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Project 3 ‘What matters is to look’ – research point<\/a><\/h4>\n
What Matters is to look<\/h1>\n
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Henri Cartier-Bresson, Behind the Gare Saint-Lazare, Paris, 1932<\/p><\/div>\n
This image by Henri Carier-Bresson is described as ‘one of the most iconic photographs of the twentieth century’. Personally I’ve never seen it before.<\/p>\n
As part of my research into Henri Cartier-Bresson, I watched \u2018L\u2019amour tout court\u2019 on Vimeo at https:\/\/vimeo.com\/106009378<\/a> (accessed 10\/01\/2018).<\/p>\n
The film is an interview with HC-B made by Raphael O\u2019Byrne entitled ‘Just Plain Love’<\/div>\nIt is in French but has English subtitles<\/div>\n<\/div>\nHC-B starts by saying that most people don\u2019t look properly at their subject, they just press the shutter buttons<\/div>\n<\/div>\nHe intermates that his parents were strict and prudish, whilst he frequented bordellos <\/div>\nLeft-wing catholics<\/div>\n<\/div>\nHCB went to Africa<\/div>\nHe is a bit of crusader for people less fortunate than himself.<\/div>\nHe been in jail and then to the commandos, he feels like an escaped prisoner<\/div>\n<\/div>\nHCB and Klavdij Sluban hold a regular photography workshop with the inmates in the Fleury-Mergois. Sluban is now also going to a prison in Georgia. At first the inmates seem very cautious and suspicious, but are soon running around taking photos, mostly of themselves. He says that the inmates either refer to themselves as before incarceration or after, but not during. By giving them a camera, we see their view of the prison, rather than the photographers.<\/div>\n<\/div>\nHCB reviewing his famous leaping man image, said it was just luck, but that you need to leave yourself open, you can\u2019t just want it to happen, because it won\u2019t<\/div>\n<\/div>\nHe has framed his images, using geometry, divine proportion. Which he instinctively knows where it is. It\u2019s about capturing the physical rhythm of a situation.<\/div>\n<\/div>\nForm should come first, light is the icing on the cake. Interview with writing, says that HCB was always looking, will see things others don\u2019t see. He sees the form or geometry of an image and the people within it provide the interest.<\/div>\n<\/div>\nHCB you either have it you don\u2019t.<\/div>\n<\/div>\nArkivah – people need to love to look, you can\u2019t look at something you don\u2019t love<\/div>\nArt is not a visual think, is a sensual think, if you don\u2019t taste it you won\u2019t see it.<\/div>\n<\/p>\n
just plain love a film by Raphael O’Bryan<\/p>\n
the gaze should pierce <\/p>\n
wanting won’t work<\/p>\n
physidcal rhythm<\/p>\n
light is like purfune to me.<\/p>\n
giocometti?<\/p>\n
to look means to love – painter<\/p>\n
suite nl3 en re mineur sarabande, bach<\/p>\n
suite no3 en ut majeur, parelude, bach<\/p>\n
suite no 1 en sol majeur, courante, bach<\/p>\n
suite no 9 courante, haendel eric heidsieck<\/p>\n<\/div><\/div><\/div><\/div><\/div>\n
<\/a>\nJo Teasdale<\/a><\/h4>\n
I was really motivated by Jo Teasdale’s presentation at Brighton and Hove Camera Club on 23.01.18. She presented projects she is currently working on, one of which is “Looking Forward, Turning Back” series really inspired me.<\/p>\n
read more about:Jo Teasdale’s; Looking Forward: Turning Back<\/a> (accessed 28.01.18)<\/p>\n
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Looking Forward: Turning Back by Jo Teasdale<\/p><\/div>\n
In Jo’s blog she says:<\/p>\n
The concept came about when I thought how I took my photographs. Looking, watching and waiting, trying to keep alert for those individual moments in time when a picture is born. So taking a photograph of a particular view we naturally look around at what is in front of us. It occurred to me we never see what is behind us, there\u2019s no reason to, we have found the view we wish to photograph. However, if we were to turn around what would we see? I wanted to capture precisely this<\/p><\/blockquote>\n
I found this a really interesting juxtaposition between in front and behind, in terms of Assignment 3 – Decisive Moment, I feel that this is something I could use or expand to incorporate the other themes. Jo’s image above definitely engenders both landscape and a decisive moment.<\/p>\n
Following this presentation, I went out the next day to have a go at taking a similar image. I found out I can ‘overlay images’ in camera, so used this feature for this image. I chose to stand inside one of the shelters to take the images, as I wanted to explore the idea of Henri Cartier-Bresson that form and frame of the image can be prepared in advance and provides structure to the image. <\/p>\n
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Mewsbrook – 24.01.18 – overlay image in camera<\/p><\/div>\n
I would like to explore this idea further, taking an image of a person coming towards the camera and then from behind as they walk away. The decisive moment will be as they pass me, but the viewer will only see the before and after.<\/p>\n
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<\/a>\nChristian Stoll<\/a><\/h4>\n
Christian Stoll, is a German photographer, working in Dussledorf and New York.<\/p>\n
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Multiple Exposure Street Scene – Christian Stoll<\/p><\/div>\n
I particularly liked this image from his series “New York Split Second’.I love the concept of lots of ‘decisive moments’. I know how to create double exposure images in my camera using the overlay function, but I think this level of multi-exposure will need to be worked up in post processing.<\/p>\n
source: http:\/\/www.christian-stoll.com\/website\/photos_detail.php?gallerieID=1102&gallery=new-york_split_second<\/a> (accessed 26.01.19)<\/p>\n<\/div><\/div><\/div><\/div><\/div>\n
<\/a>\nMartin Dietrich<\/a><\/h4>\n
Martin Dietrich is a German photographer living and working in Frankfurt<\/p>\n
He says of himself:<\/p>\n
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My work is mostly of a certain abstract, minimalistic and geometrical nature including strong leading lines and shapes. To a large part my work incorporates urban themes such as architecture and street photography. Nevertheless you’ll also find some other things I feel like at the moment. <\/h3>\n
source: http:\/\/www.martindietrichphotography.de\/about-me\/<\/a> (accessed 26.01.19)<\/p><\/blockquote>\n
I came across Martin’s work whilst doing research for Assignment 3 – The decisive moment. I have an idea for doing double exposure images for this assignment and was looking up other photographers who have done this. <\/p>\n
This image came up in a page: 10-photographers-creating-enigmatic-works-with-double-exposure<\/a>. i particularly liked the monochrome forms and the matt look of the image.<\/p>\n
![\"\"](\"https:\/\/i0.wp.com\/debraflynnphotography.co.uk\/EYV-blog\/wp-content\/uploads\/2018\/01\/6_MartinDietrich.jpg?resize=584%2C730\")
Double Exposure done in Camera (Fuji X-Pro 1) by Martin Dietrich<\/p><\/div>\n
I particularly connected with Martin’s Street Photography work, <\/a>which has other examples of this type of image. Many of his images are very minimalist, and looking down from above at this subjects. They are mostly high contrast and always have great light. Many of the images also make use of shadows, which makes me think that he must research his locations in terms of time and light.<\/p>\n
Looking at these images, brought back the comment by Henri- Cartier-Bresson in the video, that he always looked for form first, to him Light was just the ‘purfume’. I am inclined to think, however, that getting the light right, really makes the difference and this is definitely the case in Martin’s work.<\/p>\n
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http:\/\/www.martindietrichphotography.de\/<\/a><\/p>\n
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