Dark Pictures

File: R0002969.jpg (183KB, 529x800px) Image search: [Google]

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File: R0002979.jpg (215KB, 600x596px) Image search: [Google]

215KB, 600x596px

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File: FB_IMG_1452212773283.jpg (17KB, 720x502px) Image search: [Google]

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Down sampled for an avatar and don't have the original on my phone, so here's a potato

>>2738843
pretty decent
>>2738981
ass
>>2738983
ass
>>2739240
ass
#I will smash your face wit ha hammer

File: 429730040513780c32a27e8.68744786.jpg (280KB, 700x597px) Image search: [Google]

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Well don't mind if I do!

"Whereas [other photographs] draw on specific imagery and cultural codes for their narratives, other photographers use the tableau formula for much more ambiguous and unreferenced narratives. A dreamlike quality is often created by reducing the specificity of a place and a culture to such a degree that it closes down our expectation of uncovering the "where and when" of a photograph. In Sarah Dobai's"Red Room", psychological drama is apparent but left intentionally open-ended. Personal effects are starkly absent from the interior, and it is not clear whether this is a domestic or institutional space. The red blanket could be a sign of a character's taste or a prosaic way of disguising the roughness or dilapidation of the upholstery beneath it. The photograph was in fact taken in Dobai's living space, practical and familiar surroundings in which to stage her psychologically intense series and which allowed some material signs of her life to become part of the work. The pose of the figures is multifaceted, hovering between the moment before or after a kiss or sexual act. Their awkwardness and hidden faces make the encounter tense with uncertainty. The woman's white vest simultaneously denotes the unglamorous nature of domesticated sex and a deep self-consciousness coupled with the common anxiety dream of being seen semi-naked in public."

File: Screen Shot 2016-01-07 at 7.15.23 PM.png (208KB, 326x359px) Image search: [Google]

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"Dutch arist Liza May Post's photographs and films have magical, dream-liked qualities. She often uses custom-made clothing and props that lift and contort the bodies of the performers into strange forms. In "Shadow", both figures are dressed in androgynous clothes that hide their gender and age. The front figure wears stilted shoes that push the body into a precarious pose. The figure behind is more stable, but is linked by a clawlike prop to a strange wheeled object with a fringed cover extending the sense of fragility of the scene. The details in the photograph are hyper-real and, like a surreal dream, their combination and visual charge leave the narrative open to the viewer's interpretation. One of the great uses of tableau photography is as a format that can carry intense but ambiguous drama that is then shaped by the viewer's own trains of thought."

File: 2013GG1660.jpg (99KB, 768x587px) Image search: [Google]

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"One of the pictorial devices used in tableau photography to engender anxiety or uncertainty about the meaning of an image is to depict figures with their faces turned away from us, leaving their character unexplained. In Frances Kearney's series "Five People Thinking the Same Thing", five individuals are shown in this way undertaking simple activities in sparse domestic interiors. The thoughts preoccupying these unidentified figures are not revealed, leaving it up to the viewer's imagination to draw out potential explanations from the subtle and simplified depictions of a person's gestures and habitat."

File: sarah-jones-the-guest-room-bed-i-2003.jpg (71KB, 751x576px) Image search: [Google]

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"British artist Sarah Jones's recent portrayal of young girls posed in interiors are consciously constructed out of the tension between the authentica and the projected, both in terms of imagery and experience. In "The Guest Room (bed) I", a girl is shown lying on the bed in a faded and impersonal room. Because the indication is that the girl is not portrayed in her own room, the bed becomes a motif, its symbolism drawn from art history (Manet's "Olympia" comes to mind), and the horizon of its bulk creates also triggers associations with the formal compositions of land and seascapes. While the girl's long hair is naturalistic, it is not connected to any specific contemporary fashion, in order that her character retains its ambiguity as both archetypal and personal. Similarly, her pose is in part a spontaneous response to the situation that Jones has orchestrated for the photographic shoot, while at the same time appearing to be drawn from the pre-photographic gestures of reclining female figures in the histories of painting in sculpture."

File: wendy-mcmurdo-helen-backstage-merlin-theatre-the-glance-1995.jpg (137KB, 688x701px) Image search: [Google]

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"Wendy McMurdo's "Helen, Backstage, Merlin Theatre (the glance)", in which digital technology is used to represent a child and her doppelganger, is an example of tableau photography in which the constructed nature of the image is foregrounded. The girls look quizzically at their doubles on a theatre stage (the choice of setting an allusion to the staged photograph as well as to the transformative space of theatre)."

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Image Orientation	Top, Left-Hand
Horizontal Resolution	520 dpi
Vertical Resolution	520 dpi
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Image Width	688
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File: 2006AY0338.jpg (42KB, 768x576px) Image search: [Google]

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"The indeterminate social or political stance of the photographer in much tableau photography is used to great effect in British artist Christopher Stewart's "United States of America". The blinds of a hotel room are closed in daytime; a man possibly of Middle Eastern origins is surreptitiously surveying the outdoors while waiting for the telephone to ring. It feels like a covert operation, but we are unsure if it is within or outside the boundaries of the law. Stewart photographs private security firms (made up of ex- or serving militia personnel), finding contemporary allegories for Western insecurity and paranoia. What is interesting about his approach is that rather than taking the conventional route of documentary or photojournalism in his depiction of real security situations, he chooses to use the formula of tableau photography to give a weighty drama to the stakeouts he witnesses."

-End-

Actually, just a little more.

>>2739277
"As with other photographs by Sarah Dobai, this has almost oppositional, but equally present, readings. The couple's embrace could either be tender or oppressive, with the woman shown in the more powerful role."

>>2739296
"This photograph was taken while shadowing security professionals on training sessions. What is surprising, given the drama of the lighting and lack of distracting detail in the interior, is that Stewart did not choreograph the figure or alter the interior at all."

Now I'm done.

>>2739277

>red blanket
>white vest

Sorry OP. It appears your thread was hijacked with a bunch of tldr bs about photographers no one cares about

File: old-3.jpg (238KB, 650x433px) Image search: [Google]

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>>2739321
Well they're pretty dark to me, that's why I posted them. Feel free not to read the "tl;dr bs", though I personally found it all very informative and illuminating. Turns out making good photos is more than composition and looking for "interesting" things to take pictures of.

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File: Untitled-date-unknown-G36422-600x689.jpg (48KB, 600x689px) Image search: [Google]

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Ralph Eugene Meatyard did some cool stuff.

>>2739277
bullshit.

>>2739282
bullshit.

>>2739285
bullshit.

>>2739289
bullshit.

>>2739294
bullshit.

>>2739296
bullshit.

File: 20130906-DSCF0091.jpg (2MB, 1500x1000px) Image search: [Google]

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COMMUNISM ohhhhhh Scary.

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>>2739373
Right on. I'm sure it is informative. And I do like hearing about new photographers. I was just bein a dick lol.
Fyi I'm not the anon who went through tagging "bullshit" on all your posts...

File: kre8-1.jpg (190KB, 650x434px) Image search: [Google]

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>>2739644
>>2739646
>>2739647
>>2739648
>>2739649
>>2739650
bullshit.

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