This blog is being made as part of on going academic research post an accredited education programme- MA Photography with Falmouth University
This image of Carl Lewis by Annie Liebovitz was shot for a Pirelli ad campaign conceived by London ad agency Young & Rubicon and aired in the 1990s. I love this because not only is it brilliant advertising, it uses a strong visual and has a great line, written by Ewan Paterson, that encapsulates everything
“I suspect no landscape, vernacular or otherwise, can be comprehended unless we perceive it as an organization of space; unless we ask ourselves who owns or uses the spaces, how they were created and how they change. J.B. Jackson My practice I think revolves around the human condition. This is a conclusion thats slowly
“When I first did the book on gasoline stations, people would look at it and say, “Are you kidding or what? Why are you doing this?” In a sense, that’s what I was after: I was after the head-scratching”. Ed Ruscha The intent of my work is really does vary based on the topic or
Katherine Frith likens reading adverts to peeling an onion. She pinpoints three stages to reading adverts: The surface meaning The advertiser’s intended meaning and The cultural meaning. She concludes that ‘advertising only “makes sense” when it resonates with certain deeply held belief systems’ (Frith: 2006: 5). We were asked to choose and ad and
“Wall divides photographers into two camps, hunters and farmers, the former tracking down and capturing images, the latter cultivating them over time.” (Charlotte Cotton – the photograph as contemporary art) In my practice I am both hunter and a farmer. I shoot street imagery, looking for ‘real’ un manipulated ‘real’ moments. Equally i’ll also hunt
“Photographys plausibility has always rested on the uniqueness of its indexical relation to the world it images, a relation that is regarded as fundamental to its operation as a system of representation. For this reason a photograph of something has long been held to be proof of that things being, even if not of its
All images can lie. they are all fictional. There I said it, sweeping but true, unless the image is wholly objective, ie forensic photograph recording a crime scene for evidential purposes but even then it has to be trusted the content of the frame IS the scene and nothing has been manipulated. So yes I
“Is there anything peculiarly “photographic” about photography-something which sets it apart from all other ways of making pictures?” The question posed by Snyder & Allen The answer is yes, we should be mindful when viewing a photographic image not to take it at face value, to subject it to scrutiny, do not assume the photograph
What is real? When you look at an image, digitally on screen or physically as a photograph it already isnt the real subject. Its a representation of that subject so the image is already a step away from reality. Putting this aside and concentrating purely on the content of the image, is what you’re seeing
“I doubt if these islanders are acquainted with any other mode of representation but photography; so that the picture of an event (on the old melodrama principle that ‘the camera cannot lie, Joseph,’) would appear strong proof of its occurrence.” The South Seas,1896, Robert Louis Stevenson. ‘The Camera cannot lie’. A colloquial phrase that remained