Tag: 2.3 ART

Peer Critique – Aryan Masoumi – Ans Westra

This is a peer critique of my third photo shoot, in this photoshoot, I attempted to emulate aspects of Ans Westra’s photography. I did this by trying to capture the pure unfiltered moments of life, making sure to not interfere with what my subjects are doing.

In the photos shown, I did a peer critique with Cody Weastell. These photos have been digitally altered by Cody on Photoshop. I then critiqued these photos by giving feedback and stating what I thought he did well and what he could improve on.

This picture has two very juxtaposing portions, the left side has less saturated and dull colouring, while the right side has more saturated and brighter colouring. I like how the focus of the image is the pathway leading down to the centre of the image. Very busy image, colour-wise and just in general.

 

This image has predominantly less saturated colouring, with a few bits of blue spread throughout. I like how there are portions of the road missing from the image, leaving a lot of impactful negative space around the image. The reoccurring green throughout the image also helps provide some consistency. The trees in the background are also used effectively to create some varying proportions and uniqueness.  The road is also used effectively to help give a sense of a warped perspective.

 

With this image, we can see clearly that the red building is the focal point of this image. I also like how the fence leads you from the left side to the right side of the image, and the different levels of exposure in certain parts of the photo make it stand out.

 

Overall

All of these images clearly emulate David Hockney’s style of photography. One suggestion I will make is that next time you should take a larger amount of photos, in order to be less constricted by the current ones you have, you could even take them on different days to create contrasting elements such as different weather, lighting, and other variables such as if a person is walking by, or an animal.

I have begun my work on my portfolio piece for the level 2 photography assessment. At this point, I have been gathering photos I have taken previously and formatting them to form a rough series. I will have to perform multiple reshoots to perfect the folio.

So far I have the kaupapa of (simply put) my niece going outside and then coming back in. The first part I will reshoot is the photos of “looking outside from in” I will use framing and other techniques to my advantage to help portray this message.

 

 

 

 

Name: ROTORUA, [THREE WAHINE]
Artist: Ans Westra
Date: 1963
Media: Archival pigment inks on Ilford Galerie gold fibre silk
Size: 380 x 380 mm

P This is photography using archival pigment inks on Ilford Galerie gold fibre silk, taken in 1963. This is candid photography due to the subjects in the photo not seeming aware of the photograph and just naturally walking through the streets.

P Ans Westra uses Archival pigment inks on Ilford Galerie gold fibre silk, this type of printing may have been used for a plethora of reasons, such as superior longevity to other types of printing, higher image quality, being more suitable for large format printing, and for being compatible with a wide range of media types. Candid Photography is also used, this is when a photo is taken naturally without being staged, in this case, the three women here are walking down the street and are not posing, and don’t seem aware of the photographer taking their picture.

M Ans Westra spent the majority of her photography career taking documentation of Māori culture, by living in New Zealand and educating herself about the culture. This has helped her portray realism and spontaneity in her photographs. Ans Westra herself is not from New Zealand, she was born in Leiden, Netherlands in 1936 and immigrated to New Zealand in 1957. Her being an immigrant woman herself yet treating the Māori people with as much respect as anyone deserves, she doesn’t look down on them or see them as less than her. This shows in her photography as you can see the real, unfiltered life of Māori people in New Zealand.

T This artwork (along with all her other photographs) has been digitised to preserve her work, this means this photograph will not be the same as the darkroom process, an may look slightly different to what Ans Westra intended.

Subject Matter!

I will incorporate my second artist by emulating the candid photography Ans Westra uses and the themes of unfiltered, real moments she has in her work. The people I am planning to capture photos of are my two nieces.

Results of the Photoshoot

In this shoot I attempted to emulate Ans Westra, I did this by trying to capture the perfect moment of my two Nieces living their life.

Peer Critique of my work – https://hhscodyw.edublogs.org/2023/06/19/peer-critique-aryan-masoumi/

This is a peer critique of my second photo shoot, in this photoshoot, I attempted to emulate aspects of Duane Michals’s photography. I did this by trying to capture the feelings of loneliness and isolation that are present within his series Empty New York, I attempted to emulate this feeling by taking photographs of areas that would usually be expected to have people present, but empty. Around the end of the photo shoot, I also got the idea of taking some photos of some abandoned / run-down areas, capturing the feeling of Duane Michals’s photos in a sense that someone used to be there, but now contains no sign of human life.

Peer Critique of my work – https://hhscodyw.edublogs.org/2023/06/09/peer-critique-written-work-aryan-masoumi/

This is a peer critique of my first photo shoot after I had edited it in Photoshop, in these edits, I attempted to emulate aspects of William Eggleston’s photography. I did this by enhancing the vibrance, and saturation, and just adjusting the overall features of the photograph.

In the photos shown, I did a peer critique with my good buddy Cody Weastell. These photos have been digitally altered by Cody on Photoshop following the prior critique I gave him. I then critiqued these photos by giving feedback and stating what I thought he did well and what he could improve on.

The colours in this image are very vibrant and sharp, I do like the vignette present but I think that it should be less prominent but overall the image’s colours are what really makes it stand out. I like how the vibrant colours stand out a lot in comparison to the other less vibrant portions of the image.

For this image yet again I personally would lower the vignette, but one thing I really do like is the vibrant blue colours of the sky, and the powerlines intercepting the sky. The golden tones in the lower portion of the image also give the image a nice feel and look.

This image also has a very nice vibrancy within the colours present, the gradient of colours in the sky does make this image unique. In this case, I believe the vignette was done well, with it bringing the main focus to the background rather than the foreground. The photo also looks very crisp and has a very high-quality texture.

This photo again has a very beautiful and vibrant sky, with the powerlines really intercepting the skyline. With the lower portion of the image being dark and the sky being so bright, this creates a major juxtaposition between these two parts of the image.

The colours present within this image are very warm, with the sky contrasting blue to the present orange colours.  the vignette also gives the image a darker tone in comparison to the other portions of the image.

Artist: Duane Michals
Name: Empty New York
Date: 1964
Media: Vintage gelatin silver print
Size: 5 5/8 x 7 1/4 inches

Process Cityscape Photography is a genre of photography that focuses on capturing the urban environment, such as buildings, streets, and cities in general. Candid photography involves taking unscripted and spontaneous moments of any subject or scene.

Procedures  Duane Michals uses the imaging process that is vintage gelatin silver print; the result from using this is a high-quality black and white photograph with rich tones and sharp details. Vintage gelatin silver print involves exposing a sheet of photographic paper coated with a gelatin emulsion to send light through a negative. This then creates an image in the paper that is coated with certain chemicals to make it permanent.

Method Duane Michals takes these photographs very early in the morning to show the empty streets of new york. This highlights the quiet moments in the city; in contrast to the hectic ambience usually present in New York, it gives you a sense of loneliness and isolation.

Technique This image is very high contrast; this makes the image have bright lights and extremely dark shadows. This creates a juxtaposition between certain portions of the photograph.

Subject Matter!

I am going to incorporate my second artist by emulating the feelings of isolation and loneliness Duane Michals has in his work. I will take photos of areas usually populated by people, but the absence of people in these locations helps give a sense of uneasiness and just a strange feeling in the gut.

 

Results of the Photoshoot

In this shoot I attempted to emulate Duan Michals, I did this by trying to capture the feelings of loneliness and isolation that are present within his series Empty New York, I attempted to emulate this feeling by taking photographs of areas that would usually be expected to have people present, but empty. Around the end of the photo shoot, I also got the idea of taking some photos of some abandoned / run-down areas, capturing the feeling of Duane Michals’s photos in the sense that someone used to be there, but now contains no sign of human life.

 

 

 

In the photos shown, I did a peer critique with my good buddy Cody Weastell. First off Cody circled at least three photos that he liked/were his favourites of the shoot. I then critiqued these photos by giving feedback and stating what I thought he did well and what he could improve on.

(zoom in to clearly see the images and writing)

Yesterday I put six of my photographs into photoshop and used techniques to emmulate visuals similar to Willaim Eggleston.

In this photograph I upped the yellow colours throughout the image, increased the vibrancy, increased the saturation, and add slight grain to the image.

In this photograph I increased the vibrancy and saturation, (did some other stuff but can’t remember what it was)

In this photograph I wanted more warm tones and colours, while keeping the blue sky in the back.

For this photograph I wanted to have a more cool-toned photo, I made the highlights a more purplish colour and gave the white wall a more yellowish tone.

I really like this photograph, while editing it I altered the colours of the sky and added a slight vignette around the corners.