For this task, we would like you to photograph an object or series of objects. You can use the studio, rostrum or photograph outdoors in daylight, but we would like you to think about what constitutes a still life composition.
Research how photographers like Irving Penn, Erwin Wurm, Karl Blossfeldt, Laura Letinsky have creatively responded to this genre to help you generate ideas.
Research how photographers like Irving Penn, Erwin Wurm, Karl Blossfeldt, Laura Letinsky have creatively responded to this genre to help you generate ideas.
Object & Still Life:
For this task, we would like you to photograph an object or series of objects. You can use the studio, rostrum or photograph outdoors in daylight, but we would like you to think about what constitutes a still life composition.
Research how photographers like Irving Penn, Erwin Wurm, Karl Blossfeldt, Laura Letinsky have creatively responded to this genre to help you generate ideas.
Research how photographers like Irving Penn, Erwin Wurm, Karl Blossfeldt, Laura Letinsky have creatively responded to this genre to help you generate ideas.
Background research - Laura Letinksky:
Laura L. Letinsky (born Canada, 1962) is a contemporary photographer, best known for her still life's.
Letinsky seems to document the aftermath of a sumptuous gathering or dinner party. Faded flower petals intermingle with empty glasses and crumbs of food on partially cleared tables, often covered with a white linen that bears the mark of spilled wine.
"It's so important for me that the photographs hover between being painterly - in the sense of light, colour, composition and plasticity - and being insistently photographic. They're photographs on photographic paper; they're made with the camera, they aren't digital effects. I'm really interested in the plasticity of photography and the way one reads it - like 'How can that be possible? That must be digital!' But no, it's not digital. Photography is like painting; it's an incredibly plastic medium."
Letinsky seems to document the aftermath of a sumptuous gathering or dinner party. Faded flower petals intermingle with empty glasses and crumbs of food on partially cleared tables, often covered with a white linen that bears the mark of spilled wine.
"It's so important for me that the photographs hover between being painterly - in the sense of light, colour, composition and plasticity - and being insistently photographic. They're photographs on photographic paper; they're made with the camera, they aren't digital effects. I'm really interested in the plasticity of photography and the way one reads it - like 'How can that be possible? That must be digital!' But no, it's not digital. Photography is like painting; it's an incredibly plastic medium."
Laura Letinsky: To Want for Nothing at Brancolini Grimaldi in Rome
Form: The photo is very simply of orange peel and two empty glasses on the right hand corner of a white table cloth covered table. The most striking thing about this image is the vibrant colour contrast of the oranges and the red glass on the off white table cloth and black background.
Process: The photo appears to be taken in a studio with a black backdrop. The objects at the front of the image are lit up where as the lone orange in the background appears to be more shadowed, this suggests strong lighting wasn't used for this photo. Content: There's nothing particularly complex about taking a photo like this but the layout of the objects is unusual. For example, the glass in the foreground and orange in the background are both position at the end of the table as if they are about to fall off any second. Usually with photo's like this still life of drinks or food the photographer ensures the food and drink is photographed in a way that appeals to the viewers appetite. Letinksky does not do this, in fact she does the opposite. She photographs the objects as they would look after they have been eaten, or drunken. Much less appealing and appetising; spilt food, empty glasses, stained table-cloth and half eaten food. |
Response to Laura Letinsky photography:
Aims: I decided to photograph fruit as my Laura Letinksy response, I played around with the colour contrast to achieve different colour schemes for each photo. I wanted to achieve a similar effect as the above photo by Laura Letinksy, usually we see food photographed in a very flattering way. The photo's I have taken are covered in dirt, half eaten and mushed up to create the complete opposite effect.
Process: In the above photo's I have tried to make desirable fruit look undesirable! I took the photo's outside in natural light, I edited all the photo's on photoshop changing the tones of colour, and the contrast to create an almost falsely vibrant colour for the fruit.
Critique: I like the idea of making something that is usually photographed in a desirable way, such as fruit, and photographing it in an undesirable way eg: covered in dirt, mushy, and squashed together. However, I feel my photo's lack variety they're all pretty much the same thing.
Further Development: If I was to further develop this set I would photograph the fruit in different situations, perhaps even making it a comical scene. For example, having the fruit photographed before and after being blended and made into a fruit drink.
Critique: I like the idea of making something that is usually photographed in a desirable way, such as fruit, and photographing it in an undesirable way eg: covered in dirt, mushy, and squashed together. However, I feel my photo's lack variety they're all pretty much the same thing.
Further Development: If I was to further develop this set I would photograph the fruit in different situations, perhaps even making it a comical scene. For example, having the fruit photographed before and after being blended and made into a fruit drink.
My own experimental still life shots:
Aims: In the below set of still life shots I played around with different studio lighting and camera angles to really see how a still object can be photographed in an interesting and unusual way.
Process: I took all the above photo's in the studio experimenting with different lighting and camera angles, some of the photo's were taken directly above the objects whilst others were taken from different angles. I edited the photo's using photoshop as I wanted to change the colouring of the objects in order to make certain objects stand out more than others.
Critique: My favorite photo is of the barbed wire because I think there is something very eerie about close ups of somewhat violent objects such as barbed wire, I like the shape of the wire, although it is a still life image it is very full of life purely from the composition of the wire.
Further Development:
Critique: My favorite photo is of the barbed wire because I think there is something very eerie about close ups of somewhat violent objects such as barbed wire, I like the shape of the wire, although it is a still life image it is very full of life purely from the composition of the wire.
Further Development:
Year 11 NRA photo's:
A few of us offered to help take photo's of the year 11's NRA. We took some photo's using the studio and these are the select few I thought were the best.
The Body/Figure- Background research of Philippe Ramette:
Ramette is a French photographer, or as he prefers to be called 'sculptor'. He's done a series of work which involves going to extraordinary lengths to create implausible set-ups, building hidden metal supports that he calls "sculpture-structures".
Below are two examples of Ramette's "sculpture-structures",
Below are two examples of Ramette's "sculpture-structures",
'Respond to the work of Phillippe Ramette by playing with the framing and orientation of the shot to achieve an illusion of gravity involving the figure.'
Aims: Below is my response to Phillippe Ramette, I played with framing and orientation using a chair and the studio.
Aims: Below is my response to Phillippe Ramette, I played with framing and orientation using a chair and the studio.
Process: I got 4 different models to sit horizontally on a chair so that their head and body was on the ground, then when editing the photo's I changed the rotation of the image and edited them to create the appearance that the chair they are sitting on is simply levitating in the air.
Critique: I really like the effect that I have created with these 4 images, I particularly like the high contrast I have given the photo's as I feel it makes the model and the chair stand out more in the photo slightly creating a 3D effect. However, I understand the photo's lack variety, apart from the fact the model is different in each photo, they are doing the same thing in the same position.
Further Development: If I was to further develop this set I would be more adventurous with my choice of setting, go into London and experiment with similar shots but a different setting/background to create a wider sense of variety.
Critique: I really like the effect that I have created with these 4 images, I particularly like the high contrast I have given the photo's as I feel it makes the model and the chair stand out more in the photo slightly creating a 3D effect. However, I understand the photo's lack variety, apart from the fact the model is different in each photo, they are doing the same thing in the same position.
Further Development: If I was to further develop this set I would be more adventurous with my choice of setting, go into London and experiment with similar shots but a different setting/background to create a wider sense of variety.
High contrast photo's - summer!:
Tilt Shift: - Background information:
Tilt-Shift Definition- I found this information on a useful photography blog where the blogger uses digital manipulation to achieve a tilt-shift effect on his photography:
'Tilt-shift photography relies on the lens being tilted/shifted relative to the camera body. Tilt-shift lenses were originally designed to correct perspective when taking photos of buildings, and various tilt-shift lenses are available for DSLR cameras, but they are rather pricey (ie, the Canon TS-E 24mm f/3.5L retails for AUD$1500+).
Landscape photos taken from a distance typically have most of the frame or the entire frame in focus, with the lens at infinity focus. Because tilt-shift photos only have a small amount of the photo in focus, it allows the photographer to draw the viewer's attention to a specific part of the photo.
The tilt-shift effect also causes photos to look as if they are miniature models, due to the unnaturally short depth-of-field, when our eyes are expecting everything in the frame to be in focus.
Rather than spending many dollars on a tilt-shift lens, you can emulate the effect digitally in Photoshop.' (I have used photoshop to digitally edit my photo's into having the tilt-shift effect)
'Tilt-shift photography relies on the lens being tilted/shifted relative to the camera body. Tilt-shift lenses were originally designed to correct perspective when taking photos of buildings, and various tilt-shift lenses are available for DSLR cameras, but they are rather pricey (ie, the Canon TS-E 24mm f/3.5L retails for AUD$1500+).
Landscape photos taken from a distance typically have most of the frame or the entire frame in focus, with the lens at infinity focus. Because tilt-shift photos only have a small amount of the photo in focus, it allows the photographer to draw the viewer's attention to a specific part of the photo.
The tilt-shift effect also causes photos to look as if they are miniature models, due to the unnaturally short depth-of-field, when our eyes are expecting everything in the frame to be in focus.
Rather than spending many dollars on a tilt-shift lens, you can emulate the effect digitally in Photoshop.' (I have used photoshop to digitally edit my photo's into having the tilt-shift effect)
Below is an example of a photo that has been digitally manipulated to achieve the Tilt-Shift effect:
Tilt Shift - My own work:
Digital tilt-shift effects can be digitally applied to a photo, to give it the appearance of being a miniature model.
Aims: In the below set of digitally edited tilt-shift photo's I have tried to successfully achieve the desired effect of a miniature model world by using photoshop.
Aims: In the below set of digitally edited tilt-shift photo's I have tried to successfully achieve the desired effect of a miniature model world by using photoshop.
Process: In the above set I have taken my own photo's of different landscapes taken from a distance and a height to ensure I can achieve the best possible tilt-shift effect. When photo's are taken from above and at a distance it looks more effectively like a miniature world due to the scale.
Critique: My favorite photo is the one of the beach and red rocks as I think this looks the most like a miniature world, perhaps because of the scale. I think the tilt-shift has worked quite well with all the photo's except the last one. As the last photo was the only photo not taken from above at at a distance I can assume that this is why it doesn't look as good as the rest.
Further Development: If I was to further develop the tilt-shift idea I Would chose a variety of different locations to photograph and see which work the best, what angles and camera position make for the most believable miniature world. I would then chose specific categories for my tit-shift images, for example, if I took a set of photo's at different beaches I would have one set devoted purely to miniature world beach life.
Critique: My favorite photo is the one of the beach and red rocks as I think this looks the most like a miniature world, perhaps because of the scale. I think the tilt-shift has worked quite well with all the photo's except the last one. As the last photo was the only photo not taken from above at at a distance I can assume that this is why it doesn't look as good as the rest.
Further Development: If I was to further develop the tilt-shift idea I Would chose a variety of different locations to photograph and see which work the best, what angles and camera position make for the most believable miniature world. I would then chose specific categories for my tit-shift images, for example, if I took a set of photo's at different beaches I would have one set devoted purely to miniature world beach life.
Trip To The Tate Modern - Photography Exhibitions:
During the summer holidays I took a visit to the Tate Modern in London, to view the photography exhibitions taking place there.
The majority of photographic work I saw was portraiture, there was one photographer that particularly stood out to me, 'Sammy Baloji'. His work was a combination of black and white portraiture and coloured landscape photography. Not only was Baloji's work beautiful to look at, it was striking and brought up cultural, social and political questions when observing it. Below is one of Baloji's photo's that I saw at the exhibition.
"Baloji collides past and present in his series of large photomontages, entitled Mémoire (2006). He juxtaposes today’s colored industrial landscapes with historical images, drawn from the archives of the local mining company, which memorialize the colonial actors, indigenous and European, who toiled for and benefited from the mines. While the resulting images are indictments of the lasting legacies—social, political, environmental—of colonialism, they recall also the economic benefits produced by the mines and the ruin made of them after independence. Appropriating and assimilating all of this history, Baloji transforms the diverse temporal and personal fragments into a contemporary reading, and he believes this opens a way forward."
The majority of photographic work I saw was portraiture, there was one photographer that particularly stood out to me, 'Sammy Baloji'. His work was a combination of black and white portraiture and coloured landscape photography. Not only was Baloji's work beautiful to look at, it was striking and brought up cultural, social and political questions when observing it. Below is one of Baloji's photo's that I saw at the exhibition.
"Baloji collides past and present in his series of large photomontages, entitled Mémoire (2006). He juxtaposes today’s colored industrial landscapes with historical images, drawn from the archives of the local mining company, which memorialize the colonial actors, indigenous and European, who toiled for and benefited from the mines. While the resulting images are indictments of the lasting legacies—social, political, environmental—of colonialism, they recall also the economic benefits produced by the mines and the ruin made of them after independence. Appropriating and assimilating all of this history, Baloji transforms the diverse temporal and personal fragments into a contemporary reading, and he believes this opens a way forward."
"Sammy Baloji was born in 1978 in Lubumbashi, Democratic Republic of Congo, where he still lives and works. After graduating in Literature and Human Sciences at the University of Lubumbashi, he started out doing cartoons and then turned to video and photography. At the beginning, he focussed his work on ethnography and body expressiveness. Later he has become interested in the cultural heritage of Katanga, his province, and particularly in its colonial architecture. He has taken part into many different projects and his films and photos have been shown in several international exhibitions.
Ethnography, architecture, and urbanism stand out among his current focuses. His reading of the Congolese past is a way of analyzing African identity today, through all the political systems that the society has experienced. That identity can be connoted through the occupation of space, how the environment is exploited, or through obvious signs of a civilization that was built before, during, and after colonization, moving into the current era of globalization. The essence of Baloji’s concern lies in the daily life of Congolese people. They themselves are traces of the recent past, which is also present. To superimpose the past onto the present reveals the will to denounce both past and present abuses."
Ethnography, architecture, and urbanism stand out among his current focuses. His reading of the Congolese past is a way of analyzing African identity today, through all the political systems that the society has experienced. That identity can be connoted through the occupation of space, how the environment is exploited, or through obvious signs of a civilization that was built before, during, and after colonization, moving into the current era of globalization. The essence of Baloji’s concern lies in the daily life of Congolese people. They themselves are traces of the recent past, which is also present. To superimpose the past onto the present reveals the will to denounce both past and present abuses."
Comparative Essay:
For my essay I have decided to compare two photographers who both chose to collage their photographic work, Sammy Baloji and David Hockney.
Although Hockney and Baloji similarly present their photography in the form of a collage, they have very different ways of doing this.
Baloji's remarkable series entitled 'Memory' (2006) is a sequence of collaged images combining subtle coloured panoramas of today's landscape with black-and-white archival images of the Congolese workers whose labour produced great wealth for the colonial powers, where as Hockney's series of collages which he calls 'joiners' consists of a series of photographs taken from different viewpoints, arranged (overlapping) to form a single piece. By taking the pictures from carefully selected viewpoints, and arranging them in the right way, Hockney is able to change the apparent shape of space and introduce the element of time into the work. For instance, using this technique you can make a circular wall seem flat!
As you can see both Hockney and Baloji's collages look very different:
David Hockney - Place Furstenberg, Paris (1985)
Sammy Baloji - 'Mémoire' (2006)
Hockney's collages take more time and precision to achieve the above effect, Hockney uses a large quantity of mini-photo's to create one big collage. Where as Baloji only uses a few to collage together, Hockney's method is arguably a more difficult method of collaging.
Hockney's 'joiners' tend to hold representations of space and perspective, where as Baloji's collage's hold strong political representations of the fate of the Congolese people. - a more specific representation.
Another obvious difference between Baloji and Hockney's work, apart from the meaning and representations behind their photography, is the colouring effects both photographers achieve. Baloji's series 'Memoire', consists of a variety of collage's with a coloured panorama background and black and white portraits of the Congolese workers almost placed onto the photo, as the foreground. This effect is very distinctive, making the black and white portrait stand out very boldly. Baloji is clearly trying to convey strong political opinions through his photography, the use of combined black and white photography and coloured photography definitely helps to convey these opinions and make the Congolese workers stand out in contrast to the coloured background.
On the other hand, Hockney's photography tends to be more vibrant, his photographs are usually always in colour opposed to black and white. Hockney plays with perspective in his photography. He produced a set of collages where his starting point was a photo of his feet and the rest of the collage consisted of him photographing the landscape from his feet upwards, creating an image that holds a strong sense of perspective.
Hockney's 'joiners' tend to hold representations of space and perspective, where as Baloji's collage's hold strong political representations of the fate of the Congolese people. - a more specific representation.
Another obvious difference between Baloji and Hockney's work, apart from the meaning and representations behind their photography, is the colouring effects both photographers achieve. Baloji's series 'Memoire', consists of a variety of collage's with a coloured panorama background and black and white portraits of the Congolese workers almost placed onto the photo, as the foreground. This effect is very distinctive, making the black and white portrait stand out very boldly. Baloji is clearly trying to convey strong political opinions through his photography, the use of combined black and white photography and coloured photography definitely helps to convey these opinions and make the Congolese workers stand out in contrast to the coloured background.
On the other hand, Hockney's photography tends to be more vibrant, his photographs are usually always in colour opposed to black and white. Hockney plays with perspective in his photography. He produced a set of collages where his starting point was a photo of his feet and the rest of the collage consisted of him photographing the landscape from his feet upwards, creating an image that holds a strong sense of perspective.
David Hockney - Telephone Pole, 1982 photographic collage. edition: 15
In his photo collages, Hockney creates a different concept of spacial dimension and perspective.
Another interesting factor in the way Hockney presents his work is the layout, the above collage looks almost like a selection of images simply scattered onto a piece of card. He achieves a messy and effortless looking composition, which looks very effective in the form of a collage.
As I have preciously produced a set of montage-type photo's in a response to David Hockney I know how difficult it is to achieve a precise montage when using the collage technique that Hockney uses, therefore I have a lot of respect for Hockney in the way he gets his montages to look so effortlessly placed together and still hold an interesting sense of perspective! The important thing about Hockney's montages is that the single images don't have to be EXACTLY lined up, in fact the way that Hockney's images aren't all completely precise and exact in their arrangement, helps to creates an even more interesting effect.
Another interesting factor in the way Hockney presents his work is the layout, the above collage looks almost like a selection of images simply scattered onto a piece of card. He achieves a messy and effortless looking composition, which looks very effective in the form of a collage.
As I have preciously produced a set of montage-type photo's in a response to David Hockney I know how difficult it is to achieve a precise montage when using the collage technique that Hockney uses, therefore I have a lot of respect for Hockney in the way he gets his montages to look so effortlessly placed together and still hold an interesting sense of perspective! The important thing about Hockney's montages is that the single images don't have to be EXACTLY lined up, in fact the way that Hockney's images aren't all completely precise and exact in their arrangement, helps to creates an even more interesting effect.
Sammy Baloji - 'Gécamines', from the series, Memory, 2006. Lubumbashi, Democratic Republic of Congo.
In his photomontages, Baloji superimposes archival images of European officials and Congolese labourers who built the mine's once-imposing industrial sites onto contemporary photographs that highlight their current state of decline and ruin. The company's history is inextricably connected to that of the country and the well-being of its people.
Baloji has commented that although the Congolese 'know Gécamines will never be the same "goose that lays golden eggs," it has fed, clothed, and educated not only themselves but also their parents, their grandparents and even great great grandparents.'
I really like the 3D effect that Baloji achieves in the above photomontage titled 'Gécamines'. It seems that Baloji has stitched together 3 colour panoramas for the background and edited in a black-and-white portrait of a what I can assume is a Congolese prisoner, onto the foreground. The background, although it consists of 3 different panoramas, appears as one solid background. There is a clear distinction between the background and foreground, not only does the Congolese prisoner stand out in contrast to the background due to the black-and-white effect used, but he stands out in a 3D form as well. Almost coming off the photo.
Baloji has commented that although the Congolese 'know Gécamines will never be the same "goose that lays golden eggs," it has fed, clothed, and educated not only themselves but also their parents, their grandparents and even great great grandparents.'
I really like the 3D effect that Baloji achieves in the above photomontage titled 'Gécamines'. It seems that Baloji has stitched together 3 colour panoramas for the background and edited in a black-and-white portrait of a what I can assume is a Congolese prisoner, onto the foreground. The background, although it consists of 3 different panoramas, appears as one solid background. There is a clear distinction between the background and foreground, not only does the Congolese prisoner stand out in contrast to the background due to the black-and-white effect used, but he stands out in a 3D form as well. Almost coming off the photo.
Sammy Baloji - Prince Claus Award:
About the Prince Claus Awards:
Our initiativeThe Prince Claus Fund approaches a changing group of experts in fields relevant to its mission of culture and development to nominate candidates.
Outstanding quality and impactThe two essential criteria for selection for a Prince Claus Award are: the outstanding quality of a laureate’s work, and the positive effect of a laureate’s work on a wider cultural or social field. The Prince Claus Fund interprets culture in a broad sense to encompass all kinds of artistic and intellectual disciplines, science, media and education.
The Principal Award of € 100,000 is presented during a festive ceremony in Amsterdam in December every year. The additional awards of € 25,000 each are presented at ceremonies in the Dutch embassies in the countries where the recipients live.The Prince Claus Fund maintains a broadly based view of culture that accommodates all kinds of artistic and intellectual disciplines, the transmission of culture, and education and media. In addition, the Fund is interested in the cultural and intercultural dimensions of fields that are not obviously a part of ‘culture’ in the conventional sense. Examples include technology, science and sport. These fields may also entail vocabularies and vernaculars – such as salsa, rap, combat sports and marathon running – that travel across the world and develop into universal languages that span different cultures. Interculturality is prominent on the Fund’s agenda.
In 2009, Sammy Baloji received a Prince Claus Award of €25,000 for his powerful, socially critical work.
Baloji was awarded for his highly original inscription of the painful history of human and environmental exploitation into the present-day landscape, for bringing Congo’s current realities to an international platform, for his important contribution to the memory of the Congo providing a new reading of the present, and for his challenging demonstration that development can only be realised after duly taking into account the traumas of the past.
Our initiativeThe Prince Claus Fund approaches a changing group of experts in fields relevant to its mission of culture and development to nominate candidates.
Outstanding quality and impactThe two essential criteria for selection for a Prince Claus Award are: the outstanding quality of a laureate’s work, and the positive effect of a laureate’s work on a wider cultural or social field. The Prince Claus Fund interprets culture in a broad sense to encompass all kinds of artistic and intellectual disciplines, science, media and education.
The Principal Award of € 100,000 is presented during a festive ceremony in Amsterdam in December every year. The additional awards of € 25,000 each are presented at ceremonies in the Dutch embassies in the countries where the recipients live.The Prince Claus Fund maintains a broadly based view of culture that accommodates all kinds of artistic and intellectual disciplines, the transmission of culture, and education and media. In addition, the Fund is interested in the cultural and intercultural dimensions of fields that are not obviously a part of ‘culture’ in the conventional sense. Examples include technology, science and sport. These fields may also entail vocabularies and vernaculars – such as salsa, rap, combat sports and marathon running – that travel across the world and develop into universal languages that span different cultures. Interculturality is prominent on the Fund’s agenda.
In 2009, Sammy Baloji received a Prince Claus Award of €25,000 for his powerful, socially critical work.
Baloji was awarded for his highly original inscription of the painful history of human and environmental exploitation into the present-day landscape, for bringing Congo’s current realities to an international platform, for his important contribution to the memory of the Congo providing a new reading of the present, and for his challenging demonstration that development can only be realised after duly taking into account the traumas of the past.
Hockney goes for a mis-match effect in his photomontages, where as Baloji's montages are more neatly put together. I personally prefer the effect Hockney achieves in his photography opposed to the effect Baloji achieves. Although both photographers are very inspiring I'd have to say my favourite of the two is Hockney, hands down. Even though one might argue that Baloji's work has more 'meaningful' ideas and representations behind it, I still prefer the look that Hockney manages to accomplish within his photomontages.
Hockney's work is very surreal, I could spend longer analysing Hockney's work than I could Baloji's.
My favourite montage by Hockney is 'Merced River,Yosemite Valley' (1982)
Hockney's work is very surreal, I could spend longer analysing Hockney's work than I could Baloji's.
My favourite montage by Hockney is 'Merced River,Yosemite Valley' (1982)
I love everything about this particular montage, Hockney achieves serenity, peace, beauty and amazing colouring. Not only is the photo of a beautiful landscape, but the way in which the montage is put together really adds to the beauty of the image. Normal landscape photography, although it can be stunning to look at, can sometimes lack personality and individuality. Hockney makes sure these factors aren't possible in the way he presents his work in photomontage style.
Each piece of the montage holds a unique colour, shading, lighting and texture. When put together these essential factors really bring the photo to life. The way in which the pieces of the montage are placed together also create a 3D effect, when looking at a photo of a landscape I don't usually feel drawn into the image, however, with this montage everything is really exaggerated. I feel as if I have been here myself, and almost recognise the clear gushing water and extraordinary scenery.
A main factor of Hockney's work which I prefer to Baloji's is his use of colouring. In the above montage the colours work so perfectly with each other creating a calming and peaceful scene. Where as the colouring in Baloji's work, mainly the black and white, creates a more dull, dark and depressing image. Obviously Baloji is trying to achieve this effect, and open up people's eyes regarding the political and economic situation in
Each piece of the montage holds a unique colour, shading, lighting and texture. When put together these essential factors really bring the photo to life. The way in which the pieces of the montage are placed together also create a 3D effect, when looking at a photo of a landscape I don't usually feel drawn into the image, however, with this montage everything is really exaggerated. I feel as if I have been here myself, and almost recognise the clear gushing water and extraordinary scenery.
A main factor of Hockney's work which I prefer to Baloji's is his use of colouring. In the above montage the colours work so perfectly with each other creating a calming and peaceful scene. Where as the colouring in Baloji's work, mainly the black and white, creates a more dull, dark and depressing image. Obviously Baloji is trying to achieve this effect, and open up people's eyes regarding the political and economic situation in