Prolific fashion photographer Nick Knight is constantly re-defining and discussing pop culture in his work, never has this been more true than in ‘Text Talk’, an editorial created for Garage Magazine in 2012. With styling by Katy England and modelling by Lindsey Wixon Nick Knight combines the recognisable imagery of texting and uses them in a way that is reminiscint of Roy Lichtenstein’s work to create a modern take on pop culture.
My birthday is fast approaching, and to make the most of it all I am asking for is books, over the last 6 months I’ve been working as an assistant for photographer Robbie Cooper but with no income – so my reading list on amazon is now miles long, my lack of funds is the main reason I haven’t written too many book related posts recently. These books are on the reading list for the MA at Kings College London I’m applying for next year and a few more that I’ve found – I can’t wait until mid may to sink my teeth into them all!
This post is just to give you guys a sneak peak of what’s to come in the book department over the next six months.
Italian photographer Carlotta Cardana explores multiple themes in her ongoing series ‘Modern Couples’ – firstly- subcultures, in particular 2014’s take on the 1960’s British mod movement. Carlotta photographs quirky couples who ooze class and sophistication. Another theme Carlotta explores is relationships and how two people can blend to become almost one.
The most intriguing theme Carlotta talks about is the freedom she gave to each couple, allowing them to style themselves and choose a location, on her site she talks about how she wanted to look beyond the clothing and get the couples to project themselves through their image.
It’s a lovely series that surreally immerses us into a vintage version of our modern age, it seems so detached from “reality”. What I love is the stillness throughout the series – although each couple is uniquely different the images (like her take on relationships) almost become one, this is due to Carlotta’s brilliant editing and how she maintained a deadpean-esque feel that lets the clothes, objects and environment speak for the couples.
John Olson worked with LIFE magazine to smash all the preconceptions and “coolness” of rockstars – photographing them with their parents at home – we see independent, iconic and untouchable idols brought down to a human level, no longer rock gods. This project is very humbling and despite being made in the early 70’s is a theme that is still current and interesting.
Urbandictionary.com defines “fangirls” as “young fanatical females… (who) suffer an absurd affinity for a randomly chosen object of obsession and base their life/daily schedule around it.” But we think of them as the girls who line up for hours and even days before meet and greets, book or CD signings, ticket sales openings, or some such event where their dearly beloveds are involved. Armed with homemade signs, T-Shirts and brain-splitting screams, fangirls can turn critically un-acclaimed albums double platinum and make shakily written fiction into a worldwide phenomenon. I can’t help but feel that if these girls gathered at the edge of the Red Sea, it would part.
What distinguishes a fangirl from the average fan are unrivaled displays of devotion and a willingness to spend countless hours and dollars paying homage to those they love. Fangirls are typically ages 12 -18, or as The New York Times put it, “old enough to be culturally aware but not old enough to second-guess themselves.” (“Cue the Shrieking Girls for the Band of Their Moment”, by Jon Caramanica, 10 August 2008) Mostly from suburban middle-class homes, they have the time and the disposable income to devote to their chosen stars. It may start as a crush or admiration, but what these girls end up being are the best publicists any celebrity could hope for. They will spread accolades all over the media free of charge. And to top it all off, they (or rather, their parents) will fund an artist’s big fat paycheck just by purchasing everything they put out on the market.
We don’t typically credit fangirls with being an astonishing breed of Super Fan – they’re not quite in the same category as people who dress up like hobbits or attend Star Trek conventions. Usually, we just roll our eyes at them, get annoyed when they occupy a row in the movie theater in front of us and “oh-em-gee” at trailers, and yes, we get upset when musical artists we like endorse things they like (cough) New Moon soundtrack (cough, cough). But take a quick look at fangirl history and you will realize that fangirls’ devotion has “made” some of the most significant players in pop culture history.
Consider the very first modern pop superstar: Frank Sinatra. Sinatra was the one millions of hearts beat for. Today, Michael Bublé’s crooning voice is a pop rarity, but in the ‘40s, the big band style wasn’t a genre that you had to look very hard for. Because popular music had until then been targeted primarily at adults, Sinatra and his teen fans offered up a previously untapped market. This is arguably what earned Sinatra his contract as a solo artist with Capital Records. Today, we remember him for Fly Me to the Moon, or My Way, but it was the intangible quality fangirls eat up like chocolate, that made Frank Sinatra become Frank Sinatra. Just take it from The New Yorker:
“Most of his fans are plain, lonely girls from lower-middle class homes. They are dazzled by the life Sinatra leads and wish they could share in it. They insist that they love him, but they do not use the verb in its ordinary sense. As they apply it to him, it is synonymous with ‘worship’ or ‘idealize.’” —E.J. Kahn Jr. (“Here’s to Sinatra and the Ladies who Lust”, 1946)
Even the Beatles quit touring after their third album because the fangirl frenzy around them made their live performances so difficult. Pat O’Day introduced the Beatles at what was then the Seattle Center Coliseum in August of 1964. He recalls catching a glance from George Harrison, “George looked at me and he reached down and pulled the electrical plug out of the bottom of his guitar for a minute. And then he put it back in and kept playing, and he shrugged like ‘What difference does it make? No one can hear us anyway.’”
The Beatles had the type of following that today garners more eye rolls from those with “refined” taste in music. But we can’t just dismiss the validity of something merely because the initial fan base is female and has a mean age of 14. After all, that would mean throwing out your copy ofThe White Album.
Even Johnny Depp, the eccentricity King himself, started out as a teen heartthrob on 21 Jump Street. Now he’s an Oscar nominated, highly respected actor and Hollywood icon of all that is badass. We just choose to forgive him of his previous dealings with tweens. But why is that even something that needs forgiving?
The same goes for Elvis. According to Rolling Stone, “it was Elvis who made rock ‘n’ roll the international language of pop.” (This quote is so commonly used on a range of online bios of Elvis, its proper citation is uncertain.) Yes, I’m sure that’s exactly what all those girls were “tweeting” about back in the day. I’m going to go out on a limb here. At the time, the Elvis phenomenon wasn’t just about his music. The great icons of pop may be remembered for their music now, but it was largely a fangirl thing at the time. Today we don’t take things with a fangirl following seriously as high art.
So, what I’m proposing here is that we separate the phenomenon from its following before forming an opinion about its validity. I’m not saying that everything fangirls like is fit to be legendary, but historically speaking, fangirls have been largely, if not wholly responsible for cementing the status of many, many, cultural icons. Which begs the question: without them, where would all those icons be?
And what makes a fangirl tick? If there is a formula, it is deep in the minds of teenage girls. Oh, we females can be a fickle bunch. We can talk about why we like what we do, but can that then be applied to production and marketing? Eh, maybe not so much. Amy, the owner of the largest fan site dedicated to Robert Pattinson, was asked simply, “Why Robert?” And she responds, “Because he’s gorgeous.” Yep. That’s all.
Looking for more answers, I set to figure out the Fangirl equation. This past summer I went to a Jonas Brothers concert, and about halfway through it I became distracted from worrying about if I’d ever be able to hear again when I noticed something, or rather someone. Who was that dude on the bass? Out came the Blackberry. Google “Jonas Brothers bass player” and BAM. Greg Garbowsky. Hails from New Jersey, is allergic to peanuts, and is two days younger than I am.
Not that I expected to be the first to have noticed the guy, but I was a little surprised to find he has over 60,000 followers on Twitter (that’s more than Al Roker, people). Having learned from Garbowsky’s fanpage that he was going to be in Bass Player magazine, I proceeded to the bookstore to buy it.
If a wee crush had driven me to seek out needless information and to buy a magazine I would have never even glanced at before, this estrogen flowing through my body had more power over me than I was willing to admit. This was as close to being a fangirl as I had ever been. “You play bass?” the check out guy at Books-A-Million asked me, “Um… no. My little brother does.” Well, hedoes.
Imagine it as unbridled devotion floating around the atmosphere just waiting for a subject to fix itself upon. Therein lies the real power of fangirls. No subject is too small to be deemed worthy of obsession. That’s one really fascinating part about the Jonas craze. The brothers each have their own base of manic fans down to their little brother Frankie (the “bonus Jonas”).
In an essay entitled “1,000 True Fans” Kevin Kelly, one of the founders of Wired magazine, defines a true fan as “someone who will purchase anything and everything you produce.” (The Technium.com) Kelly’s theory is that all any artist needs to survive in the “long tail” environment of the web is a core of one thousand true fans who will spend one hundred dollars on the artist’s products each year. That’s about one concert ticket and a couple of CDs, which by my calculations would put a fangirl at least one notch above a “true fan” in the hierarchy of fanhood. And that is precisely why the earth shakes when girls decide that something is likable. Greater than just buying power, true fanhood is about participation, and the web presents a multitude of fangirl opportunities both to consume and produce idol information. Of course all this includes a willingness to follow a band, artist, or celebrity until they are no longer working in the industry – well, maybe even a little after that too.
Hoping to find out more, I asked girls who ran fanpages how long they saw themselves being active fans. And acting a little taken aback, they had to pause to think, but then they all said something to the effect of, “until the artist makes it known that they don’t want to be in the spotlight anymore.” In fact, my favorite quote was, “I guess until (he) gets married and has babies or something.”
Fangirls are one of the primary drivers in popular media and today they are more empowered than ever before. History suggests that appealing to this special type of super fan and their unparalleled loyalty is one of the best ways to achieve superstardom (even if the mania doesn’t last, your retirement is funded). Yes, fangirls can be loud, perhaps obnoxious, and not all their picks end up at exalted heights in the artistic pantheon, but it is unfair to dismiss fangirls merely as a gaggle of girls suffering from puppy love.
They raised the likes of James Dean, Heath Ledger, Michael J. Fox (who interestingly enough, changed his middle initial from “A” to “J”, because he didn’t want teen magazines referring to him as “Michael, A Fox!”), Leonardo DiCaprio, Johnny Depp, Frank Sinatra, Elvis, the Beatles, and kept them in the spotlight long enough for the rest of us to fall in love with them too. Thank you, fangirls.
As I finally start gathering equipment and ideas for my project ‘Everyday Heroes’ I came across the work of Martin Sweers, his great use of coloured backgrounds and lighting compliment and contrast the texture and colour of the wigs.
Before I go to exhibitions and ask cosplayer’s to pose for me I will do a few test shoots, this lighting is beautiful I’ll attempt to get something similar with basic travel equipment.
With the iconic fetishised colours and atmosphere of Jo Jo’s Bizarre Adventure – Giorno cosplayers and photographers have no excuse when it comes to stylising. Saturated colours, romanticism and flowers create the perfect look for this unique character. Below are 4 cosplayers that have done a pretty good job at bringing the characters and the style off the pages and into reality.
Franck doesn’t give us much information on the project other than the title – leaving it to us to read what we like. As a UK resident where basketball is something you play at school for one term and little more, this series is reminiscent of American youth culture of the past. Whilst I assume (maybe wrongly) the courts are still used a lot, Francks desolate representations seem to be making a comment on the uncanny atmosphere of a “playing” area with no one on it, could this be a comment on today’s electronic youth culture? Kids not playing outside or a simple attempt at making beautiful imagery? Either way it is a thought provoking and visually stimulating project with a stillness and juxtaposition of busy cityscapes and desolate playing fields.
Having not done a project in a while I thought it’s time to get my butt in gear and do one. I’ve been looking at a lot of product photography jobs in the last few weeks, all of which want a product style portfolio. Whilst it’s not in my nature to produce a series of “consumerism” images, I can’t think of a better job than spending all day in a studio with objects and playing around with lighting.
This made me think about a project in which I can both fulfil my desire to create and build a series of images for product photography jobs. I looked around my room, thinking “What objects can I photograph?” I thought about this past year and decided things I brought back from Japan would be great.
Not having access to Cov uni’s studio anymore I had to improvise and googled it. To my delight I found this great tutorial article “How to Create an Inexpensive Photography Lightbox” – so I did. It’s a great temporary solution if you are tight on money and rich in time.
I started with the conventional white background set up, and then moved onto a more meaningful idea – using posters-maps and documents that coincide with the object. I know neither of these ideas were great or original, but I just had to start somewhere.
I took my Blue Rose figure down from my shelf and began shooting, I used a map of Tokyo’s Akihabara district synonymous with anime/manga and Otaku culture.
As I said before this is just a kick off point, my plan is to research still life projects. However, I’m aware that what constitutes as good commercial product photography is not what I would consider a thought provoking series, I may have to run two series at the same time using the same objects.
Let the research begin… Yay!
Whilst in Japan I tried to take a photo of anything Hatsune Miku related I saw, just to document her dominance in Japan and get first hand research for my interchangeable looks idea. I soon realised photographing everything was unrealistic, I tried my best but this is a tiny percentage of the Miku stuff around Japan, not including her official merchandise inside shops. Note that these images are from all districts, even the expensive Chelsea-like district of Shibuya.
I attempted to take photos of Kyary Pamyu Pamyu’s presense in Japan too, but this was nearly impossible. She was on the trains, in the shops on the streets on the TV on the billboards. Everywhere there was a place for advertisement or any pop culture areas she was everywhere.
What I oped to achieve with this research was to prove that pop culture icons change their looks to fit consumerism. They become what they are needed to be rarely wearing the same thing twice, they are what the advertisers want and what the consumer needs them to be.
On project reflection I’ve started looking at character development. I felt as though my project was missing something so going back over my research and past projects one theme jumped out at me. Popular culture iconography and the adaptable/ interchangeable nature of transmedia pop icons. Below are the three biggest examples interchangeable icons and unsurprisingly they are all based in Japan.
Hatsune Miku is a Japanese computer generated pop star. She is the perfect example of a transmedia pop culture icon. Even the use of calling her she, proves just how integrated she is into my world as a real icon. Essentialy Hatsune Miku is a piece of software developed by Crypton Future Media. Everything about her is computer generated, her voice her image and her character. Unlike I first assumed when I saw her she is not voiced by a real person, her essence is the software that created her. She is a millionaire virtual pop icon, and her rein transcends into every platform, music, film, advertising, toys, food, clothes. In regards to this project I call her an interchangable icon. Like a doll her clothes are changed to fit the product, she is plastered on advertisements and products from cars to pizza boxes.
Hatsune Miku’s iconic hair is her recognisable atribute, sometimes it may change colour for a product or a theme but it always remains in the same style.
The 60’s version of Hatsune Miku, she is still a global icon today but could be seen as a bit too traditional in comparison to Miku. A different version of a virtual character, she is an icon in her own right and again an interchangeable icon.
Kitty’s face is her recognisable point, it’s key to have something familiar in every adaption so the audience can relate back to the character.
Kyary Pamyu Pamyu
So what about a real life Interchangeable icon? Keeping in theme with our Japanese girls I present you Kyary Pamyu Pamyu, pop star and trend setter in Japan.
So why Interchangeable? I use the term interchangeable because it reminds me of the dolls I used to have when I was little, for example you would buy a barbie but she would then have interchangeable outfits, maybe one to make her a rock star another to make her a princess. The interchangeable nature is all about power over the character, you (or companies) control what they look like but only to some extent because you still had to buy into the extensions packs.
Adam Hinton’s book ‘Lovin’ it’ initially caught my attention because of the book title. The iconic McDonalds catchphrase paired with the city lights instantly made me think about consumerism and advertising. The book is Hinton’s exploration of Shanghai, China. His work aims to comment on the drastic social changes occurring in Japan during 2004-2007 when these images were taken. Whilst acknowledging the benefits of technology and consumerist culture Hinton looks at how the speed of change is having a darker effect on Shanghai.
Some images are even paired with quotations from communist leader Mao Zedong. Who’s government rule led to the death of millions of citizens. Hinton uses these quotes to relate to China’s current situation to that of Hinton’s ruling. All the sudden drastic changes mean people and places get left behind.
The other aspect that drew me to this book is the styling. There is something quite surreal about the use of night/ twilight. Maybe it stems from the relationship between the content and the primary lighting coming from technology. I have explored this before in my series Digital Rest. Technology as a lighting source fascinates me, especially when it’s relative to the content.
“The neon lights from the shops and adverts produce this surreal manufactured environment which creates this feeling of hyper-reality.”
– A quote from An interview with photographer Adam Hinton by Nigel Warburton.
Hinton also explains how the lighting creates a hyper-reality, one of the key themes in my work, and from this book I can see that surreal nature that first drew me to the book does have an alternate/hyper reality feel to it. The use of night time and twilight paired with advertising lighting is something I need to explore more. Maybe through work that has nothing to do with consumerism. Detach the content and focus on how the styling effects the sincerity of the image.
In another interview Hinton talks more specifically about the consumerist influence of the project. You can read the full interview here.
Cosplay photos often have a sexual bias. Photographer Nobutsugu Sugiyama has endeavoured to remove this bias and elevated Cosplay to a form of artistic and creative expression by the use of high-end photo-editing techniques. Conventional methods of shooting a model usually demand expressing their individual natures. However,Sugiyama has removed this individual interiority and focused on just the outline of the character. Resembling an anime-figurine,cosplayers are perfectly placed in a virtual showcase in this application.
Cuties in Japan
by Sharon Kinsella
This text was referenced in Emily Jane Wakelings writing “Girls are dancin“. In that text Kinsella’s writing is reference in relation to “Kawaii style, mentioned briefly above, has been analysed as a female-centred rejection of adulthood.” I intend to explore this, it is an area I am already aware of, however for academic reasons it would be good to read other peoples take on the idea, and see if their are any key quotes that could be used within my presentation.
Word definition( Collins English Dictionary)
Quotes are screen grabs from the document.
Other peoples References & theories
pp221 This is the first time I’ve seen an argument which opposes Murakami’s idea that kawaii is a reaction to the war.
Cute handwriting and slag
After reading chapters titled, Cute goods, Cute food, Cute, clothes it seems that this article is the go to place in describing Kawaii culture. However I don’t want to get to carried away with this as I have to define the culture within minutes, I don’t have time to explore each avenue. I know in the future if I need to know anything about cute culture to come back to this article, but unless that time comes it is not relevant.
*my opinions written in blue
This is a channel 4 documentary on Takashi Murakami, the founder of ‘Superflat’.
– Jelly fish eyes 2001 & Jelly fish eyes wallpaper: “An instillation about the concept of a hallway”
– Warhol – Images from mass media, reproduced and enlarged them.
– Jeff Koons – Kitsch and Pop culture.
– Murakami – Japanese cartoons & enlarging them.
– Childlike but repulsive. On first sight it’s pink, then it’s a fleshy pink.
– Flower artwork, critique of contemporary Japan, culture is childish and empty,
– Superflat – Dark vision of contemporary Japan
-Paul Schimmel, Chief curator @ MoCA Consumerist Aesthetic – Dirty words,
– Tom Eccles, Director of Public Art Fund, New York – Murakami celebrates consumerism, Warhol showed campbell soup cans, he didn’t actually design them unlike Murakami.
– Artists usually see art and business as two separate things. Murakami doesn’t. – “New form of Art” – Murakami
Superflat – “It’s a catch phrase” – Murakami
– Japans loss of national identity
– “The Otaku are grown ups who act like children” – says the presenter. Completely disagree, getting into the debate of what is Otaku is a different research project, but I am not taking this stance for my research project. My opinion is Otaku’s in Japan are looking for escapism they hold well paid jobs and are very intelligent, but the pressure of society is too much for them so they enjoy adolescent things like anime and games.
Hiroki Azuma- Writer on Otaku culture
– Murakami’s used of big eyes reflect on the dark side of animation
David Elliot – Director, Mori Museum
– Everything has an emblem, a police station has a mascot. Murakami’s Mr. Dob is one of those, but he’s nasty, “he’s a rouge
“After 1945 America swamped Japan with it’s consumer culture, Japan became the worlds best consumers.” Not sure it’s fair to say “best consumers” – like it’s a competition, in my eyes they are the “worst” consumers, they have fallen for consumerism which isn’t a positive thing.
Since 1990’s Japanese economy has been flat – terrorist cult with otaku links hacked the subway with poison gas, an Otaku killer was on the loose. Animation before this showed a hopeful future. Now they are a social malade [malade meaning – someone who is crazy, a patient]
“Society has become superflat”, David Elliot – Director, Mori Museum,”things get dumbed down”.
3 dimensions to Superflat
Murakami appropriates others work, traditional Japanese art & Wester culture. Mr. Dob – Like Mikey Mouse with the stylish of traditional Japanese paintings.
Any irony involved? making the finest Japanese tradition of art (scrolls) to make a print of flowers? – doesn’t really give us an answer
Japans childish culture & the name of the bomb dropped on hiroshima.
Time Bokan – Murakami – 2001 – name taken from the animation – every week the bad guys would get defeated and a mushroom cloud would appear at the end in the form of a skull.
Murakami talking about “Time Bokan” – “This is typically Japanese, we have taken the worst tragedy that ever befell us and turned it into a joke”… “Just 30 years after the war, this fascinates me” “In the west Skulls are dark symbols of death. In japan they are not so negative. We in Japan have no awareness of our cultural identity. There is a reason Manga obsessively shows images of the atomic bomb. We are the only people who have experienced the atomic bomb…. thanks to man-made forced more powerful that gods. This has made us numb, past feeling and caring.”
The smiling flowers are like surrendering. In the future it will be hard to tell the difference between art and other commercial materials. Art is becoming simpler but toys are becoming sophisticated.
This documentary has been very informing, yet it tends to do what I hate, there is no conclusion, the narrater simply states the future remains to be seen and how we read Murakami’s work, ironically or not is a choice. I suppose as a BBC documentary it has to remain balanced as a PBS.
However it has made me think about my project. Why am I trying to use Murakami as an example of Kawaii culture? when he is a mesh of both, his art comments on this work, whilst making money from the consumerists. This could be something to explore, does Murakami’s work oppose Kawaii culture as much as photographers does?
One word I need to explain more is Irony, a word I hate to use in general because it’s so difficult to explain, but is unavoidable, and is a pivoting aspect to this project, consumerism and irony.
*Included in Symposium too because it may become relevant*
This is the lecture we had today with Spencer Murphey, visual culture & film lecturer at Coventry University, for Phonar.
And here are my notes…
The idea of the “4th gaze” is a really important thing to consider, the ability to use a media to make the spectator reflect upon themselves through your work is a skill which is key for any artist. The constant questioning of yourself and of others, and what we expect as normal.
After the lecture we also had a question and answer session with Spencer and a question came up about when does your work become self-indulgent and have no relationship to anyone else, its meaningless?
Spencer replied with Lazwel’s theory, when creating work think about…
in what platform?
with what effect?
Obviously this isn’t a check list you should comply to in every project, but when you start to question your work it’s good to step back and use these methods to get back on track. There is no doubt I have been worried about this project, so I want to try and describe my project through these terms.
The exploration of otaku culture through the insight into their “Sanctuaries”.
To the online geek culture, as well as a broader audience who might not understand this obsession.
In what platform?
Online, to access my target audience and provoke some sense of debate/opinion.
With what effect?
To break away from prejudice and the patronising work of most who look at sub cultures.
It seems I need more of a platform, how am I going to approach this? a blog, a series of stills, audio, video? I need to contextualise my idea more and look at some examples to see which would best fit my idea.
After getting little response from my online posts about ‘Moe’ I have decided to take a different approach, and to look for some Otaku’s and contact them directly instead of letting the come to me.
I have contacted a few more sites like otakunews.com to see if I can get my project proposal publicised. I’ve noticed a lot of people post pictures of their rooms up on deviantART the problem I’m facing is no one is form the UK.
by DrunkenAnt US
by Ishtarl-Demonic-Fox Australia
After looking through 200 photos on deviantART I have discovered none of them are from england. These are good references for doing this project abroad whilst I travel over the years, but I need to find someone in the UK. I cannot be discouraged, I know there are Otaku’s in the UK I just need to find them.
Danny Choo (THE blogger about otaku culture) blogged about the world most stylish Otaku Room. Danny Choo get’s a lot of his inseration from www.figure.fm they have a whole room section of their blog, might be worth looking through them to see if anyone from the UK has applied.
I failed to find any UK participants but I did find this…
Are you a Nendoroid or scaled figurines collector as well? Come join us @ https://www.facebook.com/groups/382107865139012/ because we are one as well! Join the community to interact with lots of other collectors and share release news as well! Cya there!
I have requested to joining the FB group and hopefully will find someone on their who will want to participate.
In my quest for an Otaku sanctuary I have found some on figure.fm, and contacted them about the project. Hopefully at least one will want to get involved.
These are some pictures the people I have contacted posted…
I realised it’s unfair of me to go into someone else’s personal space and photograph it without offering mine first, like in many of our phonar workshops we’ve learnt if you can’t tell your own story people won’t trust you to tell theirs. For a lot of fans their bedroom is their sanctuary, it’s where they interact with the media they love and it’s a private space in which on one can judge you. Here is a few images I’ve taken today, I lost the natural light pretty quickly so will shoot some more tomorrow.
Obviously the way I portray my sanctuary is not how I intend to photograph my final project, these images even use colours which resemble me, so the other images will be influenced by the subjects personality. They will also feature the subjet within in them so will have quite a different, more personal atmosphere.
Exactitude is a collection of work from Photographer Ari Versluis and stylist Ellie Uyttenbroek which portrays the inhabitants of key sub cultures within Rotterdam & other cities over the last 16 years.
The pairs presentation of their subjects makes us feel as though this is almost a scientific observation, the same styling, poses and colours are used to not only make us notice the profound similarities but also the minute differences.
Every individual is profoundly different yet so similar, especially when you are first presented with the project online. It’s like getting a mass overload of information, and whilst this project does explore sub cultures I feel as though it’s more about the subjects image in relation to others than the individuals story and personal relationship with their culture. An amazing project non the less.