Nicholas Kennedy Sitton
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David Copithorne |
Sitton was intruiged by the idea of applying the concept of distortion to architecture. He has said that 'it creates a sense of falling into itself, like capturing a moment of demolition'. He achieved this look by 'cutting out' and rotating images slightly, repeating this over and over, giving an added sense of dimension to these almost hypnotic works. With just the click of the mouse, Sitton was able to meld and re-shape the very material of these buildings.
Sitton was also inspired by the backdrop of San Fransico, saying 'I had just moved here and being in a new city was disorienting and exciting and I wanted to capture how my whole world had changed'. Certainly, Sitton uses digital manipulation to disturb scenes of city life, pinpointing a certain centre point from his vortex to spiral out from, but leaving many parts of the image untouched. This creates an interesting dynamic between the static parts of the image and the rotating ones, contrasting the fantasy of distortion and disorientation with the otherwise typical scene, encouraging us as viewers to look beyond what we see in our everyday lives. This questioning of the fabric of structure introduces an element of abstraction. The twisted form is comparable to an optical illusion, which Sitton uses to put on a spin of the recent photography trend of distorting existing skylines and urban buildings. |
Brazilian photographer David Copithorne has a passion for filmmaking, graphic design and illustration. Within the sphere of photography, he uses digital manipulation, mixing this with film and geometry. He has stated that he seeks 'natural scenarios that you can’t find in a studio' and attempts to 'visually adapt the vast crooks and corners of the world into my own creative output.' This is reflected in his choice of setting, which ranges from busy commercial streets to panoramic views of quaint towns. It seems that Copithorne's mode of digesting these scenes, each unique in their own way, is to treat the photograph as an opportunity for re-modelling. This also simulates a certain familiarity across all of these different backdrops, as each photo is distorted in a similar way.
Copithorne also claims that his 'motivation and dedication is to capturing the amazing scenarios that are missed by the average eye.' Certainly, Copithorne creates an alternate reality for us, especially through his use of animation. He slices and rotates areas of an image, and then animates this process to add dynamism to something that is traditionally static. Copithorne also marvels at the ability of modern photography to 'change the world with a single digital image.' It seems that he strives to alter the world around him just as photography has affected him. |
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I firstly picked two images which I thought would work well together as they both centre around squares of a similar size. I ripped one of the print-outs in half and shifted the positioning until the edges of both squares lined up, giving the collage more cohesion.
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I then stuck the two images down onto the card and photographed them.
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I picked these two to mix together as they have a similar colour palette and I liked how both turned out very vibrant after printing. I also wanted to mix the different walls and posters.
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I decided to rip the paper as in the first instance and positioned the pieces of paper so that they framed each other in a dynamic way.
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Then I stuck everything to the card and photographed the result. I used white card this time as I found this made the colours stand out.
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For the final collage, I took smaller elements of a number of different photos in order to create a more chaotic look. I then thought about how I would arrange them and chose the background photo with the massive barcode as I thought it would be interesting to obscure one barcode with another.
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I then stuck the pieces down and photographed them.
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