As influenced by my research into books exploring the themes of love and flirting, I have closely cropped my a select few of my photographs from my previous photoshoot. The photoshoot featured a series of self portrait photography, documenting me reenacting flirtatious body language gestures. From the series of photographs I selected those which best illustrated some of the main flirtatious gestures to experiment with. Above I have experimented with the gestures winking, licking lips and lip biting. In photoshop I explored cropping each image in a variety of ways and found that the more closely the cropped the image the more successful it was. By closely cropping the image you feel closer to the subject and therefore it is more intimate, this idea of an intimate distance relates to my earlier research into proxemics. Furthermore I enjoy how the photographs are closely cropped as they remove the subject’s identity, which not only help the audience to focus on the body language and not on the model, but it also allows the audience to easily identify with the model or apply the actions being shown to someone else.
Above is a range of research I did into books exploring the themes of love and flirtation, this was to look at how the topic was aesthetically conveyed. From my research it was very apparent that close up photography and closely cropped images helped to clearly convey intimacy and make the images appear more personal. Earlier in my project I began exploring proxemics through photography, I will now revisit photography to explore flirtation, however instead of using street photography I will be doing close up portraits.
Continuing my investigation into proxemics I want to create work that would force the viewer to interact with the proximity of the work, therefore creating a piece that would communicate the study of proxemics through interaction. Above is my research into two different ways in which this can be done simply with black and white shapes. The top example has an image of a motorcycle set to a low opacity, this image has then had black bars overlaid on top. The bottom example says ‘Soulwax Any Minute Now” at a low opacity, but this time the image has had white circles overlaid on top. The illusion forces the viewer to move further away from the image for the image/type to be revealed, the lower the opacity of the image/type the further away the viewer has to stand.
Below I have chosen one of my previously edited photographs and begun to experiment with this technique. From my experimentations I found the lower opacity images t0 be the most successful, although this images work best printed at a large scale and sometimes are not effective viewed on screen. To further progress this would I would like to explore using the technique to make the viewer stand at specific distances from a series of images, each image representing a different significant distance in the study of proxemics, for example a personal distance and a social distance.
Whilst browsing photography magazines at the library I came across the following work by two separate artists. I believe that the work produced by Simon Menner relates to the topic of the semiotics of body language as in his work he is playing with changing the meaning of his images through juxtaposition.
The work of Stanley Wolukau-Wanambwa focuses on body language, specifically facial expressions. The closely cropped images strip the images of their context, however the context that these images were all taken at political rallies.
Both artists work have a strong political message behind them, which is not something I intend on pursuing within my own work, however the way that they have used semiotics to change the meaning behind images is extremely interesting and a technique I could utilise within my own project.
Following on my tutorial with the tutors I began to generate colour schemes using Adobe Kuler based on some of the photographs I had taken at Brighton Beach. During the tutorial it was noted that the photographs reflect Brighton well due to the bright and varied colours present, therefore the tutors suggested experimenting with colour through screen printing. After discussions with the screen printing technicians I found that it would be possible to experiment and create a final outcome in the time remaining due to booking the screen printing beds, however the idea of experimenting with colour still appeals to me.
The photographs above are all from Brighton Beach and our bright and colourful and mainly feature natural forms, therefore I could experiment with colour by contrasting the natural colourful imagery of the beach with industrial erosion and weathering. In the next week I plan on visiting Portslade, the industrial centre of Brighton and Hove, in the hopes of photographing industrial erosion and weathering as well as the industrial forms of the machinery present.
After deciding not to continue with my photography of marks made unintentionally and intentionally in the studio by students I decided to photography erosion and weathering in a natural environment where the effects would be more unpredictable. Above are contact sheets of photographs I took whilst at Brighton beach. The photographs document the natural weathering and erosion of the man made buildings and structures.
I believe these photographs were far more successful than those taken within the studio. From these photographs I am particularly intrigued by the close up photographs of rust that I found on the metal bars beneath Brighton Pier. The colours and textural qualities of the rust would be interesting to experiment and play with using printing processes. It may also be interesting to explore juxtaposing the textural and natural qualities of the rust with the cold hard forms of the structures they were found on, combining texture and linear forms.