Erin Whittier - Task #5

In Labatte's interviews, she often is asked about her work having a photoshopped aesthetic, when in reality her work is not edited afterwards. This inspired me to create something really strange that was actually natural. I dyed my bananas blue. I also really love the way she uses mirrors in her images to create some confusing reflection, and so I placed my objects on mirrors and reflected a very interesting pattern onto them. I toyed with the idea of shapes and colours in the same way that she often does.

I really like her work ethic and I think what she produces is totally unusual and original. I am not really happy with the image, but I know that I do not have the skill to produce the image in my head that both would embody her style and be personally enjoyable. Her work is beautiful, and takes a lot of skill and effort. Her involvement and effort is really inspiring.

Erin Whittier - Task #4

"Who Cares"

When reviewing Olaf Breuning's work, I noticed that he often covers social issues, but adds a twist of irony and humour to them.

The issue I chose was sort of a personal one - nudity in art. I often create semi-nude/full nude portraits. A lot of my friends are very shocked by that and are always saying how "scandalous" my work can be, and say so negatively. I cant quite comprehend that way of thinking, because the human form is such an inspiration to me. The reaction that I completely loathe the most is when someone looks at a nude portrait and thinks of it with sexual connotations. I do not take nude images for someone's sexual interests! It really irks me when (especially on a self portrait) viewers make a cheeky remark about how "if only they could see more", or something along those lines.

In this work, I photographed my beliefs in written form with a nude model, and attempted to make my thoughts clear in an ironic and blunt way.

The aesthetic was partially inspired by his cartoon sketches (especially the "I KNOW" sketch, which i absolutely adore), and partially by the way he paints his subjects. When painting over the model, I was  also able to subvert the sexuality.

Erin Whittier - Task #3

"Tastes Like Regret"

When I read through Alex Prager's interviews, I found a few things that were really interesting. One particular method I found brilliant was that she doesn't start her photo with a particular story in mind - instead, she begins with an emotion. I found this rather startling because many people push us to tell a story with our photo to release a viewers emotion, but her method is the other way around - tell an emotion so the viewer creates their own story.

I began this with what emotions were going on with myself, as many things were going on in my life and I was overwhelmed with a variety of emotion. I chose the emotion of regretfulness. On a daily basis, whether a major or minor source, my own actions or others, theres always a moment I wish I could hide under a rock forever, or undo some action that cannot be fixed. And of course, in most things, you can eventually get over them, or speak with someone and work it all out, carrying on as if nothing has happened.

I decided I wanted to make a farce of this frase by taking it to the extreme - ironic contrition. But, I will let you figure out your own story with this image, and not taint it by my own interpretation of the story.

I also liked Alex's vibrant style. I mimicked this, and had a lot of fun with it, as I have begun having an affair with garish colours in my recent work.


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update:

Here is another image I have edited from the same shoot. As you can see I wasn't shooting in the studio because it was booked up with class all day, and I didn't know until my  model was already on her way. So I shot it on the floor with boards instead, but thats why the shadows are all wonky. What Evan said is pretty valid, so I'm going to post this as an alternative as well. Its not quite as cheery, and I have placed colour casts to mimic some of Pragers work in the way she uses different filters. I dont like this one as much but I would like to know what you think of it also.

Erin Whittier - Task #2

"De-domesticated"


This is my take on Amy Stein's "Domesticated Series". She took a series of stories of wild animals interacting with humans, and turned them into images. In this image, I am taking a domesticated animal, and making the creature "wild" again. Thus, the reason for the image's title - I am removing the horse of its domesticated status. I absolutely adore the idea of "returning to the wild", both humans and animals. I also would love to work on this image series more. Stein said that her series come about from her interest being sparked one way or another, and I feel that I could also explore a series similar to this, as it interests me greatly.

I am not sure I like this image a whole lot, and there is a possibility of reshooting. I find with Stein's images, the locations are just as important as the subjects themselves, and I am considering remaking this image because of that. ( I also do not know if the horse looks "wild" enough.. But then again, a horse once domesticated and turned wild would also appear friendly towards humans still, wouldn't they? )

Do you think it is well done? Or do you think it would be worth reshooting entirely?

Erin Whittier - Task #1

Title: Studio 406



I read a bunch of interviews with Struth, and what stuck out for me was his work ethic in shooting the "Family Portrait" series. A few things inspired me - his use of natural light only, placing them in the space they live in, and giving the freedom to pose however and wear whatever. I decided to use a wide angle lens the way he did - it captures both the person and their surroundings, which I think are equally important to the series.

I tried shooting this image a couple times, and finally I came up with these ones (although, I still can't decide - should I leave them as individual photos, or as a diptych?) I made it a bit different, by having one person within the space at a time - it brings out the differences between the two roommates but also the similarities, and how they inhabit the space in their own ways.

(One thing he also said was that there was a tangible energy when he would shoot portraits - the families would get rather excited preparing for the shoot, interacting with each other. I found it rather interesting, when I first attempted the portrait with my parents, they became lively and enthusiastic when sitting down for the portrait. The freedom I gave them opened up another dynamic of communication between themselves, as well as with me. Although this is just a side note, I thought it was pretty cool to feel the energy that Struth talked about when doing his family portraits.)