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7-1-1987

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Jose Enrique Lorca

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Recommended Citation

SOCIETY

BITS

by

Jos~

Henrique Ferreira Lorca

Subm

itted

in Partial Fulfillment of the

Requirement

s

for the Degree

MASTER OF FINE ARTS

MFA PHOTOGRAPHY PROGRAM

SCHOOL OF PHOTOGRAPHIC ARTS AND SCIENCES

ROCHESTER INSTITUTE OF TECHNOLOGY

ROCHESTER, NEW YORK

July,

1987

Dr. Richard D

.

Zakia

,

Chairperson

Profess

or

Sc

hoo l

o

f Ph

otographic

Art

s a

n d

Sc

i e nce s

Roche

ster

In

st itute

of Te

chnology

Hr

.

Andrew Davidhazy

Pr

ofes sor

S

c hoo l

of Phot

ographi c

Arts and

Scie

nces

R

o chester

Institute of Te

chnol ogy

Mr

.

Murray S. Patton

I,

Jos

e Henr

ique Fe

r r e i r a

Lo

r

ca

, pr

ef er

t

o be

co

n

t

ac te d

ea

ch

time

a

request f

or

repr

odu c tion is

mad

e .

I can

b

e

reached at the f

ollowing

addr

e s s.

Rua Gr

e gori o S

e r rao.

2

18

S

ao Pau

l o,

SP 041

0

6

DEDICATION

I

dedicate

this

thesis

to

my

wife

Mariana

and

my

daughter Andrea

whose

love,

company,

and

friendship

were

extremely

valuable

providing

me

the

necessary

support

throughout

this

process.

3-This

project was realized

thanks

to

a

scholarship

grant

provided

by:

-CAPES

-Coodemacao

de

Aperf

eicoamento

de

Pessoal

de

Nivel

Superior,

Minister!

da

Educacao,

Brazil

-LASPAU

-Latin

American

Scholarship

Program

of

American

Universities,

USA

INDEX

I

.

Introduction

7

II.

The

Subject

9

III.

The

Photographic

Images

14

IV.

The

Computer

Images

19

V

.

The

Photomontage

22

VI

.

The

Exhibition

26

VII

.

Discussion

27

VIII.

Conclusion

29

IX.

Bibliography

31

Apendix

A

Thesis

Proposal

Apendix

B

Aknowledgements

and

Statement

Copy

slides of

the

images

at

the

end of

the

LIST

OF

FIGURES

1

-Photomontage

Layout

13

2

-Normal

Perspective

17

3

-Altered

Perspective

18

4

-Gears

21

5

-Rubylith Mask

24

6

J-

IIS1M0HQN

Being

the

son of a photographer

I

have

been

involved

with

photography

since

I

was a

kid.

In

1977,

I

graduated

in

Civil

Engineering.

From

1978

to

1985

I

worked

in

Sao

Paulo,

Brazil,

as a commercial photographer

doing

advertising

and corporate

work,

and whenever

I

had

time

photographing

doing

my

own work.

Going

back

to

school after seven years was

both

difficult

and

fruitful.

Difficult

because

of

the

readaptation

to

school

rules,

and

fruitful

because

the

school

is

still one of

the

best

environments

for

study

and research.

Until

1985

most of

my

personal photographic

work

followed

the

tradition

of straight

photography

being

focused

mainly

on

the

urban

landscape.

I

felt

the

need of

experimenting

with

something

else

besides

straight photography,

but

I

needed

the

time

to

research

and a greater exposure

to

non-commercial

photography

and photographers as well.

The

time

I

have

spent at

RIT

has

provided me

the

opportunity

for

this.

This

thesis

is

the

result of a

long

process

that

started as soon as

I

was accepted

to

the

MFA

Early

in

the

process,

I

decided

that

the

images

of

my

thesis

should not address or reflect

any

particular

culture,

that

they

should

be

as

worldly

as

possible and

function

_almost

the

_same

way

here

in

the

United

States,

in

Brazil,

or elsewhere.1

Since

I

am

from Brazil

and after

concluding

this

work

in

the

United

States

I

will

be

returning

to

my

country.

I

think

it

would

be

more

fruitful

to

me

to

have

a

body

of work

that

can

be

presented either

here

or

there

and not

be

considered as

addressing

any

specific culture.

I

was also careful on

selecting

the

technical

methods and equipment

used,

n.

THi^sjSJjgi

The

predominant subject

in

my

previous

photographic work

is

the

Urban

Landscape

and upon

analyzing

it

closer,

I

feel

that

it

deals

with a

somewhat negative aspect within

the

urban environment.

A

further

reflection on

this

made me

decide

to

use as subject

the

relationship

between

man,

environment,

and

technology,

and

in

my

mind

this

relationship

is

somewhat

detrimental

in

that

it

forms

a

vicious cycle: man creates

technology

which pollutes

the

environment which pollutes man who creates

technology

which pollutes

the

environment...

Despite

this

subject

being

a polemic

one,

I

did

not want

to

portray

the

immediate

reality

or

to

make an apparent social or political statement.

I

was

not

going

to

do

any

documentary

work at

all,

but

create

a

fictional

work

based

on

this.

It

would

be

product of

my

imagination

deriving

from

fantasy

visions or even

dreams

.

What

makes

it

even more

fictional

is

that

these

fantasies

and

dreams

are not related

to

the

present

time,

but

to

a

future

time

where man and

This

approach gave me

the

freedom

I

needed

in

the

creative process and

did

not restrain

my

work

to

show evidence or

testimony

of

this

relationship.

There

was also another

factor

that

influenced

me on

the

choice of

this

subject and

that

was

the

technical

procedure

I

wanted

to

use.

After

experimenting

with various

techniques

and approaches

to

photography,

and

reviewing

the

works

of some renowned

photographers,

I

was

specially

attracted

to

color,

as

I

have

always

been,

and

to

photomontage,

concluding

that

they

would constitute

the

basis

for

my

thesis.

Through

photomontage we can manipulate

photographs

physically

making

them

carry

and embed

meaning

beneath

the

surface.

What

we see might

be

neither real nor an apparent or

immediate

reality.

This

had

a great

influence

in

my

decision.

Having

chosen a subject and

my

approach

to

exploring

it,

and also

having

decided

to

use photomontage and color was a

beginning.

I

still

had

to

decide

what

kind

of

images

and photographic process

to

use

in

the

photomontage.

I

was

introduced

to

Computer

Graphics

and

I

found

it

a

very

powerful and

exciting

medium

for

dealing

with

images.

The

fact

that

anyone can

draw

with

photographic camera

it

is

just

another

tool

for

the

artist.

In

terms

of shape and

color,

the

images

that

can

be

created with a computer are

limited

only

by

the

artist's

imagination.

So

I

finally

decided

to

incorporate

Computer

Graphics

to

my

work

doing

a color

photomontage,

in

the

darkroom^

, with photographic

images

and computer

images^

.

Therefore

the

title,

"SOCIETY

BITS"* .

My

idea

for

the

final

images

was

that

each of

them

would

be

a photomontage were

I

would assemble a

computer

image

and one or more photographic

images

to

form

a composite photographic

image.

The

computer

image

would

take

the

full

size of

the

final

image

and would

function

as a

background.

It

would encapsulate

the

photographic

images,

which,

in

a smaller

size,

would

be

used

like

as

if

displays

or

billboards.

I

wanted

to

give

them

a connotation of

something

that

is

being

2

This

could

be

also

done

in

the

computer

by

digitizing

the

photographic

images

into

the

computer with a special camera connected

to

it,

but

this

would

certainly

cause

the

photographic

images

to

loose

qualities

that

are

inherent

to

them,

and

the

whole

image

would end

up

being

a computer

image.

3

I

refer

to

these

images

as computer

images

because

they

were created on

the

computer

but

in

their

final

form

they

are photographic

images

as well

since

I

transferred

them

to

film

by

photographing

the

screen of

the

computer

display.

4

BIT,

noun,

1

a small piece or

quantity

2

short

time

3

the

starndard measure of computer

information.

displayed,

a

recorded

image.

Figure

1

shows a photc

III.

THE

=SPJpJRAPlIC

IMAGES

I

started

photographing

as soon as

I

decided

I

would create a series of photomontages

dealing

with

man and environment.

For

approximately

seven months, wherever

I

went

I

carried

my

camera with me5

.

I

was not

looking

for

particular situations or great shots

I

was

just

shooting

whatever

I

found

interesting.

I

shot urban and

rural

landscapes,

people

in

various situations and

environments.

I

especially

made use of

low

shutter

speeds,

out of

focus

settings,

and mixed

lighting

to

obtain

blurred

and

unsharp

images

to

suggest

motion,

dynamism,

and unbalance.

All

of

these

I

thought

would

contribute

to

the

meaning

of

the

final

images

and would

translate

to

a process

that

is

unstable and not yet

finished.

After

seven months

I

had

enough

images

approximately

2,000

-to

continue

to

the

next step.6

I

then

went

through

all

these

images

and

carefully

selected

the

ones

that

I

thought

would

fit

my

purposes.

In

a

first

selection

I

chose about

120

of

them,

and again

I

went

through

these

120

images

more

5

All

the

photographic

images

were shot after

July

1985,

and about

90%

of

them

were shot

from

May

1986

to

December

1986.

6

I

shot on color

transparency

and negative

film

and

carefully

and with a

tighter

criteria,

selecting

60

of

them.

In

the

final

images

I

wanted

to

give

the

photographic

images

a connotation of

something

that

is

being

displayed.

If

I

used

them

straight

in

the

photomontage

I

would not achieve

this

because

they

would

be

seen

just

as

if

they

were cut and pasted on

the

computer

images.

I

needed

to

do

something

else with

them

and what

I

did

was

to

change

the

perspective of

them

so

the

viewer would not

look

at

the

scene

from

the

same angle of view as

the

camera

did

when

the

photograph was taken7 .

In

order

to

change

the

perspective of

the

photographs

I

would make a print of

them

and

then

reproduce

this

print with a camera not at

a right angle

(Figures

2

and

3).

The

resulting

photograph would not

be

an original representation of

the

scene

anymore,

but

a

distorted

reproduction of a

photograph.

I

made a

11x14"

color print of each of

the

sixty

photographs

I

had

previously

selected.

I

then

7

"... The

perspective representation corresponds

exactly

to

the

optical

impression

given

by

the

object

for

a certain position of

the

eye

in

front

of

the

plane of projection

(picture).

When

one views

the

picture on

its

own,

but

from

a

different

centre,

then

one receives visual

impressions

which

the

object

itself

would not give...".

'Albert

Einstein',

from

Pirenne,

M.

Optics,

Painting

and

Photography.

Cambridge;

Cambridge

University

Press,

1970,

p.

99.

went

through

them

making

another

selection,

but

this

time

taking

in

consideration which photographs would go

well

together

in

the

same photomontage.

I

selected

34

of

the

images

grouped

them

in

17

pairs.

So,

at

this

point

I

knew

which

two

photographs would

be

used

together

in

combination with a computer-image.

My

next

step

was

to

make

the

reproduction of

the

prints and change

the

perspective of

the

images.

Here

I

could

begin

playing

with

the

proportion

that

the

photographic

images

would

have

in

the

final

image.

In

order

to

minimize

the

darkroom

work

I

decided

that

I

would make

these

reproductions on

4x5"

color

transparencies

trying

to

give

them

the

exactly

proportion

they

would

have

in

the

final

composite

image.

I

reproduced

the

17

pairs of prints

giving

them

different

perspectives and

distortion;

changing

the

camera angle and sometimes

changing

the

camera

lens,

using

a wide-angle

lens

to

greatly

distort

the

images.

The

fact

that

my

original photographs were

reproduced resulted also

in

an

increase

of contrast and

color saturation which contributed

to

the

intention

of

the

final

images.

Now

having

these

pairs of photographic

images,

my

next

step

was

to

create

the

computer

image

that

would

be

assembled with each of

them

to

form

the

IV

.

THE COMPUTER IMAGES

As

I

said

before,

the

computer

images

would

take

the

full

size of

the

final

image

functioning

as a

background

and

encapsulating

the

photographic

images.

They

would symbolize

technology

and

the

technological

environment.

I

wanted

to

create a

symbol,

an

icon,

that

would

be

present

in

every

image,

and would somehow

create a

link

between

them.

After

some

thinking

I

came

up

with

the

form

of a

"gear"

(Figure

4).

Then

I

sat on

the

computer

defining

and

drawing

its

form,

and

storing

it

to

be

used on all

the

images.

To

create each computer image8

I

selected

the

photographic

images

that

would

be

assembled

together

with

the

computer

image.

These

photographic

images

were

not

the

original ones

but

the

reproductions

I

made.

Next,

since

these

images

were

already

in

the

approximately proportion

they

would

have

in

the

final

image,

I

transferred

this

proportion

to

the

computer so

I

could

have

an

idea

of

the

area

they

would

occupy

in

relation

to

the

computer

image.

After

analyzing

the

photographic

images

for

a while

I

thought

about

the

8

For

creating

the

computer

images

I

used a

Personal

Computer,

three

different

Software

Paint

Systems

and some programs

I

developed

myself

(this

mainly

to

do

color manipulations

that

were not possible

with

the

paint systems).

shape and color of

the

computer

image,

coming

up

with a

rough

idea

for

it.

Finally,

I

started

transferring

this

idea

to

the

computer,

experimenting

variations of

it,

and while

playing

in

the

computer new

ideas

came

up

and

for

many

times

the

final

computer

image

was

very

different

from

my

original

idea

for

it.

Each

computer

image

took

me

from

three

to

six

days

to

complete.

I

lived

with and worked on each

image

until

it

satisfied

me.

Then

I

transferred

the

computer

image

to

film

by

photographing

the

screen of

the

computer

display

on

8x10"

V.

TJE,

PiOIQMQNTAGE

Having

the

photographic

images

and

the

computer

images

that

were

to

be

assembled

together

in

a

final

composite

image,

I

began

working

on

the

photo

montage.

First,

I

had

to

make

drop-out

and

drop-in

masks.

Using

a pin-registered system

I

cut a mask on

rubylith.

Then

by

contact

I

exposed,

through

this

rubylith

mask,

two

sheets of

litho

film

thus

obtaining

two

drop-in

masks.

One

of

the

drop-in

masks was

going

to

be

used

for

the

photo-montage.

I

modified

the

contour of

the

other

drop-in

mask a

little,

so when

exposing

through

it

I

obtained a

drop-out

mask

that

did

not match

perfectly

the

drop-in

mask

that

was

going

to

be

used with

it

in

the

photomontage.

Therefore,

this

resulted,

in

the

final

composite

image,

in

an area of

overlap

between

the

photographic

images

and

the

computer

image.

(Figures

5

and

6)

With

the

masks

ready

and

using

an

8x10"

enlarger with a pin-registered negative carrier

I

printed

the

images

on

16x20"

color reversal paper.

The

paper received a

double

exposure,

in

the

first

one

I

exposed

the

8x10"

transparency

of

the

computer

image

using

the

drop-out

mask so

the

area reserved

for

the

Next,

using

the

drop-in

mask so

the

area previously

exposed would not

be

exposed

again,

I

exposed

the

photographic

images

assembled

together

in

a plate of

clear

film.

Using

this

procedure

I

made all

the

printing

(eleven

different

final

images)

on

16x10"

color

reversal paper.

DROP-IN

MASK

(used

with

photographic

images)

Litho

Film

Black

Area

Clear

Areas

DROF=OUT MASK

(used

with

computer

image)

Litho

Film

Clear

Area

Black

_

Arc*

*

Image

is

exposed

only through

the

clear

areas

of

the

masks.

VI

.

THE

;

EffllllTIpN

I

made a

total

of eleven

16x20"

images.

These

images

were matted on

20x24"

black

mat

board.

I

used a mat

board

which was

black

on one side

and white on

the

other so

that

when

I

cut

the

mats,

I

got a

thin

white stripe

contouring

the

images.

Then

I

framed

them

with

black

anodized aluminum

frames.

The

images

were exhibited at

the

Photo

Gallery

of

the

Rochester

Institute

of

Technology,

Rochester,

New

York,

from

March

28

to

April

3,

1987,

and a

Thesis

Sharing

took

place on

April

2,

1987.

The

sequence of

the

images

in

the

gallery

was

the

same as

the

sequence of

the

slides at

the

end of

VII.

piSCUSSIpN

Although

it

seems

that

the

work went straight

and

smoothly,

it

did

_not.

When

I

began

working

with

the

computer

images

I

had

seventeen pairs of photographic

images.

As

work

progressed

these

pairs were changed.

Images

that

were

supposed

to

be

together

end

up

in

different

composites

and some

"selected"

images

were not used at all.

I

also

had

to

go

back

to

my

archives and pull out

images

that

were not

in

my

previous selection and even

had

to

shoot

two

new

images

which

I

felt

were needed.

Some

of

the

images

had.

to

be

reproduced again

because

as

I

changed

my

mind when

the

previous reproduction

did

not

fulfill

my

intention

anymore.

I

did

almost all

the

shooting

of

the

photographic

images

first

and

then

I

began

working

in

the

computer

images,

but

I

did

not

do

all

the

computer

images

before

doing

the

photomontage.

When

I

finished

the

first

computer

image

I

also

did

the

first

photomontage

(slide

1).

This

gave me a good

idea

of

how

the

images

would

look

when

transferred

to

a print.

Then

I

went

along

doing

two

or

three

computer

images

at a

time

and

the

respective photomontages.

There

were

three

main steps

in

my

work:

the

shooting

of

the

photographs,

the

selection and

reproduction of

them,

and

the

creation of

the

computer

images.

In

the

first

step

I

hardly

perceived

the

effort

I

was

giving

to

it,

but

I

can still remember

the

hours

of work

I

spent on

the

second and

third

steps.

Sometimes

I

would stare at

my

photographs and at

the

computer

display

for

hours

thinking

about what

I

was

looking

for.

This

was a

very

delicate

process.

For

many

times

it

really

seemed

that

I

was

dreaming

awake

being

mentally

and

spiritually

in

a place

different

than

the

one

I

was

in

physically.

This

often

happens

with me

when

I

get so

deeply

involved

in

my

thoughts

that

I

kind

of

disconnect

from

the

world

that

surrounds me.

(Many

times

my

wife gets

angry

at me

because

of

this,

people would

talk

to

me and

I

would not notice

it,

but

VIII.

CONCLUSION

Each

of

the

final

images

has

its

own

meaning

tied

together

around

the

subject.

The

computer

images,

as

I

mentioned

before,

served as a

background

which encapsulates

the

photographic

images.

Together

they

represent

technology

and

the

technological

environment.

Their

form

is

very

geometric and

they

are rich

in

color.

Although

being

pleasant

they

have

no

content,

they

do

not

have

a

life

of

their

own,

they

do

not

transmit

the

tension

and

dynamism

that

most of

the

photographic

images

do,

and

they

are meant

to

be

this

way.

On

the

other

hand,

the

photographic

images

address man and

nature,

life

and

death,

purity

and

degradation.

There

is

always a

relationship

between

the

photographic

images

in

the

same

composite,

they

are

in

agreement or

dissonance,

but

they

are related.

The

photographic

images

are

just

ordinary

photographs

that

would not

have

any

greater

significance

if

displayed

one

by

one.

The

same

is

true

of

the

computer

images.

But,

when

the

images

are

brought

together

in

the

same composite,

they

all

contribute

to

the

content of

the

final

image.

The

images

can

be

appreciated

just

for

their

richness of

color,

form,

or

intrinsic

meaning.

However,

I

let

the

viewer

establish,

_{or not}

establish,

the

link

between

the

images

and

the

real

BIBLIQGRjyPHY

-Capers,

Roberta M.

and

Maddox,

Jerrold,

Images

_and

Imagination

-an

introduction

to

art,

The

Ronald

Press,

NY,

1965.

-Enyeart,

James

L.

,

Jerry

N.

Uelsmann

-Twenty-five

Years:

A

Retrospective,

New York Graphic

Society,

NY,

1982.

-Enyeart,

James

L.

,

Jerry

N.

Uelsmann:

Photographs

from

1975-79,

Chicago

Center

for

Contemporary Photography,

IL,

1980.

-Euclaire,

Sally,

The

New Color

Photography,

Abbeville

Press,

NY,

1981.

-Haas,

Ernst,

The

Creation,

Viking Press,

NY,

1971.

-Halsman,

Philippe,

Halsman

on

the

Creation

of

Photographic

Ideas,

Ziff-Davis

Publishing Co,

NY,

1961.

-Jankel,

Annabel

and

Morton,

Rocky,

Creative

Computer

Graphics,

Cambridge

University Press,

MA,

1984.

-Kerlow,

Isaac

V.

and

Rosebush,

Judson,

Computer

Graphics

for

Designers

and

Artists,

Van

Nostrand

Reinhold

Co.

,

NY,

1986.

-Eastman

Kodak

Co.

,

Copying

and

Duplicating

in

Black-and-White and

Color,

Publication

M-l,

Rochester,

NY,

1985.

-Lewell,

John,

Computer

Graphics

-

A

Survey

of

Current

Techniques

and

Applications,

Van

Nostrand

Reinhold,

NY,

1985.

Pirenne,

M.

,

Optics,

Painting

and

Photography,

Cambridge

University

Press,

MA,

1970.

-Prueitt,

Melvin

L.,

Art

and

The

Computer,

McGraw-Hill,

Inc.

,

NY,

1984.

-Rosenblum,

Naomi,

A World

History

of

Photography,

Abbeville

Press,

NY,

1981.

-Rothschild,

Norman,

The Metaphorical

Eye,

Amphoto,

NY,

1976.

-Scott,

Joan

(editor)

and

The

Third

Coast

Computer

Graphics

Group,

Computergraphia

-New Visions

of

Form,

Fantasy,

and

Function,

Gulf

Publishing

Co.,

TX,

1984.

-Stangos,

Nikos,

Concepts

of

Modern

Art,

Harper

and

Row,

NY,

1981.

-Stein,

Sally,

Harry

Callaham:

Photographs

in

Color,

1946

-1978,

Center

for

Creative

Photography,

University

of

Arizona,

AR,

1980.

-Stroebel,

Leslie,

Todd,

Hollis,

and

Zakia,

Richard

D.

,

Visual

Concepts

for

Photographers,

Focal

Press

Inc.

,

NY,

1980.

Szarkowski,

John,

Mirrors

and

Windows:

American

Photography

Since

1960,

Museum

of

Modern

Art

of

New

-Tausk,

Petr,

Photography

in

the

Twentieth

Century,

Focal

Press,

London,

1981.

-White,

Minor,

Mirrors Messages

and

Manifestations,

Aperture,

Inc.,

NY,

1982.

APENDIX

A

Thesis

Proposal

SOCIETY

BITS

by

Jose

Henrique

Ferreira

Lorca

Submitted

in Partial Fulfillment

of

the

Requirements

for

the

Degree

MASTER OF FINE ARTS

MFA PHOTOGRAPHY PROGRAM

SCHOOL

OF PHOTOGRAPHIC

ARTS AND SCIENCES

ROCHESTER

INSTITUTE

OF

TECHNOLOGY

ROCHESTER,

NEW

YORK

THESIS.

BOARD

Dr

Richard

D.,._J5ajkj.<3

. chairman

Professor

School

of

Photographic

Arts

and

Sciences

Rochester

Institute

of

Technology

Rochester,

NY

Mr:.,...._

Andrew.JDa.yId.hazy

Professor

School

of

Photographic

Arts

and

Sciences

Rochester

Institute

of

Technology

Rochester,

NY

Mr,

Murray

_._

Patton

Coordinator,

Dye

Transfer

Eastman

Kodak

Company

STATEMENT,,

OF

PURPOSE

To

portray

my

dreamy

_{visions and}

fantasies

about

the

detrimental

interrelation

of

man,

environment,

and

technology,

and

the

effects of one

upon

the

other.

I

have

always enjoyed

the

manipulation of

photographs_, and

the

embeded

meaning

that

a photograph

carries

beneath

its

surface.

The

fact

that

a photograph can

be

manipulated

physically

-what we often see

is

neither real nor an

immediate

or apparent

reality

-and

that

it

can

be

used

as a

methaphor,

had

a great

influence

in

my

decision

on

choosing

the

path

I

will

follow

in

my

thesis.

Most

of

the

final

images

will

be

constituted

by

three

primary

images,

each of

them

within a certain

context.

First

the

symbolic portrayal of

the

human

being

representing

his

effects on

the

environment and

or

the

effects of

the

environment on

him,

secondly

the

social environment, and

finally

the

presence of

technology

and or

"machine" .

I

was somehow

influenced

by

the

works of

White,

the

use of

the

photograph as a

metaphor,

and

Ernst

Haas,

the

use of

color,

and

the

works of some of

RIT's

faculty.

At

this

point,

trhoughout

the

life

experience

I

had

before

coming

to

RIT,

and

the

experience

I

achieved

here,

a new and

fresh

environment where

I

was

exposed

to

a culture

different

than

mine,

I

consider

myself prepared

to

set sail and

take

this

project

forward.

Pj|QEpjRE

The

most

important

composition elements of

my

final

images

will

be

Multiple

Imagery

and

the

use of

Color.

Some

images

may

not

be

crisply

sharp

or even

sharp,

color rendition

may

be

poor or

exagerated,

the

composition of

the

elements

in

the

image

may

be

pleasant or unpleasant, and

the

size of

the

images

may

vary.

These

elements will

be

the

ones

that

will

build

up

the

reasoning,

the

interpretation

of

my

vision

embeded

in

the

image.

Among

the

techniques

I

intend

to

use are:

strip

photography,

blurr,

montage,

and computer

m|EF,JIlLipjRAPH:Y

-Enyeart,

James

L.

,

Jerry

N.

Uelsmann

-Twenty-five

Years:

A

Retrospective,

New

York:

New York Graphic

Society,

1982.

-Enyeart,

James

L.

,

Jerry

N.

Uelsmann:

Photographs

from

1975-79,

Illinois:

Chicago

Center

for

Contemporary

Photography,

1980.

-Szarkowski,

John,

Mirrors

and

Windows:

American

Photography

Since

1960,

New

York:

Museum

of

Modern

Art,

1978.

-Haas,

Ernst,

The

Creation,

New

York:

Viking Press,

1971.

-Rosenblum,

Naomi,

A

World

History

of

Photography,

New

York:

Abbeville

Press,

1984.

-Stangos,

Nikos,

Concepts

of

Modern

Art,

New

York:

Harper

and

Row,

1981.

-Euclaire,

Sally,

The

New Color

Photography,

New

York:

Abbeville

Press,

1981.

-Rothschild,

Norman,

The Metaphorical

Eye,

New

York:

APENDIX

B

ACKNOWLEDGEMENTS

AND

STATEMENT

Thesis

Title:

Society

Bits

Thesis

Board:

-Dr.

Richard

D.

Zakia,

_chairperson

-Professor

Andrew

Davidhazy

-Mr.

Murray

Patton

I

would

like this

opportunity

to

thank:

-my

wife,

my

daughter,

and

my

parents

for

their

great

support

;

-the members of

my

board

for

their

great contribution

to

my

work;

-Professor

Tim

Callaham,

Professor Robert

Keough,

and

Mr.

AlanBernard

also

for

their

contribution

to

my

work.

Societ,y

Bi-fcs

represents

my

"dreams

and

fantasies"

about

the

detrimental

interaction between

man,

environment,

and

technology.

Some

years ago

I

started

focusing

my

photographic work on urban and rural

landscapes

and

I

noticed

that

what most attracted

my

attention wasn't

the

landscape

itself

but

marks man

had

left

on

it.

So,

I

started

considering

this

interaction

of man

(of

whom

technology

is

a

product)

and environment as a subject

for

my

thesis

project.

Later

I

was

introduced

to

Computer

Craphics

and

found

on

it

a powerful

tool

for

image

creation

deciding

then

to

combine

these

two

media,

through

the

use of photomontage,

to

develop

my

project.

Here

I

am portraying

technology

and man

(as

cause)

through

the

computer graphics

images

which

although colorful

in

most cases

they

carry

no

substance, what

for

me

has

the

significance of absence

of

life

and makes me

worry

about our

future.

Environment and man

(as

effect) are portrayed

through

the

stripped

in

photographic

images,

and

the

idea

of a

the

flat

plane

is

so

that

these

images

function

as a

display

of

the

process

that

man and

environment are

going

through or will

have

gone

through

in

a

future

time,

or as a

display

of something

that

will exist

only

It

is

important

to

notice

the

words

dreams

and

fantasies

since

my

work

is

neither a

documentary

nor an apparent

reality,

but

a product of

my

imagination

based

on some reality.