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Monthly Archives: March 2014

In the images I have attached in this post all have something in common. The identity of each portrait is either removed or distorted. I will experiment with this within the coming week. I am drawn to how some of these artists distort or hide the identity of their subjects. As we can see from these portraits some of the subjects have their identity taken away completely but others identity remain, but only partly. These portraits inspire my ideas to remove or blur the identity from the subject. What I also find that grands my attention about these portraits is how I always find myself looking for a face. My eyes automatically go to the face first by eventually settle somewhere else on the image. This has made me think of how photographers have the power to direct their audience where to look. It gives us control.

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http://www.theoffbeatsessions.com/2012/06/stitching-vintage.html

http://www.francis-bacon.com/blog/tag/self-portrait/

erasing.tumblr.com/post/437096721/white-portrait-axel-antas

legrandj.eu/article/hisaji_hara

http://www.contemporist.com/2012/08/03/portrait-360-by-gianluca-traina/p360_01/

lawrencecalver.blogspot.co.uk/2011/01/artists-whose-work-addresses-identity.html

http://www.jessicawohl.com/sewn-drawings

http://www.jessicawohl.com/sewn-drawings

averymccarthy.blogspot.co.uk/2011/05/photography-by-jorma-puranen.html

http://art.findartinfo.com/art.asp?i=38&p=226&old=1

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I have done many practice shoots up to this point. My idea and concept has been very vague up until this week but these are the shoots I have done.

In the first image I wanted to use depth of field to create an almost animal or disfigured appearance. As we can see in this first image my arms look odd and one side of my face is covered with darkness.

In the next two images  I have taken three different pictures. The first image I took was of myself blurred. The second image I took a picture of my back and the third I took a picture of the photo frame by itself. I then put all three images together in photoshop and this is what I came up with. What I was trying to say with this image is that the viewer can identify me in the picture because I have taken my identity away in both images. To be honest I don’t like any of these images but without them I wouldn’t be able to push myself to create images that I am happy with.

At the moment I am planning another shoot for Monday where I will experiment by trying to manipulate the face in my portraits. I don’t want to photoshop my images afterward (well just the basic editing will be done) what I want is to come up with a way to manipulate the portrait while taking the photo.

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“These men resemble what I have described, but they are not the same. Nature does not feel obliged to make a face into a sign. Out of a physiognomy, it prefers to make a hiding place.” -Alfred Doblin

I have included this quote because it made me think of my project. The part that grabbed me is ‘it prefers to make a hiding place.’ This relates to my concept because I am focusing on people not recognising themselves and others. What I am thinking of here is that the portrait is the hidden place. 

While researching the my idea I started questioning what if I have never seen my own reflection or if I have never seen an image of myself. While researching I came across this BBC program about two young girls dealing with a disorder of face perception where the ability to recognise peoples faces is impaired, while other aspects of visual processing and intellectual functioning remain intact.

This program made me think about these two young girls and the people Nadar was taking portraits of in the 19th century. The disorder is so extrem that they are unable to recognise their parents faces. To compensate for this they rely on distintive features, for instance if the person has a certain hair style or an accessory that they always wear. This makes it easier for these people to identify important people in their lives. People with this disorder look at people completely different way than us.

By finding this I started to think about those people Nadar took pictures of and how they could recognise their own portrait even when Nadar gave them the wrong portrait these people still couldn’t distinguish their own portrait to a strangers because they never saw their own reflection. By researching this odd disorder has opened my mind up to possible ideas for my project. For example I am now looking into blurring the face or taking the identity away from the portrait.   

Research Into Face Blindness 

Prosopagnosia, also called face blindness, is an impairment in the recognition of faces. It is often accompanied by other types of recognition impairments (place recognition, car recognition, facial expression of emotion, etc.) though sometimes it appears to be restricted to facial identity. Not surprisingly, prosopagnosia can create serious social problems. Prosopagnosics often have difficulty recognizing family members, close friends, and even themselves. They often use alternative routes to recognition, but these routes are not as effective as recognition via the face.

History                                                                                                                                                                                               Reports of prosopagnosia date back to antiquity, but Bodamer’s report (1947) of two individuals was a landmark paper in that he extensively described the symptoms and declared it to be distinct from agnosia. He referred to their condition as prosopagnosia, which he coined by combining the Greek word for face (prosopon) with the medical term for recognition impairment (agnosia). Since that time, more than a hundred case reports have been published.

Symptoms of Prosopagnosia

Everyone sometimes has trouble recognizing faces, and it is even more common for people to have trouble remembering other people’s names. Prosopagnosia is much more severe than these everyday problems that everyone experiences. Prosopagnosics often have difficulty recognizing people that they have encountered many times. In extreme cases, prosopagnosics have trouble recognizing even those people that they spend the most time with such as their spouses and their children.

One of the telltale signs of prosopagnosia is great reliance on non-facial information such as hair, gait, clothing, voice, and other information. Prosopagnosics also sometimes have difficulty imagining the facial appearance of acquaintances. One of the most common complaints of prosopagnosics is that they have trouble following the plot of television shows and movies, because they cannot keep track of the identity of the characters.

If you would like to assess your face recognition abilities, we currently have two tests of face recognition available. These tests include feedback on how your scores compare to the scores of people with normal face recognition.

Causes of Prosopagnosia                                                                                                                                                                     Most of the cases of prosopagnosia that have been documented have been due to brain damage suffered after maturity from head trauma, stroke, and degenerative diseases. These are examples of acquired prosopagnosia: these individuals had normal face recognition abilities that were then impaired. It seems likely that more cases of acquired prosopagnosia have been published for two reasons. First, their impairment with faces is usually quite apparent to these individuals, because they have experienced normal face recognition in the past and so they quickly notice their impairment. Second, because these individual have had brain damage, they are in contact with medical doctors who have assessed their face recognition abilities. (Note that if you have experienced a noticeable decline in your face recognition abilities, you should contact a neurologist immediately. Any sudden decline may indicate the existence of a condition that needs immediate attention.)

In contrast, in cases of developmental prosopagnosia, the onset of prosopagnosia occurred prior to developing normal face recognition abilities (adult levels of face recognition are reached during teenage years). Developmental prosopagnosia has been used to refer to individuals whose prosopagnosia is genetic in nature, individuals who experienced brain damage prior to experience with faces (prenatal brain damage or immediate brain damage), and individuals who experienced brain damage or severe visual problems during childhood. However, these etiologies should be differentiated, because they are different paths to prosopagnosia and so probably result in different types of impairment; they could be referred to as genetic prosopagnosia, preexperiential prosopagnosia, and postexperiential prosopagnosia, respectively. In some cases, it may be difficult to determine the cause of prosopagnosia, but many times individuals will either know that family members are also prosopagnosic or be aware of potential incidents that may have resulted in brain damage.

Individuals with developmental prosopagnosia often do not realize that they are unable to recognize faces as well as others. Of course, they have never recognized faces normally so their impairment is not apparent to them. It is also difficult for them to notice, because individuals with normal face recognition rarely discuss their reliance on faces. As a result, there are a number of individuals who have not recognized their prosopagnosia until well into adulthood. We have been contacted by far more developmental prosopagnosics than acquired prosopagnosics, and so it may be that this condition is more common than acquired prosopagnosia.

Explanations                                                                                                                                                                                            There are a variety of explanations for prosopagnosia. Of course, all these explanations propose that the procedures necessary for normal face recognition are not working properly. However, the explanations differ in their characterization of the impaired procedures. It appears that prosopagnosia actually refers to a number of different types of impairments, so no one explanation will account for all cases of prosopagnosia.

Research Questions

Currently, we have a very limited understanding of prosopagnosia, and so there are many research questions that need to be answered. Some of the leading questions are:

What is the nature of the procedures that are impaired in prosopagnosia?

What brain regions are impaired in prosopagnosia?                                                                                                                              What genes are involved with genetically-based prosopagnosia?                                                                                                            Are there methods by which prosopagnosics can improve their face recognition?                                                                                    Why do prosopagnosics often have navigational problems as well? (see this page for more information about navigation problems)  What is the prevalence of prosopagnosia?

Research Participants Needed

The primary reason that we have such a limited understanding of prosopagnosia is that few prosopagnosics have been intensively investigated. This is especially true for developmental prosopagnosia. Recently, however, the internet has made it much easier for researchers and prosopagnosia to make contact, and it seems likely that we will see an increased amount of research in the near future.

In addition to providing important data for research on prosopagnosia, prosopagnosics often find that they gain greater insight into their condition from testing. For example, we assess abilities with a variety of object types (horses, flowers, cars, etc.) and test other types of face processing (emotional expression recognition; sex, age, and attractiveness via the face; gaze direction determination). These are abilities that are often difficult to self-assess and realization of unknown impairments can often help individuals better cope with their impairment.

 

If you never seen your reflection before would you recognise yourself? This is the question I have been asking myself when thinking about my idea. If you don’t know what you look like would you be able to pick your portrait out from 10 other portraits of different people. My idea is to distort the face in a number of portraits. I experiment with a mirror but I am not sure if I will get what I want form it because by using a mirror I believe it could become much to literal. I have an idea but it is difficult to explain. I would like to take a picture of a someone and somehow blur their face. Behind the subject, there will be a picture hanging on the wall and it will be a portrait of the back of that same persons head. What I want to represent with this is that ‘Our face or reflection would always be a mystery if we never confronted our reflection. How would we react if this was the case today?’ 

Thoughts on exhibiting my work:                                                                                                                                                                For the exhibition I could have a mirror hanging beside my work. The mirror would be smashed and where the peoples face should be I will remove the mirror and have the people standing looking at nothing. This will introduce people to what I am trying to say with this project. 

I have now gone full circle with my idea and I have arrived back at my original idea. This idea came while I was researching the photographer Nadar. Nadar was a photographer in the 19th century. What I found interesting while researching Nadar was that during the early stages photography was expensive and this meant that only the wealthy were able to afford the luxury to have their portrait taken. One of the reasons why photography was expensive was that the exposures were around a minute long which meant that it slowed down production which ultimately meant that photographers had to charge a lot of money. As time went on photography became more advanced, exposure times dropped from over a minute to 20 seconds by the 1860s and it is at this time a very interesting thing happened. With the decline of exposure times meant that photographers could afford to drop their prices and when this happened it meant that people from working class backgrounds could now afford to have their portrait taken. When Nadar took their portrait these people would be shocked, angered or extremely happen with the outcome of their own portrait. The reason these people would have mixed reactions was because most (if not all) of working class people during this time did not own or have access to mirrors. So without knowing what they look like they would have either a shocked or surprised emotion to see themselves probably for the first time. Some people would leave without their portrait because they thought Nadar was playing a prank on them but some would be extremely happy with the outcome and leave a happy customer. The other problem was that Nadar sometimes got mixed up and gave people the wrong portrait. When Nadar went to these peoples homes and explained that he gave them the wrong portrait the people would be outraged as they thought Nadar was trying to con them. The point is that because these people were never confronted with their own reflection they excepted that this was truly their portrait. 

Today we have a class with Dave. In this class Dave showed us a lighting setup that he was trying out. The photographer photo that we are trying to recreate was by Dan Winters. The image of Tom Hanks has been attached below. As you can see there is a nice light coming from behind Hanks. This was a spot light. Of the the right of his face a large board has been set up and a light is positioned behind the board but the board is not covering the light entirely.

In my attempt, Javier and I helped Dave set the studio up to capture this shot. From what you can see the images doesn’t look anything like the Dan Winters shot. What I would do differently next time would be to turn the power up on the spot light that is positioned behind Javi. This would help brighten up the background. That being said I do like the picture I took of Javi. I li,e the lighting on his face and the darkness that surrounds him.  

http://www.thefstopmag.com/?p=1049

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Julia Peirone
Peirone was inspired by the myth of Narcissus staring at and falling in love with his own image; a legend that also famously fascinated the doyen of surrealism, Salvador Dali.
The series is called ‘Blackberry Bloom’.
Thoughts
This series is the type of surreal images I love. I like the contrast between the darkness of the background and the palecomplexion of the subjects. I think the subject, or the reason of this series is to show the struggles of young women. In the images I see two pale women in a struggle with one and other. The two women are infact the same person, the photographer has mirrored the same person in post production. I believe she has done this to show us that the person in the images is in a struggle with them self.
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Alma Haser
I have chosen to include Alma’s work as inspiration because in her ‘Cosmic Surgery’ series she manipulates the peoples face in her portraits by using the technic of   origami which is the Japanese art of paper folding. Here Alma has taken a portrait, printed it out and folded the image. When she has folded the paper Alma then prints the same portrait places the origami onto the face of the portrait and the photographs it again. The reason I have included this series is because the portraits alter the subjects face which is what I want to do with my images.
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Axel Antas
This photographer takes away the identity of the subject. When I first look at his portraits my gaze seeks information, and very quickly arrives on the subjects shirt. What I like about these portraits is that I feel distanced from the subject because I cannot see their face.
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John Salavon
This artist blurs found portraits. I can’t find much on this artist but I like how he blurs the portraits to conceal their identities.
sofamphoto.wordpress.com/tag/composite/
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One of the breweries has contacted me back. And this is the response,

Dear Emmett,

Many thanks for your email regarding sponsorship of your event. Unfortunately as we are a small business and have recently invested heavily in new equipment this is not something that we would be able to help with, however we can give you a discount should you decide in the end to purchase bottles rather than have a sponsor provide them.
I have attached our product list for your information,
Best wishes
Carley
At the moment we are trying to price up how much alcohol we will actually need and then we can start ruling out if this is a good deal or not. But I feel that it will work out being much too expensive and we can buy alcohol cheaper from places such as Tesco, Asda, Lidl or Aldi.
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This weekend I will do a test shoot with my most recent idea. I will be above my subject and and have two lights. My subject will be looking up at the ceiling and I will place objects and mirrors on the floor below. I want to create a scene where the subject is refusing to look at the mirror or is appearing to look out from the mirror and not acknowledging the truth.