Friday 14 May 2010

Lomography

Lomography - History
In the early 1990s a couple of students discovered a small, enigmatic Russian camera, the Lomo Kompakt Automat, and created a new style of artistic experimental photography with their first unorthodox snapshot cavortings. The approach: taking as many photographs (Lomographs) as possible in the most impossible of situations possible and from the most unusual positions possible, and then having them developed as cheaply as possible. The result is a flood of authentic, colourful, crazy, off-the-wall, unfamiliar and often brilliant snapshots. These are mounted on panels to form a sea of thousands of Lomographs which regularly astonish viewers with their sheer colourfulness, diversity and power of expression. Ensuing major exhibitions in Moscow, New York, Vienna, Berlin, St. Petersburg, Havana, Zurich, Cologne, Madrid, Cairo, Tokyo and many other cities, where up to 100,000 Lomographs were shown at a time, established an international reputation for Lomography.

Lomography as a brand is definitely about film and analog photography, in particular, photos taken with lomo brand cameras.

I do lomography because it's refreshing to go back to the basics of photography. Just to capture a moment or subject and not have to worry about whether the focus, camera settings or the lighting is perfect. I just want to have fun and make a creative image.
Photography for many people is now just about camera specifications and camera features. They are too focused on having the best camera with the best lens and have forgotten what photography is really about. To save a memory and have fun while you do it!

preserving Lomo's concept:
10 lomo's golden rules
1.Take your camera everywhere you go.
2. Use it anytime, day and night.
3. Lomography does not interfere with your life, but is a part of it.
4. Try the shot from the hip.
5. Approach the objects of your "Lomographic desire" as close as possible.
6. Don't think.
7. Be fast.
8. You don't have to know beforehand what you captured (forget LCD).
9. Afterwards, either (forget LCD review).
10 Don't worry about any rules.




long exposure


Emotions Joy



the more, the better: multiexposure


Reference:

Slinkachu



Slinkachu has attracted a cult audience for his photographs of tiny, hand-painted figures in unlikely urban settings. The street artist’s tiny world exists for a brief moment before it is washed away, eaten by animals or trodden underfoot by the unsuspecting public. These tiny narratives are then photographed by the artist, providing evidence of their brief “lives”. Slinkachu’s recent book, Little People in the City (with an introduction by Will Self), has become a best seller.

Slinkachu leaving his usual urban setting for the first time and his photographs will show tiny day-trippers facing everyday dramas within the grounds of Belsay.

The “little people” project has seen dozens of the tiny characters left around the city in a variety of poses, with begging for coins twice their size, being senless by mini-muggers.

Slinkachu has inspired by graffiti artist Banksi and wants to hide his identity. Only admitting to being a 26 years old Londoner.

A lot of recent miniature-model-photography work that is similar to Slinkachu work done in the '80s and '90s, but Slinkachu had steps further and his work is really clever and fun.

Slinkachu work reminds me of the Italian artist Olivo Barbieri a photographer of urban environments .He is recognized for his innovative technique creating a miniature still photgrphy from actule landscape by simulating shallow depth of filed via the use of the til-shft lens photography.



Belsay Hall, Newcastle
Reference:

Gregory Crewdson

Is one of my favorite photographers the way he planned his scene and how he choose the perfect time to creat the magical moment in the image. Every detail of these images is meticulously planned and staged, in particular the lighting. In some instances, extra lighting and special effects such as artificial rain or dry ice are used to enhance a natural moment of twilight. In others, the effect of twilight is entirely artificially created.

All the images propose twilight as a poetic condition. It is a metaphor for, and backdrop to, uncanny events that momentarily transport actors from the homeliness and security of their suburban context. Crewdson has drawn inspiration from the town of Lee, Massachusetts, where his family has a cabin: it was the setting for his Natural Wonder series (1992-97), which fused the natural and domestic worlds in surreal, vividly colorful images.

In some of my I images I have taken in the twilight I achieved in some of my images without a crew it’s by me and my camera, its not easy to capture what I really want to be in my frame because its not been planned like Gregory Crewdson but I’m trying to capture the best twilight moment that I’m looking for to be in my frame.

I think I always have been drawn to photography because I want to construct a perfect world. I want to try to create this moment that is separate from the chaos of my life, and to do that I think I create enormous disorder. And I like that craziness because I think that it creates almost a sort of neurotic energy on the set, and through that there is a moment of transportation. And in all my pictures what I am ultimately interested in is that moment of transcendence or transportation, where one is transported into another place, into a perfect, still world. Despite my compulsion to create this still world, it always meets up against the impossibility of doing so. So, I like the collision between this need for order and perfection and how it collides with a sense of the impossible. I like where possibility and impossibly meet.”
Gregory Crewdson, from an interview on Egg (pbs.org)

Gregory Crewdson
Untitled from the series 'Beneath the Roses'
2004

References