I cannot recommend, the Russian made film Come and see by director Elem Klimov, enough.
If you get the chance to see this, grab it with both hands. Just a word of warning though, this is not for the faint hearted. Klimov' portrayal of the then Russian peasant Provence of Byelorussia (now Belarus) struggle against the Nazi's shows the horror of World War two in a way that few other films have.
Oh, and what ever you do, watch it with the original audio, the dubbed version does it no justice.
So the second deadline as arrived and after a stressful few days I have managed to put something "decent" together. For this brief I decided to invert my previous idea and look at a different way the camera can effect a situation.
These are two from a series of dramatic portraits, the subjects were instructed to attempt to offer no expression or emotion (dead pan). The drama was to be created through lighting and post production.
While I was shooting the below shots, all of the forced subjects seemed to have a wee one line quip to make, just before taking their mark. After the first two I started writing them down.
It dawned on me that maybe they should actually be a part of the images themselves. I know this might raise the good old text / no text debate but I wouldn't mind hearing what people think.
I am kinda thinking that the text should be a part, it links nicely with the micro relationships and the unease of human composure in front of the camera. I mean it's like they all had to throw a little excuse at me, to reassure themselves and to warn me.
I imagine the layout something like this. Obviously not looking as shit. I'd give the typeface more than 5seconds thought for a start.
Here are two images from the shoot I mentioned in the last post.
Basically I am looking at the ideas behind a micro relationship and how the factors relate to photography. I have not asked the subjects any questions other than, Can I take you picture, or offered any instruction other than stand here. So they are completely left to there own devices, which will raise the question, what do i do? It is this question that want to capitalise on.
Different people reacted differently, from over confidence to embarrassment to the downright bizarre. Hopefully the images hold some interest due to these unusual circumstances I created by doing nothing more than taking picture.
Technically, i still have a bit of colour processing to sort out and I would have ideally shot on 120 but time constraints have returned me to my D300, which is fine, but my 50mm nikkor lens just doesn't make the grade when there are enlarged.
“It could be worse”, is the official shitist saying on the face of the earth. Everybody knows that a minor upset is infinitesimal in comparison to some of the things people deal with on a daily basis, but it doesn't stop you feeling shit when they happen.
"It could be worse" No shit, even if both my legs fell off and a man came to begin inserting them up my ass while his kids poked me in the eyes with rolled up copies of a signed Jeremy Kyle photograph and then everyone I have ever known turns up laughing and pointing at me just in time to watch my clothes spontaneously combust leaving me rolling naked on the ground... IT COULD STILL BE FUCKING WORSE.
So please, if you are unfortunate enough to have to listen to me moaning about what ever shit has went wrong that day, please don't say "It could be worse."
Aren't the human race a strange bunch? A friend recommended this site to me. Some guy has recorded snippets of overheard conversations on the the London Underground. Some are so idiotic it's almost genius. "How do you know your 17?"
I've been playing around with some post processing techniques of late. It incorporates some of the similar burning and dodging you would do in the dark room, only in a much more complected drawn out photoshop procedure.
I just have to quickly mention a film I watched last night. It's called Stoszek and is a 1977 film by German director Werner Herzog.
It is one of the most unnerving films I have ever seen, not in a graphic SAW VII way, it's much more subtle. If SAW V gouges your brain out through your eyeballs, Stoszek slowly poisons your family and records their slow decline and then makes you watch it back in slow motion.
I am pretty sure it is a total masterpiece but that depends on my interpretation of it being what Herzog intended. I don't like to deconstruct a film's discourse, I do it too often with photography so I won't spoil anything but i will say this....
Our previous college brief was on style. I mention how the ideologies and preconceptions we have of this word change after research, in my other blog, so I will not bore you with the details.
My final images were a set looking at recontexualisation, appropriation and abstraction. Basically anything with ion on the end. I skipped masturbation though!
Anyway the images don't hold much explanation on there own, I ideally seen it as a gallery or book piece offering a little information on each, with out giving too much away of course. Also they would be best viewed window mounted and at about A1.
I'll leave the images up for a while then offer the explanation when I have time.
If you stand a few steps back from the screen and squint you can kinda make something out on some of them.