Creative Photography

Claudia Brookes
 The Urban and The Everyday,

Conceptual Landscape photography.

“If you’ve seen it all, close your eyes.”

–Coco Capitan
Michael Wolf
Architecture of Density
Michael Wolf
Artistic urban photo
documentary
Michael Wolf
‘No exit’ Photography
 Michael Wolf
‘Almost like sculptural
installations or portraits’
Andreas Gurksy
• His work discusses mass consumerism, industrialisation,
capitalism, wealth in the modern world and his work uses scale
and multiplicity and repetition of colour and often a high point
of view in his photographs to make a visual impact and convey
a socio-political message. He also uses the same concept of
‘no exit’ photography. With often no horizon, no sky, no end
and no beginning it’s hard to tell where it begins or ends.
 Mark Power
Good Morning America is a
political project, looking at
American decadence and the
end of the American dream.
 Joel Sternfeld
A re ghter buys pumpkins
whilst a building burns.
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 Mark Power
“The work might be less
about Guernsey and more
about the decisions we take
when we make pictures,”
Walker Evans
 Eddie Ryan
The autocratic, the democratic
Ambient, transitional light; mutable surfaces; images
of the endotic and the anti-sublime, manifest a view
that's somewhat compromised in its’ making. The
work re exively explores the experience of the
migrant - the temporal fragility of the lives of those
who must leave. It articulates their strategies of
survival and assimilation in photographs tempered by
the mores, sanctions, and beliefs of the country in
which they were made.
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Located in the march between autocracy and
democracy, the images allude to the conservative
nature of the host society being explored. The
photographs act as both apertures of seeing and
archeological density maps - physical and conceptual
ways of articulating being ‘in-between’ - stay or go?
Belong here or belong there?
Thomas Demand
Cardboard reconstructions
Hiroshi Sugimoto
Seascapes
Bronco Kozka
 Michel Le
Belhomme
Ice-berg like structure the
resonates with buildings, the
built environment and ecological
disaster.
 Michel Le
Belhomme
Merging the built environment
with the natural, and creating
imagined narratives for the
viewer to participate and extend.
 Hilla and Bernd Becker
• They took on the mission to mathematically
photograph each water tower with the same
precision. At rst I wasn’t taken with their
pictures, until I learned that it was about the
process of taking them. Each tower seems
identical in size and scale. Which isn’t
necessarily true, but the process of
mathematically planning the precision of
photographing the towers makes them an
identical document of each. This, in my
opinion makes them so much more
compelling.
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 Gayle Chang Kwon
Atlantis
Made of cheese
Atlantis is a name for a ctional
large island or small continent that
was (in the legend) in the Atlantic
Ocean many years before it sank into
the depth of the sea.

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Carl Warner
Paula McCartney
Sian Bonnell
 Solargraphy
Solargraphy is the art of long
exposure photography that
captures of the image of the sun
moving across the sky. These
exposures can last days, months,
even years. You do this by
converting a beer can into a
pinhole camera, by loading it
with photographic paper and
leaving it outside facing the sky
 Equipment
1. Some empty beer cans (ideally 330ml cans)

2. Light sensitive photographic paper (5x7”) (Available

online)

3. Waterproof gaffer tape

4. Scissors

5. Pin or Sewing needle

6. Cable ties to fasten solarcan in place

7. Scanner
• The reason why we are not doing solargraphy in class: It can take up to a
year to get the results you want depending on your intentions. If you want
to map a sun solstice then it takes at least 6 months. But generally it takes
at least a few weeks - months to get something and we don’t have that
time. I’m introducing you to the concept to try another time, but we can’t
achieve anything good in the time that we have in this course.
 Task:
• Get into your groups and assess all the
items that your group has bought.

• Pretend you’re about to go back to space.

The aliens want to know what earth is like
because they want to visit. But ecological
disaster is about to ensue. Go around
taking pictures of everything you think is
necessary to tell the aliens about RMIT
campus on earth in the midst of ecological
disaster. What do you leave in, and what do
you leave out? How do you express
ecological disaster with what you have?
Make use of creative camera techniques
such as shutter speed, gels, exposure,
mirrors, scale, repetition etc…