Most music tries to control its circumstances, just as most of us do. But there’s another way to live. Accept indeterminacy as a principle, and you
see your life in a new light, as a series of seemingly unrelated jewel-like stories within a dazzling setting of change and transformation, recognise that you don’t know where you stand, and you will begin to watch where you put your feet. That’s when a path appears.

Kay Larson - Where the Heart Beats (John Cage, Zen Buddhism and the Inner Life of Artists)

photojojo:

Photographers have been exposing negatives to corrosive chemicals for ages, but as far we know, Seung-Hwan Oh is the first to use live bacteria in his experiments.

Using homegrown cultures that feed on the light-sensitive chemicals you use to develop film, Seung-Hwan Oh ends up with these distorted photos that are strangely beautiful.

Live Bacteria Cultures Used to Corrode Film Negatives

via Beautiful Decay

(via bluebeanyblog)

Source photojojo

Reblogged from photojojo


Le mur, oeuvres de la collection Antoine de... by lamaisonrouge

I saw this exhibition in Paris this summer. It’s the first time I’ve seen a show where all the work was arranged on the walls using a computer algorithm. Since Year 13 are thinking about the ways in which chance can be incorporated into the creative process, this is a useful reference point.

In today’s lesson 13B will be accompanied by the music of John Cage as they set about creating collages according to the role of dice.

During the course of Surrealist development, outside all forms of idealism, outside the opiates of religion, the marvellous comes to light within reality. It comes to light in dreams, obsessions, preoccupations, in sleep, fear, love, chance; in hallucinations, pretended disorders, follies, ghostly apparitions, escape mechanisms and evasions; in fancies, idle wanderings, poetry, the supernatural and the unusual; in empiricism, in super-reality.

André Breton, 1924
Max Ernst - The Entire City, 1934 Kenneth Martin - Chance and Order Group VII, Drawing 6, 1971

This week, Year 13 are thinking about the role of chance in the creation of works of art. Chance processes (or automatism) were embraced enthusiastically by both the Dadaists and Surrealists as a strategy for disrupting the conventional means of making art which emphasised the craft and control of the artist. Subsequently, the balance between chance and structure has been one of the dominant dialogues in modern and contemporary art. The examples above hint at this legacy.

Another strategy we are experimenting with this week is the concept of the instruction. We are asking Year 13 students to do the following:

  1. Reflect on the process one normally undergoes in the creation of a photographic image, everything from having the urge to make a photograph to printing, titling and displaying it to an audience.
  2. To deliberately introduce a disruptive element of chance into this process.
  3. To design a set of instructions for another photographer which employ one or more elements of chance in the making of a photographic image or images.
Minor White - Windowsill Daydreaming, Rochester, New York, July 1958 Leonard Freed - New York City, 1954 Josef Sudek - Still lIfe with bread and egg Manuel Alvarez Bravo - The good reputation sleeping, 1939 Lee Friedlander - New Mexico, 2001 Robert Frank - 34th Street, New York, 1951 Bruce Gilden, Fifth Avenue NY, 1975 Bernd and Hilla Becher - Industrial Facades, 1984 – 1994

On Monday 12D/Pg1 will be working collaboratively to explore the formal elements of various photographs. They will be considering the importance of each of the following elements:

Focus

Light

Line

Repetition

Shape

Space

Texture

Tone

To what extent are these elements useful in helping us to understand how photographic images work? 

mrnphotoblog:

I’ve been doing some more experimenting with my Lubitel 2 TLR medium format camera. This time I used some positive film (made for creating slides) but asked the lab to cross-process them. I also decided to experiment with some double exposures, deliberately not winding on the camera after an exposure to take another shot. I’m really pleased with the results of both experiments. 

The cross-processing produces a greeny-blue tint to the images and increases the contrast and grain, giving them quite a gritty, urban quality. The double exposures worked best when one of the images was an all over texture with lots of negative space and the other contained a dominant subject. Of course, it’s really hard to predict how they will turn out and that’s why it’s so much fun. Chance can sometimes be your best ally as a photographer.

Reblogged from mrnphotoblog

Congratulations

Congratulations to our AS and A2 photography students for a wonderful set of results. Those of you who are leaving us to pursue your life adventures, please stay in touch (and remember to invite us to see your various exhibitions). Those of you who are beginning the A2 course in September, enjoy what remains of your holiday. We’ll want to see your summer pictures.

Finally, those Year 11 students hoping to begin the AS course in September, you’ve got some big boots to fill. Take inspiration from your fellow students. Ask for help and guidance. Work hard and, like them, you too will have the pleasure of looking at your results in a year’s time.