Phoebe Rudomino: http://phoeberudomino.com/home.html
At the 'Out of Focus' exhibition at Saatchi Gallery last year, one of my favourite images was 'The Girl in a Room', a still from Johnson & Johnson's 'Imagine' Total Hydration body wash TV commercia (see porfolio on PR's website)l. As a keen diver who enjoys underwater photography, it was interesting to see and underwater photograph that was not of fish, or the natural world. This was a staged and planned image. Rudomino is based at the Underwater Stage at Pinewood Studios. The submerged set is lit in a subtle yet precise manor, some lighting from above creating some contrast on the model, light on the "windows" creating some depth perception.
In Rudomino's 'Plastic Soup' collection, there is interesting use of materials, coloured liquids, props and lighting to create original and eye catching images. She also puts the different elements together to convey her message(s). I particularly light '250 million' 2011. The title and the 'Plastic Soup' theme suggest a reference to plastic waste in the oceans.
Showing posts with label Study Visits and Exhibitions. Show all posts
Showing posts with label Study Visits and Exhibitions. Show all posts
Wednesday, 28 August 2013
Sunday, 18 August 2013
V&A - 17th August 2013
The collection at the V&A shows photography from its beginnings through to more recent times. Essentially, it shows a history of photography, in terms of both processes and styles, without any current and contemporary work.
Some of the early works on display showed rather painterly qualities. I got this impression not just from the grainy appearance, but also the subject matter and composition. 'The Old Farmhouse' by Francis Bedford, for example, can easily be imagined as a painting. Somewhat surprising then that 'Figures at the Fountain of Sultan Ahmet III, Istanbul' by James Robertson and Felice Beato was taken seven years earlier, in 1853. The detail in a photo taken at this period in time genuinely amazes me. In contrast, Peter Henry Emerson intentionally created images that were not sharp and detailed throughout, to create a look similar to Impressionist painting. He did indeed collaborate with a painter, creating publications on rural life. 'In the Haysel' is the Emerson image displayed at the V&A, and it certainly achieves his aim of creating a "painting style" of photograph.
Another image that stood out for me was 'The Cloud' by Alvin Langdon Coburn, taken in 1906. Simple yet effective. He explored the design concept of 'notan', involving balancing light and dark proportionally. Perhaps there is some symbolic message, with the light cloud emerging for the dark, or dark cloud covering the light.
Moving on to the late 40s / early 50s, a couple of photos by Robert Doisneau caught my eye. 'Café Noir et Blanc' and 'Le Petit Balcon' are light hearted, and poignant observation of human emotions, in which you can sense contrasting moods of different people within the images. In 'Le Petit Balcon', for example, the amusement on the faces of several of the prominent figures is tempered by the sad and wistful expression on the face of the lady sitting on the floor. You assume from her clothing that she is involved in whatever performance the crowd are watching, and wonder what her involvement is and why she is sitting there.
For me, the most impressive images were those of Man Ray. Taken in 1931, as a commission for The Paris Electricity Company, the images seem well ahead of their time, and have clearly influenced many modern practitioners who have the benefit of considerably more advanced equipment and photoshop. As well as creating images that could be considered contemporary now, they clearly represent the subject he was tasked with, electricity.
As well as enjoying this collection, I had a good look around the museum and found that it is an excellent place to observe people, and watch them observing. Something to keep in mind for the next module on People and Places!
Some of the early works on display showed rather painterly qualities. I got this impression not just from the grainy appearance, but also the subject matter and composition. 'The Old Farmhouse' by Francis Bedford, for example, can easily be imagined as a painting. Somewhat surprising then that 'Figures at the Fountain of Sultan Ahmet III, Istanbul' by James Robertson and Felice Beato was taken seven years earlier, in 1853. The detail in a photo taken at this period in time genuinely amazes me. In contrast, Peter Henry Emerson intentionally created images that were not sharp and detailed throughout, to create a look similar to Impressionist painting. He did indeed collaborate with a painter, creating publications on rural life. 'In the Haysel' is the Emerson image displayed at the V&A, and it certainly achieves his aim of creating a "painting style" of photograph.
Another image that stood out for me was 'The Cloud' by Alvin Langdon Coburn, taken in 1906. Simple yet effective. He explored the design concept of 'notan', involving balancing light and dark proportionally. Perhaps there is some symbolic message, with the light cloud emerging for the dark, or dark cloud covering the light.
Moving on to the late 40s / early 50s, a couple of photos by Robert Doisneau caught my eye. 'Café Noir et Blanc' and 'Le Petit Balcon' are light hearted, and poignant observation of human emotions, in which you can sense contrasting moods of different people within the images. In 'Le Petit Balcon', for example, the amusement on the faces of several of the prominent figures is tempered by the sad and wistful expression on the face of the lady sitting on the floor. You assume from her clothing that she is involved in whatever performance the crowd are watching, and wonder what her involvement is and why she is sitting there.
For me, the most impressive images were those of Man Ray. Taken in 1931, as a commission for The Paris Electricity Company, the images seem well ahead of their time, and have clearly influenced many modern practitioners who have the benefit of considerably more advanced equipment and photoshop. As well as creating images that could be considered contemporary now, they clearly represent the subject he was tasked with, electricity.
As well as enjoying this collection, I had a good look around the museum and found that it is an excellent place to observe people, and watch them observing. Something to keep in mind for the next module on People and Places!
Thursday, 27 September 2012
The first thing I want to say here is something I heard on a TV documentary, Perspectives, in which David Suchet follows in the footsteps of his grandfather, Fleet Street photographer Jimmy Jarche. The best piece of equipment any photographer has is his own eyes. It's not what you see, but how you see it. Seems like a good attitude to me!
This blog is a continuation of my learning log, following on from the first assignment on contrasts. No more bad hand writing, photocopying and scanning.
Saturday, 14 July 2012
Study Visit: Out of Focus - Saatchi Gallery
The first thing to say is that this is a massive exhibition. There was a lot to take in and a wide spectrum of work. This exhibition really showed how the digital era has made all things possible; there really are no limits, expect perhaps in personal taste.
I do feel that the boundaries between photography and digital art are somewhat blurred, at Saatchi at least. Some of the works here were to me really digital art, or mixed media, rather than photography,
Mariah Robertson's MR1, MR2 & MR3 for example. John Stezaker's collages were for the most part put together cleverly but is it really photography? He basically stuck postcards on old photos. It is interesting work, but he hasn't actually taken any photos in the whole collection.
Katy Grannan's portraits were large prints displayed on every wall in Gallery One. As they were all shot in a similar way, in bright sunlight against white walls, yet each of the subjects very individual, the whole collection was quite striking. The emphasis was very much on individuality and the subjects certainly appeared unique characters. They aren't flattering shots, although you do get a sense that Grannan has captured the personality of the subject.
Matthew Day Jackson's The Lower 48 at first glance appeared to a bit of a mish mash of photos of rocks. Look closely though, and you can see a face in each one. I must admit that standing close to this display I didn't notice the faces in the gallery. It was later on when looking through the book that I suddenly saw what these images were about. So a lesson learnt, look for the point of an image or collection.
The largest exhibits were from Mat Collishaw and they certainly warranted a wall each. These ceramic mosaics were impressive close up and appreciated from afar. You could say that you need to take a few steps back to appreciate the whole exhibition, as there is so much work on display and such diversity.
I do feel that the boundaries between photography and digital art are somewhat blurred, at Saatchi at least. Some of the works here were to me really digital art, or mixed media, rather than photography,
Mariah Robertson's MR1, MR2 & MR3 for example. John Stezaker's collages were for the most part put together cleverly but is it really photography? He basically stuck postcards on old photos. It is interesting work, but he hasn't actually taken any photos in the whole collection.
Katy Grannan's portraits were large prints displayed on every wall in Gallery One. As they were all shot in a similar way, in bright sunlight against white walls, yet each of the subjects very individual, the whole collection was quite striking. The emphasis was very much on individuality and the subjects certainly appeared unique characters. They aren't flattering shots, although you do get a sense that Grannan has captured the personality of the subject.
Matthew Day Jackson's The Lower 48 at first glance appeared to a bit of a mish mash of photos of rocks. Look closely though, and you can see a face in each one. I must admit that standing close to this display I didn't notice the faces in the gallery. It was later on when looking through the book that I suddenly saw what these images were about. So a lesson learnt, look for the point of an image or collection.
The largest exhibits were from Mat Collishaw and they certainly warranted a wall each. These ceramic mosaics were impressive close up and appreciated from afar. You could say that you need to take a few steps back to appreciate the whole exhibition, as there is so much work on display and such diversity.
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