Bartholot

I just discovered this set of personal work from this photographer, (who I earlier posted a photograph from).
This series to me is breath-taking. His use of simple colour schemes and such vibrant backgrounds. The way he creates form and depth to me is what interests and is what i would like to employ. With use of fabric and lighting he creates so much depth and interest into his photographs.

studio

This is the the first edit of studio photographs, (contact sheets to be posted soon)

thoughts,

Listening to your ipod, mp3 player transports you to your music and removes you from your social surroundings.
Using artists I have looked I want to create a series of photographs in the studio of a covered face, indulged in the music, removed from there surroundings.

John Stezaker

I just stumbled upon this photographers website and found these photos extremely interesting. I thought they related to my theme privacy, Hiding there faces not knowing the who they are.

This idea of covering the identity of the model digitally after could be something that i could look into.

Rober G. Bartholot

I discovered this photographer on a blog and was amazed how similar it is to elephant man, but using modern technology. Bartholot is a designer and photographic illustrator who knows his colorblocking. Born in southern Germany and now lives and works in Berlin.

Elephant Man

I am a huge fan of David Lynch and when I started to think of people covering their faces, David Lynch's film Elephant Man came to mind. I have found some stils and some cover photography. These photos are in a style that I have found I love. An old black and white film, with patches of graininess, scratches, un developed parts.. etc.

Below are some of these:

Privacy

Under a direction of privacy i started to think, when someone is taking a photo of you that you do not wish, you tend to cover your face (the most recognizable part of you). This idea of covering a face interests me and i wish to look further into it.

Alec Soth

I found these series of photos skimming through some blogs and they really caught my eye. After looking at them for the second time I couldn't really work out why I found them so interesting. I think the quirkiness and out of the ordinary moments that he has captured create a great story, and as a series they flow unusually great.

Irving Penn

Irving Penn, born 1917 is a photographer who first came to mind when I started to think about the ideas of Guy Debord. The works in mind are ones that he took of tribes and primitive people. What interested me was he shot them in a studio, out of there environment. The photograph of the three Asaro Mudmen in there war outfits kitted with bow and arrows struck me because it made me think why and how he got these tribes men to go into a studio? I researched a little bit into the Asaro Mudmen, to find that they were a 'dead' tribe and that tourism exploited them. Once I read that I began wondering more why and how he got them there.
Behind all of that, I love the photo he took of them, the textured plain background really captures my eye. The way they are posing for the camera, 'ready to battle'.

                                              'Asaro Mudmen'

I found this photo of Irving Penn adjusting the mudmen so they were in the right position and looked 'right' for the camera. This i find to be just as interesting as the actual photo because it draws ideas of it being a set up. There very private tribe becoming public.

Here are some more interesting photos from Irving Penn

221.270 Assignment

'Images detached from every aspect of life merge into a common stream, and the former unity of life is lost forever. Apprehended in a partial way, reality unfolds in a new generality as a pseudo world apart, solely as an object of contemplation' Guy Debord, 1995.

With this quote as the key focus of this assignment, I will explore it in relation to the public and/or private using the human as subject, and what implications surround it. The human being a unit of cultural, political and sociological meaning.