Furthering my usual discussion on the importance of medium manipulation is Michael Kenna, while on the surface Kenna appears as a figure of staunch regularity by forwarding extremely traditional forms of landscape photography, if you look into the subtleties of his work there is nonconformity in the very fibre of his greatest images. Kenna is normally responsible for some of the most serene scenes in the world of film, his reflections on lakes and swatches of vivid mountains really draw even uninitiated viewers into a visual dialogue of beauty above most things.
It is for this reason that I am most drawn to his works at Ratcliffe Power station; these images (one pictured below) show a technical mastery that exposes a motive within the work, for example – there are many pieces by Kenna taken in the depth of night, with exposures lasting hours to ensure the film is properly exposed and leaves only the crispest impression. Not so with the works from Ratcliffe, they all maintain a considerable amount of noise and grain baked into each image. The viewer is left to imagine why these otherwise immaculate shapes are covered in a filth of spots which cover the entire image, and while I am not personally sure weather or not it was a selection of Infrared film or high speed film that lead to this development, it leaves the witness feeling they have some obligation to understand this obfuscation – weather or not that is to see the Coal being burned in these shots and desire something cleaner is subjective, but nevertheless intriguing.
I would like to say that I am no stranger to memes. First and foremost, as a middle school teacher, my students are constantly making references to memes and other jokes that make me feel as though I have aged considerably overnight.推特账号