Assignment 2: Pinhole
Documentation:
September 25th, 2021.
12 PM. Broken Clouds. 26 Degrees.
Image 1: 1 second.
Image 2: ½ second
1 PM: Scattered Clouds. 27 Degrees.
Image 3: 2 seconds.
Image 4: 3 seconds.
2 PM: Scattered Clouds. 28 Degrees.
Image 5: 4 seconds. (movement)
Image 6: 5 seconds.
October 5th, 2021.
9 AM: Partly Sunny, 15 Degrees.
Image 7: 3 seconds.
Image 8: 10 seconds.
Image 9: 10 seconds.
Image 10: 8 seconds.
10 AM: Partly Sunny 20 Degrees.
Image 11: 8 seconds.
Image 12: 7 seconds.
Image 13: 7 seconds.
Image 14: 11 seconds.
11 AM: Partly Sunny 22 Degrees.
Image 15: 11 seconds.
Image 16: 9 seconds.
Image 17: 9 seconds.
October 13th, 2021.
10 AM: Mostly Sunny. 2 Degrees.
Image 18: 8 seconds.
Image 19: 8 seconds.
11 AM: Partly Cloudy. 5 Degrees.
Image 20: 12 seconds.
Image 21: 12 seconds.
Image 22: 15 seconds.
12 PM: Partly Cloudy 8 Degrees.
Image 23: 10 seconds.
Image 24: 5 seconds.
1 PM: Partly Cloudy. 9 Degrees.
Image 25: 15 seconds.
Image 26: 12 seconds.
Considerations/Reflections:
The photos were purposefully cut to a similar size and shape, but without precision. I considered cleaning up the edges to ensure each image had a sharp consistent edge. However, the language of the material as non-perfect was important to me in the physicality of the work. The process of working with unconventional 'frames' (the shape of the inside of a random object/pinhole camera) is well-paired with the raw cut displayed in this collection of imagery.
I also deeply considered art theory and the history of photography in decisions made for the project. One being the question of 'what makes good art', such theory allowed me to let go of my inherited desire to achieve a perfectly crisp image. (Which is starkly contrasted by the original elements of good quality photography in its earliest stages pertaining to language and landscape within painting practice around the same time period). Some of the most cherished images in my body of work were images that were highly abstracted. These images returned me back to the materiality of paint in its texture, composition, etc. Some of the images, though highly abstracted at times, provide an additional avenue of consideration in terms of what deems a photograph to be of 'high quality'. As a student who considers their practice to lie outside of the boundaries of photography, I naturally want to test the boundaries of what makes a good photograph, which is deliberately attempted through the abstract forms in the imagery, to merge photography into my existing ideas and language around other aspects of artistic practise (drawing, painting, sculpture, performance, etc).
Collection:
Take 11:
Take 13:
Take 14:
Take 15:
Take 16:
Take 17:
Take 18:
Take 19:
Take 21:
Take 23:
Take 25:
Comments
Post a Comment