on the other side of the lens

BILLBOARD BWALYA 

 "Photographer: Val Adamson FUN! FUN! FUN! Is the only way to describe being a model for this shoot. I am no stranger to being on the other..."

(click below to read about it on Bwalya's Blog)

Creative Splurge!: On The Othersideof the Lens

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I didn't GRADUATE but I can still commemorate...

I was unfortunately on "office duty".

My lonely blue shirt hung over my chair... separated from the herd.

Every year the Photography Department is involved in photographing the DUT Graduation ceremonies that take place in Durban and Pietermaritzburg during April and September.

All students are obligated to work at 'Grad': styling; administrating; ushering and photographing.

What I love most about this time together is that between the mad rush and mayhem, there are quiet spells...

During these times we get to know each other better.

Then there are the beautiful moments... where one gets to witness proud families and individuals commemorating the celebration of the completion of their studies.

We play a vital role in that.

And in some way we 'graduate' too with another life experience.

 I know everyone has worked hard (especially staff), is tired, 

perhaps even gatvol? 

 But ...
I have made this post in a hope that students will use this 'space' to share their stories on 'Grad'... because I was not there!



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What Kind?

You are all invited to meet, listen and engage.
 Guest lecture by:

PETER McKENZIE 
(click to read and see more)

"People look out of the frame as if trying to see beyond their immediacy with expectations tempered by their realities" 

(from artist statement)

 

South African Photographer Peter McKenzie will be presenting his documentary film ‘What Kind?’ at the Department on 29th April 2011 @ 9am.  This film is about his home township of Wentworth.  PMcK will also be chatting about his Photographic practices and his recent exhibition which will take place soon, at the KZNSA (click to see venue on Google Maps) on 10th May.  

Historically PMcK's (click to read more) genre of Photography lies in Documentary and Photojournalism.  In the 80's he was one of the founders of the agency  Afrapix  (click to read more) and a chief photographer for Drum (click to read more) magazine. Currently PMcK holds many international and national exhibitions and workshops on Photography.  


I have recently had many incredible conversations with PMcK about Photography. There are 3 things that PMcK  often says, that resonate for me, as they make me think more about the nature of Photography and these are:

1. A Photograph is both "a mirror and a lens".

2. His interest in the conundrum  (the confusing question, the problem) of the "space between the lens and the subject". 

3. A Photographer doesn't take or shoot a Photograph, he/she imbues (inspire, permeates a quality or feeling) or makes a Photograph.

Lets take these conversations further when PMcK makes his visit. 

---> Please make sure that you diarise and make an effort to attend.

 

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Vera Lutter

Dark Chambers

All students @ the department have always started off their first few weeks in first year working and making their own pin hole cameras... so I wanted to share the work of Vera Lutter [VL] with you.

Vera Lutter uses the camera obscura, the most basic photographic device, in unusual and intriguing ways. VL choice of camera obscura is a shipping container with which she produces large wall size images.  Her extreemly large photographic images are exposed over several hours, sometimes over months, capturing a trace of movement, a ghostly image that speaks about space and time_ it's temporariness_ its trail.

For VL the process of capturing light in these ' shipping container cameras' is part of her artwork. She explains: 

"I am interested in the massive, awkward act of people and merchandise being moved from one place to another. I have been exploring the medium of transformation_ ships, trains, zeppelins, oil rigs, planes --- in the industrial area they are built in, relating the transfer of merchandise to the transfer of light with the camera. The empty body takes in people and brings them somewhere, its the transfer of place and the exchange of goods. The void interior space of the light to come in and transfer it into an image."

www.bombsite.com

The zeppelin image took four days of exposure_ for 2 days it was parked in front of the camera in the hanger and for two days it was flying. When the zeppelin was gone what ever was behind and around it was inscribed onto the photograph. VL describes that it was very dark inside the hanger so things inscribed themselves very slowly, leaving traces of a transparent zeppelin.

read and see more

BUKA LAPHA

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first UK exhibition of contemporary SA photographers

@ the Victoria & Albert Museum: London

FIGURES & FICTIONS: CONTEMPORARY SOUTH AFRICAN PHOTOGRAPHY

17 photographers 150 works 

 All the photographers live and work in SA and the images were made between 2000 and 2010. Each photographer is represented by one or more projects that are linked by the depiction of people and a self-conscious engagement with South Africa's political and photographic past.

These photographers "absorb and grapple with SA's weighty history, questioning, manipulating and reviving its visual codes and blending them with contemporary concerns. Post-Apartheid, complex and fundamental issues - race, society, gender, identity - remain very much on the surface. This is reflected by image makers who harness the resulting scenes as a form of creative tension within their personal vision".

• Jodi Bieber
• Kudzanai Chiurai
• Hasan & Husain Essop
• David Goldblatt
• Pieter Hugo
• Terry Kurgan
• Sabelo Mlangeni
• Santu Mofokeng
• Zwelethu Mthethwa
• Zanele Muholi
• Jo Ractliffe
• Berni Searle
• Mikhael Subotzky
• Guy Tillim
• Roelof Petrus van Wyk
• Nontsikelelo Veleko
• Graeme Williams 

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ABC's

David Mpungose

The second years have just done an assignment for Applied Photography 2, where they were asked to find alphabetical letters in their environments. This is a challenging creative assignment which requires keen observation and critical framing in order to capture the 'assumed' letter. Letters may be formed, constructed or seen through elements of design, space, line, shape, light or angle of view.

 I would love to see the rest of the classes images and have thus made a web album for second years to upload their images so that they may share their 'collection' 'osmosis' style _  
click on ABC to go to web album
ABC 

Looking forward...also love to hear some thoughts from 2nd years about their experience.

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Invisible Man

Liu Bolin

http://www.dailymail.co.uk

This was passed on to me by current 3rd year Werner Traut  

(click on WT's name to see blog entry) 

Read more on this incredible Artist by clicking hyperlink below:

buka lapha

I have extracted KEYWORDS from the website that I like. They help to contextualize his work...

Look carefully • lurking • outsider • not fitting in 

• standing silently • himself as a blank canvas • a silent protest

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A list of self assignments

I am reading a book called the EDUCATION OF A PHOTOGRAPHER (2006) by Charles H. Traub, Steven Heller and Adam Bell_ published by Allworth Press. This book was shown to me by Peter McKenzie (meet Peter soon on another Blog entry) , who keeps this book with him at all times regarding it as a valuable source for knowledge and inspiration for teaching and understanding photography.

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On Page 203 is a wonderful "GET TO KNOW"  list made up of 10 points complied by Mary Virginia Swanson [MVS] ---> and I am going to type it out...phew...word for word... to share with you. MVS is a consultant, author and educator who guides artists on making and marketing their artwork. She has inspired many artists to build on the strengths of their work, refine their craft, and identify appreciative audiences.

buka lapha

click to view her 'Marketing Blog'

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As I am always more captivated by images (make me speechless) than words (have to find the words to express myself), I am going to include student images from my collection of past third year student works to illustrate these points.  Think I am going to do this as one Blog entry: warning long but find the stamina to scroll down to the end so you get the bigger picture... ;•{} (winking clown face)... I think it is well worth it + ☕= make a cuppa joe_ and take your time.

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GET TO KNOW...

 #1 YOURSELF

Bwalya Lungu_ 2008

Define your interests, your abilities, your budget, your limits. Find your focus in all aspects of your life and stay on track.

 #2 YOUR SOURCES OF INSPIRATION

Gugu Mqadi_2008

...in the words or works of other creative individuals or the forces of nature. It may be knowledge that is placed near your home or in your mind that brings clarity to your ideas.

Experiment - find ways to access inspiration when and where you wish. 

There are no barriers to imagination unless you put them there.

 #3 YOUR VOICE as an artist

Yandisa Monakali_2008

Only you can determine what you have to say with through your artwork (photography) and only you can best interpret that voice through your final art object (a photograph). 

Experiment with your materials, and by all means take risks.

 #4 YOUR INDUSTRY and its history.

 Banele Bengu_ 2008

It is essential to understand the evolution of your medium and its masters as well as what drives key decision makers. Take tome to study the history of collecting art, publishing photography - past and present, commercial commissions and licensing. Know the role of the curator to  the institution and constituency and role of the gallery to collectors and art makers.

Learn as much as you can about all aspects of your field.

 #5 YOUR GOALS

Nqobile Luthuli_2008

Don't try to be all things to all people. Time and money are necessarily limited, so work hard to make solid decisions towards what is important and essential to your creative life. These decisions may determine where you live and the environment you work in and the company you keep.

 #6 YOUR MARKET

Banele Bengu_2008

Define through research what audience is most likely to respond to your work. If your work has a definable subject, that is a gateway to a much larger audience. If more abstract in nature, a smaller yet perhaps more sophisticated audience awaits you. Once you know to whom your works speak, you can better clarify your path to your audience.

 #7 YOUR PROFESSIONAL IDENTITY

Noxolo Zwane (Chillies)_ 2008

With the work completed, and audience and aspirations defined, present yourself as an artist with the utmost professionalism and clarity of purpose. All promotional materials should have unified style and clarity of purpose. All promotional material should have unified style and coherent message, whether in print, cd-rom or Web site format. 
There is only one chance to make a first impression.

 #8 YOUR TOOLKIT

Natasha Schoeman_2008

You are the amalgam of what you know. Take command of your materials: strive to be no less than an expert with your resources. Embrace the WWW. Listen and learn from other practitioners. Challenge yourself technically and intellectually. Join professional organizations, subscribe to related publications, and keep an open mind, always. Never stop learning. 

 #9 YOUR COMMUNITY

Varusha Govender_2008

Scale will not matter from a small group of neighbors to a large number of like minded people throughout the world. Access may be face-to-face or via technology. You can participate in a dialogue anywhere, anytime. Do not allow yourself to work in a vacuum, however habit forming, there is much to gain from interaction. Partake of many communities.

 #10 YOUR GIFTS

Nicola Stewart_2008

Give back to your community and industry. Become a mentor or intern sponsor. Teach. Volunteer your services to non-profit organizations. Donate prints to support causes that matter to you. 
Never forget to credit those who have helped you become an artist and person you are today. 
Give back and you too will receive. 

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