Laurence Demaison

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Apal'kin's work has a direct view on to the model. The shots were taken with a studio lighting as it can be more controlled than natural lighting. Using studio lighting is perfect to use as you can place it anywhere and make shadows to create a contrast between light and dark. However, I do believe the final shots does have a soft affect left by the studio lighting. Arms and hands can create leading lines which this photographer used to make the mirror the focus point. The mirror is on a rule of third which catches the viewers attention further. I believe that Apal'kin's work is usually taken with a large depth of field. I purvey that the photographer did not use a tripod and had taken this image with an f stop of 8. The photo was taken at a middle point, only revealing the upper half.

I believe the majority of my work below shows the extent of my improvement with image analysis etc so this is the only thing i will be adding on to. There are many things i love about the pieces i have displayed above, in this mini paragraph i am going to go into some detail about the techniques this artist uses and how and what techniques i am trying to have as inspiration and will attempt to use within my shoot. For example, I would want to use a wide range of expertise within my composition ranges and style to create differentiation, I would only slightly alter my angles and perspectives just like laurence does as it distorts the image enough without unusual camera perspectives. Just above i will be taking and using multiple photos so i can see if any happy accidents occur or to have a wide scope of images of all variety so i can further edit them which leads well to concluding images and for me to know what worked well and what became faliures. The photographic work of Laurence Demaison is exclusively constituted by self-portraits from 1993 to 2009. Since 2010 she occasionally uses mannequins or dolls. The used techniques – shot, development, print – are analogicals and realized by the author. No particular manipulation intervenes beyond the shot (except chemical inversion of films for some series)From a strictly imagistic standpoint, Demaison approaches the process of photographic picture-making as an occasion for extraordinary formal invention. From a conceptual standpoint, she treats the photographic negative (and the resulting print) as a stage for the performance of an action invisible to the eye, often one of considerable duration by conventional standards.” Another thing I don't really like about these images, is that they don't fit with the abstract style of work that I have been focusing on in my project. I would like to follow on from this, by taking a second set of images using The image I am going to annotate is the one on the right. These series of photographs known as the Petites Bulles are eye capturing. Though particularly the photo on the right I am drawn to. This photographshows a portrait of a person that is distortional with water. My eye is specially drawn to the many bubbles that frame the image. Furthermore I really enjoy that the base image of the photo is still visible. He uses many composition styles, one I really like is that the bubbles are acting as many irregular frames. They have focused the camera in the middle. But what I do love is the different shapes and looks of texture on the bubbles; which causes your eye to never stop in one place for to long. As the viewer would want to take in the whole photo by Laurence.

Son travail photographique en noir et blanc reflète l'angoisse, la destruction et la question de l'identité. Il n'est pas question d'approcher le réel mais de l'interroger, et l'artiste réalise de véritables performances afin d'aboutir au cliché voulu (transformations corporelles, installations, durées de pose inhabituelles…). Un corpo di fotografie meravigliosamente stravaganti realizzate senza trucchi digitali. Immagini che sembrano piegare la luce e il tempo, distorcere l’aspetto e produrre messaggi codificati nelle riflessioni, nelle rifrazioni multiple, nelle ripetizioni visive e nei gesti che si fanno luce come macchie tra le tenebre. Armed with poetry and humour, Laurence Demaison questions reality and plays with violence and passion about her life score. The only master on board is with her naked body that she defies the elements and that she questions the origins. It is obvious. Understand who can, she traces alone, leads and conducts herself in the meanders of existence. And so much for the Rain (“Pluies”).

Pediophobia (fear of dolls)

Laurence Demaison : It was a magical experience! From the very first moment, when Robert Delpire called me in person. (I still haven’t recovered!) Sometimes strange ways lead you to great art. I came across the works of French photographer Laurence Demaison by accident, as I was listening to music and found myself amazed by the beautiful cover of the latest IAMX single Happiness. I traced the artist down and found an impressive photography portfolio of which I’d like to share some images with you today. Start thinking about display strategies. I want to experiment with using these images and distorting them, by the The title of this image is 'A Jewish giant at home with his parents', I think her attraction to this subject, was to focus on 'outsiders' and to focus on their abnormalities. I think Arbus takes a photograph to how the world is and just captures things in the moment, but with this image the body language of the parents and their positioning feels quite staged. This is why I dislike the image, I think Arbus purposefully photographed this way, so it wouldn't come across as though she was exploiting her subjects. I took these set of images using one photograph and placing it in random places around my school, then photographing it using my iPod. I found this task harder than the previous ones, as most of the places where I photographed the images, made me feel more uncomfortable to take, as it felt quite awkward and un-natural. An example of this was in the toilets, as I placed the photograph behind the toilet flusher. This was the most awkward image to took, as it was a new environment for me to take images in, as well as feeling slightly embarrassed if people walked past. However, this was the last place location where I put my image, because I wanted to push myself out of my comfort zone and purposefully place myself in that slightly awkward situation for me. Out of all of these tasks I have done so far, using these images, this one I think has been most beneficial to me. This is because it has helped me feel more confident in taking images in what I would think where more uncomfortable situations such as the location of an image, or the subject. All of these images I have created I would defiantly like to experiment more with taking images in more stranger locations and still create and directing the images myself.

LODLP : Can you tell us about your winning project? Has the prize had an influence on your subsequent work ? I took these set of images each time I gave one of my dogs a treat. I think that these images are quite amusing mainly from the angle at which all the images were taken. From the high birds eye angle each time my dogs would wait for their treat, they would look up at the treat, which meant that the artificial lighting in the room would create a reflection in their eyes. From this and the way the dogs were sitting, it created a very innocent feeling towards the dogs. One way I could have improved these images, would have been by including the food for the dogs in the image, to make it more obvious what the dogs were looking at, as well as this I think by including the dog food it would've made the images more comedic as the viewers would be able to see what the dogs were staring at.The complexity and ambiguity of Laurence Demaison’s work intrigues me. Her work is made up of self portraits, all of which her identity is stripped. She tells stories, evokes emotion, and forms an image of a being that is distorted, beautiful, repulsed, praised, and everything in between. She has the ability to make many out of one form, which is an idea I would like to continue with. A lot of the ideas that I wish to work with are personal, and yet I have not been able to find a way to make it objective. Demaison has successfully removed her personal identity from her work, while still allowing her ideas to flow through. Some of her work is beautiful, while other pieces are frightful, and evocative. I would like to experiment with creating images in a way that Demaison does, and possibly solidifying them on metal to tell a story that what has been done cannot be changed, yet all emotions and events create the being that you are today. I remember that after the call, I didn’t know what to do, so I took a long, hot bath. But it didn’t last too long—there was work to do! The HSBC team is incredibly efficient and competent and kind. It was such a pleasure to work with them in such wonderful and professional conditions. Such conditions are rare. I’d like to take this opportunity to thank them again and again.. Expositions [ modifier | modifier le code ] Expositions personnelles [ modifier | modifier le code ] The body, given its formidable expressive power and unending versatility, is an inexhaustible and deeply engaging subject. And when we use our own body, it is capable of responding instantaneously and with minute accuracy to the ever-changing action/reaction that modulates the flow of conception, without the losses in transmission inherent in the use of a model." - Miguel Ribeiro ( http://www.miguelribeirophoto.com/video.html )