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I don't like this format of sequence in a story board style as I feel it portrays the message of a mass of meat/ one body as much as the block grid style.

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put underwear on the figure in this way (back2front) to represent how she wants to hide her 'feminine' side 

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put underwear on the figure in this way (back2front) to represent how she wants to hide her 'feminine' side 

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WHAT IS A traditional male portrait/ clothing/  how can i play with this?

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WHAT IS A traditional male portrait/ clothing/  how can i play with this?

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Sat on chair
Traditional male pose
Man in womans place holding flowers and woman in mans place?
Suit

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Dried flower bouquet upside down like body hair over pubic area, underarms

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Cut up tights?
TIGHTS TIED AROUND BODY parts SHOW HER HANDS TYING IT (e.g thighs, belly) / tie them and tighten them to make fat bits either side

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NOT 'FEMININE' FRAGILE OR DELOCATE/ TRADITIONAL FEMININE OR SEXUAL POSE

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NOT 'FEMININE' FRAGILE OR DELOCATE/ TRADITIONAL FEMININE OR SEXUAL POSE

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Creativity comes from limitation.
Doing your best to accommodate a world thats not designed for your viewpoint.
More limited the boundaries, the more creative you have to be to get around them.

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Trapped in a net & opposite to the normal 'feminine' stance

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Suffocated by eggs

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Pressure on women and fertility to procreate

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On a cliffside, a woman stands in a puddle of pink water. She appears to sink into the liquid beneath her, or rise from it, depends on how you're viewing it. In another picture, a woman's hands are shackled over her uterus. Two small eggs rest in her open palms, emphasising the glaring sense of duty to procreate imposed upon women.

Titled Future Feminine, Fahey/Klein Gallery's latest exhibition explores the "female perspective in an otherwise male-dominated medium". Much of the emphasis is on the 'female lens', on the way the artists incorporate the evolving female gaze in an increasingly volatile time. The result is an eclectic collection exploring expression, freedom, love, nature, and youth, in abstracts of both colour and monochrome.

The artists on the roster include Amanda Charchian, who shows the seven types of love in a sensual focus on the female form, with her subjects stripped down to the bare minimum; Remy Holwick, whose work as a fashion model, photographer, and a feminist activist produces powerful images celebrating and exploring "themes of sexuality, power and emotional manipulation", dominated by women in elaborate headdresses and photographed from low angles focusing on their strength; and Magdalena Wosinska, who through her "tough yet sunny California" aesthetic shows young couples in various stages of love and intimacy.

Also included in the collective are photographers and long-time friends Honey Long and Prue Stent, famous for exhibiting their "conflicted relationship with femininity and its passive associations" through photography, sculptures, and installations. Through photos emphasising youth and the feminine form, their collective underscores what Stent has called "a curiosity with exploring things such as sexuality, eroticism and fertility".

Fahey/Klein has also commissioned a special poster by illustrator Reid Kikuo Johnson for Future Feminine, proceeds from which will be donated to the LA-based women's shelter, Alexandria House.
Future Feminine opens at Los Angeles' Fahey/Klein on January 18 - February 24

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These photos are a refreshing look at the world through the eyes of women

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On a cliffside, a woman stands in a puddle of pink water. She appears to sink into the liquid beneath her, or rise from it, depends on how you're viewing it. In another picture, a woman's hands are shackled over her uterus.

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Phototherapy activist used herselfa lot
dealign with cancer

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drugs in can tunis

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Jessica Dimmock
https://www.galeriacero.com/sites/default/files/9._jessica_dimmock_b.pdf

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Tulsa

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- Portfolio of images in BW
- How issues of subjectivity and objectivity and power play out in relation to topic
- Min 5 images
- Consider your own experiences and how the relate to photog.
- Things you like - technical bits - How can this help you communicate your idea? Reinforce dynamic with viewer
- Sequence? The third meaning/ basic montage
- Critique of contemporary culture

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Hierarchy of meaning
Camera angle, Depth of field
Lighting

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Objective photography is an impersonal image not influenced by feelings, interpretations or prejudice. To create an unbiased photographic image or documentary.

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Colour
Soft
Hard
Mirror

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"Platforms" is a series exploring the unique New York underground architecture and the people temporarily passing through it. Subway platforms seen from the point of view of a waiting commuter on the other side, present a voyeuristic experience geometrically dissected by the architecture of the space. Visually reminiscent of photographic filmstrips, the ubiquitous subway columns organize the space into multiple narratives. One needs to scan across in order to reveal dynamics between the passersby and see the complete picture. The platform becomes a stage where "actors" take their temporary place until the train passes and invites the following "act".

The images in this series visualize the nuances of a self-inflicted isolation in an otherwise dense and chaotic mega-city. Interactions, or lack thereof, manifest themselves in body language and spatial locations of the commuters observed. Overwhelming usage of personal technological devices minimize the potential for human connection even further. Combining a voyeuristic practice with a photographic strategy taking advantage of the stations' architectural characteristics, the series reflects detachment, separation, personal spaces, individualism, loneliness, and momentary connections in the underground niches of an urban metropolis.

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Phmuseum Days 2021 Photo Festival Open Call

Apply now to be considered for 3 exhibitions at the first international photo festival organised by PHmuseum on 23-26 Sept in Bologna, Italy. All applicants get a free ticket!

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"Platforms" is a series exploring the unique New York underground architecture and the people temporarily passing through it. Subway platforms seen from the point of view of a waiting commuter on the other side, present a voyeuristic experience geometrically dissected by the architecture of the space.

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Out of sight, people live along the LA River. They are organized, forming communities and self sufficiency. They are also homeless..

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Love this composition and juxstaposing police and civilians

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When I was a boy, I heard about a place in downtown São Paulo, Brazil, where people lost their souls between abandoned buildings and dirty streets due a new drug that took the control of an entire area and gave its name to the neighborhood, the Crackland.

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When I was a boy, I heard about a place in downtown São Paulo, Brazil, where people lost their souls between abandoned buildings and dirty streets due a new drug that took the control of an entire area and gave its name to the neighborhood, the Crackland.

For fear, I always kept away till a violent police action that, for the first time, took control of the place in 2017. Few days later, without really understanding what was happening, I visited it for the first time looking for stories and took advantage of the police presence to gain access to places where photographers would not have been welcome before. Led by the adrenalin of exploring a forbidden place, I returned countless times, and gradually discovered that the story I knew, as told by the society was completely wrong.

Wanting to better understand who the drug-users were I came up with the idea of offering them free document- sized photos, since many had lost theirs for living on the streets or sold them in exchange for drugs. Thanks to a local NGO that offers food and shower, I set up a mobile photo studio and past over two and a half years, I printed portraits for more than 2,000 people and could listen to their reasons to be in such condition.

Unlike what I was told, I heard stories of men who started using drugs to forget the anguish of unemployment, of women who took drugs to endure the shame of prostituting themselves to support their sons, and of children who smoked crack to forget the violence, the cold and the hunger of living on the streets. Due their social condition that doesn't allow them to buy even the cheapest pipe in the market to smoke crack, I photographed the ones they made of garbage found on the streets of the area.

Also trying to understand why there were countless degraded mansions around me, now turned into tenements and crack-houses, I discovered the region had once been the richest neighborhood in the city. The whole area was a project built by the coffee barons who ruled Brazil but after been affected by the great economic crisis of the New York Stock Exchange in 1929, stagnating the coffee exports, left the place. Since them, past decades of urban abandon, the area became one of the most degraded in the city and since the 90's it started to be called the "Crackland".

"Fissura," or "fissure," is a Brazilian-Portuguese slang term commonly used to describe the compulsion to use drugs and also means rifts and injuries. For me, the open fissures in the skin of thousands who walk the neighborhood daily in search of drugs have the same origin the cracks found in the region's old mansions, the society's prejudice and abandonment.

After 3 years, on 2020 I self-published the project's book and it can be purchased on my website www.guichrist.com/shop/fissura

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When I was a boy, I heard about a place in downtown São Paulo, Brazil, where people lost their souls between abandoned buildings and dirty streets due a new drug that took the control of an entire area and gave its name to the neighborhood, the Crackland.

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Household items which cause such big issues

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Silhuoette

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Face hidden in darkness

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Parte series consists of photographs taken by drug traffickers, which they themselves have uploaded onto the social networks and which are currently exhibited, under a different guise, transformed into gelatin silver prints. They portray scenes that exteriorize the intimate, in that same interplay between public and private that suggested to him the title Extimidad (Extimacy) for a previous exhibition. On this occasion it is also a question of the visual production of subjectivities that we might call extimate. But the scenification of the “I” is carried out this time through a substitution, through the display of the consumed objects and the signs of control over the territory. Atrocious but aesthetically effective signs, like the full body portrait of the boy holding a long gun that remits to Manet’s Fife Player.

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PARTE

Photographs extracted from drug traffickers' social networks.

Gelatin silver print on fiber paper. 2015

Parte series consists of photographs taken by drug traffickers, which they themselves have uploaded onto the social networks and which are currently exhibited, under a different guise, transformed into gelatin silver prints. They portray scenes that exteriorize the intimate, in that same interplay between public and private that suggested to him the title Extimidad (Extimacy) for a previous exhibition. On this occasion it is also a question of the visual production of subjectivities that we might call extimate. But the scenification of the "I" is carried out this time through a substitution, through the display of the consumed objects and the signs of control over the territory. Atrocious but aesthetically effective signs, like the full body portrait of the boy holding a long gun that remits to Manet's Fife Player.

A possible hypothesis for interpreting this work analyzes the validity of the documentary genre in photography as an attempt to render the real present -represent it - in light of the current media universe. Under debate, in sum, are the obsessions with perfection with roots in romantic thinking of a documentary photography that aspires to be an ontology: to show the essence of things (rather, of remote or ultimate things) exactly as they are.

Indeed, Medail´s photographs are not the result of a mobile device whose purpose is to interrogate an 'other' in order to restore him his truth in the form of images, placing him under the light bearing regime of documentation. This operation would not be very imaginative in terms of aesthetic politics. And it would be unnecessary. This 'other' has kept one step ahead in the task of representing himself in his excesses and in an excess of representation. He has not presented any resistance to celebrating himself in the documentation of his existence. The operation consists, instead, in compiling and transferring, in designing for these images a new way for them to show themselves.

Neatly framed, the photographs have been copied by hand. We can recognize a resonance with the canonical procedures in the history of photography; the deviations with regard to the rule - the noncontinuous display and the underexposure - confirm the parodic distance in relation to it. Reduced to black rectangles, they stubbornly simulate to be blots until we move closer and observe in detail. This drawing closer does not, however, nullify the initial impression, but rather establishes an oscillation analogous to that of a pendulum, an ambivalence of the gaze.

Modernday, stateoftheart images, which have grown in the margins of presentday global information machinery, have been transformed to adopt a modality from the past. The past understood as genre: a predictable, wornout horizon of subject matter and techniques, in sum, the past that inhabits us daily due to the inertia of clichés. But also the past as object that shapes and that wants an archaeologyloving present, a present that loves the origins: the one that is built inside a sensitive device, with museographic techniques that determine its date and time period, that isolate that object as one that belongs to the past.

The cleverness of this work consists, precisely, in dislocating the origin. It inserts it there, where one goes to look for it, in a genre suspected of having a privileged link with the origin: documentary photography. And it also situates it in the typical places where the trade of old relics makes it emerge, in its hygienic parergon. But we know that this allocation of past time does not coincide with the historical origin, with the effective beginning of these images in the torrid Central American present.

Parte is not restricted to bringing up once more for consideration the death certificates of certain photographic documentalism that claims the right to place the people it portrays in the hour of history or in the light of truth. It discusses something more than the selfevidence of the things in the image. The silent rhythm of the pictures comments on the ways in which we demand from objects antiquity and remoteness; no less than two conventional forms of truth.

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PARTE Photographs extracted from drug traffickers' social networks. Gelatin silver print on fiber paper. 2015 Parte series consists of photographs taken by drug traffickers, which they themselves have uploaded onto the social networks and which are currently exhibited, under a different guise, transformed into gelatin silver prints.

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Love this idea. Panels of natural light from the windows make them look like paintings and can feel boys exhaustion

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Connotations/ hands on cross Jesus like composition

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Love this composition and the light beaming through at the bottom where they are heading both physically and metaphorically

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Natural Light and shapes of leaves contrast so nicely with the black to the right and the sharp bunk geo shape. The boy is half in the light and dark. Turning towards the light.

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INSPO

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Colombia is widely known as the largest exporter of cocaine in the world but less well known is that one-fifth of the cocaine produced is being consumed domestically - the highest percentage of which, is by children aged under 24.

A couple of hours down a pot-holed road on the outskirts of Santiago de Cali you come across a centre, nestled into the side of a valley. In it lives 96 boys, the youngest, the eldest 18 and the youngest 6 years-old. Unlike most rehabilitation centres the boys are going through abstinence-based treatment and are required to practice meditation and yoga-twice daily. Some court-ordered, some give themselves in voluntarily - they stay anywhere between 9 months and 3 years and those who manage to endure the excruciating withdrawal symptoms, often experience profound self-reflection and transformation by the time they are ready to go back to their communities.

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Colombia is widely known as the largest exporter of cocaine in the world but less well known is that one-fifth of the cocaine produced is being consumed domestically - the highest percentage of which, is by children aged under 24.

A couple of hours down a pot-holed road on the outskirts of Santiago de Cali you come across a centre, nestled into the side of a valley. In it lives 96 boys, the youngest, the eldest 18 and the youngest 6 years-old. Unlike most rehabilitation centres the boys are going through abstinence-based treatment and are required to practice meditation and yoga-twice daily. Some court-ordered, some give themselves in voluntarily - they stay anywhere between 9 months and 3 years and those who manage to endure the excruciating withdrawal symptoms, often experience profound self-reflection and transformation by the time they are ready to go back to their communities.

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Phmuseum Days 2021 Photo Festival Open Call

Apply now to be considered for 3 exhibitions at the first international photo festival organised by PHmuseum on 23-26 Sept in Bologna, Italy. All applicants get a free ticket!

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Colombia is widely known as the largest exporter of cocaine in the world but less well known is that one-fifth of the cocaine produced is being consumed domestically - the highest percentage of which, is by children aged under 24.