I found this a thought provoking exercise. A large part of the challenge was choosing the images that would work well together. The original four images are shown below.
An example created in the process of experimenting for Exercise 3.1 is shown below
Through the process, I decided to experiment further with contrasting shapes, using architecture as an inspiration. The image below is created from two photographs of the Corn Exchange using the Pin Light Blending Mode. In this blending mode, ‘Where the colors are 50% gray on the blend layer, the base layer shows through. Lighter or darker than 50% gray will display on the blend color.’ (Smith, 2016)
Choose a simple object and place into this composition
Replace it with another object positioned in such a way that it is not emphasised
and 6. Fill the space with lots of different things
Experiment with different objects, backgrounds, and lighting.
Paperweight and the effect of different backgroundsMarble run
Images 1 and 2 are taken using flash. The use of the different colours provides an interesting contrast. Image three is taken as a long exposure and lit from the side. I like the extra depth that the shadows provide.
This post is a work in progress and I will continue to update now I have found a versatile space in the corner of my kitchen.
I found this an interesting project and through the process ended up with images that do not fully follow the brief, but came away with new ideas, skills and approaches for still life.
I shot more images and subjects than the ones that were used, but ended up using the shots of just one guitar as for this subject, fewer images produced a stronger result.
Looking at cubist paintings provided different ideas and using blended layers in photoshops the following image was created, which is closer in style to cubism.
The challenge in a formal portrait is to also capture the something about the person. The image below I particularly like as the subject has a very natural look and doesn’t seem to be posing for the photo. The image tells us that this is a musician. The light shining in from the window highlights one side of the face.
The research for this project included looking at the work of German photographer Thomas Struth (b.1945). His portraits are feature family groups who are allowed to group themselves then look directly at the camera. His use of a long exposure means that the poses have to be something that can be held for a long time. @Tate (2019) suggests that this is reminiscent of 19th century portraits where the sitter had to remain still. I found the work interesting, but not something that would influence my work.
The work of Cecil Beaton (1904-1980), was fascinating. The words elegance and glamour come to mind, particularly looking at his early work. There is a lot of use of props especially in the earlier images. This is contrasted with his war photography, and his later images, which are equally powerful, but have a very different feel about them portraying vibrant and strong personalities. (Beaton, 2019).
My significant place is the local park, just five minutes walk away. I am lucky enough to live near Roundhay Park, a place that is a playground for photographers as there is always something of interest, for all types of photography from wildlife to landscape to narrative. This has been a place I have visited regularly for many years with family and friends, so there are many happy memories. It is a fabulous place just for a walk to clear the mind or make me feel more positive if I am feeling low.
I wanted to capture the morning sun shining through the trees in the morning with the path curving through to the trees.
Autumn Morning
The image did need some colour adjustments in Lightroom to achieve the contrast I wanted and to match the image in my head. To achieve the starburst effect I used a small aperture, which also helped the foreground and background of the image to be in focus.
This is an exercise with a creative process. The subject edits a printed picture of their face, which is then rephotographed with them holding the edited print in front of their face. I experimented with two different images. One in colour and one converted to black and white.
Set 1
The original
The rephotographed altered image
Taken one stage further
The challenge in rephotographing was to get everything to line up. In addition the colours on my home printer do not match the actual colours.
In making a copy there will be some degradation of the image, but I found this an interesting part of the process and make me think of Andrew Conroy’s (2019) talk at the OCA study day. He showed us some images where he had printed them and then scanned them, producing a different look to the image. There is a post in my learning log about the day.
Set 2
The original
The rephotographed altered image
The rephotographed altered image
The rephotographed altered image
Myself and the subject both enjoyed the creativity in the exercise. I took an initial set of images before reviewing and reshooting. As mentioned above, I learned to more aware of what did and did not line up in composing the shot. The reviewing process is something that I am now incorporating in my work, taking test shots and evaluating what does and doesn’t work before reshooting for a second or third time.
I like the drama of the first set. The second set appeals with its limited but contrasting strong colours and use of lines and curves.
I can see this is a technique that could have many applications, for example with still life, and it is something I am looking forward to experimenting further with.
The set of three images above represent connections with my husband, mother, grandmother and great grandmother. The rings are shot in pairs as they symbolise a partnership, and include engagement, wedding rings, and an eternity ring. This is a very personal series of images as the rings give me a tangible link with the past.
This was a fascinating area to research, with many creative ways of taking photographs of wedding rings with techniques that could be applied to other subjects for still life photography. With the aim of completing Part three this year though, these will have to wait for another time. Searching online, articles by @SLRLOUNGE (2017), and Kay (2019), inspired me to use the idea of using reflections by using a mirror. These articles and other online sources all recommend the use of a macro lens, which at this moment in time I do not own. A compromise was to use my iPhone camera, which although limiting in terms of depth of field, shutter speed, and ISO, did all0w me to get a closer shot of the rings. The images above were shot with the rings places on a mirror, with the silver and black background created from a dress reflected onto the mirror. I experimented with difference backgrounds before using the dress. Music stand clip on LED lights were used to give more control over the lighting.
Overall I am pleased with the result, though I would have liked to have more sparkle in the diamonds on the rings. The research in advance worked well and opened up many new ideas for me to try in future. I would have liked to be able to do this exercise with a macro lens and get a greater level of detail in the images. Given more time, I would have liked to explore different settings for the rings e.g. a flower in the background or bokeh created by fairy lights.
As I work through the course I am becoming more aware of the vital importance of light in photography. Something I will continue to research as I work through this course. My particular development points are as follows
Experiment with other backgrounds and settings. This can be applied to other still life photography, not just the rings.
Continue to research the work of other photographers and artists relating to the project I am working on
Set up practice shots at try out ideas as part of the planning stage.
The above image, was inspired by a poem about autumn by Katharine Towers (b.1961) from her collection, Remedies (2016). Reflecting the cyclical nature of life, the image was creating using Intentional Camera Movement (ICM), with the effect drawing the eye down a circular tunnel of blurred beach leaves and trees, creating an entrance into a ‘coppery hall’. An orange filter was added in Photoshop to enhance the copper colours in the image. To further emphasise the ephemeral nature of the seasons, a soft font reminiscent of chalk was used for the text. The camera settings are as follows.
Camera mode: manual
Shutter speed: 1/15
Aperture: f/5.0
Focal length: 28mm
ISO: 200
The first step in producing an image with text was research, including looking at the work of Barbara Kruger (b.1945), Gillian Wearing (b.1963), and Polly Apfelbaum (b.1955). Kruger was influential in her choice of appropriate font and use of text colour supporting the message (Artnet, 2019). In the work of Apfelbaum I found the strong use of colour in response to the title of the work though proving. I also looked at additional images that caught my eye from a google search and created a Pinterest board for Photography and Text (Gourlay, 2019), which also contains many images from Kruger and Wearing.
For the text, initially I looked at lyrics and before returning to poetry (something I often use to generate ideas for composing music). Through searching for poems relating to autumn, I discovered Whim Wood, by Katherine Towers (2016), which was appropriate for the time of year. Her use of expressive use of language appealed to me. From all of the artists studied, the use of text incorporated into the image strengthened the connection between image and words. A technique, which I used in the image above.
As a starting point, the theme of autumn and woods is suggested by the poem. However, there can be a deeper meaning viewing Autumn as part of a circular cycle of life and death. This is emphasised by the comma at the end of the penultimate line, before the final words, ‘and we die for the winter’. Initial ideas were standard shots of copper beech trees and oaks, this developed into looking for circular patterns and lines that would suggest a journey. This in turn which led to the idea of experimenting with ICM. The technique requires a lot of experimenting, but I am pleased with the abstract final image, which supports a metaphorical interpretation of the text.
Development points
This is the last exercise in Project 1 Series and sequence, which has been the most eye opening and enjoyable part of the course so far. I am aware that my approach to photography is changing with planning in advance, more experimentation with composition and techniques, and influences from other art forms affecting my work. My skills with Photoshop are developing, though it is important to me that the original shot is a strong image. My development points from this exercise relate to my changing approach
Build in time for research and planning
Experiment with different approaches and techniques
These four images of Blencathra were taken on the same day. the Lake District is know for its changeable weather and this day was no exception. The camera was set up on tripod in the comfort of a warm room and a series of images taken throughout the day showing how the mountain gradually disappears from view as the weather changes.
The first set of images for a sequence depicts movement over a period of time, using sequence in a similar way to Eadweard Muybridge (1830-1904) in his work studying humans and animals in motion (Animals in Motion). My research for this exercise is included in my learning log post Research Point – Sequence. I used a sequence of images of two BMX riders from Mobile Bike Events (2017) performing in the Fun Zone at the recent UCI Road World Championships held in Harrogate. The sequence shows one rider jumping over a second stationary rider.
The Jump
One alternative presentation suggestion was to display these as a slide show, however, I have chosen to create a composite action sequence in Photoshop (To be the subject of another learning log post) as this shows the the sequence of the two riders more clearly.
The Jump
When researching this exercise, I found the work and processes used by John Hilliard (b.1945) thought provoking. In particular exercises such as such as Photographing Out (1971) (Hilliard) , where the subject reduces in size. I used this technique when making creating an in camera multiple exposure changing the focal length of the lens. The subject is an installation by Aether and Hemera called Voyage featuring lit paper origami boats.
Voyage A floating origami paper boat installation by Aether & Hemera
Karen Gourlay: Foundations in Photography 