Project 2: Book

Playing With Distance

 For this project, pinhole images were created using a military flat rate shipping box, and color images were created using a scanner. This piece speaks to the relationship between the deployed soldier, and those left at home who can only imagine what their loved one may be going through. Snippets of a letter, sent home from a soldier deployed, are incorporated into this book. The text selected from this letter was chosen so that it would be easily relatable to soldiers and their family members.

ICE 5: Upsampling

Step Upample

Step Upsample 8x10

Jump Upsample

Jump Upsample 8x10

Final Large Print - Sharpened

Final Large Print - 8x10

Project 1

Ken Lum

In Ken Lum's series, Photo-Mirror, he uses images that are "unrecognizable but familiar," photos that someone can easily relate to as similar, yet the people or scenes are unfamiliar. I think this relates to the way they might see themselves in the mirrors. As the article addresses, museums are "public space[s] for private contemplation" which in my experience leads to a somewhat uneasy feeling. Being confronted with so many mirrors must only raise this level of unease, leading them to also feel as though they are seeing themselves in a different light.

I like that Ken Lum's work seems to be more about how the viewer will understand and attribute their own meaning to a piece. This occurs in Photo-Mirror and also in Portrait-Repeated Text, where the viewer "ultimately projects his own experiences on an understanding of the subject's woes." I think this is interesting because Lum doesn't give very much explanation in these pieces, and the viewer must use personal experience to determine what the individual pictured might be going through or feeling.

ICE 4: Camera Profiles

 

      

ICE 3: Film Scans

Unedited

 

Edited

Creating Artist's Books

In her article Creating Artist's Books, Rebecca Senf explains why each step in the artist book making process is so very important. While I notice the text in photobooks, I have never thought much about how the font used always seems to compliment the content. This is a consideration I would likely overlook if using text in my own photobook. This is also true for text placement. I didn't realize until we looked at all of the photobook examples that it is an option to place all of the text in a "list of captions/plates" at the back of the book. The use of captions and their locations is something I would like to play around with during this term's photobook assignment. Lastly, Senf talks about the size and shape of the book. I have made a few photobooks for fun, not really for the sake of making an artist book, and I always just use the size that I can afford, is on sale, or I recently purchased on Groupon. While this is fine for the purposes I have been using these photobooks for, I now understand why it is so important to choose the size carefully, so that the book compliments the photographs.