Inspired by light, passion and mystery. All images are copy-writed to myself, unless stated otherwise. No images may be used without consent.

Posts tagged ‘Symposium’

Symposium DVD Script Bibliography

Bibliography

Quotes

1. http://www.davidlevinthal.com/article_Stranger.html for quote “nothing more or less than childhood recovered at will.”

2 and 3. http://exposurecompensation.com/2007/01/21/%E2%80%9Cshooting-toys-to-make-art%E2%80%9D-david-levinthal/ for quote ‘I began to realize that by carefully selecting the depth of field and making it narrow, I could create a sense of movement and reality that was in fact not there.’

And “Ever since I began working with toys, I have been intrigued with the idea that these seemingly benign objects could take on such incredible power and personality simply by the way they were photographed”.

4. (http://www.mikestimpson.com/photography/page_bio.html) for quote ‘I seem to take a lot of photographs of toys. I also like messing about with light.’

5. http://www.columbia.edu/itc/architecture/ockman/pdfs/dossier_4/Baudelaire.pdf Page 8 5th line down, for quote ‘A child sees everything in a state of newness, he is always drunk. Nothing more resembles what we call inspiration than the delight with which a child absorbs form and colour’.

6. http://www.columbia.edu/itc/architecture/ockman/pdfs/dossier_4/Baudelaire.pdf Page 8, 33 lines down ‘a person who is never for a moment without the genius of childhood, a genius for which no aspect of life has become stale.’

7.  Walter Benjamin Old Toys Page 100 Benjamin, Walter. “Old Toys: The Toy Exhibition at the Märkisches Museum,” in Walter Benjamin: Selected Writings, Volume 2, part 1, 1927-1930 (Walter Benjamin). Cambridge: Belknap Press, 2005 ISBN 0674008960 “When the urge to play overcomes an adult, this is not simply a regression to childhood. To be sure, play is always liberating. Surrounded by a world of giants, children use play to create a world appropriate to their size. But the adult, who finds himself, threatened by the real world and can find no escape, removes its sting by playing with its image in reduced form.’

Images

http://www.davidlevinthal.com David Levinthal Images

http://www.artweek.la/issue/july-18-2011/article/david-levinthal-toyland David Levinthal Images

http://www.mikestimpson.com Mike Stimpson Images

http://www.oculoid.com/lego-showcase-by-mike-stimpson Mike Stimpson Images

http://www.hans-bellmer.com Hans Bellmer Images

horror-movies.wikia.com Child’s Play Chucky Image

Videos

http://www.youtube.com/watch?v=gdndTE8ZFig    Toy Story Video

http://www.youtube.com/watch?v=3rridXskgWg     Halo Video

Research

http://thesaurus.com/browse/antagonist

http://en.wikipedia.org/wiki/Uncanny

http://www.hans-bellmer.com/

http://en.wikipedia.org/wiki/Chucky_%28Child%27s_Play%29

http://www.mutuallyoccluded.com/2009/01/benjamin-on-toys-play-and-the-joy-of-repetition/ Extracts from Walter Benjamin’s Old Toys publication.

Plus much more research on my blog

Books

Barbie Millicent Roberts: an original David Levinthal San Jose Museum of Art

New York: Pantheon Books 1998 Found in Coventry Library Main Collection Floor 3 (739.41 LEV) IBSN: 0375404252 1ST Edition, Pantheon Books

A room full of toys : the magical characters of childhood By Alberto Manguel, Michel Pintado, Jean Haas and Simon Saulnier. Found in Coventry Library Main Collection Floor 3 (739.4 MAN) ISBN: 0500513171 Thames & Hudson

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Symposium Script What I’ve Written So Far

David Levinthal was born in San Francisco California in 1949. His work contains hints at iconic symbols of American culture, especially his Barbie series and Baseball series. He works mainly on large format Polaroid’s photographing toys and railway figures. He creates all of his sets by hand, and lights them to achieve the atmosphere he requires for his image. He first became interested in using this aesthetic when he started cutting up a cardboard box and foam board then joined them together with tape. He realised he had an enthusiasm for this type of work when he noticed he was creating a room, which turned into an office, a hotel room or a corridor depending on how he looked at it, he was creating something that could tell a story. So he started to cut windows into the building he had made, letting the light shine through at different angles, creating brightly lit scenes, that could showcase everyday activities or dull scenes which gave the viewer an eerie, mysterious and voyeuristic feel. The scenes were not perfect in their manufacture; he had made them to look good enough to be photographed, wanting to transform them into narrative using lights and figures placed within the frame. His spaces were only parts of a suggested larger place, one the viewer of the photograph can only imagine when they look at his images.

Hobby shops contained everything Levinthal needed to create his scenes. He would buy mini sheets of wall paper for his rooms, using many designs in his different creations. This attention to detail shows in the atmosphere created by his images, sometimes the depth of field was so small in his images that you can’t see the detail in the background, but it is there, just out of view for us to imagine.

When he was photographing these scenes he worked in the dark, needing to focus on the lighting of each set. He used doll house lamps with hidden pin lights inside them to give them a dull light-bulb glow, adding an even further sense of realism to his work. Pin lights could be hidden in any area of the photograph to draw your attention to that area of the picture. He would shine lights through his modelled windows, to simulate natural light. Each scene needed a different atmosphere so Levinthal would create it using the lights, to show the drama and story in each photograph. He would use tape on the windows to simulate the light shining through blinds, making his sets fool our eye into believing they are real, or at least making us look twice at his images. He used coloured acetate to enhance his images, red and orange could give a room warmth, while blue and green could create an eerie cold atmosphere. Levinthal knew how to manipulate each part of the lighting in his sets to achieve the atmosphere he wanted. He imitated the shine of neon lights on pavements, the welcoming warmth of light from an open door, and the dull, green hue of distant alleyways. The places he created always seemed to be hiding something, he manipulated the light in such a way that he could turn a toy figure in a photograph into something you have to look at for a long period of time wondering whether it is real or not.

David Levinthal works with mini figures intended for use on adult’s model railways, they are less than an inch tall but very detailed. The most detailed and highly coloured ones Levinthal likes to use are made by a German company called Preiser. Preiser offers a large selection of figures in many different poses and for many different purposes. They are all hand painted, which helps the colours stand out even in the dull lighting Levinthal likes to use. Even looking at the new figures Preiser has released recently I can imagine Levinthal using them in one of his photographs; the figures still have the same aesthetic today.

To photograph his elaborate sets he used large format Polaroid’s, this was so he could achieve the short depth of field his images are so well-known for today. The short depth of field gives the photographs even more mystery because the background is removed from the image, turned into blurs of colour by the camera. This adds to the realism of the photograph, especially because the shot is blurry focused on one small part of the image, which suggests movement with in the frame. He uses lighting that brings out the colour but also takes some of the detail away, so that it is even harder for the viewer to decide if the image is real. Take this image for example, from his Wild West series, it is number nineteen. The orange-yellow colours Levinthal has used in the background really bring an image of the Wild West into any viewers mind, and not being able to see the detail adds to this illusion. The short depth of field has blurred the background and the horse, giving the image the sense of movement. We imagine the horse is galloping into the distant, that the cowboy on the horse gun drawn, in is pursuit of something or someone.

David Levinthal uses figures because he can manipulate them to show what he wants, he can also build a set around them, using lights to create the atmosphere he desires for the narrative. Using figures also took him back to his childhood, the times he would spend dreaming and creating stories with his toys. Levinthal’s love of toys followed him from his childhood into his college years and it was this love of toys, especially toy figures that he found again as an adult. I find it fascinating to find out that the photographer I find most inspiring enjoys taking photographs of figures and toys for the same reason I do. We both like to manipulate them to tell a story, creating the sets takes as much work as finding real life sets, we just work in miniature, enjoying being able to manipulate the light and setting more to achieve the atmosphere we want.

Ideas for my Symposium/Dvd presentation

After the lecture and tutorial today I realised that I hadn’t thought much about my research project because I had been researching my final photography project, I thought this was what we had to do. So I am going to think about it now.

In my tutorial with Paul we talked a little about my ideas for my final project and the type of job I’d like to go out and do after uni. He really helped me get my ideas together and think about what I would like to research about for my project. I have been focusing on photographing toys recently, mainly Lego, and I want to research into why photographers choose to photograph toys. What the ideas behind it are and any reasons why they photograph them. I think this will be a really interesting research project and I can cover a wide range of photographers from the well know, like David Levinthal to lesser know photographers that work with toys. I will asses how they use the toys in their images and the ideas and feelings behind them. I will see if the choice of toys has something to do with the photographers childhood or something different altogether. I will hopefully find out why I enjoy photographing Lego, I think it is because I am trying out lighting sets and capturing a scene in my camera like a director of photography would do (my ideal job).

My project will take a lot of research but in the end will be worth it as I will find out why many photographers before me have chosen the medium of toys to photograph, and I will be able to fully understand why I like photographing Lego.

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