Artists: week 7 one

Philip-Lorca Dicorcia

The context here is the economic crash of 2007-2008, and while single images worked for me - a lone woman in a hotel room with sky scrapers in the distance across the water - the whole does not transcend the sum of the parts. Here and there, the symbolism was somehow both overloaded and not entirely clear: a dart suspended in mid-air as it flies towards a boy's face seemed too small and nasty a gesture, however beautiful the composition, to summon the idea of biblical sacrfice.

I was slightly bemused, too, by Dicorcia revelation that Lucy 13, his series of naked pole dancers in suspended motion, was prompted by the famous news photograph The Falling Man, which caught a ting figure dropping from the north tower of the World Trade Centre on 9/11. I liked the images a lot more before I learned that - but the workings of the minds of certain conceptualists remain, by their very obliqueness, a mystery to the rest us.

Head #24 (2001). Photograph: Philip-Lorca diCorcia 

Broad light at right hand side.

shoot outside school week 7

Rembrandt light

Butter fly light

f/13.0, 1/250, ISO 100 

Loop light

Three point lighting

Final handin

f/13.0, 1/250, ISO 100

This photo I was shooting at Muriwai Beach, that women, dog and bobby in side. So I will name it "Where is the man?" or "He is working".

Why I am choice this image for may final handin, Because in this photo that leading lines, rules of third, shadow, light form dark to light, fore/mid/background, vantage point, negative space and contrasting colors.

The leading lines in this image that a line from the dry side of the beach to the water side of the beach become a S leading line. why i am make this image to B&W, Because i try color the image and B&W, the color make too much information inside, i just want the people who looking at this image focus on the dog and women, and the B&W is make more feeling. on the high angle i can get the beach and subject in one's. The subject is mid ground, the rock is fore ground and the sky is back ground.

What i did to this image when i got it after, i just using the camera raw cut some and make it to rule of third, make it to B&W, give some more sharpen and make the light down a lot bite. 

Artists: Week 1 one

During the early 1940's Helen Levitt made many photographs on the streets of New York. Her photographs were not intended to tell a story or document a social thesis; she worked in poor neighborhoods because there were people there, and a street life that was richly sociable and visually interesting.

Levitt's pictures report no unusual happenings; most of them show the games of children, the errands and conversations of the middle-aged, and the observant waiting of the old. What is remarkable about the photographs is that these immemorially routine acts of life, practiced everywhere and always, are revealed as being full of grace, drama, humor, pathos, and surprise, and also that they are filled with the qualities of art, as though the street were a stage, and its people were all actors and actresses, mimes, orators, and dancers.

Some might look at these photographs today, and, recognizing the high art in them, wonder what has happened to the quality of common life. The question suggests that Levitt's pictures are an objective record of how things were in New York's neighborhoods in the 1940's.

This is one possible explanation. Perhaps the children have forgotten how to pretend with style, and the women how to gossip and console, and the old how to oversee. Alternatively, perhaps the world that these pictures document never existed at all, except in the private vision of Helen Levitt, whose sense of the truth discovered those thin slices of fact that, laid together, create fantasy.

In this two image are both using fast shutter to catch the moment, that showing what happen during the 1970 at US.

Artists: week 6 four

Thomas Ruff is one of Germany's best known living photographers. His roots are in the objective photography of Dusseldorf school. This was a group of photographers who were taught in the late 1970's and 80's by Bernd and Hilla Belcher and included photographer Andreas Gursky, Candida Hofer, Thomas Struth, Angelika Wengler and Petra Wunderlich. The Belchers, as we have seen, are best known for their photographic series of industrial buildings and structures, and were linked with Conceptual Art, with their depiction of banal scenes with cool detachment.

Ruff studied photography at the Dusseldorf Art Academy between 1977 and 1985. Starting in 1981, he photographed passport-like portraits in black and white, subjects between 25 and 35 years old. The images had the upper edge just above the hair, even lighting, solid colour backgrounds, while the individuals were shown with emotionless expressions, sometimes face-on and sometimes in profile. After 1986, he began to experiment with large-scale printing, producing images up to 7 by 5 feet. The following year he settled on his format of a full frontal view and balancing any dominating color by using a light and neutral background.

By appropriating this passport-style portraiture of young people with dead eyes and empty faces, he denies ability of the photograph to convey deep emotions of the sitter. Instead, by the use of scale, the portraits are only able to express the superficial, the surface of the subject, because as a viewer we become involved in the detail, looking at every pore, hair and blemish. Thus Ruff posits a photographic objectivity in the formalism of his approach with the monumental physical presence and deadpan rendering which overwhelms the individual personalities of those portrayed.

His subsequent series "Other Portraits" based on the Minolta Montage Unit, which enabled him to construct artifical faces from the combined features of men and women, exposed photographic objectivity to be a fiction. The success of the series were to consolidated his international reputation and give him the financial freedom to work on subsequent series of photographs. 

For me, it is the intensity of the gaze, both male and female which makes them such captivating and yet alarming portraits in their objective approach. They are and will be very influential to my approach to photographic portraiture.

Both image were using two front light at left and right, may have one reflector at front . That two background light at back.

Artists: week 6 three

Born in Waterbury Connecticut, on October 2, 1949, Leibovitz is the third of six children. She is a third-generationAmerican whose great-grandparents were Jewish immigrants from Central and Eastern Europe. Her father's parents had emigrated from Romania. Her mother, Marilyn Edith, née Heit, was a modern dance instructor of Estonian Jewish heritage; her father, Samuel Leibovitz, was a lieutenant colonel in the U.S. Air Force. The family moved frequently with her father's duty assignments, and she took her first pictures when he was stationed in the Philippines during the Vietnam War.

At Northwood High School, she became interested in various artistic endeavors, and began to write and play music. She attended the San Francisco Art Institute, where she studied painting. For several years, she continued to develop her photography skills while working various jobs, including a stint on a kibbutz in Amir, Israel, for several months in 1969.

She was shooting this image from an image studio. There are top light on the top her with the soft box, and background is gray color. i think may have one or two reflector on her left and right.

She was shooting this in the image studio, and one flash light with honeycomb shoot on his left hand side   (I like honeycomb more than other light, because is easy to get angle from person's face, specially for a men's face ), and one soft box light shooting the background from behind of him at left hand side.

Artists: week 6 two

When British photographer Martin Parr was a child, he collected stamps, rocks, bus tickets. Later, he moved on to Soviet propaganda, Margaret Thatcher memorabilia, Spice Girls candy bars, and kept going. "Parrworld," currently on view at the Musée du Jeu de Paume in Paris, sprawls over two floors, and features the artist's latest work as well as various objects and photographs that he has been collecting for decades.

This photo was using nature light and color from lighter to darker, our eye follow the people from light to dark. The artists were standing on the top place to shoot this image have the rule of third, because the color sand to the water.

In my opinion this photo is not good image, because the subject block the background. But the light is   real nature and rule of third for us to learn.