A PHOTO, AN IMAGE, A NARRATIVE

Narrative, Pascale Geha, 2018

Narrative, Pascale Geha, 2018

On March 21st, Petra Stavast will give a lecture on het work and will give feedback on your photos. Possible formats: Printed photos, a GIF animation, a xeroxed booklet or anything in bet- ween. The focus of Project 2 will be photography and the photographed image. We will work with found images as well as self-made photographs. Part of this project will be several exercises, in class and homework. The assignment consists of using these images to construct a narrative; a series of images in a specific order telling a story. Not only the selection of images is important but also how you present these: how the narrative is constructed. The choice of a subject matter, the theme – that which connects the images in a formal manner but above all content wise- is an important element of this project. The final result can be a series of printed photos, a GIF animation or a small xeroxed booklet, or anything in between.

A research into visual narratives is also part of the assignment:

Narrative, Benjamin Lewin, 2018

Narrative, Benjamin Lewin, 2018

Narrative, Ylva Gran, 2018.

Narrative, Ylva Gran, 2018.

Narrative portrait, Sarasa Nagore, 2018.

Narrative portrait, Sarasa Nagore, 2018.

Narrative portrait, Sarasa Nagore, 2018.

Narrative portrait, Sarasa Nagore, 2018.

10 In class exercise

In this lesson we’ll work with newspaper photographs. We’ll focus on transforming the image away from its original meaning, to create a new, experimental or even absurd cohesion. Create at least 2 new images, both completely different, while applying one or more of the following instructions.

Add points, lines surfaces to the photo, for example: lines which connect/ divide or draw lines which complement the image, draw lines in perspective to the vanishing point of the composition.

1 Chinese Whisper

You’ll receive a photograph by email from another student, photograph an ‘answer’; for example the opposite, use a detail, find the same color, react to the mood of the photo, use the same composition, ..., and send this new photo the the next one on the mailing list (include the list in your mail as well).

Send your reaction at the latest the following day.

2 Make a series of photos in which one form, silhouette or object stands out in the com- position, if the viewer looks at the image it should be clear what you emphasized. Decide for example how much, or how little, of the background is visible, in which light conditions should the photo be taken, is sharpness important?

It’s about recognizing interesting shapes and isolate them from their surroundings and make them into something new aside from their original context. See for example the photos of Ellsworth Kelly and how they influenced his paintings.

Photograph a second series which is almost monotonous, images with no point of fo- cus, almost like a pattern, like a desert. This may sound simple, or easy, but that’s what makes it difficult, or challenging, because it may not become dull or rather uninteresting. It can be a picture full of elements but monotonous nonetheless.

By a series I mean at least 3-5 good ones, which means you have to make a lot more photos to select the best ones, look at them carefully and try to figure out which one works and which doesn’t, what makes a good photo?

Take into account the following:

Make several photos during the day, but also some (related, or of the same scenery) du- ring the evening or night.