The Art of Photography:Mike Mudd's Learning Log

The Art of Photography:Mike Mudd's Learning Log

Out of Order! Light

NewsPosted by Mike Mon, January 21, 2013 21:32:21
Well, I am currently reading around the chapter of TAOP covering light, and it is snowy and palid in light this January. I have therefore decided to tend to the remaining exercises 'out of order'. There has been insufficient good dalyight light to really work through the remaining natural light exercises so I have fast forward to the exercises detailing artificial light.... so....next exercise will be Tungsten and Flourescent lighting....

This chapter to date is great! Light literally rules!

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Klein+Moriyama #2 - study visit

NewsPosted by Mike Tue, January 15, 2013 22:07:14

Klein+ Moriyama visit#2 – Tate Modern OCA Study group

I like these two photographers, a lot! But I am not the same – as yet I don’t really know what type of photographer I am, I think I’m in the stage of a young teen in the Philip Pullman series of books (Dark materials) which start with the Golden Compass – my soul/Demon has not decided what shape it wishes to be yet. These two men are street, I like Street but lack the bravado!

I have over the last year, been drawn to the work of Daido Moriyama, having picked up the reference in B&W magazine and BJP. I understand the influence via the photo book by Klein upon Moriyama, and I can see the engendered sense of excitement of photographing the people of the city that draws both photographers. But despite influence, they are not the same animal.

Klein is the provocateur, his humerous interaction with subject creates the composition, he is in your face, he is a New Yorker, albeit with a Parisian flair, he is geometric, and visually stimulating – the image itself, the shape the form, provides stimulus, though it may be said that the narrative is short (the words behind the picture). Klein to me is brave in his work, his politic (his real world view!) and he is not afraid to show on a grand scale, or to play with mediums and to bare all.

Moriyama is a darker animal, I purchased his Tales of Tono, a photo book depicting a dark period in Moriyama’s life, the book ramifies my sentiment that Moriyama is arguably a depressive; he is distal from his subjects and rarely confrontational – unlike Klein. This lack of confrontation in Moriyama's images is despite his early protest work days. (Often his distance in image may be because of lens focal length selection (short) and personal distance from subject).

Moriyama’s work on the whole may appear often less graphic and directly clean and stimulating, more grainy and more blurred, however it may be argued there is ‘more to look at’ in a deeper reading the picture sense, more of a personal story in pictures for Daido himself.

The two artists work were curated/displayed in styles which reflected the different nature of the two photographers, Klein’s work shown in large prints to fill the space, and with examples of his video and other art materials work. Moriyama’s work was shown in a smaller way – often using the photo books they were intended for.

Both men are inspiring and journey men to their cause – their way of seeing the world!

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Tate Modern: William Klein & Daido Moriyama - gallery visit 26th November 2012 - my review

NewsPosted by Mike Tue, December 04, 2012 10:55:01
I didn't read the OCA newsletter mentioning the show until after I had visited, but when I did the first thing that struck me was the headline comments was the same as my notebook entry "The Colour is making the decisions vulgar" This was essentially the parting shot from the Video provided to end the show, quoting Moriyamas thoughts on his persistant non-use of colour.

This parting shot did resonate with my personal take and taste in photography, creating ambiguity, a timelessness and accentuation from the normal scene by disolving the 'normal' colour elements. Indeed, it is the Moriyama content of the show I was most determined to see, however it was the work of Klein which provided the most illumination on the day.

This illumination from Klein's work is provided both by scale and colour when compared to Moriyama. Klein habitually presents his gallery work on a big scale, while Moriyama sticks to a more conventional format akin to the scale of his major personal focus - presenting work as book form. Klein's work literally filled the walls, and though a predominance of black and white exists in his work his artist background shows strongly with a graphical use of framing and mixed media content (paint) to his work to enhance the visual experience and statement.

Moriyama's work appeared more depressive, personal and distal in observation, Klein - perhaps a reflection of his New York background was more aggressive - both in photographic framing, and in presentation, though both works are distinctly urban.

A hugely impressive show, hugely informative and insightful, yet, I will admit a struggle to re create their permanent 'camera in hand' style - though living in a city centre I do try. I am struck by a difficulty to perform such 'street photography' the town I live in feels aggressive in persona to such an invasive activity, whether this reflects the current media demonisation of photographers/photography or a lack of cosmopolitan view in Coventry, a town which is much more local in aspect and less frequented by the camera carrying tourist.

Though a black and white show, there are a number of elements I draw from this experience which have added to my third assignment: colour.

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Black and white sensory perception

NewsPosted by Mike Mon, May 28, 2012 11:10:56

http://www.bjp-online.com/british-journal-of-photography/news/2173571/leica-unveils-black-white-digital-camera-leica-monochrom

In a reversion to the seperation of art photography from the everyday.... a black and white specific sensor?.... A standard piece of kit for Magnum photographers?

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