• Login
    View Item 
    •   Home
    • Massey Documents by Type
    • Theses and Dissertations
    • View Item
    •   Home
    • Massey Documents by Type
    • Theses and Dissertations
    • View Item
    JavaScript is disabled for your browser. Some features of this site may not work without it.

    Mr Webster's marvellous photo booth : an exegesis submitted in partial fulfilment of the requirements for the degree of Master of Fine Arts, Massey University, Wellington, New Zealand

    Icon
    View/Open Full Text
    01_front.pdf (159.5Kb)
    02_whole.pdf (2.454Mb)
    Export to EndNote
    Abstract
    In Mr Webster’s Marvellous Photo Booth, photographic portraiture provides a basis for exploring the process of image making using analogue photography. The relationship between the photographer and sitter allows performative and educational aspects in the role of photographer to mediate image production. Time/space is allowed for the examination and discussion of photographic practice by explicitly revealing the process of image making. This space is created in two ways, by including the audience in the darkroom experience and through the resulting aesthetics embedded in the final photographic print. The exegesis begins by providing a background to the project, describing the testing and exploration of home-made cameras resulting in the design and construction of the 10 x 10 inch camera employed in this specific body of work. The following section examines the relationships and engagement between photographer and sitter by referencing some influential precedents, and examining performative aspects in relation to the role of photographer. This extends to a consideration of academic discussion around art-based pedagogical practice and socially engaged art practice. The subsequent section examines portrait photography and the sociology of this particular project through an examination of the techniques of historical photographers. Finally, it positions the medium and the influence of aesthetics, with particular reference to the hand made and material paper object. “Since photography usually involves a two-step process of creating a negative and then using it as a template to create a reversed (positive) version, innovation could take place all along the sequence,” (Rexer, 2002, p. 12.). The particular impact of the wet negative when combined with the wet positive in this specific project defines a unique outcome compacted to fit the timeframe of the sitter so that their experience can include the processing of the negative and creation of a print that uniquely reflects their presence in the photographic studio and the aesthetic central to the process.
    Date
    2015
    Author
    Webster, Tam
    Rights
    The Author
    Publisher
    Massey University
    URI
    http://hdl.handle.net/10179/7600
    Collections
    • Theses and Dissertations
    Metadata
    Show full item record

    Copyright © Massey University
    | Contact Us | Feedback | Copyright Take Down Request | Massey University Privacy Statement
    DSpace software copyright © Duraspace
    v5.7-2020.1-beta1
     

     

    Tweets by @Massey_Research
    Information PagesContent PolicyDepositing content to MROCopyright and Access InformationDeposit LicenseDeposit License SummaryTheses FAQFile FormatsDoctoral Thesis Deposit

    Browse

    All of MROCommunities & CollectionsBy Issue DateAuthorsTitlesSubjectsThis CollectionBy Issue DateAuthorsTitlesSubjects

    My Account

    LoginRegister

    Statistics

    View Usage Statistics

    Copyright © Massey University
    | Contact Us | Feedback | Copyright Take Down Request | Massey University Privacy Statement
    DSpace software copyright © Duraspace
    v5.7-2020.1-beta1