Exercise 5.1

Exercise 5.1

Brief

I looked at this exercise from 2 points, firstly me as a person and how I get to work.  I don’t know the people on the train but I’m forced into situations where the space between us is extremely less than I would like.  I’ve observed commuters as they board an empty train, watched then find their preferred seat away from others and then slowly the train fills up.  Lucky are the ones that get a seat.

My second point from the perspective of me as a student, I have empathy for those students as they are learning, attending seminars and learning their craft, this empathy is also from my perspective as working at an institution of Higher Education I not only see the students learning but also their needs as a student to get through their educational life.

I sat in on an extracurricular guest lecturer seminar as this was delivered, I looked at the students as they occupied their seats and throughout the lecture and the interaction between the speaker and audience.

My series on the space between us is from the point of observance, there are scenes within this series that show some form of mimicking between individuals behaviour, what is considered acceptable (a pizza in a seminar?) and also the diversity of people in one space.

Of all the images I feel that the 3rd from the last image in this series,  of the lecturer and chair,  best represents the brief.   The 2 men are sitting next to each other but not too close and they are leaning away maintaining the space between them.

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Exercise 5.3

Exercise 5.3

Brief

 

Exercise 5.3 notes and initial thoughts

My eye always goes to the image of the jumping man, his reflection and then off to the right of the frame.  The image is blurred, the reflection is blurred and even though the detail of the man is missing the shape and action of the man convey exactly what he is doing, exactly as the image on the front to the book ‘illumination’. [2] the shape is there even though overexposed you know its a flower, you know it has colour and you then fill in the blanks to the flower based on what you have seen before, the image tells part of the story much as a book when converted to a film often doesn’t fulfil the storyline you had created in your minds eye at the initial reading.  In the image above by Henri Cartier-Bresson, there are other elements that I’m drawn to, these include the standing man at the rear of the image, is he waiting there or watching people falling into the puddle.  The overall image also includes a jumping figure in the wall poster, this adds another counterpoint dimension to this image in addition to the reflections the dancer is a reflection on actuality. This also links to the work of Hiroshi Sugimoto and his images of ‘theatre'[3], the images are frames of what you would like to see, by seeing the blank but exposed and bright screen you imagine being in a movie theatre and either conjure up your own movie based on thoughts or recall a movie you had watched that has a memory attached, very clever.

  1. Henri Cartier-Bresson ‘Behind the Gare Saint-Lazare’ https://pccdn.perfectchannel.com/christies/live/images/item/UnwrappedFPS24764/5748660/original/40953137.jpg accessed 31/12/2017
  2. Rinko Kawauci ‘Illumination’ https://www.google.co.uk/imgres?imgurl=http://t1.gstatic.com/images?q%3Dtbn:ANd9GcSZVNLyFXWFPzZVrx9IW857_1s4jAjW1jVgGNmmhnAh86nbTWb1&imgrefurl=https://books.google.com/books/about/Illuminance.html?id%3DA74dkgAACAAJ%26source%3Dkp_cover&h=1080&w=815&tbnid=5dbeC26QQbcV-M:&tbnh=160&tbnw=120&usg=__mKHImnIp5u5rmEnRJmiv-oTe12k%3D&vet=10ahUKEwjx2-_GjbXYAhXsDcAKHWG_AVYQ_B0IjQEwEA..i&docid=gQt2V0G_yMV_JM&itg=1&client=safari&sa=X&ved=0ahUKEwjx2-_GjbXYAhXsDcAKHWG_AVYQ_B0IjQEwEA accessed 31/12/2017
  3. Hiroshi Sugimoto ‘Theatres’ https://www.sugimotohiroshi.com/new-page-7 accessed 31/12/2017
Exercise 5.2

Exercise 5.2

Brief

I’ve selected an image for this exercise by Henri Cartier Bresson, his image of the cycle passing at speed by the steps is one of the most iconic images to represent the decisive moment.  My eye is drawn immediately to the cyclist who is blurred due to his movement and then back to the right of the frame through the staircase and to the leading lines of the cobbles back to the cyclist.  Each time I see this image I see new details such as the raised pillar at the base of the handrail on the staircase, the additional steps leading down below the camera position.

The image is shown here [1]

sfmoma-hcb-01-hyeres-1932

 

I have taken an image in response to this that reflects my interpretation of this image, there are similar characteristics that I’ll move into further below.

 

Exercise 5.2-1

Image created at ISO 100 52mm f11 1/60 sec Nikon 24-070mm lens

 

In my image, I’ve chosen to keep the cyclist to the left of frame even though they are travelling in opposite directions and I’ve processed into black and white to keep both images relative.  The cyclist is travelling along a clearly defined pathway which is broken into by the shadows of the railings off to the left of the frame which add a more subtle effect than the image by HCB.  My image is separated by the using the rule of thirds composition, and the order between the path and canal can be used as the horizon,  the shadows provide an added depth to the image with some motion blur to the cyclist but not as much as that in the image by HCB.

[1] Henri Cartier Bresson Hyéres France 1932 Image accessed http://uk.phaidon.com/agenda/photography/picture-galleries/2010/december/10/the-decisive-moment-henri-cartier-bresson/ on 28/12/2017