Compose two styles
Rather than blending two styles into a middle, this assigns them roles: one carries the structure, the other appears as an accent. Where the two fight, it says so before you start.
How to divide the work
- Composition
- Follow Japanese Realism Photography: Move in wide and keep hands and feet inside the frame
- Type
- Set in Japanese Realism Photography's manner (Headlines name the subject plainly, with no metaphor), and let Provoke's lettering (Type struck over the image and cropped, explanatory captions removed) appear only where you want the eye to catch.
- Material
- Ground in Japanese Realism Photography's material (Push the film, keep the grain, print on the hard side); bring in exactly one thing from Provoke (Pushed grain and crushed black, tone thrown away in exposure and development).
- Colour
- Build on #e9e6dd, #67635d, #171615 and admit one accent from #e9e6dd, #67635d, #171615.
Where they fight
- Both belong to Photography Movements, so the difference is small. Push the roles further apart than feels comfortable.
Caution
- Japanese Realism Photography The unstaged principle is proclaimed while the subject is pressed to stay as they are, and the relation between photographer and photographed goes unexamined.
- Provoke Adding blur and grain afterward as an effect leaves pictures that are merely rough, because nothing changed in how they were taken.
Image prompt
An original image that takes its structure from Japanese Realism Photography (Style, 1950–1958) and its accent from Provoke (Style, 1968–1970). Structural cues: The unstaged principle; Social subjects faced directly; Close wide-angle work; Coarse-grained prints. Accent cues, used sparingly: Rough grain (are); Blur and defocus affirmed; High-contrast black; Fragmentary framing. Composition: Move in wide and keep hands and feet inside the frame. Type and lettering: Headlines name the subject plainly, with no metaphor. Let one material quality come from the second style: Pushed grain and crushed black, tone thrown away in exposure and development. Mood: Trust, Rebellion, Intimacy, Exhilaration, Calm. Color: build on #e9e6dd, #67635d, #171615 with a single accent drawn from #e9e6dd, #67635d, #171615. Constraints: do not imitate, reference or name any specific artist, studio, brand, character or copyrighted work. Produce an original composition in the general period languages described above.
Related entries
- Japanese Realism Photography 1950–1958 / Style / Photography Movements
The postwar Japanese movement Domon Ken led under 'absolutely unstaged, absolute snapshots.' Hiroshima and Children of Chikuho faced society directly, drawing amateur monthly contests into the reconnection of photography and life.
- Provoke 1968–1970 / Style / Photography Movements
The magazine Provoke called itself provocative materials for thought. Working through are-bure-boke, coarse grain and blur and lost focus, it stripped photography of tidy meaning and gave seeing back its rawness.
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