PHOTOGRAPHY STUDIO III

 For this assignment I am looking to respond to this passage from the Garden Party:  A was only A, and B always only B is gone; today we all know very well that A may be often B as well as A; that B may just as well be A; that B may be B, but equally it may be A and C; just as C may be not only C, but also A, B, and D; and in certain circumstances even F may become O, Q, Y, and perhaps also R. I’m sure you yourselves must feel that what you feel today you have not felt yesterday, you do not feel today, but might perhaps again feel tomorrow; while what you might feel the day after tomorrow you may never have felt before. Do you feel that? For this passage I want to emphasize my feelings about being photographer/artist and often not feeling content about my work. I often feel I have to chose between food and supplies for my practice and it's been weighing on me. It makes me feel as if I am not an artist, and some days I feel like I am, and others I do not. I was inspired by Robert L

For this assignment I am looking at responded to this portion of The Garden Party:  A was only A, and B always only B is gone; today we all know very well that A may be often B as well as A; that B may just as well be A; that B may be B, but equally it may be A and C; just as C may be not only C, but also A, B, and D; and in certain circumstances even F may become O, Q, Y, and perhaps also R. I’m sure you yourselves must feel that what you feel today you have not felt yesterday, you do not feel today, but might perhaps again feel tomorrow; while what you might feel the day after tomorrow you may never have felt before. Do you feel that? My interpretation of this is the inconsistency in certain emotions and certain definitions of things between days and feelings. To relate this to my own life I am interested in a recent struggle I've felt looking at the struggle of affording to be an artist/photographer. This is such an expensive medium that I often fine myself having to make very d

This is a Canadian photographer who primarily works on film. This outlines the steps to ensure getting a good print that replicates what you see on screen.  This second tutorial is great for black and white prints and I found it actually gave my images more of a darkroom warmer quality. I think to actually achieve better prints that emulates the dark room more would be to try warmer paper types. Canon paper is quite cold compared to the illford things. 

I recently read Screaming Life by Charles Peterson and had a revelation about the concerts that I have been shooting here in Lethbridge. Charles in his foreword describes how he considers traditional photographer’s when doing shows. He references many greats such as Gary Winogrand and Robert Frank and how they contributed to the photos he was making. I had never considered the photos I was making for these shows art until I read this book and it totally changed my outlook on this type of photography. This most recent show I focused on the people and space and how they interact with one another. In the past I was caught up in the bands and how could I make them look cool. I traded this idea with caring more about the documentation element of these shows and how I could visually describe the culture at these events.

Stephen Shore’s form and pressure is an incredible way of analyzing photography on a painterly level. Currently I am in a scientific liberal education course where we look at the history of science and where it comes from. I analyzed Thomas Kuhn’s paradigms which essentially is the idea that science heavily relies on the scientific community and pre established theories to farther advance science. I feel as if Shore is also hinting at this advancement in form and pressure with his Kepler example and the difference between the heliocentric and the geocentric earth models. Shore uses examples of his own work days apart to see the difference considering the form of objects and the relationships they have with another. Shore tries to capture the scene more as if he is there within the photograph and what it is like to be there and not overly manufacturing the image. He describes the difference between structure and composition which in turn are actually quite different. Composition is a sy

  Here are my two contributions for the identifying self exhibition organized by Raija Abbott in collaboration with Darcy from Casa. These are 11x14” silver gelatin prints. One is a self portrait of myself pulling my mustache, a common thing I do. The other is my grandfather exploring the land he owns in Manitoba. I felt he represented my cultural aspect required for the exhibition as that is where our family unites often, and he has been a huge aspect in my life offering all of his wisdom.