Trip Report

10
Trip report Alec Soth and Juila Margaret Cameron.

Transcript of Trip Report

Page 1: Trip Report

Trip reportAlec Soth and Juila Margaret Cameron.

Page 2: Trip Report

Summary of the trip.• For our photography trip we went to London

Science museum for a very informative day of learning about the work of Alec Soth. It was the first exhibit which I have ever attended for photography and the atmosphere was great, I really enjoyed looking at the intriguing work of Soth. Afterwards we went back on the train to Trafalgar square to take more photos. As I have already done the 4th plinth in London on a weekend visit with my mum, I did not need to capture images for this.

Page 3: Trip Report

Alec Soth• In the exhibit, there were 4 main projects of his

work. Including…• Mississipi (2004) Niagara (2006) Broken Manual

(2010) and songbook (2014)

Page 4: Trip Report

Alec SothMississippi

Page 5: Trip Report

Alec Soth Niagara

Page 6: Trip Report

Alec SothBroken Manual

Page 7: Trip Report

Alec Soth Songbook

Page 8: Trip Report

Julia Margret Cameron

• Cameron was a British photographer. She became known for her portraits of celebrities at the time.

• Born: June 11th 1815• Died: January 26th 1879• ‘I turned my coal-house into my dark room, and a

glazed fowl-house I had given to my children became my glass house!’

Page 9: Trip Report

Julia Margret Cameron

Early practice.• Cameron was 48 when

she received a camera as a present from her children.

• She formed a “strange” way of taking photos. She manually manipulated them. The example shown on this slide shows how she took a simple portrait and framed it with ferns, to give it something different.

Page 10: Trip Report

Julia Margret Cameron

From life not Enlarged • ‘electrify you with delight

and startle the world’.• Cameron initiated a series of

large-scale, close-up heads that fulfilled her photographic vision. She saw them as a rejection of ‘mere conventional topographic photography – map-making and skeleton rendering of feature and form’ in favor of a less precise but more emotionally penetrating kind of portraiture.