Project #2 : Composition & Elements of Design

My photo

I chose to shoot this image from Bugs Point of View and Up Close. I used natural lighting and this created some nice shadows that weren't too harsh which I liked and it added some contrast. When printing this image I used a 1/2 filter to keep the image soft considering I used natural lighting and felt that it looked best out of all my filter tests.

Composition Hunt : Part 1 - Elements of Design

Photographer unknown
Effective use of value

Untitled] Black and White photo by 米 袋
Effective use of space

Found on Pinterest, screen grab/shot from Recondite Nadsat
Effective use of line

Victor Demarchelier
Effective use of shape

Photo by: Lamb Loves Fox
Effective use of space

Eugenia Petty, Untitled, 1995
Effective use of value - medium contrast

Barry Yanowitz, Shades_001, 2015
Effective use of texture

Michel Rajovic, Title unknown
 Effective use of texture 

Composition Hunt: Part 2

Untitled
Photo by: Roberto Valenzuela
[Filling the Frame]

Untitled
Photo by: Benoît Drouet
[Strong Diagonals]

Jeremy Moran, The Taj, Digital Photography, 2012
Photo by: Jeremy Moran
[Leading Lines]

Santanna
Photo by: FeldwegFeldweg
[Bug's Eye View]

Photo by: Lamb Loves Fox
[Frame in a frame]

AmeliePhoto by: Lamb Loves Fox
[Rule of Thirds]

Barry Yankowitz, Chinatown night, 2015
[Frame within a frame]

LambPhoto by: Lamb Loves Fox
[Birds eye view]

Photo by: Lamb Loves Fox
[Close Up]

Alternative Processes: Finished work

For this project I made a grid like formation with 5 cyanotypes because I was really fascinated by the cyanotype process once I researched it. I created transparencies with images that I hand selected from the internet and edited. The images I chose all related to surrealism/psychoanalysis in at least one way shape or form.  I wanted to do something a little abnormal than the normal cyanotype by instead of painting a square I decided to make a mockup of the Rorschach inkblot test. To do this I folded each of my 5"x7" papers in half, then blotted the chemical on one half of the paper and again, folded it in half. Then let those dry.

Psychoanalysis,  2015

I originally had 6 - 5"x7" inkblot cyanotypes but found they weren't as of high of quality and didn't necessarily fit in with the others. I chose to arrange the cyanotypes in this way so that I could bring most of the attention to the, "Are you normal?" print. That print in particular is the main focus because the Rorschach inkblot test is something that was/is used for psychoanalysis and that brings up the main question of, "Are you normal?"

Photo 3-4 Project #1 IDEAS: Early Processes

My ideas: 

Symmetry:

The human brain itself creates habits, one major habit being to expend less energy in our daily life. It's why our minds are hardwired for biases, self-delusions and quick decisions based on our memories allows for easier decisions versus sitting there and contemplating the pros and cons.

Why are we attracted to symmetry? Why do we human beings delight in seeing perfectly round planets through the lens of a telescope and six-sided snow flakes on a cold winter day? The answer must be partly psychological. Symmetry presents order, and we crave order in this strange universe we find ourselves in. The search for symmetry, and the emotional pleasure we derive when we find it, must help us make sense of the world around us, just as we find satisfaction in repetition of the seasons and reliability of friendships. Symmetry is simplicity. Symmetry is elegance.

When I think of symmetry and psychology I think of the Rorschach Test. The Rorschach test is a type of projective test used in psychoanalysis, in which a standard set of symmetrical ink blots of different shapes and colors is presented one by one to the subject, who is asked to describe what they suggest or resemble.

Indigo by: Fredrikson Stalland

By: Astrid Stawiarz

That being said I thought, why not create my own ink blot on watercolor paper and make some cyanotype prints and some photogram prints up in the darkroom with the enlarger. For these prints I plan on using no larger than 8x11 pieces of paper considering that I'm planning on doing a series of these, but there is one cyanotype I have in mind that may need to be larger then 8x10. When in the darkroom and using the enlarger I would capture my image on my photo paper and then take a transparency of an ink blot and put that on top of my image, then redo that process and hopefully only what's covered by the transparency shows up. I'm still trying to come up with what images or objects I would like to use with this project and whether or not they should relate to symmetry as well and or possibly portray a kaleidoscope.

This is the opposite of what I would be doing, the photo would only appear where the ink is and the rest would be black.
Kate Moss, Photo by: Asher Penn, 2008 

This is more of what I'm going for but with an ink blot formation instead of a hand.
Photo by: Andy Bettles

This is basically what I hope to end up with except again, an ink blot instead of the hands.
Photo by: Jerry Uelsmann

The one cyanotype that I want to do that would be larger then 8x10 would be on a 18x24 sheet of paper. I feel comfortable with doing this large of a print because I have a large black artists portfolio to store it in. For this print, I have this old/vintage large glow in the dark skeleton from halloween. I plan on pressing flowers and intertwining them with the ribcage, spine and pelvis. I also thought about putting some butterfly transparencies where the stomach area or the heart would be to simulate that feeling you get well, when you feel butterflies in your stomach and I wanted to incorporate a poem with this piece.

The poem:

"I tried to forget
But you grew roots around my ribcage
And sprouted flowers
Just below my collarbones.
All day I pluck at their petals
But I have not yet ascertained
Whether you love me
Or not"

- Lauren Haase

Art inspiration for my 18x24 print:

By: Lauren Haase

Artist unknown

By: Laura Makabresku

Tattoo By: Ella Hewetson

Artist Unkown

Old Process / New Artist

The old photographic process that intrigued me the most was the cyanotype process.

The cyanotype process was invented by the astronomer and chemist John Frederick William Herschel (British, 1792-1871). The name cyanotype was derived from the Greek name cyan, meaning "dark-blue impression." Herschel experimented with the cyanotype process in the 1840s and inspired Anna Atkins, daughter of his friend Dr. John Children, to illustrate her botanical studies with cyanotype photograms.

The general principle of the cyanotype process is the photochemical reduction of iron (III) salts to iron (II) salt that reacts with potassium ferricyanide (red prussiate of iron), forming an intensely blue complex. The process has several simple steps:

1. Selected paper or other material is coated with a mixture of iron (III) salt (today mostly of ferric ammonium citrate) and potassium ferricyanide. The coating must be applied under dim light due to light sensitivity.
   
2. The resulting yellow-greenish layer of sensitized material is dried in the dark.
   
3. The dried, sensitized material is exposed under a negative or other partially or fully
   opaque material (when creating photograms) to strong light (sun or an artificial UV light source), usually in a printing frame that assures good contact between the negative and the sensitized material.
   
4. Light exposure is aided by simultaneous exposure of a sensitometric wedge or timed based on exposure and development of a series of test samples.
   
5. The exposed material is transferred to a water bath to complete the formation of Prussian blue in areas exposed to light and to dissolve any unexposed mixture of sensitizing compounds. Full development of the blue image can be aided by the addition of a hydrogen peroxide solution to the bath. Otherwise, the blue image can be assessed only after the material is fully dried and oxidized by exposure to air. 

A new artist that uses this process: 

• Daniel Coburn
• Daniel Coburn says photography is about ideas. "As image makers we have a vulnerable opportunity to engage with a variety of historical processes, to make images that are beautiful, and rich in concept."

Not all cyanotypes are cobalt blue: Internment toned cyanotype from Waiting for Rapture. Photo by: Daniel Coburn

Sources used:

1. Cyanotype history and process
2. Daniel Coburn - New Artist

Project 12: Stop Motion collaboration with Katie Reahl

Project 11 : Video collaboration by Nichole and Katie

ƒilm by Katie

Project 11 : Video collaboration with Katie Reahl

Film by Nichole

Project 10: Magazine Spread

Collaborative Cover with Katie Reahl
Photo by: Katie Reahl { @itsreahlykatie on instagram }
Click this link to view our magazine!

Project 9 : Portraits

Fine Art Photo #1

This is a photograph of my cousin Abby. When having her model for me I told her to use her hands as much as possible. For this shot I wanted to get a little up-close and personal by filling the frame. I took this portrait outside around 1:00 for optimum soft lighting. When editing this image I smoothed her skin with the brush tool in Lightroom and also used the brush tool to contour her face a little more. I increased the saturation of the green in her eyes because that's one of Abby's physical features that I not only adore but discretely envy. I also liked the way the reflection in her eyes somewhat resembles the reflection in her nails. 

Fine Art Portrait #2

This image is one of my absolute favorites. When editing, I smoothed her face in Lightroom, and I created

a gradient in Lightroom as well. With the gradient I was able to keep her face light but darken the bottom of the image.

The positioning of her hand was perfect and I was able to capture the perfect glare in her eyes and in her nails. By smoothing

her skin I was also able to bring our the reflection in her eyes. The soft lighting, dark clothing and darkish makeup actually did well for being opposites. 

Commercial Portrait #1

Lolita Magazine is a teen hair magazine. The Gone Curly Edition is about exactly what you think it's about,

girls with curls! How to maintain them without taming them! This edition helps you bring out the true you! 

The cover of this months edition features, singer song writer, Abby Press, a beautiful teen with naturally curly

hair! 

Commercial Portrait #2

Commercial Portrait #3

Project 9 : Prework

Photo By: Rolland Andras Flinta

Lipstick - By: Marc Lagrange, a fine art photographer

I like this image a lot. The fact that the photographer made his model appear like she was coming through paper but then blend in where her neck is. The shadow also gave a strong effect within the photograph. 

Photograph By: Aleah Michele

Aleah Michele is a young fine arts portrait & conceptual photographer based in Tonawanda, New York. Although in landscape form, I particularly like this photograph because although it appears to be dull her models where posed in a highly effective way. I love the use of the mans hands within this image and she looks quite peaceful.

Magazine Cover - Suitcase Magazine: Spring 2014 issue #6 - Photographer Unknown

Personally, when I think of spring, I think of pastels. The editor of this cover gave it a granulated texture without distorting the image. I think the photograph catches the eye of the consumer especially with hair color, setting, clothing choice, and the color of clothing. Simple yet effective!

Magazine Cover - Betty Magazine Summer - Photographer Unknown

The background in this image is really plain, the photographer most likely chose to do this because they want all of the focus on the model. The lighting in this image is really soft. The colors are complimentary, yellow and blue.

The difference between commercial portraits and fine art portraits: Photography that is commissioned or assigned at a certain value or service fee is defined as commercial photography. The sole purpose of commercial photography is to sell a product or the magazine itself. Fine art photography, on the other hand, is an artist(s) vision, done for his or her own soul and artistic intent. It is purely meant to please the artist his/herself or an artistically inclined audience. Personally I think the value of a fine art photograph should appreciate in value overtime like a fine art painting. Fine art photography is no less than fine art painting.

Project 8 - Prework

What's surrealism?

Surrealism is an artistic concept that expresses an artists dreams and or visions that are conscious rational control. After learning new techniques through this project I find I am quite interested in the surrealist form of digital photography. Below are some surrealist artists old and new that have inspired me.

Francesco Sambo - French Photographer

Rene Magritte - Surrealist Painter

Salvador Dali - Surrealist Painter

Project 8

Surrealism image - The Discovery of Keku

Title: Keku

I chose to call this image Keku beacuase: In greek mythology  Keku is the deification of the primordial concept of darkness in ancient Egyptian Religion. In the Ogdoad cosmogony, his name meant darkness. Like all four dualistic concepts in the Ogdoad, Keku's male form was depicted as a frog, or as a frog-headed man. As a symbol of darkness, Keku also represented obscurity and the unknown, and thus chaos. Also, Keku was seen as that which occurred before light, thus was known as the bringer-in of light. 

I decided to create a more modern version of Keku. 

https://envisioningtheamericandream.files.wordpress.com/2014/01/history-front-row-seat.jpg - is where I got the vintage image of the little boy watching TV

Project 7

Gum Bichromate

Cyanotype

Cyanotype