{"id":706,"date":"2017-11-30T20:56:46","date_gmt":"2017-11-30T20:56:46","guid":{"rendered":"https:\/\/debraflynnphotographyblog.wordpress.com\/?p=686"},"modified":"2018-08-05T16:56:32","modified_gmt":"2018-08-05T15:56:32","slug":"project-3-surface-and-depth","status":"publish","type":"post","link":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/course-work\/part-1-from-that-moment-onwards\/project-3-surface-and-depth\/","title":{"rendered":"Project 3 – Surface and Depth"},"content":{"rendered":"

Research Blog<\/p>\n

JPEGs by Thomas Ruff<\/strong><\/p>\n

\"2006-RUFTH0605\"

JPEGs by Thomas Ruff<\/p><\/div>\n

All images that appear on the internet and\/or printed in books and magazines today are digitised.  Nearly all images are digital even if they originated in non-digital or pre-digital forms. Given this fact it is surprising how few of them ever wish to address the fact that they exist as masses of electronic information that take visual form as pixels. Ruff has done a great deal to introduce into photographic art what we might call an \u2018art of the pixel\u2019, allowing us to contemplate at an aesthetic and philosophical level the basic condition of the electronic image. Of course he does this not by showing us the images on screens but by making large scale photographic prints, blowing them up far beyond their photorealist resolution. This might be the  first time some of these images have ever taken a material form.<\/span><\/p>\n

extract from David Campany's blog\/essay<\/em><\/span><\/pre>\n<\/blockquote>\n
http:\/\/davidcampany.com\/thomas-ruff-the<\/a><\/p>\n
http:\/\/jmcolberg.com\/weblog\/2009\/04\/review_jpegs_by_thomas_ruff\/<\/a><\/p>\n
The tremendous beauty of some of the images notwithstanding, the concept itself seems to rely a bit too much on the technique itself. What else is there? Make no mistake, there is nothing wrong with producing beautiful images or images that are \u201cjust\u201d beautiful. And everything would be fine if there hadn\u2019t been so many attempts to convince me that in reality \u201cjpegs\u201d is more.<\/span><\/p>\n
extract from Joerg Colberg's review<\/em><\/span><\/pre>\n<\/blockquote>\n
These two articles are reviewing Thomas Ruff’s book; JPEGs.  In this book he has collected photos from different archives to create his own archive of iconic photos.  He has taken the concept that even though many of the images were created on film, they are all now stored in digital format which he found on the ‘web’.<\/p>\n
In Joerg’s article he says that the photographer is stating that the idea behind the photos is that even when stored in poor resolution they still have an aesthetical quality.  the Question is: is this photography or art?  He also makes the point that an individual image can be part of many different archives, each with a different focus. I would relate this \"_DJF1817\"to ‘collections’ in Adobe Lightroom, where a single photograph could be in a number of different collections based on the focus of that particular collection.<\/p>\n
eg: my beach huts image could be a member of various collections, such as, Beaches, Golden Hour, or Structures.<\/p>\n
The 9\/11 images were iconic, bu<\/span>t of terribly low resolution. With the [\u2026] jpeg structure and the results from work with image structures I managed to modify the terribly poorly resolved but still visually aesthetical images my way. \u2018Terribly beautiful\u2019 images they were.\u201d In a nutshell, this is the idea behind jpegs.<\/span><\/p><\/blockquote>\n
I find it interesting that he has taken a very modern phenomenon of  pixelated photos and printed them.  It’s a bit of a reversal of mediums.<\/p>\n
This book was made in 2009, most mobile phones, ipads and computers these days have very high resolution screens, so we are used to seeing all of our media in a very photorealistic way, so it actually requires us to look closely at pixelated image to make sense of it. (Was that his point?).  I believe most people would continue searching for a better quality image rather than look at a low resolution, pixalated photo these days.<\/p>\n
In order to relate this to my own work, I took two recently taken photographs and attempted to create the same effect by re-sizing the photographs to 180 x 270 pixels, and saving at \u2018zero quality\u2019 compression using Photoshop\u2019s \u2018save for web\u2019.<\/p>\n
As David Campney noted that the photos are best appreciated in printed form, I also printed them out, to see how they looked.<\/p>\n
\"jpegs_Lachlan\"<\/p>\n
\"jpgs_beachhuts\"<\/p>\n
Conclusion:<\/strong><\/p>\n
I initially struggled a bit with the concept, and didn’t get why anyone would want to lower the resolution of an image, but then most photographers edit and amend their images to present them in a format they choose.  Therefore, I think there is an argument that photography is just about shape and form, and that humans can understand meaning in images even if they are not realistic.<\/p>\n
I wonder, however, how far you can degrade an image before it is no longer recognisable or meaningful? I took the same two images and used the dry brush filter in photoshop to deconstruct the photos even further.<\/p>\n
\"\" \"\"<\/p>\n
Aesthetically interesting but no longer recognisable?  As with Thomas Ruff’s, JPEGs, if you hadn’t already seen the realistic version, would they still have meaning? This is something that might be interesting to explore further.<\/p>\n
 <\/p>\n
 <\/p>\n","protected":false},"excerpt":{"rendered":"
Research Blog JPEGs by Thomas Ruff All images that appear on the internet and\/or printed in books and magazines today are digitised.  Nearly all images are digital even if they originated in non-digital or pre-digital forms. Given this fact it … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[5,32,21,24],"tags":[48,49],"class_list":["post-706","post","type-post","status-publish","format-standard","hentry","category-part-1-from-that-moment-onwards","category-photographers-artists","category-project-3-surface-and-depth","category-research-and-reflection","tag-thomas-kellner","tag-thomas-ruff"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9tN7f-bo","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":806,"url":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/course-work\/part-1-from-that-moment-onwards\/project-3-surface-and-depth\/thomas-kellner\/","url_meta":{"origin":706,"position":0},"title":"Thomas Kellner","author":"Debra Flynn","date":"30th November 2017","format":"aside","excerpt":"I came across this photographer whilst reading another learning blog by Derek Youd. I thought it was really interesting and did some further research as I felt it carried on the theme of deconstructing image to create something different. Whereas Thomas Ruff has taken existing images and reduced them to\u2026","rel":"","context":"In "Photographers \/ Artists"","block_context":{"text":"Photographers \/ Artists","link":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/category\/research-and-reflection\/photographers-artists\/"},"img":{"alt_text":"Kellner_14_01","src":"https:\/\/debraflynnphotographyblog.files.wordpress.com\/2017\/11\/kellner_14_01.jpg?w=350&h=200&crop=1","width":350,"height":200,"srcset":"https:\/\/debraflynnphotographyblog.files.wordpress.com\/2017\/11\/kellner_14_01.jpg?w=350&h=200&crop=1 1x, https:\/\/debraflynnphotographyblog.files.wordpress.com\/2017\/11\/kellner_14_01.jpg?w=525&h=300&crop=1 1.5x, https:\/\/debraflynnphotographyblog.files.wordpress.com\/2017\/11\/kellner_14_01.jpg?w=700&h=400&crop=1 2x, https:\/\/debraflynnphotographyblog.files.wordpress.com\/2017\/11\/kellner_14_01.jpg?w=1050&h=600&crop=1 3x"},"classes":[]},{"id":881,"url":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/course-work\/part-2-imaginative-spaces\/project-2-lens-work\/","url_meta":{"origin":706,"position":1},"title":"Project 2 – Lens Work","author":"Debra Flynn","date":"7th December 2017","format":false,"excerpt":"Research - Photographers and Artists Ansel Adams (1901-1984): Famous for black and white wilderness photos, and membership of\u00a0club f64,\u00a0the name of the group is taken from the smallest setting of a large-format camera diaphragm\u00a0aperture\u00a0that gives particularly good resolution and depth of field. The group believed in the \u201cinnate honesty\u201d of\u2026","rel":"","context":"In "Part 2: Imaginative spaces"","block_context":{"text":"Part 2: Imaginative spaces","link":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/category\/course-work\/part-2-imaginative-spaces\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/debraflynnphotography.co.uk\/EYV-blog\/wp-content\/uploads\/2017\/12\/921fe96fea17da339d0a31303635820e-fay-godwin-writing-images.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/debraflynnphotography.co.uk\/EYV-blog\/wp-content\/uploads\/2017\/12\/921fe96fea17da339d0a31303635820e-fay-godwin-writing-images.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/debraflynnphotography.co.uk\/EYV-blog\/wp-content\/uploads\/2017\/12\/921fe96fea17da339d0a31303635820e-fay-godwin-writing-images.jpg?resize=525%2C300 1.5x"},"classes":[]},{"id":879,"url":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/uncategorized\/2-7-the-distorting-lens\/","url_meta":{"origin":706,"position":2},"title":"2.7 – The distorting lens","author":"Debra Flynn","date":"7th December 2017","format":false,"excerpt":"Use a combination of small apertures and wide lens to take a number of photographs exploring deep depth of field. Because of the small apertures you\u2019ll be working with slow shutter speeds and may need to use a tripod or rest the camera on a stable surface to prevent \u2018camera\u2026","rel":"","context":"In "Part 2: Imaginative spaces"","block_context":{"text":"Part 2: Imaginative spaces","link":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/category\/course-work\/part-2-imaginative-spaces\/"},"img":{"alt_text":"_DJF2688","src":"https:\/\/debraflynnphotographyblog.files.wordpress.com\/2017\/12\/djf2688.jpg?w=350&h=200&crop=1","width":350,"height":200,"srcset":"https:\/\/debraflynnphotographyblog.files.wordpress.com\/2017\/12\/djf2688.jpg?w=350&h=200&crop=1 1x, https:\/\/debraflynnphotographyblog.files.wordpress.com\/2017\/12\/djf2688.jpg?w=525&h=300&crop=1 1.5x, https:\/\/debraflynnphotographyblog.files.wordpress.com\/2017\/12\/djf2688.jpg?w=700&h=400&crop=1 2x, https:\/\/debraflynnphotographyblog.files.wordpress.com\/2017\/12\/djf2688.jpg?w=1050&h=600&crop=1 3x, https:\/\/debraflynnphotographyblog.files.wordpress.com\/2017\/12\/djf2688.jpg?w=1400&h=800&crop=1 4x"},"classes":[]},{"id":705,"url":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/course-work\/part-1-from-that-moment-onwards\/project-2-visual-skills\/exercise-1-4-research\/","url_meta":{"origin":706,"position":3},"title":"Exercise 1.4 – research","author":"Debra Flynn","date":"29th November 2017","format":false,"excerpt":"Research : researching what is the difference between framing and cropping: why-framing-should-be-your-first-priority-and-cropping-second Difference Between Framing and Cropping Framing is the arrangement of elements within the confines of the imaging device. In other words, you have a rectangular surface area (film or digital sensor) that is going to image your photograph.\u2026","rel":"","context":"In "Assessment Criteria"","block_context":{"text":"Assessment Criteria","link":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/category\/assessment-criteria\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1457,"url":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/research-and-reflection\/nicolas-laboire\/","url_meta":{"origin":706,"position":4},"title":"Nicolas Laboire","author":"Debra Flynn","date":"31st January 2018","format":false,"excerpt":"Nicolas Laboire, is a French photographer who has lived and worked in London for over 25 years. His Presentation at the Brighton and Hove Camera Club on Tuesday 30th January 2018, entitled\u00a0 \"Tin Tribes in the garden of Ether and Wet Plate Collodion\" was about personal work that he has\u2026","rel":"","context":"In "Photographers \/ Artists"","block_context":{"text":"Photographers \/ Artists","link":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/category\/research-and-reflection\/photographers-artists\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/debraflynnphotography.co.uk\/EYV-blog\/wp-content\/uploads\/2018\/01\/nicolas_laborie-1024x750.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/debraflynnphotography.co.uk\/EYV-blog\/wp-content\/uploads\/2018\/01\/nicolas_laborie-1024x750.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/debraflynnphotography.co.uk\/EYV-blog\/wp-content\/uploads\/2018\/01\/nicolas_laborie-1024x750.jpg?resize=525%2C300 1.5x"},"classes":[]},{"id":1714,"url":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/course-work\/5-2-assessment-criteria-context\/","url_meta":{"origin":706,"position":5},"title":"5.2 – Assessment Criteria – Context","author":"Debra Flynn","date":"26th June 2018","format":false,"excerpt":"Exercise 5.2 Select an image by any photographer of your choice and take a photograph in\u00a0response to it. You can respond in any way you like to the whole image or to just a\u00a0part of it, but you must make explicit in your notes what it is that you\u2019re responding\u00a0to.\u2026","rel":"","context":"In "Assessment Criteria"","block_context":{"text":"Assessment Criteria","link":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/category\/assessment-criteria\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/debraflynnphotography.co.uk\/EYV-blog\/wp-content\/uploads\/2018\/07\/DJF3883-Edit1a.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/debraflynnphotography.co.uk\/EYV-blog\/wp-content\/uploads\/2018\/07\/DJF3883-Edit1a.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/debraflynnphotography.co.uk\/EYV-blog\/wp-content\/uploads\/2018\/07\/DJF3883-Edit1a.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/debraflynnphotography.co.uk\/EYV-blog\/wp-content\/uploads\/2018\/07\/DJF3883-Edit1a.jpg?resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/wp-json\/wp\/v2\/posts\/706","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/wp-json\/wp\/v2\/comments?post=706"}],"version-history":[{"count":3,"href":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/wp-json\/wp\/v2\/posts\/706\/revisions"}],"predecessor-version":[{"id":1389,"href":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/wp-json\/wp\/v2\/posts\/706\/revisions\/1389"}],"wp:attachment":[{"href":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/wp-json\/wp\/v2\/media?parent=706"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/wp-json\/wp\/v2\/categories?post=706"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/wp-json\/wp\/v2\/tags?post=706"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}