Sunday, February 23, 2014

Through the Pin-hole - Reflecting on Assignment #2



Pin Hole Negatives, J.W & Katrina Rane Smith
Initially, J. & I had planned to use this assignment to tackle self-portraiture, selfies, and cell phone culture with high school students.  As a result, I decided to make small, hand-held cameras that would be decorated the way that students decorate their cell phones.  In the end we altered our plan and turned towards the exploration of Architectural photography and the elements of line and shape; however, were able to use the small cameras nonetheless. I made my 2 cameras from Tetley Tea canisters with snug fitting lids.   The Tea canisters seemed like a good solution to the pinhole camera for a few reasons: the tight fitting lid, the metal bottom, and the hand held size (because of this we actually skipped the tape flap and used our fingers as the shutter).  Because the hole was in the bottom of the canister rather than in the side, the paper stayed in place much better and did not create the distorted edges that occur when the paper is inserted into the cylinder sideways.  The fact that they provided a circular canvas, which strongly contrasted the straight lines of the architectural features we ended up photographing, was also a benefit.  


We shot over 30 more-or-less successful photographs focusing on the intersections of pipes, duct work and lighting in the ceiling of the photography lab, as well as the Montreal architecture right outside the windows!   Using the university environment was not only logical in terms of how we had designed our lesson, since students would be taking photographs of their school environment, but also allowed us to use our time efficiently by being close to the darkroom.
Pin Hole Positives, shot 2, J.W. & Katrina Rane Smith
Although many of the photographs feature similar features we chose the three final prints because of a) their quality as photographs including better contrast and sharper lines, and b) their use of the elements of design and composition to create visual interest as stressed by our lesson plan (line, shape, movement, contrast etc.).

 
Pin Hole Positives, shot 1, J.W. & Katrina Rane Smith
 Overall, it was an interesting process to go through.  J & I agreed that because of all the variables which can be discussed during the process of using pinhole cameras, this type of activity lends itself well to collaboration, and we agree that if we were to use this project with our students we would maintain the collaborative approach.  That being said, we do feel that partnerships are more functional than larger groups.  As partners we were able to really share in all aspects of the process, whereas groups of 3+ seemed to use a divide and conquer approach.
 
Pin Hole Positives, shot 3, J.W. & Katrina Rane Smith
 Our main concerns if we were to tackle this with our students would be addressing the amount of variables, time constraints, and access to a dark room or chemicals within the high school setting.   Using a Light Meter Ap for calculating starting exposures, and Pre-making/ pre-testing the cameras could save time, while using a scanner instead of a darkroom could alleviate the darkroom/chemical issues, although we feel that these modifications could take all the magic out of the process and result in students, who already value digital over analog, being less engaged with the activity.



 

 

Tuesday, February 18, 2014

Dove's "Selfie" - Opening up a conversation


 To mark the 10 year anniversary of their Real Beauty campaign, Dove worked with Academy Award winning film maker Cynthia Wade and producer Sharon Liese in partnership with the Sundance Institute to produce a film that examines the way young women feel about themselves and the way they attempt to alter, camouflage, or hide parts of themselves that they are self-conscious about. It also highlights how self-esteem and body consciousness is passed down from parents to their children. 

The 8 minute film follows a group of high school girls and their mothers, as they create selfies which celebrate their beauty in authentic, honest ways without the use of editing, filters, cropping, etc... (Dove United States, http://www.youtube.com/watch?v=BFkm1Hg4dTI)

           Stills from the film, Selfie, 2014, Cynthia Wade / Dove


The young women and their mothers took part in a photography/self-esteem workshop before taking their honest selfies and hosting a vernisage where the photos were displayed. At the show visitors had the opportunity to put Post-it notes on the photos highlighting the beauty they saw through the honest selfies. The main goal of the Selfie project was to show how the "power to redefine what is beautiful in all of us." (Dove United States)


In discussing this video,


Even I am guilty of it - no double chin here!
Selfie c. 2013






Self-portrait,n.d. Vivian Maier, http://www.vivianmaier.com/gallery/self-portraits/#slide-16


Breene, Sophia.(Jan 2014).
Why Dove's Latest "Real Beauty" Ad Doesn't Actually Empower Women, Greatist.com. http://greatist.com/happiness/dove-selfie-ad-012314

Driscol, Brogan.(Jan 2014)
Selfie-Esteem: Dove Launches New Real Beauty Campaign, But Is It Effective? Huffington Post: United Kingdom. http://www.huffingtonpost.co.uk/2014/01/23/dove-real-beauty-selfie_n_4650573.html

Vivian Maier, Self-Portraits, Maloof Collection, Ltd.http://www.vivianmaier.com/gallery/self-portraits/

Schwarze, Kelly.(Jan 2014). Dove Selfie Video, GeekSugar.com, http://www.geeksugar.com/Dove-Selfie-Video-33699690.

Thursday, February 13, 2014

A more authentic Curtis?

After our discussion of the work Edward S. Curtis did to "document" the Native American Populations of North America, and his 'dodge and burn' practices in regards to showing (or not showing ) the reality of Native Americans in the 1920s, I was interested to see some contemporary work that is strongly related.

Edward S. Curtis, 1908, Red Star - Arikara
Retrieved from: http://curtis.library.northwestern.edu/curtis/viewPage.cgi?showp=1&size=2&id=nai.05.book.00000262.p&volume=5 

Curtis's work has been debated in Native and non-Native circles for years. Some, like Lakota Thomas Haukaas (Robbins, 2006), feel a kinship with the images, while others feel the work is racist, or at best dishonest, because of it's selectivity, contrived / posed nature, elimination of traces of the modern world etc...

Matika Wilbur comes from the Swinomish and Tulalip Tribes in Washington State. She has spent the past year on the road photographing the 562 ( now 566 ) nationally recognized tribes in the US (Matikawilbur.com) in a travelling photographer arrangement that echos Curtis's work from a century ago. She has photographed hundreds of Native American's in stunning and remote areas, as well as in Urban centers. Her goal is tri-fold, encompassing documentation, education and awareness for the realities of modern Native Americans. Her images are beautiful, with a soft and judicious use of colour.  Her journey, and body of work, have been sponsored through public sponsors  via Kickstarter, as well as through a variety of grants.

Pedagogically, I feel that looking at, and discussing, Wilbur's work in contrast to that of Curtis's has a lot of value when talking about representation, authenticity, racism, intention, and ethics in relation to photography.

Matika Wilbur, Honoring Tradition, Project 562.
Retrieved from: http://matikawilbur.com/

My guiding question would be:
Are Wilbur's representations of Native American's less problematic than the images that Curtis took almost 100 years ago? Why or why not?

To spur on discussion encourage students to identify similarities and differences in the methods and or results of the two photographers.
Similarities - They both pose their subjects, they often choose natural surroundings or indistinct backgrounds over modern/man-made structures, both have subjects wear traditional dress etc...
Differences - Sponsorship - public vs. corporate sponsorship, Native vs. Caucasian artists, etc...
Also, do the almost one hundred years between the two bodies of works justify some of the issues brought up in Curtis's work?

Although these questions would likely spur on lively discussion among any group of students, I would be particularly interested in exploring this topic with students at the high school where I teach because of the high Mohawk population and general sensitivity to Native issues among our students.

Robbins, Cathy.(Nov. 2006).Collecting  Indians. Voice of San Diego. http://voiceofsandiego.org/2006/11/16/collecting-indians-3/  

Wilbur, Matika. (2013). Project 562. http://matikawilbur.com/

Edward S. Curtis's The North American Indian,(1907-1930). Northwestern University Digital Library Collection.  http://curtis.library.northwestern.edu/