Research Log: Fashion Photographer Research: Adam Goodison -

Fashion: Adam Goodison - 

Why Chosen:

I chose the photographer Adam Goodison because his work within fashion also include elements of surrealism and allows audiences to have various interpretations of his work. Additionally, his use of colour and lighting have influenced me greatly. High key lighting as featured in the first image is typical within fashion photography although the low key lighting of the second image and the colour gel lighting of the third are less commonly used and are techniques that I have explored and would possibly use again in the future.

Examples of Work:



Denotation: The subject is central to the image with the props composed around the model. The lighting used is high key lighting and is a common feature of fashion photography. The colure used contrast well against the white backdrop and the positioning of the lights aid in creating shadows. The framing is typical portrait for use in magazines and such.

Connotation: The connotation of this image could itself be a criticism of the fashion industry; the model is posed amongst the mannequins and thus could implicitly be understood as a thing as opposed to a person by the industry. The shadows featured as a result of the high key lighting could imply the darker nature of beauty and fashion.

Context: Goodison is a fashion photographer who has worked with customers such as House of Holland, Wonderland, Volt, Novembre, Hunger, Vision China, Tank, Burberry, Givenchy, Off Black.



Denotation: The denotation of this image includes the lighting being that of low key technique. The lighting might have also employed cool colour gel filters or a natural density filter could have been applied to the camera lens. The subject is placed centrally within the compositional framing and the eye is immediately take to the face of the model due to the circular framing behind the head which is reminiscent of renaissance halos.

Connotation: The model is framed by a renaissance-like halo bearing the Versace logo as is further enforced by the golden tendrils emanating from the mask. The outfit is composed of a material that resembles a bin-bag which could imply the lengths of the fashion industries individuality and originality.

Context: Goodison is a fashion photographer who has worked with customers such as House of Holland, Wonderland, Volt, Novembre, Hunger, Vision China, Tank, Burberry, Givenchy, Off Black.



Denotation: The denotation of this image is a low key lighting silhouette shoot with the use of colour gels. The subject is posed in a way that created interesting angles and emphasises the silhouette of the clothing. The image also appears to use a gradient on the right side of the photograph gradually lightening the further left the eye is drawn. The curves of the body take the eye of the audience on a journey to study the clothing.

Connotation: The connotation of this image could be that fashion is not simply about how it looks explicitly, it creates an atmosphere and helps build character and that an audience should not dismiss clothing and fashion as a show of vanity but experience it as a lifestyle inspired by clothing.

Context: Goodison is a fashion photographer who has worked with customers such as House of Holland, Wonderland, Volt, Novembre, Hunger, Vision China, Tank, Burberry, Givenchy, Off Black.



Denotation: The lighting employed within this photograph is high key lighting and the subject is the same one as featured in the first image outlined at the top of this post. The subject is somewhat off centre and is staring away rather than making a direct address to the audience as is a technique used in most fashion photoshoots. The backdrop has become a prop in the shoot as the model is ripping through the backdrop.

Connotation: The implicit meanings of this image could be in reference to the breaking down of societal and industry expectations of beauty and technique. The model is frozen in time as though she is a mannequin much like in the first image. The gloves and earrings connote wealth and status whilst the hair and make-up is more free and un-restricted.

Context: Goodison is a fashion photographer who has worked with customers such as House of Holland, Wonderland, Volt, Novembre, Hunger, Vision China, Tank, Burberry, Givenchy, Off Black.

Research Log: Fashion Photographer Research: Elizaveta Porodina -

Fashion: Elizaveta Porodina - 

Why Chosen:

I chose the photographer Elizaveta Porodina because she is a high class fashion photographer who also experiments with ideas of the surreal as is often required for photoshoots in magazines. Additionally, the variations in her works are extreme with the styles, colours and framing ever changing to fit the individual. Porodina also layers implicit meanings beneath her images which is vital to the surreal ideas of fashion in my project.

Examples of Work:

Denotation: The image is tonally edited with a black and white filter with the contrasts between gradient areas having been increased. The subject is central to the image and is making a direct address to the audience. The framing of the photograph is smaller than a typical fashion shoot. 

Connotation: The connotation of this image, being associated with metamorphosis, appears to study the ways in which women are perceived in society and within the fashion industry and how changes often have to be made. The model looks as though she is experiencing pain or sorrow as she pulls away the eyelashes from her eye which could symbolise the beauty standards of society. Moreover, the juxtaposition of the stereotypically assumed masculine shaved head is the employment of makeup which contrasts and challenges the audiences ideas on what femininity is as a concept. 

Context: This image and the below image are both from the series entitled "The Surreal Metamorphosis". 

Denotation: The denotations of this image lie in its style. The image itself is an example of solarisation and could be seen to be inspired by the surreal work of Man Ray. The subject is central to the image. The composition is unusual in that there is a second subject in the form of a hand reaching from outside of the framing into the image as though the audience themselves were involved in the image. 

Connotation: This image again appears to study the beauty standards of society and the fashion industry. The image features the same model from the first image but this time with a full head of hair and in the process of hair and beauty as opposed to removing it. This could be exaggerated by the use of colour in that the solarisation technique makes the image appear like a negative of itself; this could imply that once the views have been enforced in a hegemonic way then the true metamorphosis begins and the person is changed to fit the new style (the solarised as opposed to the standard black and white). 

Context: This image is again part of the series "The Surreal Metamorphosis" and was made in cohesion, exclusively, for a modelling website. 

Denotation: Two models sit in a manner not conforming to the compositional rule of thirds grid but instead subvert it. The image uses colour unlike the two featured above although series' as a whole in Porodina's work tend to have examples of both black and white and colour images. Both models are making eye contact with the audience in a direct address. The colour on the sky is exaggerated and could have been edited to emphasise the gradient colour. 

Connotation: Both models, regardless of their gender, are wearing the same clothes throughout which could imply that the future fashion industry instead targets the public as androgynous as opposed to separated by genders and failing to be inclusive to all genders rather than just males and females.  The structure in the bottom of the image appears to be like that of a playground which could be reinforcing the idea that youths are torn between age categories and are instead caught up in a battle. The playground resembles childhood whilst the other forces of growing older being to weigh down. However, the use of two models to convey the same outfit may just be a clever interpretation of a diptych which stresses the clothes as the viewer's eye is taken on a journey between the models but still always ends up on the outfit. 

Context: The title of this series is "Schoofers" after being eponymously named after the two models Lou and Nils Schoof. The images were taken for STATUS magazine. STATUS is a youth culture magazine that focuses on urban lifestyles such as future fashion, art and music. 

Denotation: The camera is at a low angle canted perspective that creates an almost warped depth of field effect on the backdrop. The model's body is made to appear longer due to the position of the camera and the composition of the room. The position in which the model is standing reflective of the painting of Botticelli's "The Birth of Venus" in the dropped hip position which is uncomfortable and difficult to hold as is re-created by Rineke Dijkstra's beach portrait series. 

Connotation: The model is seen to be wearing masculine clothes, hair slicked back to look shorter and also to be exerting dominance through the positioning of the camera lower than the subject which could link to the idea of the title "Jezebel" meaning a woman who is shamelessly rude. The replication of male position by a female model could be seen by society as a challenge of patriarchy and male domination and thus the women becomes known as a jezebel. Porodina's exploration of gender-bending is another example of surreal fashion photography and has even been replicated many times by female celebrities in modern fashion magazines such as Kate Winslet who wore a suit and slicked back hair; other celebrities also to have experimented with high fashion disregard for gender and appreciation of both gender-bending and androgyny include Kristen Stewart and Jaden Smith. 

Context: This image is from the photographic series "Jezebel" for Platea magazine. The meaning of the word jezebel being: an impudent, shameless or morally unrestrained woman. 

Research Log: Fashion Photographer Research: Tim Walker -

Fashion: Tim Walker - 

Why Chosen:

I chose the photographer Tim Walker due to his portfolio incorporating professional and more personal examples of work. Walker works in fashion but also incorporates surreal ideas and other interesting subjects such as fairytales, nursery rhymes and film. Another reason this photographer is important to my investigation is his use of colour and landscape based portraiture; these ideas are what I would like to incorporate in my photographic study due to the implicit subtle combinations of fashion and surrealism.

http://www.fashiongonerogue.com/tim-burtons-tricks-treats-by-tim-walker-for-bazaar-us/

Examples of Work:



(Storyteller)

Denotation: The style is portraiture with the subject in the central third of the compositional grid. The eye is taken on a journey trough the angular diagonal lines implemented through the layout of the arms.The colours are muted and almost mono tonal in the use of the shade white.  Also, the red of the hat appears significant to the image due to its colour compared to the rest of the less highly saturated image.

Connotation: This image could imply the control of the fashion industry over models and the masses. The people are the puppets to the mechanical control of the fashion industry, we are mimes silently accepting what we are told to wear and how to behave to fit our society. Although, it could simply be explicit in showcasing the clothes within the image.

Context: This was created in cohesion with the the release of the book "Storyteller" released in 2012.
https://www.nowness.com/story/tim-walker-story-teller



(Tim Burton)

Denotation: The two subjects are the centre of the shared portrait image with the colours highly saturated to contrast to the subjects of the portraits. The colour red is again a recurring theme for the photographs. The subjects are characters from the Tim Burton style films with the person on the right as Edward Scissorhands.

Connotation: The possible connotations of this image could be the idea of rejecting beauty standards within society. For instance, one of he characters featured in the photograph, Edward Scissorhands, is renowned for his inability to conform as he was made in a way that a rejected the norms and values. The flowers in the background appear to be

Context: This image is titled "Shutterbugs and Scissorhands" and it a collaboration piece between Tim Burton and Tim Walker for Bazaar magazine as part of the 'Tricks & Treats" photoshoot.



(Alice in Wonderland)

Denotation: The denotation of this image is that there are two subjects creating irregular shapes with their bodies. The lighting is deliberately overexposed and appears to have included minor HDR,  high dynamic range, adjustments. The composition is unusual in that the framing is not conforming to systems such as the rule of three grid or the fibonacci spiral but instead creates a jumpy image that the eye erratically follows due to the framing of the window, the subjects and the messied foreground.

Connotation: The connotation of this image could be the dream quality of life. The rabbit is a symbol of following the unusual path and could therefore in itself imply that people should create a world in which they are happy, much like Alice and the world of Wonderland, by following their own path whether it is relating to fashion or another contextual factor. The colourisation of the image being faded and light hues of colours could again reiterate the ideas of the dream world.

Context: This image was featured in Italian Vogue fashion magazine and is said to be a combination of Alice in Wonderland and aesthetic appeals of Marie Antoinette.



(Tim Burton/ Vogue)

Denotation: The explicit ideas of this image include composition; the rule of thirds is conformed to in this image in that the skeleton prop's arms are in line with the vertical lines whilst the head of the female model intersects the horizontal line in the grid. Furthermore, the colour red is again a recurring theme for Tim Walker; this may be due to this image featuring as part of a series in a magazine so the images have to work together in a cohesive nature.

Connotation: The flowers in the field behind are various types but marigolds are employed. Marigolds are used in certain cultures within festivals of the dead, for instance Dia De Los Muertos, to encourage and guide the spirits of the deceased to come back and visit at the altars during the celebrations due to their bright colours. The bold colours of the image also imply the vibrant nature of the festival through the sugar skull baked good gifted to others or the spirits, La Calavera Catrina known as the elegant skull figures and vibrant face paint and masks of calacas which is a colloquial term used for skulls in the festival. The elegant skull as part of the culture could also have been an inspiration for Tim Burton himself in his construction of the character "The Corpse Bride" who was an upper-class elegant woman with flowers in her hair as is often the modern representation of the figures in the culture and thus this could have influenced Tim Walker, working in cohesion with Tim Burton, to use the prop of a skeleton.

Context:  This image, much like the one previously mentioned, was featured in a magazine this one being Bazaar. This is part of the Tim Burton collaboration in preparation for a showcase of his work at the Museum of Modern Art. The image is entitled "Did you ever dance with the devil in the pale moonlight?". Other images in the series relate to Tim Burton's films "The Corpse Bride", "Edward Scissorhands" and "The Nightmare Before Christmas".

Research Log: Fashion Photographer Research: Margarita Kareva -

Fashion: Margarita Kareva - 

Why Chosen:

I chose the photographer Margarita Kareva due to her style of combining fashion and surreal locations. The colourisation and detail in the images are a strong inspiration and this is due to shooting in raw format. Kareva also adjusts her image with editing software post-production to achieve the final outcome and I would like to experiment more so with colour and filters on my own images.

Examples of Work:



Denotation: The compositional framing is within a square as is a genre convention used by Kareva. The layout still, however, conforms to the rule of three grid with the female subject at the intersection of the first vertical line. The colourisation of the image is lowly saturated and appears to have a filter which makes the image more fairytale-like. Additionally, the use of the blur in the foreground directs the viewers attention directly to the subject as opposed to the scene as a whole.

Connotation: The connotations of this image could be linked to the colours used. For instance, the white dress worn by the subject could imply a sense of purity and innocence as is used as the wedding colour in some cultures and, more aptly for this instance, is the wedding colour in Russia. Furthermore, the woodland setting with the butterflies could infer that the female within the image is actually a princess or fairy as is the story told by many of Kareva's pieces due to her inspiration from fairytales. White butterflies in some cultures are used to symbolise the souls of the passed and convey that angels are watching over someone. Although, the white butterflies, and butterflies as a whole, have been used as a technique of creating a surreal fairytale, ethereal or heavenly, environment for many years. For example, Winslow Homer, a painter, often placed butterflies in his work in illustration such as "The Butterfly Girl". His work could be seen to have had an inspiration on Kareva in the use of muted colours, costume and the setting of woodland. Moreover, the image could imply that the female herself is a woodland fairy as they are often depicted with butterfly wings.

Context: Kareva only started photography a few years ago and thus her portfolio is developing and evolving at a vast rate. Her work combines fashion lighting and locations with elements of surreal fantasy through editing, props and costumes. The models are transformed into fantasy creatures such as witches, royalty, fairies etc.



Denotation: The denotation of this image is again that the framing is within a square ratio with the use of colour being emphasised by editing software. The lowly saturated backdrop juxtaposed to the highly saturated colours in the foreground add depth to the image. The technique of blurring is employed once more, an almost bokeh style, in the top right third of the compositional grid. The subject is making direct eye co tact with the audience which adds to the atmosphere and make the viewer feel as though they are also in the scene. Additionally, the snow marks are added post-production and add another element to the fairytale style.

Connotation: The image could depict a woman who is a free spirit and travels the landscape gathering goods although the clothing and goods she carries imply a sense of wealth. The image could also draw on the idea of the story of "Anastasia" in which the royal Romanov heir is hexed and goes missing in the woods after escaping the palace.

Context: Kareva is a Russian based artist but often travels the world and photographs various cultural forms of dress to create surreal fashion images. The above image includes traditional cultural dress.



Denotation: The denotation of this image is within a square ratio much like the others mentioned above. Also, the compositional rule of three grid is again adhered to in that the two foreground wolves are on two vertical cross-sections whilst the subject is framed in the central column. Also, the muted colours again make an appearance alongside the added emphasised snow made in post-production editing.

Connotation: The implied character of this image is like a bride who has experienced sorrow in some manner such as being left at the alter like Miss Havisham from "Great Expectations" or one who was betrayed like Tim Burton's "The Corpse Bride"; this is conveyed through the veil worn over the face with the garland of flowers on the head of the subject. However, the subject could also represent a character such as a woodland witch living with her companions of wolves. The colour white in fairytales is often used to symbolise who the good characters are and thus it could be inferred that the above character is a good witch. Furthermore, the symbolism of wolves in Russian culture links to that of the Chechen nation. The symbol of the wolf in this nation, known as the Chechen grey wolf, is that in a poetic sense it links to being as "free and equal like wolves" but also as a sign of "courage and tenacity".  There is myth that the founder of the Chechen nation was raised by a female wolf hence the modern understanding of the phrase "raised by the she-wolf" as a compliment of someones admirable traits. The position of the wolf in illustration relating to this symbolism have variant meanings: the howling wolf symbolises patriotism, the resting wolf is a reference to the wolf mother whilst a direct address of the viewer is intended to evoke a string sense of emotion. As a result, the female in the image could be a reference to the Russian hero who was said to have been raised by wolves which is reinforced by the one wolf laying down in the bottom left third of the grid.
  Context: Kareva herself has said that her work stems from fairytales and that some characters in her pieces are based off of established characters although some are pure imagination and as is voiced above this character could be inspired by the idea of "The Corpse Bride" as a character or concept and that of Miss Havisham from "Great Expectations" although the character could be a fictional witch or fairy-like character. They are, however, all inspired by fantasy novels. Kareva often uses varied props and costumes and is known for using trained real animals in her photoshoots to create surreal images.



Denotation: This image, unlike the above others, is more highly saturated. The composition is however alike the others in the square ratio framing. Depth of field is employed to make the model in the foreground the central focus of the image. There is no blur used in this instance and instead the detail on the image is exaggerated by the increased colourisation.

Connotation: The colours used in the image are highly vibrant and the colour blue appears highly significant. In western culture the colour blue is associated with sorrow and sadness which could link to the composition of the model and the eyeline path. Furthermore, the colour blue is continued in the animals featured in the image. The blue morpho butterfly is often interpreted in different ways internationally. In many cultures the butterfly, regardless of colour, is associated with the souls and spirits of the deceased. Although, other interpretations of butterflies include ideas of rebirth due to their life cycle, calming due to the colour but also  as that of a wish granter. Furthermore, the butterfly is often associated with females due to their delicate feminine nature. The contrast between the vibrant blue of the butterflies as opposed to the red of the hair could simply be for aesthetic appeal but also to create oppositions in the piece. The position of the model is very protective in that the hands are covering the area of the body in which the most vital organs are kept and thus it is considered a defensive position. This image again implies ideas of a constructed fairytale like character but also seems to have dark undertones.

Context: The models are transformed into fantasy creatures such as witches, royalty, fairies etc.

Research Log: Fashion Photographer Research: Ernesto Artillo -

Fashion: Ernest Artillo - 

Why Chosen:

I chose the photographer Ernesto Artillo as his photographic art combines elements of fashion with surrealism and ideas that I wish to incorporate into my own work in the future; such ideas include use of colour, physical manipulation and collage techniques. His work reminds me of a previous surrealist artist that I have studied previously named Matthieu Bourel. The possible connotations of these works appear to relate to criticisms of ideas such as beauty ideals and standards but also comment on celebrity culture and loss of individual identity through mass media socialisation.

Examples of Work:




Denotation: This image is of the collage technique with various components combined on one background image of a portrait. The photographer has added highly saturated colour segments as the final layer of the image to juxtapose directly to the black and white filter on the other images.

Connotation: This final outcome conveys ideas of artistic and photographic influences throughout time and their relevance today. The final layer is in the style of Picasso and is formed in a way that appears to celebrate the origins of the artistic community rather than criticise it. Additionally, the central diagonal divide of the portrait beneath the Picasso-like drawing could infer a class difference between the masses. The left compositional side of the photograph infers a higher class status through the groomed appearance and fur collar whilst the right third of the grid combines a less groomed appearance with a simply striped scarf often associated with the football community and the lower working classes. The black and white filter element of the piece appears very intentional for the photographer does not usually employ the shades. It appears to imply, in a celebratory tone, the development of photography throughout time with the polaroid style compositional framing also reiterates this.

Context: This is part of the 'Izzue' artwork section and is a commissioned piece for the Hong Kong fashion company.



Denotation: This is another example of collage work as it is a favoured style by the the photographer although they do also explore through the medium of paint. The colours used vary in that one image is black and white whilst the other is in colour, all be it muted and lowly saturated colours. The style is portraiture and landscape with the two just posing one another directly. The subject of the portrait is a famous celebrity of the modern era.

Connotation: The implications of this work appear to be the study and deconstruction of societal ideologies such as celebrity culture. The use of a famous face in portraiture is usually to endorse a product or lifestyle of some kind but this image is challenging that. The removal of the face from the main body to reveal an underneath world suggests the idea that anonymity is a feature within all people. We are all of the same structures underneath: hopes, dreams and memories etc.

Context: The image features the celebrity Daniel Radcliffe.
http://www.lamondamagazine.com/en/m/celebration/ernesto-artillo/



Denotation: This image is a combination of collage techniques and the medium of paint. The portrait appears to be shot using high key lighting before being edited beneath a black and white filter which contrasts to the saturated images and colours used. The face of the subject is removed or covered by the section of black and suggests anonymity which immediately draws audience attention.

Connotation: This image could implicitly convey the beauty standards of society and how it is a toxic environment for so many. For instance, the anonymous subject could be a representative of all humanity, specifically young women, and how standards make them feel. The lurid colours appear to infer the bright world of fashion and beauty but are also in a formation that looks like camouflage print and could therefore support the idea that mass media influenced youth is a battleground. The flower being grasped tightly by the subject could infer the possibility of growth if the environment becomes less poisonous.

Context: N/A.



Denotation: This image is a photograph of a sculpture created by photographs and is such an inception-like surrealist final outcome. The images are all fashion shots from the Hong Kong company Izzue alongside landscape photographs. The images combine to form a cityscape.

Connotation: This image appears to infer the idea of fashion as a pinnacle of society with the subjects being like buildings and establishments in themselves. It also conveys fashion's place in society which is often in the centre of cities.

Context: This is a paper sculpture created for 'Izzue' in Hong Kong and is part of Artillo's commissioned fashion photography rather than personal.

Research Log: Surrealism Photographer Research: Katerina Plotnikova -

Surreal: Katerina Plotnikova - 

Why Chosen:

I chose the Russian Moscow based photographer Katerina Plotnikova because her work is a study of fairytales in reality thus encompassing the ideology of surrealism as the juxtapositions of reality and unreality of the dream-like enchanting worlds. Additionally, the stylistic components of Plotnikova's work is important to me; the saturation and use of hues create a soft safe dream world, her backdrops employ real locations such as forests and nature to create a natural flow to the images and the eerie undertones tie in well with a few of my own ideas for my project. Plotnikova aims to capture her wildest imaginations through the photographic lens. Katerina Plotnikova states herself that her work is "another tale of wonderland".

Plotnikova captures all of her image using a Canon 5D Mark II and a Canon 50mm f/1.2L lens with the subjects such as wild animals all being trained animals used directly in the photoshoots rather than added post-production in Photoshop.

Another reason that I have chosen Plotnikova is due to her inspirational photographers; Tim Walker, Annie Leibovitz and Adam Smith are all significant to her work in the same way that Tim Walker is to me.

Examples of Work:



Denotation: The embrace between an animal and a human occurs central to the composition of the photograph. The saturation is naturally muted but has hints of a warm hue which creates a serene world. The depth of field leaves the foreground as the main focus whilst the background is blurred possibly to alleviate the connotations of the dark and harsh horizontal lines of the trees in the back.

Connotation: The reunion between humanity and nature in a neutral ground of a forest. The dream world of animals with human characteristics.

Context: Plotnikova travels all around and is always thinking about the way to create the supposed impossibilities of her photoshoots such as the employment of real animals. The animals are trained and either pets of peers or found after extensive searching.



Denotation: The image is a ghost holding a young subject centrally within the framing of the photograph. The hue is blue which evokes an eerie sense. The supernatural subject is opaque and the background can be seen through the subject. The leading line of the path takes the audience through the scene and also creates a sense that the viewer is in fact in the photograph themselves facing the subjects.

Connotation: The leading line of the path leads the viewers attention to the isolation of the location with the subjects eliciting an eerie atmosphere. The ghost could be an angel receiving the spirit of  the young person or it could be a study of worldwide cultures such as the beliefs of the spirit world shamans or other culturally diverse equivalents.

Context: This image may depict a Russian and Slavic folklore spirit related to children such as the nightmare spirit Nocnista/ Polunocnica who torments children at night. Although the spirit could easily be a good spirit too protecting the child rather than tormenting; the shape is unclear and could be two spirits such as the Zorya who are two guardian goddesses who look after Simargl the doomsday hound.



Denotation: The subjects are in a surreal environment where they are seated in amongst the tree line. The colours of the background are lowly saturated to create the dream-like surreal quality whilst the subjects are more highly saturated signifying their importance to the piece. The composition is unbalanced due to the positioning of the subjects.

Connotation: The fairytale of Rapunzel is conjured upon in this image with the lengthy plaited hair and the towering isolated subjects confroming to the 'nurturing' mother like character from the story by brother's Grimm.

Context: Plotnikova often focuses on stories that she can adapt into images of her own creation. Many fairytales are used as inspiration.



Denotation: The subject is directly addressing the audience through eye contact which is aided by the depth of field which blurs the background. The use of the animal changes the composition of the piece and works well with the lowly saturated and natural hues of final outcome.

Connotation: This image appears to imply the story of Adam and Eve. The subject is a representative of Eve in the natural garden of Eden manipulated by the snake.

Context: Plotnikova travels all around and is always thinking about the way to create the supposed impossibilities of her photoshoots such as the employment of real animals. The animals are trained and either pets of peers or found after extensive searching.

Research Log: Surrealism Photographer Research: Pierre Javelle and Akiko Ida -

Surrealism: Pierre Javelle and Akiko Ida - 

Why Chosen:

I chose this photographic duo as they experiment with surrealism in reference to manipulations of size but also the combination of different photographic styles together in one. The pair combine food and surrealism through the implementation of small figurines to create landscapes within everyday situations. The website called "Minimiam" meaning "mini yum" explicitly states their style of photography and its interpretation of surrealism through change of scale. These are the only duo of photographers that I have studied and I believe that their dyptich style is almost a metaphor for the team. The duo met in Paris at an art school where the Frenchman Javelle studied and met Japanese born Ida who work well as both creators and photographers due to prior experience working in professional food shoots for magazines and cookbooks.

Examples of Work:



Denotation: Food is used as a landscape with toy figurines employed to create a surreal element in the change of size. The composition is of a diptych format in that the photograph is in two parts. The lighting and colour gels create a supernatural atmosphere which ties in with the use of a UFO prop.

Connotation: Scully is a character from the hit sci-fi TV series called "The X Files" about the investigation of supernatural life. This image takes the audience back to a time of childhood adventures tied to shows that many grew up with based around space and aliens. The idea of children playing with their food and having adventures within their imagination is also implied and could infer that as adults we can learn through the reminiscence of a simpler childhood.

Context: These photographs are called "Scully's Pistachio" and are from 2006 in the "food/ sweet" category.

Denotation: Food is used as a landscape with toy figurines employed to create a surreal element in the change of size. The composition is of a diptych format in that the photograph is in two parts. The lighting is very reminiscent of the other work created by the pair in the mode of food advertising such as recipe books.

Connotation:  This image shows repair workers fixing a road after an event such as an earthquake. It takes on a more serious note than the other works which focus on ideas such as childhood fun and innocence.

Context: This photographic series is under the title of "La Coupure" and is an early 2004 image from "food/ sweet". This image was created when Ida and Javelle were scouring local Parisian patisseries for ideas and discovered  the eclair which when bit into appeared like the ground after an earthquake. The reason this may have been seen as the direction to take the photograph is that 2004 witnessed a huge earthquake and tsunami off the coast of the Indian ocean which tolled up 250,000 deaths.

Denotation: Food is used as a landscape with toy figurines employed to create a surreal element in the change of size. The composition is of a diptych format in that the photograph is in two parts.

Connotation: The lifestyle of American society is implied through the multitudes of techniques in this image. The use of the hamburger as a staple of the American diet and fast food industry implies the obesity of the population and the consumerist capitalist nature of their society. Additionally, the use of the blue tablecloth with the red and white starred napkin again links to the materialistic consumerism of the country. The figurine used is Captain America who is a vital figure in reference to American Patriotism and could convey the extreme patriotic nature of society.

Context: This dyptich is entitled "Bonbek Hamburger" from the 2013 instalment in "food/ salty".




Denotation: Food is used as a landscape with toy figurines employed to create a surreal element in the change of size. The composition is of a diptych format in that the photograph is in two parts.

Connotation: This image seems to be about the business world and advancements within building work. The composition of this particular image appears to link back to Lewis Hine's work studying the building of the Empire State building focusing on the workers of the great depression sat upon an iron bar eating lunch. This therefore, links to the themes of food and to size and scale within the frame of a photograph.

Context: This final outcome is named "Express Bento" and was captured in 2009 within the category of "food/ salty".

Research Log: Surrealism Photographer Research: Christian Hopkins -

Surrealism: Christian Hopkins - 

Why Chosen:

I chose the surreal photographer Christian Hopkins for the exploration and development of my ideas due to his dark understandings of society. His work reflects his world of living with depression and how it is interpreted within society; the work is both personal and public. Some photographs are studies of his emotions as an individual and how loneliness and isolation are prevalent whereas others  delve into society such as how the barrier is placed between people in society due to mental illness, the capitalist ideas that think life can be bought and how the medical world views mental illness.

Examples of Work:



Denotation: The subject is without their full anatomy due to the absence of a head leaving them anonymous in that respect, the subject is central to the image with the other props of interest displaying the identity also being central above the subject leaving sparse empty areas either side. The image is edited into black and white which evokes a specific tone to the finalised photographic study of surrealism.

Connotation: I believe that this image is about how we, as individuals, portray ourselves and how others perceive us through the many versions or portraits of ourselves. I also think that the dissected aspects of identity featured through the photo-frames convey how it feels to have the condition of depression in which many identities can often feel like they are fighting right beneath the outer exterior. The central image appears to convey the idea of the being trapped and isolated as is often associated with a "major depressive disorder"; the photographs on the wall are Hopkins' "inner life" and inner self.

Context: Hopkins in an interview revealed that "Being able to take emotions with which I was struggling out of my head and trap them in a photograph gave back to me a sense of control over my life... If only for a moment."; this conveys the idea behind this photograph in that he is capturing his emotions and trapping them in photographs so that he as the subject is free, at least briefly, from his depression.



Denotation: This photograph is constructed differently to the others in that it does not fit the same dimensions. The saturation is muted with a sepia-like filter and a more blue coloured hue overlay to evoke an eerie sense within the image. The antagonist of the photograph has three arms which again adds to the surreal nature of the final photograph.

Connotation: This image to me, after contextually researching the photographer, displays the routines of depression and conveys the daily battle with inner demons. The three arms of the creature could imply the past, present and future all grasping for the subject and pulling him in multiple directions. I believe the image to be more explicitly about the difficulty many people with depression have such as leaving their bed to face the day or insomnia. Although, the faceless figure obscured by the sheets also seems to be a symbol for the Grimm reaper as a potent reminder of how many people with depression commit suicide each year. Furthermore, the subject is grasping a soft toy in his arms which could infer the way that depression makes many people fear demons once again. Much like the ones believed to be under the bed or hiding when they themselves were a child.

Context: The photographer behind these images was diagnosed with depression at just 16 years old and thus the soft toy could represent the idea that depression can affect anyone even children as voiced by Hopkins when he stated "It affects millions of Americans every year -". Furthermore, the obscured reaper like character beneath the sheet is vital due to Hopkins attempting suicide. The area surrounding the subject is in the dark, an all "black void" with the "demon" blocking his path to the light. Additionally, Hopkins said that his earlier projects were based around other surrealist artists hew found on Flickr before he discovered his own style; it could be said that the ghost like characters could be reminiscent of Rene Magritte or a more modern photographer within the field of surrealism Christopher McKenney.



Denotation: The subject is central to the image with a symmetry to the composition. The subject's identity is obscured by a face covering with a mask in a jar held by the subject. The lighting is bright and backlit allowing shadows to form on the subject. The contrast between light tones and dark tones is prominent in the foreground of the photograph. The filter creates a blue coloured overlay.

Connotation: This particular image appears to be a study of how the individuality of self is lost when facing an illness such as depression. Due to the nature of depression being a mental illness many people with the condition feel that they, their self-constructed identities, are lost as the illness takes over. The mask could be symbolic of either the demons or the mask that the subject wears to hide themselves and their true emotions from others.

Context: Hopkins himself stated in an interview that "I don't have any captions for the photos. Despite [them] being self-portraits, I try to keep as much of myself out  [of the photos] as possible." due to his desire for the audience to "elicit their own personal meaning from the image".  The construction of the photographs are surreal as they are all "self-portraits" but more so in reference to being a reflection of the audience in how they see themselves within the work.



Denotation: The same location is used in this photo as is also used in two of the three featured above. The composition is again almost symmetrical. The colour is of a grey tint and blue filter with strong contrast between the light and dark tonal areas. The viewer is taken on a journey due to the composition in that the eye travels in a vertical line due to the hand from above juxtaposed to the many hands below.

Connotation: Without contextual information I would say that this image implies the materialistic nature of a capitalist society in which we try to buy life and time to avoid the grasps of death. Although, now with more information I believe that the image, titled 'Bargaining', from within the series '5 Stages of Grief' implies the feeling of being trapped once someone dies whether that it physically or metaphorically such as the death of self-identity. People try to buy more time with ones that they have lost by making deals with death.

Context: This series composed of 5 photographs took place over 5 consecutive days. The idea of grief is more variant from Hopkins' other works in that this series more explicitly studies other emotions rather than displaying the "symptoms of depression". Hopkins said that he hopes "that these pictures reveal the possibility of using photography as a powerful means of emotional expression, even if those emotions don't relate to mental illness.". 

Research Log: Surrealism Photographer Research: Sarolta Ban -

Surrealism: Sarolta Ban - 

Why Chosen:

I chose Sarolta Ban as they have explored art through multiple mediums before deciding on photography. This photographer focuses on photo manipulation and is a pioneer for the open meaning artwork that can be understood in many different ways by different audiences depending on context of reception.

Examples of Work:



Denotation: The composition of the photograph is within a square framing as opposed to the often used landscape layout. The image can easily be divided into the compositional grid with three diagonal and horizontal cross-sections; the human subject falls at the third line of the grid which is why the audience eye is immediately taken to him. The border creates a finalised style to the piece with the vignette and black and white cross sepia colourisation and lacking saturation adding to the atmosphere of the piece. The change in scale is also vital to the surreal nature of the work.

Connotation: This photograph, from my understanding, connotes death; the crows/ ravens symbolise many different things in various cultures although within my beliefs they are cohesive with death and darkness due to their natural instincts to find food from morbid circumstances such as death. Therefore, I believe that this image is conveying the short lives we live as insignificant and small entities on this world through the crows/ ravens and the elderly man who is having his materialistic possessions stolen by the birds.

Context: Contextually speaking the above birds symbolise various meanings in different belief systems. In Native American beliefs the bird is respected as the bringer of light and creation. Although, other Native American's believe the bird to be a trickster or shape-shifter due to its smart nature which also lead to others believing it like a bad omen in the same way that an owl is.  In Celtic beliefs the bird has supreme visionary powers and is associated with the Halloween-like celebrations. In most western cultures the birds are associated with death and bad luck due to their dark feathers and nature of finding food at battlefields. However, it is hard to say what the photographer herself intended the meaning to contextually be due to the subject of the birds meaning different things although the photographer is Hungarian. Moreover, Ban said that the meanings of her works are nebulous so that audiences can make their own understandings from the pieces.



Denotation: Again the composition of this photograph is within a square framing which is a stylistic choice employed by the photographer. The subject is almost central to the photograph with the props including a trumpet and multiple chairs. The vignette adds to the dark atmosphere of the work alongside the sepia/ black and white colouring.

Connotation: The ape as the subject could connote humankind and the instrument and chairs could imply formality of our breed. Instruments are often a symbol of class status and prestige within society which also links to development and evolution whilst the chimp could link to Darwin's theory of evolution. Therefore, the overall combination of the subjects and props could imply the true nature that we, as humans, are still as primal as our beginnings no matter how advanced we believe ourselves, our minds and our systems.

 Context: Ban said that she enjoys combining everyday "ordinary elements" to create stories and "personalities". The chairs and trumpet could be considered ordinary but the chimp more unusual.



Denotation: Framing is within a square, the image is more multi-tonal than the above two, the eye is taken on a journey due to the triangular composition of the person, the birds and the top of the stairs. The vignette, another stylistic choice of the photographer adds to the darkness of the image whilst the contrasting light from the clouds add to the juxtapositions.

Connotation: The birds again appear to symbolise death with the light through the clouds and stairs implying the stairway to the afterlife. The landscape is barren and appears to criticise the world which we live in.

 Context:  Each image takes around 50-100 layers which are composed either over many hours or many days. Therefore, everything small detail chosen in the photographs are vital. The smaller details which could easily be lost are emphasised through tools such as black and white. The dark nature of Ban's work is reinforced by her answer to the question asking if she would like to live in her surreal works; her reply was "No, I wouldn't, because it's really frightening. I might visit that world, but I wouldn't want to live long in there".




Denotation: Framing is again within a square, the photograph is a mixture of tonal greys and dark blues which work in contrast to the light and yellow of the central segment of the image. The eyes are taken up through the photo due to the horizontal lines of the ladders leading to the subjects of the crows/ ravens.

Connotation: The birds once again symbolise death with the yellowing light through the clouds and ladders implying a world distant from the living world. The landscape is barren and appears to criticise the world which we live in.

 Context: The grainy nature of the photographic final outcomes are partly due to stylistic choices but also because of the costly nature of most cameras. Ban uses a 5 megapixel point and shoot FinePix S5600 and Photoshop to make her creations.
 

Research Log: Surrealism Photographer Research: Tommy Ingberg -

Surrealism: Tommy Ingberg - 

Why Chosen:

I chose Tommy Ingberg due to his extensive professional portfolio of societal criticisms. His black and white mono tonal photographic manipulations are reminiscent of the earlier examples of surrealist artists such as Rene Magritte who has served as an inspiration to me for many years. The two series from which I have gathered the below photographs are from the portfolios entitled 'Journey' and 'Reality Rearranged/ Solitaire'. Personally, the implicit perspectives are vital to surrealism especially within the vein that I wish to follow which delves into an interpretation of the human psyche and identity through means such as mental state and regional identity.

Examples of Work:



Denotation: The chimney sits in the left third of the compositional grid, a face is emerging from within the chimney thus displacing the balance, the image employs a vignette in the corners, the smoke and clouds are captured in motion moving to the right, the eye is taken on a journey through the image due to the fading out landscape in the background and finally the photograph is edited into black and white.

Connotation: The chimney connotes the factory work of past and modern society, the burning of fossil fuels and the idea of society and its workers, as shown through the face appearing from within the chimney,  as a machine of production within a capitalist society. Furthermore, the vast expanse of desert could imply an apocalyptic-like world to which we are heading towards if we continue to exploit the natural resources such as oil. The vignette and black and white add to the dramatic and mournful nature of this photograph in the sense of the implied exploitation of both workers and natural resources.

Context: This series is entitled 'Journey' and the individual piece is called 'Chimney'. The series 'Journey' follows the artist post the birth of his son and how his world took a slow shift of path as a result. Because of this Ingberg had less time for his work and more time with his family and so when it came to creating art he decided instead for it not to be riddled with "rules, expectations or judgement" but to become more "fluid and chaotic". The stories for both this image and the rest of the series were created without planning ahead which allowed for "unexpected results".



Denotation: The subject is central so that it is the first point which the viewer sees which stresses its importance, the subject is suspended within the image by a hand, the leading line of the road in the landscape ensures that they eyes follow the path through the image and the photograph is edited into black and white to add to the mono tonal style alongside the heightening of contrast between light and dark.

Connotation: The hand suspending the subject above the landscape is almost like a criticism of an omnipotent god-like character; whether it truly is in relation to religion, the opium of the masses as coined by Karl Marx, or aimed towards other intuitions such as government is for the audience to interpret. If  the hand is linked to god then the audience could perceive the formally dressed subject to be embodying the clothes of a funeral as though they have died and as a result the leading line of the road could be an idea about the bright light at the end of a tunnel or the reference to the crossroads of life or death. However, I believe that the hand could resemble the hegemonic people in power physically manipulating the the anonymous masses of suits and ties in the rat race of life. The road could also, in reference to this, symbolise the never ending journey towards the unachievable 'American Dream' or other such ideologies that are flawed due to a capitalist society.

Context: This photograph is called 'Puppet' from within the series 'Reality Rearranged/ Solitaire'. This series occurred over five years, 2010 - 2015, and Ingberg himself said that his own life served as inspiration although the he also wanted "the viewers to produce their own questions and answers when looking at the pictures, my [his] own interpretations are really irrelevant in this context". This particular photograph was featured in the photographer's blog to explain his creative process. Ingberg employs all his own photography and his works are often manipulated in Photoshop as little as possible in relation to composition and the fixing of images. Additionally, Ingberg said "If you do the photography really well you could technically just print your pictures, cut out the parts you want with scissors and paste them onto an empty piece of paper and be done with it. I find that to be a good reference to have in mind when planning my composites". Contextually, Ingberg works on a budget and has to find cost effective ways of creating his work which is good inspiration to amateur photographers like myself. This photo posed many issues for the photographer in respect of creating a montage of the various images. Firstly, the model had to be in the air but systems such as wires would have made the clothes move in a false way and edits would have to be made in Photoshop; eventually, the decision was made for the model to be captured mid jump. The hand in the photograph was captured by someone pinching an object of weight, a phone, to create as realistic hand positing as possible for the final outcome.



Denotation: This image does not employ a direct landscape like the others above but instead focuses more in the medium of portraiture, the subjects are again anonymous whilst the central subject is revealing a manipulated clockwork inside. Finally, the image is edited into black and white as is the style of the photographer/ artist in every series.

Connotation: This image is varied to the ones outlined above in that there are multiple subjects, this creates an army-like atmosphere to the photographic outcome. Of the  central subject who is facing the audience a mechanical inside is being shown which could imply that within society we are an army of anonymous masses just cogs in the mechanical system which must all follow the same path for the machine to work. However, the subject facing the opposite direction has become sentient and aware of the society they live in and wishes to instead lead a life different to the others ruled by the institutions of socialisation such as education, religion and government.

Context: The photograph displayed above is called 'Inside' from the series 'Reality Rearranged/ Solitaire'. This series occurred over five years, 2010 - 2015, and Ingberg himself said that his own life served as inspiration although the he also wanted "the viewers to produce their own questions and answers when looking at the pictures, my [his] own interpretations are really irrelevant in this context". Ingberg himself stated that "surrealism is about trying to explain something abstract like a feeling or a thought, expressing the subconscious with a picture. The Reality Rearranged series is my [his] first try at describing reality through surrealism" as this series falls before the ongoing series 'Journey' which began in 2015. This contextual information is vital to me as my interpretation of surrealism is the "unreality of reality" and in contrast the "reality of unreality" as equal and opposite ideologies on life. Life often provides many challenges which we deal with from our own mind which is the unreality of reality. However, a surreal idea draws its inspiration from society and therefore displays the reality of unreality.  This is further evidence by Ingberg in that he says he "settled into a safe non-challenging “normal” life" but soon realised "something was missing"; the aspect of life missing was the unreality of surrealism in his photography.



Denotation: This photograph is interesting in composition in that the subject is a diagonal line that cross-sections between the rule of thirds compositional grid. The image also, whether intentional or not, conforms to Leonardo Da Vinci's 'Fibonacci Spiral' with the rock being the base and the detail gathered in the centre spiral where the head of the subject would be. The image features a faceless subject who is being lifted by balloons and held down by a rock above a seascape. The image is also within black and white again linking to the photographers chosen style and the photograph appears to be darkest on the left column then transitioning lighter as the eye moves across right.

Connotation: This photograph has many interpretations but I believe that the idiom "head in the clouds" could be an inspiration for this specific piece. Although, more specifically I believe that the anonymous subject portrays mental health. The balloons replacing the head exemplify a hope for freedom and release from a situation; also, as balloons are often associated with childhood the photograph could symbolise the difficulty of growing up into a world of serious problems rather than a carefree happy childhood. Additionally, the rock and rope holding the subject down could symbolise the weight of depression, often referred to as a weight on the shoulders and mind, therefore not allowing the subject to be free from their situation. The isolation of the individual also continues this idea through the loneliness of mental illness. Furthermore, the black and white again adds to this through the idea of a world without colour being linked to depression and feeling "blue".

Context: The photograph is titled 'Torn' and is part of the series 'Reality Rearranged/ Solitaire'. This series occurred over five years, 2010 - 2015, and Ingberg himself said that his own life served as inspiration although the he also wanted "the viewers to produce their own questions and answers when looking at the pictures, my [his] own interpretations are really irrelevant in this context". Furthermore, I believe this photograph documents the "visual diary" of Ingberg as a response to the time in his life in his late twenties when he "hit some sort of bottom". As a result of this spiralling decline Ingberg focused his life more so on the creative surreal photography and after being "Deep down in my [his] own personal abyss I found what art is to me. As a sort of therapy I started creating pictures" which is how Ingberg became the non-conformist of the art world he is currently and is trying to be at the end of his 'Journey'.