Aaron Scharf (25 October 1990) Art and Photography, Penguin Books Ltd, Photography as art; art as photography pg.233-242
The content of the material I read is all about how photography changed over the time and how art photography evolved to something on a bigger scale. The author is mentioning that once the digital cameras were invented ’’Such photographers were thus placed in a position similar to that in which they had placed painters a half century earlier and the chain of reactions at the end of the century must have had a profound influence on the new directions painting had already taken.’’ I agree to this statement as in my opinion viewers, audience are recognizing the real art when they perceive something new, shocking and unique. Majority is against it in the first circumstance however as the time is passing by, viewers are noticing the beauty inside the art piece.
The content of the material I read is all about how photography changed over the time and how art photography evolved to something on a bigger scale. The author is mentioning that once the digital cameras were invented ’’Such photographers were thus placed in a position similar to that in which they had placed painters a half century earlier and the chain of reactions at the end of the century must have had a profound influence on the new directions painting had already taken.’’ I agree to this statement as in my opinion viewers, audience are recognizing the real art when they perceive something new, shocking and unique. Majority is against it in the first circumstance however as the time is passing by, viewers are noticing the beauty inside the art piece.
Next convincing point the artist is giving in this book is about the air-brushing ’’…which appeared about that time, was as useful technically as it was meaningful symbolically. Employed mainly in photographic retouching and for adding background and other forms to the composition, it could produce the subtle gradations of tone required for a consistent photographic appearance.’’ I think that in time when the book was written the technology wasn’t evolved as now. Although I believe air-brushing is needed as stated above, not like in our days when even the composition of the photo is ‘fake’.
The art photography is wide subject to talk about and as Rodin Auguste definite in the book ’’I believe that photography can create works of art…’’. So every photograph could be consider as a form of art, we as an audience only specify those who are more irreplaceable, distinctive, rare.
The information I would like to explore a bit more is actual fashion photography and art combined together. Yet this book gave me a good starting point for my research. Now I can move on to the fashion photography and maybe than find materials about both disciplines related together.
Edited by Eugenie Shinkle (2008) Fashion as Photography, Viewing and Reviewing Images of Fashion, I.B Tauris, New York, Fashioning Fiction in Photography Since 1990 - Susan Kismaric and Eva Respini pg. 29-34
The aim of the content of the material read by me is to inform about the beginning of fashion photography and how it develop over a period of time. Points made there are approaching the area of cultural aspect and customers need while Cold War or street fashion revolution. The authors are also mentioning about the art being involved in the fashion photography, however at the beginning the artistic aspects wasn’t as important as they are now. They are explaining the modernization of fashion photography moving from the clothing and object to ’’active humans in realising situations’’. This leads the subject progress into the narrative photography which correspondingly combining the art and fashion photography together.
The aim of the content of the material read by me is to inform about the beginning of fashion photography and how it develop over a period of time. Points made there are approaching the area of cultural aspect and customers need while Cold War or street fashion revolution. The authors are also mentioning about the art being involved in the fashion photography, however at the beginning the artistic aspects wasn’t as important as they are now. They are explaining the modernization of fashion photography moving from the clothing and object to ’’active humans in realising situations’’. This leads the subject progress into the narrative photography which correspondingly combining the art and fashion photography together.
Susan Kismaric and Eva Respini are arguing that at the start of fashion photography there was only object(model) and clothing, whereas now there is a ’’photographic description of lifestyle’’, what in their opinion is encouraging our generation to buy products more effectively. The argument fallow fashion photography target audience, who are mostly young adults. Two authors are saying that they have most impact on the sales of the big labelled clothing.
Then the topic changes and writers are describing the connections between the art and photography. The photographs are really artistic drawing the attention of its target audience successfully. Susan Kismaric and Eva Respini are mentioning the first appearance of fashion photography on a cover of Artforum Magazine in 1982. They also referred to popular photographer such as ’’Edward Steichen, Cecil Beaton, Baron Adolf de Meyer, Horst P. Horst, Irving Penn and Richard Avedon’’ and their work perceived as art. Moreover authors are assuming that since then the art-fashion photography increased its popularity and became more recognized. In result more unknown photographers fallowed the rote of artistic fashion photography and even their photos weren’t remembered for long, they still had huge influence in the world of art and fashion.
Richard Avedon
In my opinion some of the points the authors are making are convincing. I am agreeing with the fact that the fashion photography evolved from simple presentation of clothing to something creative, one special moment in time. I like the comparison of earlier photography and object to the modern more complex artistic fashion photography. However I am not really persuaded to the opinion about the young people being the bigger factor within the fashion industry where it comes to photography. In my view they are important, but the most famous brands like Gucci or Dolce & Gabana are aiming at older audience, because they can afford to buy their brand products.
I think the authors should expand more about the subject of art and photography working together well; they should include more examples than just the one about art magazine. Therefore this is the topic I want to find a little bit more about. I will try to find another source as material I studied does not include other resources I could possibly focus on.
Overall I still got some ideas for my final product. It is the representation of older fashion photography and the modern one referring to the art. Although the realization of this idea would be really had as I would like the print to be very big and it might cost a lot of money. I will still consider this idea when planning my final product.
Richard Martin (April 1991) The Idealizing Vision, The Art of Fashion Photography, An Aperture Book, New York, pg. 24-28
Richard Martin (April 1991) The Idealizing Vision, The Art of Fashion Photography, An Aperture Book, New York, pg. 24-28
Main points of an author are about seeing the fashion photography from different perspectives. Not only concentrating on a beauty itself but also making the photograph artistic, which makes the image emphasising the model features even more. The author is correspondingly building the connecting between model, materials and textures used within the photographs. By explaining the viewer’s correspondence to the work Richard Martin defining the nature of art combined with fashion resulting in something the viewer will remember as it is unique and mysterious. This is why the photographs supporting the material are not revealing the model in its full splendour.
Richard Martin is arguing about the surrealism within the fashion photographs and the features used to make the photos special for the viewer. He is referring to Erwin Blumenfeld’s photography, writing about using positioning and lighting within the frame as well as the model’s beauty and how to emphasise it for the viewers to encourage them to take the example from the photo but also see its artistic soul. What ideas author have within this chapter; is comparison of the beauty photographs to the films as they have this special effect; like the scene from the film. I think that this association is really interesting. I also noticed this kind of tension and movement within the art-fashion photography and I think that this may also be connected to art itself. However I don’t agree on the statement about beauty being the most important when it comes to fashion photography. Although author didn’t wrote about it, I got this feeling reading the text.
Anne Hollander (April 1991) The Idealizing Vision, The Art of Fashion Photography, An Aperture Book, New York, pg. 33-61
The author is stating really good valid point ’’…perfection has been embodied in images, visions of enhanced reality that teach the eye how to see clothes, and teach clothes how to look.’’ In my opinion this statement is all about the fashion and art combined together and performed in front of camera so that the photos are ’’teaching’’ the eyes how to portray the world of fashion and yourself within this world. In addition the chapter is about the history of art and fashion photography and how two of the disciplines came and bonded together, how they changed through the years. In 70s the new fashion art was involved presenting an urban life style and the street style. However the portrait photography stayed in the same place not moving forward and exploring the new faces and new ways of revealing them; the model were mainly icons and famous personalities. Then the trend changed to something different, but the photographers even so didn’t imply the art effectively. Later on Anne Hollander is saying ’’feeding the imagination and pushing the visual possibilities of clothing into new emotional territory’’, which I found quite interesting. In my personal view I think that yes, the fashion art photography can always find something to amaze the viewers and that the emotions are important when I comes to passing the massage across (persuade viewer). Although I don’t agree with the suggestion of designers being disappointed because the visions they have sometimes cannot be reflected through the camera. My way of thinking is opposite as I believe that camera can show the person from totally different perspectives making the person and object ugly or pretty and even unreal whereas when you look at the models and setting for photo-shoot sometimes you may be thinking how come the photographs show different colours and different atmosphere. It is all depending on the camera and setting as well as lighting and photographer experience. However the author was right when writing about the aesthetic aspects and how various scenes works on the viewers.
The author is stating really good valid point ’’…perfection has been embodied in images, visions of enhanced reality that teach the eye how to see clothes, and teach clothes how to look.’’ In my opinion this statement is all about the fashion and art combined together and performed in front of camera so that the photos are ’’teaching’’ the eyes how to portray the world of fashion and yourself within this world. In addition the chapter is about the history of art and fashion photography and how two of the disciplines came and bonded together, how they changed through the years. In 70s the new fashion art was involved presenting an urban life style and the street style. However the portrait photography stayed in the same place not moving forward and exploring the new faces and new ways of revealing them; the model were mainly icons and famous personalities. Then the trend changed to something different, but the photographers even so didn’t imply the art effectively. Later on Anne Hollander is saying ’’feeding the imagination and pushing the visual possibilities of clothing into new emotional territory’’, which I found quite interesting. In my personal view I think that yes, the fashion art photography can always find something to amaze the viewers and that the emotions are important when I comes to passing the massage across (persuade viewer). Although I don’t agree with the suggestion of designers being disappointed because the visions they have sometimes cannot be reflected through the camera. My way of thinking is opposite as I believe that camera can show the person from totally different perspectives making the person and object ugly or pretty and even unreal whereas when you look at the models and setting for photo-shoot sometimes you may be thinking how come the photographs show different colours and different atmosphere. It is all depending on the camera and setting as well as lighting and photographer experience. However the author was right when writing about the aesthetic aspects and how various scenes works on the viewers.
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