Context of Practice: Pictorialism in Photography 1885-1917 (Lesson Notes)

Notes made in Lesson:

“Photography – A Cultural History” – By Warner – detailed timeline

• “Pictorialism” – a style/approach to photography, a way of referring to photography.
• 1885-1917: just after early Victorian Photography.
• Peter Henry Emerson: Medical/Scientifically trained, writes “Naturalistic Photography” in 1889 which promoted photography as a cutting edge application of science.
• Then “The Death of Naturalistic Photography” in 1890 which rejected his early ideas in favour of the individuality of the artist.
• Science and Art come together quite often.
• “Life and Landscape on the Norfolk Broads, 1886” –Emerson – Rural documentation images exploring how the camera and eye perceive surroundings.

• Basing composition of these images on paintings such as Millais’s “L’Angelus” 1857-1859.

• “The Golden Section” – The harmonic composition of where the divide is between the landscape and the sky.
• John Everett Millais’s, Ophelia 1851-2 (Best known illustration from Shakespeare’s Hamlet.) – The Shape of the image has a religious style of framing, almost like the art found above an alter.

• Julia Margaret Cameron (LOOK UP) : Blur created through both long exposures, when the subject moved and by leaving the lend intentionally out of focus. Photographer of celebrities between 1864-1875.
• Ethereal characters through the style of “soft” imagery.
• Wistful expressions – Romanticism.
• Impressionism 1870’s/80s: “Hay Harvest”, Pissarro, 1901.

• The idea of a “snapshot” influencing painters at the time from photography.
• “Camera Work Magazine” : Photographic Journal published 1903-1917 by Alfred Steiglitz (with Steichen).
• Featured high quality photographs printed from copper plates.
• Photo Succession:
• Pictorialist Group by Steiglitz in 1902-1910.
• Showed in small galleries eg. 291 in New York with painters eg. Picasso.
• “a body of artists comprising the most advanced and gifted men of their times...broken away from the narrow rules of custom and tradition...”
• (Fritz Matthies- Masnten from the catalogue for Munich exhibition)
• Edward Steichen, “ Self Portrait” 1903.

• Robert Demachy, “Struggle” 1904.

• (Demachy) revival of the gum bichromate process – allows to work colour and brushwork into the photographic image. – The orange pigment in this print is meant to evoke sanguine,  reddish chalk often used in life drawing.
• “The Linked King” – 1892-1909: -British Pictorialist Photographers such as founder Henry Peach Robinson. – Its logo was three interlinked rings which were meant in part to represent the Masonic beliefs of Good, True, and Beautiful.
• H.P. Robinson, “ Fading Away” 1858. – Evokes a narrative, atmosphere and mood very morbid – weather outside of the window is dark and full of pathetic fallacy. Figure who is dying is all in white giving her a heavenly, angelic feel. – MELODRAMA – Victorian fashion. Technically quite a balanced image compositionally. Lighting balances dark and light, almost a spotlight on the figure caused by the natural light from the window, - eye is drawn to the figure.

• The Image is separately composed, each figure taken individually – A composite negative.
• Death & Childhood a very important theme for Victorian Society.
• Frank Meadow Sutcliffe, “ Herdsman tending cows.” – Whitby Abbey. 1875 -1910; does various images from Whitby.
• Paul Strand, “ White Fence” 1916. – Strand shunned the soft focus and symbolic content of the Pictorialists and instead strived to create a new vision that found beauty in the clear lines and forms of ordinary objects.

• This image sums up the beginning of “Modernism”.


KEY FEATURES:

• Subjects/themes: often rural – relationship between land and people.
• The Nude/Still Life/Portraiture.
• Visual Language: Soft focus, sepia toning, “painterly” effects like textured papers and drawing onto the surface.

Context of Practice: Lesson 1, What is Context? (Notes)

Notes made in lesson:

Context is:
• What else is going on as this image is made? “Looking deeper than the surface of the image.”
• The environment in which the image is made – What’s going on at the time – world news etc.
• Background information which helps us ‘read’ images in more depth.
• Making us question what we see on the surface of the image.

“Why do we need to do this?”

• You cannot ignore 173 years of Photographic history.
• Image making professionals have that knowledge (mostly).
• Learning to think, write and talk about your own work and that of others WILL MAKE YOU A BETTER PHOTOGRAPHER.

Context can Be:
• Technological
• Historical
• Geographical/Cultural
• Physical – in Display
• Political – government.
• political – politics of representation. DIFFERENCE BETWEEN PERSON WHOSE TAKING THE PICTURE AND PERSON WHO IS IN THE PICTURE.
• Human/ Personal

• ‘The Pencil of Nature’ – Book by William Henry Fox Talbot. (Inventor of the Negative)
• Talbot set a pressed leaf on a piece of sensitized paper, covered it with a sheet of glass and set it in the sun. – more info on this on – (metmuseum.org)

“The Art of Photographic Drawing”
• Edward Curtis – American Photographer , Documents Native American tribes.

• Late 19th early 20th century.
• George Washington’s idea of ‘civilizing’ Native Americans in preparation for assimilation as US citizens in the early 19th century.
• 1968 Olympics.
• Tommie Smith and John Carlos receive gold and bronze medals for USA in the 200m
• The US National Anthem plays and they make the black panther salute.

• Quote – (www.guardian.co.uk, March 2012)

“be true to yourself even when it hurts.”

• Christian Boltanski – Using photographs of missing children to make into a piece of art. LOOK UP.
• Christian B – 1980s, French artist of Catholic and Jewish heritage, Images of children used in his art pieces from Holocaust.

“What is the Geographical/Cultural context of an image?”

The context of a Geographical/Cultural image is when the geographical location is an influence of the culture of the location. Meaning that different groups of culture are an influence and are influenced by where they inhibit in a geographical location. In a sense the image of the Red Indian by Edward Curtis has a first impression of the culture just by the native appearance of the Red Indian. But when looking behind the initial appearance you find that the location goes hand in hand with the culture. This then feeds into a historical context even Political.

Different contexts should cross over with each other.

Technological – Being aware of the technology/equipment used at the time of the image but also used at any time for a particular meaning.
Historical- An awareness of historically what’s going on at the time of the image. This has a cross over to Political as well.
Geographical/Culture – Location and culture are entwined in contemporary times. However you can recognise history to an image by how separate the cultures might be. Keeping in mind the photographers cultural/ geographical background.
Physical – In Display – Where an image is seen. Whether it’s been published in a magazine or displayed in a gallery. This all effects how a viewer is to see an image.
Political – Politically you have to be aware of what’s going on at the time. Deciding whether the image is for or against a particular issue. This idea then feeds into personal politics. Keeping in mind PROPAGANDA!
political- A representation of how a group might want to be seen and how they are actually seen. Important aspect REPRESENTATION.

Context of Practice: Task 1:

• Can find document on E-studio.
• Brief title – ‘Histories & Genres’
• Looking at the idea of the different histories and genres of Photography.

“You will develop an understanding of the several ‘histories’ of photography and look at the idea of photographic genres”

PART 1: 3000 word essay which uses Havard referencing and has a bibliography of at least 8 different sources. You must paraphrase or quote from atleast 4 of these. A Blog of short writing tasks which will be set in sessions.

PART 2: 4 photographic images that demonstrate an understanding of Photographic histories and contexts. Please see E-studio for outline and details of requirements.

• Sylvan Barnet’s book – “ A short guide to writing about art” – see pages 29-31 on ‘context’ , page 53 on ‘form’ and ‘content’, pages 113-116 on ‘formal analysis’ , and on writing clearly and economically pages 187-219.

FOR MORE SUGGESTIONS (PREPARATION AND RESEARCH) LOOK AT BRIEF ON E-STUDIO.
Briefing: 24th September 2012
Interim Crit/Formative Feedback: 11th or 18th February 2013
Summative Feedback: 15th or 22nd April 2013
Deadline: Part 1&2, Wednesday 13th March 2013
1. 3000 word essay.
2. Blog of writing tasks/and records of crits.
3. 4 Photographic Prints.

BOOK TITLES:
• “Photography: A cultural history” by Mary Warner Marien.
• “The Photograph” By Grahame Clarke.
• “Photography: A Critical Introduction.” By Liz Wells.
• Look on E-studio for any more reference books/powerpoints.

Task for Adrian - Portraiture Project

                                                      ‘David Bailey’ 2001 – David Bailey

    Bailey has turned his camera on himself; he is both the artist and the subject. For once he is not evaluating the character of another, but him-self. The viewer tends to analyse, interpret and look to all self-portraits to deliver revelations about the artist’s psyche. In fact by engineering all aspects of the image – from pose to lighting, framing to clothes – the artist is able to portray him (or her) self, not necessarily truthfully, but as they would wish to be seen. Here Bailey shadows half his face, tilts his head downwards and looks up at the lens. He knows that the subject’s power to arrest and engage the viewer depends on eye contact. He emerges from this portrait as somewhat self-consciously intense.

   This idea of turning from the photographer to the subject is a very intriguing one. I have found many of the fellow photographers on this course say one of the reasons why they are doing a Photography degree is because they prefer to be behind the camera not in-front of it. The portraiture project we have been given I feel is designed to confront both sides of sitter and photographer. Having the camera turned around on you is a frightening prospect; there are not many people who say they enjoy being photographed. In my experience which I recently found out, being the subject of an image is terrifying mainly because you don’t want to confront what the camera records. It’s overwhelming having lights surrounding you and a camera pointing at you like the barrel of a gun, it puts you in a very compromising position. In a way what I want to explore is how your situation changes from photographer to sitter, two very distinct elements. David Bailey here is questioning both sides of photographer and subject in just one image. Here he shows his knowledge of the camera, the image, he stares into the lens with an intensity that shows he is not scared because he understands.

Lecture 3: Graphic Design; A Medium for the Masses

Notes Made in Lecture:

• "Graphic design coming from visual communicating through ever sort of art in a way"
• John Everett Millais, 'Bubbles' 1886, Pears Soap Advertisement.

• 1922, William Addison Dwiggins- came up with the term Graphic Design. 
• Sophistication of Art vs Graphic Design - conveying a message. 
• Herbert Spencer : 'Mechanized Art' 
• Max Bill & Josef Muller-Brockman: 'VisCom' 
• Paul Rand: '...graphic design deals with the spectator.'
• Richard Hollius. 
• 'ethically and culturally, reflect its responsibility society...' - Muller-Brockman. 
• Series of books called 'Looking Closer'
• Steven Helller - historian and writer of graphic design. 
• Toulouse-Lautrec advertisements for bars. 

• Alphonse Mucha, 'Job', 1898, poster for cigerette papers. 
• Charles Rennie Mackintosh - Scottish, 1896. 
• Koleman Moser - 1902, 13th Secession Exhibition. 
• Peter Behrens, AEG, 1910 
• Saville Lumley, "Daddy, what did YOU do in Great War?", 1915 war poster. 

• Alfred Leete, "Britons wants you!" 1914. 
• James Montgomery Flagg, "I want you for the US Army" 
• Julius Gipkens, "Trophies of the Air War".
• Wassily Kandinsky, (1886-1944)
• Composition VIII, 1923, Russian Artist. 
• El Lissitzky, 'Beat the Whites with the Red Wedge', 1919
• F.H. Stingermore, (UK), London Underground Map, 1931. 
• Henry C. (Harny) Beck, (UK), London Underground Map, 1933.
• Simon Patterson, "The Great Bear", 1992, lithogram on paper. 

• Constellation of stars - in this piece Patterson puts celebrities on the Underground Map instead of Station names. 
• Oshar Schlemmer, (German), Bauhaus Logo, 1922. 
• Laszlo Mokoly-Nagy, "Painting Photography Film" 
• Herbert Bayer, "Kandinsky 60th Birthday Exhibition" 
• Piet Zwart, "Het Boek van PTT, " 1938 (Dutch telephone book) .

• Herbert Matter (Swiss), 1932-34, 'Swiss Tourist Board' 
• A.M. Cassandre, 'L'intrasigeant', 1925. 
• ", 'Etoile du Nord', 1927- minimalist representation.
• Tom Purvis, 'LNER', 1937- pictorialist representation.
• Ludwig Hohlwein-1934-nazi propaganda posters. 
• Ludwig Vierthaler, 1936, 'Degenerate Art' Exhibition of art collected together by Hitler - art considered 'bad' was shown. 
• ",'Stalingrad; The New Star of Freedom' 1942.
• Pere Catala i Pic, "Lets squash fascism, 1936' (Spanish)
• V.Deni & N. Dolgorukor (Russian) 1939. 
• G Klucis, 1930 - Russian 
• 'Art and Power' - Book. 
• Abram Games, catalogue for Festival of Britain, Exhibition of Science, 1951
• Paul Rand, 'Advert for Jacqueline Cochran,' 1946

• Helmut Krone - volkswagen adverts
• Saul Bass, 1950s - key designer of the period, does film posters, sets a tone for graphic design of the period. 
• Ken Garland, 'First Things First Manifesto' 1964 - designers starting to question what they do, consumerism etc. 
• F.H.K. Henrion, 'Stop Nuclear Suicide' 1960
• Art workers Colaition, 'Q. And Babies? A. and Babies,' 1970
• Hypnosis,  10CC, 'Deceptive Bends Sleeve Design,' 1977
• Jamie Reid, Sex Pistols, Never Mind the Bollacks, Sleeve Design, 1977. 

• Peter Saville, FAC 001, 'The Factory Club Night' poster. 
• Neville Brody, 'The Face' Magazine covers, 1980s.

• David Carson, 'Dont mistake legibility for communication.' , 'Ray Gun' 
• Peter Blake, 'Band Aid: Do they know its Christmas?' 1984
• Chumbawamba, 'Pictures of Starving Children Sell Records' 1986
• Designers Republic, 'Pop Will Eat Itself' 1994 - Sleeve design
• Julian House, 'Primal Scream, Xterminator' Sleeve Design, 2000
• The Coup, 'Party Music' 2001 CD cover - highly politicized rap group.

• Steven Heller - important commentator of graphic design. 
• Jonathon BarnBrook, 'Bastard Typeface' 1990

Lecture 2: Postmodernism

Notes made in Lecture:

Definition; Generally referred to as a significant shift in attitude away from the certainties of a modernism based on progress. Importance of surface rather than depth. Collapses the distinction between high culture and mass or popular culture.
• Modernism roughly – 1860-1960
• Logically Postmodernism is 1960s-today.
• Postmodernism – reaction to rules of modernism, only rule is that there are no rules, celebrating what might otherwise be termed as kitsch.
• Robert Venturi, “learning from Las Vegas” 1972.
• Ideas developed by Charles Jencks, 1977
• Kitsch – celebrating bad taste.
• Richard Long, “A line made by Walking”

Modernism:
• Simplified aesthetic.
• Utopian ideals.
• Truth to Materials.
• Form Follows Function.

Postmodernism:
• Complexity
• Chaos
• Bricolage
• Parody, pastiche and irony.

P-M = questioning conventions set up by Modernism.
• Multiplicity of styles and approaches.
• Theme of ‘double coding’, borrowing, or ‘quoting’ from a number of historical styles.
• Knowing juxtapositions, or ‘post-mod. Irony’
• Questioning old limitations.
• Space for marginalised discourse – Woman, Sexual diversity & multiculturalism.

• Le Corbusier, “Chapel of  Notre Dame du Haut” Ronchamp, 1953-5, architecture.

• Le Corbusier, “Maisons Jaoul” Neuilly sur Seine, 1954-6, architecture.

• Robert Venturi; “I like elements which are hybrid rather than ‘pure’, comprising rather than ‘clean’...”
• Las Vegas – a postmodernist city.

• Victor Papnek, “The Green Imperative: Ecology and Ethics in design and architecture”
• Miles van der Roke and Philip Johnson, “Seagram Building” New York.
• Philip Johnson, “Sony Plaza” (former AT+T Building) New York, 1978-84.
• Ron Herron/Archigram, “Walking in the city in New York,1964”

• Renzo Piano + Richard Rogers, “Pompidon Centre,” Paris, 1972-77
• James Stirling, “Nene Staatsgalerie, Stuttgart”, Germany, 1977-1983.
• Away from truth to materials.
• Michael Graves, “Kettle” for Alessi, 1985 – design.

• Postmodern design is more about who you are than functionality.
• Phillipe Starck, “Juicy Salif” 1990.

• Ettore Sotsass.
• Vivian Westwood – SEX Boutique, Kings Road London, 1975 – Fashion Punk.

• Hussein Chalayan, “After Words” 2000-2001, his response to civil war.

• Hussein Chalayan, spring/summer collection 07
• Hussein Chalayan, ‘veiled and unveiled/chador, 1998.
• Mark Rothko, “Murals for Four Seasons Restaurant” Seagram Building, 1957, now TATE modern.
• Andy Warhol, Campbell’s soup cans, 1962.

• Pop art celebrates the everyday, looking at consumerism and its rise.
• Lichtenstein, Drowning girl, 1963.

• Jeff Koons, Dirty – Jeff on top, 1992

• Jeff Koons, “Michael Jackson and Bubbles, 1988”.
• Michael Jackson – a product of postmodernism?
• Marchel Duchamp-1887 – 1968, L.H.0.0.Q.
• Michael Craig Martic – An Oak Tree, 1973.
• David Shrigley.
• Damien Hirst, “Mother and child divided” 1993
• Tracey Emin, “Everyone I have ever slept with” 1963-95, 1995.
• “ , “My Bed” 1998.

• Sarah Lucas, “Au Naturel” 1994.
• Jake and Dinos Chapman, Fine Art.
• “, “Works from the Chapman family collection” 2002.
• Chris Ofili, “ No Woman, No Cry.” 1998

• “, “Holy Virgin Mary”. 1996
• Was in Sensation exhibition – look at book.
• “, “Shit head”.
• “, “Captain Shit and the legend of Black Stars”.

• Martin Creed, “Work No. 227, The lights going on and off” 2000
• Mark Wallinger, “Sleeper”.
• Helmut Krone, for Doyle Dane Berbach, “Think small”, Advert for Volkswagen, 1959.
• Tony Kaye, Oglivy+Mather, “Tested for the Unexpected” 1993.
• Langlands and bell, “The House of Osama Bin Laden,” 2003.
• David Carson, “Ray Gun” –unconventional magazine.
• “Postmodernist aesthetic.”
• “Don’t mistake legibility for communication” – David Carson.

• Barbara Kruger, “I shop therefore I am” 1987 – feminist artist.
• Selfridges-look up link between the artist (Kruger) and store.
• Banksy, parody’s Warhol’s soup can.
• Same parody with Turquoise Marilyn.

• Rachel Whiteread, “House” 1993.
• The K Foundation, “ Nailed to the Wall” 1994.

Lecture 1: "Modernity & Modernism: An Introduction"

Notes Made in Lecture:


• Modernity: Historical phase in western society.
• Our Contemporary culture is much influenced by Modernism.
• Modernity – Industrialisation, urbanisation.
• Modern artist’s response to the city.
• Psychology and subjective experience
• New art forms such as Photography emerged ultimately from the Modern era.
• John Ruskin – 1819-1900
• Modernity starts mid 18th century, ends early 20th century – can be argued.
• Ruskin was one of the first to describe “Modern”. Moving away from the “Classical”.
• “The Highland Shepherd” – Holman Hunt.

• “The New Women” photomontage, Spanish pavilion, Paris International Exhibition. 1937.
• Positivity, progression, to improve – Modern.
• TATE Modern – The most cutting edge progression in art.
• Optimism, looking forwards, to build, always to improve.
• Charles Jencks – says modernism died after demolition of the Pruitt, 15th July 1972. SYMBOLISM.
• Paris 1900 – quintessential modern city. – industrial centre, urbanisation.
• Pre modern – William Holman Hunt, rural, ordered by seasons.
• Trottoir Roullant – (electric moving walkway).
• Rapid advances in technology.
• Railways, Telephone get invented – V. IMPT.
• Mass communication, the world shrinks to be a more manageable place.
• Dense society, faster moving.
• World Time Standardised – had to come up with this after the invention of the railway system.
• A world full of discovery and dizzying experiment.
• Shopping as leisure activity starts in Modernism.
• Hyde Park Picture House – Site of Modernity – GO SEE.
• “Enlightment Project” – period in late 18th century when scientific/philosophical thinking made leaps and bounds.
• Secularisation.
• Process of rationality & reason.
• THE CITY – modernism – almost a figure.
• A whole new pace/style of life.
• “The Painter of Modern Life” – poem/ essay first documentation.
• The experience of the city is the subject.
• “Haussmarisation”
• Paris 1850s on = a New Paris.
• Hausman – city architect redesigns Paris.
• Lots of old crumbling streets/danger lots of crime.
• Large boulevards replaced the narrow streets of Paris. First city really to reinvent itself.
• Caillebotte – Painter capturing ‘Modern Life’ , the experience of the modern city.
• Psychology experiments, speed of modern life would send people crazy.
• How the mind is effected by the speed of modern life.
• Alienation within modern world, increased divide between working class and middle class.
• Fashion is an important factor within a city it divides you from the crowd and shows individuality.
• Degas – “ Absinthe Drinker” – psycho active drink, bi-product of modernity.

• Composition shows it new artistic form influenced and response from Photography.
• Painting starts a dialogue with Photography.
• Kaiser panorama – 1883 – viewing experience.
• Engaging with the world more visually with the image.
• Max Nordau – Degeneration – 1892 – anti-modernist, thought it was awful to be bombarded with information, The degeneration of humanity.
• Modernism emerges out of the subjective responses of artists/designers to; MODERNITY.
• Subjective experience, how people experience modernity.
• Modernism through any art form, is a way of responding the experience.
• To paint the “experience” the sensory dislocation. Monet – new techniques.
• Experimenting with painting in this time is a response from the threat of Photography.
• Paintings formally where the only way to document the world. Photography takes this and does it more objectively.
• Different views of the world gives you a different understanding of the world.
• Relationship between science, new forms of knowledge, artistically.
• Dialogue between the Modern & the Modernist.
• Anti-Historicism – Modernism in design.
• Truth to materials.
• Form follows Function.
• Technology
• Internationalism
• Cutlery produced with new material, new style, simplicity, anti-decoration, functionality first. Form Follows function.
• Adolf Loos – “Ornament is crime” 1908.
• Simple geometric forms appropriate to the material being used.
• No need to look backward to older styles.
• Designs going by the idea of being timeless.
• The Bauhaus – Radical art institution.

• “Internationalism” – A language of design that could be understandable to all.
 

Photographic Style

Style - Unique, A look, approach, Era/Time, Defining/Branding.

If Unique then it has to be original - due to either subject matter or technique or both.

Historically - a reflection of the artist's time, having a cultural reference or context.

MARTIN PARR:

• The more mundane the image the more it excites and interests him. 
• Considered one of the most influential photographers of our time. 
• "(Martin Parr) Encapsulates the vulgarity of this period." 
• Not simply just a Documentary Photographer. 
• "Familiarity breeds contempt."
• Martin Parr grew up in a suburban setting which to most is considered dull and mundane. 
• The backgrounds of photographers quite alot of the time where dull, they were considered lost people and having a camera was almost a gateway into the rest of the world. 
• Parr was an Obsessional Photographer. 
• Always collecting bits of information - to make sense of the world. 
• Culturally his photography has a distinct change from moving to the North of England from the South.
• When he was in the North of England he effectively captured a community which was soon to die out in its traditions. 
• At this time Parr wanted to belong to something, but he discovered that however involved he got with the community he was still not apart of it. 
• Quite alot of Parr's photography has an underlining political element. 
• To a certain extent photography is a form of exploitation. 
• Martin Parr's home is a reflection of what kind of person he is, he collects to the excess, nothing is too obscure or thrown away. 
• Parr photographed 'classes' originally documenting the working class he moved on to the middle class. 
• Very pessimistic of this fast developing world. 
• His photography is quintessentially British. 
• Parr and his work can be described as Obsessive, Kitsh, Collector, Horder. 
• His personality is projected through his work. 
• When you look at how he has developed as a photographer he has almost evolved with the times.
• 3 stylistic techniques as he has developed. 
• 1) Traditional Black and White film. 2) Medium format camera colour film. 3) Macro lens/vulgarity to colour saturation. 
• Look up the book 'Common Sense' - Martin Parr. 
• He uses a 'ringflash' technique in his photography. 
• The lower the ISO the higher the saturation in colour. Parr is known to use 50 ISO film. 
• His images hold objects that however mundane they seem have a symbol. 
• When remaking images in the style of Martin Parr focus on the book 'Common Sense'. 

DAIDO MORIYAMA: 

• Look up the series "Bye Bye Photography" 
• 'Provoke' - group of photographers who produced a magazine of unconventional photography (Look up) 
• Moriyama produces High contrast Black and White images. 
• His images are full of atmosphere and mood.
• There's alot of grain to his images, quite gritty and rough which adds to the atmosphere.
• Moriyama's images are interesting compositionally. Lots of shape and movement. 
• "Memories of a Dog" , "Nasty Photos" 
• He describes himself as wandering from alley to alley like a stray dog or alley cat. 
• He uses a compact camera which he feels is not as intimidating when taking photographs of people. 
• Moriyama describes his images as seductive. 
• He goes out just before noon to go in search of images rather than planning and premeditating on an idea. 
• He feels like an outsider looking in to the world. 
• His images are almost a symbolism of melted down photography which is to its bare minimum. 
• Slightly on edge. 
• His images absorb you and makes you feel claustrophobic at the same time. 
• Quality not being an issue in his photographs. 
• Its important to think about what camera type you will be using to portray certain styles of imagery. 
• Subject matter is not specific. 
• The point is to find something that's sympathetic towards the artists work.
• Think about culturally how images change visually. 
• Each country has a different approach to visually communicate images. 

RINKO KAWAUCHI: 

• Mostly images are in square format, colour.
• Have a magical type quality to the image. 
• Karauchi uses lens flare, light is very important to her images. 
• Mythical, enchanting images. 
• Very much about colour, light and the poetic quality to an image.
• Usually she presents her work in collage form when exhibiting in a gallery. 
• This means the images interplay with each other rather than just one stand alone image. 
• Look up the book "Illuminants" 

ALEXANDER RODCHENKO:

• Constructivism propaganda, montage, modernistic. 
• Modernist style. 
• Looking at shape. 
• Use of light and frame. 
• Played around with the composition and view point.