PLASTIC TRADITION. SINCE THE EARLY DAYS OF THAT TRADITION, AN INTERIOR DEBATE HAS CONTESTED ISSUES PARALLEL TO THOSE ILLUSTRATED HERE. THE PREJUDICES AND INCLINATIONS EXPRESSED BY THE PICTURES IN THIS BOOK SUGGEST POSITIONS THAT ARE FAMILIAR FROM OLDER DISPUTES. IN TERMS OF THE BEST PHOTOGRAPHY OF A HALF-CENTURY AGO, ONE MIGHT SAY THAT ALFRED STIEGLITZ IS THE PATRON OF THE FIRST HALF OF THIS BOOK AND EUGÈNE ATGET OF THE SECOND. IN EITHER CASE, WHAT ARTIST COULD WANT A MORE DISTINGUISHED SPONSOR? THE DISTANCE BETWEEN THEM IS TO BE MEASURED NOT IN TERMS OF THE RELATIVE FORCE OR ORIGINALITY OF THEIR WORK, BUT IN TERMS OF THEIR CONCEPTIONS OF WHAT A PHOTOGRAPH IS: IS IT A MIRROR, REFLECTING A PORTRAIT OF THE ARTIST WHO MADE IT, OR A WINDOW, THROUGH WHICH ONE MIGHT BETTER KNOW THE WORLD?
-- JOHN SZARKOWSKI, 1978
Page ayouts
|
Strength of photography
|
The pages are laid out in a way that makes the book interactive. They can be moved around and manipulated to the readers liking. This interactive aspect seems the be the main feature of the project.
|
There is a wide range of photos in the book but it seems that the quality of the photos themselves aren't as important as the way they're laid out and how the people at the exhibition and the reader themselves has chosen to order them.
|
Our series of images was a story about a woman who drowns when her car breaks down. We used s similar colour scheme throughout the series of images to keep a sense of consistency and to make sure it was clear that there was a narrative in the images. The final images in my opinion are the most interesting because the stillness and silence of them is so palpable and really bring the story to a close. It depicts all these empty landscapes which contrast with the images of the girl drowning.
We were given the option to use text but opted against it because we thought it took away the ambiguity of the images. Without the text the story is entirely up to the readers interpretation over why she was there in the first place or whether she intentionally drowned or not. This task helped me understand the the importance of sequencing which I will try to keep in mind when I start ordering the layout of my photobook. I also believe that there are a few images that would have maybe been better to leave out of the final sequence, like the octopus on for instance. |
You Look a Bit Lost from Jon Nicholls on Vimeo.