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As part of our Imaging and Data Visualisation course we were given a project based around photography. We were given the task of compiling 12 images in total showing Micro vs Macro. For this project I decided to examine, the typical Irish Landscape showing green fields and rolling hills with moody somewhat overcast skies, but I also wanted to include a human element so I also did some portrait photography featuring these dramatic landscapes in the back ground.

For the Macro element of our project we were asked to, “Photograph a landscape, cityscape, seascape, etc taking on board the principles you have researched and learnt into consideration.”

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During our lectures on Imaging and Data Visualisation we were taught about Visual Narratives and how images can tell a story. I tried to communicate a somewhat romanticised narrative through the photos I took and I hope this came across. We were asked as part of our micro images to consider how we could, “Photograph a series of small, individual items.
These may relate to your Macro series to continue 
the sense of a narrative or they may run as a 
separate series.
Consider how these items are photographed, retain a consistency in your approach. Follow the same guidelines as those for the Macro series.”

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We examined some guidelines for photography such as the rule of three and the golden ratio.

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The likes of Henri Cartier-Bresson showed how photography is used as a means of art, he was a French photographer and s considered by many to be the developer of modern Photojournalism. During the 1920s he met a number of the Surrealist movement’s strongest influencers, and was greatly influenced and intrigued with the movement’s linking of the subconscious and reality or physicality of the world to their work. He established that the artist should think of their camera as a way in which to communicate ideas much like a sketchbook is for a fine artist. “If you look at the work of Henri Cartier-Bresson, he applied geometry to his images poetically. If you look at the composition of his images he integrated vertical, horizontal, and diagonal lines, curves, shadows, triangles, circles, and squares to his advantage. He also paid particular attention to frames as well. -When Henri Cartier-Bresson would talk about “The Decisive Moment” he said sometimes it would be spontaneous but others times he had to be patient and wait for it. -Although Henri Cartier-Bresson shot with several different lenses while on-assignment working for Magnum, he would only shoot with a 50mm if he was shooting for himself. By being faithful to that lens for decades, the camera truly became “an extension of his eye”. – Henri Cartier-Bresson was vehemently opposed to cropping. He believed that whenever you took a photo, it should always be done in-camera. If his framing or composition was a bit off, he would disregard the image. – Although it is great to appreciate your work, never idolize your work and let it hold you back. If you have a great portfolio of images, strive to get even better images. Don’t become satisfied and complacent. Always strive for greatness.” -http://erickimphotography.com/blog/2011/08/22/10-things-henri-cartier-bresson-can-teach-you-about-street-photography/

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Gina Glover seems to use photography to document change in the world, the photographs she takes are exhibited in hospitals, clinics and private collections. “Her work ranges from playful explorations of the biomedical sciences, long term studies of way in which the landscape has been altered by human conflict, to social-psychological explorations of the landscape.”

– http://ginaglover.com/about/

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We also talked about Richard P Feynman during our photography lectures and I found he had developed a widely used pictorial representation scheme for the mathematical expressions governing the behavior of subatomic Particles, which became known as Feynman Diagrams.

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