Sunday, November 10, 2013

HOW does a photographer construct the view?

From the work we produced for the mini movie "Constructing the View" we tried to decompose and recompose the photos to illustrate and highlight what we loved about those pictures and what made them so powerful - the sky's reflection in the car's ceiling, the movement of characters and objects, the hat, etc. The Winogrand sketch we did puts the viewer in the place of Winogrand exactly at the moment when the people walking towards him are framed by the business man to the left and the man looking straight at the camera to the right, exactly when he decide to take the picture.

 Gary Winogrand - New York - 1968

My idea is to continue the process we started through the film about how and what the photographer implemented to capture a great photo. 

Time: What did he think at the time? Was it carefully prepared in advance of the picture being taken or was it thanks to "the decisive moment" Henri Cartier-Bresson talks about?
 Henri Cartier-Bresson - Derrière la Gare Saint-Lazare - Paris - 1932

Composition: How much do you keep in the frame how much do you have in focus? What does he want to highlight? How does he construct, through porportions, objectivity or flatness? What made him select a certain frame from another?

The Mental Level: How the photographer through is art impacts on the viewer's impressions and emotions? What he leaves out of the frame for the imagination? What are the photographer's intention when taking the picture?

Michael Woolf - Tokyo Compression 75 - Tokyo - 2010

I base the structure of my anlysis on sub-titles seen through the semester but to look more carefully at the photographer's process. Photographers have multiple methods and tools to create impact on the viewer. I want to research what decisions were made and what approach were taken to create Art through photography.

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