Autor: tea mauko

Currently, the project lacks a sufficient level of artistic expression. To elevate its artistic quality, it’s essential to delve deeper into experimental and innovative approaches. This aligns with the belief that photography is an art form deserving of respect and thoughtful treatment.

Exploring Artistic and Experimental Approaches:

1. Study Artistic Movements and Techniques:
   • Research various artistic movements in photography, such as surrealism, abstract photography, and avant-garde techniques. Understanding how these movements pushed boundaries can inspire new ways to approach my work.
2. Focus on Conceptual Photography:
   • Developing projects that convey strong concepts or narratives. Conceptual photography often requires thinking beyond the literal image to evoke deeper meanings and emotions.
3. Engage with Contemporary Art Trends:
   • Keeping abreast of current trends in the art world. This could involve following contemporary artists, attending exhibitions, and participating in workshops to gather fresh perspectives and ideas.

The Balance Between Enhancement and Destruction:

It’s important to achieve a delicate balance between enhancing a photograph and overdoing it to the point of destruction. This can be achieved through careful consideration and research.

1. Understand the Intent:
   • Each enhancement should have a clear purpose that aligns with the overall vision of the project. Random or excessive alterations can detract from the original essence of the photo.
2. Historical Context:
   • Research the history of photography to understand the evolution of photographic techniques and the philosophical underpinnings of different eras. This can provide insight into how to appropriately apply enhancements.
3. Technical Mastery:
   • Master the technical aspects of both traditional and modern photographic techniques. This knowledge allows for precise and intentional modifications rather than haphazard changes.
4. Feedback and Reflection:
   • Regularly seek feedback from peers, mentors, and audiences. Reflecting on this feedback can help identify when enhancements are successful and when they might be veering towards destruction.

Researching the History of Photography:

1. Chronological Study:
   • Starting with early photographic techniques like daguerreotypes and calotypes, then moving through to modern digital photography.
2. Technological Advances:
   • Examining how technological advances have shaped photography. This includes the transition from film to digital, the advent of color photography.
3. Cultural and Social Impact:
   • Investigating how photography has influenced and been influenced by cultural and social changes.

I will have a strong focus on this sentence:

“When the finished product is something other than a computer screen it harkens back to the day when photography was a craft. It’s not just about the image, although the image is the king, it’s about the object itself and that you made that object” – Mark Osterman, Process Historian

Creating 3D reliefs with printed photography is a project that can be done at home with relatively simple materials. This process involves transforming flat images into three-dimensional artworks by layering different elements of the photo to give a sense of depth and dimension. Here’s how I approached this project using two images with strong subjects: a person and a pair of dogs. I created three distinct layers for each image to enhance the visual effect and make the final piece interactive.

1) Woman Photo

First Layer: The Original Photograph The foundation of the 3D relief is the original photograph of a woman. This layer serves as the backdrop for the entire piece, providing the base image from which other elements will be lifted to create depth.

Second Layer: Silhouette of the Woman The second layer involves cutting out the silhouette of the woman from a duplicate of the original photograph. By raising this silhouette slightly above the base layer, I created the first level of depth.

Third Layer: The Woman’s Glasses To add even more detail and a sense of realism, the third layer focuses on a smaller, specific element of the woman: her glasses. By isolating and elevating the glasses, we create a focal point that draws the viewer’s eye.

2) Dogs Photo

First Layer: The Original Photograph Similar to the first project, the original photograph of the two dogs forms the base layer. This image provides the overall context and scenery for the artwork.

Second Layer: Silhouette of the Two Dogs The second layer in this piece is the silhouette of both dogs. Cutting out their combined shape and putting it above the original photograph starts to give the image depth. This separation emphasizes the subjects, making them stand out from the background.

Third Layer: Silhouette of the Small Dog For the final layer, I chose to isolate the smaller dog and elevate it above the silhouette of both dogs.

Conclusion

Observers can move around the photos, exploring different angles and perspectives. This interactivity invites viewers to engage more deeply with the artwork, as they discover new elements hidden within the layers. This project can enhance the appreciation for photography but also allow you to explore the creative possibilities of three-dimensional art.

I personally believe that this project straddles the line between serious and casual. The 3D relief technique evokes a collage-like aesthetic, which can vary in effectiveness depending on the photograph used. For instance, applying this method to a photo of a woman wearing glasses doesn’t seem to show as interesting results as it does with a photo of dogs. The technique appears to be more suited to still images, where the layers can enhance the subject matter more effectively. Therefore, it’s important to choose the right kind of photo to fully benefit from the 3D relief effect.

In this project, I delved into the tactile dimensions of photography by experimenting with various paper types. Here, I share my findings and reflections on how different papers contribute to the overall photographic experience.

1. Regular 120g Matte Paper: A Subtle Touch

I began with a standard 120g matte paper, expecting it to provide a basic tactile foundation without overshadowing the image itself. Indeed, this paper proved to be neutral in terms of touch. It creates a smooth, unremarkable surface that doesn’t distract from the photograph. However, its subtlety can be a double-edged sword. On one hand, it ensures that the viewer’s focus remains on the image, but on the other, it lacks a distinctive tactile appeal. This type of paper might be best utilized in combination with other tactile techniques, such as embossing or varnishing, to enhance its sensory impact without overwhelming the photograph.

2. Textured Paper: Front Versus Back

Next, I experimented with a paper that has a texture. Initially, I printed on the textured side, only to find that the ink failed to settle uniformly across the surface. The resulting image showed an inconsistent pattern where the ink skipped over the valleys of the texture. While this effect might appeal to some for its unique, abstract quality, I found that it compromised the integrity of the original photograph.

Conversely, when I printed on the smoother side of the textured paper, leaving the textured side as the back, the results were much more satisfactory. The image retained its clarity and detail, while the reverse side provided an intriguing tactile experience. Interestingly, the texture on the back added an auditory element when handled, producing a gentle, soothing sound which reminded me of wind or waves. This unexpected sensory layer could engage viewers more deeply, inviting them to explore the photograph with both sight and touch (maybe with some instructions).

3. Yellowish Paper: A Shift in Tone and Texture

Finally, I tested a 100g yellowish paper with a lined texture on the back. As anticipated, the yellowish hue imparted a warm, vintage tone to the photographs. This color shift can evoke a sense of nostalgia or timelessness, depending on the subject matter. However, the thinness of the paper presented a drawback; the photographs felt somewhat insubstantial and cheap.

For projects aiming to convey a sense of uniqueness and quality, opting for a heavier paper with a more substantial feel would be advisable. Yet, this paper’s characteristics might be deliberately chosen for projects where a more ephemeral or everyday quality is desired.

Reflections and Future Directions

This exploration underscored the importance of considering both the visual and tactile qualities of paper in photographic projects. Each type of paper offers distinct advantages and challenges, influencing how a photograph is perceived and experienced.

For future projects, I plan to experiment with a wider variety of paper weights and textures. Additionally, exploring the auditory dimensions of paper, as discovered with the textured back paper, opens new opportuinities for engaging viewers.

I gave my prototypes of tactile photography to 4 people. Here is what they answered to my questions:

1. Do you like it?

A: Yes. It’s interesting/cool. You can touch it. I like it more when it is on some parts of the photography and not everywhere. I would touch the parts that are obviously a tactile part.

B: Yes. It’s interesting that not only you can touch the photography, but you can feel it. I don’t like the dots on the photography – they annoy me. I don’t understand why there are tactile parts on the part of the photography where there’s nothing. It doesn’t make sense (”There are no clouds there on the photo!”).

C: I do. I don’t like it when the tactile parts are on the back because it doesn’t give me any visual feedback.

D: Yes. I don’t mind turning the photo. I especially like the experience when it’s incorporated in the photo.

2. What’s the experience like?

A: On some it’s interesting, on some it’s not. On some photographs I don’t like how it looks.

B: It’s something new. Not everyone does this to the photography. It’s more interesting when the tactile part is in front and not in the back.

C: Good. I like touching this. It adds a new element to the photography.

D: Interesting. It reminds me of children’s books.

3. What would make this better?

A: I would like it more if the touching part would be only on one place on the photo (in the left corner), or on the place where there is actually something on the photo (e.g. on the tree, on the boat).

B: I wouldn’t put dots on random places, but on some places that makes sense because otherwise it’s confusing.

C: I don’t like the experience when the tactile parts are on the back. It doesn’t have the same effect.

D: I like when it’s on the front and on the back, but not on every photo. It would be also interesting if the tactile part would be on visible parts (e.g. on the dog). But it would be also okay if it’s on blank parts as long as it makes sense. I can use my imagination.

4. Would you prefer an album?

A: Yes. But the ones that are really interesting and pretty I would rather have in hands. It would be interesting if tactile parts would be exaggerated more. It should stand out so that you want to touch it.

B: No. I like the idea of having it in hands.

C: This is more interesting and you can spend more time on touching things. It slows you down and makes you focus on the details

D: No. I think this is more interesting.

In conclusion, I should focus on the appearance of the tactile parts of the photograph because I don’t want the photographs to look bad and for people to no longer enjoy them. I believe that the photograph should be primary, and the tactile design should be secondary. It’s interesting how some of the participants like the idea of having tactile experience on the back, and some of them didn’t. Another thing that was thought-provoking is that this experience reminds of flipping through a children’s book. I will take this into consideration and search for some inspiration in children’s books.

For the next experiment, I chose to experiment with the laser cutter we have at university. The main idea was to engrave a pattern onto the paper (photography).

What I wanted to learn:

1. How deep an engraving can be?
2. Is the engraving deep enough to create a tactile experience
3. How does the engraving affect the photo?

For the next experiment, I decided to use the laser cutter available at our university. My main idea was to engrave a pattern onto a piece of paper to see what would happen. I wanted to learn three things from this experiment:

1. The depth.

First, I wanted to find out how deep the laser cutter can engrave. Knowing this would help me understand what kinds of designs I could make and how precise they could be. I used a 150 g paper.

Result: The depth of the engraving turned out to be shallower than I expected. Although I can measure the exact depth, it’s clear that it didn’t penetrate as deeply as I had hoped. This might be because the paper I used was relatively lightweight. I suspect that using a heavier paper could result in a deeper engraving. However, I am concerned about how using thicker paper might impact the quality and appearance of the photograph. I aim to avoid paper that is too thick, as it could alter the way the photograph looks and feels. Balancing the paper weight to achieve the right engraving depth without compromising the photo’s integrity is something I need to consider further.

Another unexpected outcome was that the design became visible on the front side of the photograph due to the paper’s thinness. I’m still unsure how I feel about this. While it adds an interesting element, I’m not entirely pleased with how it changes the original appearance of the photograph.

2. Tactile experience.

Second, I wanted to see if the engraving was deep enough to feel with your fingers. If the engraved lines can be felt, it would add a new sensory experience to the photography, making them more interesting to touch as well as to look at.

Result: The tactile experience is minimal. Because the engraving isn’t very deep, there’s not much to feel with your fingers. When the pattern is visible on the front of the photograph, it suggests that it should be touched. However, if the pattern weren’t visible, I don’t think it would be as apparent to the observer that they should touch it.

3. Effect.

Third, I was curious about how the engraving would affect a photo. I planned to engrave a pattern onto a printed photograph to see how the lines and textures created by the laser would interact with the image underneath.

Result: The engraving appeared on the photograph more prominently than I had anticipated. This was not the outcome I was aiming for, as it significantly altered the original image. Moving forward, if I decide to experiment with the laser cutter again, I recommend using a much more minimal pattern or design for engraving. By doing so, the impact on the photograph should be less intrusive, preserving its original aesthetic while still incorporating the engraved elements. This approach would allow for a subtle enhancement rather than an overwhelming alteration.

I took Professor Feil’s advice and went outside to photograph interesting objects in nature that seemed appealing to touch. As I observed nature, I realized that when I think about tactile experiences, I often start to feel the texture of an object in my mind before I even touch it.

This exercise turned out to be really useful. As I explored, I found many intriguing tactile elements in the natural world. For example:

• Edge of the leaf
• Flowers
• Nature elements combined with everyday objects (rain + car)
• Metal objects
• Fence
• Ripped paper

There were more textures, patterns, and forms than I had expected. This experiment helped me pay more attention to details and gave me a better understanding of how to incorporate tactile elements into my future photography projects.

Although the exercise was really helpful, I realized that for my final project, I don’t want to focus solely on simple photographs of objects. Instead, I aim to capture more complex scenes that evoke deep emotions and tell a story. I’m going to use these natural elements as an inspiration.

I want my final photographs to go beyond mere visual representation and engage viewers on a more emotional and sensory level. By doing so, I hope to create a more immersive and impactful experience that resonates with people. I want to continue pushing the boundaries of traditional photography by integrating more tactile and interactive components into my pieces.

This is as experiment about combining photography with everyday materials.

For the first experiment, I wanted to limit myself so I decided to only use materials that I can find at my place. Since I’m still not sure how exactly I’m going to approach this topic – I wanted to push myself to be as creative as possible with the limited materials. I used old photographs.

I chose to work with thread first. Having tried sewing last year, I have a personal connection to it. I used white thread to mimic the fluffiness in the image. When I made a few stitches on the photograph, I was immediatelly drawn to touch it, which I took as a positive sign. I put the thread on the place on the photography where the “flower” is because that seemed logical. This material was easy to work with. In the next experiments with thread I would like to try sewing on the place that don’t have a connection with the thread so I can focus more on creating a feeling of the entire photography.

The next material I used was staples. I chose a photograph featuring a metal structure for this experiment. Staples proved to be particularly interesting due to the thin paper of the photograph. When touched, the staples move, creating an engaging user experience. Additionally, the sharp edges of the staples on the back of the photo added an intriguing tactile element. The negative side is that my stapler is small so it is not possible to staple in the middle of the photo.

The next idea was to use a needle to create small holes in the photo. I selected an image of a tree by the seaside because it conveys a sense of tranquility and windiness. I used the holes to represent the wind. This technique was somewhat challenging because I wasn’t sure where to place the holes. Since the photograph is very minimalistic, the holes became quite visible, and I’m not sure if this was the best technique to use.

The last technique was using glue. I chose an photography that was taken from a tram so it has reflections in it which is why it made sense to use a transparent material. However, I faced the same issue as with the needle holes—I wasn’t sure where to apply the glue. The shapes created by the glue dominate the picture, and I would prefer something more subtle.

Overall, I think this experiment was a success because I learned that I prefer subtle tactile experience especially when it is surprising and it doesn’t take over the photography – which I think is the main point of my project.

Magnus Feil, Dipl. Designer (FH), M.F.A., is a faculty member of the Industrial Design program at FH JOANNEUM—University of Applied Sciences in Graz, Austria. His work and research focus on sustainable solutions for circular economies, social good, storytelling, tangible interactions, and re-envisioning design education. His course on User Experience particularly impressed me, which is why I spoke with him.

Professor Feil told me that it is very important that I look more into a history of photography, since tactile experience was more present in early days of photography.

The next thing Professor Feil emphasized was not just to focus on adding tactile elements, but to connect these elements with the emotions present in the photograph. Thus, the addition of new information serves a greater purpose.

He consistently stressed the importance of not being literal. This means, for example, not placing a fluffy material on the part of the picture where a blanket is shown. He advised interpreting the images artistically and poetically, as this approach leads to truly innovative design.

Another idea that I hadn’t considered is: ‚Where are our fingers positioned when touching the photograph?‘—both in front and behind. Therefore, it would be very interesting to place tactile elements not only on the front but also on the back of the photograph, and perhaps even on the edges.

One possible approach to my task/topic could be: ‘How could you recreate pictures in a tactile way?’ I need to think about how to express a photograph in a tactile manner if the visual aspect were not visible. This approach also touches on designing for visually impaired people.

Professor Feil told me that tactile elements serve like a memory bridge. He advised me to investigate whether combining visual and tactile elements with other senses could produce interesting results. Considering we have multiple senses, it might be intriguing to incorporate them as well. For example, applying a specific scent to a photograph.

Finally, the professor advised me to concentrate on the process rather than the outcome. He suggested engaging in extensive photography and experimentation to determine the direction I want to take. Since it’s a broad topic, it’s crucial to explore extensively to define the problem and then work towards finding a solution.

1. Examining People’s Interaction with Printed Photos

Objective:
Analyze how people interact with printed photos, focusing on time spent, attention to details, and differences between viewing photos in an album versus holding individual photos.

Methodology:

Preparation:

• Prepare a photo album and individual photos.
• Set up an observation space.

Participants:

• Select participants of different ages.
• Observe each individually.

Procedure:

Phase 1: Album Interaction

1. Give the participant the album.
2. Record time spent, expressions, body language, and comments.

Phase 2: Individual Photos

1. Give the participant individual photos.
2. Record time spent, attention to details, and reactions.

Expected Results:

• More time and focus on individual photos.
• Stronger emotional reactions to individual photos.

2. Home Experiments with Photographs

1. Sewing Photographs:

• Materials: Printed photos, needle, thread.
• Procedure:
  1. Choose a photo and decide where to sew (edges, specific details).
  2. Use a needle and thread to stitch along your chosen pattern.
• Observation: Note how the thread affects the photo’s appearance and durability.

2. Puncturing Small Holes:

• Materials: Printed photos, a pin or small needle.
• Procedure:
  1. Select a photo and plan a design or pattern for the holes.
  2. Carefully puncture small holes in the photo.
• Observation: Observe the effect of light passing through the holes and the overall aesthetic change.

3. Stapling Photographs:

• Materials: Printed photos, stapler, staples.
• Procedure:
  1. Choose photos to staple together or add staples as part of a design.
  2. Staple the photos and ensure they are securely fastened.
• Observation: Examine the structural integrity and visual impact of the staples on the photos.

Last semester, I learned a lot about tactility in general and why tactile design matters. When researching, I stumbled upon a topic about tactile images. Since I also consider myself a photographer, I think it could be really interesting to try and combine these two topics.

How to combine photography and tactile design?

Nowadays, people look at their photos on digital screens. Rarely, anyone actually prints photos ( maybe for special events like wedding, etc.) and even when they print them, they don’t really interact with them. They store photography in albums or books, seldom touching them. Even me, who likes to capture important events, am not really prone to actually printing my photography. Sometimes it’s really sad that we have all these photos and we forget about them because we don’t really know what to do with them. I remember that when I used to be little, I looked at photos in albums and I was really excited when I had them in my hands. At the same time, I was a little bit afraid that I will ruin them with my fingers because the material wasn’t touch-friendly.

Wouldn’t it be great to have photos which encourage you to touch and explore them? What consequences would that have? Would people be more interested into looking? What about people who are not so passionate about photography – how would their reaction be? What about those who are in fact really passionate? Does adding another dimension to photography “ruin” its purpose? How does adding tactile elements to photography affect its appearance? Does photography appreciation grow with interactive elements?

I have a lot more questions, but for now, I think I wan’t to explore different ways in which I can actually manipulate photos so that they have tactile experience. I want to research how to add interactive dimension to photography using tactile materials.

The goal of my research will be not only to bring back the tactile experience to photography, but to add an extra meaning to it using interesting and experimental tactile elements.