My latest series of work queries the border area surrounding works on paper and how the border can be used creatively to dynamically affect the feeling of the image itself and its relationship to its immediate environment.
Historically the Border areas of Photographic prints and other works on paper were designed to safely handle the art work without having to touch the image itself as well as acting as a type of buffer should the print fall on its edge etc. My latest series of work queries the border area surrounding works on paper and how the border can be used creatively to dynamically affect the feeling of the image itself and its relationship to its immediate environment.
I initiated this series of imagery by transforming the stark white borders of my photographic prints using pastels, watercolors, burning, tearing, collage etc. I begin to realize through my experimentation how significantly the encompassing borders could be used to alter the feeling and dynamic of the photographic image itself.
One day it dawned on me to use one photograph to frame another and eliminate the border completely. I started to search out buildings or other constructs which had square, round or rectangular openings such as windows, doors etc. I began inserting other photographs into those empty apertures using Photoshop. Each attempt along the way helped to give me a greater insight as to how imagery creates a dialogue with what in the immediate environment surrounds it as well as the dialogue that exists within and between adjacent images.
After framing images within empty spaces of other images, I began to experiment with combining multiple photographs from similar but different environments into a single image by dropping one photo within another creating a repetitive framing sequence and a unique photographic look. As I began placing one photo within the other varying the sizes, I started to invert every other photo 180 degrees creating a more abstracted rhythm and dynamic feeling. I then applied the above workflow to photographs that were taken directly from the same environment, each photo containing a piece of the whole, then composited into a single photographic image.
The final photograph is a compilation from various parts of the original scene that morphs into a cohesive image with borders and frames incorporated into the entirety of the composition. Sometimes the whole can be greater than the sum of its part. The evolutionary process of this series will most likely continue, no end in sight for now.
I think Ansel would have done whatever it took in the end to make a poignant image, no matter what type of a camera he were to have used
[bws_google_captcha]IPHONE INISGHTS_ DAVID HOPTMAN
Excerpts taken from an interview from the New Mexican
The first time I opened the photo app on my iPhone and tapped the screen, click I was hooked. It’s the camera that is always there when you want it, its easy to carry, you are more or less ambiguous when you take photos, tripod adapters are available, your photos appear instantaneously on your HD monitor and the touch screen allows you to enlarge check details, composition etc. You also have the ability to store, transfer files, upload to social media, and share with friends as well as documentary capabilities including video, etc. All these benefits would be for naught if the image quality were not up to snuff. The image quality is astoundingly good along with the availability of so many truly sophisticated apps to affect imagery makes the iPhone a very powerful and creative tool. The final straw was when I heard that you could get good quality German Schneider lenses that will bayonet mount onto an adapted iPhone case,
the lenses range from fisheye to wide angle and telephoto.
I still don’t think there has been a vast improvement from the 4s to the 6s but a definite improvement no doubt, a faster chip and more megapixels never hurts. The truth of the matter is when I look at my prints that are 16×20 inches and larger made from my 4s I am still blown away from the quality. I have printed for professional labs, teaching at the Santa Fe University of Art and Design as well as for my personal work, trust me I am quite familiar with fine art museum quality prints.
I am the one who is astounded by the range of things available with iPhone Photo apps. I would say there are certainly some things that you can’t really do without Photoshop, on the other hand I would say there are many things you can’t do in Photoshop that you can do with the iPhone, although I don’t think one necessarily excludes the other. The idea is to merge the two and take the best from both; if you can pull that off you
have just added a powerful tool to your creative bag of tricks.
I admire photographers that still work with film. It is a beautiful medium and carries along with it a different mind-set. I do not think for the most part the film photographers exclude digital imaging unless they go directly from film to print with no digital manipulation. Personally I love digital technology but have not stopped using it in conjunction with other more traditional photographic process I am involved with such as Platinum Palladium Printing and Photo Polymer Gravure/ Printmaking.
I think Ansel would have done whatever it took in the end to make a photograph and no matter what kind of a camera he were to have used the results you can be sure would have been STUNNING. It’s using the tools at hand the best you can and not being afraid to experiment. “Photography is more than a medium for factual communication of ideas. It is a creative art .” Ansel Adams.