The idea: taking shots in a fully dark room using torch to light areas of the object i have chosen.
Techniques: used tripod, long exposure between 4 to 5 second and 200 ISO at F8 to F11.
and few trials of exposing the objects by torch light moving and concentration light in certain areas all within 4 to 5 seconds
Took few shots in different arrangements and edited selected ones in LightRoom.
here are the results:
Conceptual photography
1. Conceptual photography is a type of photography that illustrates an idea. There have been illustrative photographs made since the medium’s invention, for example in the earliest staged photographs.
example :
Hippolyte Bayard (20 January 1801 – 14 May 1887)
Self Portrait as a Drowned Man (1840)
As a methodology conceptual photography is a type of photography that is staged to represent an idea. The ‘concept’ is both preconceived and, if successful, understandable in the completed image. It is most often seen in advertising and illustration where the picture may reiterate a headline or catchphrase that accompanies it. Photographic advertising and illustration commonly derive from Stock photography, which is often produced in response to current trends in image usage as determined by the research of picture agencies like Getty Images or Corbis. These photographs are therefore produced to visualize a predetermined concept. The advent of picture editing software like Adobe Photoshop has allowed the greater manipulation of images to seamlessly combine elements that previously it would only have been possible to combine in graphic illustration.
Elements of Conceptual Photography :
The Concept:
Conceptual photography is, first and foremost, about the concept of the photo. A conceptual photographer is trying to bring some message about to the viewer, be it a political advert or a social commentary or an emotional outcry. There is some level of abstraction, thus, in a conceptual photo: the image is not an explicit example of the concept, but a general expression of the idea.
Use Of Symbols:
Conceptual photography makes healthy use of graphical symbols to represent ideas, movements, moods, anything and everything that the photographer might want to include in the message of their photograph. Symbols with strong, well-established connotations are usually used, from racy red lipstick to a bleeding heart, shamrocks and clovers to a green dollar bill.
Of course, a problem that every conceptual photographer runs into is whether to use symbols that are more universal, that is, whether their photos and the corresponding concepts should aim to be interpreted the same by everyone, or whether to play on ambiguities for a plethora of different meanings. This leads to another major feature of—or rather, distinction within—conceptual photography.
source:http://www.brighthub.com/multimedia/photography/articles/39542.aspx
source: http://www.source.ie/feature/what_is_conceptual.html
other example of Conceptual Photography :
PHOTOGRAPHER: Eibo-Jeddah
http://artatm.com/2011/07/60-outstanding-examples-of-conceptual-photography/
FOR EXTRA INFORMATION CHECK THOSE VEDIOES
as part of my last assignment i decided to print on a T-shirt.
i searched on line for different type of prints i can do in affordable and doable way and i chose
to use transfer paper where i print my image on the paper and then ironing on top of the print on a t-shirt please see the instructions here:
cost :$25 for a pack of 5 transfer paper can be found in Office works or other art shops .
here you can see the result of the print
I would like the image to portray a woman in a male dominated society, by using symbols that reflect the way female are viewed in this society, domestic, sexual, motherhood.
I will be constructing an image using a clothes-line and hanging a woman’s dress/sexual items/kitchen utensils and the baby’s clothes and bottle.
The image will be displayed digitally.
UPDATE IN THE PROJECT
You are looking at the final image here . During the shooting i had to change the items a few times and the way i arranged them; also i had a difficulty with the lighting as i used available light and it was a bit cloudy you can see the lack of lighting for the steel kitchen item lacking better light.
during the shooting the first image shot with hand held camera and the second one with tripod.
I also used PS adjusting the contrast and placing the two images in one frame.
no cost was involved.
Pop art is an art movement that emerged in the mid-1950s in Britain and in the late 1950s in the United States.[1] Pop art presented a challenge to traditions of fine art by including imagery from popular culture such as advertising, news, etc. In Pop art, material is sometimes visually removed from its known context, isolated, and/or combined with unrelated material.[1][2] The concept of pop art refers not as much to the art itself as to the attitudes that led to it.[2]
Pop art employs aspects of mass culture, such as advertising, comic books and mundane cultural objects. It is widely interpreted as a reaction to the then-dominant ideas of abstract expressionism, as well as an expansion upon them.[3] And due to its utilization of found objects and images it is similar to Dada. Pop art is aimed to employ images of popular as opposed to elitist culture in art, emphasizing the banal or kitschy elements of any given culture, most often through the use of irony.[2] It is also associated with the artists’ use of mechanical means of reproduction or rendering techniques.
Much of pop art is considered incongruent, as the conceptual practices that are often used make it difficult for some to readily comprehend. Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of Post-modern Art themselves.[4]
Pop art often takes as its imagery that which is currently in use in advertising.[5] Product labeling and logos figure prominently in the imagery chosen by pop artists, like in the Campbell’s Soup Cans labels, by Andy Warhol. Even the labeling on the shipping box containing retail items has been used as subject matter in pop art, for example in Warhol’s Campbell’s Tomato Juice Box 1964, (pictured below), or his Brillo Soap Box sculptures.
source http://en.wikipedia.org/wiki/Pop_art
example by Photographer Ferenc Szelepcsenyi
link http://www.123rf.com/photo_9197005_8-tie-and-suit-in-pop-art-style.html
Surrealism was officially launched as a movement with the publication of poet André Breton’s first Manifesto of Surrealism in 1924. The Surrealists did not rely on reasoned analysis or sober calculation; on the contrary, they saw the forces of reason blocking the access routes to the imagination. Their efforts to tap the creative powers of the unconscious set Breton and his companions on a path that carried them through the territory of dreams, intoxication, chance, sexual ecstasy, and madness. The images obtained by such means, whether visual or literary, were prized precisely to the degree that they captured these moments of psychic intensity in provocative forms of unrestrained, convulsive beauty.
Photography came to occupy a central role in Surrealist activity. In the works of Man Ray (2005.100.141) and Maurice Tabard (1987.1100.141), the use of such procedures as double exposure, combination printing, montage, and solarization dramatically evoked the union of dream and reality. Other photographers used techniques such as rotation (1987.1100.49) or distortion (1987.1100.321) to render their images uncanny. Hans Bellmer (1987.1100.15) obsessively photographed the mechanical dolls he fabricated himself, creating strangely sexualized images, while the painter René Magritte (1987.1100.157) used the camera to create photographic equivalents of his paintings. In her close-up photograph of a baby armadillo suspended in formaldehyde, Dora Maar performs a typical Surrealist inversion, making an ugly, or even repulsive subject compelling and bizarrely appealing (2005.100.443).
But the Surrealist understanding of photography turned on more than the medium’s facility in fabricating uncanny images. Just as important was another discovery: even the most prosaic photograph, filtered through the prism of Surrealist sensibility, might easily be dislodged from its usual context and irreverently assigned a new role. Anthropological photographs, ordinary snapshots, movie stills, medical and police photographs—all of these appeared in Surrealist journals like La Révolution Surréaliste and Minotaure, radically divorced from their original purposes.
This impulse to uncover latent Surrealist affinities in popular imagery accounts, in part, for the enthusiasm with which Surrealists embraced Eugène Atget’s photographs of Paris. Published in La Révolution Surréaliste in 1926 at the suggestion of his neighbor, Man Ray, Atget’s images of vanished Paris were understood not as the work of a competent professional or a self-conscious artist but as the spontaneous visions of an urban primitive—the Henri Rousseau of the camera. In Atget’s photographs of the deserted streets of old Paris and of shop windows haunted by elegant mannequins, the Surrealists recognized their own vision of the city as a “dream capital,” an urban labyrinth of memory and desire.
Department of Photographs, The Metropolitan Museum of Art
link http://www.metmuseum.org/toah/hd/phsr/hd_phsr.htm
Artist John7 Doe7
http://neosurrealism.artdigitaldesign.com/modern-artists/?artworks/digital-art/dali-lips.html
A general term used to encompass trends in photography from roughly 1910-1950 when photographers began to produce works with a sharp focus and an emphasis on formal qualities, exploiting, rather than obscuring, the camera as an essentially mechanical and technological tool. This approach abandoned the Pictorialist mode that had dominated the medium for over 50 years throughout the United States, Latin America, Africa, and Europe. Critic Sadakichi Hartmann’s 1904 “Plea for a Straight Photography” heralded this new approach, rejecting the artistic manipulations, soft focus, and painterly quality of Pictorialism and praising the straightforward, unadulterated images of modern life in the work of artists such as Alfred Stieglitz. Innovators like Paul Strand and Edward Weston would further expand the artistic capabilities and techniques of photography, helping to establish it as an independent art form.
Photographer Olga Ravn
DANCNING WITH ONESELF 
arkaphotography 