#the shooting diptych

[stagefoureddiediaz]

The shooting diptych

Part of the red string of fate series

[hitherzones]

[thedailymobile]

“Shattered”

[photos-tell-stories]

Beaters & Pickers, Pheasant Shoot, Surrey, UK. Images ©Jason Florio

Portraits of Beaters and Pickers at a Surrey pheasant shoot, Surrey UK. Pickers often work in tandem with gun dogs or retrieving dogs to aid in the efficient recovery of shot game. They may direct or assist the dogs in locating and retrieving birds, enhancing the overall efficiency of the process. Beaters aim to create a controlled movement of game birds, ensuring they fly in a predictable…

[jockpoetry]

the fact the konica autorex is one of only two cameras to do full & half frame. and the other one is a fucking hassleblad......kills myself

i'm kinda like a guy who just wants to buy a specific camera but not have it shipped from japan

[jo-no-chrome]

If you shoot color film you know just how expensive shooting film has gotten. Being a budget minded person I decided to jump on the half-frame camera bandwagon and honestly despite some mild setbacks I am hooked. These images of the Grand Canyon and Sedona were shot on a Canon Demi camera. Despite the low-fi look, scratched film and soft images I credit this camera with getting me really into half-frame. What I love most is the diptychs you unexpectedly get, big plus for getting up to 72 frames a roll!

[julesclaude]

diptych

Nestle

Weary hands guide me through the brutalist labyrinth, fingers interweaved into mine – no tension wrench could unlock. Salad fingertips trace the lines of familiarity – creases of my mother’s palm. Photobooths – no smiles, just blank stares. Mickey’s skeleton floats alongside me.

Dad didn’t need to worry about keeping a straight face – eye bags might mistake him for John Lennon. Revenge bedtime procrastination forms shooting stars on the runway. Flashing lights, jumbotrons, and knitted crowds – you’d think I was in Shibuya. It’s all white noise. Nothing worries me, my fingers run along the windowsill - draped in balaclavas.

Flickering storks fly above the endless blue and through the endless blue. Through her ridge gaps, my eyes observe the convex, cold bubble bath. The altitude presses its hands over my ears; I was in grasp of the moon – Khonsu piloting the tides. Deaf giants float on top of the world, gliding across the Tasman kiddie pool.

Memories now pale, blanched in the overcast skies. Wheels grazed the tarmac’s skin, the smeared bruises plastered over tired scars. The monochrome runway dilates; a different world, but the gravity feels the same. Reminisce through a square frame, my eyes now drift through a panorama.

2. Nestlé

Skin dyed green; French-gifted oxidised copper. The cheap mandated headphones pinch my ears, and the limited film selection fails to drown out the sedated clock ticking internally. Security was probably too lenient – too condescending to scan the half million in cash – but children can hardly handle a Cessna.

Alienated recognition – sunglasses reveal that they live. My fisheyes see too much – vision skewed, and my strained gills inhale the misty gelid air. Beached selkies see their legs; only known world exiled from the foreground. The sandy sensation on my peripherals consumes my concentration.

Masked lapwings can still feel south, feeling before knowing. My fingertips trace lines of familiarity – textures of ancestor’s hallway walls. Flesh is still felt behind the vizard, my exposed hand unveils absolutes – but exposure is countervailed by corrosion. Folklore flees crinkled lips and finds refuge in blooming ears, tales told of a land before mine – verses from the Old Testament.

The guiding hand retracts, fingers held beyond reach – an asymptotic stretch. Numbness bleeds from my hands – flowing ichor transfused into my veins. The silver light refracts through a glass prism, birthing kaleidoscopic tides that breach the shore. The golden light unsheathed – scything the Elysian fields, and the long white cloud is stabbed by sunlight.

[measuringbliss]

Spider-Man: Comics Recommendations (The Sixties)

MASTERPOST

So I just finished reading The Amazing Spider-Man comics from the Sixties (aside from about 20-30 issues in the Ditko era). Want to know what's worth a read? Probably everything, in a way, but here are my recommendations in chronological order under the cut, and if you can't be bothered, here's a quick summary:

ASM #1, Ann #6, ASM #39-40, ASM #47, #50-52, #53-61, SSM #2, Ann #4, ASM #67, #68-70, #75, #78-79.

(In bold: what I particularly loved.)

Issue #1. It's a classic. Amazing Fantasy #15 isn't so interesting. It features a few different stories so it's already a meaty part. Please be aware that this era is very verbose and the art is... what it is. Read a few issues from that era here and there, maybe read issues 31-33 ("If This Be My Destiny...!") but you quickly get the idea.

2. Annual 1: Dozens of cameos, Doc Ock uses Bluetooth, plot twists, it feels like a greatest hits issue.

3. The Green Goblin diptych: Issues #39-40 AND/OR Spectacular Spider-Man #2 (which partly retells it, and adds to it). For the first, it's the start of Romita Sr. taking over Ditko as the main artist (although he tries to keep the same visual style for his first few issues). The Green Goblin discovers Spider-Man's identity and reveals his own... and in SSM#2, this is retold with better art, as well as more story.

The difference in style is striking and SSM2 is definitely one of my favorites. If you hesitate, pick SSM2.

Maybe you can read issue #42 to see Mary Jane's iconic and long-awaited first appearance, but the issue itself isn't that good.

4. Issue 47: Kraven shoots lasers with his titties, and Peter and Harry become roommates. Enough said. If you enjoyed it, you can read the next two issues as well since they continue the storyline, but they're less fun.

5. Spider-Man No More (Issues 50 to 52): Another iconic storyline. The mob plot would be a bore if not for a specific character, but Peter has had enough of being Spider-Man and the art is gorgeous. #52 in particular is great. The original comics have different coloring from the scanned, cleaner version, just FYI.

6. Annual 4: Spidey and the Human Torch team-up against two mysterious villains... The two heroes often pair-up, and I really enjoyed this one so here you go! Plus, you get to see Peter and Harry's apartment in details in a double-spread, as well as the cast in the iconic coffee shop.

7. What a Tangled Web We Weave (Issues 53 to 61): So here's an extract from my read-through:

In this batch, we have Dr. Octopus drinking tea with Aunt May, and Spidey getting amnesiac, which influences his hero life and his soap opera daily life.

I was very invested in the storyline, so that's why I'm recommending all of it. If you're a soap fan, read it! And you can add Marvel Super-Heroes 14 as a treat. It's a weird issue, but imo it's a worthwhile read.

8. Issue 67: By this point, the stories are pretty much consistently entertaining, but this issue has a very nice fight with Mysterio. It's a visual treat. Maybe read the previous one if you want context.

9. The Clay Tablet Arc but specifically #68-70 & 75. Peter gets involved in politics, Civil Rights are discussed, Jameson gets his due, Harry gets a moustache inspired by Fu-Manchu. However, the villains aren't compelling and the mystery of the tablet only gets interesting as it is resolved, hence why you can skip a bunch of issues. Ideally, you'd read everything, but hey, I'm only putting the best out there.

10. The Night of the Prowler (Issues #78-79): One of the more interesting characters introduced this decade! Aside from that, the balance of soap and action is perfect. The art is awesome too. #80 is also fun.

gosh he's so pretty

[watching-pictures-move]

Movie Review | Miami Vice: Calderone's Return (Glaser & Colla, 1985)

This series has been defined in part by its maddening roster of guest stars, with the likes of Bruce Willis, Pam Grier and Dennis Farina in memorable turns, to name a few. I'm into the second season now*, but I wanted to come back to this one, as one guest star in particular has lingered in my memory: Jim Zubiena, who plays the assassin hired by Calderone to a number of his enemies, including Crockett. Zubiena, a professional shooter initially hired to teach Don Johnson and Philip Michael Thomas proper weapons handling**, was pushed into the role by Michael Mann, and his non-actor background plays a big part in his effectiveness in the role. Those other guest stars bring to their roles their presence, bringing their personalities and star qualities to the material. One of the reasons Willis is so memorable in his episode is that his formidable charisma is applied to a character so unheroic. (A weapons dealer who sells to terrorists and beats his wife. Just a bad guy in all respects.)

Zubiena does not have the same star qualities, so instead he brings a certain absence, of charisma, of distinguishing features, leaving only an eerie blankness. No humanity, all killer instinct and craft, a pure instrument of death. His appearance, curly hair, shooting glasses and a slight smile, causes any facial features to recede into the nondescript. His lack of allegiances, having worked every side of every conflict, give him a sense of total amorality. Even his weapons handling (the deployment of the Mozambique drill, heretofore unseen on television, and holding guns overhand to control the recoil) is simultaneously unusual and practical, operating on a hidden logic not spelled out to the audience, like the imminence of death in an Italian horror movie. Even when he's not on screen, he haunts the proceedings, a spectral presence with an unsettling void at his centre.

Unlike Brother's Keeper, this aired in two parts, with an interesting diptych structure, both halves being punctuated by off-kilter, unceromonious violence and ending with songs featuring soaring vocals (Russ Ballard's "Voices" in the first part, Tina Turner's "What's Love Got to Do With It?" in the second). There is plenty to enjoy in both, but as Zubiena only appears in the first, and the second depends on a relationship between Tubbs and Calderone's daughter that can't be fully fleshed out in the runtime, I can't help but prefer the earlier half.

*I've found the series almost uniformly excellent, with only two subpar episodes so far. "Made for Each Other", which makes the mistake of foregrounding the comic relief characters of Switek and Zito and as such plays with little tension, although it does provide the scene where Noogie's stripper girlfriend grabs him by the ears and shouts in his face "I wanna see Mickey Mouse!" And "Nobody Lives Forever", in which Crockett (re)learns the age old lesson of putting one's bros before their hoes, and which has the misfortune of coming after "The Home Invaders", which features more unpredictable and sadistic villains (and shows Castillo crack a case in real time), and before "Evan", which explores Crockett's vulnerability much more interestingly and tackling the subject of homophobia with unexpected sensitivity.

**Apparently Johnson took to it better than Thomas, and this was a motivation behind the latter's weapons of choice. You can hear Zubiena talk about the experience here.

[cfc8955]

Artist Research (Week 10) 

Images source: https://www.carylineboreham.com/public-works 

A particular style that I like of Caryline Boreham’s work is her diptych’s. Each picture is able to stand by itself, depicting a different aspect of the same scene. When stood next to each other, they create the same effect that a panorama has due the continuous horizon line in both images. However, they have been edited in a way that creates the idea of them being two separate photos. Both images are the same size, but one image frame is positioned slightly higher than the other. There’s almost an uneasy feeling about this slight skew, despite the horizon line being straight. In one image we see a little more of the sky, and in the other more foreground is seen.  

The uneasiness that comes with the slight skew isn’t something I’d like to include in my work, but I like the idea of setting up a panorama in this way. Taking multiple photos while panning from the same point is an immersive way to explore a scene. The viewer is taken to the place where the photographer is standing and can see a wider viewpoint than that taken with one image. This is something I would like to apply to a particular reshoot of the banks of Ōrewa Beach where the erosion of the land is occurring. I took one image in week 8 (below) of an area that received serious damage from the storms in 2023. The focus in the image is the tree that has grown at a peculiar angle due to the strong onshore winds. However, the damage to the banks and the landscape has only been touched on in the lower half of the frame. By using the method of panning that is displayed in Boreham’s work, I would be able to capture more of the detail in the surroundings of the tree, while continuing the use of this composition. I plan to explore this in my shoot next week.  

[karina01]

(born in  1995 Bulgaria, Lives and works in Plovdiv)

Guided by intuition, Mia Novakova creates photography that is as unusual as it is beautiful - taking inspiration from the every day life. Often the images are combined and rearranged. "Through blur, texture, intense colour and lighting I try to put together an experience that encapsulates emotions such as nostalgia, longing, anger and desire. Most of my recent work focuses heavily on diptychs through which I illustrate movement, transition and polarity."

Interview: Cinematic photographer Mia Novakova

Mia’s beautiful multiple exposures transport us to a familiar - yet equally unfamiliar - reality. Naturally, we were intrigued by her inspirations and processes. We speak to Mia to find out more about the photographer behind @coughh_syrup.

MN: I'm drawn to the quietness, solitude and lights. During the night, the city looks different. Even the dullest places can appear mysterious and exciting. I feel like the night allows me to be more honest and true to myself, which - in return - inspires me to create and to express those feelings.

MN: I'm drawn to the quietness, solitude and lights. During the night, the city looks different. Even the dullest places can appear mysterious and exciting. I feel like the night allows me to be more honest and true to myself, which - in return - inspires me to create and to express those feelings.

MPB: Do you generally have an idea in mind, or are you more reactive?

MN: When I shoot, I rarely plan anything. I'm mostly guided by intuition. I spend a lot of time editing my work, combining multiple photos, and putting little pieces together to create the image that I see in my head. Almost like a painting. Sometimes, I instantly recognise which photos would look good together, but there are times when I prefer to experiment. I listen to some music for inspiration and follow my intuition until I end up with something unexpected.

MPB: If landscape or nature photography is as close to a literal interpretation of the world, how would you describe your work?

MN: I don't think there's such a thing as a literal interpretation. By default, an interpretation is subjective. In that sense, I don't really see a fundamental difference between shooting nature or landscapes and my own subjects.

For me, there isn't really a difference between one person shooting something realistically, and another who does it in a surreal or dreamy way. The difference is in the experiences that the images evoke, rather than a style or technique used to create the image. I've had surreal feelings when looking at work that has been shot realistically - and vice versa.

MPB: Is there a certain way you want people to interpret your work?

MN: To me, it doesn't really matter what the evoked emotion is, as long as there is one. Everyone perceives things differently, and I think that's the great thing about art. Occasionally, I try to influence the interpretation of the image with, for example, the help of a certain colour. Most of my work is introspective, in one way or another. I often project my own thoughts and fears into it, but I still try to leave some room for different interpretations.

MPB: You feel quite strongly about snobbery in photography - specifically when it comes to equipment. Could you talk us through what made this an issue for you?

MN: The photography community has tons of gatekeepers, to the point it's often toxic. Especially for people who are just starting out. It demotivated me when I was starting out, I began doubting if photography was actually for me. I thought that if my work was to be considered ‘legit’, I had to follow certain rules and have really good gear. And even then I'd still be an ‘amateur’ in the eyes of a lot of people. All of this made me quite distant, and it's one of the reasons why I still don't like calling myself a photographer. Some people are so wrapped up in camera wars, they don’t realise how silly it is.

I've always tried to understand where that gatekeeping attitude comes from. I guess before the mass adoption of photography, those people considered themselves special and self-important. They thought they had mastered that craft. Post-processing is often mocked and frowned upon as if it's ‘cheating’. I think that’s ridiculous. Not every artist wants to document reality. Some want to create and show their own version of our world.

This is just a means to an end, the tools we use to create our images. The important thing is the passion and creativity that we bring to our work.

MPB: Most people are consuming photography via a digital device - do you feel this is destructive to the medium or is it a positive thing?

MN: I recently graduated from university. For my final year project, I decided to make a photo book. I spent a lot of time designing the layout and text, figuring out where to place every photo, so that it all came together to tell a story. It was the first time I saw my work in this light. I had complete control over the way it was presented. After spending months working on my photo book, it felt strange looking at Instagram through the tiny screen of my phone. I felt detached from Instagram and stopped posting for a while.

I’ve noticed the way I've been consuming photography had been overwhelming and distracting me. It hadn't been inspiring me. The constant scrolling through streams of images had led to a kind of image overload. I started to be more mindful of the way I consume art in general, looking at more photo books and going to exhibitions.

Of course, there are positive aspects to digital platforms like Instagram. They connect people, giving opportunities to artists because their work is more accessible to the public. If it wasn’t for Instagram, we wouldn't be speaking right now.

MPB: Do you encounter any hidden problems with having a big online following?

MN: It still feels surreal, having so many people follow me and want to see my work. Although I'm incredibly grateful for it, I don't let the numbers get to my head. I take breaks from social media. And I try not to post just for the sake of posting. Sometimes, I refrain from sharing certain photos because they’re either vastly different from most of my work online, or they are too intimate. For example, I have lots of black-and-white images that I’ve never shared with anybody. I think it’s liberating to make artwork and not show it to the world.

MPB: Your work is very cinematic - with light playing an important role. Have you ever had leanings towards cinematography?

MN: I definitely have leanings towards cinematography and I'm eager to learn more about it. I'm incredibly inspired by the work of Robby Müller. It cuts through time. His use of colour and light is incredible. It has influenced me a lot.

MPB: Is there anything you’d like to try?

MN: Might sound cliché, but I'd love to shoot on Super 8 film. I'm a fan of its gritty and grainy feel. I really want to try it. I'd also like to start working on another book.

Mia Novakova

[ardn516thephotographicimage]

Tanguy Delavet

"Im a Paris based photographer and videomaker. Centred around expressions, shapes, colours, light, and imperfection, my work focuses on capturing the energy and identity of the people and the places I encounter. I am in constant pursuit of a feeling, of a mood... of small clues to help me communicate what it was like to be in that moment and enable the viewer to feel present while looking at the images. My previous collaborations with various brands and magazines include: Jacquemus, Calmann Levy, Foudre Magazine, Bad to the bones, Nike, Élite Paris, Leica, Wagram, Silent Model."

= From the contact area on his website 

Tanguy Delavet Contact. (n.d.). Retrieved 08 23, 2024, from https://www.tanguydlvt.fr/contact

Curfew - Ouch, it's 10 p.m., to have to go home quickly, we're going to be checked.

Choice - Take time to discuss about everything, nothing or picking up a call ?

Quarantime - It offers us the luxury of taking our time, silently, in a place in perfect opposition to this principle.

This diptych was produced in 2019, far from the virus, where humans could guess their feelings, their boredom, anger, joy, concentration.

Researching another photographer I found Tanguy Delavet well known for shooting popular brands. I personally like his Sous-terre collection which is all about 'below the life' looking deeper and observing empty and silent places and how it shows emotion with people in the shots and how an empty image can also evoke an emotion. I like the tonal range and the saturation of his photographs which I definitely think I should integrate into my photographs moving forward.

[mcorvino]

Diptych of one of my favorite shoots of the year.

Credits:

PHOTOGRAPHER Michelle Corvino (Mico) @m.corvino STYLIST Natasha Bock (Tashie) @tashiejane MUA Shiori Sato @shiorisatomua

CREATIVE DIRECTION: Natasha Bock + Michelle Corvino

LOCATION SCOUT: @maxsobieski

PRODUCTION DIALECTIVE @dialective.xyz Zhexuan Katherine Hu @kath.hu Grace Gordon @a.grace.g Helen Sotropa @helensotropa

STYLIST ASSISTANT: Odera Nkem-Mmekam @do.u.dare.me

TALENT Lauren Shivers @renshiv Eden Abebe @eden.abebe Juju (Julian Trompeter) @jujumerk Mindy Chen @mindyyymiao

[joelrodriguezsophomoreart1330c]

04/11/24 - 3D Design - FINAL CURATED PORTFOLIO

1. Video notes and sketched ideas for symmetrical and asymmetrical composition:

2. Process photos for the assemblages:

3. Side-by-side symmetrical and asymmetrical assemblages: “Home” & “Random Nature”:

For this diptych, I was tasked to explore different ideas with symmetrical and asymmetrical composition. Both pieces were made over the span of two weeks from last Tuesday up to today.

I wanted to take a more spacious approach with my symmetrical piece on the left. The piece is called “Home” and contains assortments of plastic cutlery (from knives to spoons), sea shells, wooden branches, buttons, batteries, and items of nature and office environments. I’ve assembled these items to portray a feeling of being inside your home, where there is always just a mixture of items for working, decoration, and collecting. I’ve made the giant rustic spoon be the main hook of the piece because it symbolizes how antique models of silverware (mostly wooden) would be used to decorate the kitchen. The other hook would be the branches and sea shells, because it reminds you of the child-like feeling of playing outside in the backyard and beach. The chain-links and batteries symbolize your environment slowly turning into an office space in terms of professionalism.

As for the piece on the right, “Random Nature” is all about embracing sudden changes in settings for the items being used. Every single item here comes from a different background and as seen here, they all clash together in different spots. This piece represents the idea of randomness and truly embraces it by simply scattering all of the items around and leaving only little negative space in the composition. In addition, it does this by bringing over a select few of the same items used in “Home” but also inserting new objects found in backyards and other grassy areas. From the box being knocked over implying that there were items being left over inside it to the letters hidden in the piece spelling “Random” fittingly enough, “Random Nature” develops a sense of having scattered ideas while also allowing space to formulate between them.

4. Process photos for soap structure:

5. Photo shoot of soap sculpture: "Daze":

For the last two weeks, I was tasked with turning a beige bar of scented soap into an abstract sculpture. The piece was designed to have three openings that surround the soap through different wedges and inclines. The tool used to carve the soap was a smooth carving knife and the black wooden base serving as a platform is comprised of three wooden blocks glued and pasted on top of each other and spray-painted with matte black.

The process of carving the soap was starting with removing the sharp edges of the rectangular soap and curving them more prevalently, with a large lump on the right side in addition to more jagged curves on the left side. With disjointed lumps on the top of the front side and the bottom of the back side, the piece is carved smooth with the exception of a few rough surfaces in order to describe the feelings of smoothness and roughness countering each other. With the three openings placed around the piece, they are not placed in the same spot through both sides. Instead, they are carved in different places to imply that the inside of the soap is an indirect labyrinth of passages instead of just raw oils.

6. Process photos of ephemeral art:

(Missing)

This will be replaced with my notes for techniques with sculpting clay that I’ve took in class:

7. Photo shoot of ephemeral Art: "Sail":

For the ephemeral wood structure, over the course of a few weeks, we were tasked with creating abstract works that "last for a short while." As the term "ephemeral" would suggest, our sculptures suggest that the piece is slowly disappearing as time goes on, whether that would be through the rough angles or the connected branches that somewhat overlap each other almost like the structure is rounded. The pieces were all assembled with sticks gathered around the grassy areas near our studio and hot glue. For my piece, I wanted to look for different ways to make the piece cross itself out by overlapping itself in different directions. I have struggled a bit with not making my piece seem triangular from any viewpoint because whilst constructing the base, I was trying to make the individual sticks connect to each other on different ends and accidentally formed objective sections from those ends of the piece, which I have rearranged in order to make the piece more abstract (and seem less "grounded"). It was quite fun coming up with different ways to make the piece more angled and stretched out in order to make the piece imply that it is slowly stretching itself out so that it could be close to becoming more transparent (which almost fits the purpose of making something that is ephemeral).

8. Ceramic sculpture - photos of process:

9. Museum sketches and studies:

10. A few pages from my sketchbook throughout the semester:

Final Artist's Statement:

Throughout the semester, I've experimented with different techniques in developing my three-dimensional assemblages and sculptures in addition to working with different processes in constructing them. For example, I have used the "additive" process, which is a process in which you carefully add different spots of composition whilst paying attention to spacing and how it affects the harmony of the piece. In addition to the additive process, I have also used the "subtractive" process which involves minimalizing the composure of the piece whilst being mindful of negative space. Moreover, the "constructive" and "critical thinking" processes include coming up with relative significance for the use of invisible composition and harmony to create eye-catching pieces. My favorite process would have to be the constructive process because it would help me control just how much realism I can put into a piece's meaning whilst arranging the pieces around so that it would be more leaning towards an abstract meaning. I would personally recommend this course because it enables you to be creative with making three-dimensional sculptures and installations with different techniques whilst also giving you the tools to experiment with said techniques!

Missing:

- 6. Process photos of Ephemeral art:

The reason why I haven’t taken any photos of my ephemeral art “Sail” was because I forgot to take photos of my progress throughout the weeks I was working on them. This will be substituted with my notes for techniques with using clay.

[danacastrosophmore]

3D Art

The Symmetrical and Asymmetrical Assemblage Diptych assignment, inspired by Betye Saar was an amazing opportunity to explore working with different materials and techniques I had not used before. I initially began collecting whatever objects I could find in my house such as scraps of wood, bottle caps, perfume caps, collected seashells, toy airplanes, toy balls and wheels, bullets, keys, and even sunglasses. Eventually, once I had enough items, the combination of multiple ones helped create some type of story or theme. Things such as the planes, deer head cap and bullets emulate what many American men enjoy, hunting, shooting, and the ability to travel. More relaxed figures like the seashells, glasses, keys, and boat steering wheel represented the beach or the ocean. In my pieces it is very apparent which is the symmetrical one vs which is the asymmetrical one. For the symmetrical assemblage, I tried using objects that were evenly shaped that I had at least one or two of or multiples in even numbers as well as alighting my objects evenly. For the asymmetrical one, I used objects that were more uneven and abstract like the seashells and pieces that I had in odd numbers. The main reason as to why I used black spray paint for both of my pieces is because It looked more clean and sleek as well as the fact that even though they’re supposed to be opposites in terms of symmetry, they are both meant to cohesively work together and tell their own stories. I believe that my assignments were completed successfully because I followed the instructions but found a way to have fun with it. Creating these two pieces was very enjoyable because I got to experience using materials I hadn’t experimented with before. Spray paint, although more difficult to use than I thought it would be, was so fun! The process of placing, rearranging, and hot gluing the items onto the base was very enjoyable because it was a new way to articulate ideas while narrating a story or message. Overall it was a good experience that taught me many new things as an artist.

Symmetrical and Asymmetrical:

[edenpascal]

In Fotografiska there are multiple exhibitions based on the art and professionalism behind photography. On floor 5 there is an exhibition of the name “Best in Show” where photos are captured of various animals posed, natural, or documented. With 25 artists each wall displays their work meticulously where over 100 pieces are visible. The exhibit focuses on both 2-dimensional and 3-dimensional photography. This installation focuses on portraying pets in a substantial ways where they are friends, nature, apart of the household, respect and art in one beautiful conglomeration. Each of the artists have a motive behind what they shoot and use different techniques, angles, colors, perspectives. Each creation is unique and memorable explaining further why it was chosen for this experience. For example, Sophie Gamand in the series Wet Dog embarks a journey on understanding the layers of bath time with dogs, such as reactions, domestication and humanity’s relationship with vulnerability in bath time. She photographs in portrait mode using the dogs head-shots for her production in 2013-2014. The lens she uses is a Nikon 24-70mm f/2.8 lens.

During the visit at Fotografiska it is apparent each photograph represented to visitors was carefully selected because of the features and message behind every photo. Each photograph is different to the next but the two photographs chosen are specifically interesting since the context of each one. Both of these photos use normal lens with a fast shutter speed. Gerrard Gethings and Walter Chandoha are two incredible pet photographers who focus on capturing the authentic essence of life. Walter Chandoha is notorious for his cat photographs totaling up to thousands of them with him portraying cats iconicity in the photography industry with the nickname the “Godfather of feline photography”. Like the rest of the exhibit, the photo is fascinating, perfectly timed, shows character and tone, the photo chosen is a great summary of the exhibit. (Walter Chandoha’s “Paula and her kitty”) Multiple photos were taken on film in black and white. Observing the black and white photographs it can be noted the texture and exposure of light additionally the attention to detail is astonishing. The way the light reflects on the little girl’s hair with her cat is an example of a quality choice of deciding monochromez “Paula and her kitty” is a happy photo that evokes a smile simply. Similarly, Gethings composed photos generating smiles except with the concept of comparing household dogs and cats to their owners. This photo is a portrait too that utilizes color to catch the eye with the uncanny resemblance and is a posed photo. Chandoha is candid.

Interacting with all the photographs of the exhibit, I realized there is a staying power to each one that makes them unique to other animal photography. In Chandoha’s “Paula and her kitty”, the viewer is drawn to the photo through the authenticity of the photo itself, while Gethings diptychs are equally as fascinating. I enjoyed this exhibition because of how practical yet complex it was, every wall encompassed a great story and keen composition. Animals are a part of everyday life to some humans, we as humans are also animals so understanding the concepts of this field of photography and context helped me bond further with my pets.