VC05_B09 – Moral rights and copyright

Objective:

The objective of this activity is to develop an understanding of moral rights and copyright in regards to the photographic industry.

 

The Activity:

The Australian Copyright Council’s website has all the resources a photographer needs in regards to copyright and moral rights. After going to the website and reading the links listed below, your activity is to reflect on these three scenarios:

  1. As a working professional photographer you have noticed that someone has used one of your images on their blog. They have not credited you for being the original photographer, but have not said that they are the photographer either. It is just a personal blog showing interesting photographs from around the world.
  2. As a wedding photographer you notice that at the local shopping centre one of your images in the window of a “QuickPrint” printing shop. After talking to the shop owner, he tells you that a couple came in and got some enlargements done and agreed to let the shop owner display one of the images in the shop window.
  3. As a working advertising photographer you take an image of a building and cityscape for a regular client. You agree on usage and a price. It is agreed that the image can only be used for 12 months and printed up to A3 for brochure, internal marketing and on their website and not to be used overseas. Six months later you notice that your image is being used on the side of a tram, covering the entire tram. Once you start investigating this you notice that your image is also being used for advertising in international magazines.

Australian Copyright Council:

http://www.copyright.org.au/find-an-answer/browse-by-what-you-do/photographers/

INFORMATION SHEET G043v12 moral rights

INFORMATION SHEET G011v14 photographers and copyright

INFORMATION SHEET G24 Assigning and licensing rights

 

Allow about 2 hours to complete this activity.

Submission:

Post a 100 word (minimum) reflection of each of the three scenarios, including what actions you should take in regards to your copyright and moral rights.

Reading through all of these scenarios, I can see that many of these situations could have been avoided by having proper metadata embedded in each file during the original workflow.  Comprehensive metadata outlining precise usage rights and appropriate extensive keywording would have alerted a commercial printer to the potential abuse of copyright in the last two cases, and enabled the printer to contact the original photographer to confirm usage rights.  Of course, along with these measures, any photography sale should include a very comprehensive written contract, with personal and individual clauses separately pointed out to each party and signed off on.

I truly believe that comprehensive client education could have prevented the first, perhaps in the form of a statement under each image published on a website (assuming that’s the method used to harvest it) although I suspect it’s more a case of ‘what they don’t know won’t hurt them’, in which case, education needs to be done after the fact, and possibly re-inforced with legal action should the user prove to be reluctant to observe the niceties.

Scenario 1

Scenario 1 could easily be a communications breakdown.  With the proliferation of blogging in modern times, many people just start creating blogs without fully understanding all of the legal requirements regarding intellectual property usage.

As I prefer to maintain the moral high ground in situations like these (it’s almost impossible to argue with someone who is obviously right and calm about it),  I am inclined to approach the blogger privately, pointing out that I or my business own copyright to that image, and perhaps providing a screen shot of the metadata that is embedded into the image as proof of both my rights and the transgression that has been committed.  I would expect that as the image is probably low resolution (and to be honest, if I put it on the web, it should be watermarked as well as full of metadata), that a solution to this issue would be to ask for an acknowledgement that the image was taken without permission, correct acknowledgement of myself as creator and copyright holder, and a link back to where the original image was published would be sufficient compensation if I were happy for the image to continue to be published on that particular blog, or asking for removal under the terms of copyright stated if I were not.

A last resort would be to send a cease and desist notice from a lawyer, but I truly hope that this would not be necessary.

Scenario 2

As this is a professional printer,  surely the situation could have been avoided again, by embedding comprehensive information into the metadata if the file was digital, or using a professional laboratory that can put copyright information on the back if it was a printed file.  Those are certainly steps to take to prevent future instances.

However in this case, to repair the damage done on this occasion, I would point out that despite the client paying for the original images, I am still the copyright owner, and have not given permission for them to be displayed.  However, as this is a print shop, and could be a good networking opportunity, I would not ask him to remove it, but would instead settle for educating him on how to look for copyright information (he should already know, but giving the benefit of the doubt is part of maintaining the moral high ground) in the future, to make sure that the image is credited to me, perhaps with a sign on it, and by him displaying my business cards so that anyone looking for a photographer through him can be recommended to me.  This saves having a printer badmouth me for asserting my rights and puts him on my side instead.

As to the original couple, unfortunately, even though I would probably still have their contact details, unless they contact me in the future for photographic work, when I could take the opportunity to point out their breaking of our earlier contract, I would probably not contact them to arrange for payment or to inform them of copyright breach.  The costs involved in pursuing it legally would not be recouped, and the bad word of mouth would be a huge disadvantage to my business.

 

Scenario 3

This scenario is where I WOULD get nasty and call a lawyer or barrister.  This is a very clear breach of contract by one of the signatories (the other cases didn’t involve the actual client at the point of breach), and as a commercial contract, they really are responsible.  My first point of call would be to get my lawyer to draft a cease and desist AND an invoice for all current usages of the images.  Should that be ignored or downplayed, I would be asking for compensation in the order of some magnitude, as the images that I provided were not designed to be enlarged by that amount, and would not be a good representation of my work.

With this case, I would not rest until I had either a fat cheque and written apology from the company involved, or a fat cheque and a judgement in my hand.  I have pursued similar infringements to my IP from other companies on earlier occasions, however, and I find that a stern letter from a barrister tends to make most people back down when it is obvious that they are in the wrong.

 

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VC05_B10 – Questions

Objective:

 

The objective of this activity is to gain experience in ways to understand other photographers’ work.

 

The Activity:

 

Develop a series of interview questions that could be asked of a photographer to extend your understanding of a photograph or body of work. Do not just limit yourself to the technical aspects of the photographs, but also include questions that will give you an understanding of the messages and meaning behind the work and whether the photographer has managed to achieve this. Think about the process from the first ideas through to the final image or exhibition and the response from the photographer’s peers and public. Also consider the photographers own self-reflection. The questions should invoke extensive answers, not one word yes or no. This way you will gain a real understanding of another photographer’s work and the reasons for creating it. Avoid brief questions such as: “what camera did you use?” or “Do you like it?”, such questions give little real insight into the work or the photographer’s ideas, motivations, influences, methods etc.

Submission:

 

Post a minimum of 6 questions on your blog.

Well, this is awkward.  Difficult.  Challenging.

One thing I hate about asking questions of someone is that I am sure they have heard them all before (I interview a few celebrities in my other life as a sci fi nerd).

So, rather than approach this from the viewpoint of interviewing a particular photographer.. I will just ask some questions that I have always wanted answered – by any photographer that I admire (and there are so many)

1.   Which do you prefer, money or accolades?? ie: would you take photos if you didn’t make money, but won awards for your images???

2. How do you decide if someone who approaches you is worth mentoring??

3. When did you feel comfortable to start charging for your services??

4. What is your favourite photographing memory (one memory of a time taking photos that stands out for you)??

5.  What was the best piece of advice another photographer ever gave you??

6.  How do you decide whether to take on a client or not????

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VC05_B07 – Self Portrait

Objective:

The objective of this activity is to enhance your understanding of body image and identity through the exploration of design elements and objects used as symbolic reference to portray a message and evoke emotion.

 

The Activity:

Capture a portrait of yourself that describes through the choice of objects and environment something of your persona. This may include elements that reflect your profession, interests or passions. The self-portrait may also reflect your core beliefs, be it political or spiritual and may also reflect your philosophies on life. It is important that the image communicates to the viewer aspects of you, therefore you need to consider the inclusion of objects and their combination and arrangement that work together and evolve into a strong narrative.  The objects may be symbolic or factual, and consider the use of colour and lighting keys to supporting the narrative.

In constructing your image consider the following:

  • Background and setting
  • Placement and relationship of objects: Emphasis, structure, depth etc.
  • Personal Meaning
  • Strong composition reflecting either a traditional or contemporary approach
  • Lighting to reflect the mood, ambience and drama
  • Using colour theories and consider the following:

1. Symbolic colour to underpin the message.

2. Colour combinations as design elements.

3. The use of colour to extend the emotional reach and impact of the image.

Allow about 2 hours to complete this activity.

Submission:

Post the image on to your blog accompanied by a 100 word summation to your visual journal blog.

Oh great, a selfie – I HATE selfies.  With a passion.  Probably because there are so many bad selfies out there (thank you camera phone!!)

However, I am also doing a photography challenge this year that included 3 self portraits over the course of the year, so it’s not like I don’t have to  put on my big girl panties and deal with it.

However, this one is different, very different, I can put my ideas into it, personal objects, make it much more ABOUT me than a picture of me.  What a great concept.  I decide to go down this track, as it’s so much more appealing, while probably being more difficult.. but hey?? who isn’t up for a challenge at the end of trimester?? it’s not like we are busy or anything, right??

I chose to do a candle light picture, this works on so many levels, my previous life, where I started a business as a chandler and ran it for several years, my deep and abiding faith (I am a practicing pagan), my love for the moodiness of candle light and my introverted personality.

This image took quite a while to set up, arranging and lighting all the candles was the easy part, I wanted to use my 100mm macro lens, because I love the look that it gives to low light portraits, but it’s a prime, so I had to move the camera and the setup, as I couldn’t just zoom into the right focal length, boy, was that a learning curve!

I couldn’t quite get the totally black background I was after, mostly because my lens is so good, it kept picking up the colour in the background curtains, so I spent a little time editing in photoshop, where I decided to also take the sharpness way down to add to the mood, these are all ideas that I have learnt about in VC, it has helped me to define how I present an image to create a feeling and mood in the viewer.

selfieweb

 

So that was that, I really REALLY enjoyed this challenge, putting a lot of the principles and theories that I had learnt about into practice for an image was great, putting them into a self portrait was a real curve ball, made me think LONG and hard.

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VC05_B08 – Authenticity

Objective:

The objective of this activity is to gain an understanding of the importance of authenticity in photography and what the ramifications are when it is challenged.

 

The Activity:

 

Find two photographs that have been challenged for their authenticity and record and reflect the reasons why. From the very early days of photography images have had their authenticity challenged. The reasons for questioning photographic authenticity have been varied, as have been the importance of such questioning. Some of these have been associated with turning points in modern history and have influenced both critical moments in history as well as the way people now perceive the photographic image. Others, while not having the importance of influencing human history, have progressively changed the way we perceive the image. The saying “the camera does not lie” has gone from a believable statement to a sarcastic joke, especially in the last decade with the invention and progression of image manipulation software eg Photoshop. Before selecting the two images to reflect on, do some research on this subject back through the history of photography. This will help you to gain an appreciation of the importance of this issue within the photographic industry, both past and present.

It is part of your assessment that you reference your chosen images correctly.

Allow about 2 hours to complete this activity.

Submission:

Post the two images along with at least 150 words for each image reflecting on the reasons why their authenticity was challenged and the outcomes of those challenges.

 

One thing that I have learnt from many of the subjects that I have studied this trimester has been that you simply can NOT trust a modern photograph to be accurate.  Indeed, ‘photoshop’ is often used in general conversation by the public as a verb.  To manipulate an image in complex manners is no longer the realm of specialists or of professional experienced photographers, in fact, it is not even necessary to own a camera of any sort to produce a realistic and authentic looking image that can frequently confuse experts.

So, I went to the past.  Probably one of the most controversial images of all time, that first recorded proof of the the Loch Ness monster, the image was taken by London surgeon Kenneth Wilson in 1934 and immediately ignited controversy, with expert opinion being evenly divided between fake and authentic for many years, but no conclusive decision ever being published and accepted.

It wasn’t until 1975, when the original photographer came forward with a detailed explanation of how the photo was taken, that the image was revealed as a hoax as revenge for an injustice done  to his father by the newspaper that the photograph had been submitted to.  Indeed, it is still thought by many scholars and experts of both the Loch Ness monster, and photography, that had he not come forward, there would still be no definitive answer to the authenticity of this image.

Image 1

april-fools-day-animal-hoaxes-loch-ness-monster-nessie_34038_600x450

 

ONLINE] Available at:http://sabeerhassan.files.wordpress.com/2013/04/april-fools-day-animal-hoaxes-loch-ness-monster-nessie_34038_600x450.jpg. [Accessed 10 January 2014].

 

I choose yet another 1930’s controversial image, I find that era to be a treasure trove.  Photography for the masses was popular, mass media was coming to the fore with air travel reducing the times between an event happening and details being available, all in all, it is an exciting time for the world, between two world wars, and photographers are keen to capture and possibly create the excitement that they feel.

My second image is Robert Capa’s “the falling soldier”.  Again, controversy has raged over the photograph , although it didnt’ start until nearly forty years since it was taken during the Spanish civil war in 1936.  Was the photo staged??? was it a real soldier or a model?? Was it even taken where Capa claimed???

There have been claims and counter claims, with Capa’s estate, the photographer himself, and biographer always claiming the image was real and genuine, while another  The current verdict (and one that has been around for quite some time) is that all the evidence of his movements, the name of the soldier and the sequence of images taken by Capa in that time frame point to the image being as genuine as Capa always maintained it was.

On of the claims made about this photograph is that Capa wanted a staged action shot, grabbed a genuine soldier and while he was re enacting for the camera, he was genuinely killed while Capa was shooting.  If this should be true, it would indeed be a tragedy, and a further reminder of why photojournalists shouldn’t interfere with the story that they are telling.  Something that Australian Videocameraman Neil Davis was always adamant was an important aspect when covering a conflict.  In fact, he was known to have turned away when combatants offered to re enact for him to film some action.

the-falling-soldier-1936

 

[ONLINE] Available at: https://nppa.org/sites/default/files/the-falling-soldier-1936.jpg. [Accessed 10 January 2014].

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VC05_B06 – Terry Barrett

Objective:

The objective of this activity is to enhance understanding of the classification system devised by Terry Barrett.

 The Activity:

Terry Barrett devised a classificatory system for photographic images and divided them into six categories.  The six categories are:

  •  Descriptive
  • Explanatory
  • Interpretive
  • Ethically evaluative
  • Aesthetically evaluative
  • Theoretical

Your activity is to conduct a web search and identify an example of two of the six photographic categories identified by Barrett and comment on how they represent the identified category. There are many books and websites that discuss this system in depth.  As you will learn this system is very useful for thinking about images, their use and critiquing them. Because of the nature of the system, which category each image fits into largely depends on the viewer and some images will fit into multiple categories. For the purpose of the assessment you must document why your chosen images represent the chosen category.  It is part of the assessment that you reference all images correctly.

Allow about 2 hours to complete this activity.

 Submission:

Post the two images on your blog accompanied by the relevant commentary/explanations for assessment.

 

 

I must admit that I hadn’t heard of Terry Barrett before this task.  I think that this is because I have always taken photography as a very personal thing, and not really felt secure enough to criticise another photographers images.

However, I can certainly see that dividing images into separate styles and using definitions within those to determine the quality of a photo has a lot of merit as a system.

Oh, how I love my good and dear friend Yahoo search to find images that fall within these definition, and see what appeals on a personal level.  I am struck by the thought that this exercise will give me some insight into my own style and how it is developing as I study and learn.

After a bit of research and looking at some truly beautiful images, I find myself drawn to two styles consistently

 

1.  Ethically Evaluative

These are images that makes a judgemental statement on our own society in some way,  images that are designed to bring attention or raise awareness to an issue.  Often these are personal projects of photographers, although in  many cases they are commissioned by others.

 

Salgado’s iconic images of the dreadful conditions in and around Sao Paolo, Brazil spring to mind, so very emotive, so disturbing and such a damning indictment on our society that will allow such treatment of the poor by the affluent, simply to help them become more affluent and the destruction of a peoples entire way of life and place to live it.  Without these images, I doubt that many people would even be aware of how much of Brazil is mined, and the environment and peoples crushed underfoot of large corporations greed.

 

salgado_dirt

[ONLINE] Available at: http://www.masters-of-photography.com/images/full/salgado/salgado_dirt.jpg. [Accessed 09 January 2014].

This image displays so many of the requirements for ethically evaluative.  It is a plea for decent working conditions, a demonstration of danger experienced by so many that are attempting to eke out a living, it portrays the sheer magnitude of this environmental and human tragedy. The use of monochrome does detract a little, in my opinion, as it makes it difficult to realise that this process is current, happening to these people NOW, although the tones created do give a sombre and depressing feel to the image.

 

Image 2

The other category that I find myself returning to again and again is descriptive photography, that which is an accurate record of an item, an event, a person.  I think this photography style appeals to me because of my background as the family record keeper.  special events and special things deserve to have a place in our memories, and accurate depictions are important for that.

Also, as an engineer, I am driven by accuracy.  My art preferences have always tended towards the more traditional depictions, although my studies have led to a deep and abiding appreciation and love for more modern interpretive forms, I return again and again to classics for my inspiration and pleasure.

But for pure historical accuracy, I return to my engineer roots, periscope photography is an important part of submarine warfare, it is used for information gathering, confirmation of targets, both acquired and killed and, as such is one of the most essential skills in the arsenal of a periscope operator.

I am reminded of an incident on an wargame against the US navy pacific fleet, where an Australian submarine was tasked to gather intelligence on the location of several of the largest ships.  That evening ashore, the US officers were drinking after debrief when the Australian crew entered, upon which they were roundly criticised for not being able to find an aircraft carrier, as they hadn’t been seen the entire duration of the game.

The officer in charge of the periscope drew several polaroids (yes, this is a while ago) of not only the aircraft carrier, but also its propellors squared within the crosshairs of the targeting array.  Under wargame rules of engagement, this constitutes a confirmed kill, and the submarine had found, tracked, and escaped, all without being seen.  Without the images from the periscope, there would have been no evidence to support the claim.  The images are legendary among the Australian submarine community.

This image is NOT one of them, but is a more modern version taken from an accurate simulation (because I don’t want the ADF police knocking on my door).  As can be seen from this image, detail, clarity and information to be recorded are absolutely vital, and a photograph is an ideal way to keep all of this information together.

1024x768scope

[REL] Optical Targeting Correction – SUBSIM Radio Room Forums. [ONLINE] Available at: http://www.subsim.com/radioroom/showthread.php?t=181172. [Accessed 09 January 2014].

 

Conclusion.

I am unsure as to how I got this far along my photography journey without hearing about Terry Barrett.  However, his methods resonate with the way that I think when I look at images, and I shall be studying him further to help refine and define my own image making.

I particularly feel that this knowledge will be of great help in all facets of my photography, from how I compose and capture an image (what classification I want it to fall under will help define the crop, focus and subject matter), through post production and even what materials I use for reproduction.

 

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VC05_B11 – Exhibition Critique

Objective

The objective of this activity is to gain experience in critiquing photography

Process

Attend an exhibition of photographs. Make a critique of the exhibition overall, and a detailed critique of an individual image.  Questions to answer while critiquing should include:

  • WHAT IS HERE – Describe what you see, how is it laid out? Describe the lighting, size and format of the images, the gallery etc.  Finally describe the images/image in details, what do you see?
  • WHAT IS IT ABOUT – Consider the subject matter.  Describe your interpretation of what the photographer is trying to say or your opinion of how successful the message is in regards to the artist’s statement.  Discuss the technical elements of the images, contrast, focus, density and other composition elements and how this relates to the success of the overall message

IS IT GOOD – Give your opinion on the work.  Is it successful? be honest, it is far more valuable to you and the artist to be honest, rather than try to impress.

Post a 500 word critique on an exhibition, critiquing both the exhibition as a whole and one detailed critique on an individual image.

 

HEIDE MUSEUM OF MODERN ART VISIT – 12 DECEMBER 2013

The Heide started life as a dairy farm, and was purchased by John and Sunday Reed in 1932.  They landscaped the property and lived in the small original dwelling, while building a live in gallery, which later became known as Heide II, there is also a separate purpose build gallery, the Heide I , named after nearby Heidelberg, so a total of four exhibition spaces, the Heide I (the original house, a french provincial style), Heide II (the gallery house, a heritage listed modernist building) and Heide III, the purpose build gallery, along with the parkland like grounds which have an increasing number of modern sculptures, frequently being added to.

 

While there are some permanent exhibitions, there is a large number of pieces that are on temporary display among the galleries.  The current featured displays are paintings by Albert Tucker, who’s son the Reeds adopted in the 1950’s, and a former houseguest at the Heide II, and future primitive, a collection of Australian and New Zealand artists that create pieces combining their cultural traditions, modern methods and ideas in a time warp of creativity and expression of ideas.  The original house is currently hosting a display of the phenomenal Erica McGilchrist, including some of her Kew Asylum series.

One of the first galleries you encounter upon entering the Albert and Barbara Tucker Gallery of the Heide III is the current display of Albert Tucker.  It is a comprehensive selection of large works from his “Intruder and Explorer” series, which took over almost a decade of his life to complete in the 1950’s.

It is easy to see how the surrounds of the Heide, at which Tucker was a frequent visitor and guest, have influenced some of these images.  The bushland, dark, thick and foreboding, the play of light and the sense of intrusion as opposed to belonging are in so many of the images.

After taking a slow walk around the well spaced, large images, I was drawn to one in particular, and will talk about that a little later.

The gallery itself has a mixture of light, there is plentiful diffused natural light, curtained at one end to avoid harsh shadows, and also beaming in through the cantilevered roof.  The images themselves are subtly and indirectly lit by wall lighting, which appears to be daylight balanced, again, avoiding harsh shadows and allowing the colours in the images to appear exactly as the artist attended.

The gallery has a plain, uncarpeted floor, and the images display, along with their names and dates of completion, a few quotes and critiques from various people, including Tucker’s wife, Barbara, from whom a few of the images are on loan. There are also some randomly placed cards giving historical career info.

The plentiful light, large images and variety of information offered would seem to make this gallery very pleasant, and indeed it is.  However, it is NOT a large space, being long and narrow, and the scale of these images makes it difficult to really step back and take them in.  There is no seating directly in front of the images to enable contemplation, the space down the centre of the gallery being taken up with two display cases containing historical data, newspaper and magazine clippings, concept sketches etc, which, while giving a face and personality to the name, do detract a little from the large artworks, and probably suffer a lack of proper study as a result.

I truly feel that a deeper space would have suited these images better, as I am the sort of art lover who likes to sit and look and contemplate an image, soak it in as a whole from a distance, as well as look at details.

tucker

 

The image that really took my fancy is “Intruder resting” painted in 1965-66 of polymer paint, unlike some of his other works, which also contained cement, feathers and other materials to give dimension, form and shape.  However, it is an equally fine example of Tucker’s work without the added materials, using blocks of colour and familiar shapes to tell the story.

The Intruders and Explorers series creates imagery of human drama and interaction with nature. It is very interesting to note that there are two sides to this series, which, while very similar, have very different moods and aspects to them.  Both are ruggedly stylised, indistinguishable in their features, hard edged and feature men with the same uncompromising expression in each of them.  Any of the natural fauna in the Intruders series is seen as quite hostile, such as the parrot fighting back with hugely exaggerated claws and beaks, protecting their environment.

Like the rest of the series, Intruder Resting consists of blocks of bright, bold colour, with extreme contrasts within the colour scheme, indistinctly stylised backgrounds forming a harsh landscape, unforgiving and unrelenting in it’s unwillingness to be tamed.  The lighting within the image is just as harsh and quite direct, and hats and sunglasses run through the series, with this one having both.

First impressions of this painting are quite emotive. my personal one is ‘wow, he does NOT look happy to be seeing what ever is out there”  Then I notice he is sitting under a tree, which makes me wonder about the bitter and disillusioned expression apparent on his face, even behind the mirrored reflective sunglasses.  From there, my eyes are drawn to the trunk of the tree he is resting under.  Typically Eucalypt, thereby placing him in an Australian bush scene without a doubt, it has bold and bright chunks of bark peeling off, vivid colour balances and cements it’s place in the composition of this image, and against the dark and indistinct clothing of the Intruder, it only serves to emphasise how out of place he really is.

While many of the Explorer and Intruder series are placed in desert scenes, this is not, but it shares the harsh and barren background, and the impression given really is that our native bushland does not need human intervention, whether well intentioned or not.

As a stand alone image, this really does succeed at telling a story, it is an image that doesn’t really date, despite the fashion statement of mirror sunglasses and giggle hat.  The image is hard, uncompromising in tone, gaunt and struggling to survive, much like modern art in Australia.

The series of images that this artwork is from, is considered one of Tucker’s lesser known, with his earlier, WWII influenced “Images of modern Evil” series nearly always drawing more attention.  However, I feel that this is an important series of art by and about an Australian, giving an insight into our own psyche.  Our land is hard and unrelenting most of the time, but when it’s good, the beauty and sheer scale of wonder overwhelms us.  Australians are like that.. we stare into the face of the blinding sun, much as the Intruder does, with an unrelenting scowl on our face, we won’t be beaten by it.  Those who look at us from the outside can see us as hostile, primitive and unsophisticated. But when we are good, we truly inspire awe among the other peoples of the world.

 

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VC05 B05 – Memorable Images

The objective of this activity is to explore the visual aspects that make an images memorable.

 

List the images that come to mind when you first think of the following:

1. Art work

2. Musical performer

3. Advertisement

 

Discuss the visual aspects of the images that make them so memorable.  The lecture in week 5 will be applicable about this subject.  There are many books and websites that discuss why certain images are memorable.  Some questions to use as starters are

 

Is the image balanced?

Is it clean, clear and not distracting

Is the composition of the image affecting its ability to be remembered?

Is the message simple?

Is the message unexpected

Is the message concrete, creditable and/or emotional?

Post a 100 word reflection on your blog on each of the 3 areas discussed above.

 

For this exercise, I decided to go with the very first image that popped into my head on each subject.  Then I had to hunt down copies of those images.

Image 1 – Art work.

pro hart

The rabbit trappers wife – Pro Hart.

Image sourced from http://www.abc.net.au/news/2009-06-16/pro-harts-the-rabbit-trappers-wife-is-among-the/1715076

This image is memorable to me, because I saw the original on a visit to the Hart gallery in Broken Hill when I was a child, and Mr Hart was there and asked if I liked it – I did :>

This is a well balanced landscape image, with a fore, middle and background.  The title leads the viewer’s eye into the image, looking for the wife, much as a hunter or trapper would look for signs of their quarry.  The stylised use of colour works well to direct the viewer as well, and is only a little too saturated for the reality of the Australian outback.

By placing the title subject in a darker area of the image, Hart keeps the viewer interested, he also makes the viewer feel as if they have stumbled on the scene, not walked into a posed diorama, such as American Gothic.  His portrayal of the subject in a domestic setting dates the image, reminding the viewer that there was a time when many Australians had to live an itinerant lifestyle, moving to wherever work or sustenance could be found, and surviving hardships that so many of the viewers of this artwork could never imagine.

This is certainly not near the top of Hart’s most memorable images, however, it is certainly memorable to me, the memory of seeing this in person still raises very fond memories, and I credit it with giving me the interest to study art in high school, several years later.

Image 2 – Musical Performer

For me, there are only two possibilities here – Jim Morrison from The Doors, and Canadian folk singer Gordon Lightfoot.  For the purposes of this exercise, I feel that Morrison would be the more likely choice.

the_doors_09

 

Image sourced from http://paintingfakes.blogspot.com.au/2011/08/doors-dark-corridors.html

 

This is probably the second most iconic image of Morrison, after the ‘young lion’ album cover.  This is how I prefer to see him. Active, performing and enjoying himself on stage.

Part of what makes this shot memorable is that it is an action shot, a performer performing, and while the fashion dates the image, the pose is universal among band singers through many time periods.  The timelessness of monochrome lets the viewer immerse themselves in the energy and mood of this image, experiencing Morrison’s legendary stage presence and raw sexuality from a close perspective.  It’s message is simple and clear.. Here I am, adore me.  This also works on another level, that of a publicity image for the singer AND his band, as so many bands are judged by their lead singers.

The shooting star that was The Doors as a band is pretty much encapsulated in this image, edgy, dark, energetic and just a little dangerous, making this image memorable and compelling to me.

 

Image 3 – Advertising

As someone who avoids advertising conscientiously (I don’t own a television, and I do not read magazines or newspapers), I was quite surprised that I had an image immediately in my mind when reading through this paper.

benneton

 

Image sourced from http://top10buzz.com/top-ten-controversial-united-colors-of-benetton-ads/

I remember vividly the early ‘United Colours of Benneton advertisement (note the American spelling used in this version).  like others in the series, it was controversial to the extreme, and many were only around for a few hours before being redacted and apologies issued .. in the days before the internet, this add was the original VIRAL, everyone talked about it, on trains, around the water cooler, on the news.. This add was the hot topic everywhere. That was the point.  People talked about it, AND Benneton, who’s colourful, mass produced clothing was quite upmarket at the time.

This was my favourite of them all, this ad was made when Apartheid was still legal, when inter-racial couples were still stared at in some places,  and yet here was a CLOTHING company not only promoting the harmony (or UNhate, as they termed it), but didn’t even showcase their clothing on models while doing it.

This image is quite minimalist and stark, the subjects, a neutral background, and the company logo, nothing else, no happy smiling models wearing this season’s must have’s, no status symbols, in a time when life was all about status, just a wordless plea to make a better world.  This image appealed to you on so very many levels that it is still considered a landmark in advertising today, nearly 3o years after making it’s debut.  That’s the power of a memorable image.  Right there, in one sentence.

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