Kirstensm

17

[kirstensm]

As you can see from my contact sheet below, at the start I had trouble getting the shot I wanted. Images 1054-1081 are either blurred or not zoomed in enough. this was because whenever I zoomed in or went up close, part of the image would not stay in focus. I changed my camera setting from AF to MF meaning I could alter the focus myself getting the shots I wanted. I changed location so I could include sky in the photo as Tony Morgans work did. Images 1219 and 1253 does not focus on the main subject; grass. The images that most closely resemble those of Morgans work are images 1254 and 1255 . these images focus on main subject and has a good proportion of grass to sky. 

[kirstensm]

Creating 'Munich grass': Tony Morgan. 6/9/16

As you can see from my contact sheet below, I have explored the tension between man made and nature through photos of grass and bricks in my city, London. Bricks: Some of my images are better than others. Image 1029-1032 were taken sideways. I then realised that I didn't get the same effect as Tony Morgans as his work was more front on. Images 1083-1094 turned out blue because it was turning dusk and I had not allowed for this. I should have changed the ISO settings. My favourite images are numbers 1107, 1101 and 1115 because they are front on and have a better number of bricks in the photograph like Morgan's work does.

[kirstensm]

My personal investigation. 3/8/16

Looking at Tony Morgan’s work got me thinking about how I might be able to focus my personal investigation on my own city of London. I was intrigued by how he viewed a city through the materials which make it and their patterns and textures as well as the tension between man made and nature. Morgan has inspired me to take photos of Grass, bricks, and any patterns and textures I come across in my city. Firstly, I will create my own representation of his work ‘Munich grass’ using a different technique; photoshop. I will then further develop this piece to create my own version of ‘Munich grass’.

[kirstensm]

Conceptual Art in Britain (1956-1979). 3/8/16

I went to another conceptual art exhibition called ‘Conceptual Art in Britain (1956-1979)’. The exhibition was held at the Richard Saltoun Gallery and featured the work of Tony Morgan and John Blake. I found the work of Tony Morgan, a photographer from Leicestershire in the UK, really fascinating. I was particularly taken by his series of screen-prints ‘Munich Grass’ and ‘Munich Wall’. I like the way the photographs avoid what might be thought of as typical tourist shots of the city, and instead provide much more of a conceptual piece. I like the visual effects Morgan created by using this box design and the screen-print medium; the box draws the eye to the centre of the photograph,  making the image look as if the box is magnifying the middle of the picture.

[kirstensm]

The points about conceptual art which stood out for me in this article was how you need to have the concept first before creating a photograph. If the photograph is then created successfully, the idea behind it would be obvious to anyone who sees it. Another point which stands out is that you can have fun with photographs because it is about getting the idea across.

I think this article made me think about how I need to have a strong concept or idea before starting m shoots. this is important as my shoots will need to stay on topic and be focussed on my concept. This article also made me think about how I may find different ways on presenting a concept- I need to try out many ways in order to see which one is most successful.

[kirstensm]

'Secret painting': Mel Ramsden. 27/7/16

Secret painting by Mel Ramsden interested me because only Ramsden knew what the piece was all about and left me questioning this. The note beside the piece stated how the character and dimension was secret allowing me to image what that could be. Most canvases are naturally white. I like how Ramsden then painted it black to show there is some thought process behind it. I liked this piece because I felt it took the idea of conceptual art to its limits- the artist creates a space in which the viewer is encouraged to provide their own thoughts and ideas. Just in case there is any doubt the words that accompany the black canvas provide instructions. I want to now think about how I can create something that might put the responsibility for constructing a work of art around my photographs onto the person viewing it/them.

[kirstensm]

'Sixty seconds of light': John Hilliard. 27/7/16

For me, conceptual art is all about the artist producing work to get people to think. To that extent, when I went to the exhibition I was looking for pieces where the main subject wasn’t the focal point-pieces that had a strong message that captured my attention. Sixty seconds of light by John Hilliard captured my attention because he changed the camera settings each time he took a photo of the same sixty second timer. I liked the way he played on words; using pictures of a sixty second timer under different camera settings. In other words, he’s used the mechanical features of the camera to create the conceptual idea behind the piece. As part of my project I want to explore how I might be able to use the process of creating a photograph or series of photographs in a way that reinforces my conceptual idea. The next thing I can do to help me advance my ideas is to think about my own concept and how I can use the process of taking a photograph to help me develop and deliver it.

[kirstensm]

Tate Britain: conceptual art exhibition. 24/07/16

Today I went to the conceptual art exhibition at the Tate Britain. Out of all of the images that were there, I liked these two the most. The top image is called ‘Sixty Seconds of Light’ by John Hilliard. This image interests me as it made me think about how changing the settings of a camera can change the way an image comes across. Hilliard has played on words by using a timer that shows 60 seconds as the subject of the photograph and making each image progressively lighter. 

 The bottom image is called ‘Secret painting’ by Mel Ramsden. I liked this image because it gave me the responsibility for thinking about and creating my own picture. Ramsden takes the idea of conceptual art to its limits by painting a complete black image to give the observer the responsibility for imagining what could be there.