INTRODUCTION
I am very critical and controlling of my own photos and judge their greatness and value through conventional "rules" that I have been taught subconsciously constructed by influences in the world and instilled knowledge of what makes a successful photographer. My desire to create a perfect image stems from wanting to create photos that distinctively have more skill involved than mundane photos that people create on their phone on a regular basis. I want to step away from the conventional way of taking photos, and challenge the amount of involvement of myself in my photography, through chance I am able to limit the amount of involvement of myself and experiment with photography, challenging it as an art and break my instinctive way of thinking.
Some of my ideas include chance, whereas the image taken has little involvement with myself. I could experiment with this through taking images without looking through the view finder so I am unaware of what the image looks like and won't be altered through my idea of "good". There would be an element of accident and unintentional photography in this project, where I may capture something unpredictable and fascinating. It will be impossible to fail with a successful outcome.
Another idea I could further attempt is lending my camera to someone unfamiliar with the settings and ask them to alter them, then with the settings applied I will take a photo. Or I could close my eyes and change the settings.
Some of my ideas include chance, whereas the image taken has little involvement with myself. I could experiment with this through taking images without looking through the view finder so I am unaware of what the image looks like and won't be altered through my idea of "good". There would be an element of accident and unintentional photography in this project, where I may capture something unpredictable and fascinating. It will be impossible to fail with a successful outcome.
Another idea I could further attempt is lending my camera to someone unfamiliar with the settings and ask them to alter them, then with the settings applied I will take a photo. Or I could close my eyes and change the settings.
CHANCE PHOTOGRAPHY
Chance
nounadjective: fortuitous; accidental.
- 1. a possibility of something happening.
synonyms: possibility, prospect, probability, odds- 2. the occurrence of events in the absence of any obvious intention or cause.
synonyms: accident, coincidence, serendipity, fate, a twist of fate, destiny, fortune, freak, hazard
verb: do something by accident or without intending to.
What is chance and why im interested in it.
Chance is the possibility of something happening or the occurrence of events in the absence of any obvious intention or cause.
To an extent, all photographs are the product of chance however commonly in photography, conventional rules teaches people to gain control over material and processes. I want to challenge and embrace the role of chance in photography whether they be successful or not and discover different processes of inviting chance to ironically take control of my photographs. With change largely having negative connotations implying loss of control or accident rather than agency of skill or technique, I want to challenge this concept and explore the beauty of what chance can produce.
To an extent, all photographs are the product of chance however commonly in photography, conventional rules teaches people to gain control over material and processes. I want to challenge and embrace the role of chance in photography whether they be successful or not and discover different processes of inviting chance to ironically take control of my photographs. With change largely having negative connotations implying loss of control or accident rather than agency of skill or technique, I want to challenge this concept and explore the beauty of what chance can produce.
Through challenging conventional rules, I am also challenging photography as an art.
Art such as painting creates a version of reality, whereas photography creates an exact image of reality, meaning anyone can produce photos.
Art such as painting creates a version of reality, whereas photography creates an exact image of reality, meaning anyone can produce photos.
Chance and movement
Movement is an interesting theme to photograph when studying chance as movement and time can be unpredictable creating an element of chance.
ARTIST RESEARCH- David hull- camera toss/ Kinetic photography
David Hull is a self-taught photographer and professional scientist who explores science and art in still and moving imagery with great focus on the physics of light, space, motion and gravity.
Using technics and methods such as camera tossing, he creates organic patterns and almost psychedelic visuals. His photography and videography work employs a series of self-developed macro-scale light painting techniques, which have been included in commercial advertisements, technical scientific publications, international art and photography magazines and blogs, and exhibitions around the globe.
This technique involves a long shutter speed, allowing for moving light to be captured.
Using technics and methods such as camera tossing, he creates organic patterns and almost psychedelic visuals. His photography and videography work employs a series of self-developed macro-scale light painting techniques, which have been included in commercial advertisements, technical scientific publications, international art and photography magazines and blogs, and exhibitions around the globe.
This technique involves a long shutter speed, allowing for moving light to be captured.
Light Drawing-experiment
Using the bulb option on my camera, I set out to take long exposure images of fireworks. This option meant the shutter would remain open for however long I pressed the button, creating an element of chance. Some of the images I took include movement from me shivering which after looking at, inspired the idea to move the camera whilst taking the image.
I found the firework photographs to be too plain and conventional so I inverted them then made them black and white in photoshop, creating interesting and abstract line drawings, taking light drawing photography to new levels. Element of chance is present in the audiences response to these images.
MOVEMENT AND NEUTRAL DENSITY FILTERS
I experiment with a neutral density filter which reduces the intensity of light and colour, allowing me to take long exposure images outside during daytime. Alexey Titarenkoand creates ghostlike images capturing surges of movement during rush hour.
I instructed my friend to dance and create spinning movements which I photographed using different length exposures to capture her movement. During my photoshoot, students began coming out of lesson to travel to their next lesson which I decided to photograph as well.
I followed the cars with the camera to capture movement, creating kinetic like light drawings from the car taillights and reflection of the cars colours.
This experiment is similar to David Hulls work with kinetic photography, capturing patterns caused by light and movement. My favourite outcomes where the ones where the subject was unrecognisable as it challenges photographies skill to capture reality. |
I decide to experiment with photographing movement and people and found the most unpredictable activity I could photograph a person doing was skateboarding and people doing tricks. Using a black and white film camera, I shot moments of people stationary, observing the other skateboarders.
Some of the images included chance in how the subjects responded to me taking their pictures like sticking their tongue out or showing off.
The black and white film highlighting the silhouettes of their shape and movement which I found more successful than colour film.
Some of the images included chance in how the subjects responded to me taking their pictures like sticking their tongue out or showing off.
The black and white film highlighting the silhouettes of their shape and movement which I found more successful than colour film.
Moving image
Whilst driving down and through France, I set a timer on my phone to take an image from the car window of the surrounding outside. First my timer was set to every 20 minutes however I found this wasn't beneficial as for miles and miles there was nothing interesting to photograph and when coming across a small village, the trip through it only took about 5 minutes. so the timer changed due to the location. In villages it was between 2-5 minutes.
When I took these images without looking at the lense, I found the images were unfocused and were on the wrong modes.
When I took these images without looking at the lense, I found the images were unfocused and were on the wrong modes.
Baldessari's balls
John Baldessari takes a sardonic approach to chance photography using game play, documentings his failures and his famous set of images from the early 1970.
The artists' book, Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts) (1973) shows a game following mandatory and arbitrary rules |
Monan Wethly
Similarly, photographer Monan Wethly photos high speed liquids and items through the air, with unpredictable outcomes relying on chance and timing she uses Coffee in to-go cups, wine in wine glasses, milk in juice glasses, and flower in bowls which she tosses in the air with exaggerated rotation to maximise patterns and shapes created by the liquids physics.
Her images are often shot against a vibrant blue sky or clouded skyline using clear glasses. I could combine this style along with my previous experimentation with neutral density filters to capture the full movement of the object traveling through the air and fully documenting how liquids behave when force and torque are applied. To further include chance into this experiment I could set a timer on the camera, by chance deciding when to shoot the image. It is absolutely fascinating to see what kind of shape an object or liquid gets when it is ‘flying.’ Clicking at exact the right second most often brings the most spectacular and surprising results. |
Using as little as a champagne glass and water, I created spiralling and twisting shapes tinted in red made with twisting motions. Using continuous shooting mode, I was able to capture milliseconds of water droplets being propelled into the air that are too fast for the human eyes to capture. This experiment relied on the chance of movement and the camera capturing a specific moment.
My favourite of my photographs would have to be the image where the water perfecting twists around the whole of the champagne glass with vibrant tints of red reflected in the water. My response were more effective with a black backdrop to capture the white of the water as I did not have any coloured liquid, however to my surprise and by chance, the water contained reflections of red.
My favourite of my photographs would have to be the image where the water perfecting twists around the whole of the champagne glass with vibrant tints of red reflected in the water. My response were more effective with a black backdrop to capture the white of the water as I did not have any coloured liquid, however to my surprise and by chance, the water contained reflections of red.
ORI GERSHT
Ori Gershts large scale photographs entitled "Blow up" depicts slow motion explosions of fruits, flowers and other materials which fracture creating smoke indulged fragmented petal patterns. Gersht photographs flowers which often symbolise peace, which in the moment of destruction, become victims of brutal terror, creating powerful images which speak to the themes of political conflict, trauma, and violence. These elaborate floral arrangements, which are based upon the 19th century still-life painting by Henri Fantin-Latour.
The element of chance means the patterns created are completely unpredictable
The element of chance means the patterns created are completely unpredictable
Difference types of chance
1. Strategy involving high risk spontaneity where outcomes are unpredictable- Where I make something happen by chance
2. Or waiting for something to happen by chance. - Margaret Iverson.
The first strategy of inviting chance into my photography through intentionally trying to cause the unintentional, defeats the purpose of chance photography as its predicted something will happen. However the section option of waiting for something to happen by chance captures true chance. This has lead me to explore reality in photography and its truth.
There are two theories of how we should approach photography. One is to photograph how we see the world or photograph how a camera would see the world. Through a camera lense, reality is more truthful than how we see with our eyes. we get further away from conventional photography the more we invite change, or wait and allow chance to happen as we impose less "grammar of photography" as suggested "Photographers have to impose order, bring structure to what they photograph. It is inevitable. A photograph without structure is like a sentence without grammar—it is incomprehensible, even inconceivable.
-- Stephen Shore"
-- Stephen Shore"
STEPHEN GILL
His most recent project "The Pillar" included a large element of chance in which he used a lo-fi motion sensor camera which was set up nearby a farm, opposite a pillar to capture wild animals.
“In a way, the birds made the work themselves, I've just orchestrated an environment in which the pictures can be born."
The animals movement triggered the motion sensor to take an image, photographing small tree sparrows to golden eagles whom descended onto the pillar to groom their wings, nurse their young or simply perch to rest. In other images captured photographs of chaotic almost awkward moments of the birds flying past.
The flat, open landscape with trees and houses visible in the distance beneath a vast and empty sky, surrounding his home in Sweden is described to be misleading. The bird activity it contains is diluted by the vastness of the flat open land and sky, which gives the impression that very little is going on, however with the absence of the photographer, and the element of chance allowed the camera to capture the hidden intensity of busy wildlife that surrounds us.
Stephan Gill claims that nature is too often presented in absolute clarity "like a wildlife show" where photographers remain ready and hidden to capture a detailed sill image of wildlife, however Gill finds this clarity suffocates nature and the spirit of the animal. The lack of clarity and awkwardly intervalled images capture the nature of the animal and all together, make the image itself, more natural. Birds had never been seen this way before, as the images capture the independent creatures on their own terms with their independent lives.
This exercise became an accidental way of getting to know bird behaviour and their vast distinctive personalities.
To respond to Gills Pillar project, I have relatively locally wildlife populated areas in which I can set up a camera and capture wildlife using a motion camera, and with little involvement with myself.
“In a way, the birds made the work themselves, I've just orchestrated an environment in which the pictures can be born."
The animals movement triggered the motion sensor to take an image, photographing small tree sparrows to golden eagles whom descended onto the pillar to groom their wings, nurse their young or simply perch to rest. In other images captured photographs of chaotic almost awkward moments of the birds flying past.
The flat, open landscape with trees and houses visible in the distance beneath a vast and empty sky, surrounding his home in Sweden is described to be misleading. The bird activity it contains is diluted by the vastness of the flat open land and sky, which gives the impression that very little is going on, however with the absence of the photographer, and the element of chance allowed the camera to capture the hidden intensity of busy wildlife that surrounds us.
Stephan Gill claims that nature is too often presented in absolute clarity "like a wildlife show" where photographers remain ready and hidden to capture a detailed sill image of wildlife, however Gill finds this clarity suffocates nature and the spirit of the animal. The lack of clarity and awkwardly intervalled images capture the nature of the animal and all together, make the image itself, more natural. Birds had never been seen this way before, as the images capture the independent creatures on their own terms with their independent lives.
This exercise became an accidental way of getting to know bird behaviour and their vast distinctive personalities.
To respond to Gills Pillar project, I have relatively locally wildlife populated areas in which I can set up a camera and capture wildlife using a motion camera, and with little involvement with myself.
“I hunt images.” Daido, inspired as he says by Kerouac’s On the Road, heads out to “feel actuality and chaotic pulses of splinters of external world littered on, and of crossing narrations and lyricisms.”
Chance photography is created by an inner urgency simply to take photos, to discover pulses of compulsion and meaning, capturing private beats and spontaneity, working with what's around you instead of creating something to photograph that is planned or externally assigned.
Gill is known for his experimentation photography, which all are attempts to avoid the restrictions of conventional and traditional photography. His experiments include during his photos in dirt and hiding objects inside of camera lenses to destroy the photographs. Another included developing photographs in energy drinks, without any resemblance to traditional means, including drinks such as Red Bull, Rockstar and N-Gine. This technique resulted in abstract art like photographs.
To respond to Gills photo I planned to set up a motion sensor camera however the equipment would be too expensive. Instead, I could leave a camera rolling over day or over night for 12 hours, then watch the footage and screenshot either regular intervals or when an animal comes into shot. However choosing a specific frame of footage to photograph, ruins the idea of chance. Instead, from the moment the footage shows movement, I wait a set amount of time to then screenshot.
Relating to my want to want to challenge photography as an art and push its artistic boundaries along with the element of chance to produce something unexpected. This work is similar to that of Matthew Brandy who printed his images using crushed candy to create abstractly coloured images with unusual texture that is uniquely printed every time.
wrong photography- unconventional
Uta Barth
Uta Barth challenges conventional modes of representation in her photography and creates images that are seen as "wrong", challenging what destiny's a "good" from a "bad" photograph. Successful photography follow the same principles of what make it good, such as the image being:
Uta Barth creates photographs that break these conventional rules by producing photos that lack of focus has becoming something of the artist’s signature, and it often evokes comparisons between her work and that of such early-20th-century pictorialists as Gertrude Käsebier and Edward Steichen. These blurred, dreamlike and illuminated works are achieved with extremely shallow depth of field. The glass of her living-room windows, through which she shoots the surrounding landscape, is one of her processes to creating blurred images In focusing her lens on the glass itself rather than the view behind it |
DIGITAL CHANCE
Enrico Boccioletti
Enrico Boccioletti's project called "content aware" is named after the content-aware fill feature introduced in Photoshop CS5.
Portraits of female models downloaded from fashion websites which are edited using photoshop with the content aware tool- almost identical every time process, where the whole figure is selected and the software fills the selected area with the background. the software features an algorithm that reconstructs any selected area pixel-perfect according to its surrounding context. When the foreground is blended or equalised into the background, sometimes a ghostly presence, or a shady silhouette remains, while at some other times the inhuman feel of algorithmic (re)construction drives the image beyond the point of recognition into deeper abstraction.
Each work is captioned with a fake name generated randomly by the website fakenamegenerator.com.
Portraits of female models downloaded from fashion websites which are edited using photoshop with the content aware tool- almost identical every time process, where the whole figure is selected and the software fills the selected area with the background. the software features an algorithm that reconstructs any selected area pixel-perfect according to its surrounding context. When the foreground is blended or equalised into the background, sometimes a ghostly presence, or a shady silhouette remains, while at some other times the inhuman feel of algorithmic (re)construction drives the image beyond the point of recognition into deeper abstraction.
Each work is captioned with a fake name generated randomly by the website fakenamegenerator.com.
MY RESPONSE
I found that selecting parts of the body such as just the face with the magnet tool, produced more abstract images which were more unpredictable as the background is not clear and the computers algorithm is unpredicatble.
SCANOGRAPHY
I thought of other ways I could possibly challenge conventional photography or photography in general, leading me to experiment with different forms of photography and manipulating them without digital affects. However I came across scenography by accident of chance. When photocopying one of my photographs, I moved the sheet before it had finished being scanned, producing a section of my photocopy distorted and abstract. I decided to explore further into this to challenge conventional photography and chance producing unpredictable patterns.
Before this accident, I would never thought of a scanner being a medium of photography, to me, scanners only had one function and that was to scan documents or duplicate a copy of a document through a machine that uses light.
I wanted to challenge this further and manipulate the photographs I had taken, using the photocopier to create something new. I chose to use an image of mine that had a good contrast in colour, shading and materials to see the full extent of how moving the image across the scanner would affect these different features.
This experiment relied purely on chance, of what speed I dragged the image, or what direction I move it, having little clue on what the outcome would look like.
In my first attempts, I slowly dragged the image at the same speed as the scanner on the photocopier, which in affect, elongated and stretched the image. I experimented with different speeds and shifting in different directions resulting in abstract shapes and distorted images. These where my first tests:
Before this accident, I would never thought of a scanner being a medium of photography, to me, scanners only had one function and that was to scan documents or duplicate a copy of a document through a machine that uses light.
I wanted to challenge this further and manipulate the photographs I had taken, using the photocopier to create something new. I chose to use an image of mine that had a good contrast in colour, shading and materials to see the full extent of how moving the image across the scanner would affect these different features.
This experiment relied purely on chance, of what speed I dragged the image, or what direction I move it, having little clue on what the outcome would look like.
In my first attempts, I slowly dragged the image at the same speed as the scanner on the photocopier, which in affect, elongated and stretched the image. I experimented with different speeds and shifting in different directions resulting in abstract shapes and distorted images. These where my first tests:
I found the flowers to be the most successful. This process transformed a symmetrical and well known natural structure into abnormal and deformed copies, with elasticated petals and duplicated middles. some of these images reminded me of the mitosis process where a single cell divides into two identical daughter cells, illustrated in science books. This idea led me to think of experimenting with dragging light across a photocopier and creating light drawings. The majority of my experiements were unsuccessful however once I zoomed in on the light I found different coloured shades in interesting patterns.
My next experiment will be using smaller objects or materials as I believe it would be more successful than using photographs. |
LEANNE EISEN
aLeanne Eisen likes to play with chance, resigning creative control and allowing unpredictable results. I one of her series, "Scan", she explores the limitations of a scanner to produce intentional glitches by using trial and error and movement to create accidents using from paper grids and greyscales to lights and reflective materials and now focusing on CD's and DVD's.
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I first experimented using a cd, similar to artist Leanne Eisen, to produce elongated, glitch like abstract patterns on the scanner. I used different techniques such as dragging, tilting, spinning, all predicting different unpredictable outcomes. I found that when I tilted the CD it created more purple and yellow colours, assuming this is because of the angel the CD reflects the light back into the scanner.
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I then started using different materials like holographic bags and purses, to foil, tinsel, mirrors, lightbulbs, flowers and other decorations which I dragged, spun at different speeds,
I even combined some of the items at times,
On one of my photography trips, I came across hundreds of packaged flowers behind a backstreet by chance, I decided to incorporate these and dragged them across the scanner
I even combined some of the items at times,
On one of my photography trips, I came across hundreds of packaged flowers behind a backstreet by chance, I decided to incorporate these and dragged them across the scanner
By chance, this process produces unpredictable outcomes, however, this process wasn't challenging enough so I asked others who had no clue as to what I was doing, and simply asked them to move the object of their choice above the scanner however they wanted. Because of their lack of knowledge of the project, they were unable to predict any of the outcomes, allowing chance to predominantly take determine the image.
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I then asked a friend to choose a random object in the room, which I then used to scan and repeated the process of movement. The item chosen for me was a water bottle, so I experimented with a a purple plastic water bottle and a metal water bottle. These two different materials appeared very differently on the scanner, and created very different patterns.
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Jacqui Kenny- Agoraphobic Photographer
Jacqui Kenny similarly screenshots google maps street views, capturing unsuspecting subjects such as a couple kissing, to three camels crossing an empty highway. 26,000 screenshots and counting,
Kenny lives with agoraphobia, an anxiety condition that causes individuals to avoid venturing into crowded or remote places, in fear of having a panic attack and being unable to escape or find help. Being as her main fear is flying, Kenny avoids airplanes and therefore is unable to travel to these destinations in real life, so instead she ventures these locations digitally, roaming the globe and virtually visits streets and landscapes to snap screenshots for her photography series “Agoraphobic Traveller.”
Her key aesthetic characteristics, like strong sunlight and a striking colour pastel-hued palette, negative space and isolated-feeling images.
I found when attempting to randomly pick a street view location, it was harder to find interesting subjects to screenshot, being as there are many empty roads in empty fielded landscapes.
Kenny lives with agoraphobia, an anxiety condition that causes individuals to avoid venturing into crowded or remote places, in fear of having a panic attack and being unable to escape or find help. Being as her main fear is flying, Kenny avoids airplanes and therefore is unable to travel to these destinations in real life, so instead she ventures these locations digitally, roaming the globe and virtually visits streets and landscapes to snap screenshots for her photography series “Agoraphobic Traveller.”
Her key aesthetic characteristics, like strong sunlight and a striking colour pastel-hued palette, negative space and isolated-feeling images.
I found when attempting to randomly pick a street view location, it was harder to find interesting subjects to screenshot, being as there are many empty roads in empty fielded landscapes.
TAKING ADVANTAGE OF CHANCE AND MODERN /DIGITAL TECHNOLOGY.
I started by picking random locations by chance on google maps photosphere were I was able to access 360 views of locations across the globe. These shots were created by different photographers, all of which the aim was to picture the surroundings. After finding some incredible locations and shots I became intrigued and searched areas I thought would have interesting subjects to photograph where I altered the view to the most scenic area and then screenshotted it. Although screenshotting is not a typical form of photography, it only digital duplicates a screen or image, similar to a photocopier. However I wanted to challenge how it can be a form of photography or art, whether it be picturing different tabs placed in a photographic way or simply an exact copy of someones work, other artists have used this form before such as
I found that there were fewer images taken in more developed countries such as Britain and America, however smaller, more tropical countries were populated with many more 360 photospheres. This could be due to lack of interesting landmarks in certain countries.
The most interest images were taken by waterfalls or on the cusp of countries edge.
Some images were better than others showing photographers skills evident in images taken in golden lighting and in crisp detail, others simply documenting a location without any photographic interest.
I was surprised to find photospheres in the middle of the ocean and wen I opened them, found a 360 close up view of sea life underwater with beautiful vibrant colours. Other locations underwater pictures of long lost sunken ships overgrown with sea life.
Other pictures included people in the background, sometimes children of the photographer and family members, others friends or work colleagues and sometimes just tourists.
This experiment really opened my eyes and surprised me by how different life is in different countries.
I found that there were fewer images taken in more developed countries such as Britain and America, however smaller, more tropical countries were populated with many more 360 photospheres. This could be due to lack of interesting landmarks in certain countries.
The most interest images were taken by waterfalls or on the cusp of countries edge.
Some images were better than others showing photographers skills evident in images taken in golden lighting and in crisp detail, others simply documenting a location without any photographic interest.
I was surprised to find photospheres in the middle of the ocean and wen I opened them, found a 360 close up view of sea life underwater with beautiful vibrant colours. Other locations underwater pictures of long lost sunken ships overgrown with sea life.
Other pictures included people in the background, sometimes children of the photographer and family members, others friends or work colleagues and sometimes just tourists.
This experiment really opened my eyes and surprised me by how different life is in different countries.
My favourite screenshots were of the interior of a singular room in a derelict abandoned house in Ukraine.
The Kaleidoscope Eyes Collective’s double exposure blind collaborations
What is double exposure?
A double exposure is a combination of two images into one where one image is overlaid onto another at less than full opacity creating a single image.
In film photography, double exposures are made by exposing the same portion of film twice, resulting in an the second image being superimposed on the first.
A double exposure is a combination of two images into one where one image is overlaid onto another at less than full opacity creating a single image.
In film photography, double exposures are made by exposing the same portion of film twice, resulting in an the second image being superimposed on the first.
The Kaleidoscope Eyes Collective's double exposure blind collaborations bring two images through chance and double exposure to create an image that challenges conventional understanding of authorship. With no communication and preventation of directing the final outcome, the photographers were unable to premiditate the previous image, and or make their shot fit the previous and any attempt to look at the images would destroy the entire film,
The rules include that each participant is given a month to shoot 36 images of their own, its style and matter completely open.
The experiment aimed to bring together five cities: London, Paris, Barcelona, Los Angeles and Buenos Aires. The experiment aimed to bring together five cities- with seven different photographers-
The rules include that each participant is given a month to shoot 36 images of their own, its style and matter completely open.
The experiment aimed to bring together five cities: London, Paris, Barcelona, Los Angeles and Buenos Aires. The experiment aimed to bring together five cities- with seven different photographers-
Elena López Lanzarote
Clara Cohen Elsa Toporkoff Raphaël Chatelain Lou Maréchal Elliott Arndt Kamila Stanley |
The result is a set of eery, saturated double-exposures.Cities and different lives from across the worlds- streets seeping into one another, cities with buildings that tell tales. |
ANALYSING A PHOTOGRAPH
The most visible focal point in this double exposure image is the photograph taken of a street lined with buildings. The second image is mainly only visible ontop the blue skyline.
The second image seems to be taken in a reflection or from behind glass, diluting most colour and appearing almost black and white which contradicts the colourful image taken of a blue sky. This depicts Paris as gloomy compared to the other location.
This image subjects a man dressed with an exaggerated moustache, bowlers hat and striped clothing suggests the image was taken in Paris. The sign reads clearly "RICHE" translating to "Rich". This seems almost ironic as the second double exposure image depicts a wealthy, modern horizon of tall white buildings. This further highlights a sense of a happy, peaceful country and one with political and class issues. These double exposure collaborations expose the similarities and differences of the diverse countries the images were shot in. Similarly in this image, the buildings behind contrast greatly, exhibiting the economic differences of the two locations.
However this image may suggest that rather than the current state of Paris depleting, it is rather a flashback of the poverty or issues that caused change and improvement.
The chances of these two completely independent images highlight the beauty of chance in photography in creating something with new meaning.
The second photo seems to have more imput from the photographer as the man looks directly into the camera lens as if aware of the cameras presence and may even have been asked to pose by the photographer. However the image being taken from behind glass suggests there could have been little interaction between the subject and the photographer suggesting the image was taken by chance of the man glimpsing at the camera with little reaction time or before he even realised he was being photographed.
The second image seems to be taken in a reflection or from behind glass, diluting most colour and appearing almost black and white which contradicts the colourful image taken of a blue sky. This depicts Paris as gloomy compared to the other location.
This image subjects a man dressed with an exaggerated moustache, bowlers hat and striped clothing suggests the image was taken in Paris. The sign reads clearly "RICHE" translating to "Rich". This seems almost ironic as the second double exposure image depicts a wealthy, modern horizon of tall white buildings. This further highlights a sense of a happy, peaceful country and one with political and class issues. These double exposure collaborations expose the similarities and differences of the diverse countries the images were shot in. Similarly in this image, the buildings behind contrast greatly, exhibiting the economic differences of the two locations.
However this image may suggest that rather than the current state of Paris depleting, it is rather a flashback of the poverty or issues that caused change and improvement.
The chances of these two completely independent images highlight the beauty of chance in photography in creating something with new meaning.
The second photo seems to have more imput from the photographer as the man looks directly into the camera lens as if aware of the cameras presence and may even have been asked to pose by the photographer. However the image being taken from behind glass suggests there could have been little interaction between the subject and the photographer suggesting the image was taken by chance of the man glimpsing at the camera with little reaction time or before he even realised he was being photographed.
MY RESPONSE
Using a film camera, I set out to produce double exposure images outside on my walk back home from school. Each doubly exposed image were shot one after another in the same location so the images wouldn't contain as much diversity as the The Kaleidoscope Eyes Collective's of the photoshoots taken place in different countries.
Half way through the film, I attempted to open the back to create light leaks which reset the cameras counter which created a huge element of chance in the sense that I was unaware of how many images I had left or If the film its self had rewound.
When the film was developed, I was disappointed to see that the images hadn't been double exposed and instead where singular photographs. To then achieve the double exposure images that I was hoping for, I overlayed the images in order, in photoshop playing around with the opacity so both images where visible.
Another experiment I did included handing my camera to a friend to shoot photos around London, then the camera would be passed back to me and using a tool I would rewind the film to the beginning and shoot a sequence of photos which would create a double exposure.
Half way through the film, I attempted to open the back to create light leaks which reset the cameras counter which created a huge element of chance in the sense that I was unaware of how many images I had left or If the film its self had rewound.
When the film was developed, I was disappointed to see that the images hadn't been double exposed and instead where singular photographs. To then achieve the double exposure images that I was hoping for, I overlayed the images in order, in photoshop playing around with the opacity so both images where visible.
Another experiment I did included handing my camera to a friend to shoot photos around London, then the camera would be passed back to me and using a tool I would rewind the film to the beginning and shoot a sequence of photos which would create a double exposure.
EVALUATION OF MY RESPONSEMy favourite double exposed image would be the 3rd picture with the heart shaped leaves overlayed on the buildings. Composition they both by chance horizontally cross the screen in the same direction. The dull buildings overlayed on the grey brick wall creates a warm brown which compliments the pink leaves.
Another one of my favourites would have to be the overlayed images of the bus light and the pole. Entirely constructed by chance, the darkness of the bus stop surrounding the light covers the majority of the image of the pole, where only the subject behind is visible in place of the bus light. The poll happens to be perfectly centred to where the bus light is, highlighting just the numbers on the poll. |
I repeated this process again , incorporating the process used in the Koleidoscopes eyes collections where my friend shot a role of film which was then returned to me to shoot over the top. Both the shoots where taken on separate journeys, One taking a route from home, by the Thames up to woolwich, showing a slow gradual change in surrounding and lifestyle, which contrasts with the second shoot taken from an alternative route from Woolwich, to my home in north Greenwich.
I would hand the camera to my friend who would proceed to take a photograph of our surrounding in their style, then the camera would be passed back to me and my image would be doubly exposed ontop.
I would hand the camera to my friend who would proceed to take a photograph of our surrounding in their style, then the camera would be passed back to me and my image would be doubly exposed ontop.
During this investigation, many factors didn't go to plan, which in all benefitted me and my experimentation with chance photography. Many times, my camera by chance, randomly reset the entire film, meaning I had no clue, how many photos I had taken, and when rewinding, was further clueless on which images would be doubly exposed.
One photoshoot was taken on my way back home from a friends house, however I decided to take routes that I was unfamiliar with, which lead me to walk through a dumbing ground and a gypsy community. The area included very peculiar things which you wouldn't normally see in London, such as a pool table in the middle of the road for the community to use, Caravans with newspaper covered windows and gates decorated with junk. I was approached by a gypsy who lived there who questioned what I was doing taking photographs of their homes, as many thought I was publishing these images to the newspaper, however they kindly allowed me to continue as long as it was for personal use. Others gave me vicious looks, which if I had approached them, they would have demanded me to stop, however, by chance, I was approached by one of the kinder, and older people living there.
At the time when the camera was given to my friend, I was unaware of what images had already been taken on the film, further imposing chance into my project. The automatic machine used to cut and print the films cut across the middle of the frame, eliminating a chunk of the image, resulting in my images being cut in half and having black frames present in the centre. The machine estimated roughly where the frames should be cut, relying on an estimation and chance with an outcome very different from those I overexposed in photoshop with less clarity of both images.
Many of the images correlated in some sense, purely through chance, some of which made me question wether life is preplanned
One photoshoot was taken on my way back home from a friends house, however I decided to take routes that I was unfamiliar with, which lead me to walk through a dumbing ground and a gypsy community. The area included very peculiar things which you wouldn't normally see in London, such as a pool table in the middle of the road for the community to use, Caravans with newspaper covered windows and gates decorated with junk. I was approached by a gypsy who lived there who questioned what I was doing taking photographs of their homes, as many thought I was publishing these images to the newspaper, however they kindly allowed me to continue as long as it was for personal use. Others gave me vicious looks, which if I had approached them, they would have demanded me to stop, however, by chance, I was approached by one of the kinder, and older people living there.
At the time when the camera was given to my friend, I was unaware of what images had already been taken on the film, further imposing chance into my project. The automatic machine used to cut and print the films cut across the middle of the frame, eliminating a chunk of the image, resulting in my images being cut in half and having black frames present in the centre. The machine estimated roughly where the frames should be cut, relying on an estimation and chance with an outcome very different from those I overexposed in photoshop with less clarity of both images.
Many of the images correlated in some sense, purely through chance, some of which made me question wether life is preplanned
Layering photocopying- PHOTOCOPY DOUBLE EXPOSURE
Randomly choosing images by closing my eyes and pointing at a photo, or by using a random number generator, I would print them onto of each other, layering the images and creating a single image by combining two images that had no correlation to one another creating double exposures.
The photoshoot in the images above were taken of derelict buildings I came across whilst on holiday in France.
Experimenting further with the The Kaleidoscope Eyes Collective's double exposure experiment, I decided to explore their use of depicting the different lives across the world, I decided to create a collection of images taken in England such as my previous photoshoot in Peckham along with choosing an image taken in France to print creating a double exposure printed photograph.
As the majority of images in took in France where of derelict buildings, I also decided to combine these with images taken of abandoned buildings in England. Using a random way of choosing these images I was left with combinations constructed by chance.
The photoshoot in the images above were taken of derelict buildings I came across whilst on holiday in France.
Experimenting further with the The Kaleidoscope Eyes Collective's double exposure experiment, I decided to explore their use of depicting the different lives across the world, I decided to create a collection of images taken in England such as my previous photoshoot in Peckham along with choosing an image taken in France to print creating a double exposure printed photograph.
As the majority of images in took in France where of derelict buildings, I also decided to combine these with images taken of abandoned buildings in England. Using a random way of choosing these images I was left with combinations constructed by chance.
RANDOM GENERATOR
Choosing photos aT random to exhibit
Normally photos are exhibited next to each other in a particular order chosen by the photographer for reasons ranging from matching aesthetics to order.
I wanted to challenge this as I myself order my images in order of aesthetics which I believe ruins the natural order. To challenge this I chose a random number generator and chose the image .
I wanted to challenge this as I myself order my images in order of aesthetics which I believe ruins the natural order. To challenge this I chose a random number generator and chose the image .
RANDOM JOURNEY
I decided to experiment further with the idea of gambling and random generation. I took a journey to an unknown location, making impulsive decisions when coming to crossings. This journey lead me to areas I would never have visited otherwise. This set of images I thought was doubly exposed, however mixing up the canisters I only shot on it once. However the outcome was still interesting. The film contained different colours that produced green, orange and blue light leaks. The shakiness of the images reflect the fast movement of the area and chaos.
The photographers gallery.
Pedro Valtierra took a series of images during the Chiapas rebellion in which all capture heartbreaking and violent moments. These subjects rely on chance of the photographer being in the right spot at the right moment capturing these realistic scenes.
My two favourite photographs exhibited by Valtierra are the image taken behind smashed glass, framing a police officer and photograph capturing the precise moment of a citizen being attacked by a police officer. The first one symbolises the events of the time without being obvious. with its smashed glass and citizens running in the background keeping their distance from the menacing police officer holding a bat. It is obvious there is some sort of riot or rebellion. The image captures so much emotion, of the police officers rage and also animalistic behaviour and a sense of fear by the positioning of the photo seeming to be hiding. similarly with the image of the citizen being attacked the image captures both features of the pained man and the aggressive and raged officer. |
Paolo Gasparini
These series of images show staged scenes of normal citizens walking past Cuba propaganda graffiti, but what's eye catching about this mundane image is that these peoples clothing matched those of the graphiti, symbolising that these normal people will become the soldiers in the paintings. This provokes the idea of what in photography is truthful as these staged images are supposed to look unstaged, lying about the potential chance in these images.
The placement of these two different artists photographs being exhibited next to each other is rather controversial being as one is unstaged with the intention of capturing the true brutality of the riots, and the other being staged with the intention of looking natural. |
PHYSICAL MANIPULATION
Alexandra Waespi
Alexandra’s work pushes the photographic print further through experimentation with chemical reactions, manipulation of the film’s emulsion, and alternative darkroom and digital processes.
She develops colour film at home, experimenting with rough development processes, bending negatives in the reel and changing temperatures and times. She prints on old paper and applies the developer with a paintbrush.
She adds layers by hand, fusing analogue and handcrafted techniques with digital glitches.
She first discovered manipulation in her work when she attempted to archive her work digitally. She believes the manipulations transform her images into an alternate reality.
She takes inspiration from the early 20th century colour photography, particularly the hand made techniques in colouring and toned black and white prints (toned prints from Boris Mikhalov and intuitive style of Miroslav Tichy.)
She develops colour film at home, experimenting with rough development processes, bending negatives in the reel and changing temperatures and times. She prints on old paper and applies the developer with a paintbrush.
She adds layers by hand, fusing analogue and handcrafted techniques with digital glitches.
She first discovered manipulation in her work when she attempted to archive her work digitally. She believes the manipulations transform her images into an alternate reality.
She takes inspiration from the early 20th century colour photography, particularly the hand made techniques in colouring and toned black and white prints (toned prints from Boris Mikhalov and intuitive style of Miroslav Tichy.)
Daiske Yokota
Yokota explains, he “tried not to take pictures,” and instead sought to “draw out the physical aspect of film.”
Yokotas photography challenges its form as an art, focusing more on the materiality of film rather than the documentation of it by replacing it with alchemy, showing the art of photography is not necessarily the camera, but in the film it's self. By layering sheets of large formal colour film, he applied unorthodox developing methods before scanning the results. Resulting in very abstract forms of Yokota’s ecstatic colors and unexpected shapes establish a new language for color photography.
Yokotas photography challenges its form as an art, focusing more on the materiality of film rather than the documentation of it by replacing it with alchemy, showing the art of photography is not necessarily the camera, but in the film it's self. By layering sheets of large formal colour film, he applied unorthodox developing methods before scanning the results. Resulting in very abstract forms of Yokota’s ecstatic colors and unexpected shapes establish a new language for color photography.
- REALITY OF PHOTOGRAPHY"tHE ADVENTURES OF A PHOTOGRAPHER"
Calvinos obsession to present the truth in photography leads him to different processes of taking these photographs.
In "The Adventure of a Photographer", Antonio expresses that family photos are idealised versions of their best selves, "new parents, framing off their offspring."/"the photograph albums remain the only place where all these fleeting perfections are saved." In his desire to capture reality he began tilting the camera and awkwardly cropping out heads from the pictures. He further tried to involve himself in the photographs by "Flung himself back in the water, holding up the camera and nearly drowning", this relates to my theme of chance being based on chance of the camera and not myself as chance allows the real truth rtes than creating what I want to produce. "the idealised postcard" suggest that family photos are just as staged as those mass produced for tourist souvenirs with little to no story or meaning behind as the photos are purely staged to look perfect.
His obsession of capturing reality and the truth in photography drives Bice to flee him after he unintentionally becomes a stalker, trying to capture images of the True Bice, "It was the invisible Bice he wanted to posses, Bice absolutely alone, a Bice whose presence presupposed the absence of him and everyone else"
From he previous findings that we imagine the past as being different from what it actually was as caused by photographing what we want to believe, again repeats itself in his final attempt to photograph the truth, he photographs the images he had taken implying the realisation that the photographs its self are also its own version of the truth.
In "The Adventure of a Photographer", Antonio expresses that family photos are idealised versions of their best selves, "new parents, framing off their offspring."/"the photograph albums remain the only place where all these fleeting perfections are saved." In his desire to capture reality he began tilting the camera and awkwardly cropping out heads from the pictures. He further tried to involve himself in the photographs by "Flung himself back in the water, holding up the camera and nearly drowning", this relates to my theme of chance being based on chance of the camera and not myself as chance allows the real truth rtes than creating what I want to produce. "the idealised postcard" suggest that family photos are just as staged as those mass produced for tourist souvenirs with little to no story or meaning behind as the photos are purely staged to look perfect.
His obsession of capturing reality and the truth in photography drives Bice to flee him after he unintentionally becomes a stalker, trying to capture images of the True Bice, "It was the invisible Bice he wanted to posses, Bice absolutely alone, a Bice whose presence presupposed the absence of him and everyone else"
From he previous findings that we imagine the past as being different from what it actually was as caused by photographing what we want to believe, again repeats itself in his final attempt to photograph the truth, he photographs the images he had taken implying the realisation that the photographs its self are also its own version of the truth.
REDSCALE FILM
Reversing an old film-
EXPERIMENTING WITH NEGATIVE FILM.
Once I had developed my film, i received the negative roll of all my images, and normally once developed people leave the negative film in a box tie it expires then throw it away. However I saw so much potential in incorporating chance to experiment with the film. I decided to not do any research into the liquids and materials (other than the ones I experimented with when creating chemigrams) that work so the outcome will purely be down to chance.
another experiment I wanted to try was shooting with expired film, producing surreal photos with different coloured hues. Different types of film age differently, creating different effects.
another experiment I wanted to try was shooting with expired film, producing surreal photos with different coloured hues. Different types of film age differently, creating different effects.
I used materials such as red nail varnish creating the green blobs when inverted, cif, hand wash, black current and matches. None of which where successful as I only let the film set for 2 hours before washing the contents off. The most successful experiment was gently pressing a matchstick onto the film, melting and burning little holes and distorting the image.
The longer the film is soaked, the stronger the effect and the more acidic the solution, produces more drastic results. Commonly used solutions include vinegar, detergent, bleach, salt water, lime juice, tequila, red wine and hot tea. The film can be soaked before or after you shoot the roll, however has more amplified results if it is soaked beforehand. Soaking normally takes between 1-3 days.
The longer the film is soaked, the stronger the effect and the more acidic the solution, produces more drastic results. Commonly used solutions include vinegar, detergent, bleach, salt water, lime juice, tequila, red wine and hot tea. The film can be soaked before or after you shoot the roll, however has more amplified results if it is soaked beforehand. Soaking normally takes between 1-3 days.
I used varied liquids to soak my used film, and left them for 3 days. The first two images were soaked in salt water. The 3d to 5th was soaked in red wine vinegar, creating interesting pattern stains and turning the film a more, dark blue/purple colour. 6th and 7th image was soaked in lime water, stripping most colour from the image and leaning it a bright blue. The 8th image was soaked in All Purpose cleaner, staining the film a dark purple. The 9th image was soaked in lemon liquor, with similar results to the lime water.
And the last images where soaked in Methylene, which completely corroded the image, and blended all the colours, completely destroying the image. I found these ones to be my favourite as they where the most extreme outcome and most unpredictable.
And the last images where soaked in Methylene, which completely corroded the image, and blended all the colours, completely destroying the image. I found these ones to be my favourite as they where the most extreme outcome and most unpredictable.
SHOOTING AND SOAKING EXPIRED FILM
The results would be more drastic and effective if I soaked the film before getting it produced in the lab.
For my next experiment, I ordered four expired film canisters dating back from as early as 1985 to 2011, all with different exposures, and different brands meaning the colour processes will appear differently. There was a chance of the film not working at all and coming out blank but it was a risky chance I was willing to make. I decided to soak one before shooting on it, and I soaked another after I had shot on it before it was developed. There was also more chance of an interesting reaction from soaking as the film is expired of chance of less happening.
For my next experiment, I ordered four expired film canisters dating back from as early as 1985 to 2011, all with different exposures, and different brands meaning the colour processes will appear differently. There was a chance of the film not working at all and coming out blank but it was a risky chance I was willing to make. I decided to soak one before shooting on it, and I soaked another after I had shot on it before it was developed. There was also more chance of an interesting reaction from soaking as the film is expired of chance of less happening.
Matthew brandt
Matthew Brand uses a process of soaking his chromatic prints in lake water taken from the location of the image sometimes for days or month, creating the process engaging with the world its self and the original location. This process also involves an element of chance in how the photograph will react with the water and how the results will turn out. Most lakes are polluted with different things which would effect the photographs differently.
This inspired me to soak my photographs in water, just like how flowers are placed in water filled vases to grow. |
EXPERIMENTING WITH MACRO FILM CAMERA
evaluating my photos
Using a film camera with a macro lens, I took close up photographs of dried roses, human features such as eyes, lips and hair and other objects trying to capture the texture and make it indistinguishable. This leaves the subject to be up for ..... who by chance decide what the subject is.
Once again this was my first time using a macro film camera, and with little knowledge on how to use it, I was left to assume the right light settings (iso) as well as focus and by chance it would come out good. Many of which the iso was either too bright or too dark, meaning some images came out completely black.
As my investigation is based on chance and this concept that all photography is a result of chance as a camera sees was the human eye can't, creating this question of what is more reliable, human senses or cameras replica of reality, I thought it was fitting to photograph human features, as they are the most recognisable thing to the human eye from human interaction on a daily basis, we remember features and are able to picture other people in our minds similar to a camera taking a portrait photograph. However when photographing human features using a macro lens, the camera is able to capture features that the human eye are unable to see which challenges which is more reliable and realistic.
Once again this was my first time using a macro film camera, and with little knowledge on how to use it, I was left to assume the right light settings (iso) as well as focus and by chance it would come out good. Many of which the iso was either too bright or too dark, meaning some images came out completely black.
As my investigation is based on chance and this concept that all photography is a result of chance as a camera sees was the human eye can't, creating this question of what is more reliable, human senses or cameras replica of reality, I thought it was fitting to photograph human features, as they are the most recognisable thing to the human eye from human interaction on a daily basis, we remember features and are able to picture other people in our minds similar to a camera taking a portrait photograph. However when photographing human features using a macro lens, the camera is able to capture features that the human eye are unable to see which challenges which is more reliable and realistic.
experimenting with polaroids.
There are many ways to manipulate polaroids to create abstract works including microwaving, hair drying, scratching, soaking in water or cleaning liquids, fire and peeling the polaroid apart. From doing basic research, I am unable to predict what each experiments outcome will look like therefore leaving it to purely down to chance.
Photographer Susan Hiller writes ontop of photographs and sometimes paints around black and white portraits. This gave me the idea to to draw ontop of my polaroids before they are developed, so once again, I can not predict how the outcome will appear.
Photographer Susan Hiller writes ontop of photographs and sometimes paints around black and white portraits. This gave me the idea to to draw ontop of my polaroids before they are developed, so once again, I can not predict how the outcome will appear.
MY RESPONSE
I experimented with take photos of small sections of dried roses and then combining the photos in a vertical row of 3 similar to Photo Booth strips inspired by Herman Costa.
Originally I tried to achieve the most accurate image, with all the images lining up seamlessly. Then later moving on to changing the positioning of the light in each photograph. Then photographing at different angles to achieve a more abstract, photograph. I enjoyed this photoshoot as parts where highly controlled however still had a large element of chance involved. My favourite experiments where when I started focusing on a striking section of the roses which produced a more abstract outcome when all the images where combined. I found the roses themselves purely by chance after going on a random journey to take photographs where I found a heap of perfectly healthy shop flowers dumped down the side of an alleyway.
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I experimented with taking polaroids for the first time, taking images of dried roses. Some photographs came out unexpectedly after the film wasn't processed properly. I decided to squeeze the remaining ink across the polaroid creating marble like textures and structures like mountains.
I experimented with the order and found a correlation between all the images, as if like some type of growth, the images start from a completely blank image, plain, to then more colour and contrast, then dark blurred image of the roses appear, to then move on to a crisp image, to then fade again and decay, similar to the cycle of a rose.
I experimented with the order and found a correlation between all the images, as if like some type of growth, the images start from a completely blank image, plain, to then more colour and contrast, then dark blurred image of the roses appear, to then move on to a crisp image, to then fade again and decay, similar to the cycle of a rose.
EXPIRED FILM.
REFINING MY RESEARCH AND PRESENTING THE FINAL THING.
At the beginning of my investigation, I explored how all photography is a result of chance. I experimented with chance at different extents, and found that my investigation has narrowed from high extents chance to a more controlled extent. This being as I found my first experiments to have little skill, which bothered me greatly. However over the course of time I refined my work to be more controlled, settling at a comfortable state of chance photography and my critical views.
I found a passion for using film cameras as it eliminates chance for me to take hundreds of images of the same subject and then delete them because I am unhappy with the results. Using a film camera has also taught me to understand a cameras functions properly and how to use it properly, using my skill to take photos I am pleased with.
I could include a projector to exhibit my photographs, where the audience chose two images, which will then be doubly exposed on a projection, meaning everyones view of my images will be completely different, leaving for chance of their opinion.
I found a passion for using film cameras as it eliminates chance for me to take hundreds of images of the same subject and then delete them because I am unhappy with the results. Using a film camera has also taught me to understand a cameras functions properly and how to use it properly, using my skill to take photos I am pleased with.
I could include a projector to exhibit my photographs, where the audience chose two images, which will then be doubly exposed on a projection, meaning everyones view of my images will be completely different, leaving for chance of their opinion.
I chose 2o of my favourite photographs and used an app to randomly order my photographs.
I want the final outcome to involve the audience in this idea of chance, and to also be unique, breaking away from conventional ways of presenting photography.
Using two projectors, I projected two different negative images at the same time on the same wall, as accurately as I possibly could, doubly exposing the images to produce one whole similar to my response to Herman Costa. I thought this was the ideal way to exhibit my photographs with the element of chance, with the little but significant involvement with the audience reflecting the idea that chance can often have little input by the photographer, or sometimes can be completely controlled. However much I wanted to do this, the negatives were too blurred and I found the film most effected by the soaking, where the most blurred when projected creating just a yellow image. I had the idea to print my pictures on acetate then placing them in slides however I found the quality decreased significantly.
Instead, I could possibly print my images on blocks which would be presented to an audience, to pair images which would then be placed in a photobook creating diptychs based on peoples preferences of judgement. To document this process I would video from above, peoples hands selecting and moving images, similar to the work of Laurence Aëgerter.
Using two projectors, I projected two different negative images at the same time on the same wall, as accurately as I possibly could, doubly exposing the images to produce one whole similar to my response to Herman Costa. I thought this was the ideal way to exhibit my photographs with the element of chance, with the little but significant involvement with the audience reflecting the idea that chance can often have little input by the photographer, or sometimes can be completely controlled. However much I wanted to do this, the negatives were too blurred and I found the film most effected by the soaking, where the most blurred when projected creating just a yellow image. I had the idea to print my pictures on acetate then placing them in slides however I found the quality decreased significantly.
Instead, I could possibly print my images on blocks which would be presented to an audience, to pair images which would then be placed in a photobook creating diptychs based on peoples preferences of judgement. To document this process I would video from above, peoples hands selecting and moving images, similar to the work of Laurence Aëgerter.
Asking others to order my photos
I chose images taken from different photoshoots within this project and printed them for people to order them. This exercise was interesting to see what orders made sense and their reasonings for it, which I then compared to how I would order them. The first person ordered them in order of images that linked subtly.
The second approach ordered landscape photos beneath each other to be exhibited on the same page which was an approached I didn't consider. This ordering based on colour, theme and subject, is the complete opposite of the previous ordering.
FINAL PIECES
EXHIBITING MY PHOTOGRAPHS.
My first final outcome was in the shape of a cube to imitate the shape of a dice, which unbiasedly creates sequences by chance. I chose to include images from my long exposure photoshoot and those taken in the south bank of skaters. I decided these images were appropriate for this piece as the idea of chance involved movement and its unpredictable actions. The activity of throwing a dice and landing on a desired number is similar to skaters landing a trick. I also included images taken of people falling and failing tricks to further present chance as being unpredictable and find beauty in mistakes.
Photo book final piece
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I presented one of my final pieces in a photobook form as I wanted each photograph to be viewed in detail to highlight the beauty in accidental or failed photography.
I predominantly used images from my photoshoots taken with film cameras because of its element of chance and the possibility of something going wrong, such as light leaks, unintentional double exposures, and miss cut frames. Other images including those of the abandoned buildings were included because I came across these locations unexpectedly and almost accidentally. |
I concluded that chance photography is more than just an accidental occurrence or unpredictable event but can take many forms which produce unpredictable outcomes that all have their own beauty and meaning behind and through the use of going against conventional rules, I produced my own unconventional rules which produced images that challenged photography’s limits as an art form.