Hole Book as a giff and mov

Statement for DM240

Statement of Intent—

As a final body of work I am producing multimedia image pieces. The concept behind the images are in direct relation to mainstream photography coming from the current political climate of our country. The images are modern war images from the ongoing American involvement in the Middle East. The images will be juxtaposed to make multiple compositions from black and white photographs. Once these compositions are assembled color will be added to push content and concept. These pieces are commentary on what we as a country create in conflict, and what results from our creation. 

Process— 

The images are obtained and constructed from newsprint and book publications. From there the images are Xeroxed, then hand cut and transferred using a blender-pen to a standard copy stock paper. From this stage the transfer is applied to clear contact paper in a collaged technique. Once the collaged composition is formed the contact paper is placed into a tray of hot water. The water removes the pulp of the paper and leaves a direct secondary transfer onto the contact paper. The contact paper is then sealed with another piece of contact paper resulting in a negative. 

The negative is then scanned into a computer and then opened in Photoshop where the negative is colored, cropped, and resized for printing. The Photoshop negative is then printed at Kinko’s as a color laser jet print. From this stage the process shifts back to the hand elements. The color print will be transferred using a blender pen to Stonehenge white stock resulting in a final 8x10 image.  

4 sample images for the "Hole Book" project

The Hole Book proposal

Proposal for the “Hole Book”

I am shooting images that relate to entering and exiting. For example through peepholes, keyholes and doors; images that progress through barriers and end in an open space. The point of my images is to lead the eye through small spaces and pierce areas that sight seldom ventures to and from.

Pushing the Foundation Work— Bringing the Text to the Image

For my secondary set of foundational images I am incorporating text with a hidden layer holding a textural element i.e. stone, grass, or concrete in the foundation text. The melding of these two elements (also with both the mixing of color and black and white photography) should further push my prior concept of movement and to leave a mark in my image.

VAD Foundation— image for nonprofit organization

Imagery for Foundation/Organization Project

Ryan Steed
DM240—
Zark Strasburg
Monday, September 29, 2008


The Valentino Achak Deng Foundation

About the Organization—
The Valentino Achak Deng Organization is a non-profit organization designed to help rebuild a peaceful and prosperous future for a war affected Sudanese people. The mission of the foundation is to help aid southern Sudanese diaspora in the U.S. to enhance educational, social, and economic opportunities. The goal is also to rebuild community driven development projects and to create educational opportunities for women, children, and men in southern Sudan. And to also, finally improve US policy towards Sudan by educating the public on current situations of crisis in the Sudan. The foundation was formed in 2006 by the funds and sales of Dave Eggers’ book, “What is the What,” which is the story of Valentino. The first major project of the foundation was an educational center in Valentino’s hometown, Marial Bai. It was a construction project that worked with the local community to build a large complex for education consisting of a twelve-classroom secondary school, training college for teachers, public library, sports facility and community center.

My Image—
Is conceptually about the walking the Lost Boys of Sudan like Valentino did. I went to his book reading last year and he spoke of following the line of footsteps he and the other boys left. I have never forgotten what he said, and the words of his story. My image is based on following a footstep. The image is leaving, and moving forward, walking for a change, and leaving your own mark.

From the preface of “What is the What”—
I was just a young boy when the twenty-two-year civil war began that pitted Sudan’s government against the Sudan People’s Liberation Movement/Army. As a helpless human, I survived by trekking across many punishing landscapes while being bombed by Sudanese air forces, while dodging land mines, while being preyed upon by wild beasts and human killers. I fed on unknown fruits, vegetables, leaves and sometimes went with nothing for days. At many points, the difficulty was unbearable. I thought the whole world had turned blind eyes on the fate that was befalling me and the people of southern Sudan. Many of my friends, and thousands of my fellow countrymen, did not make it. May God give them eternal peace.

Optimism and Pessimism in Imagery—Responses

OURFURTURE.ORG-
The image came from the New York Times. It has great graphic elements that draw attention to the eye, and force the reader to take notice. The ad poses the question and sets the outlook of questioning both election choices. The advertisement is both pessimistic and optimistic; this is seen in the fact that it questions what is right and points out what is wrong.

American Whitewater—
This ad is from American Whitewater Magazine. It is simple, clear, concise, and direct.
It points towards hope and the optimistic chance to save a natural resource. It is an excellent advertisement.

ONE—
This ad came from Rolling Stone Magazine. I would claim that it shares the same qualities that the American Whitewater ad contains. The ad gets right to the point in a brief nature. The color choice is concise and allows the viewer direct contact with the text; there is no room to wonder about in the ad space.

TIME Magazine—
This cover of TIME is an excellent example of using a strong composition to jump clear to the article title. The image is an optimistic approach to sell to the article title. Brief in words, the image sells the text.

Natural Resources Defense Council—
This poster is a wonderful design, both in text and image. Leaning towards a pessimistic outcome the image pushes for a positive change. The composition is incredibly strong and with the incorporation of common elements the ad is encompassing.

Dove—
This image came from Vanity Fair. This image is misleading. The image promotes the notion that both images are beautiful (and they are beautiful women) but when beauty is put to a vote that is a pessimistic outlook and a shallow action. The ad then becomes a double-edged sword for interpretation.

The Economist—
This is the magazines’ cover image. It is a narrow-minded pessimistic outlook. To question Left or Right is a great conversation point, but this image goes about it in a one sided manner.

Optimism and Pessimism in Imagery

Some quotes to live by as a photographer

Never have I found the limits of the photographic potential. Every horizon, upon being reached, 

reveals another beckoning in the distance. Always, I am on the threshold.

– W. Eugene Smith –

It's the way to educate your eyes. Stare. Pry, listen eavesdrop. Die knowing something. 

You are not here long.

– Walker Evans –

The subject matter is so much more important than the photographer.

– Gordon Parks –