Photorealism

Photorealism is most referred to as an art movement which happened in the United States during the 60s/70s. Gathering information on a subject using a camera or photograph the paintings created will appear almost photographic, making them seem 'real'. It can also be known as hyper-realism. 

Wikipedia defines a photorealist in these terms:

1. The Photo-Realist uses the camera and photograph to gather information.
2. The Photo-Realist uses a mechanical or semimechanical means to transfer the information to the canvas.
3. The Photo-Realist must have the technical ability to make the finished work appear photographic.
4. The artist must have exhibited work as a Photo-Realist by 1972 to be considered one of the central Photo-Realists.
5. The artist must have devoted at least five years to the development and exhibition of Photo-Realist work.

What I am interested in is this is the reproduction of the photograph, people generally say "I'm a photographer because I can't paint", the preciseness of a painter to achieve a photorealistic painting is incredible and something I can reflect on when I am photoshopping. My thought is, if a painter has to blow up a photograph to paint over to then make it look like a photograph, when we photoshop are we not taking a photograph and editing it to make it look like what we believe the photograph should look like. With a lot of editing in a photograph could it be the same basic concept? We knew it was a photograph, but why use these processes to then make it look 'more' like a photograph?

Ralph Goings - 'Ralph's Diner'

Ralph goings is an example of one of closest associated painters with the movement, he wanted to do the opposite of producing abstract work which allowed him to think of copying a photograph perfectly. This upset people, but then what art hasn't upset people?

Ralph Goings created incredible paintings, its hard to believe they are not photographs, especially with these two pieces. As his work is mainly about condiments and diners I though an interesting photograph to compare them with would be 'The Ice Cream Parlor' by Erwin Olaf, who I have written about before. What interests me is how Olaf is described as having a hyper realistic technique and look about his photos. Does this mean they look like paintings that look like photographs? That the amount of photoshop that he uses makes them seem less like photographs? Is it the lighting and the construction? There is a definite style which I do aspire to. With this work I want to make it seem painting like, use the hyperrealistic style Olaf does which the audience questions, as it does with Goings work. 

Erwin Olaf - The Ice Cream Parlor 

Image Makery

Okay, so I'm back at uni and its killing me. After an 'easy' second year I've pretty much got to up my game to a whole new level. With my sketch book I'm researching and showing my invested time, however I am also going to include my blog into my project, updating it everyday so it is an online log of my work.

My new project:
Recently we had to give a presentation on our idea, we had to talk for 6 minutes about our concepts, context and content. I'm not great at speaking in front of groups so I spent hours writing down exactly what I would say, which inevitably was time waisting as half way through I realised how dry it was and that I had not really explained my idea at all. Here are a couple of points from it:

Erwin Olaf

laboral escena, gijon

I will be looking at the style of Erwin Olaf, his work is always a source of inspiration. What attracted me to these photos were the painting like quality and how they follow the same theme I am interested in. The way the female model is portrayed in the fur denotes wealth and the pheasant hanging places you in a rural environment. I enjoy the way his work plays with the real and the unreal, how you can almost be convinced it is a painting and the skill that has gone into lighting and post production.

Elaine Bradford

Sweatered Elk

For my next project I will be combining my knitwear with my photography, although I am incredibly interested in knitting I must remember that I am the photographer and that the props really have to come second to producing the images. Looking here at Elaine Bradford's work it links into my project as I am hoping to produce a hunting themed shoot using knitted props as substitutes to fur and other traditionally cruel animal products. I will be producing a fashion editorial (8-12 images) with a vintage feel, combining textile props and fashion accessories to trick the viewer into believing, at a glance, the objects are real.


I have finished making an antler, it has turned out slightly different to what I expected, however I am happy with it (excuse the terrible photos)! I wanted to knit it in one piece but it has become more textured because I have wrapped it around itself, which fits into my style a lot more, hopefully my friend Ben will guide me a little bit in the prop making! I've got one more to do, which should take about two days. My whole life is being consumed by this project, but I've got a few elements sorted and I'm just piecing it all together.

Todays Research:

Today I have been looking into documentary photographers. I am trying to gather as much information I can on hunting and how to portray the models within my images.

David Chancellor

Hunters

"This body of work explores the complex relationship that exists between man, and animal, the hunter, and the hunted as we both struggle to adapt to our changing environments"

I believe by looking into the real I can draw more inspiration than looking into other fashion images. We have been warned away from looking at other contemporary fashion photographers because we will just reproduce what we are looking at (which is totally ironic as fashion reproduces everything and everything and is not as conceptual as portrait or documentary work). Although this series is looking at Africa it does give a good insight into the hunter's life and the situations they face day to day. What I do struggle with when looking at images such as these is how real they are. With fashion you know it is contrived and selling a product/lifestyle, but with these why are the posed? Why does the hunters stand there proud showing his prize? What is the reason behind the photographer capturing the moment and what did he have to say to get the subject to stand there like they are? The subjects do show an uneasiness which raises two more questions: are they uneasy about their work or because of the photographer?

With this series there is a strong link between the photographer, viewer and subject. We are interested in the subject because it is the 'real', we are interested because it is human nature. Seeing the results and 'trophies' is shocking and I personally cannot believe it is real. Although the series informs does it take a side? From the series I do feel inspired despite my image making being completely different. It raises questions on how I will be producing my work. I can draw from the poses and the emotions the subjects are showing.

Things to look at:
How to position the model in my images: looking into how the subject and audience interact.
How do I present my work without promoting hunting?
How to raise awareness within my images? Do I want a connection between the props and the model?

Zed Nelson

Fox Hunting 

I have decided to look into Zed Nelson's fox hunting series for ideas on styling.

This is the write up from the Institute For Artist Management website that accompanies the work:

 The British tradition of fox hunting is viewed by many as an elitist and cruel past time for the rich. The battle between those who call for an outright ban and those who demand the right to hunt has made it a major political issue. Hunting with a pack of hounds was banned under the previous Labour government, but hunting on horse back with a single hound remains legal and a frequent countryside activity.

Anti-hunt saboteurs continue to harass and disrupt fox-hunters wherever they gather, but ‘pro’ fox-hunting lobby groups have mobilizing their own supporters, and are digging in to defend their right to hunt. The hunters have become the hunted, but they are refusing to go down without a fight.

Once again by looking into the real I do have a good idea of how to produce my work. I have a meeting my stylist tonight to discuss the idea further, I do really like the Alexander McQueen 2012 Resort collection, which is really tailored and plays with gender roles.

Basic Shoot Outlines:
Farm House. Hunting. Knitted Props. English Feel. The Representation of Women. Time Setting - looking into 40s knitting patterns and how the women are portrayed. Tweed. Role Reversal.

Next:
Look into how women were portrayed in the 20s, 30s, 40s (stitch in time) look into knitting patterns - the style of images.
Look into the roles of women during those times and how to cross over modern androgyny with vintage appeal.
Look into the real and the unreal and how to cross over in my project.
Look into how to produce anti-animal cruelty images without encouraging it. Vanity vs. Welfare. Fashion fixes.