#depthoffield

#movements #depthoffield

i chose this music video because the way is been shoot is looks like Eadweard Muybridge photographs style.

In the 19th century

•New technologies produce sense of time-space compression (instant communication via the telegraph, for example) 

•New ways of measuring time and experiencing vision as a result of railway travel 

•Beginnings of globalisation 

•Invention of photography and then cinema opens up new ways of “slicing” time. 

•'discussion of photography is dominated by the concept of time. Photographs appear as devices for stopping time and preserving fragments of the past, like flies in amber’ -Peter Wollen (in “Fire and Ice”) 

Amazing!!!

Surreal Photography by Charlie Davoli

In this photographs I wanted to capture frozen motions and ast shutter speed in the same way as in my other experiment.

I haven’t show my contact sheets because I edit my photographs dawn to this. I have used three soft box lights. I was the photographe. This photograph is the one I mostly like because everything is in the right place the way she flipped her hair and where it’s been placed.

#PhotoShopp

Using Photoshop I have combined my photographs to make one single image that tells the story of what I saw as the rider rode past me. I found that I didn’t need all of the photographs that I had taken however. There were quite a few that over lapped which made the editing harder and the image look too busy. Being selective over the photos that I have used has ensured all the key moments are there and it is still easy to understand.

I want to do something like this for my project.

An artist with an interesting take on movement is David Hockney. Through the 70’s and 80’s Hockney produced a series of works that he called ‘joiners’. These were multiple photographs, often Polaroid’s, arranged in a collage. The earliest pieces in this series of works were often portraits but as the subjects moved, as would the framing of the photograph. This produced a short story of the way that the photographer perceived the subject over a period of time (all be it short) as appose to a single moment which is a restriction of a single photographic image.

#Wow

I good place to experiment with the light trails idea was the fun fair. The lights on the rides are set on fixed paths which creates some really interesting shapes. I was aiming to make it clear that these were rides but use the trails to show the movement of the ride.

Michael Wesely

The recent work of photographer Michael Wesely (Munich, 1963) proposes an interesting way for travelling across the liquid nature of time in photography. In his hands, the time contained in a single picture is dilated to the extent of becoming a matter of days, months and even years.

Over the last two decades, Michael Wesely has been developing a long exposure technique, whose details are still kept in secret, that allowed him to make images up to 3 years of exposure time - Wesely claims indeed that he could do exposures almost indefinitely, up to 40 years -. Presumably he´s using a large format camera of 4x5, extended for allowing the use of a pinhole-like lens which might be suited with ND filters for reducing dramatically the final amount of light exposed to the negative. However, the real gear remains elusive and we can only speak certainly about its results. What follows below is a set of photographs that document the re-construction of the

Museum of Modern Art of New York

, from its demolition in 2001 until its complete re-building in 2004. Wesely used 8 cameras positioned in four different corners around the construction site, and he left the shutter open for up to 34 months.

Three damantiom painting we look at in the class sometime ago. #example

You see through me / Matt Martin