Eiji Ohashi Born in  Hokkaido in 1955. Driven by the question of what happiness means to us humans, Ohashi began visiting the Himalayas, Tibet, Pakistan, and China’s Western Regions in 1984, and documented landscapes local ethnic minorities over a period of twenty years.

“One night 14 years ago, I drove through a snowstorm at night. Caught in a whiteout I lost track of where I was, but the familiar light from the vending machines guided me the way. Ever since then, vending machines have become something special to me. They are a window through which to view the world.
Standing isolated alongside the road, vending machines lead a lonely existence. They are so commonplace in Japan that no one pays particular attention to them, but I see in them an image of the modern human. Whether it rains or snows, the vending machines continue their service and diligently wait for the next customer to arrive. They strike me to the core and help me visualize fragments of memories that I had thought lost.
The glowing figure of the vending machine shows us not only an image of our past selves but also optimism for things to come. Where their light shines, we can sense hope for the future. In these moments, the vending machines become ultimate modern artworks, similar to the vacuum cleaners of Jeff Koons.”

Roger Deakins is an English cinematographer. Deakins is often cited as one of the greatest and most influential cinematographers of all time. He wins the Oscar twice for Blade Runner 2049 and 1917.

In his films, you will often notice his use of a frame, such as doorways and windows, and other scenic elements, to break up the wide frame. The camera will often move through these frames as it approaches the character or the main action in the scene.

Deakins has always preferred to operate the camera himself so that he can naturally respond to what’s happening in the scene, having complete control of the final result. This is also why he prefers to use a single camera set-up and avoid using multiple cameras unless he absolutely has to.

https://www.adamhfinal.com/

“NYC Puzzle”

New York City, often referred to the “melting pot” of the world, is a mosaic of cultures, backgrounds, and tales waiting to be told. At every corner, in every glance, there’s a story. This project dive deep into the essence of NYC by capturing moments of its emotions, dreams, and the sheer rawness of life in the City.

The heart of this project lies in its innovative approach—taking these individual street photographs and assembling them to recreate a night view of the iconic NYC skyline. This approach provides a perspective on the city’s architectural grandeur but also emphasizes that the city’s true brilliance is from its people. Every window in a skyscraper, every glint from a streetlamp, is represented by a face, a gesture, a fleeting moment. The final outcome is a symbiotic blend where the vibrancy of NYC’s nightlife is mirrored by the lives of its inhabitants.

1. Weeks 1-4: Street photography sessions and initial selection of photographs.
2. Weeks 5-6: Digital manipulation and creation of the mosaic.
3. Weeks 7-8: Feedback sessions, iterations, and finalizing the design.

Reference:

Lawrence Block, “Eight million ways to die”

Philip-Lorca diCorcia’s “Heads”

Example final outcome:

“There is no story. It’s just a question of shapes and light”

Harry Gruyaert (born 1941) is a Belgian photographer known for his use of color. He is a member of Magnum Photos.

As one of the earliest European photographers to explore and develop the possibilities of color film, Gruyaert didn’t follow the tradition of photography. When American photographers like William Eggleston and Stephen Shore began experimenting with color film, the use of it in Europe was still predominantly accepted in advertising and printing. At that time, color film was considered a technical novelty, but was not highly valued aesthetically.

Unlike the trend of photography at that time, Harry focus more on the enviroment, light and color. His unique vision helpd him created lots of fantastic photos and made him elected in the Magnum Photos, along with Alex Webb.

“Actually, we humans have never figured out why the universe exists, and why we human exist. But at that moment, that outline(of the universe) made me feel, as if I found out the answer. The answer is neither in the outer space, nor the deeps of the universe, yet in everyone’s body. We’re not only the puzzle itself, but also, the answer to this puzzle………If the universe is a poem, each of us is an individual word that consists in the poem. We continue to multiply, to love each other. Then we connect each other from words to sentences. This poem will then be written forever. When the poem is long enough, one day, we will understand the meaning of our existence in this poem of the universe.”

1. PROJECT TITLE
   “Mirage: A Journey Through Double Exposure Film”

2. PROJECT DESCRIPTION
Mirage is a photographic exploration that merges the city with the rural’ view. By employing the double exposure film technique, this project aims to capture the beauty of both places and merge them together. The project will showcase a series of photos of sceneries, each a unique blend of different tempos, cultures, and obviously the view. These double-exposure film shots will allow for a rich interplay of light, shadows, and forms, blending two distinct images into one cohesive photo.

The concept behind Mirage is from my interest in capturing the essence of different views. Drawing inspiration from the works of photographers like  Jerry Uelsmann, and Sarah K. Byrne, the project aims to create a dialogue between the physical and emotional worlds, connecting the viewer with the subjects on a deeper level.

3. OUTCOMES
A series of 5-7 double-exposure film photographs
Printed photographs in various sizes
A digital gallery of the images on a blog

4. METHODS AND MATERIALS
Mamiya C330 for double exposure shots
Natural and artificial lighting sources to create desired effects
High-quality photo paper for printing finished images
Digital scanner for digitizing prints and creating an online gallery

5. REFERENCES
Jerry Uelsmann: A contemporary photographer, recognized for his innovative use of multiple negatives to create surreal compositions
Sarah K. Byrne: A photographer specializing in double exposure techniques, whose work showcases the merging of natural elements with human subjects

For centuries, philosophers have debated the relationship between perception and truth.

Plato’s Allegory of the Cave emphasizes our perceptions’ limitations and how our knowledge of reality can be manipulated or distorted. The cave represents the human psyche, with the shadows representing the limited and distorted information that shapes our worldview.

Susan Sontag contends in her book “On Photography” that photography has changed the way we perceive reality. Because of the proliferation of photographic images, we now live in a world where we are continually confronted with visual representations of reality rather than reality itself. According to Sontag, photography can both disclose and conceal, as the photographer’s framing and subject matter choices can influence our perception of what is being depicted.

Like the shadows in Plato’s cave, photography presents us with a mediated version of reality that can both inform and mislead our understanding of the world.
Both Plato’s Allegory of the Cave and Susan Sontag’s “On Photography” deal with the limitations of human perception and the role that representations play in shaping our knowledge of reality. The shadows in Plato’s cave can be compared to the countless photos that pervade our everyday lives in this age of photographic reproduction.

Both Plato and Sontag stress the importance of questioning the reality that is presented to us, as well as the need for critical thinking to surmount the limitations of our perceptions. In a world saturated with photographic pictures, it is even more important to question their veracity and identify the potential for manipulation.

Plato’s Allegory of the Cave and Susan Sontag’s “On Photography” are both invaluable resources for understanding human perception of reality and the role that representations play in shaping our knowledge of the world. By looking at these works together, we can better understand the limitations of our perceptions and the importance of critical thinking in the era of photographic reproduction. As we navigate a world saturated with visual representations, we must remain alert and question the reality presented to us through various mediums, nurturing a deeper understanding of the world and our place within it.

Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction highlights the impact of mass media on art and culture. The concept of aura – the unique essence of an original work of art – is replaced by the infinite reproducibility of mechanical reproduction. This idea is not without its benefits and drawbacks, which have been apparent in the last century.

On the negative side, mechanical reproduction doesn’t respect the art piece itself. It’s just simply a duplicate. For example, hearing an orchestra playing at the theatre is different from listening to the same song on your Homepod. The atmosphere, touch even the smell of the paper is lost during the process of duplication. In this circumstance, can we still say they are the same art piece? Moreover, the loss of aura and the devaluation of original works of art can lead to a loss of cultural heritage, by reducing the importance of original works, we may be losing valuable aspects of cultural history. In addition, the mass media and its ability to reproduce content can also result in misinformation and the spreading of harmful ideas. The lack of quality control in the age of social media can lead to the spread of false narratives and the erosion of trust in traditional media.

On the other hand, duplication can help art pieces spread wildly. In the 1800s, you may only need to spend a little money to see something at a museum, but you need spend more on travel and sort of things. Art pieces should not be held in the hand of the upper class but all human beings. The reproducibility of mechanical reproduction may cause the loss of “aura”, but it helps more people get in touch with the art world.

Furthermore, duplication doesn’t affect the art piece itself. For example, nowadays more people enjoyed reading paper-book instead of reading it on electronic devices. Duplication can’t show people the aura of an art project, but it didn’t take them away. Instead, people who are attracted by the duplication may try to see the original piece. Isn’t it a good thing?

In conclusion, keep in mind that reproducibility has potential negative effects. Beyond that, we can enjoy mass media’s positive aspects and content’s infinite reproducibility.

Deanna Dikeman

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