MIAd Individual
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INSPIRATION
ray k. metzkerRay K. Metzker, who was originally from Milwaukee, was known for his bold cityscapes and compilations of film strips into a single frame. Metzker's work is also characterized by multiple exposures, solarization, and the superimposition of negatives, which is adding a negative film to the piece. The untitled photograph on the left, taken in 1969 Atlantic City, New Jersey, utilizes his composite strategy as it incorporates two shots into one piece. The top image shows a woman holding binoculars up to her eyes. Her identity is unidentifiable, and her location is also unspecific, as the background is a stark, blank white. The lower image depicts two people resting on a beach towel. The sand is grainy and scattered with footprints, and there are shadows both from the figures lying down and a figure looming over them. The juxtaposition of these two images illustrates another technique Metzker is known for.
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Visually they differ, as the top image utilizes a large amount of negative space, and the lower image is a complex composition of shadows, curved forms, and the texture of the sand. The actions of the people also contrast. The figure on the top is staring intently into binoculars, while the two people on the beach are blissfully unaware of their surroundings. Since these photos are put together, it is implied that the woman is watching two figures on the beach, especially since there is a shadow falling on the figures that aligns with the woman's body. However, the relationship between the two scenarios might be imagined by the viewer. The connection most viewers make between the two photos demonstrates how people can make assumptions based on a small amount of information, while not being aware of the full situation. This concept is something I hope to portray in my photograph. I am incorporating a figure with binoculars, looking intently into them, but I am not including a secondary image to suggest what the person is viewing. I want to leave this up to the viewer's imagination, which helps them further understand how the mind can fill in the blanks.
wolf von dem bussche20th century photographer Wolf Von Dem Bussche was known for having a precise style influenced by his perfectionist personality. This can be seen in the sharp angles and harsh lines dividing light and dark in his untitled photograph on the right. The photo was taken facing the corner of a building, making the left and right sides both visible from one point of view. The right side has a short staircase that recedes into mysterious darkness. The other side is a lot more dynamic, incorporating layers of horizontal lines that vary in thickness but lead to a vantage point on the left. The viewer's attention is split between the sides, but they only have an understanding of one, since the other is hidden from view. I want to provide this feeling of curiosity about surroundings in my piece by showing someone looking through binoculars, but purposely not showing what they are looking at.
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Bussche aimed to spark interest in the viewer's mind, which is accomplished in this piece by not providing more context to this location. The viewer is unaware of what this building is or what it is used for. The lack of uniqueness shows that this structure could be anywhere, helping the viewer create a connection to it. I also hope to convey a sense of anonymity in both the subjects and their surroundings while creating an ominous and slightly off putting tone.
PLANNING
I think of community as a collection of people who connect through similar behavior. My object is a pair of binoculars from my grandfather that are the same as his binoculars. To me, this object is a symbol of our relationship, representing the interests and activities we share. Binoculars are made to observe the world up close, looking at a detailed part of a scene. They are good for observing specific aspects, but a downside is the exclusion of the entire scene. Therefore, the image seen through the binoculars can be misleading. Initially I thought I could photograph the binoculars and include the view of what is seen through them. However, this isn't how binoculars work. After some experimentation I rethought the photo and came up with two ideas of how to manipulate the binoculars.
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I could take a photo only through one binocular lens, creating a dark and blurry circle around the small section of the scene depicted. This would help convey how people do not always have a complete understanding of a situation, as they are only fixated on one part. I could also include the entire object in the image and show it facing something. I wanted to convey the importance of understanding an entire situation, which binoculars cannot always do, so I wanted to place the binoculars in a context where there is nothing worthwhile to look at to communicate the ineffectiveness of the object. I drew this concept by placing the binoculars on the ground, facing a brick wall.
During my conversation with Jason Yi, we discussed how binoculars facing a wall is extremely simplistic, and does not fully capture the concepts I have surrounding binoculars, including how they represent a relationship with my grandfather. Looking through binoculars is also similar to looking through our own eyes. They are both lenses, and what we see through them is shaped by other factors. In addition to that, looking out the window with binoculars, which my grandfather and I would do, is another contributor that changes what we see. The window frames what we are looking at in the outside world, from the safety of a home. With these new ideas in mind, I completed another sketch page to illustrate the combination of three lenses: eyes, binoculars, and a window. The view seen through our eyes is shaped by perspective, which is built by past experiences that help us comprehend a current situation. Binoculars help us observe something closely, but what they are focused on determines our interpretation of the situation, as we do not have a big picture understanding.
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Lastly, a window, especially the slightly smudged one that I depicted in my sketch, is another barrier between what we see and what reality is. Viewing something through a window is not the same as physically being present in the center of the situation.
To be consistent with the history and personal meaning of my binoculars, I wanted to illustrate a relationship between two people in my sketch, since my previous idea only depicted the object in isolation. I included a person holding binoculars, but also a figure gesturing to what lies outside the window, to show how the people surrounding an individual can also shape what they see.
To be consistent with the history and personal meaning of my binoculars, I wanted to illustrate a relationship between two people in my sketch, since my previous idea only depicted the object in isolation. I included a person holding binoculars, but also a figure gesturing to what lies outside the window, to show how the people surrounding an individual can also shape what they see.
process
Based on my sketched ideas, I took some preliminary photos to visualize the final piece. I find the absence of a specific or clear identity fascinating in art, so I chose for both figures to be covered by shadows (although I was only able to include one figure in the first set of photos). This also helps the viewer imagine themselves in the situation, since they are not intentionally told the figures are specific people. I wanted the binoculars and the hand gesturing towards the window to be the focus. The photos above, without the second figure, were taken outside the window, to capture the framing of the window and binoculars, and allude to the person looking through their eyes into the binoculars, which incorporates all three frames. The image the figure is observing is purposely not included in the piece, since they really could be looking at anything.
The window frame in the images above is either rigidly vertical, such as in the first image, or slightly slanted, such as in the third and sixth. The perfectly vertical frame creates a feeling of stability and safety for the figure inside the window. The slanted frame makes the figure seem unsure or in a state of fragility. Their view is not perfectly clear because binoculars do not allow this, and that is shown by the slanted frame, which I decided to keep as an element when taking the final photos.
The three photos below were taken on a separate day, when there happened to be snow on the ground. I liked this because it added unity, as the color white was found on both garages and on the ground. I was concerned that the green grass would be too distracting in the background, but since it snowed that problem was avoided. Although I considered adding an element in the background to make use of the space, I decided I liked the original idea best. Both figures were placed inside the window with the sun highlighting their presence. The background is mostly non descript, aside from suggesting it is a neighborhood location in a place that has snow. I chose this location because it connects to the binoculars and where I learned how to use them. I was pleased with all three photos, but ultimately I chose the middle for the final piece.
The focus on the binoculars and the amount of background shown was satisfactory. I liked that the background was not distracting, and the angle the photo was taken added to the feeling of mystery. However, the top of the window frame was cut off, and since I wanted the entire frame to be shown, this photo was eliminated.
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This photo was chosen because the emphasis is on the binoculars and pointed hand, but not in an overbearing or aggressive way, which is consistent with the unsettling and mysterious mood. The entire window is in the composition, which is important to demonstrate the three lenses the photo is capturing. The horizontal lines on the garage lead the viewer's eye to the background, which does not reveal specific information about the location. The blue sky contrasts against white, helping to break up the space. The brightness of the snow and sky is juxtaposed with the mysterious mood the shadow covered garage and hands bring to the photo.
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Although the third shot is extremely similar to the chosen photo, there were two aspects that made it the subpar image. First, there is slightly more background shown in this photo. While this is a subtle difference, it places more importance on the background, while it does not serve a purpose other than to contrast with the composition of the hands in the window. Second, the doorframe surrounding the window is more rigidly vertical in this image, which I wanted to avoid in the final piece. I favored the tilted frame because it gives a feeling of uncertainty instead of stability.
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experimentation
alternate composition 1:
I had to make some changes before taking the final photo, as the piece has to be a landscape photo, not portraiture as it is above, so more of the scene will be exposed to the viewer. After my second meeting with Jason Yi, I started considering the surroundings of the window and how that can contribute to the meaning. Instead of placing the second person inside the window, they could be outside in the surroundings, guiding the viewer to observe what they are directly in the midst of. I wanted to be consistent with the feeling of strangeness and mystery portrayed by the figure in the window, so I kept the second figure outside the window anonymous. I took several photos experimenting with this alternate layout:
After taking these photos I realized the hands must be illuminated by the light so enough emphasis is placed on the binoculars:
Before moving onto the second round, I also had to readjust my position behind the window because my sweatshirt and head were visible in some of the previous shots. The four photos below had light shining on the binoculars and showed more background:
Although the composition was intriguing in these shots, I ultimately felt that my original idea was more consistent with the meaning behind the binoculars. If the second figure was placed outside, they wouldn't really be guiding the binocular holder to share their perspective. The pointing arm also distracted from the binoculars, which I wanted to be the main focus.
alternate composition 2:
I also experimented with a different composition in which the second figure is placed outside of the window. The arm is still attached to an unknown person, but is placed in front of the window instead of behind the garage. This puts more emphasis on the secondary figure pointing, and the figure in the window seems to be part of the background. I found this interesting because the viewer's eye first sees the arm and wonders what it is pointing at, and then notices the figure with the binoculars, and connects that they must be looking at the same thing. However, for the purpose of this project, the arm is too distracting and takes away focus on the central object, the binoculars.
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Also, similar to the first alternate composition, having a figure outside of the window instead of alongside the figure changes the meaning by showing two separate individuals having different perspectives, instead of one person guiding the other to see a situation their way.
critique
First inspiration
compareThe most signficant similarity between Metzker's photo and Familiar View is the presence of binoculars. The identity of the person holding the binoculars is obstructed in both photos, which adds to the feeling of mystery. There is also a contrast between the figure and their surroundings. In Metzker's work the woman stands out against a crisp white background. Additionally, this contrasts with the sand texture and shadows of the human forms in the lower image. In Familiar View, the hands holding the binoculars contrast with the darkness and murkiness of the window. This area contrasts with the clear and bright sky and snow of the background.
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contrastIn Metzker's photo, there are two separate images shown to imply a connection between the two. The audience assumes that the woman holding the binoculars is studying the sleeping people on the beach. However, in Familiar View there is only one image, so the viewer is left wondering what the figures could be studying. Metzker's photograph was shot in black and white film, while Familiar View is in color, which helps differentiate the background from the structure with the window. There is also an absence of geometric lines in Metzker's piece. His use of line is organic and defines the figures. The only straight lines are the borders around the two images. Straight lines, both horizontal, vertical, and slightly diagonal, are essential in Familiar View. They frame the figures and show how their perspective is shaped by a rigid and defining border.
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second inspiration
compareOne similarity between my piece and Bussche's work is the use of line and contrast with light. In his photo, a harsh line separates the areas of light and dark, and is parallel to the horizontal lines below, which stretch across the building. In Familar View, a similar line, also created by the roof's shadow, separates light and dark and helps to highlight the two mysterious figures and the binoculars. The thickness of the lines on Bussche's building vary, but all lead to the same vantage point. There are several different lines on the structure in Familiar View, including the garage siding, door frame, and window frame, which all guide the viewer's eye through the window to observe the figures and the binoculars, and then to the other side to notice the seemingly peaceful background.
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contrastFamiliar View and the untitled photography by Bussche differ in several ways. First, Bussche's work is in black and white and mine is in color, which alters the contrast in each piece. The light and dark in his photo are starkly different, while in my piece the contrast is more subtle. This subtleness adds to the eeriness of a seemingly peaceful area that is juxtaposed with the mystery of what the two people are looking at from the garage. Another difference between the two photos is the composition. While they both depict geomtric structures, there are no human figures in Bussche's work, but the two people in Familiar View play a cruical role in conveying the message of how one's outlook is shaped.
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reflection
This was the first photography project I completed during my high school art career, and I was satisfied with the final piece and surprised by the intricacy and attention to detail the project required. During the process I noted how the slightest difference in a small detail, such as how much the window frame is slanted, can make a significant difference on the feeling of the piece. Acknowledging these small variations was essential in choosing the best photograph, and at times was frustrating and difficult to do. This and other aspects of the project were tedious, such as slightly adjusting the figures to be perfectly hit by sunlight. However, I enjoyed that after precise arrangements an entire composition could be captured with a single click. This was different from past projects, such as paintings and paper weavings, that took longer to come together. One challenge I encountered was selecting inspiration pieces. When researching, I could not find photographs that closely matched my vision. At first this seemed to be a dilemma, but then I realized that I could have a unique idea and use some aspects from other works to inspire my final piece. Applying subtle ideas to my work helped improve my analytical and observational skills, particularly for photography. As a result, my appreciation for this medium of art grew, and has inspired me to do future photography projects. I hope when this piece is hung in the Gray Gallery viewers feel the ominous mood and are filled with curiosity, while taking note of how a mysterious action can contrast with a serene looking background. I also hope the audience understands how using binoculars and being guided by someone else represents how perspectives can be shaped, and how they are not necessarily accurate due to not understanding a complete situation. This connects to the audience viewing Familiar View, because they do not understand the full scenario the photograph captures, since they do not share the view of the figures in the window.
ACT
Clearly explain how you are able to identify the cause effect relationship between your inspiration and its effect on your artwork?
The contrast between the figures and their surroundings was derived from Ray K. Metzker's work, and the contrast between light and dark and the use of horizontal lines and movement was inspired by Wolf Von Dem Bussche's photography.
What is the overall approach the author has regarding the topic of your inspiration?
Ominous feelings and mystery can be created visually through the contrast between light and dark and the absence of addtional clues about identity or location.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
When people cannot see an entire image or do not have enough context for a full understanding, their curiosity is peaked.
What is the central idea or theme around your inspirational research?.
Humans tend to form connections between two possibly unrelated elements when they do not have enough information to fully understand a situation. These connections can be influenced by their upbringing, particularly others surrounding them.
What kind of inferences did you make while reading your research?
I inferred that both photographers intended to create curiosity within the viewer by eliminating information about figures' identities or their locations.
The contrast between the figures and their surroundings was derived from Ray K. Metzker's work, and the contrast between light and dark and the use of horizontal lines and movement was inspired by Wolf Von Dem Bussche's photography.
What is the overall approach the author has regarding the topic of your inspiration?
Ominous feelings and mystery can be created visually through the contrast between light and dark and the absence of addtional clues about identity or location.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
When people cannot see an entire image or do not have enough context for a full understanding, their curiosity is peaked.
What is the central idea or theme around your inspirational research?.
Humans tend to form connections between two possibly unrelated elements when they do not have enough information to fully understand a situation. These connections can be influenced by their upbringing, particularly others surrounding them.
What kind of inferences did you make while reading your research?
I inferred that both photographers intended to create curiosity within the viewer by eliminating information about figures' identities or their locations.
bibliography
contributor, G. (2014, September 10). Remembering photographer Wolf von dem Bussche. Berkeleyside. Retrieved March 27, 2024, from https://www.berkeleyside.org/2014/09/10/remembering-photographer-wolf-von-dem-bussche
Editors of Time - Life Books (Ed.). (1971). The Art of Photography. Time - Life Books.
Editors of Time - Life Books (Ed.). (1971). Great Photographers. Time - Life Books.
Howard Greenberg Gallery. (2024). Ray K. Metzker. Howard Greenberg Gallery. Retrieved March 27, 2024, from https://www.howardgreenberg.com/artists/ray-k-metzker
Editors of Time - Life Books (Ed.). (1971). The Art of Photography. Time - Life Books.
Editors of Time - Life Books (Ed.). (1971). Great Photographers. Time - Life Books.
Howard Greenberg Gallery. (2024). Ray K. Metzker. Howard Greenberg Gallery. Retrieved March 27, 2024, from https://www.howardgreenberg.com/artists/ray-k-metzker