1. (Yorch Miranda)
This is influential to my project in that it is an experimentation with scale and multiple mediums within one image. The colourisation is interesting in that the black and white adds to the atmosphere of the photograph. Furthermore, the composition within a square is something that I may experiment with in some shoots.
2. (Lucas Simoes)
This image is influential in respect of its focus on the surreal nature of wiping away identity and providing anonymity through the removal of the subjects face. Additionally, the medium of fire and burning a photograph serves as an inspiration to me. Furthermore, the selective colourisation of the saturated warm hues of orange against the black and white image provides a juxtapositional ideology and approach to surrealism. Once again, the square composition is demonstrated again and as such may be something that I focus on.
3. (John Stezaker)
The above photograph is an influence to my project in that it utilises a skill that I plan to experiment with; this skill being physical and electronic photomontage and collage. Moreover, the black and white filter is something that I may include as part of project, especially within a John Stezaker inspired photoshoot, where I may use my own photographs with those of old photographic scans from family photo albums.
4. (Tommy Ingberg)
The image seen above is an influence less so in reference to the technique of physical photo collage but more so in the surreal meanings and connotations that can each be drawn from the final outcome. This could serve as inspiration for the ghost shoot and exaggerate the importance of location and props. Also, the square composition is again depicted above and might be utilised within a few shoots specifically the ghost location portraiture.
5. (Sarolta Ban)
Much like the photograph featured before this one, the final outcome is not as much of an influence as the semiotic symbolic and iconic signs are. Despite this, the change of scale is something that I could easily draw inspiration from and experiment with using small figurines of much like Yorch Miranda instead utilise photographs.
6. (Midori Harima)
The above image is interesting through its blending of multiple mediums within one 2D medium of photography. The surrealism within this photograph derives from multiple sources; one being the change of scale, the other being the medium and so on. For instance, the use of a 3D model captured in a 2D photograph then pasted onto a 3D prop and photographed again in the 2D medium of photography crates an inception of mediums.
7. (Andreas Nitschke)
This image appeals to me due to its simplicity yet effective outcome. The subject becomes anonymous in the hiding of their facial features but is given a secondary identity through the collage image layered on top. This simplicity is something that I could draw inspiration from to ensure that I achieve aesthetic outcomes without using too many difficult techniques and processes.
8. (Man Ray)
The photograph above is by one of the founders of surreal photography and as such, either directly or indirectly, has an influence on my personal project. This image has served as a direct influence on my idea formation for my first photoshoot in that I will be using body paint and painting directly on a subject to create a surreal final outcome.
9. (Matthieu Bourel)
This photographic outcome is influential in the use of old photographs combined with modern techniques which is along the same vein as John Stezaker. This is not solely a photograph but is also an animated gif which is a technique that I could experiment with in a later photoshoot. The use of anonymity is a subject the recurs throughout all mediums of surrealism whether art or photography and as such I will use this throughout multiple shoots.
10. (Rosanna Jones)
This image was created using a photograph, tape and a photoscanner which combines the use of multiple mediums and the theory of identity in comparison to anonymity. The lowly saturated images are another techniques that I could utilise in Photoshop.
11. (May Xiong)
This photograph serves as an inspiration for my project due to the idea of anonymity, the physical painting on the body and the post-production graphic or physical geometric shaping which creates a dynamic final outcome.
12. (Christopher McKenney)
The image above is interesting for multiple reasons, one being the idea of location portraiture which is deviant from many prior shoots that were in a studio environment. Furthermore, the surreal idea of removing and merging images using editing techniques in Photoshop is something that I could possibly utilise. Also, the connotations behind the work created by McKenney inspire me to ensure that my images can also infer meaning and evoke responses from an audience.
13. (Christian Hopkins)
This photographer is influential to me and my project mostly due to the meanings beneath the initial surreal outcomes. For instance, the images tend to depict the nature of mental health and illness and how it translates to each individual and how surreal an internal conflict it is. Moreover, the colourisation of Hopkins' images are usually lowly saturated and dark to reflect the connotations of the photographic outcomes.
14. (Lara Zankoul)
The above surreal photograph is inspirational to my project due to the possible inferences behind Zankoul's images but also because of the high fashion influences and the colour palette used. Zankoul often photographs in a studio environment and on locations and such exemplifies that a photographic experiment can vary but still fit within the same vein.
15. (Tim Walker)
This image is important to the experimentation of my project as Tim Walker is a fashion photographer who is also strongly influenced by surreal ideologies and how they can translate across multiple platforms. The above photograph was created in cohesion with Tim Burton who has been a strong influence on my photographs and their eerie undertones.
16. (Margarita Kareva)
This photographic outcome is inspirational due to the colourisation and fashion ideologies that work well with sinister and eerie surreal themes. Kareva also makes reference to fairytales and provides her images with a narrative which could be a significant idea for surreal inspired photoshoots.
17. (Katerina Plotnikova)
The photograph depicted above is influential due to its fashion photography inspirations as something that could easily be seen in a high fashion campaign or magazine such as for Vogue. Despite this, there are still strong connotations which could be linked with surrealism and could also have been inspired by artists of the surreal and Dada movements. This image also stresses the significance of location and editing to emphasise the location which is a technique that I could draw ideas from.
18. (Lisa Kokin)
This installation is a dynamic and intriguing experiment of mediums and techniques which could serve as inspiration for either shoots or later physical experiments. The implementation of old photographs is a technique that I may use in a photoshoot and also shows how photographers can create art with various mediums from photographs to needlework. The composition is also intriguing in that it does not directly conforming to methods such as the rule of thirds or the Fibonacci spiral although elements of the spiral could be believed to have been influential; this could encourage me to experiment with my composition in ways that I normally would not.
19. (Amy Friend)
This physical experiment is again inspiration as it once more utilises old photographs and allows the photographer to create art of their own making and then capture it. The surreal ideas of disrupting the banal normality of a family portrait and creating an inspired peace of art influences me greatly. As such, I would like to physically or electronically manipulate images from my past but also images of my own.
20. (Hannah Hoch)
The above example of photomontage and collage techniques is an inspiration as Hoch was one of the original sub-members of the Dada movement and is a fore figure of surrealism in modern day. The technique of collage is still used widely today within photography and therefore might be a technique I explore in a photoshoot and if not then instead in my physical experiments. Once again, however, Hoch used images that were available to her in books or magazines and did not always use images that were solely her own; this could encourage me to complete a shoot which utilises old family photographs alongside my own images.
21. (Flora Borsi)
This image is an example of influential colourisation and experimentation still within the frames of a series. For example, this image is one of many using the same technique but in a different pose. The skill of using paint yet revealing enough of the original image is a carefully considered skill that requires a deep understanding of mediums and is an aspiration for myself and my project.
22. (David Hockney)
The photograph seen above is extremely influential not due to it belonging to surrealism or fashion but instead due to the technique used. Hockney experimented with photography briefly before returning to paint after deciding it was a limited medium and as such he strived to understand how to break the boundaries of the photographic medium. This ideology and technique of collage are both things that I could take with me into my project.
23. (Ernesto Artillo)
This image is an example of the work created by the modern photographer Artillo who physically manipulates images to create surreal forms through the technique of collage. Most of Artillo's work is created using black and white and small elements of colour; the idea of implementing juxtapositions is something that could be considered for a shoot. Also, the work of Artillo could often be seen as a criticism of the fashion industries through his use of model photographs and desire to create images in which they are somewhat destroyed and cut apart. The final outcome seen above is a 2D medium that is reminiscent of a sculpture and challenges the viewers ideas of how far the medium of photography can be stretched.
24. (Maurizio Anzeri)
The above final outcome is the work of combining needlework stitching a photographs and exaggerates the usual norms of a photograph and its medium. Alongside this, the use of old images with an artists approach as how to change them is a skill replicated widely within surreal photographers.
25. (Slinkachu)
This photograph is the culmination of careful and considerate planning that involves props, subjects and themes. Each image is thoughtfully planned and usually explicitly focuses on everyday activities and the banal. The surrealism comes from change of scale mostly and is a technique that could relatively easily be implemented.
26. (Lisandro Suriel)
This image is influential due to its exaggerated and explicit ideas of surrealism. The idea of location portraiture is a skill that I would use but the other techniques such as increased saturation are not something that I fin aesthetically pleasing and as such would not consider using them.
27. (Brooke Shaden)
The influence of this image is the use of prior existing stories and fairytales, this one being Alice in Wonderland which has always been an inspiration of mine, and experimenting with them in a darker and more sinister way as if inspired by the folklore that gave way to more romanticised ideas.
28. (Katharina Jung)
This photograph is completed using layering and editing in software such as Photoshop to create an extremely surreal final image which draws upon very eerie and sinister ideas and connotations such as the implication of black birds such as crows and ravens in many cultures. The elements, whilst formed as a composite, all work well together as a cohesive piece which is something to be considered when creating final pieces from various images either physically or digitally.
29. (Chris Rivera)
The above technique of double exposure is one that I have admired for many years and is an example of how surrealism can be created subtly and in a way that mimics some ideologies of fashion such as colourisation and such. The careful composition employed by Rivera is also a strong influence on my work as far too easily composition can be lost in the decisive moment of capturing a photograph. Once again, double exposures can be created two ways, one being merging two images which is a recurring technique and is a skill that I shall have to play with to understand surrealism even more so.
30. (Kyle Thompson)
This image is so captivating and significant to me due to the emotions that can be inferred from each image within the portfolio. The composition is so clear and perfect yet works so well with a difficult to control environment. The decision to capture the perfect image is so routed within the timing of a photograph which can often be lost when in a studio setting. Furthermore, the repeated use of square framing is a tool that I may consider within at least one photoshoot to exaggerate the aesthetic of the image.
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