This was by far my favourite moment captured which unintentionally featured the use of doors. I had been waiting in line for over 3 hours for a meet and great with one of my favourite rap artists Skepta, and was lucky enough to capture this footage of him pulling up to the event and stepping out of his vehicle. With an “increased accessibility to technology and software” (Khoo 2017, p. 34), it was easy for me to pull out my phone and take this video. I will admit I did slightly edit the duration, only because it did feature extra footage which made it lengthier. However this was done during the uploading process and was easily achieved. Again, due to physical constraints, the video is side on, but showcases the car door and their interaction with it.
References:
Khoo, E 2017, Software Literacy: Education and Beyond. Springer Briefs in Education, Springer.
This weeks post was one of the easiest and turned out the best in my opinion. I was walking past the Forum Theatre on Flinders Street and a line had formed outside the front doors pictured above where Brockhampton fans eagerly awaited the start of the concert. Due to this line, I was unable to stand in front of the doors and perfectly align the image within the centre of the screen which I had previously done. However, the angle of the image allowed me to capture the names of both artists and give dimension to an otherwise flat image. Just in the same way Software Literacy is embedded into Generation Y & Z through the continual use of apps such as Instagram, “engaging with creative media software” (Khoo 2017, p. 31) allows for a sense of our own individualism to come into play. And although this image doesn’t represent my normal style of photography and meticulousness, it still appeals to me.
References:
Khoo, E 2017, Software Literacy: Education and Beyond, Springer Briefs in Education, Springer.
In this weeks post, I decided to conform to a very specific kind of style of photography/videography that Instagram adopts. This still video is centred, focused on movement and features a person (my best friend who I strategically directed) walking through moving doors. This idea of “designed concept” (Manovich 2016, p. 73) differs from talking out your phone and shooting as you see things. This constraint is much more meticulous and the result is orderly, smooth and Instagram appropriate.
References:
Manovich, L 2016. Instagram and the Contemporary Image, ‘Part 3: Instagramism’, pp. 71-142, University of San Diego.
In Week 10, I decided to experiment with the notion of depth and ownership of photography. This was taken at the NGV while my best friend was simultaneously taking an image of a Frida Kahlo painting, one of her favourite artists. I captured this moment which is essentially an image of an image within an image. Discussed in the reading, the “ordinary” of Instagram can mean different things for different people. For some, this may be an ordinary image that “may be important for people to share with their friends” (Manovich 2016, p. 27), but for me, its a door into her world. I am simply observing what she wishes to capture.
References:
Manovich, L 2016. Instagram and the Contemporary Image, ‘Part 1: Casual Photos’, pp. 24-57, University of San Diego.
For this post, I wanted to replicate the imagery of the first, while presenting a video. Bound by the “strong constraints on image aesthetics” (Manovich, 2016, p. 18), I chose to shoot the video within the frame of Instagram video and line up the doors of the elevator with the centre of the screen, for aesthetically pleasing purposes.
References:
Manovich, L 2016. Instagram and the Contemporary Image, ‘Introduction: ‘Instagram Platform as a Medium’, pp. 9-18, University of San Diego.
For my first photo, I wanted to take it back to the old-school days of Instagram. I remember when I first began using the app and people would upload square images which were of everyday objects, people or places. Although very basic, they were covered in filters which were often over saturated and detracted from image quality. This post is in homage to the old Instagram, mixed with elements of the new. The “single platform medium” quality of Instagram as described by Manovich (p. 11, 2016) means that the app is designed to be a ‘one-stop shop’ for photography and visual means. Taking an image and uploading it without using external editing apps or being able to choose between a selection of images with slight differences presented a challenge. I only slightly tweaked the angle and cropped the image to fit the frame dimensions more appropriately.
References:
Manovich, L 2016. Instagram and the Contemporary Image, ‘Introduction: ‘Instagram Platform as a Medium’, pp. 9-18, University of San Diego.
Videoblogging or as its referred to now, vlogging has taken the online community by storm. No longer is a video uploaded weekly enough content to satisfy viewers. Weekly, or more commonly daily vlogs, are constantly being uploaded to platforms such as Youtube to keep up with the demand of viewers. In the beginning of videoblogging, a ‘bedroom chat’ was the most common form of video content, where a user would set up a camera with their room as the backdrop and speak about their day or issues they’re having. It is much more sophisticated in todays vlogging era, with Youtube influencers (people who have millions of followers and have done brand deals or create merchandise and products to support their image) are hiring editors, videographers and a whole team of staff to perfect and maintain a professional standard of quality to their uploads.
The drastic shift in video quality and access to camera equipment and lighting has seen a stark contrast to the beginning of Youtube and video sharing. There is a strong sense of “interplay between the technology and content” (Berry 2018, p. 20) as everyone seems to need the latest DSLR camera or lighting setup. Not only do influencers now receive monetisation for their video views, (meaning they can make a legitimate living off of their Youtube careers), through collaborations and partnerships, they are able to connect with fans across all demographics. This idea of the online community and maintaining a stable fanbase has transformed the way users work with video sharing platforms. In the reading, Ursula Franklin argued that “everyone’s vernacular reality has changed” (2018, p. 21) and I agree. Whether it be on Youtube or Instagram, through trends and commonalities between videos, there is a strong sense of shared expression, as content creators are seeking to gain considerable views and followers in the most bizarre ways.
Who is the practitioner (what is their name?) and when were they practicing?
The Instagram account I have chosen to discuss is Croatian “beauty fashion and lifestyle” blogger Amadea Muse. She created her Instagram in 2015 and started gaining popularity for her images and video thumbnails. Unlike most ‘beauty gurus’, Amadea posts solely to Instagram and uploads her content purely for this social media platform and its conventions. She currently has 1.1 million followers.
With the photo or video you are examining when was it produced (date)?
A post shared by Amadea Muse (@amadea_dashurie) on
This video was uploaded to Amadea’s Instagram on the 9th of August 2017.
How was the photo or video authored?
The video was filmed using a camera on a tripod and was most likely filmed in front of a white screen or wall in her house. It would then be edited, with a lot of footage cut so the whole “Makeup Transformation” process can fit into the 59 second time limit that Instagram videos now have.
How was the photo or video published?
Due to the video being published on Instagram, the audience is limited to Instagram users and people who have an interest in makeup. This post is one of the highest viewed videos Amadea has uploaded to her Instagram and this is due to one of two reasons. The first being the thumbnail for the video itself. Beauty community influencers are notorious for using clickbait thumbnails (images which attract the attention of viewers as they may be unusual or eye-catching, and sometimes can have nothing to do with the actual video itself) and in this case, Amadea is using a purple highlighting liquid dropped in streaks down her face and a popular unconventional looking makeup brush. It may be a combination of the popularity of the products used in the thumbnail as well as the ‘still’ chosen to represent the video, that has made the video receive over 9 million views since it was published.
How was the photo or video distributed?
The advertising in this video may have also contributed to the amount of views it received. The video is a sponsored promotion with a brand called SkinnyMint, which sell detox teas. This paid advertising of the product, featured twice in the video and caption, will have earned Amadea a considerable amount of money considering the videos substantial popularity. By only featuring the product for a few seconds in the video, the likelihood of the makeup tutorial to be featured on Instagram’s explore page (which is where I first discovered Amadea’s page) and various other sponsored areas of Instagram, possibly including SkinnyMint’s Instgram page, would draw audiences in from many different demographics.
References:
Berry, T 2018, ‘Situating Videoblogging’, Videoblogging before YouTube, Institute of Network Cultures, pp. 9–22.
The ease of digital photography and social media posting has allowed a new breed of photojournalists and photographers alike to develop and share their work solely online. As discussed by Palmer in the reading, “Camera phones are now the default consumer camera of choice” (2014, pg 245) meaning that everybody who owns a phone with any sort of camera is able to shoot images and become a photographer. This term within the last 10 years and through the advancement of camera phone technologies means that the word ‘photographer’ is thrown around loosely.’
The iPhone cameras capabilities have increasingly become more and more user-friendly with portrait modes and zoom features which eliminate the hassle and bulk of digital cameras. In a quote by Palmer on camera capabilities, “The quality of recent models [of phones] is now comparable if not better than the point-and-shoot film and digital cameras they have made absolute” (2014, pg 247). Yet although this may be the case for amateur photographers, there is still a demand for traditional photography methods to be utilised and shared to audiences. The latest trend in photography seems to point to Instagram, where people uploading images to their pages have gained notoriety, followers and been recruited by the rich and famous.
Who is the practitioner (what is their name?) and when were they practicing?
The photographer I will be examining is Rayscorruptedmind. He is a mainstream American hip-hop/rap photographer who is Travis Scott’s personal photographer and has worked closely with artists such as Playboi Carti, Bloody Osiris, Sheck Wes, Quavo, Lil Yachty, Lil Uzi Vert, Rich the Kid etc.
With the photo or video you are examining when was it produced (date)?
This is a photo taken of rapper Travis Scott featuring him wearing a new diamond chain he had custom made.
The photo was released on the 17th of July 2018.
How was the photo or video authored?
Being uploaded on Instagram, a social media platform specifically designed for image sharing, the quality of Ray’s images would not be compromised as the photos are only able to be viewed on smaller screens with lesser pixels than that of a digital camera. It seems that as this is the only platform Ray uses to distribute images, the image quality is high due to an unwillingness of having non-HD photographs.
A photo posted in 2017 on Ray’s Twitter account.
Although it is unclear what camera he uses (as he has never revealed this explicitly), people have speculated that he uses a Canon T3i and effects in post production. Some believe he uses flash in every image to give a stark exposure, which is his signature aesthetic, aside from a warm, saturated filter.
Considering he began uploading to this account in 2016 and only features his own images taken of artists and the occasional self portrait, his following has significantly increased and so too has the status of the celebrities photographed. By using an image sharing platform such as Instagram, Ray is targeting a niche aesthetic and/or hip-hop audience which directly links his works with artists. I myself discovered his works through Travis Scott’s Instagram page where he frequently tags Ray in images posted taken by his photographer.
References:
Palmer, D 2014, ‘Mobile Media Photography’ The Routledge Companion to Mobile Media, Routledge, pp. 249–55.
Nam June Paik was a video artist and the founder of video art. To video artists such as Paik, television and mainstream media was the enemy, as underground cultures who developed and practiced video art were mainly interested in mass culture and aesthetic experimentation. They were mainly self-funded, had low budgets and did not receive Arts grants by the government until later on as video art wasn’t recognised as a legitimate medium.
Nam June Paik pictured with his equipment at the MIT Center for Advanced Visual Studies.
This idea of DIY aesthetic bled into other mediums such as music video, as video art began to hit commercial avenues. Early examples of this can be seen in the first ever broadcast commercial for MTV in 1981 where the advertisement features layered digital images and has a distinctly unique graphic quality and visual composition which lends itself to the aesthetic of video art culture.
Abstract shapes and vivid colours were just some of the many features that video art experimented with, as electronic media during the late 1980’s to early 1990’s was at the forefront of technology.
These was a real sense of hands on craftsmanship that came with the trial and error of producing this digital medium, as poor quality, unstable tape was converted into stable, playable videos. Limited by the technologies of the time, video artists would often play around with different types of cameras, media, lighting and editing to create functional pieces of art.
Horsfield explained in the reading that it was only in 1995 that the “first digital camcorders were marketed” (2006, p. 8), meaning that prior to this, video artists would have little access to digital technology and editing software. If they did work with this equipment however, it would be very costly and most likely come out of pocket for the artist. Thus in the beginning, only a limited number of people could afford to practice video art on a large scale. With the introduction of newer, cheaper and more readily available advanced technologies, “independent producers could finally make broadcast quality tapes on low-cost consumer equipment” (Horsfield 2006, p. 8).
Nam June Paik, ‘Global Groove’ video still, 1973.
When viewing the earliest tapes of video art, I was immediately reminded of an artist collective called AWGE. Standing for A$AP Worldwide Global Enterprise, AWGE is a highly secretive creative agency founded by rapper A$AP Rocky and backed by his hip-hop collective A$AP Mob. Featuring a gang of video artists, producers, curators and like minded people, AWGE is transcending into music video, fashion, music and countless mediums, all utilising video art conventions and aesthetic.
The most notable works of AWGE are their music videos and directorial debuts in songs such as Yamborghini High by A$AP Mob, “The Mattress” by A$AP Ferg, Magnolia by Playboi Carti and many others, amassing hundreds of millions of views on platforms such as Youtube. The music video that arguably popularised AWGE and their video editing was that of Plain Jane by A$AP Ferg.
The Awge logo, taken from a still of one of their music videos.
Who is the practitioner (what is their name?) and when were they practicing?
The musician is rapper A$AP Ferg and the director of his music video for the song ‘Plain Jane’ is AWGE, more specifically videographers Hidjifilms, Ricky Dula, ygaflm etc.
With the photo or video you are examining when was it produced (date)?
The music video was released on the 11th of October 2017.
How was the photo or video authored?
The video was made using a variety of recording equipment. In ‘The Making Of A$AP Ferg’s “Plain Jane” Video With AWGE | Framework’ video posted to Genius’ Youtube channel, AWGE director Hidjifilms discusses the various cameras and techniques used to create the distortion, layering and cut and paste video art elements of the music video. Camcorders, iphones, and other recording devices were used by the various videographers working on the project, which gives different angles and effects to the same scene. He states in the breakdown of one particular scene that “It doesn’t matter what you record on, its how you edit it”.
The director also stated that artist George Condo (who created the album artwork for Kanye West’s My Beautiful Dark Twisted Fantasy) was a major inspiration in the editing and final aesthetic of the music video, as throughout the video, the editors incorporated stills which cut and layer various photos to create intricate and mismatched collage-like imagery which is a signature style of AWGE.
How was the photo or video published?
The music video was published to A$AP Ferg’s Youtube channel and can be found on AWGE’s website where they showcase their works and other collaborations.
In terms of the integrity of the video quality when uploading to a site such as Youtube, due to its gritty, grainy, experimental, low-fi quality, the aesthetic of ‘Plain Jane’ is mostly benefited, as any quality lost during the uploading process would contribute to the overall perception of the video.
How was the photo or video distributed?
Amassing over 33 million views on the Youtube video alone, ‘Plain Jane’ became the anthem of Ferg’s ‘Still Striving’ album and AWGE’s influence skyrocketed after the music videos release. As Youtube is an open platform to viewers across the globe, the ability to like, comment and share the music video further accelerated its popularity and spread the aesthetic of AWGE across multiple platforms, where the music video was advertised.
References:
Horsfield, K 2006, Busting the Tube: A Brief History of Video Art. Video Data Bank, School of Art Institute of Chicago, pp. 1–9.
After watching the documentary ‘The Decisive Moment’ featuring a reflective monologue by the father of street photography Henri Cartier-Bresson (who I will shamefully admit to not knowing before this class), I became inspired by his philosophy of awareness, presence and sensibility, where you “don’t think [but] act!” (Analogish 2016).
Bresson’s style of photography lends itself to natural occurrences rather than posed images, and in this sense, he is not trying to push a point or create a static meaning; it comes by itself and can be evoked by the person viewing the image.
He prefers to photograph a person in their natural environment when capturing portraiture and prefers to be in the moment with his subject (either in complete silence or establishing questions to provoke reactions).
Jack Tworkov, New York, United States, 1968.
Francois Mauriac, Paris, France, 1952.
Robert Flaherty, Louisiana, United States, 1947.
Due to the limitations of photography and technologies, Bresson’s works were shot on 35mm film in black and white. This is a convention, as the people and places captured were living in colour, however we as an audience are viewing the images in black and white.
In the documentary he discusses the idea of the first impression being the “most important” (Analogish 2016) when capturing images, and in this sense no two images are alike, nor can they be recreated. This focus on movement and capturing moments in time rather than staging an instance is where his ‘street photography’ title defined his style.
Bresson was not interested in documenting, despite having taken some iconic images of the changes that would take place in post-war torn colonial countries such as Japan and India, where according to Bresson these places “pulse with interest” (Analogish 2016), his methodology and approach without context to the photographs would make them seemingly appear as ordinary imagery, in spite of their cultural and iconic significance.
Hokkaido, Noboribetsu, Japan, 1965.
Honshu, Japan, Farmers demonstrating against the US Army drill on their lands, 1965.
Tokyo, Japan, a farewell service for the late actor Danjuro held on November 13th 1965 at the Aoyama Funeral Hall (according to Shinto rites), 1965.
What I find most interesting is his unwillingness to be labelled a surrealist photographer despite this distinct theme running throughout his works. He would prefer being described as a photojournalist.
As stated in the Week 5 reading, legacy or hallmark photography was once seen as “absolute material accuracy” (Price & Wells 2015, p 15), as photographers were limited by resources and didn’t have the affordance of digital photography, where if connected to online storage ports such as iCloud or Google Drive, the amount of photos people are able to produce is limitless. In this sense, unlike Bresson’s confinement to 24 photos, there is no constraint.
Who is the practitioner (what is their name?) and when were they practicing?
I have chosen to analyse “photojournalist and cultural observer” Chi Modu, a Nigerian born and New Jersey raised photographer who is responsible for creating some of the most iconic images in hip-hop and infamous for documenting the ‘golden years’ (late 90’s) of hip-hop in America. Modu, like Bresson, doesn’t consider himself a “hip hop photographer” and believed that he just happened to photograph what he was motivated by.
Chi Modu in Soho, 2018.
“I’d been shooting documentary style photography and realised that someone needed to apply the same seriousness of photojournalism to shooting rappers.”
With the photo or video you are examining when was it produced (date)?
This image of rapper Tupac Shakur was taken in 1993 and shot in Atlanta, Georgia. This photo was a part of a series of images featuring the artist in front of a navy screen in the rapper’s Atlanta home.
How was the photo or video authored?
It is unclear what medium Modu used for this particular image. Similarly to Bresson, Modu likes to capture moments in his portraits rather than staging a pose, action or expression. Black and white photography in portraiture was his specialty as he was able to balance the light and contrast backgrounds and shadows to create depth in his images. This worked especially well for hip-hop artists who were often unpredictable when placed in front of a camera. This style of photography emphasises the West Coast gangster rap/thug complex of rappers during this era.
Raw film, Tupac Shakur, 1993.
How was the photo or video published?
Chi Modu mainly used print media to distribute his works, and has recently uploaded an online gallery featuring his works on his website. More recently, he has also utilised social media to reach a wider audience. His Instagram page features never before seen photos, throwbacks and captions which often include information about artists and images.
Chi Modu’s ‘Uncategorized’ installation at the HVW8 Gallery in Los Angeles, California.
Snoop Dogg released his ‘Neva Left’ album in 2017, with cover shot by Chi Modu (original image shot in 1993).
How was the photo or video distributed?
This image became the cover photo for the January 2013 rolling stones cover for the 40th anniversary of the brith of hip hop. It was 1 of 4 covers which were released to honour the 50 greatest hip hop songs of all time. The other artists featured included Notorious B.I.G, Eminem and Jay Z.
References :
Analogish, Henri Cartier-Bresson – The Decisive Moment, Vimeo, viewed 3 September 2018, < https://vimeo.com/178360907>.
Price, D & Wells, L 2015 Photography: A Critical Introduction. 5th ed., Routledge, New York
