Photographic Heros
CURATORSHIP TASK
Interpretations of The City
ROOM 1: Layering
Stephanie Jung & alexey titarenko
Room 2: Blur
Uta Barth, Christophe Jacrot & Marc Yankees
Room 3: Collage / Photomontage
John Clang, David Hockney & Adrian Brannan
Stephanie Jung & alexey titarenko
Room 2: Blur
Uta Barth, Christophe Jacrot & Marc Yankees
Room 3: Collage / Photomontage
John Clang, David Hockney & Adrian Brannan
How can you capture the ever changing dynamic of a city? The Photographer’s Gallery is proud to present ‘Interpretations of the City’ as its newest exhibition open to the public. The exhibition is a collection of images from various photographers exploring different approaches to representing the city. It brings together photographers that embody the different aspects of the city through photographing people, places and different times.
During the Industrial Revolution, it was felt that photography was the only medium that could honestly capture the developing world. Photography had established itself in a period of change and growth. Photography responded, “To the variety and multiplicity of urban life and experience, and to the questions of how urban space was to be perceived and represent.” [1]
The camera’s significance in capturing this age can also be applied to today's advancements in technology. For example almost every new phone has a camera, giving people the chance to capture the world. The most appropriate way to capture the digital age is prominent in the way we live and how we have altered our environment. In contrast to when the first few cameras such as Kodak Brownie (1900) that were accessible to the middle class, now everyone has the means to photograph and send images around the Globe. Additionally new software allows us to interpret and manipulate the way we can present and capture the city and its lifestyle.
Interpretations of the City’ showcases the work of: Stephanie Jung, Alexey Titarenko, Uta Barth, Marc Yankus, Christophe Jacrot, David Hockney, John Clang and Adrian Brannan. The overpopulation of our cities and the inherent frantic rushing around is apparent in the work of Titarenko and Jung. Another theme present in this exhibition, is a side to the city that not a lot of people see: the slumber. This is present in the work of Yankus, Jarcot and Barth.
Interpretation of the City’ is an opportunity not to be missed. For a limited time only you will be able to relate to images that completely capture a spectrum of characteristics inherent to the city. The location in the heart of London’s West End will allow you to place the photographers in a relevant context and perhaps have a glimpse of what is to come.
During the Industrial Revolution, it was felt that photography was the only medium that could honestly capture the developing world. Photography had established itself in a period of change and growth. Photography responded, “To the variety and multiplicity of urban life and experience, and to the questions of how urban space was to be perceived and represent.” [1]
The camera’s significance in capturing this age can also be applied to today's advancements in technology. For example almost every new phone has a camera, giving people the chance to capture the world. The most appropriate way to capture the digital age is prominent in the way we live and how we have altered our environment. In contrast to when the first few cameras such as Kodak Brownie (1900) that were accessible to the middle class, now everyone has the means to photograph and send images around the Globe. Additionally new software allows us to interpret and manipulate the way we can present and capture the city and its lifestyle.
Interpretations of the City’ showcases the work of: Stephanie Jung, Alexey Titarenko, Uta Barth, Marc Yankus, Christophe Jacrot, David Hockney, John Clang and Adrian Brannan. The overpopulation of our cities and the inherent frantic rushing around is apparent in the work of Titarenko and Jung. Another theme present in this exhibition, is a side to the city that not a lot of people see: the slumber. This is present in the work of Yankus, Jarcot and Barth.
Interpretation of the City’ is an opportunity not to be missed. For a limited time only you will be able to relate to images that completely capture a spectrum of characteristics inherent to the city. The location in the heart of London’s West End will allow you to place the photographers in a relevant context and perhaps have a glimpse of what is to come.
Room 1: Layers
In this room of this exhibition displays photographers who in their work use layers to capture the atmosphere a city holds. This room displays work by Stephanie Jung and Alexey Titarenko. Both artists successfully capture the chaotic ambience of the city. The layers allow the viewer to explore the claustrophobic feeling of being in a city that never stops moving. Jung layers her photographs to express the frantic feeling a city holds. Whereas Titarenko photographs the impacts of the fall of Soviet Russia and how that changed the mood of both the city and the people living in it.
Stephanie Jung
Stephanie Jung grew up in a rural small town in south-Germany. She first found her passion for photography when she bought her first bridge camera at the age of 16. Jung initially focussed on the city of Berlin and attempted to capture the chaotic scenes in the big city. This was a reaction to the quiet, peaceful atmosphere of her home town. She first developed her style when she visited La Defense District in Paris, 2009 during a school trip. Jung initially used blur and distorted the subject in trying to achieve her intentions.For example, in this early image of Paris there is no layering but there is a sense of movement and frenetic energy present in the way the scene is out of focus. It was not until she visited the hectic city of Tokyo in 2010 that she started to exaggerate this concept using different layers.
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Jung takes a series of multiple exposures. In her Berlin series she uses double exposure to create a sense of capturing all the movements that happen in a split second but still holds chaos. Jung technique is unique due to the placement of layers. Her images contain no particular focal point there are multiples of each object enhancing the manic and overwhelming feel of a city life much like the people that are constantly distracted. By adding different layers Jung aims to make a moment that is forgotten as there isn't a significant event other than people passing in the place at the same time. some of the images Jung enhances the saturation and the vibrancy of the colours adding to the complex texture of the image giving the images a surreal quality.
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Jung finds inspiration by looking at other artist's blogs and art communities. This helps to motivate her to create new work, and she also sees what is possible in terms of techniques in taking a photo. Another inspiration is music to get her in the right mood to have new ideas. The music she listens to, it will influence what type of mood she wants to shows in her final piece. During Jung's time in visual communications from 2008 to 2010 she met an artist called Sabine Wenzel. Wenzel inspired Jung to go into Fine Art photography and taking pictures with a different meaning rather than the obvious. Throughout the series Jung express her interest in anonymity as there are “so many people living in one city, but don’t know anything of each other” [1]. Her constant theme over the whole project is time. Jung does not go out and document the city life, her intention is to capture the real moment.
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Alexey Titarenko
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'Crowd 2', taken in 1993, is part of Titarenko’s series titled "City of Shadows". This series is all about capturing the transition of a once oppressed Russia under the power of the communist state. Titarenko placed his camera outside the Vasiliesvostroskaia train station,which was the only public transport open at the time. The mass of crowds looked like a faceless human sea. Titarenko describes being at the station as creating the same response when "he heard the musical compositions, Shostakovich's 13 symphony" [2]. The artist chose to print the image onto Gelatin silver print, this makes the print rich in silvery grey colours enhancing the surreal and muted tones of the city at the time. Titarenko is known for being one of the first to introduce long exposure into street photography. The “City of Shadows” explores Titarenko idea of ghostlike figures existing in a city that has lost it’s identity.
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In 1994 St Petersburg was a city in enormous poverty. "Zigzag Crowd", 1994 expresses Titarenko’s fascination with capturing the movement of people. The city had not changed since, “The Siege of Leningrad”. It started on September 8th, 1941 and it ended on January 27th, 1944. There were 632,000 deaths in total. The city was one of the primary targets of the “Operation Barbarossa”, this was a codename for the German invasion of the Soviet Union. During the siege German bombers would drop propaganda leaflets on the city- claiming that the population would starve to death if they did not surrender, by Christmas day in 1941. Just 3 months after the siege had started nearly 4,000 people starved to death. Titarenko shot these images “to awaken empathy and love for my native city's inhabitants, people who have been constantly victimized and ruined during the course of the 20th Century” [3]. Titarenko did not want to only record the actual events of the time. He wanted to capture the atmosphere and the effect it had on people. He had a sense that time had stopped. This perception convinced him “that it could also be stopped by means of a camera shutter”[4].
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In Titarenko’s ‘City of Shadows (1991-1994) he captures a bitter picture of the Soviet Union, in “Heads”, taken in 1991. ‘City of Shadows’ emerged unexpectedly due to the collapse of the Soviet Union in autumn of 1991. In that winter of 1991-1992 there was a shortage of food supplies meaning people were no longer their happy, joyful self that the photographer once knew. They were on the ‘verge of insanity’ with eyes filled with ‘sorrow and desperation’. Due to rationing people were desperate to survive.Titarenko felt an intense desire to capture people’s suffering and grief. Throughout his series his constant theme was the similarities between shadows and people. The shadows are a metaphor for the people, they represent darkness, fear and lack of identity, which is what Titarenko saw in people at that time. When the crowds of people walked about St Petersburg they seemed like shadows from the underworld. They undernourished and worn out and walked without a purpose.
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Room 2: Blur
The next room of the exhibition is all about photographer that use blur to capture the quieter hours of a city life. This collection demonstrates abstract and surreal scenes giving the viewer an insight into the city’s atmosphere at that time. This room contains work from Uta Barth, Marc Yankus and Christophe Jacrot. All of the photographers share the aspect of abstract and blurry versions in their images. Barth manipulates light and focus to produce abstract photos of a calm city street scene. Yankus captures images while the city slumber during the early morning. Finally Jacrot presents the viewer with surreal images by shooting images of tourist destination but in bad weather conditions.
Uta Barth
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‘Field #20’ is a photograph printed on acrylic It is part of Barth series ‘Fields’ that she started in 1995. In this series Barth began to experiment with moving the camera while talking the photograph, this creates the sense of observing something using our peripheral vision.This particular image was taken at a street corner and was deliberately out of focus, with a shallow depth of field. Barth focussed her camera on a subject who then moves out of the frame, leaving the ‘empty’ background as the new subject of her photograph. The image is also unique as it has not been manipulated by a computer in any way. In Barth’s solo exhibitions at the Museum of Contemporary Art in Los Angeles in 1995, she installed the images on the windows. This created disorientation as, from close up, appearing as an "abstract" collection of "coloured dots". However from a distance people can make it out to be a street corner but as if seen through a partially opaque glass.
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Barth has been influenced by the some visual device she has viewed in a film. Barth drives around “the neighbourhoods of the city looking for a place that is general, neutral enough to not interfere or visually compete with what might take place in the foreground. It is not random: I am definitely looking for a place that has very particular, ‘atmospheric’ characteristics” [5]. By having a the traditional focal object in an image Barth challenges the viewer to look at the image straining their ‘perception of things that are barely visible, in some instance depicting purely light itself’. Photographs are dependent on how light feeds into the camera according to the space in the frame, however Barth makes makes space and light her subjects.
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Marc Yankus
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These two photographs are part of Yankus ‘Early Cityscapes” series. Robert Frank is the artist that influenced Yankus practice the most. Yankus was originally trained to be a painter but found his passion for photography at Visual Art school in New York City. When Yankus was 11, after his parents got divorced, his mother along with his siblings moved to the city. Yankus had left the calm, suburbs of long island and transitioned to an ‘overwhelming and exciting city.’ The city became a “safe haven because my home life wasn’t. To find peace,I had to go outside my home, and so I spent a lot of time exploring the city” [6]. Later in the 1990s when he started this project, Yankus would visit certain areas of the city that he used as a safe haven when he was younger. He was interested in the ‘light, space and form’ of New York City. Yankus digitally makes still life photography into a collage-like manner. This is achieved by him scanning in textures from old tintypes, books, and other objects that are layered on top of the original image.
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“I never saw myself as an architectural photographer. It’s not about the buildings themselves and their features, but about what I feel when I experience them. It’s about creating my own world, a magical space for my memories and imagination.” [7] Throughout the project Yankus is attracted to the the beauty and romanticism of old architecture. He pays attentions to the details and care of a city. Yankus was drawn to the old architecture because he liked the fact that greater care was taken in making the choice in what materials were used. The city represents a place “where it was easy to get lost, but where it is also possible to find oneself in that process.”[8] Yanus became fascinated when a city falls into a slumber at early times in the morning. Where all the overwhelming feeling of a city fall into a harmonious atmosphere. It is at this moment that Yankus captures these images that are cloaked in softness and he shows of the beauty of the most mundane street scenes.
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Christophe Jacrot
Jacrot first got inspiration to take these image in 2006, when he accepted a commission for a guide book in paris. The guide book required him to produce images of Paris on a sunny day. Unfortunately the weather that year was horrendous, it was pouring down with rain. This gave Jacrot the idea of capturing traditional tourist images of the city but during ‘ bad’ weather. In 2010 Jacrot visited Hong Kong to capture the long rain season that ranges from April to June. Here is where the “Hong Kong in the rain” series was created.
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Jacrot has been interested in photography seen he was a child. The photographer started off with cinema directing numbers of short films, like Prison A Domicile in 2000. However Jacrot found it difficult to carry on doing the film which led him to photography instead. He liked the independence that photography was able to give him. Jacrot first exhibition was called ‘Paris in the Rain’, at the Lucernaire in Paris, in october 2007. According to Jacrot, there are two ways to capture the world in photography: “on one hand, a photographer can focus on the horrors of the world, or he can take the fear out of it” [9]. The image has a surreal aspect due to the weather, it creates an ‘romantic-functional dimension’. The weather conditions create an empty ghost like city image as people ran for cover. However Jacrot takes advantages of the subtle light that the weather provides. The drops of water on the window creates a romantic and surreal mood in the image, whereas this sight would normally be seen as dark and gloomy day.
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Room 3:Collage / Photomontage
The final room presents broken fragments of different moments in time. In the beginning of the 20th century Georges Braque and Pablo Picasso were the first artists to create the cubism idea. Their art work was aimed to bring different viewpoints of the subject, together in the same picture or painting resulting in a abstracted and fragmented appearance. The work of David Hockney, John Clang and Adrian Brannan are shown in this room. Hockney was inspired by cubism movement. He focuses on objects found in the city. Clang demonstrates how a city is affected with time. The artist looks at path that lead a person to the location of the image where they cross paths with a different person they may not know. The final artist Brannan has a similar style to Hockney. The two fragments the image in order to offer the viewer multiple perspective of the subject. However one difference is that Brannan captures the architecture and city landscapes.
David Hockney
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In ‘Telephone Pole’ (taken in 1982.) Hockney used a Pentax 110 digital camera to photograph the separate elements. This collage was the first photographic “joiner”. A joiner is a photographic technique in which one picture is assembled from several overlapping photographs. Cubism emerged in France around 1909, in the work of Pablo Picasso and Georges Braque which inspired Hockney. It is an art movement that the subject is broken up and then reassembled in an abstract manner much like Hockney’s Joiners. The movement was a representation of post war uncertainty. The idea of T.S. Eliot of people being disconnected due to political, economic, social and religious crises is shown in the fragmentation of the joiners. When Hockney first started creating photographic collages in 1970s. The photographer called it ‘drawing with a camera’ because he could control where objects could go and what parts he could emphasise. Hockney believes that “One point perspective is only a half truth” [10]. Hockney's joiners were actually the result of an accident. He disliked photographs taken with wide-angle lenses in the 60s. He took several polaroid shots of a living room, and stuck then together which he would use for his painting. When the final image was completed, he noticed that the picture had created an effect as though the viewer were moving through the photograph. After the accident he started experiment more extensively with photography. The photo collages are made to show the movement of the subject and that the subject should be viewed from the photographer's perspective.
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In 1986, Hockney created a photographic collage called ‘Pearblossom Highway, 11-18th April 1986, #2’. It is an interpretation of a highway located on route 138 in California. The image is a large piece of work that took nine days to photograph and is assembled of 800 individual photographs. This image may look like it has a central viewpoint, however all photographs are taken from a different viewpoint. Hockney had driven for three days through the desert to find the right locations for the photograph. Hockney intention was to capture a road trip through the desert from inside a vehicle. However, he wanted to capture both the perspective of the driver and the passenger on the road. He achieved this by emphasizing what each person would be more interested in looking at. On the driver side, here he draws attentions to the four road sides ahead, making them the main focus. Whereas on the passenger side, here he pays more attentions to the details of the landscape like the litter on the ground.
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John Clang
In 2009, John Clang began to shoot his series, ‘Time’. When he was 15 years old Clang purchased his first camera, “photography allowed me to feel that everything would be okay” [11]. His original name is Ang Choon Leng, however when he served in the army he served in the army his name tag read C L Ang. This gave him the inspiration to call himself John Clang this meant that people assumed he was from overseas and were more willing to meet him. At the age of 20 Clang had his first exhibitions at singapore Art Group 5th Passage Artists. In 2010, he became the first photographer to receive the Designer of the Year award at the President’s Design Award. He always had a fascination with time, displacement and existence, all of which influenced his work but they especially influenced this series. In this series he takes multiple photographs at the same place but at different times. He then reduces them to vertical stripes to show a particular moment in that place.
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Time is a series about recording a location to show the passing of time as a montage. Clang attempted to explore how time moves throughout a hectic urban space. The people represent and become the “moving energy flowing through this space, marking the changes, forming time” [12]. He thinks that even though people pass through the same locations at different time they are closer to one another due to the fact that they have shared a space. This enhances his fascination with different time dimensions in the universe. He believes that life exists “one minute before or after the one we’re living now. We merely just exist in this current dimension, and sometimes when time paths collide, we have déjà vu experience” [13]. Clang is intrigued by the constant and subtle changes that appear in the city. These changes affect the artist's thoughts and feelings about the space that he is in, Clang aims for his images to reflection his thoughts and feelings in that environment. Clang ‘Time’ project is all about how he expresses his thoughts. He normally walks around the city without a camera or phone, just so he can observe and experience whatever he sees around him and he register it in his head. “I feel that when you try to capture the moment, you lose the experience of living it” [14]. It is the mundane things that attract him. He wants his images to give a new perspective on how he sees things rather than he just producing a pretty picture.
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Adrian Brannan
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This image location is of St Paul’s. While Brannan attended Glasgow School of Art, one of his tasks was to photograph the Rennie Mackintosh building. The problem with this is that the streets are so narrow and the building is so wide it is hard to capture it all in one image. He said, “most people would take a number of angles and stitch them together in Photoshop” [15]. However, Brannan stood in front of the building and took hundreds of images and put them together in a large college. His reasoning is that “it was a more honest way to see the building than sitting on the computer erasing every little imperfection.” [16] This task was what inspired Brannan in pursuing his collage work. Each individual image is taken from multiple vantage point and at different times on different days. The artist goes back to the locations multiple times during the year to get different seasons and weather conditions as well as using different lenses. Brannan images do not have any digital alterations and many of the photographs are printed in his own darkroom. Brannan states that taking the photograph is the ‘easy part’. He explains that putting the pieces together is a laborious process. He uses a guillotine and tons of industrial doubled sided tape to create the final collage.
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Brannan lists David Hockney as a major influence for his collage work. This image here is of La Rambla located in Barcelona. La Rambla was originally a river bed but as Barcelona expanded during the 15th century, La Rambla became a part of the inner city. It was only until 1775 that the section of the city had a central walkway built, lined with trees and a roadway the ran along side it. When Brannan visited Barcelona he came across the problem of not having enough time. He felt that the city was large and he wanted to capture a lot of different specific places. However even with him ‘hiring a car, hunting down locations and spending hours at each one and then trying to find time to eat and sleep’ [17] made the trip tight for time. He managed to shoot 14 different collages while he was in Barcelona and only half of them were finished in the month after he return from the trip. Brannan’s collages holds such subtle details that each time you view one of his images a new aspect and/or a new detail in discovered. The use of the collage make the image reflect the hectic environment that the location has. The photography had always intended to pursue photographing cars until the success of the collages that made him pursue both.
Conclusion
In conclusion the intention of this exhibition is to display the work of various photographers who capture the atmosphere of different cities. The exhibition draws similarities between the photographers as they represent the frantic city and continuous movement. Each photographer has a unique approach and technique to photograph the city. Their aim is not to merely represent or document the events of a city but to capture its mood and atmosphere. Every photographer manipulates their image in some way to present this, for example Yankus in room 2 adds texture to his image to fully capture the mood he feels from the location.
This exhibition has influenced my practical work in many ways. My brief, “people existing in London”, led me to photographing people in London as they go about their mundane lives. I used surveillance and covert filming techniques to capture people on the public transport that is unique to London. I also responded to the work of Alexey Titarenko who is displayed in room 1. Using long exposure, I captured the movements of people as they went about their usual journeys. Similarly to my photographers, I used different visual devices to enhance my intentions, creating a more complex response than a simple record of how someone looked at a particular time going about their everyday life.
This exhibition has influenced my practical work in many ways. My brief, “people existing in London”, led me to photographing people in London as they go about their mundane lives. I used surveillance and covert filming techniques to capture people on the public transport that is unique to London. I also responded to the work of Alexey Titarenko who is displayed in room 1. Using long exposure, I captured the movements of people as they went about their usual journeys. Similarly to my photographers, I used different visual devices to enhance my intentions, creating a more complex response than a simple record of how someone looked at a particular time going about their everyday life.
Bibliography
Introduction
[1] ‘The Photographer’ by Graham Clarke
Stephanie jung
http://www.cooph.com/magazine/features/techniques/detail/article/profolio-the-textured-moments-of-stephanie-jung.html
http://www.wanderarti.com/other-worldly-urban-scenes-city-photography-by-stephanie-jung/
http://blog.patternbank.com/multiple-exposures-stephanie-jung/
www.thephoblographer.com/2015/11/20/stephanie-jungs-layered-new-york-photos-convey-citys-chaos/#.V9FEW1srIdU
https://www.lomography.com/magazine/317723-stephanie-jung-infinite-possibilities-with-multiple-exposures
http://appletonart.com/2016/01/15/art-talk-stephanie-jung/
[1] Said by Jung in a interview by Lizzie Davey.
Alexey titarenko
http://alexeytitarenko.com/about.html
http://alexeytitarenko.com/home_pix/chryslermuseum_pict.jpg?t:state:flow=1565f0cf-2d3c-4000-b05a-f1d06a9ce09a
http://alexeytitarenko.com/press/titarenko_artnews2014.pdf
http://alexeytitarenko.com/press/titarenko_artnews2014.pdf
http://www.photographsdonotbend.co.uk/2009/09/alexey-titarenko-city-of-shadows-petersburg.html
http://www.historylearningsite.co.uk/world-war-two/world-war-two-and-eastern-europe/the-siege-of-leningrad/
https://beccahigginson.wordpress.com/2012/12/02/camera-techniquesartist-research-alexey-titarenko-slow-shutter-speed/
https://www.youtube.com/watch?v=L3IgZUJTlOo
[2] Found on the photographer website
[3] Found on the photographer website
[4] Found on the photographer website
Uta barth
http://www.tate.org.uk/art/artworks/barth-field-20-t07627/text-summary
https://www.guggenheim.org/artwork/artist/uta-barth
[5] Said by the photographer in Conkelton.
Marc yankus
http://clampart.com/2012/04/landscapescityscapes/
http://www.americanphotomag.com/marc-yankus-otherworldly-cityscapes
https://www.saatchiart.com/marcyankus
[6] Online interview on the American photo by Marc Erwin Babej on October 31, 2014
[7] Online interview on the American photo by Marc Erwin Babej on October 31, 2014
[8] Photographer website
Christophe jacrot
http://uk.lumas.com/artist/christophe_jacrot/
http://www.artistics.com/en/christophe.jacrot
[9] Lumas magazine.
David hockney
http://www.getty.edu/art/collection/objects/105374/david-hockney-pearblossom-hwy-11-18th-april-1986-2-british-april-11-18-1986/
https://www.khanacademy.org/partner-content/getty-museum/getty-photographs-films/getty-photographs-photographers/v/david-hockney-pearblossom-hwy
http://articles.latimes.com/1997/aug/08/entertainment/ca-20388
https://deadwrite.wordpress.com/tag/pearblossom-highway-2/
http://www.biography.com/people/david-hockney-9340738
[10] Hockney on Photography, 1988. Jonathan Cape.
Jonh clang
http://a-list.sg/online/issue28/#book5/12-13
http://sg.asia-city.com/events/article/moving-images-interview-john-clang-and-francis-ng
https://boonscafe.wordpress.com/2010/06/15/confront-by-john-clang/
[11] A profile on The A List by DAPHNE ONG
[12] John Clang, courtesy of 2902 Gallery (Singapore)
[13] Photographer website
[14] An interview with John Clang and Francis Ng By Baey Shi Chen on May 28, 2009
Adrian brannan
http://www.adrianbrannan.com/Adrian%20Brannan%20-%20Practical%20Photography.pdf
http://www.adrianbrannan.com/index.htm
[15] Article on the cutting edge by Sergo Burns
[16] Article on the cutting edge by Sergo Burns
[17] Article on the cutting edge by Sergo Burns
[1] ‘The Photographer’ by Graham Clarke
Stephanie jung
http://www.cooph.com/magazine/features/techniques/detail/article/profolio-the-textured-moments-of-stephanie-jung.html
http://www.wanderarti.com/other-worldly-urban-scenes-city-photography-by-stephanie-jung/
http://blog.patternbank.com/multiple-exposures-stephanie-jung/
www.thephoblographer.com/2015/11/20/stephanie-jungs-layered-new-york-photos-convey-citys-chaos/#.V9FEW1srIdU
https://www.lomography.com/magazine/317723-stephanie-jung-infinite-possibilities-with-multiple-exposures
http://appletonart.com/2016/01/15/art-talk-stephanie-jung/
[1] Said by Jung in a interview by Lizzie Davey.
Alexey titarenko
http://alexeytitarenko.com/about.html
http://alexeytitarenko.com/home_pix/chryslermuseum_pict.jpg?t:state:flow=1565f0cf-2d3c-4000-b05a-f1d06a9ce09a
http://alexeytitarenko.com/press/titarenko_artnews2014.pdf
http://alexeytitarenko.com/press/titarenko_artnews2014.pdf
http://www.photographsdonotbend.co.uk/2009/09/alexey-titarenko-city-of-shadows-petersburg.html
http://www.historylearningsite.co.uk/world-war-two/world-war-two-and-eastern-europe/the-siege-of-leningrad/
https://beccahigginson.wordpress.com/2012/12/02/camera-techniquesartist-research-alexey-titarenko-slow-shutter-speed/
https://www.youtube.com/watch?v=L3IgZUJTlOo
[2] Found on the photographer website
[3] Found on the photographer website
[4] Found on the photographer website
Uta barth
http://www.tate.org.uk/art/artworks/barth-field-20-t07627/text-summary
https://www.guggenheim.org/artwork/artist/uta-barth
[5] Said by the photographer in Conkelton.
Marc yankus
http://clampart.com/2012/04/landscapescityscapes/
http://www.americanphotomag.com/marc-yankus-otherworldly-cityscapes
https://www.saatchiart.com/marcyankus
[6] Online interview on the American photo by Marc Erwin Babej on October 31, 2014
[7] Online interview on the American photo by Marc Erwin Babej on October 31, 2014
[8] Photographer website
Christophe jacrot
http://uk.lumas.com/artist/christophe_jacrot/
http://www.artistics.com/en/christophe.jacrot
[9] Lumas magazine.
David hockney
http://www.getty.edu/art/collection/objects/105374/david-hockney-pearblossom-hwy-11-18th-april-1986-2-british-april-11-18-1986/
https://www.khanacademy.org/partner-content/getty-museum/getty-photographs-films/getty-photographs-photographers/v/david-hockney-pearblossom-hwy
http://articles.latimes.com/1997/aug/08/entertainment/ca-20388
https://deadwrite.wordpress.com/tag/pearblossom-highway-2/
http://www.biography.com/people/david-hockney-9340738
[10] Hockney on Photography, 1988. Jonathan Cape.
Jonh clang
http://a-list.sg/online/issue28/#book5/12-13
http://sg.asia-city.com/events/article/moving-images-interview-john-clang-and-francis-ng
https://boonscafe.wordpress.com/2010/06/15/confront-by-john-clang/
[11] A profile on The A List by DAPHNE ONG
[12] John Clang, courtesy of 2902 Gallery (Singapore)
[13] Photographer website
[14] An interview with John Clang and Francis Ng By Baey Shi Chen on May 28, 2009
Adrian brannan
http://www.adrianbrannan.com/Adrian%20Brannan%20-%20Practical%20Photography.pdf
http://www.adrianbrannan.com/index.htm
[15] Article on the cutting edge by Sergo Burns
[16] Article on the cutting edge by Sergo Burns
[17] Article on the cutting edge by Sergo Burns