I felt my strongest still images are the refined choices of Strabismus photographs (http://sarahelizaphotography.wordpress.com/2012/05/16/strabismus-2/) and that they work coherently as a set of six in a vertical grid layout, although I would organise the layout of the images to alternate the defining line in each between vertical / horizontal for the presentation of the exhibition.
The rich colour tones link to my previous colour work and the images are an interesting way of representing a sight deficiency that I think the viewer could apply to their own daily perceptions. I feel they also show the technical ability required to manipulate images as well as working to enhance photographs on photoshop. The adaptation of digital images to film appearance also makes my work unique and for this reason I think they are not only an ascetically pleasing set of images, but strong and interesting too.
I would also like to use my Strabismus video (http://sarahelizaphotography.wordpress.com/2012/05/20/strabismus-visualised-video/) as a moving image final piece, as not only do the stills and video link together, but I think the video is strong enough to stand alone as a final piece and adds the emotion that the photographs may lack. The contrast between colour stills and black and white film will also work to enhance each piece of work and again the recognisable landscape shots will allow the viewer to connect with the work.
Due to the recurring theme of technology and science throughout my work, I would like to present my blog at the exhibition, almost as a final piece in itself, as it represents how I have developed my work throughout the project and I feel it is important that the viewer interacts with the work as I would like them to appreciate the representation of sight deficiencies that they may be unaware of.
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Having a blog to present my work throughout this project has allowed me to not only channel modern technological advances in the enhancement and techniques I have used when creating the work (especially in the creation and display of my films) but has also enabled me to access a variety of different mediums and an …
To explore the creation of 3D images, I worked with the Anaglyph 3D method for creating images as opposed to the traditional stereoscopic method as I felt it gave more diversity to my work, but still represented the alliance of the eyes and the brain through the perception of 3D using the development of new technology. Anaglyph 3D images work by encoding each eye using filters (in this method I used chromatically opposite colours - cyan and red – on colour images (from my original colour work).
When viewed through 3D glasses (which have “color coded”lenses) each of the two images reaches one eye, revealing an integrated stereoscopic image. The visual cortex of the brain fuses this into perception of a three dimensional scene or composition.
I chose to use mostly my original colour images to demonstrate how the eye-to-brain relationship can be manipulated to decode the same image in an entirely new way (developing from 2D to 3D) and continue the exploration of the alliance of the eyes and the brain through visual representation.
I felt the images work strongly as a series positioned in a grid formation as due to the hazy 3D border around the corner of the image, it becomes increasingly harder as the viewer to differentiate between each image the longer they are viewed, creating almost 1 3D image made up of 18 separate photographs. The colour the tones within the images also ‘blend’ as the cyan and red diffuse the original colour, so each becomes part of the set as they all features the same tones. The heavy black borders above and below each image also add a layer of contrast and definition to the images and are similar to the layout of the original colour images shown in the galleries for each colour / day of the week. As the original photographs were linked so strongly to the representation of religion and the Gods and the same images are now manipulated by a scientific process, an extreme contrast is created
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After studying David Armstrong‘s work, I was intrigued by the sense of a third dimension and depth created in the layers that build through the image. Although this does not directly link with the alliance of the eyes and the brain, the perception of 3D and 2D images does. Stereoscopy is described as a technique that ‘enhances …
To extend my research into Homonymous Hemianopsia, I created a short film comprised of clips that are a ‘half image’ of the original (representing the effect the deficiency has on seeing the complete image). By selecting a material that was translucent to ‘split’ my lens, I could allow light (from the sun) to filter through at a variety of densities**. I chose to link the shots to my earlier colour work and filmed short macro clips of flowers along the walk that I chose for the Strabismus video.
It was when I started to create the film that I established an association between the shape of the material covering the lens and the shape of the sun or moon. As my exam images and films are predominantly based around sight, I chose to focus on the movement of the sun because it does only holds links with the science of photosynthesis and therefore the subject of the video (flowers) but light is essential for everyday sight and without the sun our sight would be severely reduced.
I began to adapt the video to not only represent the sight deficiency, but also the transition of the the sun from sunrise to sunset through a short film of only 45 seconds. I based the colour tones of the material creating the ‘split’ (the Homonymous Hemianopsia) on the diagram of the sun’s movement below, adapting the brightness intensity and colour tones to illustrate the sun moving in motion through the day and then included text (inspired by Duane Michals) to denoting the time of day, using the same size font at the start and end of day positioned where the sun would be in the sky (sunrise and sunset) and larger font in the centre to represent midday (when the sun is at it’s fullest).
**The translucent quality of the material I used to ‘split’ the lens of my camera also allowed me to regulate the light filtering through into the shot, which worked well in conjunction with the idea of the movement of the sun, as not only was the light filtering through created by the sun itself, but I could add another dimension to the video by selecting clips with an intense light for time during the middle of the day and clips with a less intense and darker light filter for periods of sunrise and sunset.
I chose to incorporate a soundtrack from the artist that is recurring throughout my work (Colleen) called ‘Golden Morning Breaks’ and coordinated transitions to instigate the sun rising and setting (fading from white in ‘sunrise’ and to black (with a vignette) to represent the oncoming darkness at sunset – night ) as in the diagram below.
Interestingly, I came across a prayer diagram that worked in conjunction with the sun’s movement in the sky which had links to my previous colour works based on the Gods.