ASSIGNMENT 1- “INSIDE OUT”
- Photograph and interior space with a view through to the exterior via a window or door. The scene must have wide tonal range that exceeds the gamut of the camera, such as deep shadows and bright sunlight. Photographing such a subject will require bracketing.
- Create a composite image that reconciles wide tonal range. Process different versions from the raw files that have correct exposure and colour balance for each area of the image and blend these images together to create your high dynamic range final image.
Support your visual work with a 500-word reflective statement that addresses the notion of ‘the doubled interior’, with references in Harvard citation style. Place your experience of undertaking the visual work within a wider theoretical context framed by the following: chose either or both of the following quotes as a starting point for your theoretical context:
- Rice, C. (2004), ‘Space and Image Inside Hill End’, Architecture Australia:
“Our contemporary image-saturated culture revolves around our homes. Sitting comfortably in our interiors, we are constantly offered images of how we should live our domestic lives, or how others live theirs – this correlation between images of the domestic and the domestic setting of their consumption is at the core of our contemporary fascination with lifestyle. And as a society, we seem at ease with the close fit between mechanisms of publicity and the private sphere. Yet this is not just a contemporary quirk. At the beginning of the nineteenth century, bourgeois society began to experience the domestic interior as a particular kind of spatial condition, and also as a condition equally based in the visual. In short, they understood the interior to mean both a space and an image of a space.”
- Flusser, V. (1983), ‘Towards a Philosophy of Photography’, Reaktion Books
One of key issues to consider about the ‘doubled interior’ is the shift between the experience of 3D space to 2D image. The prescient and charming media theorist Vilem Flusser describes this process in ‘Towards a Philosophy of Photography’ (1983, p.8) where he states: ” Images are significant surfaces. Images signify – mainly- something ‘out there’ in space and time that they have to make comprehensible to us as abstractions (as reductions of the fours dimensions of space and time to the two surface dimensions). This specific sbility to abstract surfaces out of space and time and project them back into space and time is what is known as ‘imagination’…The significance of images is on the surface.”
Here are the RAW files I used to obtain my final image:
I merged them with Photomatix; however, I was not happy with how the outside looked as it was too bright and not on focused so I decided to go back to my RAW files and choose the photograph that had a good exposure for the outside. So then, I opened them both in Photoshop CS6 and used mask layers.
Reflective Statement on my project:
Nowadays we are constantly bombarded with images through every form of mass media: Tv, newspapers, Internet, magazines, billboards etc…that sell us the idea of perfection. They tell us how we should look, what we should buy, how we should live; as Charles Rice affirms in Rethinking histories of the interior (2004), “we are constantly offered images of how we should live our domestic lives, or of how others live theirs. The correlation between images of the domestic and the domestic setting of their consumption is at the core of our contemporary fascination with lifestyle.”
A fascination that has gotten bigger as the celebrity image has had an increasingly important role in our contemporary society which is based on a constant comparison between ‘us’ and ‘them’ and, at the same time, more and more focused on appearance.
The submitted photograph, in fact, present and represents an interior through the “mass media point of view”; a portrayal of the “perfect style of living”. It illustrates how interiors only appear to be a way of express one’s individuality and personality through a careful selection of décor, furniture and objects; however, in a consumerist society like ours, we only have the illusion of choice; it is in fact the media that shapes, creates and determines a person’s identity exhorting us to buy certain things.With this photograph, in fact, I tried to capture the sameness of those “perfect homes” that media sell us; all very bright, spacious and with a nice view through a glass wall.
The aim of the ‘Inside Out’ project is therefore to demonstrate how, in our contemporary society, images have changed the way we see things and the way we consume them. The consumption of commodities, in fact, is not based upon a need any more but on what the commodity signifies. Taking the example of the interior as a commodity, Charles Rice suggests the idea of the ‘doubleness’ of the interior, being both spatial space and conceptual representation of a space. This idea of the ‘doubled interior’ emerges in a complex doubled sense, between the spatial and representational, the material and the immaterial, and the conscious and unconscious.This is to say that the interior is not only a physical space that we occupy, but it also symbolises an idea, like for example a specific lifestyle or social class as the spaces we inhabit become representative of who we are or more precisely, who we choose to be.
Rice, C. (2004), Rethinking histories of the interior, The Journal of Architecture