{"id":881,"date":"2017-12-07T22:48:03","date_gmt":"2017-12-07T22:48:03","guid":{"rendered":"https:\/\/debraflynnphotographyblog.wordpress.com\/?p=881"},"modified":"2018-08-05T16:55:31","modified_gmt":"2018-08-05T15:55:31","slug":"project-2-lens-work","status":"publish","type":"post","link":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/course-work\/part-2-imaginative-spaces\/project-2-lens-work\/","title":{"rendered":"Project 2 – Lens Work"},"content":{"rendered":"

Research – Photographers and Artists<\/p>\n

Ansel Adams<\/strong> (1901-1984):<\/p>\n

Famous for black and white wilderness photos, and membership of\u00a0club f64,\u00a0<\/a>the name of the group is taken from the smallest setting of a large-format camera diaphragm\u00a0aperture<\/a>\u00a0that gives particularly good resolution and depth of field.<\/p>\n

The group believed in the \u201cinnate honesty\u201d of the camera, which,\u00a0as Weston described<\/a>, \u201cshould be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh.\u201d The f\/64 photographers were concerned with natural subjects\u2014Weston\u2019s evocative close-ups of fruits and vegetables, for example, or Adams\u2019s\u00a0sublime images of Yosemite National Park<\/a>, nudes, and everyday objects. In their 1932 manifesto, Group f\/64 described pure photography as \u201cpossessing no qualities of technique, composition, or idea derivative of any other art form,<\/strong>\u201d a conviction very much in line with modernism\u2019s celebration of the intrinsic qualities of each medium\u2014paintings should be painterly, photographs should be photographic, and sculptures should be sculptural.<\/p>\n

https:\/\/www.artsy.net\/article\/theartgenomeproject-how-ansel-adams-and-the-photography-group<\/a><\/p><\/blockquote>\n

and teaching the ‘zone system<\/a>‘, which is a way of calculating perfect exposure no matter what the conditions.\u00a0 It mostly related to film photography but could be used in digital photography.<\/p>\n

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Half Dome, Ansel Adams (1927)<\/p><\/div>\n

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Fay Godwin (1931-2005)<\/strong><\/p>\n

British photographer, used her images to campaign for conservation of the british countryside. Mostly used deep focus<\/p>\n

Godwin\u2019s exceptional body of work, her outspoken personality and her genuine concern for the environment made her a unique figure in British photography. Her unpretentious attitude to photography and her devotion to the landscape are captured in this quote from one of her final interviews, with journalist David Corfield in 2004:<\/p>\n

\u2018I don\u2019t get wrapped up in technique and the like,\u2019 she said. \u2018I have a simple rule and that is to spend as much time in the location as possible. You can\u2019t expect to take a definitive image in half an hour. It takes days, often years. And in fact I don\u2019t believe there is such a thing as a definitive picture of something. The land is a living, breathing thing and light changes its character every second of every day. That\u2019s why I love it so much.\u2019<\/strong>
\nRead more at http:\/\/www.amateurphotographer.co.uk\/technique\/fay-godwin-1931-2005-iconic-photographer-18907#R7eEhF4wpR6vAmlv.99<\/p><\/blockquote>\n

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images by Fay Godwin – really like the atmosphere created and the depth created by having a focal point in the foreground which leads the eyes into the image.<\/p>\n

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Gianluca Cosci<\/strong><\/p>\n

Gianluca’s work seems a complete opposite from Ansel Adams and Fay Godwin’s.\u00a0 He uses very shallow depths of field and shows us very limited views of his subjects.<\/p>\n

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Standardisation is a tool of control and constraint of people into reassuring and harmless psychological and architectural boxes in which any hint of improbable rebellion would be easily sedated.<\/p>\n

My work tries to suggest these ideas showing sanitised office blocks, censored landscapes and lifeless environments. With my photographs I would like to insinuate a subtle sense of violence in our deeply hierarchical society. I am interested in the point of view of the loser, the marginalised.<\/p>\n

Often we are forced to have only restricted views, uncomfortable to maintain. In spite of this, I believe that one can take advantage of this apparent fault and use it to observe and understand things in a different, unexpected way.<\/p>\n

Gianluca Cosci, 2006<\/p>\n<\/blockquote>\n

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In his interview with\u00a0Kevin Byrne in April 2016, Gianluca says “G.C.<\/strong>:<\/strong>\u00a0I don’t really consider myself a “photographer” rather an artist without a defined, strict identity\u2026 “<\/span><\/p>\n

He seems to have a real issue with capitalism and the immense wealth of a few.\u00a0 I think by denying us the full view of their creations he is pouring doubt on their achievements and giving us a more abstract art where we can interpret it how we wish. This may stem from his roots in small town Bologna in Italy where wealth and power may be less obvious. Is this a visual interpretation of his own feelings of self worth or pushing the viewer to think freely?<\/p>\n

These 3 photographers had different viewpoints<\/p>\n