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Untitled 3

Mark Hampton

New member
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Untitled 3 – M Hampton



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Untitled 3 – M Hampton
 
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hi,
We hesitate between photos of galaxies, or the microscopic size of a piece of asbestos, these threads and dust are sublimed by highlights and the deep black is a little bit intimidating. I like them. The 2nd one works better for me, because of the distribution of the HL in the frame.
 
I fear the subject matter has not repaid the effort, art, and resources lavished upon it. Minimalism, and I think this is an example, is a high stakes game where less sometimes doesn't amount to more. But that's no reason to quit; just a spur to go at it again.
 

Asher Kelman

OPF Owner/Editor-in-Chief
I fear the subject matter has not repaid the effort, art, and resources lavished upon it. Minimalism, and I think this is an example, is a high stakes game where less sometimes doesn't amount to more. But that's no reason to quit; just a spur to go at it again.

Maris,

It might be that this is a good example of iterative work being needed, perhaps and the image is not completed when seen in the viewfinder in the presence of so much more or what might be included but is not. Only when the latent image appears and one meets it like a "pen-pal" one has corresponded with for years and when one meets them for the first time, that relationship has to be retuned to the true beings that each person represents.

I think the image is within each of the current frames.

Asher
 
Maris,

It might be that this is a good example of iterative work being needed, perhaps and the image is not completed when seen in the viewfinder in the presence of so much more or what might be included but is not. Only when the latent image appears and one meets it like a "pen-pal" one has corresponded with for years and when one meets them for the first time, that relationship has to be retuned to the true beings that each person represents.

I think the image is within each of the current frames.

Asher

An iterative approach can work powerfully even though individual pictures are largely devoid of content. But it is a hard row to hoe.

I've seen quite a few Art College “photographs” employing repetition of a motif. A banal image is a banal image but if it is repeated a dozen or so times it becomes a "significant" statement. All too often one ends up with an undertaking characterised by a stubborn exercise than an imaginative act; high minded laboriousness rather than a discharge of conceptual energy. The few iterative works that succeed for me tend to confirm that ideas about art never equal art.

The OP, Mark Hampton, has me intrigued. What will be the next iteration?
 

Asher Kelman

OPF Owner/Editor-in-Chief
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Mark Hampton: Untitled

Edit from RAW file 20101115_0934 ADK

Mark,

I explored and this scene intrigued me. This reminded me of snow capped mountains aand also cave paintings.

Asher
 

Asher Kelman

OPF Owner/Editor-in-Chief
20101115_0935_Gallipoli.jpg


Mark Hampton: Gallipoli

Edit from RAW file 20101115_0934 ADK

@ Mark,

I ventured again into your file and in the darkness found mayhem! I see men on a battlefield in the horror of war, the carnage of opposing infantry. Figures have arms outstretched as if hit by a bullet or others running forward in attack. There are fires, maybe for warming the soldiers at night, maybe from a shell.

This reminded me of the ill-fated Gallipoli Campaign, a monumental tragedy of World War I. The masses of British, New Zealand and Newfoundland troops were below the guns of the Turks and both sides suffered incomprehensible losses. I saw clumps of bullets from each side that smashed into each other each other in a distorted self-destruction, so thick were the volleys of bullets going each way.

Mustafa Kemal Pasha, later Atturturk and leader of Turkish state to inherit the shrunken area of the once powerful Ottomon Empire, commented on the sad loss of life and the heroism of the unsuccessful invaders.

Asher


@ Maris,

Inside everything in nature there are hidden secrets. That's why the greatest film photographers went back to re-explore negatives they had already printed perfectly. The film not only has what was intended but also families of inferences and shapes too. They represent a goldmine of artistic material, no less than when one walks along a mountain stream in spring.

Openness to new experience is the hallmark of the artist, scientist and detectives. We think of what is and what might be. Although for myself, much of work is defined in my brain beforehand and carefully drawn in pencil on a B&W background I print out, I also take advantage of what nature gives us that we don't expect and that is there.

Here, in Mark's photograph of a textured surface, there are many opportunities for creative work. It's just hard and does not come easily. But one must be at least open to such possibilities.

Asher
 
http://www.youtube.com/watch?v=WG48Ftsr3OI
always makes me cry...

Here, in Mark's photograph of a textured surface, there are many opportunities for creative work. It's just hard and does not come easily. But one must be at least open to such possibilities.

I agree. I think we must be careful of harsh comments with pieces of photography that we may not understand at first and just respect their inner beauty before trying to find any explanation. That's what I do because I'm not a "brain" person. My feelings always comes 1st. And the fact that it's in the "Photography as Art Work that could/should be considered by a fine art gallery." section doesn't change anything.
 

Mark Hampton

New member
Asher,

thanks for taking the time to explore the blue images !

You have taken time out of your life to look into images that may or may not be intreasting and for that i am indebted.

I had a deffanate idea when I set about planning and making these images - it has not changed but the reditions that you have shown have opened up some further avenues of exploration. I will of course keep you posted.

cheers
 

Asher Kelman

OPF Owner/Editor-in-Chief
You have taken time out of your life to look into images that may or may not be intreasting and for that i am indebted.

I'm fascinated by what's hidden in things we think we've chosen for some other reason.

I had a deffanate idea when I set about planning and making these images - it has not changed but the reditions that you have shown have opened up some further avenues of exploration.

Let me share with you, you had me flummoxed, stymied and feeling under-educated with the unusual word, "deffanate". I really though the the prefix de would mean "without" I did find Fanate in Romania and vulgar references to Brittney Spears, bur no ffanate, LOL!

So now it's utterly obvious that you mean, definite or unambiguous!

So what was that idea? We, OTOH, have just the picture and without a title, the meanings are unlimited. I do prefer titles for that reason. For me, the second picture can only be the war in the Dardanelles. I'm stunned by the imagery hidden in your work! Giving no title hear gave me permission and license to freely look up my own libraries of knowledge, feelings and relevance. Thanks for that opportunity.

Asher
 

Ken Tanaka

pro member
I like this line of thought, Mark. I do tend do be a bit of a mug for re-contextualizing patterns and surface characteristics. The fact that more than a few "men on the street" will have the reaction, "It makes me think of..." is a very good thing.

There's actually quite a large and vividly growing body of photographic art that follows such themes. I encourage you to continue to pursue such work and to learn more about others' works.

I also warn you not to be discouraged by those who will immediately reject such works. Audience and context are often extremely important for supporting such abstracted presentations, as is medium.

p.s. Titles, more often than not, greatly diminish such work. Unless you are genuinely and premeditatively trying to express a specific concept, skip 'em. Leave it untitled. Imagine, for example, if you chose to title the first image "Goats at the Pond". Now everyone is trying to see goats and feeling like jackasses when they can't.

The natural first human tendency for viewing anything is to answer the question, "What is it?". The joy of such work is to visually answer back, "What do you want it to be?".
 

Asher Kelman

OPF Owner/Editor-in-Chief
I also warn you not to be discouraged by those who will immediately reject such works. Audience and context are often extremely important for supporting such abstracted presentations, as is medium......

p.s. Titles, more often than not, greatly diminish such work. Unless you are genuinely and premeditatively trying to express a specific concept, skip 'em. Leave it untitled. Imagine, for example, if you chose to title the first image "Goats at the Pond". Now everyone is trying to see goats and feeling like jackasses when they can't.

The natural first human tendency for viewing anything is to answer the question, "What is it?". The joy of such work is to visually answer back, "What do you want it to be?".

Ken, this is so true.

I'm fascinated by what's hidden in things we think we've chosen for some other reason.......

So what was that idea? We, OTOH, have just the picture and without a title, the meanings are unlimited. I do prefer titles for that reason.

That need for titles is limited to where the photographer wishes to direct the viewers' attention. However, in this kind of interpretive work, to omit the title is not only to trust the work but more so the imagination of the viewers:

For me, the second picture, [which I processed from a fragment of the RAW file] , can only be the war in the Dardanelles. I'm stunned by the imagery hidden in your work! Giving no title here gave me permission and license to freely look up my own libraries of knowledge, feelings and relevance. Thanks for that opportunity.

My derivation of Mark's work merely represents the cultural baggage I bring to the picture. I don't expect others to populate it in the same way. Each of us has the opportunity build their own meanings.

Asher
 

Mark Hampton

New member
Ken / Asher,

So the winter sun has moved on.... the light is from a different angle.... no better or worse just different... winter works were made and some are bearing fruit... Ashers take reminded me that this is as much about light as it is about the trace of life on a surface... I started to work on set of solutions which pulled the between the surface and the background...



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- M Hampton

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- M Hampton


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- M Hampton




I am still working with the darker works but hey its almost spring here and its getting to sssi time again...

cheers
 

Mark Hampton

New member
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still working on this work - another winter is on its way - so time again for the window to revel what another year has done to it......

this work below is from another one of my photographic/time experiments...





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the.original.language - Deka






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i - Deka





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ii - Deka









cheers






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