Finlay Mackay 'Changing Pace'
This photo captures one of Finlay MacKay's series of work, highlighting sticking new photographic portrait. The photo shows a athlete in a dramatic training moment, alongside the people who have supported their Olympic and Paralympic ambition, as well as directors, writers and designers involved in the staging of London 2012, were today reveals as part of the National portrait Gallery Exhibition Road to 2012.
This photo captures one of Finlay MacKay's series of work, highlighting sticking new photographic portrait. The photo shows a athlete in a dramatic training moment, alongside the people who have supported their Olympic and Paralympic ambition, as well as directors, writers and designers involved in the staging of London 2012, were today reveals as part of the National portrait Gallery Exhibition Road to 2012.
Finlay MacKay was born in Scotland and studied fine art photography at Glasgow School of Art. His observations of athletes and their mentors reveal the relationships and training behind compeition performance. MacKay's portfolio includes sport and portraiture as well as complex advertising products that draw on graphic novels and the work of contemporary artists, such as the Scottish painter Howson. For the National portrait gallery/BT Road to 2012 Project MacKay has moved away from a traditional sports approach. By observing and responding to the narratives that the athletes and their training locations present, he has created a series of contemplative scenarios to tell a story of the London 2012 Olympic and Paralympic Games from a singular perspective.
Mackay has shot this image in question of 'Changing Pace' and you can see that the photographer appears to have captured the image on the same level as his subject. Mackay almost gives David Weir a higher stature. The depth of field is sharp showing where he has come from, and the track behind him shows how far he has come, not only in the race but perhaps his life as well. The lighting of the subject questions a lot about what the photographer wanted to convey about his subject matter. Mackay almost gives David Weir a higher stature. I think he has used flash as this hightens the subject and because the colours start to have a hyperreal quality.
Toby Glanville 'Actual Life'
When comparing Glanville to Mackay you notice a dissimilar composition, as the photo appears more subtle in thought and in lighting. The way the image is cropped shows the environment in which the subjects works, and I think the image was maybe taken with a film camera, as when looking at the concept, it suggests the way we see and how people view us. This is shown through using natural lighting which gives the image a dead pan quality.
When comparing Glanville to Mackay you notice a dissimilar composition, as the photo appears more subtle in thought and in lighting. The way the image is cropped shows the environment in which the subjects works, and I think the image was maybe taken with a film camera, as when looking at the concept, it suggests the way we see and how people view us. This is shown through using natural lighting which gives the image a dead pan quality.
Ulrich Gebert 'Freischneider'
When analysing this image you notice the positioning of the camera is level with the subjects face, as he appears to be a construction worker. The depth of field suggests that this is not about the environment, unlike Glanville's subject matter, where you notice it's more to do with the individual worker. When looking at the direction of his head, he appears to convey a sense of confidence and control, which shows the character having no difficulty or is faised by the photographer and his camera. The lighting also appears to be almost a combination of Mackey and Glanville images as it reinforces the subject importance with in his work.
When analysing this image you notice the positioning of the camera is level with the subjects face, as he appears to be a construction worker. The depth of field suggests that this is not about the environment, unlike Glanville's subject matter, where you notice it's more to do with the individual worker. When looking at the direction of his head, he appears to convey a sense of confidence and control, which shows the character having no difficulty or is faised by the photographer and his camera. The lighting also appears to be almost a combination of Mackey and Glanville images as it reinforces the subject importance with in his work.
His apparent subject here is conifers, and his huge panels each comprising six or seven prints of trees taken in botanical gardens have stunning impact on the most simplistic level: they are glorious pictures of trees. Gebert sees racism as one of the ultimate consequences of typology and sees this series as a critique of all typological thinking. Gebert criticizes typology in the art world and is also complying with its requirements.
The separation of the gardens and the gardener demonstrates a physical confrontation between man and nature and is hardly necessary anymore to validate the claim to power.
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