#Picbod Week 2 – The Tribe.

After splitting into 3 groups, today’s first workshop consisted of receiving feedback on our self portrait task (https://victoriasimkissphotography.wordpress.com/2014/01/15/picbod-task-1-the-self-portrait/) which was interesting and inspiring. It was helpful and insightful to explore our initial thoughts of each others portraits, then to learn the meaning behind each of them. Group feedback is starting to grow on me more as at first I was often shy about both critiquing and showing work however over time this is improving therefore I am looking forward to continually doing this over the next few weeks of the Picbod module. Secondly, we were introduced to using the Flextight Scanner, then a refresher on the large format 5×4 camera.

  • Aren’t usually used to photograph things that move.
  • Still life, architecture, portraits.
  • Image appears back to front and upside down.
  • No electronics.
  • Expensive film per shot but used for quality.
  • Sharper due to negative size.
  • Can blow up quite large without much decrease in quality.
  • Can change the shape of things you are photographing by movement of the standards on the monorail.
  • Field camera – more compact and lighter.
  • Instructional video by Matt and George – Vimeo.
  • Attach camera to tripod before opening up.
  • Slacken the screws, press the button at the top to open up the camera, and then tighten the screws again.
  • Pull other end up right so 90 degrees to the other.
  • Push down so the red dot is just covered to ensure everything is parallel to each other.
  • Cock the lens, cock the shutter. To fire the shutter, switch the silver lever.
  • Triangular switch to open and close the shutter, used for when focusing.
  • No problem with slow shutter speeds as almost always used on a tripod.
  • Clip the lens in and push the catch down to keep safe, as well as tighten at the sides.
  • Film comes in individual sheets.
  • To load the film, turn slides so white strip is on the outside.
  • Allows you to do 2 prints at once.
  • Shiny side outwards!
  • Bottom right in-between two grooves.
  • Close flap at bottom and push slide down. Following this, load the other side.
  • Film cassette gets places inside.
  • To take the photograph, the dark side out closest to the lens is taking out and shutter pressed.
  • Place the slide back in with it turned round so you know which side has been exposed.
  • To focus, the camera is made longer or shorter. You then switch the catch at the front to the left or right to stop it from being knocked out of focus. Then you use the two rubber knobs at the bottom as used just to fine-tune the focus.
  • Remember to close the shutter before loading the film.
  • Cable release screws into the side of the lens, allows you to switch the shutter without touching the camera.
  • Setting the shutter speed to ‘B’ means the camera will remain open whilst holding the shutter release.

Following these three workshops, we then finished with a lecture on The Tribe.

Alec Soth

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  • Drives around America with a list looking for certain people or objects.
  • We are aware he is not a part of the relationship he is photographing and we are not part of it as a viewer of the image.
  • This does not mean we cannot make intimate images.
  • Different from photographing those who we do not surround ourselves with.
  • A sense of intimacy through letters ect.
  • Still have a sense of awkwardness and people are slightly wary of the camera.
  • What do we mean by the tribe?
  • Might be our family.

Larry Sultan.

sultan

sultan_mom

  • Something everyday as his dad is not acknowledging the camera – split image, as mother looks relaxed.
  • Lets us into moments we wouldn’t usually see. The ones we see as a family member.
  • Might be a community bound by theme.

Mike Brodie

Mike Brodie

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  • Hopped his first freight cart to Jacksonville in 2003, went on to visit 48 states.
  • People bound by an experience or a common goal.
  • Incredibly intimate images of this community he is surrounded with – his tribe.
  • Person making the images is the same as who is in the photo, only difference is the camera. He is one of them.
  • Might be relationships.

Elinor Carucci

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elinor1

  • Very intimate family situations.
  • Focused on small details of everyday life such as sleep marks on partners face.
  • Cuts, bruises, marks from zips, buttons, jeans ect. We can all relate to.
  • Photographed every part of her life but she didn’t do an unrelenting documentation of life.
  • Create a strong reaction in the reader.
  • “Within what someone is willing to give and share you can push or pull a little, but its something that is a result of the photographers and the subject personalities and the nature of the relationship they have”.
  • How can she be a mother and a photographer?
  • Think about where you place your subject in this week’s task. Somewhere you both feel comfortable, uncomfortable, only somewhere they feel comfortable?
  • Carucci’s children are now growing up in NYC, yet still creating and depicting private moments in open spaces.

LaToya Ruby Frazier.

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  • Portraits of herself and her family.
  • Spaces are important.
  • Need to think about the role of performance.
  • Performance or record?

Sally Mann

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  • Images seem so perfect but have often been set up.
  • Authenticity, validity.
  • Never thought to leave home to photograph as what surrounded her really interested her.
  • Created art through her children.

Nan Goldin

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Misty_and_Jimmy

  • Documented the people she surrounded herself with.
  • “The only thing you can really photograph is your own tribe. The only people I really photograph are the people I really love and generally I’ve known for years and so I photograph them over years.

Larry Clark

larry-clark

larry-clark_o

  • Drug addiction.
  • People didn’t believe this happened to middle class white American kids.
  • He was able to reveal this did happen and could make these images because he was part of the group.
  • Need to begin thinking of intimate images in different ways.
  • Unrelenting documentation.
  • May choose to constantly make images so the people you photograph become used to the camera being there.

Ryan McGinley

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  • Can bring out those moments that we may not think of as particularly interesting to start with.

Nobuyoshi Araki

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  • ‘Sentimental journey, Winter journey”.
  • Diary style.

Filipe Casaca

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filipe_casaca_my_home_3

  • Models become statues, carved out of the darkness of the image.
  • More about the body and form, structure of the relationship.
  • Very considered set of images.

Ross Rawlings

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  • Talks about difficulties of having a camera present in a relationship and how it changes it.
  • Accentuate happy times and sad times.

Richard Renaldi

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richard_renaldi.jpg?w=490&h=612

  • NYC photographer working on a series of portraits.
  • Grabs strangers off the streets ‘who are meant to be together’. Poses them like a family. “Touching strangers”.

Creative workshop 2: The View from Inside.

  • To photograph from the inside. Photograph as Nan Goldin says ‘Your Tribe’. Study someone that you are close to and make images with them of an intimate nature.
  • Bear in mind your own vulnerabilities from the first task when you begin this new photographic relationship and ensure you are completely competent technically so you can focus on the making of images without being distracted by other details.
  • Key elements:
    • These images should reveal an intimacy.
    • This should be a collaboration.
    • Try this task with more than one member of your tribe.
    • Revisit names here for thoughts on intimacy and the tribe.
    • May want to couple portraits with places or objects of importance.
    • Familiarize yourself with work of Jennifer Pattison.
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~ by victoriasimkissphotography on January 16, 2014.

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