final thoughts on my portfolio project

finally im finished this project it been a work of labour and stress and love it's been fun it's been tiring it's been depressing now it's over and i have mixed feeling i want there to be more to the project but i'm so glad its over now i can relax  but i'm also sad because with this project finished it also means the course is over i've met so many new people and made some good friends  i've learned so many skills in this course  but know i have so much left to learn .

this is my favourite picture from my portfolio the lines and the light  really give it a feel of summer day 

to be

i want to say a big thank you to caryline for all the help and patience  i know i'm not the easiest student

and a thank you to my classmates for your help as well

and finally thanks mum for being my taxi my


Ps this blog is not what I wanted it to be but it the best I could do  with  how life and my portfolio took all time over

dt 2 week 4 sdt

what where you think when you made this work ?
i was think about how much it irks me that people are just letting some valuable pieces of history slip through their hands

what was going on in the world and did any of these events influence your think at the time ?
vintage trains are always been solid for scrape very few remain in savable condition in the world and only a few are working condition

what genre and subgenre does your work fit into ?
my work fits into the editorial genre with a subgenre of documentary and architectural

who are your photographic influences ?

im not sure i have any


are you influenced by artists working in other disciplines ?

i dont think so





Colin Telfer Gifford (born 1936) is a British railway photographer. Gifford pioneered the "New Approach" to railway photography in the 1960s during the declining years of steam. This approach relies heavily on abstraction and sought to encapsulate the dirty workingatmosphere of the railway. 

 

i think this photo was taken in the uk  

it was taken some time in the 50s -60s  

i viweing this work on http://www.newcastle-arts-centre.co.uk/colin_gifford_photographer.htm yes if it wasnt online i would never have seen it

DT2 week 2 evaluating an image

Creative Shutter Speed: Master the Art of Motion Capture Paperback – CD-ROM, August 10, 2009

by Derek Doeffinger  (Author) 

evaluating an image  

what do i see ? 

i see a reflection  in the water of some sort of building ?  

what camera and compositional techniques have been used ? 

well it's a close crop i have to say a fast shutter speed and maybe a nd filter 

what does this image make me feel ? 

i want to go swimming also frustrated i want to know what that reflection is of   

what ideas is the photographer working with ? 

this photo is to show what you can get using the settings in the book   

uxbridge

 uxbridge 

are vist to the uxbridge creative center was really i really liked the work by joyce campbell
this is my favourite picture from the show i really like the detail in the rock thats black

are speaker (i cant spell name )was really informative about the show and i like that he told us some of his back history and how he related that to joyce's work


http://www.uxbridge.org.nz/

Joyce Campbell

joyce campbell 

Joyce Campbell (b. 1971 New Zealand) is an interdisciplinary artist working in sculpture, photography, film and video installation who's recent work utilizes anachronistic photographic techniques to examine the collision of natural and cultural systems. She is a senior lecturer at the University of Auckland Elam School of the Arts and has lectured in studio art at Claremont Graduate University, Scripps College, University of California, Irvine and California State University, Northridge while occasionally working as a freelance curator and art writer. She has participated in numerous solo exhibitions including Joyce Campbell: Te Taniwha/Crown Coach at Pitzer College Art Galleries in Claremont, CA (2012); Te Taniwha at Two Rooms in Auckland, New Zealand (2010), Hastings City Art Gallery (2012) and at McNamara Gallery in Wanganui, New Zealand (2010); LA Botanical and Last Light at Christchurch Art Gallery in Te Puna o Waiwhetu, New Zealand (2010); Crown Coach Botanical at Two Rooms in Auckland, New Zealand (2008); LA Botanical at G727 in Los Angeles, CA and at Starkwhite in Auckland, New Zealand (2007); and Growth and Change at California State University, San Marcos, CA (2006). She has also participated in numerous group exhibitions including Che Mondo at the Los Angeles Municipal Art Gallery in Los Angeles, CA (2013) BROODWORK: It’s About Time at Ben Maltz Gallery, Otis College of Art and Design in Los Angeles, CA (2011); Antarctica at Pitzer Art Galleries, Pitzer College in Claremont, CA (2007); Nature (Interrupted) at 18th Street Art Center in Santa Monica, CA (2007); Contemporary Landscape Photography at Millard Sheets Art Center in Pomona, CA (2007); Tools of Survival at McNamara Gallery in Wanganui, New Zealand (2007); Artists Who Teach at Sam Francis Gallery in Santa Monica, CA (2006); Faculty Exhibition at Ruth Chandler Williamson Gallery, Scripps College in Claremont, CA (2005); Brittle City at Gallery 727 in Los Angeles, CA (2005); and The Garden Lab Experiment in Pasadena, CA (2004). Campbell was a recipient of University of California Inter-campus Arts research Grant in 1998. In 2006, she was selected as one of the Antarctica New Zealand/Creative New Zealand Artists to Antarctica Programme awardees. In 2007, she was awarded an ARC Grant from The Durfee Foundation. Campbell is represented by McNamara Gallery in Wanganui, New Zealand, Two Rooms in Auckland, New Zealand and Nadene Milne Gallery in Arrowtown, New Zealand. She is also a member of Artists Pension Trust Los Angeles. Campbell lives and works in New Zealand and, periodically, in the United States.

Joyce Campbell has a BFA(1992) from Canterbury University and an MFA with honours(1999) from The University of Auckland. She is currently a PhD Candidate in Creative Practice at The University of Auckland, New Zealand. She is represented by McNamara Gallery in Wanganui, New Zealand, Two Rooms in Auckland, New Zealand and Nadene Milne Gallery in Arrowtown, New Zealand. Joyce is a member of Artists Pension Trust Los Angeles.


http://www.mcnamara.co.nz



http://www.tworooms.org.nz/

 http://www.nadenemilnegallery.com/

Joyce Campbell: Artist Statement

My research lies at the intersection between academic specialties within creative practice, science and philosophy. My recent, ongoing research project Te Taniwha, extends this interdisciplinary reach to encompass Maori mythology, while my doctoral research anticipates a further extension from photographic practices into visionary literature and film. Underlying my interest in these divergent disciplines is a persistent questioning of the function of visual art during a time of rapidly accelerating global environmental crisis. My aim is to produce research that is simultaneously rigorous and true to several paradigms; that is both objective and opinionated, and that functions as documentary, as activism and as divination. I am a photographer who makes images of landscapes and of objects within landscapes. Recent theorization of such photography has been dominated by assertions of the sublime as a quality of both Nature and art. At a time when Nature stumbles and fails, this analogy is becoming distended to the point of collapse.  I am attempting to theorize and visualize an ecology that is no longer overwhelming beyond imagination or speech, but rather is limited, damaged, injured and defiled, or resistant, volitional and responding with fury. To further my research goals, I have found myself turning to the sacred, the visionary and the mythological, and to primal images and experiences of the maternal body becoming animal.

  

 i haven't looked at much of joyce's work but what  i have seen i like a lot the show of her works that we saw at uxbridge really sparked an interest with me because of my background in landscapes and writing


photo response 


now this response is very rushed as i totally forgot that i hadn't done the photos for this response yet  so i ran outside and took some photos on my compact camera i haven't done any editing because my camera only shoots in jpeg i got the idea to do plants from joyce's work la botanical below



http://www.joycecampbell.com/collections/view/13


la botanical

 

here are a few of the pictures i took  there a bit ruth i'm not used to using my small cam as much as my dslr now but i think they still came out quite good 

digital technology two week 4 richard mosses

what genre/s does richard mosses  'the enclave " fit into ?


 richard mosses work fits into the documentary genre but not in the traditional way .the way he takes these photos bends the rules of the documentary genre .his use of infared film breaks the tradition of documentary photography where the photos are shown as the scene is whether that be in black and white of in the natural colors of the scene



what is the history that relates to this project ?

the war in east congo

 is there anything in his own history that influences this work  

richard mosses grew up in ireland with a quaker background  he grew up with the knowledge of the events in  ireland at that time 

why did he choose to use kodak infared film for this project

his choice to use infared film for  this project was inspired by the army's use of it to show what was hidden i.e people hidden among the the greenery . richard  mosses wanted to use this film to revile the war to people to


how does this film fit into the documentary genre 

out of the ordinary not tridisnial for this type of work


how many times has he been to the eastern congo for this project ? why do you think he has been back so many times ?



richard mosses has been to the congo 8 times over 8 years


what justification does he have for cheating such beautiful images to represent such horrific events ?why would he be criticized for this ?how does this differ from other war photographs you  have seen ? 


he's trying to reveal the conflict like never before yo think its just a nice landscape at first then you start seeing what's actually happening as the photos go on

dt 2 shutha genre exercise

the creative genres require the most retouching because you are usually remaking reality


editrial
david la chepal -more creative but has some editorial work
anie leqwarts -also for creative as well
yosef carsh -editoal
Henri Cartier-Bresson 
creative 
loreta lux 
gregory crewdson  
lisa reah  

can't think of any photographer that can fit into the creative fine art genre or editorial 

my photography will be editorial  this term 

research for portfolio

 websites iv used  for my research for my portfolio project

http://www.newcastle-arts-centre.co.uk/colin_gifford_photographer.htms


http://www.nzhistory.net.nz/culture/railway-stations/changing-


http://www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=


http://www.brit.co/hang-your-prints/

http://www.hongkiat.com/blog/50-great-photographers-you-should-know/ 

http://www.jaywatson.com/blog/2010/04/16/float-mounting-photos/ 


some book iv used for my research


art and photography  edited by david campany

photographic eye  learning to see with a camera  michael f obrien and norman sibley

the photographers assistant  john kieffer

creative shutter speed derek doeffinger


this is only some of my research iv not been good at writing down the websites i have visited or the books i have read

portfolio -week 2-porfolio questions

portfolio questions 

 

what is your genre ?  

my genre is editorial with sub genres which are architectural and documentary 

what defines this genre ? 

shooting what's there as it is we don't create the scene we find it 

who else is working in this genre ?   

simon devitt 

david austin  
are two names in photography who have done similar work as me 

glenbrook railway

glenbrook railway 

http://www.gvr.co.nz/

The Glenbrook Vintage Railway (GVR) is a  heritage steam railway operating through picturesque rural countryside over 7.4 km of the former New Zealand Railways (NZR) Waiuku branch line, from Glenbrook to Waiuku, 60 Km south west of Auckland, New Zealand. The GVR operates largely ex-NZR locomotives, rolling stock and infrastructure gathered from all over the country. Even the operating methods, uniforms and "way of life" of New Zealand's railway "steam age" are replicated. Restored, maintained and operated entirely by volunteers, the GVR is constituted as a Charitable Trust and is funded largely by receipts from the more than 30,000 passengers carried annually in an eight month October to June season. The railway does not depend on, or receive, any Government or local body assistance. In addition to scheduled services on Sundays and holiday periods, the GVR is available for charter trips for various organisations throughout the year, and holds special events such as the popular "Day Out With Thomas" weekends, goods train photographic days for enthusiasts, and steam and vintage festivals. 

Much more than a museum, the GVR is a fully-fledged operating heritage railway, and an ongoing live project of the Railway Enthusiasts Society (RES), with restorations of locomotives, rolling stock and infrastructure proceeding as time, labour and finance permits, while further track extensions into Waiuku and the Tamakai Reserve are planned. Membership of the RES opens the way for volunteering on the GVR,  and volunteers  are always welcome to assist in the restoration and maintenance of the Railway and operation of the trains. 

my trip out to glenbrook was good and bad lets start with the good . the first good thing was that i was back at glenbrook i hadn't been out at glenbrook for so long i felt good to be back second reason it was good that i got there at about 3 so the lighting was nice  and the third was that there wasn't to many people there this is want i wanted to have so the photos would show how people are moving away from older trains to the flashy new ones but that theses still the small few who fight to keep these pieces of history . 

now for the parts that made this trip bad firstly i was tired so i wasn't  thinking right  also there was only 1 more train for the day so i didn't have long before i had to get on i would have liked to been able to catch at least  2 trains so i could have a chance to get some shoots again next part that was bad was cardspace i only had 5 cards that i could use and the filled up fast because i was take a lot of the same scene so i knew i would get at least 1 good one of each scene next problem and mostly the worst was my settings  i was switching between AV TV and M mode trying to get the right settings but  i messed them up so bad nearly all my photos came out grainy i don't know what was going on in my brain maybe it was the distraction of been back at the railway  .   





this is my fav photo from this trip lol iv always found it funny for some reason 

papakura gallery

papakura gallery 

http://www.aucklandcouncil.govt.nz/en/newseventsculture/arts/artscentretheatresgalleries/pages/papakuraartgallery.aspx

http://www.peterevansphotography.co.nz/
i couldn't find this photo on this site but still an interesting site to visit

this photo by peter evans really pulled me in with its stormy skies and really rough clay the detail from the sky and ground really blend well together

the simple way it has been framed make it look like the frame was part of the wall this really makes the picture stand out without making it look like the picture was just pined to the wall

i think a wide angle lens must have been used to capture this picture and not a low angle but like he was standing a bit bent with how the ground is quite close up 

deital tec 2 - Penina Momoisea

penina momoisea 

thoughts before visit 

penina momoisea seems to be a very free and bubby sprite from what iv seen on her site http://peninajoy.com/  and from her self blurb. she shows this through her photos she has a lovely mix of photos  and the ink series she is doing seems very cool i like her casual style of blogging with slang, emotions and all lol  

these are some of her photos that really stood out to me 

 

this photo really just caught my eye with the patterns thought out the picture and how the giraffe is almost  in the center of the frame  the close crop on this picture really works nicely to frame the Giraffic 

 

this high angle view of a train yard is really nice with the leading line going off into the distance and the patterns of the lights is complementary to the rails. the light in this photo seems a bit bright but that could just be my computer screen 

 

this is a really cool photo of bamboo because you don't normally see bamboo like this and the low angel gives you a sense of how high these plants stand. having a bit more of the tops of the trees with some sky would make this photo really nice 

After visit  thoughts 

after our visit from penina my thoughts on her have not really changed she seems outgoing and very friendly penina started her photography life at about 10 with her first film camera penina grew up in the islands she's involved with a lot of things and her work seems in formal but at the same time her pictures tell a story 

my idea for my photo response is to create a collage of my close family and pets  

this is the collage i made i didn't realize that the program i lot only lets me do 7 photos for each college so i just picked a few of my favs for this response  

in the top line we have einstein fluffy and trouble in the middle we have dimples  and the bottom line consists of murthy patch and midnight 

week 7 portfolio thought

aaaarrrrrrrararrarararrarrr r rrrarrr week 7 so not ready for this this week i'm editing photos so much editing  can't believe only one more week to go my project is so not ready i haven't got the pictures i wanted and the ones from glenbrook are such a mess i'm going to do the best i can but i feel like i need another month to finish this arrrrrrr also hanging i've looked at different styles but i think im going to have to put them in groups I.E have trains in one group then have station in another not sure of how ill place the groups on the wall yet i've had one idea  but it going to be to cramped on such a big wall have to wait till i get to the wall in finalise my placement

 

this is one idea for my final layout

week 6 portfolio thoughts

this week i'm starting to select possible final photos for my portfolio my photos are have come a bit away from my original  idea  of showing how the train stations differ in care to more showing casing the beauty of old and new and how they go together

portfolio thoughts week 5

its trains  i'm going to do trains  i'm going to try and show how older trains are disappearing and how the older and less used stations are cared for less and left to rot to do this im going to go to some of the older stations that i know are run down then go to some of the more newer stations and show how the old ones are arouth version of what they should be and how the new stations are kept spick and span

portfolio thoughts week 4

this week i've been thinking what story could behind my 2 main portfolio ideas trains and birds .

for trains i've been thinking of showing how old trains are been so quickly replaced by new flashy trains to do this i think i'll do a series of pictures of trains from the vintage trains out at glenbrook to the flashy new electric trains.this idea could probably be expanded more as i go   but that's the basic idea for now.


for birds i was thinking of doing a series of the birds of auckland the ones you see every day but i just don't know if that's going to be good enough  .


an after thought could i combine trains and birds into one ?

portfolio thoughts week 3

this  past  week i've been think more more about what i'm doing my project on i'm leaning more towards trains but birds are still in the play. i've had a lot of other ideas for my project i thought about doing interesting shadows, sand imprints ,light drawing,animal portraits to name a few but none sound as good as trains  or birds now i've just got to figure out what i want my project to say for each and then  pick which sound best to me

my thoughts on my presentation of my portfolio week 1-2

over the last couple  weeks I've had a lot of thoughts on what i would do my project on my main choices where to do birds or to do trains both have a solid place in my photography . 

to do my project on birds would mean going to places where a lot of birds live like the Auckland domain or the beach the only problem with this is there's really only 2 or 3 types of birds i could get at these places i would rather have a wide range of birds if i was to do birds for my portfolio i could add my birds at home butt that would not give it the same feel as having birds in the wild .

to do trains for my project would mean a lot going out and try to catch trains also it could get quite expensive trying to get to all the locations also can you take photos in train stations ?   also how   do  you shoot trains ? what angels are best?  lighting would have to be natural what setting would i use ? the best time of day to shoot ? 


both projects have there own problems and perks to doing them iv just got to way up the pros and cons for each and try to figure out which one i can do 

haru sameshima

haru sameshima 

Haru Sameshima was born in 1958, Shizuoka City, Japan.  Immigrated to New Zealand 1973.  He was taught photography by his scientist father at early age.  He worked in small Dunedin photographic studio learning the craft before attending Otago Polytechnic Art School in 1980, then completing BFA (1992) and MFA (1995) at Elam School of Fine Arts, University of Auckland.

Sameshima has been exhibited and published widely in New Zealand. His on-going photographic essays include eco- Tourism 1990 to present – photographic investigation of the touristic-construction of places and imagery of New Zealand, Souvenir from the tourist sites of popular tourist destinations from the globe. He is the author of Bold Centuries: a photographic history album, published by Rim Books and PhotoForum in 2009. This publication features Sameshima’s own photography along with historical and found images. It is compiled with essays examining the various ways in which photographs depict the surroundings to construct sense of histories.

Sameshima has also shown portfolios in International Triennial Bright Paradise at Auckland Art Gallery (2001), Wonderland at Govett-Brewster Gallery in New Plymouth (1999) and  Fotographia, Festival Internationale Di Roma. Italy 2006.

i like the range of photos that iv seen of haru's especially his glass work i also like that he's not just a photographer he has so been things that he does as the old saying goes he wears many hats 

photo response 

this is the photo i want to try and recreate  the glass bottle is in the center of the frame which i find quite nice for this type of photography also its the only thing in the   secan    so you know it's the subject the black back ground looks really nice it gives the bottle substance i think this would have been done on a product table i think there's only 1 light  been used in  this photo  

these are my favorites from my try at recreating the above picture it was fun trying to do these i don't have enough light to get the effect i wanted but they still came out nice i played around with the settings  a bit but my main settings ended up being f/5.6 1/15 iso 100

which is what i used to get the photo of the red cat 

this is my favourite 

im not sure why there's that line of light in this photo but it's nice 

i thought having the pair together would be nice and it seems to work