Dream images

Rochester Institute of Technology

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5-1-1983

Dream images

John Nasif Samaha

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JOHN N.

SAMAHA,

REQUEST TO BE CONTACTED EACH TIME A

REQUEST FOR REPRODUCTION OF MY THESIS "DREAMLAND" IS MADE.

I CAN BE REACHED AT THE FOLLOWING ADDRESS: 436 22nd Avenue North East

Saint

Petersburg

, Florida , 33704

MAY,

1983

DEDICATION

CONTENTS

Permission to copy form Dedication

Illustrative Material Index

I II

IV

Introduction

Discussion

Conclusion

Bibliography

Appendix

Visual References Thesis Proposal

1 2

9

11

13

ILLUSTRATIONS

1.

Photograph I 4

2.

Photograph Ii 6

INTRODUCTION

Please seek out the real purpose of this report in the

photographs. It is with these images that I have tried to

communicate what I have

thought,

felt,

and dreamt.

My

work is experimental in technique. The images are created as

fantasies juxtaposed with the tradition of

design, figure, line,

planes of

dimension,

and overall composition.

By

_using color

materials in a non-conventional _way, I am _exploring the range of

photographic possibilities with _color,

form, drama,

_emotion,

mystery, and life.

Pnotography

functions

beautifully

for these

narrative elements because of _{its ability} to transform a real event

into something mysterious, removed from , but still a part of,

reality.

During

the time the thesis was

developing,

_my emphasis was

directed toward _recording visions.

Daily

passages of _{nightly dreams}

were remembered and recorded in my journal (the journal and pen

remained

bedside)

to facilitate remembrance of _{color, actors,} and

stage _settings, the dream theater revealed. From these

performances, I formulated the direction of _{characters, colors,}

textures,

and _setting to be presented in the photographic medium.

Beginning

with the blackness which is essential to the

dramatics,

the pictures are wonderfully colorful, filled with

intentionally

chosen spaces,

line,

light,

and mystique that surfaced on the print.

In this way, I have tried to fill this photographic space with life

and color in hopes of _enhancing visual awareness.

-DISCUSSION

I have always been fascinated

by

_{the way things} work and fit

together. From a _{very young} age , I have wanted to take apart and

"fix"

anything and everything. _{I was,}

therefore,

drawn to

photography, partially because of the apparent _{mystery in the way it}

works. When I first _{began experimenting} with color

film,

I wanted to discover what it could do besides record normally. _{For example,}

I used the cool Florida evenings to experiment with _color,

light,

and

form,

and even photographed in a cave full of

bats,

for its total darkness allowed extended exposure time.

Since

then,

I have learned more about photography.

Certainly

when I started out I _{knew very} little of technique and technical

matters, however my curiosity about _photography and photographs grew

and eventually led me to RIT. While in

Rochester,

I had two years

to immerse myself in the study of _photography and to produce a

body

of work _{culminating in} the thesis show. At

RIT,

I refined the techniques for the types of images with which I had previously been

experimenting.

For the series of _{thesis photographs,} the front room of _my

apartment was converted into a dark-blackroom.

By

blocking

the

window light and

hanging

black no-seam I created a stage on which to

explore _{my ideas.} There

Marilyn,

my wife, and I worked through the

winter of 1981-82. Almost eyery image was pre-visualized and

sketched _{for color,}

theme,

and composition. The actual execution of

the ideas became a choreographed performance in

darkness,

punctuated

by

flashes and lines of colored

light.

We worked in the early

-morning and late evenings. For me these are the clearest and most

charged parts of the day.

My

mind was more attuned to the concepts

being

used.

I work _{similarly to the way} a painter

does,

in that I start with

a blank frame and

deliberately

define the space with color and

emotion,

illuminating

exactly what I want. One of the more

fascinating

parts of this process occurs at the nexus of exposures.

By

layering

and _{overlapping light} and

image,

a new area is formed.

Dissolving

one image and/or color into the next indicates a change

of time. An abrupt shift in tone or image can indicate a change in

place. For example, in photograpn I if the image is read from left

to right, one gets a

feeling

of motion as one face/color bleeds into

the next. Because the face movement is

blurred,

there is a sense of

time lapse. The three faces at the

top

of the same image have

well-defined boundaries of color and

tone,

thus each one is in its

separate place.

Therefore,

in this photograph, there is both a change in time and space.

On the other

hand,

photograph II has a _{yery sharp} division between

blackness and fire. There is a _sharp edged change of place with the

same masque _{existing in} three different places at the same time.

While some of these intersections are _{pre-planned, many} are only

realized through _{post-visualization,} thus _completing the circle of

By

controlling the

layering

of planes and

images,

a photograph

is constructed to lead the viewer's eyes through

it.

A color or

image which _{is in sharp} contrast to its surroundings can serve as a

lead-off point for the rest of the

image.

By

using these and other

devices,

metaphors for life have been

narrated.

While _working in the

dark,

experiences such as

kicking

the

tripod,

or

having

the lens set

incorrectly

sometimes led to a better

image than was preconcieved.

However,

more than once I went through

an elaborate set of exposures _only to discover the lens or darkslide

had not _{been opened, tiius} the image was lost.

Keeping

track of all

the elements from the model's position to the film in a pitch black

room was

trying

at

times,

but because I limited myself to one room, I was able to control the elements and their effect to a great

degree.

The pre-visualization of the photographs was the most

demanding

step in the process. This is where the _editing process took place.

Coming

up with the ideas and

drawing

sketches took the place of proof sheets and rolls of film. However since each photograph was

conceived prior to execution, editing time and decisions for the

show were reduced to a minimum.

Working

this way forced me to know

each photograph before making it.

The ideas for the sketches came from feelings and emotions I

have about life.

By

using information from

dreams,

I was able to free myself to explore uncommon realities.

Stimulating

the human

-senses is _my goal; I hope to make people feel moved beyond their

five _senses, to feel the enigmatic senses. I want to create that

sense of wonderment a child feels

by

_creating questions and

nonsequiturs that give people

something

to think about.

My

creation of these effects are linked to print size. The show

consisted of twenty-three 2U"X24" prints ana seven 3U"x40" prints.

Scale was important for both the psychological and physical impact

on the viewer. Prints this size allowed the viewer easier access to

the photographic space. I would liked to have print the entire show

30"X40",

but limitations of _{money, facilities access,} and _gallery

space precluded this.

In the future I hope to continue to refine the

totality

of _my

color expierence. At this point, I have only begun to discover and

to learn about color and life's mysteries. With these

images,

I

will continue to strive for some understanding.

-CONCLUSION

The stated purpose of the thesis was: To recreate and expand on

the images from _my dreams and to

incorporate

them with _my

environment. To achieve

this,

I drew from _{my dreams} much more than

mere images: I relied on the thoughts and emotions presented _nightly

in the poetic stream. More than a few times

during

_{the thesis show,}

people asked me if my photographs

truly

represented _my

dreams;

the

answer is no. These photographs are creations of

thoughts,

emotions, and images _{from my dreams that} were synthesized through _my

conscious reality. The dreams were the vehicle in which to explore

my current

thoughts,

feelings,

and emotions.

In the introduction to Silver

Meditations,

Peter Bunnell states

that:

Uelsmann's photographs, like

dreams,

have either no _meaning or

several meanings. Photographs freed from the scientific bias

can, and indeed usually do have double meanings, implied

meanings, unintended _meanings, can hint and

insinuate,

and _may even mean the oppsite of what

they

apparently mean. He also

says,

"Most

people still tend to think that when photographers make pictures

they

must depict objects and scenes that could in

principle, also be described in

words."

These statements sum _up

beautifully

the _{intended meaning} and depth

of _my works.

It is through artists, and individuals who do not even consider

themselves artists, that I have drawn the inspriration to

photograph.

Many

times I'll percieve another persons work as a

challenge or question to be confronted. I'm drawn to this work for

Being

able to find inspiration in the extremes of modern life has

brought me much satisfaction. I am excited

by

work that exudes

life,

color and a _questioning of our existence within this modern

world of high technology.

The people I have included as references have either produced

objects, words or actions that have forced me to think about their

questions and respond to them. These people have enriched _{my way} of

thinking

and _{working in} all phases of living.

BIBLIOGRAPHY

Alquie,

Ferdinand The

Philosphy

of Surrealism

Ann Arbor: The

University

of Michigan

Press,

1965

Translated

by

Bernard Waldron.

Arp,

Jean

Arp

on

Arp

Translated

by

Joachim Neugroschel New York:

Viking

Press,

1966

Arp,

Jean

Arp

on

My

Way;

Poetry

and Essays 1912...1947

Wri

ttenbron, Schultz,

Inc. New

York,

1948

Breton,

Andre Manifestoes of Surrealism

Ann Arbor: The

University

of Michigan

Press,

1969 Translated

by

Richard Seaver and Helen Lane

Breton,

Andre Arbiter of Surrealism

Geneve: Librairie

Droz,

1967

Breton,

Andre What is Surrealism

New York: Haskell House Publishers

Ltd,

1974

Coleman,

Allen D. The Grotesque in

Photography

Italy: Mondador

Editore,

1977

Dutton,

A. A. AA Dutton's Compendium of Relevant But Unreported Twenth Phenomena

Fowlie Wallace Age of Surrealism

Bloomington and London: Indiana

University Press,

1960

Hattersley,

Ralph Discover Yourself Through

Photography

New York: Association

Press,

1971

Haus,

Andres

Moholy-Nagy

Photographs and Photograms

New York: Pantheon

Books,

1980

Jung,

Carl G. Man and His Symbols

New York: Dell

Publishing

Co.

Inc.,

1904

Labrot,

Syl Pleasure Beach

New

York:

Eclipse,

1976

Levy,

Julian Surrealism

New York: Black Sun

Press,

1936

Maldonado,

Adal The Evidence of Things Not Seen New York: Da Capo Press Inc. , 1975

Turabain,

Kate L. A Manual for Writers

Chicago: The

University

of Chicago

Press,

1937

Uelsmann,

Jerry

Jerry

N. Uelsmann

Philadelphia:

Aperture,

1970

Uelsmann,

Jerry

Silver Meditations

Dobbs

Ferry,

New York: Morgan and

Morgan,

1975

Willams,

Hiram Notes for a

Young

Painter

Pheonix,

Arizona: Dutton

Buse,

1977

APPENDIX

All the negatives for the show were made with a 1950's Super Graphic

view camera and a 135mm 4.7 Optar lens. Vericolor Type L and S were

used developed _{normally in} C-41 . All prints were made on Kodak

Ektacolor RC 74 F surface paper. Of the

thirty

prints in the show,

twenty-three were i.u"X24" and the other seven were 30"X40". All the

prints were machine processed.

Working

with 4"X5" allowed the greatest amount of

flexibility,

control and print quality. The format allowed me to make multiple

exposures, rotate the

film,

mask the film

during

exposure, remove and

reinstall the

film,

make critical alignments on the ground glass and

parallax _{adjustments, among} other things.

My

main

lighting

tools were a

penlight, slide-projector, a small _strobe, and colored lights powered

by

SX-70 batteries. I even used the light of fire and television. Optical

glass

filters,

colored gelatin and tissue paper were used to color the

light. While many combinations of these and others were _used, in every

case the final prints were exposed from a single negative with no

manipulation other than

dodging

or burning.

VISUAL REFERENCES

Chuck Close

Andy Davidhazy

William De

Kooning

Allen Dutton

Robert Fichter

Seigfreid Halus

Ralph

Hattersley

Robert Heinecken

Eikoh Hosoe

Paul Jenkins

Syl Labrot

Rene Magritte Edward Mattalon Joan Miro Richard Misrach

Moholy-Nagy

Doug

Prince

Federico Fellini 8 1/2

J. Tati - Playtime

Duane Michales

Lucas Samaras Evon Streetman Arthur Tress

Jerry

Uelsmann Ted Victoria Todd Walker Weegee Hiram Williams Man

Ray

Willam Wegman

DREAM

IMAGES

BY

JOHN NASIF SAMAHA

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

November,

1981

Richard

Zakia,

Chairperson

~

Professor

School of Photographic Arts and Sciences

Andrew

Davidhazy

Associate Professor

School of Photographic Arts and Sciences

Roger Harnish

Assistant Professor

College of General Studies

Charles

Werberig

Assistant Professor

School of Photographic Arts and Sciences

STATMENT OF PURPOSE

To recreate and expand on the images from my dreams

and to incorporate them with _my environment.

-BACKGROUND

I remember _{my hands shaking} the first time I saw "Silver

Meditations."

Jerry

Uelsmann's images opened _my mind to a new

creative use of photography. _{Prior to this awakening I} perceived

photography as a straight medium. I knew there was fine art

photography because I saw it in galleries and museums. It was

Jerry

Uelsmann's images that led me to believe that the silver image could

contain multiple levels of

involvement,

_meaning and consciousness.

One of _my earliest recollections is of a hotel in Beirut. It

had a bar behind which was a _very large window into the pool above.

The turquoise color of the water with people _swimming left an

indelible image on _my mind.

Studying

the

details,

this is sort of

the wonder of a child _staring at a seen

displaced,

untouchable yet

not

totally

unknown but somehow altered.

By

producing the images for this project I hope to both create

and discover. In creating one reality we _may also discover another

which was

initially

overlooked or unplanned. As a child I would

discover images in the stucco _{ceiling in my} room, that I was sure no

one else saw. I like to create _my own realities. The photographic

medium is perfectly suited for this because of its inherent

believibility. With it I can engage conscious _reality and create

fantasies where I can

image, draw,

change and express the ideas that

I

have,

by

dissolving

the boundries from the conscious to the

subconscious.

It is the smooth _covering of night

blackness

that I _enjoy

working

in.

The extreme contast of reflective stars in the black

sky is a endless wonder. _{Magic in photography for me is}

being

able

to "paint" with colored

light,

to break free of gravity's natural

order. The dreams that are the most _exciting and memorable are the

ones in which natural order is replaced

by

the subconscious. An

"out

of control"

feeling

is generated such as

flying

or falling.

The mind allows us to travel in ways unbounded

by

physical reality.

i will choreograph and stage in

light,

_recording the climactic

fragment of events.

By

having

direct personal contact with my

materials I hope to manipulate the light with _my hand in such a _way

as to transfer _my energy to the film.

Straight photographs of still objects do not reflect _my

attitudes in

dealing

with the complex realities of modern living.

Layered with its problems and

joys,

I experience life through speed

and the mass media. I hope to express _my mixed desires for freedom

over mundane _reality and explore _{my dreamlike} creations

by

_engaging

in this experimental project.

This project is based on _my commitment to deal with accidential

and planned events, staged in blackness. Color images layered

through a conscious and dreamlike urgency to explode like fireworks

in the night. Through these images I hope to suggest personal

realities. I hope to produce some special memorable images that

will feed the lean uncertain periods.

But,

much more important is

the desire to understand more about

life,

dreams and myself. This

will facilitate my development as an artist.

-PROCEDURE

I have always dreamed extensively. It is unusual for me not to

have

a night full of dreams.

There

are _{many repeating motifs,} and also new

totally

different ideas and images that present themselves

to me nightly. I am _currently

keeping

a dream journal in an effort

to better understand, remember and drew from the images of _{my dreams.}

I intend to use _my photographic material much in the same _way a

painter works a canvas. I will build the scene piece

by

piece,

section

by

section _adding colors and images where and when I want

to,

in the frame.

Although I will work with other formats

including

video, I

expect the bulk of _my work to be with 4X5 color.

Using

4X5 allows

freedom,

efficiency and precision in my method of working.

Materials alone for this project will cost around

$500.

The show date is April

24-30,

1982.

-John N.Samaha III

202 _{Saratoga Ave.}

Rochester,

N.Y. 14608

(716)

468-9830

EDUCATION:

1 982-1980

1979-1975 EXPERIENCE: 1982-1982-83 1982 1982-1981 1981-1980 1980-1979

Rochester

Institute

of

Technology,

Rochester,

N.Y. 14623

Degree: Master of Fine Arts

Major:

Photography/Video

University

of

Florida,

Gainesville,

Florida 32601

Degree: Bachlor of Arts

Major:

History/Photography

J. A.M.

Productions,

Rochester,

N.Y. 14604

Working

with state of the art Video equipment

including

Sony

BVE5000 Computerized 1

"Editing

, BVH1100A and BVH500A

videocorders, BVT 2000

TBC's,

BVP330 cameras, New Chyron IV

character generator with

Digifex,

Artist

Pallet,

and MGM.

Majority

of productions are for corporate

industrial,

and

educational clients.

Specializing

in videodisc design and

production. Also _working with

Wang

VS word _processing

equipment.

Co-producer and computer editor of a Video Laser Disc with

Rochester Institute of

Technology

and JAM Productions. Produced

a one hour videodisc entitled Test Target

Display

with the

aid of facilities at

RIT,

The Tape House Editorial

Co., Inc.,

New York

City,

and JAM

Productions,

Inc. ,

Rochester,

New York.

The interactive program is a portfolio of photographers and

their work, included are _nationally and

internationally

known

photographers and graduate _photography students from R.I.T.

Freelance

Videographer,

Rochester,

N.Y. 14608

Director/Cameraman and Editor of a 30 minute

documentary

on

Ad Designer George

Lois,

of Lois Pitts

Gershon,

N.Y.C.

Photo Lab

Management,

The Saunders

Group,

Rochester N.Y.

Graduate

Assistant,

Rochester Institute of

Technology

Assisted

falcuty

with production of selected projects.

Assisted with management of Film/TV area and equipment.

Teacher,

Partners

Project,

Rochester Institute of

Technology

Co-operative project with the N.Y.S. Division For Youth.

Teaching

photography and film to juvenile delinquents.

Photographers

Assistant,

Bedford

Photographic, Bedford,

N.Y.

Assisted production and management of professional studio

-i|V

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