Gcse unit 2 Photography exam 2011.12
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Gcse unit 2 Photography exam 2011.12
- 1. Unit 2: Externally Set Task GCSE Photography
- 2. People & Places • Focus on documentary • Aim to explore different cultures, times, locations, individuals • Try to tell a story via your work • Can be highly personal • Can be biased or removed • Research should include film • Final work can include film as well as images
- 3. Tina Barney Marina’s bedroom 1987 - 1997
- 5. Bill Brandt
- 6. John Grierson (film maker) Video Link about Grierson Night mail
- 7. Walker Evans
- 8. Lewis Hine
- 9. Animals in Motion • Wildlife or domestic • Explore a variety of speeds - impact of long exposure? • Various methods of display appropriate – zoopraxiscope, timelapse,
- 11. Zoopraxiscope Video link Video link
- 12. Johannes Sciehsl Link Street version
- 13. Zoetrobe Sony Zeotrobe
- 14. Eric Hosking
- 15. Carli Davidson
- 16. Tony Mendoza
- 17. Wildlife Photographer of the Year
- 18. Dance • Emphasis on movement • Exploring the meaning of the dance via imagery • Focus on form • Potential to use experimental techniques • Could include a documentary approach
- 19. Isabel Munoz
- 20. Vipal Sangoi
- 22. Music • Focus on display • Could create online showreal, digital or traditional • Free website template tools or more complex blogs and site creation possible • Can focus on one genre of music or many
- 26. Mixed Media • MEMORIES or REFLECTING MY POINT OF VIEW • Respond to either of the above in your own way • Must use more than just photography in either work or method of display • Could include.... sculpture, painting, video, online, craft or anything! • Photography could simply be used as a form of documentation
- 28. Sally Mankus
- 29. Anette Messager
- 30. Composition • The Golden Section is a ratio based on a phi • The Golden Section is also known as the Golden Mean, Golden Ratio and Divine Proportion. It is a ratio or proportion defined by the number Phi ( = 1.618033988749895... ) • It can be derived with a number of geometric constructions, each of which divides a line segment at the unique point where: the ratio of the whole line (A) to the large segment (B) is the same as the ratio of the large segment (B) to the small segment (C). In other words, A is to B as B is to C. This occurs only where A is 1.618 ... times B and B is 1.618 ... times C.
- 31. • Artists, mathematicians, architects and scientists have found it uniquely applicable to the physical world. • It establishes a singularly pleasing visual balance. • It describes the efficient packing of seeds and the arrangement of petals on some flowers. • It describes the development of some mollusk shells, and population growth in some species. • Recreate this in your compositions
- 33. Video Link
- 37. Here and Now • Anything you want as long as it is developed from ‘here and now’ • Reportage/Documentary • Sequence of images that form journey
- 38. Saiful Huq Omi The Disowned and Denied For decades, the xenophobic, Burmese military junta has refused to recognize the Rohingya as a distinct Muslim ethnic minority living in western Burma. Internationally, their story is under reported. The Rohingya are probably the most voiceless and stateless refugee community in the world
- 39. Jürgen Bodamer Galways fishing By 1970 only two boats remained, whereas eye witnesses report that they have seen 20 boats in the harbour of Inis Mór, the biggest of the three Árainn Islands and 35 boats sailing out of Conamara
Notas do Editor
- “I began photographing what I knew.” this meant taking pictures of her friends and family as they went about their daily lives in affluent areas of USA. Employing a large-format, 8-by-10-view camera enabled her to create highly detailed images that retain their focus and richness even when made into four-by-five-foot prints. Barney was thus one of the first photographers to present colour work on a grand scale that rivalled most twentieth-century paintings. This scale also inspired a deliberate construction of the picture, at times requiring supplementary lighting and the direction of the sitters.
- "I was living in this tower block; there was just me and him. He was an alcoholic, he would lie in the bed, drink, get to sleep, wake up, get to sleep, didn't know if it was day or night. But it was difficult to get him to stay still for more than say 20 minutes at a time so I thought that if I could take photographs of him that would act as source material for these paintings and then I could make more detailed paintings later on. So that's how I first started taking photographs." (Richard Billingham)Billingham's snap shots form a kind of family album no ordinary family member would ever make, let alone show. This is not a family life of fake smiles and awkward calendar events. They're more like a backstage glimpse of the chaotic rehearsals. It's a view that turned Billingham from a would-be painter into a celebrated photographer."My dad had moved into my mum's place by this time and I could not believe how it looked. She'd had two years away from my dad so she had created her own psychological space around herself that was very 'carnivalesque' and decorative. There were dolls, jigsaws everywhere. She'd got load of pets by this time
- Brandt (1904-1983) once said, "Photography is a very new medium and everything is allowed and everything should be tried." He began his career working for groundbreaking photographer Man Ray before going to London to freelance for Weekly Illustrated. His photographs of the city's rich and poor pushed the then-accepted boundaries between documentary photography and journalism.During the Blitz of World War II, Brandt photographed London by night and documented the crowds taking refuge in the Underground to escape the bombing. After the war, his work shifted focus. According to the artist, he turned away from his documentary style because "[my] main theme of the past few years had disappeared; England was no longer a country of marked social contrast."Inspired by the formal and psychological experiments of the surrealists and by the spirit of Romanticism, Brandt turned to the poetic world of nudes, portraits and landscapes
- Grierson’s influence on factual film-making was immense, underpinned by a strong social commitment. Of this he said: “The basic force behind [documentary] was social and not æsthetic. It was a desire to make a drama out of the ordinary, to set against the prevailing drama of the extraordinary: a desire to bring the citizen’s eye in from the ends of the earth to the story, his own story, of what was happening under his nose.”The documentary (especially on television) has gone through many stages of creative development since he died, but he left behind a legacy in the many film-makers who dominated the British factual film (and BBC television) after the war. It could well be argued that the special place of excellence enjoyed by British television today owes much to that tradition, which was available to make movies when the BBC only had radio experience behind it.Drifters (1929) is silent documentary film by John Grierson, his first and only personal film. It tells the story of Britain's North Sea herring fishery. The film's style has been described as being a "response to avant-garde, Modernist films, adopting formal techniques such as montage - constructive editing emphasising the rhythmic juxtaposition of images -
- Walker Evans is one of the most celebrated American photographers. During the Great Depression of the 1930's, he worked for the American government’s Farm Security Administration programme, and created some of the most potent and memorable images of the era. His documentary style focussed on the details of individual human lives in unforgiving circumstances. "I am for man’s work", he said; "nature bores me as an art form". Evans went on to take pictures of people on the New York subway using a hidden camera, a series on tools and Polaroid images of rural and urban Americana.
- Lewis Wickes Hine (September 26, 1874 – November 3, 1940) was an American sociologist and photographer. Hine used his camera as a tool for social reform. His photographs were instrumental in changing the child labor laws in the United States.[1]
- The zoopraxiscope is an early device for displaying motion pictures. Created by photographic pioneer Eadweard Muybridge in 1879, it may be considered the first movie projector. The zoopraxiscope projected images from rotating glass disks in rapid succession to give the impression of motion. The stop-motion images were initially painted onto the glass, as silhouettes. A second series of discs, made in 1892-94, used outline drawings printed onto the discs photographically, then colored by hand. Some of the animated images are very complex, featuring multiple combinations of sequences of animal and human movement.
- One of the most important contemporary artists working in Europe, Annette Messager fragments images and language to explore the concept of fiction, the dialogue between individual and collective identity, and the social issues of normalcy, morality, and the role of women. In her work she forcefully illustrates the idea that all things -- a child's beloved toy, a photograph, a piece of embroidery, a word with seemingly unambiguous meaning -- can be transformed into objects of potent expression.
- JurgitaRemeikyte has graduated from this department and currently works there as assistant professor. Her works quite clearly indicate interdisciplinary character of contemporary art. She places a photograph in different context by using various substrata like ceramic materials, textiles. Photographs presented as series of stills become a component of a video film. In her realisations she deprives a photograph of its documentary character by reducing it to an aesthetic form which influences directly a process of reactivatnig already existing and earlier recorded reality. The works of JurgitaRemeikyte by crossing beyond area of straight photography allow us to enjoy a peculiar power of an image that has been recorded, deformed and processed without use of digital techniques, the techniques which became recently too easy and too often abused process. MarekGrygiel
- Much of my work has evolved from a unique process of lifting rust, carbon and markings from charred surfaces (mainly bakeware). The work explores layered and diverse meanings incorporated in everyday, overlooked objects one would find in the home. The work has moved into the realm of installation incorporating numerous domestic items, primarily items used in the ritual of preparing and serving food. Objects (pans, pot lids, napkins, etc.) and materials (rust, carbon) used are so common they become symbols in a universal language. Photography has become a part of the work in the form of manipulated (sometimes layered) Xeroxed images. Participation in the work involves not just the visual, but sound, smell, taste and touch. The viewer is invited to look more closely at that which is and has been experienced on a daily basis. Objects and images take on multiple, often contradictory, meanings leading to diverse interpretations.