Wednesday, 8 January 2014
REFLECTIONS AND SUMMARY
REFLECTION AND SUMMARY
As I expected this has been a challenging project for me. I needed to investigate how best to achieve the images that I had as cognitive representations prior to shooting. Researching Photomacrography was a simple task, although I could have selected many images as examples in my blog.
I received much advice from my tutor and the technician, all of which was helpful to experiment with in early shoots. I experimented with a cropped lens camera with a 60mm macro lens, and extension tubes. However, I did find that while I was achieving macro images, I wanted my images to have more magnification, so needed to research Micro Photography, where I not only found the technical advice I needed to achieve my intended images, but also examples of macro images. I experimented with LED lighting, but found flash lighting worked better.
There were problems with my model moving, albeit very slightly, and this was resolved in the final shoot by placing her on a flat surface. The shots of the model's eyes were difficult for her as the light was very bright and disconcerting, and the lens was in very close proximity to her eye (almost touching). I did achieve an eye shot similar to an image in my research, but like this one it did not fill the frame and there was a reflection of my thumb which was distracting, so it was not used as a final image.
Hiring the 5x magnifying lens (Canon MP-E 65 mm) from Calumet allowed me to achieve the images I hoped for, although there were difficulties with both focussing and composition. The problem with composition was resolved by cropping those images with only partial good composition, and so all of the final images were cropped into square format.
I usually present my work in a sketch book and found I could build this up regularly and
add to it, but producing a blog for the very first time proved problematic. Having made several posts on a Page "Body Landscapes" I found that parts were disappearing (pages seemed to be divided right down the middle, leaving only half of the text and half of the images). I did not know how to resolve this problem, so have rewritten it on the Home Page, and now the posts can be read, although they are not as extensive as the sketch book would have been.
I chose the final images as a set, within the same colour palette as one would for exhibition, and am presenting them as 5x5 inch squares, as this size is easily hand-held in a therapist-client situation. I am very pleased with them, although I feel they would work better in exhibition in a large size. I have learned a great deal throughout this project.
With grateful thanks to:
Emma, my model for her patience and cooperation in spite of much discomfort; Richard and Andy, my tutors for their advice and support; and Kevin for his advice and support.
For Tumblr blog on other part of Professional Practice module please Link to: http://myraboylephotography.tumblr.com
For Tumblr blog on other part of Professional Practice module please Link to: http://myraboylephotography.tumblr.com
Professional Practice September - January 2014
The Brief
Professional
Practice – Semester 1
Attempting
and Refining New Practices
This module
is delivered in two parts.
Part
1
Practitioner
Study
Using
guidance and material from lecture and seminar programme, develop a blog
investigation into a range of creative practitioners that you are
initially unfamiliar with. Develop this as a ‘branched’ investigation with
images, biographies and image evaluations. Discuss the functionality and
usage of their work, and comment upon work that defines a new or changing
role for photography in relation to other visual media.
Part
2
Practical
Investigation
Identify
processes, techniques or modes of working that are new to you and work on
imagery production that develops, refines and combines these practices.
Work
towards a professional quality portfolio of images that combines evidence of
study and practice from both Parts ready for critique seminar at the end of the
Semester.
Present – A range of
professional prints in Seminar, not necessarily mounted along with
your blog link.
Deadline – January Seminar 1
assessment week, date to be advised.
THE IDEA
I like the
notion of developing my work in the area of Macro Photography, but how to
choose a subject. Some years ago I supported a teenage girl who was
experiencing difficulty in accepting physical contact. She had been
sexually abused by her father's childhood friend (they met on their first day
at school when they were 5 years old). She had been emotionally
blackmailed by her abuser/babysitter from the age of nine until she reached
puberty at thirteen when she finally disclosed the sexual abuse, which she
believed was her fault. This man had damaged
her cognitive functioning around her sexuality, as well as her body
concept, sense of autonomy, self esteem and any ability to develop physical
relationship with others of her choice. He had told her that the only
people who would want her were "dirty old men". These are the
common practices of sexual predators of young girls. The paedophile was
convicted and imprisoned, but the family moved hundreds of miles away from
their home in the hope of a new start.
The girl at
fifteen had a boyfriend who wanted to have a physical relationship with her,
but she could hardly bear his touch. She hated her body and did not want
anyone to touch her, even her close family. She knew she felt very
differently from her peers, and could not see a way forward.
In order to
help her I took a Solution Focused Approach, and tried to change the way she
saw her body. Assuring her of the beauty of the human body and hers in
particular I suggested that in private she examine closely and touch different
parts of her body, e.g. the skin and hair on her arms, her hands and all
joints, her hair, then legs, finger and toe nails, eyelashes, etc. Later
I suggested she look carefully at her different parts of her face, particularly
her eyes and her mouth (open and closed) then her tongue and teeth. She
did this and we worked on this for weeks, with her reporting what she had
discovered about her own body each week. Later she examined larger parts
of her body from all angles, including her breasts. This was done in a
very controlled way - her own control, which helped give a sense of
self-direction and made her reconsider how she saw her body.
In a
Cognitive Approach we also discussed how she saw her abuser and what she saw as
her responsibility in the abuse, and gradually her perception of his actions
changed, and her guilt reduced. She was able to look at her body in a
different and more positive way and to gain some autonomy.
What I
would like to do in this project is to be able to take very beautiful marco
images of parts of the body in her honour. Many young people who have
suffered similar sexual abuse have the same abhorrence of their
bodies and I would like to be able to show them how beautiful a human
body is. This project might form part of a therapy for those who work with
children and young people who have been abused, and who have a negative view of
their body (or who have body dysmorphia for other reasons) and this would be a
new or changing role of photography.
TUTORIAL
WITH RP
Richard was
very helpful in helping me to take my idea forward, suggesting that I consider
photographers of macro images and research how to light macro images.
Richard advised me that a small sensor SLR camera would achieve a smaller
object than a full 35mm sensor SLR camera, and suggested the college has a
Canon 60 mm Macro lens, although I have a Tamron 90mm macro lens which I
think will give me a large/closer object image as the greater the focal length
the larger the subject appears in the image.
Richard
suggested I research the work of Jo Spence.
More
importantly he suggested that I could produce "Body Landscapes" that
were almost abstract so the images could be both beautiful and
interesting. This will be a challenging project for me.
Research
SECONDARY AND PRIMARY RESEARCH
MACRO PHOTOGRAPHY
This
name is a colloquial misnomer which is more pedantically called "photomacrography". For the best
effects it is recommended that an SLR camera with a small
sensor is used as it can capture smaller objects that a larger full frame 35 mm
sensor camera. The 1:1 ratio of the a small subject fills the sensor of a
small sensor camera. My Canon EOS 500D camera will produce better images
than the professional Canon 5D/Mark III. A dedicated fixed macro lens is
necessary.
Emmett
Photography "The Essential Guide to Macro Photography Lighting Options" http:/ /blog.emmett-photography.com/2013/04/macro-photography-lighting-options.html
Peter
Emmett explores how to achieve success in lighting macro images,
demonstrating how ambient and on-camera flash is unsuccessful, and explaining
that accurate is essential to achieve success. Emmett offers the
suggestion of moving further away from the subject, but shows how this defeats
the purpose of the intensity of the positive space in the image. Emmett
demonstrates several effective ways of capturing light in macro images, as
below:
1. daylight
can be effective;
2. a
reflector can help to bring light into a macro image;
3. lighting
from above can also be effective.
Emmett notes that off-camera presents so many options
that consideration needs to be taken of:
•
the size of the flash head/s and use of soft boxes
•
the strength of the light to avoid over-exposing the
subject, so keeping some texture
•
Inverse Square Law as there is a small distance from
the lens to the subject and if the light is moved the same distance away e.g. 2
cm and you move it 2 cm further away only a quarter of the light falls on the
subject.
•
the angle of the light source, which should be tested
to achieve the desired effect
•
the use of manual setting of the flash light rather
than ETTL as there is more control
•
Filters can be used to modify the light for creative
purposes
•
using a dedicated macro flash light, which will be
very useful as it attaches directly to the lens, and it has two lights (see
below) that can be adjusted to enhance creativity, as well as having even
coverage.
93_flash_canon_mr14_frente.jpg
Recommended by Emmett
PHOTOGRAPHERS WHOSE WORK I LIKE
Mike Moats
This
is a beautiful image of a rusty car's door handle. The colours are
beautiful with the chrome handle reflecting the oranges and greens of the car
door and the leaves wound around the handle. It is balanced by the line
of the door opening and there is interest throughout the image.
Composition
is important in the construction of my images and the composition of the image
below is aesthetically pleasing with its diagonal composition.
"Photo Tip:
Macro photography is really successful when the image has a main point of
interest and that point or subject is composed well
within the frame. Choose a simple background so it doesn’t compete with the main subject for a viewer’s
attention."
 |
| Mike Moats |
The
image below by Peter Martin has a shallow Depth of Field (achieved by using a
wide aperture) and may be effective for my Body Landscape images. I will
experiment with both large and small apertures before deciding on the
most effective technique for my project.
The
image below by Paul Sutherland paints an ethereal landscape of bright colours.
It has a shallow Depth of Field with the focus on the eye.
Body Landscape
The
image below seems very like a landscape to me - there is a valley with a deep
fissure, texture is provided by the hair and skin, and the navel ring and its
shadow gives the impression of daylight falling on it (as well as the shadow on
the skin). This is a beautiful image of the kind I aspire to achieve.
It was taken with a Canon EF 50mm f/4.5 lens which only
provides a 1:2 ratio, and my images should be 1:1 giving a smaller area of
body landscape.
JO SPENCE, PHOTOGRAPHER
Spence's early documentary work was ground breaking:
she was part of a feminist movement - her work has a sense of gritty reality,
providing the guidelines for her later phototherapy series.
In the image of Rosie Martin (below) with whom Spence
collaborated Spence shows how others bind Martin by the negative terms that
have been thrown at her in relation to her sexual orientation. She
exposes their bias in a dramatic way, demonstrating that all they see is her
sexual orientation, nothing of her, the woman. This is an angry image,
reflecting the just anger of women.
Jo Spence coined the term "phototherapy"
after a diagnosis of breast cancer led directly to a series of
self-portraits, in which she portrayed the myriad of emotions she experienced.
She wanted this work to become part of therapy to help others with breast
cancer cope with their emotions.
"In 1984, alongside Rosy Martin, Spence developed
‘Photo-Therapy’,
adopting techniques from co-counselling. The considerable achievement of
Photo-Therapy was to invert the traditional relationship between the
photographer and the subject. If historically the subject had little control over
their own representation, Photo-Therapy shifts this dynamic. The subject was
able to act out personal narratives and claim agency for their own
biography."
Roland Barthes (1993), a
venerated semiologist and critic, focuses on advertising images because
they have intention and Spence has intention in her documentary work
"her early work articulated a desire to create photographs that run
counter to the idealised imagery offered by advertising" (website)
Jo Spence's self portrait below provides
metonyms. In photographing herself through a mirror we see an almost
multi-faceted Jo: her back explodes the metonym of a historical and ubiquitous
boudoir view, shooting outside the boudoir as the background contains
racks of plates, indicating her combined metonymic female roles of bedroom and
kitchen. The two windows in the frame have connotations of the world
looking at her - the "looked at" woman, but it is difficult for us to
construe the myth of Jo Spence as the sexually provocative and available woman
from this image. She does not portray herself for male sexual
gratification, but she does have “connote to-be-looked-at-ness” (Mulvey
1999 p.333) in a very different way from how Mulvey sees women being presented
in the media. Spence's front view in the mirror portrays a very fearful
and worried middle-aged woman whose hands appear to be clasped in a prayer-like
way. They do not clasp over her breasts in a protective manner - she
exposes them, and her disease, as she places her breasts in the frame in the
left third, drawing the viewer's eyes into the mirror view. On her face is
imprinted her fears which the viewer empathises with.
This is a powerful image and the use of black and
white does fulfill its promise of adding gravitas to the image. The
subsequent greyness of the image adds to the greyness in her life as a
consequence of the diagnosed disease.
Following the diagnosis of breast cancer,
"Much of her subsequent work was a response to
her treatment by the medical establishment and her attempt to navigate its
authority through alternative therapies. Work such as ‘Cancer Shock’
(1982) and ‘The
Picture of
Health?’ (1982-86) present Spence’s concerns through photo
narrative, montage and performative
re-staging of personal trauma."
Spence is portraying her life from both a feminist and
a personal perspective, rather than from "a male spectator
perspective" - she give us a "female spectator perspective"
(Stacey 1999). It is easy to understand how this work would be
therapeutic for women suffering from breast cancer who were facing the same
fears Spence did.
Jo Spence in Spare Rib http://www.jospence.org/biography.htmlib
Spence's work is widely published in both photographic
and feminist journals, including Spare Rib.
 |
| An Image from her book "Jo Spence Beyond the perfect Image, Photography, Subjectivity, Antoginism" |
Spence's re-performance of her pre-operation state is
arresting in its directness in the image above. Its traditional rule of thirds composition
leads the eye through the three sections of her body: breasts, the surgical
cross above her left breast, and her face with its uncertainty and fear.
The lighting is significant as it is focused on the left breast where the
cancer is attacking her body. It is the most important consideration in
her life at that time and needs to be highlighted. The light of the left
and right sides of her face have connotations of both her hope and fear of
success in the operation as she places her trust and her life out of her own
hands - the only autonomy she has in this situation is the decision to comply
with the operation. Her foray into alternative therapies allows her to
regain some autonomy in this situation.
Liz Wells considers a Freudian
perspective, arguing that photographs could take the place of dreams
in therapeutic Freudian psychoanalysis as parts of the photograph could be
regarded as “an indicator of malaise” (Wells, 2003). The images that I
hope to produce could be used in a psychotherapeutic approach. Victims of
sexual abuse have a distorted mirror image of themselves as they see themselves
reflected through the eyes of their abuser. In phototherapy the aim is to
have people "see differently" (Martin & Spence 2003 p.406).
Martin & Spence tried to change the perception of 'victim' in women
who experienced difficulties within the family dynamic, but in sexual abuse the
young person needs to be recognised as a blameless victim, rather than
accepting blame for the actions of the abuser.
Why is it important to take these series of images?
It is to enable a victim of sexual abuse to reappraise their own body and
begin to change the negative associations and memories it has for them, in
order that they can make informed decisions and develop healthy relationships.
Susan Sontag (2003 p.61) argues:
“Most people in this society have the idea that to
take a picture is to say, among other things: ‘this is worth
photographing.’ ” (Sontag 2003 (p.61).
Sexual abuse victims need to regain a sense of agency
over their own bodies and if they can photograph their own bodies, as Kelly
says “a woman who uses herself in a photograph is being narcissistic.
… They are reclaiming back what is theirs, a right to self-defined sexuality.”
and narcissism is a necessary step in this process. Using the
images I produce the phototherapist can lead to similar fragment self portraits
being taken. These images may "offer us the possibility to objectify
and see a separate part of oneself which can then be reintegrated back into the
overall subjetivity or core self ... photographs can act as 'transitional
objects' towards another reality." (Martin and Spence 2003 p.408)
In my project I hope to produce images that will be
therapeutic for victims of sexual abuse, so while phototherapy is a new concept
for me it is not a new concept, although I would argue that this is a new
approach. Spence's work as an informed and political agent in the world
of politicalized art through her documentary photography is inspiring - I wish
I had known her. Her phototherapy will be helpful in many situations,
including my work.
BODY DYSMORPHIA
RESEARCH
World Psychiatry reports the first description of Body
Dysmorphic Disorder (BDD), a psychiatric disorder, more than one hundred years
ago. Some patients are also diagnosed with a
delusional disorder. BDD is defined as a
somatic disorder and is treated chemically, although it is also treated with
psychosocial methods such as Cognitive Behavioural Therapy.
“Patients with BDD
believe they look ugly or deformed. … They are often associated with fears of
rejection and feelings of low self-esteem, shame, embarrassment, unworthiness,
and being unlovable. Insight is usually poor, and nearly half of patients are
delusional.”
The belief is that this condition begins in childhood and
the effects have a deleterious impact on the lives of those who experience
it. People rarely disclose the symptoms,
so it is thought to be under-diagnosed.
The recent upsurge in cosmetic surgery might be explained by BDD.
In the case of A, she believed that she was ugly inside and
outside. Her sexual abuser had told her
this many times and her own feelings about what had happened to her reinforced
this impression. He told her that only
dirty old men would want her because she was so ugly.
“If you have BDD, you experience concerns about your
appearance that cause you significant anxiety and have a disruptive effect on
your life.”
A’s BDD had a disruptive effect on her life as she could not
bear her family to touch her, and when a boy became interested in her she found
it very difficult to allow him touch her, which he found very strange. She felt compelled to tell him about the
abuse and even though he was patient with her, and she wanted to be like other
girls she could not behave like they did and allow intimacy. She knew what was “normal” behaviour for her
teenage friends and wanted to be able to like them, but her negative cognitive
beliefs about her body stopped her.
Cognitive therapy, which aims to alter both thought patterns
and behaviours or Solution Focused Therapy, which aims to help the patient,
will also help other young people in the same position to change how they view
their bodies, and improve their interactions with others, and to be able to
engage in intimate relationships.
Research on Micro Photography
Advice from Huub de Waard
“Adding a set of extension tubes
with a total length 0f 60 mm to a 60 mm macro lens will give maximally a
magnification of (60+60) ÷ 60 = 2.
By
adding a teleconverter, an even greater magnification can be achieved.
Application of a 2x teleconverter produces a maximum magnification of 4 and 2
stops loss in light intensity. Adding more glass means a drop in quality
and quantity of light transmission, the extent of which depends on the quality
of the particular teleconverter you’re using.”
“Light
is lost when using macro lenses, extension tubes and teleconverters. As
magnification increases, depth of field decreases rapidly. Due to loss of light
and depth of field considerations, it is advisable to use a ring flash or twin
flash when shooting micros.”
“Ant
on red leaflet. Magnification 8, f/9, ISO 100 and 1/250 sec. Canon 7D,
Canon macro lens MP-E 65mm f/2.8, Canon macro Twin Lite Flash MT-E 24EX and Canon
2x teleconverter.”
“Common
cuckoo wasp standing on a small flower petal. Magnification 4,
f/14, ISO 100 and 1/250 sec. Canon 7D, Canon macro lens MP-E 65mm f/2.8 and
Canon macro Twin Lite Flash MT-E 24EX.”
“Lester
Wareham , Jul 21, 2007; 08:48 a.m.
Just
put some extension tubes on your 100/2.8, 65mm of extension will get you to
about 2.2:1 and should be better quality.
If you want to get in really close and have the skill and budget the
MP-E 65mm is the thing but get used to the 100mm macro first.”
Aaron Muderick , Jul 21, 2007; 08:56 p.m.
I
routinely reverse couple my f/2 35mm to my 100mm Macro lens and get excellent
results.
The
quality of images can be very good. It is not 'empty magnification' by any
means.
Sometimes
I add some extension tubes to the 100mm in addition to the reversed lens when I
really need to go 'all the way'.
http://photo.net/canon-eos-digital-camera-forum/00Lwsm
The image below by Suren Marvelyan is astonishing and does provide the detail that I want to achieve. The iris looks as if it is 3D and is quite beautiful. However, the whole frame is not aesthetically pleasing as the right side has a very distracting light reflection, probably from the flash light. I am going to attempt to take shots like this with this level of detail.
The image below by Suren Marvelyan is astonishing and does provide the detail that I want to achieve. The iris looks as if it is 3D and is quite beautiful. However, the whole frame is not aesthetically pleasing as the right side has a very distracting light reflection, probably from the flash light. I am going to attempt to take shots like this with this level of detail.
PRIMARY RESEARCH
World Psychiatry reports the first description of Body
Dysmorphic Disorder (BDD), a psychiatric disorder, more than one hundred years
ago. Some patients are also diagnosed with a
delusional disorder. BDD is defined as a
somatic disorder and is treated chemically, although it is also treated with
psychosocial methods such as Cognitive Behavioural Therapy.
“Patients with BDD
believe they look ugly or deformed. … They are often associated with fears of
rejection and feelings of low self-esteem, shame, embarrassment, unworthiness,
and being unlovable. Insight is usually poor, and nearly half of patients are
delusional.”
The belief is that this condition begins in childhood and
the effects have a deleterious impact on the lives of those who experience
it. People rarely disclose the symptoms,
so it is thought to be under-diagnosed.
The recent upsurge in cosmetic surgery might be explained by BDD.
In the case of A, she believed that she was ugly inside and
outside. Her sexual abuser had told her
this many times and her own feelings about what had happened to her reinforced
this impression. He told her that only
dirty old men would want her because she was so ugly.
“If you have BDD, you experience concerns about your
appearance that cause you significant anxiety and have a disruptive effect on
your life.”
A’s BDD had a disruptive effect on her life as she could not
bear her family to touch her, and when a boy became interested in her she found
it very difficult to allow him touch her, which he found very strange. She felt compelled to tell him about the abuse
and even though he was patient with her, and she wanted to be like other girls
she could not behave like they did and allow intimacy. She knew what was “normal” behaviour for her
teenage friends and wanted to be able to like them, but her negative cognitive
beliefs about her body stopped her.
Cognitive therapy, which aims to alter both thought patterns
and behaviours or Solution Focused Therapy, which aims to help the patient will
help other young people in the same position to change how they view their
bodies, and improve their interactions with others, and to engage in intimate
relationships, but primarily to regain agency over their bodies.
A primary research questionnaire has been devised to discover how women feel about their bodies.
QUESTIONNAIRE
I am a final year Photography Student doing a project
on how women feel about their bodies.
Please answer this questionnaire to help with my research.
Q.1 Do you
have a favourite part of your body? If
so, what part?
Q.2 If so,
is it your own belief, or has anyone influenced you to think this?
Q.3 Is there a
part of your body you don’t like? If so,
what part?
Q.4 If so, is it
your own belief, or has anyone influenced to think this?
Q.5 Do either positive or negative feelings
about your body affect your behaviour, e.g.?
(a) Do
you enhance any part of your body?
(b) Do
you disguise any part of your body?
Q.5 If you could
change any part of your body what would you do?
Q.6 Is there a
celebrity that you would like to look like?
Thank you for
completing this questionnaire. Myra
Boyle
RESULTS OF PRIMARY RESEARCH (QUESTIONNAIRE)
RESULTS OF PRIMARY RESEARCH
There were 14 respondents, between the ages of 20 and 70
years. While this project is aimed at
working with young girls it could be extended to women of all ages.
QUESTIONNAIRE
I am a final year Photography Student doing a project
on how women feel about their bodies.
Please answer this questionnaire to help with my research.
Q.1 Do you
have a favourite part of your body?
If so, what part? Yes: 11 No: 3
Q.2 If so,
is it your own belief, or has anyone
influenced you to
think this? Own: 12 Others:
2
Q.3 Is there a
part of your body you don’t like?
If so, what part? Yes: 13 No: 1
Q.4 If so, is it
your own belief, or has anyone
influenced to think this? Own: 10 Others:
4
Q.5 Do either positive or negative feelings
about
your body affect your behaviour,
e.g.?
(a) Do
you enhance any part of your body? Yes: 10 No: 4
(b) Do
you disguise any part of your body? Yes: 12 No: 2
Q.6 If you could
change any part of your body
what would you do? Yes: 11 No: 3
Q.7 Is there a
celebrity that you would like
to look like? Yes: 4 No: 10
ANALYSIS OF RESPONSES FROM QUESTIONNAIRE
Evidence indicates that >80% of the sample group of 14 women had a favourite body part, but <20% had been influence to believe this. Similar findings were found for women who had a body part they didn't like, but there was an increase in the respondents being influenced by others >20%. One notable
result was that <30% wanted to look like a celebrity.
result was that <30% wanted to look like a celebrity.
Personal Contact – Telephone Interview
An inquiry was made of Steve at the Photography Department
in Victoria Hospital, Blackpool and he was very helpful. They photograph 1:1 with a Macro lens, as I
have been doing, without getting the micro images that I am looking for.
For the micro work at the cellular level they used to use a
microscope and photograph the results, but now they use an electronic
microscope which attaches directly to their computer system, and this is much
more effective. He
suspects that they are very costly, but suggested I look on
EBay, although he did say they were tricky to get the hang of, so this might
not be a good option.
Although my research into a reversing ring for the 100 mm
Macro lens showed that Canon do not make one in this size, Steve suggested I
try a global search as someone might make it.
However, this proved fruitless, so my next step was to price the Canon MP-E 65mm and discovered it varies from £640 on EBay to £1099
on Amazon. Had I done this research
first I would have bought this lens rather than the 100 mm Macro lens.
CALUMET
HIRING PHOTOGRAPHIC EQUIPMENT
MANCHESTER, 0161 274 0500
I hired a Canon macro lens MP-E 65mm
f/2.8, from the Manchester store, when I will be able to hire it for two days
for £69 (less 20% with my student card).
This lens will give me up to 5x magnification, which should give me the
artistic body landscape images that I want to achieve.
References
Barthes R,
(1993), Mythologies, LONDON, Vintage Books
Boffin T. and Fraser J. (Eds.), Stolen
Glances: Lesbians take Photographs, Pandora Press, 1991, pp. 103. Figure 11: Rosie Martin, Unwind the lies that
bind, 1988 (image made with Jo Spence).
Mulvey L
(1993) Visual Pleasure and narrative cinema. Pub. in
Evans J
& Hall S (1993), Visual Culture: the reader, LONDON, Sage Publications
Ltd, in assn with The Open University
Kelly, A. (2003). Self Image: Personal Is Political. Pub.
in L. Wells (Ed.), the photography reader (pp. 410-416). LONDON,
England: Routledge.
Kuhn, A. (1991). REMEMBRANCE The
child I never was. In J. a. Spence (Ed.), Family Snaps. LONDON, England:
Virago.
Kuhn, A. (2003). REMEMBRANCE The
child I never was. In W. L. (Ed.), the photography reader (pp. 395-401).
LONDON: ROUTLEDGE.
Martin, R. & Spence, J. Psychic Realism as a
healing art pub in Wells, L. (Ed.), the photography
reader (pp. 395-401). LONDON: ROUTLEDGE.
Spence, J. "Jo Spence Beyond the perfect Image,
Photography, Subjectivity, Antoginism "
Stacey
J, (1993), Desperately
seeking difference. Pub. in
Evans J
& Hall S (1993), Visual Culture: the reader, LONDON, Sage Publications
Ltd, in assn with The Open University
Internet
references
Body Dysmorphia http://www.mind.org.uk/information-support/types-of-mental-health-problems/body-dysmorphic-disorder/#.UoX3pqUquf0 and also at http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1414653/
Macro Photography at
http://www.ephotozine.com/article/microphotography-tips-and-information-23075 and
http://static.environmentalgraffiti.com/sites/default/files/images/Eye26.jpg
Macro Photography at
http://www.ephotozine.com/article/microphotography-tips-and-information-23075 and
http://static.environmentalgraffiti.com/sites/default/files/images/Eye26.jpg
Micro Photography at
Jo Spence
Cassiaglia, M. Jo Spence’s
Phototherapy
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