Brief:- Remember, there’s no need to make a direct copy of a photograph, for example a Man Ray photogram; make your own photographic experiment as Adam Fuss did (you can compare their photograms online). If you chose to emulate Man Ray, you might seek out interesting objects that can be rendered graphic shapes in silhouette by shooting them against a white background. Or perhaps you want to emulate the uncanny, liminal sense of space created in a Laura Letinsky photograph but using landscapes. Make the image your own. Artists rarely copy each other, but they do learn from each other. Try to identify exactly what it is in the photograph that appeals to you: the visual quality (tones, colours, light and dark) the composition or design the subject the concept the photographer’s viewpoint the way the photographer has influenced or constructed the image. When you’ve identified these elements, plan what you’ll need: equipment location models. When you’ve organised all this, make the photo.
Final Two Photos
I need to begin by saying that I am not happy with the results of either photo, but there are aspects to each of them that I do like.
The first photo is the one that I most prefer, and makes more use of colour and planes. Yes it is far busy and less subtle than a Letinsky, but I ensured that it used two planes, and it is also 3D in nature because of the net which drops down from the main canvas, and the roses which are hanging down from the light socket. It is aesthetically pleasing to me, it’s pretty and beautiful.
The second photo has more movement, which I prefer. I love how the sheet hangs, and envision this as being similar in nature to the roof of a marquee. But the second plane that I tried to create, with a petal at the end of each piece of thread, just doesn’t work.
Neither photo has the amount of neutral space that Letinsky makes use of so well. Both photos have finger prints, creases and glue marks, which it goes without saying that I am not pleased with. The first photo also has a gap between the satin effect canvas (pinned to the ceiling) and the net (hanging down).
Technically this was a complicated project. Flower petals shrivel and die, each sheet was three meters by one meter, and very difficult to pin to the ceiling. I made use of super glue to place the petals in the second photo, which was a big mistake. Super glue discolours the petals, sticks the canvas to the carpet, and whilst I was raising the sheet from the floor, a lot of the petals became unatuck. I used PVA glue for the first photo and it didn’t stick the petals to the floor, but still left unsightly marks when a petal refused to stick.
Despite the piece of art that I have created being of poor standard, because of the technical errors, I am pleased with the result of the first photo. I have had a lot of fun, and developing techniques to control the space that I am choosing to work with is good progress. I definitely wish to create art in this style in the future. To do so I would need at least one technician, a large board so the canvas can be ironed, and find an alternate way to glue the petals onto the sheet.
My creation is not a copy of Letinsky, but I believe that I have used elements of her style and technique to make something that is pleasing to my eye.
Contact sheets (here)
Keys, R; 2018; Picture Analysis – Laura Letinsky – David Bate – Pieter Claesz; Online: AT: https://photosociology.photography/2018/09/28/picture-analysis-laura-letinsky-david-bate-pieter-claesz/ (accessed on 17/11/2018)