Going more thoroughly into the subject object realationship.
One easy, or the easiest way I know to conceptualize this relation is as though subject is an actor and object is the receiver of action. like a lordship relation, or a boss to their employees.the objects are those things that have no control over some aspect of their condition. In a manner all things and people are the object of some other thing or person. for example the king of Spain would Answere to no one, yet was still subject to the laws of gravity. In turn the earth which is subject in relation to the king of spain is object when related to the sun. And the sun is the object of some higher cosmic order.
It is a relationship based on subordination.
Modifying that idea to fit photography some pretty odd things happen. In order to avoid any confusion anytime that I am referring the Photographic subject matter (when in the camera or on the print, not the subject matter in reallife) I will use the word rendering. When I am refering to the subject matter in reallife I will either call it by name (rock, tree, etc), or use the general term Items for all that is in the photograph.
Wednesday, April 9, 2008
Sunday, March 16, 2008
Subject, object, Photography
Immanuel Kant developed the idea of the subject object relationship. His development of the idea led to pther issues in Epistemology, which i wont get into here. Ever sense hearing about the the Subject object relationship, I have been enamored with it and been attempting to apply it to photography. The basic idea is that the world consists of objects, things that are observed, and subjects, things that observe. for the this disscussion it may be easier to think of subjects as viewers and objects as that which is viewed. for a practicle example you have a person studying their camera. in this example the person is the subject, because they are emgaging in the act of viewing, and the camera is the object, the thing being viewed.
For a more direct application to photography you have the object as a photograph and the subject as a viewer of the photograph. everything works just fine until you take into account the items that the photograph is of. The photograph was taken in a field and consists of grass, a tree, and a mountain. The problem arises when you try to consider the grass, tree and mountain as the thing you are viewing, the object. this is because you would be trying to cram 3 items (the things in the photograph, the photograph itself, and the viewer) all into two dimensions of existence. one could easily say that both the photograph and the things in the photograph would be considered objects. This doesn't work because it will create a divergence in objects and require a scale as to which objects are "more real." but the reality and existence of objects is not comparable.
For a more direct application to photography you have the object as a photograph and the subject as a viewer of the photograph. everything works just fine until you take into account the items that the photograph is of. The photograph was taken in a field and consists of grass, a tree, and a mountain. The problem arises when you try to consider the grass, tree and mountain as the thing you are viewing, the object. this is because you would be trying to cram 3 items (the things in the photograph, the photograph itself, and the viewer) all into two dimensions of existence. one could easily say that both the photograph and the things in the photograph would be considered objects. This doesn't work because it will create a divergence in objects and require a scale as to which objects are "more real." but the reality and existence of objects is not comparable.
Photography: art or addiction?
My attention has fractious. Focusing on my art and school at the same time is nearly impossible while trying to hold down a job. When choosing between school work and photographing; it's infinnitley easier to choose school work only if I haven't recently been shooting, Odd. Its almost as though making pictures is addictive.
It starts with a simple transgression of thought, 'hey I should go shoot today.' which is then rationalized with, 'well I can't really be productive with my attention split, so Ill go shoot today and be super productive tomorrow.' we all know it is not this simple. I found that the more I shoot the more I want to shoot. Getting to the point where you are feeding a $100 a week film habit. I am afraid It's going to get worse. A few nights ago I had my first dream where I was doing nothing but going over proof prints.
to be continued...
It starts with a simple transgression of thought, 'hey I should go shoot today.' which is then rationalized with, 'well I can't really be productive with my attention split, so Ill go shoot today and be super productive tomorrow.' we all know it is not this simple. I found that the more I shoot the more I want to shoot. Getting to the point where you are feeding a $100 a week film habit. I am afraid It's going to get worse. A few nights ago I had my first dream where I was doing nothing but going over proof prints.
to be continued...
Friday, February 1, 2008
Big Pictures
Greetings;
I love the quality and tone of a good contact print. Small, sharp and rich. recently I have found myself looking at my road abstractions and wondering how they would look printed big. making the jumo from an 8x10 contact print to a 30x40 mural will certainly not suite just any picture. Landscapes and portraits have always been well suited for a lardge print, but what about non objective work? to be less universal MY non objective work? perhaps the large nature of the print will give it presence, take away its charm, or simply multiply everything.
Starting next week I am going to be making mural prints from 8x10 negs. It will be interesting to see how it works, because nearly all my prints are contact prints. Working with a wet sheet of 30x40 paper will also be different. If any one is interested in more info send me an email.
Yours;
Christopher J. Breietnstein
www.ChristopherJBreitenstein.com
I love the quality and tone of a good contact print. Small, sharp and rich. recently I have found myself looking at my road abstractions and wondering how they would look printed big. making the jumo from an 8x10 contact print to a 30x40 mural will certainly not suite just any picture. Landscapes and portraits have always been well suited for a lardge print, but what about non objective work? to be less universal MY non objective work? perhaps the large nature of the print will give it presence, take away its charm, or simply multiply everything.
Starting next week I am going to be making mural prints from 8x10 negs. It will be interesting to see how it works, because nearly all my prints are contact prints. Working with a wet sheet of 30x40 paper will also be different. If any one is interested in more info send me an email.
Yours;
Christopher J. Breietnstein
www.ChristopherJBreitenstein.com
Sunday, October 28, 2007
Questions?
Over the past three months my personal work has been on the back burner. Taking second chair to school, which I find to be rather ironic. Studying art and gaining breadth of media is never a bad a thing, but is it good when you personal work suffers? Is struggling with the mechanics of, rather then focusing on composition while, drawing, painting, sculpting etc. the best investment of your time? Or, is it better for one to focus on their own work, while being aware of what is in the periphery, and not concerning oneself with it?
I have been trying to answer these questions and in turn determine if art school is the appropriate place to be studying photography as in depth as I would like. I have been taking advantage of the minds around me. Those with the hindsight, and experience to make a decision like this and the responses can be filed in two categories. 1) Their are many unseen benefits of the formal study of form, and quiting because you are not doing what you want to do would be foolish. 2) A formal education (as far as the creation art is concerned) just adds another category to your C.V., and helps with networking. In short its worthless get rid of it. While the logic on both sides can stand up to the attack. It seems to come down to a personal decision that I don't feel I have the experience and foresight to make. Hey maybe Ill flip a coin!
Decisions, Decisions.
I have been trying to answer these questions and in turn determine if art school is the appropriate place to be studying photography as in depth as I would like. I have been taking advantage of the minds around me. Those with the hindsight, and experience to make a decision like this and the responses can be filed in two categories. 1) Their are many unseen benefits of the formal study of form, and quiting because you are not doing what you want to do would be foolish. 2) A formal education (as far as the creation art is concerned) just adds another category to your C.V., and helps with networking. In short its worthless get rid of it. While the logic on both sides can stand up to the attack. It seems to come down to a personal decision that I don't feel I have the experience and foresight to make. Hey maybe Ill flip a coin!
Decisions, Decisions.
Thursday, August 16, 2007
untitled
Greetings,
This past month has brought about several changes in photography. A new website, new work, and a new film. Some of these changes were based on necessity others based purely on desire. No matter what the reason I feel as though all the changes were for the best.
I recently created a new website with visual server, which is offered through Photo Eye. Originally I had designed my own site and at the time it was sufficient. After going through the trial period with visual server I was convinced that it was the best fit for me. the designs are clean, elegant and professional. Plus set is incredibly easy, the most difficult part will getting descent scans and writing a bio. Up dating the site with new work takes seconds. Adding new galleries and text pages is a snap.
After establish the visual server site I began experimenting with new ways to organize my images. Sifting through my photographs I realized that many of my newer iages are pictures of the ground! Piles of dirt, tire tracks and rocks compose much of my subject matter. All of these photographs were not intended so to speak. It wasn't as though I went in search of photographs of dirt. The compositions just came together on my ground glass. So I figure why fight it. Along with "refuse" (which is coming along nicely) I will be working on a set of photographs that is nameless thus far, and will be mainly of the ground. like all the other work these pictures of dirt will be contact prints.
Unlike all the other work that was done on Efke pl100 the new wok will be some other film. I am currently experimenting with Ilford Fp4. This film is nice because the highlights don't block up as easily as they do with Efke. One complaint is that ilford seems to have no capacity for expansion. negatives with similar exposure will react the same to 14 minutes worth of development as with 45 minutes. Ilford is also much more expensive, about half again what Efke costs. But then who cares how much money you are saving if all you negatives have serious banding and uneven emulsion coating!
Yours;
Christopher J Breitenstein
Click here for the new site.
Click here to see my Ebay items!
This past month has brought about several changes in photography. A new website, new work, and a new film. Some of these changes were based on necessity others based purely on desire. No matter what the reason I feel as though all the changes were for the best.
I recently created a new website with visual server, which is offered through Photo Eye. Originally I had designed my own site and at the time it was sufficient. After going through the trial period with visual server I was convinced that it was the best fit for me. the designs are clean, elegant and professional. Plus set is incredibly easy, the most difficult part will getting descent scans and writing a bio. Up dating the site with new work takes seconds. Adding new galleries and text pages is a snap.
After establish the visual server site I began experimenting with new ways to organize my images. Sifting through my photographs I realized that many of my newer iages are pictures of the ground! Piles of dirt, tire tracks and rocks compose much of my subject matter. All of these photographs were not intended so to speak. It wasn't as though I went in search of photographs of dirt. The compositions just came together on my ground glass. So I figure why fight it. Along with "refuse" (which is coming along nicely) I will be working on a set of photographs that is nameless thus far, and will be mainly of the ground. like all the other work these pictures of dirt will be contact prints.
Unlike all the other work that was done on Efke pl100 the new wok will be some other film. I am currently experimenting with Ilford Fp4. This film is nice because the highlights don't block up as easily as they do with Efke. One complaint is that ilford seems to have no capacity for expansion. negatives with similar exposure will react the same to 14 minutes worth of development as with 45 minutes. Ilford is also much more expensive, about half again what Efke costs. But then who cares how much money you are saving if all you negatives have serious banding and uneven emulsion coating!
Yours;
Christopher J Breitenstein
Click here for the new site.
Click here to see my Ebay items!
Saturday, July 14, 2007
New Work
For the last six months or so I have been focusing all my efforts on my series "Prescott Az: 2007" and I feel now as though I am ready for a break from it. The "Prescott Arizona" portfolio is now for sale and is only $350. It includes seven of the best photos and comes in a museum box. Although I feel as though the project has yet to begin I am putting it aside, for now.
Recently I moved south to Tucson Arizona in order to go to school. This move is part of the reason I am putting the Prescott series aside for now; I don't live there anymore. My apartment is 418 square feet. The darkroom/photo lab consumes most of the kitchen, the entire dining area and most of the living/family room. Tucson is an amazing community, an oasis in the desert. Its mid July and the high temp is maybe 104. wondering around the southern part of town has sparked my interest, and some of its oddities are going to be the subject of my work.
The new series is going to be entitled "refuse." I have all ready begun working on the series. Much like the Prescott series in which all the photos were numbered these will be titled in a similar fashion. I am really excited for this series to take shape. The subject matter will for the most part be very mundane but visually stimulating. Strong lines, tonally rich images, and the idea of "refuse" are going to be the themes threading through the many images.
Until next time.
Christopher J. Breitenstein
ChristopherJBreitenstein.com>
Click here to see image specials.
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