- Series as diptychs
I agree that these are essentially diptychs – so have redone them in this format using photoshop to add as a pair. I have also cut down the number of images so that the pairs all work together. I also have adjusted the colour of the light slightly in one of the pairs to match (as suggested in our conversation). I think the light colour was different because the two bedroom images were taken at different times of day.
- Hido’s work as voyeurism
This is something I hadn’t really considered but I agree it is a significant difference in the feeling of the work. I was aiming for the difference between the imagined possibilities of looking from outside versus the real life, with all its scruffy detail inside.
- Tripod issues
Already resolved! However it was interesting that even without one , and with a modern camera that taking the images at ISO 64000 gave reasonable results.
- ‘with permission’
When possible, I like to ask for permission to use other people’s images even though in this context – critiquing the images it is fair usage. My main concern is that others may copy the images on inappropriately. There is an interesting story in the book by Barratt already discussed in this post:
I have been amazed by the number of people who have taken the time to answer my emails, and, on several occasions, enter into discussion about the images.
- Being explicit
This assignmentwas specifically done in response to Exercise 4.3 – ‘the beauty of artificial light’
Shizuka Yomomizo is a Japanese photographer based in London who took a series of images where she asked, by means of a note, a group of strangers to allow her to photograph them standing in front of their window. She is being voyeuristic, but with the complicit knowledge of the people involved. There is a meeting of eyes, an awareness by both sides, mediated though two layers of glass, the window and the lens. They meet briefly and then part. There is a choice on both to engage or not.
There are also several useful suggested links for my assignment 5.