Exercise 3.3 – Masquerades (P.82) – updated

I re-shot the image to address the deficencies that I had identified in my previous attempt. The main changes were to move from a portrait to a landscape image and to re-position the elements within the frame, moving the sauce bottle to the left of the bowl and the spoon to the right. As I used the same sauce bottle as when I previously shot the images back in April, the sauce bottle is not full and it has the characteristic gunge around the top. To high-light this I removed the cap. I shot the image using a speedlight shot … Continue reading Exercise 3.3 – Masquerades (P.82) – updated

Exercise 3.4 – Self-absented portraiture – (P.87)

Go to the artist’s website and look at the other images in Shafran’s series. You may have noticed that Washing-up is the only piece of work in Part Three created by a man. It is also the only one with no human figures in it, although family members are referred to in the captions. Did it surprise you that this was taken by a man? Why? I am not suprised that these images were taken by a man, I’m more suprised in the implicit suggestion in the question that as the image represents a domestic chore, the implication is that … Continue reading Exercise 3.4 – Self-absented portraiture – (P.87)

Exercise 3.3 – Masquerades (P.82) – updated

I was looking at some of the images I initially discarded, because they were under exposed, and decided that I liked the simplicity and ambiguity of the layout. Like the other images I shot, to fully understand the narrative there needs to be some text to provide context, however, what I like about this image is that it is obviously not a lifestyle shot. The absence of the glass of orange squash, the exposure and the angle from which the photograph is taken simplify the image leaving the viewer to contemplate the relationship between the bowl of custard and the … Continue reading Exercise 3.3 – Masquerades (P.82) – updated

Exercise 3.3 – Masquerades (P.82)

Recreate a childhood memory in a photograph. Think carefully about the memory you choose and how you’ll recreate it. You’re free to approach this task in any way you wish. My memory is real, not imagined or metaphorical. I have tried to recreate it as well as I can, although it was from a long time ago! My brother liked tomato sauce, never ketchup in our house, which is strange as he didn’t, and to the best of my knowledge still does not, like tomatoes. My brother also liked custard, a staple pudding sometimes served on its own, or sometimes … Continue reading Exercise 3.3 – Masquerades (P.82)

Exercise 3.2 – Masquerades – (P.80)

Is there any sense in which Lee’s work could be considered voyeuristic or even exploitative? Is she commenting on her own identity, the group identity of the people she photographs, or both? In her Projects series Lee decided to explore identity by transforming herself into different characters and then photographing herself in character with people whose appearance she was replicating. I do not think that Lee’s work is exploitative or voyeuristic as by putting herself in the image she is not photographing groups from the outside but is instead engaging with the other subjects in the images. In the photographs … Continue reading Exercise 3.2 – Masquerades – (P.80)

Exercise 3.1 – Autobiographical self-portraiture (P.78)

Reflect on the pieces of work discussed in this project in your learning log and do some further research of your own. Here are a few questions you might ask yourself: • How do these images make you feel? The works presented in this project are self-portraits by three female photographers; Francesca Woodman, Elina Brotherus and Gillian Wearing. I found myself reacting to them in different ways. I was aware of Frencesca Woodman’s work and her suicide at the age of 22. My reaction to her work was to question what she was trying to communicate? Were her self-portraits trying … Continue reading Exercise 3.1 – Autobiographical self-portraiture (P.78)