Creative Production: Photography

Corinne Day This kind of warmness is what I would like to incorporate in my final project.

Inspirational Photographer: Bill Cunningham The way he thinks about fashion and street photography is exactly what I think about. "I think fashion is as vital and as interesting today as ever. I know what people with a more formal attitude mean when they say they’re horrified by what they see on the street. But fashion is doing its job. It’s mirroring exactly our times. " "The main thing I love about street photography is that you find the answers you don’t see at the fashion shows. You find information for readers so they can visualize themselves. This was something I realized early on: If you just cover the designers in the shows, that’s only one facet. You also need the street and the evening hours. If you cover the three things, you have the full picture of what people are wearing." "I go out every day. When I get depressed at the office, I go out, and as soon as I’m on the street and see people, I feel better. But I never go out with a pre...

Workshop: Using Flashlight I noticed that flashlight photography is not my style. I do not like the artificial light; I am more into natural light. However, when I see Nan Goldin's photography, the famous image of herself fascinates me. So, I believe it is better if I experiment with it.

About Nan Goldin Background Born in Washington, D.C., in 1953  Her sister took her own life when Goldin was 12  Goldin left home at 14 to live in foster homes and communes. She was introduced to photography at the age of 15  It was during this period that she enrolled at Satya Community School in Boston, an institution that believed the school should fit the child, as opposed to the other way around. It was there she was given her first camera by a teacher and began taking Polaroids of herself and those around her. From the start, she was an instinctive observational photographer. She moved to a suburb of Boston with her family at the age of 25  Here, Goldin was introduced to the drag subculture in Boston, and a particular club called “the Other Side” An excessive use of drugs and alcohol mixed with abusive relationship were her usual life Where she made friends with drag queens and began photographing the drag queens be...

Notes on The Spectacle of the Other (Chapter 4) The image both shows an event (denotation) and carries a ‘message’ or meaning (connotation) - Barthes would call it a ‘meta-message’ or myth about ‘race’, colour and ‘otherness’.  We can’t help reading images of this kind as ‘saying something’, not just about the people or the occasion, but about their ‘otherness’, their ‘difference’. ‘Difference’ has been marked. How it is then interpreted is a constant and recurring preoccupation in the representation of people who are racially and ethnically different from the majority population. Difference signifies. It ‘speaks’ (229, 230). Images do not carry meaning or ‘signify’ on their own. They accumulate meanings, or play off their meanings against one another, across a variety of broader level of how ‘difference’ and ‘otherness’ is being represented in a particular culture at an one moment, we can see similar representational practices and figures being repeated, with vari...

Group 1 Presentation: Vernacular photography August Sander devoted to an old-fashioned large-format camera known for his "people of the 20th century" project "The portrait is your mirror. It's you" It is about how you control that person Robert Frank has broken the rules of photography and filmmaking Martin Parr known for serious photographs disguised as entertainment documents social class of human This work brings the absurdness (tourists, damaging effects) His style employing saturated colour the use of flash, which brings 3D Ways of Seeing by John Berger introduces the term image "An image is a sight that has been recreated or reproduced"

Week 3: Workshop @ Attenborough Cafe Before: After: Before; After: Changing Exposure and Brightness