IMAGE ANALYSIS SEMINAR! or!

How to link images to questions

IMAGE ANALYSIS SEMINAR! or! How to link images to questions Or! How do you write about a picture?!

What do you see?! (Denotation what is there Connotation what is implied?)! Responses ! (How do you read the image, what feelings does it evoke? How do you record this?)! Intention <> Method / Techniques! (What does the photographer intend? How is this articulated through techniques?)! Context! (Associations, History, other photographs / images)! Metaphors, Ideologies, Beliefs! (What symbols and systems of values are evoked?)!

Key issues:! What is an essay?! What are its different parts?!

Key issues:! What is an essay?! What are its different parts?!

What do you know? How have you demonstrated this? What have you analysed? How have you demonstrated this? What argument has been developed? How have you written this? [How original is this? What degree of rigor and creative 'leaps' have been demonstrated?]

Key issues:! What is an essay?! What are its different parts?!

The assessment criteria: Applied knowledge and theoretical understanding of perception, communication and meaning Critical understanding of historical and cultural photographic practice Use of research to initiate, support, and develop ideas Strength of argument through structure, flow, and development Use of academic conventions to communicate clearly in written form

Key issues:! What is an essay?! What are its different parts?!

Learning Outcomes LO1 A growing understanding of critical ideas regarding perception, meaning, and communication. LO2 A growing appreciation of the application and operation of concepts of visual communication to both historical and contemporary practice particularly in photography. LO3 A developing knowledge of theoretical cultural ideas and perspectives and their importance in both historical and contemporary practice LO4 Developing essential academic skills to support, explore, and expand concepts, support critical analysis, the understanding and development of ideas and their expression in verbal and written form

A question: 1. Compare and contrast the work of Edward Weston and Richard Misrach

Stephen Shore, Merced River, Yosemite Valley, 1979

Ansel Adams, Yosemite Valley, 1942

What does it mean to compare and contrast?! What elements can be compared and contrasted?! How do you dene an approach to landscape photography?! What importance does style have to the meaning of a landscape photograph?

Richard Misrach! Chemical Bomb and Pyrotechnic Storage from series w-47 (the secret) 1986-91

Edward Weston, Dunes, Oceano, 1936

Ansel Adams, Moonrise, Glacier Point, Yosemite National Park, 1948

Alfred Stieglitz! Equivalent! 1923

Alfred Stieglitz! Equivalent! 1929

Edward Weston, Wind Erosion, Dunes, Oceano, 1935

Carleton Watkins, Best General View, Yosemite Valley, 1867

Timothy OSullivan, Inscription Rock, New Mexico, 1873

David Maisel, Terminal Mirage 24

Richard Misrach,

Richard Misrach, Bomb, Destroyed Vehicle and Lone Rock, Bravo 20 Bombing Range, Nevada, 1986

Richard Misrach, Dead Cattle, Bravo 20 Nevada, 1987

Ammunition Bunker! from series w-47 (the secret), 1986-91

Richard Misrach!

Richard Misrach!
Chemical Bomb and Pyrotechnic Storage from series w-47 (the secret), 1986-91

Richard Misrach! Hazardous Waste Containment Site, Dow Chemical Corporation! 1998!

Sophie Ristelhueber, Fait (Fact), 1992

Sophie Ristelhueber, Fait (Fact), 1992

Edward Burtynsky!

Alberta Oil Sands #6 Fort McMurray, Alberta, Canada, 2007

Mitch Epstein

Robert Adams, East from Flagstaff Mountain, 1976

Mark Power!

Roger Fenton! The Long Walk! 1860

What things can be compared and contrasted here?

What things can be compared and contrasted here?

How does a tree figure differently in each view?

Marc Auge, ! Non-Places! Paul Farley & Michael Symmons Roberts, ! Edgelands: Journeys Into Englands True Wilderness !

Some edgelands

Another question: 2. How does a thing (a sign, an image or an object) come to represent a person? Explore this question through the work of one or more photographer/s using portraiture or still life

Some names
Gillian Wearing! August Sander! Diane Arbus! Imogen Cunningham! Laura Letinsky! Robert Mapplethorpe! Martin Parr! Irving Penn! Danny Treacy! Vik Muniz! Raymond Meier! Richard Avedon! Nadar

Gillian Wearing

Gillian Wearing
What signs are present? How are they representing people? What method is the photographer using?

August Sander
What signs are present? How are they representing people? What method is the photographer using?

Irving Penn
What signs are present? How are they representing people? What method is the photographer using?

Compare? Contrast?!

Compare? Contrast?!

Richard Renaldi

Compare? Contrast?!

Diane Arbus <> Richard Avedon

Diane Arbus <> Richard Avedon

Diane Arbus <> Richard Avedon

Martin Parr <> Katy Grannan

Lewis Hine > Walker Evans > Martin Parr

Edward Weston <> Irving Penn

Laura Letinsky <> Imogen Cunningham

Ansel Adams

The modernist thing-in-itself

Tina Modotti

Lee Friedlander! A condensed space! A missed object

Juergen Teller! A game of perception and identication: where is the ower, is it a stain?

Nobuyoshi Araki! Nature! or! the in-human

Martin Parr: ! the common-place

Stephen Shore! cultural locations..

A third possibility

3. How does a photographic image appear natural and yet be the product of a cultural process? Explore this question in relation to at least two different photographic examples.

Henri Cartier-Bresson! Gestapo Informer, Dessau, Germany! 1945"

Jeff Wall,! Dead Troops Talk (A vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter 1986)! 1992"

Jeff Wall,! Dead Troops Talk (A vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter 1986)! 1992"

The artistic image vs the scientific image

The posed image? The natural likeness? Questions of icon / index? Denotation and connotation?