Mark Nevil

https://www.youtube.com/watch?feature=player_embedded&v=l48cYrs2E7s

Bertil Nilsson - Naturally

Myoung Ho Lee

Myoung Ho Lee, a young artist from South Korea, has produced an elaborate series of photographs that pose some unusual questions about representation, reality, art, environment and seeing. 

Simple in concept, complex in execution, he makes us look at a tree in its natural surroundings, but separates the tree artificially from nature by presenting it on an immense white ground, as one would see a painting or photograph on a billboard.

Below is a shortened and very simplified version of a long essay analyzing the work.


Physical Isolation and its Visual Confirmation 

Myoung Ho Lee separates subjects from their original circumstances to derange the difference between subject and image. His work reveals nature by twists and turns, a little fabrication and optical illusion.

Myoung Ho Lee ena   cts his works as 'a series of discourses on deconstruction in the photography-act'. 

His works are largely composed by following four procedures:

1. Selection of The Subject 
2. Separation of The Subject (meta-subject) 
3. Photographing 
4. Confirmation of The Separation 

First, look at the procedure 2: separating the subject from its environmental condition artificially. By setting a big white fabric vertically behind the chosen subject, he makes the subject appear neutral from its original context. The object becomes a 'separated object', an 'ambiguous subject' and a 'meta-subject'.

The challenge of the 'Photography-Act' is deep. Because 'Photography-Act' is not a real subject but a decontextualized and isolated variant from the subject, it is a real subject and non-subject simultaneously.

Procedure 4 confirms the creation of identical chaos to the 'Photography-Act' itself by this separation and decontextualization. 

Shoot 3

Shoot 2

Arthur Aviles Typical Theatre

Lois Greenfield

Chris Nash, costume

This image is really interesting how the dancer and the costume work together while creating a juster position of the fluidity of the free and the angular position of the dancer. Both the dancer and the dress hint to what came before and what is to come in the dance leading the viewer to engage with the image. 

Chris Nash

These images all are a frown moment that exposes dance in a way that can't be seen in a performance, it is the connecting moments that appear to defy gravity and human nature.  These image link to the decisive memento and the work of ........... 

These images allow the viewer to appreciate the power of a dancer not just the beauty. 

Test Shoot

These first 3 images were shot using low light, balanced soft box's on the background, a beauty dish to the models left and a fill honeycomb to the right to stop dark shadows falling on the models face. 

I wanted to experiment with red gels to create a subtle cast on the image. I initially placed the Gel on the beauty dish which turned the model bright red as it was light by the key light. 

Instead a placed the gel on just one of the soft boxes casting a subtle glow on the background, I think this is my favourite use of the red. 

I changed the light set up and used a beauty dish and a large dish with a defuser, the dish with the diffuser had the red gel to create a larger but slightly more subtle glow. 

Nick Knight - Lady Gaga

The use of the costume in this image creates such a beautiful fluidity, I would love to use similar techniques in my own work. 

Lois Greenfield

I love the combination of the dancers form, the power and the control teamed with the fluidity of the material. It gives the image so much context, almost a hint at the past and the dance in the moments before the shutter was fired. Following the brief of red I would like to use some of these techniques in my work.

Exploring dance photography

An opportunity has come up to work with a writer on a dance shoot with a theme of red. I am hoping to do a couple of shoots over the next couple of weeks working on shoots exploring looking at the beautiful form and power of the dance. I would like the images highlight moments in a dance that wouldn't normally be observed and appreciated as a dance is so fluid and fast paced.

Dona Ann McAdams Caught In The Act

A photo a day

I have started shooting a photography a day to ensure I have many images when it come to term 3. I have been exploring the performance in the every day, photographing people unawares and exploring their reaction to the environment. I would love to have a series at the end that could be turned into material that could be used a choreography, the satiating point to a piece of dance about the natural performance a person makes on a daily basis.

My ideas so far...

I would like to shoot dance photographs that use the dancer as a fluid sculpture with the ability to expose dance in a light it wouldn't have been seen otherwise and to create a platform when viewing the image to the imagination of the viewer, personally considering what came before and what is to come.

Some of the key terms I wish to explore further will be:

Pre-emptive, The dancer as a sculpture, decisive moment.

The Decisive Moment

I ewas reading about this image and how the jumping man is eternally stuck jumping over the puddle and we will never see the out come of the leap. We have the ability to apply context and have a prior knowledge to read into this image and understand how it could end but, we can never know the outcome as fact. 

Dance photography relies so much on the decisive moment, it I a break down of a sequence, leaving the viewer of the image to apply a context and it leads the mind to imagine what came before and after that moment in the dance.

From a photographers perspective, it become a pre-emptive experience, thinking ahead in the dance preparing for what we don't know to be performed, ready to capture that decisive moment.

Shoot 1

This shoot was an exploration of the interaction between the dancers, their strength and the beautiful forms created by the dancers. The shapes and positions held that would not otherwise be accessible as they will quickly be lost in the sequence of the dance. This is the first dance shoot I have shot in an outdoor location, It was challenging working on a location that i had so little control over relying on the light and the anders willingness to get involved. 

Dancers: 

Charlotte Russell and Amy Hay 

Northern Dance School