ilkut's take on Tutorials

Hello everyone!

Here i am going to talk about the given questions about digital photography and in light of the experience and vision i gained through the tutorials that I practice. I am grateful to Peter for leaving his images (1,2,3,4) unprocessed and open for non-commercial public use.

As the aura is described as the "unique instance which embodied in space that we're experiencing", I do not think any of the images I edited loss any more aura than the moment that they are captured. With the reasoning that no further decay can be possible after the actuality is being shrinked to 2 dimension(i ,obviously, exclude possible significant editing to change the "visual information*" in the image)

before discussing about the decisive moment, I'd like to type-think about; "what might taking away from decisive moment refers" as H.C. Bresson refers to photography as a sensitive instance hunt, no freezed frame can be revived** in ways that are possible to us. I'd like to reason this by the unique bound between the instance and the eye. Ofcourse Peter's camera does not include "dream tutorial by ilkut" effect but that particular practice does not change that instance that the image is being captured.

*by visual information It is meant to least amount of information that keeps the image recognizable
**after being hunted

peace.

it

ps. sorry for being picked landscape images that are filling up the group's blog
pss. check out our Creative Common License down below : ^)

A Sudden Gust of Wind

Hello, There were some questions about Jeff Wall's work A Sudden Gust of Wind. The photo I have posted is A High Wind in Yeijiri 1831-3 by Hokusai. About Wall's photograph I found this: '...bureaucrats or bean counters, away from the office to inspect the farmers' book. But when a gust of wind blows their efforts to impose order and organisation skywards they are suddenly, like farmers, subjected to the capricious forces of the weather... ...equalising the group under nature' it continues 'Wall likes to remind himself that the intoxicating freedom of computers is an illusion. We are not divine but error-prone and mortal'
Burnett, C Jeff Wall, TATE 2005
Isidro

Peyton's photograph

ColourCorrection_before


ColourCorrection_after



Dream_before


Dream_after

I think no matter the application of 'black and White', 'Older text' or
'Dream' effects are kinds of 'The Creative treatment of Actuality'(...right?).
From angles chosen, colour tone and light direction of my pictures,
all have been given some personal interpretations or narratives.
for example, 1. I use channel mixer to add more green to the photo 'bw_channelMixed_after'(below),
make it looks more mysterious or maybe sacred.
2. the photo 'Older text_after' change the original purpose/information
of the object I shoot. (it's a decoration outside a restaurant）


Older text_before


Older text_after


bw_channelMixed_before


bw_channelMixed_after

If viewers haven't see the real work in person, they won't know the real size of the work, the photo compressed the space, also can't tell the time of the work. Therefore, I think my work partly support Benjamin's view of the 'loss of aura'. However, while art work become an exhibit, it already lost the 'aura'（because of the change of location and accessible, from religionary to exhibitive).

* my works is not much about the decisive moment, only the memory maybe; the time and the space ever been (... what do u think?)

p.s. can watch "The genius of photography #3: Right place, right time" on youtube

Peyton

Questions asked of us . . .

Hi All,
Remember this particular flow of conversation is not assessed but please do contribute if you wish. You might want to take parts of it for your Observation Journals themselves.

Questions asked today:
1. Does the manipulated photograph posted by you support or critique Benjamin's view of the 'loss of aura'? Please comment (a few fleeting observations will do). Refer to Benjamin's Work of Art in the Age of Mechanical Reproduction ch3 The Photgraphy Reader or see the chapter in Benjamin's book Illuminations

2. Does the digital manipulation of your photograph take anything away from the 'decisive moment' of the image? Refer to "Some Decisive Moments(Maybe)?" in The Genius of Photography, 2008

3. If you were documentaing something in your photography, what does the process of manipulation say about "The Creative Treatment of Actuality?" see Brian Winston

If you are taking part in this, please do the four class exercises,
then post the originals and the manipulated verions (before and after) and add your comments bearing the above questions in mind.
LP