Monday, October 28, 2013

Hello Photography, Window Light

I took a break Saturday morning to catch up on a few articles in Aperture's Spring 2013 issue. I really enjoyed reading Arthur Ou's essay "Photo.Edu: Toward a New Curriculum"

"How do we tackle a medium in the process of breakneck evolution in the photography classroom today? We now live in a world full of photographs, or, more precisely, the world is rapidly becoming a totality of photographs. To expand on this claim, we need only consider two related trajectories in the area of “mechanical vision.” One is the eventuality of photography replacing human perception. It is not a stretch to imagine, in a not-too-distant future, mechanical vision (and the recording and presenting of this vision) reaching an event-horizon, ultimately replicating in exactitude the sensations and experiences of our biological eyes. Secondly, photography will surpass human vision. Already, something resembling photography—not quite the medium as it is defined—is replacing what we have long understood as photography. When computer-generated processes can “pre-image” something that will eventually be actualized—when photographs “imagine” the future or another reality—how do we define this type of image in the photographic lexicon? Who or what is the photographer? Where does a photograph begin? Where do photographs end?"

Printing at the lab, variations on the grid

Thursday, October 24, 2013

In the classroom...Abstraction grids by my students

My research on grids and abstraction has creeped its way into my high school photography classes. I knew working on my MFA would influence my creative practice (of course) but I've welcomed its impact on my teaching practice as well. It's interesting to test out research ideas with my students. For example, in this year's integrated Photography and Philosophical Literature class, students have been studying notions of perception and reality. These grids made by students represent visual explorations of how one image can manifest into something completely new. What are similarities/differences between the original photo, the grid, or each abstracted square? How do all of these renditions shape perception? Is it all the same no matter how you slice n' dice it? These have been fun inquiries to explore with students. And the correlation to my grid experiments (at least visually) seems pretty clear... perhaps these may be working better than mine!



Article: A Conversation with Joshua Citarella


"We are now in a curious position where we begin to measure ourselves against images that not only include the whole problematic nature of photography and representation, but are further complicated by a digital production."

"I’m also ready to do away with debasing words like “Photoshopped,” which simplifies a complex process by describing it as a single tool. Jargon like this is used in an overarching way to discredit or suppress new modes of production. As a result, we find ourselves in a place where Photoshop is present in nearly all art and commercial images but is largely not discussed. Even a relatively traditional photographic practice, where the computer only becomes involved when the image is outputted as a digital C-type or inkjet print, still involves a process of resampling and interpolation. The difference between resampling with Bicubic Smoother or Bicubic Sharper has real and quantifiable effects in the final image/print and these choices now need to be considered when we try to discuss things like the politics of representation. Different types of resampling techniques will describe nuanced surfaces, such as the gradient of a sunset, clouds, or skin, in noticeably different ways."

Tuesday, October 22, 2013

Hitting the Proverbial Wall – Recent Thoughts

  1. Looking closely at Roni Horn
    • Working in series, how does a collection of visual media communicate a united message vs. 1 single piece
    • Resources
  2. Research on Grids
  3. Recent Work
    • Abstraction grids paying closer attention to the shifts and gradients in each square in an effort to better connect with neighboring squares
    • Using photoshop to “auto align” and “auto blend” light pollution swatches did NOT work, I was hoping to explore these algorithms but alas they just simply do not “align” or “blend” swatches
    • Making prints this weekend of most fall work, it will be great to spend time in the printing lab and experience these works on photographic paper
    • Shooting new series looking at how the notions artificiality and the natural play out in modern day Hawaii’s landscape (contemplating a series that might discuss my interests in the collision of the artificial and natural in a more specific way)

Wednesday, October 16, 2013

Glitch Click Thunk Exhibiton and Artist Talk by Mark Amerika

I enjoyed attending Mark Amerika's artist talk last Tuesday and am looking forward to the upcoming interactive exhibition nights. Learning about Amerika's interests in digital media, technology, and translation is timely given my own explorations into the merging points of the technological, artificial, and natural. See link below for more info on these events hosted by University of Hawaii.