Chlorophyll prints on leaves by Rachel Sokal
These chapters were really informative because I’ve never experimented with the various image transfers which are reviewed. Knowing more ways of producing a final image is always helpful. I really like the uniqueness of solvent transfers and the texture which transferring images to wood create in an images detail. Besides alternative processes, I always find review of technical aspects useful and this book does an excellent job thoroughly explaining every aspect in the process of photography within several contexts. The chapter goes through a ton of Photoshop stuff, simple stuff, but I always find myself forgetting how to use key tools after not using one for awhile, so having a clearly explained reference is beneficial.
I thought the discussion of how viewing images in a series, sequence, or group can have a greater impact on the viewer than a single photograph and how the incorporation of words can influence those differences in context even more. I would like to eventually make work which uses text of some kind and reading a further investigation of artists, like Duane Michaels, helps to do so more effectively. Sometimes I think it can be difficult to figure out how much context is necessary in order for the viewer to have just enough to grasp the images meaning. I also enjoyed learning a more in depth analysis of the Bechers and their work since they’ve been brought up a lot in class.
Kyle Johnson northwest based photographer.
Taylor Jones started a blog where individuals can submit their photos of photos and he gathered enough to make a book! The project reminded me of some of the other photographers we’ve looked at who explore appropriation with old, nostalgic photos.
Emilio is a photojournalist for AP and has documented much of the Middle East and Spain for the past decade.
Anton Kusters: the YAKUZA project
“YAKUZA is a personal visual account of the life inside an inaccessible subculture: a traditional Japanese crime family that controls the streets of Kabukicho, in the heart of Tokyo, Japan.
Through 10 months of negotiations with the Shinseikai, my brother Malik and I became one of the only westerners ever to be granted this kind of access to the closed world of Japanese organized crime.”