This exercise looks at shooting two different subjects (plants and a person), but removing all trace of the background and context. For the plants I looked at the black and white images of Karl Blossfeldt, which are striking for their level of detail. The plain background focuses all the attention on the object.

These images were shot using white card as a background and converted to black and white. Though taken in a beautiful large garden, the only object portrayed for the viewer is a small part of an individual plant with no clue to its setting.

The portrait and fashion photographer Richard Avedon, uses a similar technique in many of his portraits. Shot against a plain background, the simplicity of the setting emphasises the character of the subject, rather than the activity.

Though very different examples, the effect of the background can be crucial for the intended effect on the viewer and how they may interpret the photo. In the plants, the focus is on a small section, not the whole plant or its setting. For Baptiste, the focus is on his enigmatic expression. Depending on the required outcome their is room for both approaches

I have found this a though provoking exercise. Taking images of plants in this way is something I would like to explore further with using different backgrounds e.g. textured or black. Portraits are an area where I want to develop my skills and though I am very comfortable taking images of people in their natural environment e.g. musicians performing, I have less experience of taking staged or more formal photos.

The work of Toshio Shibata demonstrates an approach to photography that has a recognisable style with his use of lines, angles shapes and forms. Many of his images focus on moving water juxtaposed with lines, curves and shapes from man-made objects that impose control over the environment.

The aim was to create a set of images with a theme contrasting stillness and movement. After considering various ideas, mostly linked to the theme of water or the movement of animals, the plan was to take shots of butterflies, but unfortunately, Butterfly World did not live up to its name, so a change of subject was quickly planned. The final set of images feature water and fish, taken at Tropical World, Roundhay Park.

The images make use of the subject matter contrasting still green leaves with running water, but also make use of different shutter speeds and depth of field to give a sense of movement with the fish.

Aiming to capture stillness and movement, the majority of the images also create a feeling of calmness and reflection. The exception is the third image, which in contrast to the other images feels busy and is the only image not to contain any foliage, which is a unifying feature. The limited colour palate also contributes to the sense of belonging.

Taking a set of images that work in a series, is a new experience for me. I found this an interesting thought process in both reviewing the images to choose and considering what aspects of the image (e.g. content, colours, shapes) contribute towards a coherent set.

As part of the research for this exercise, I looked at the work of the Italian photographer Gabriele Basilico (1944-2013) and his approach to urban landscapes. Architecture is a major focus of his work and his study, having trained as an architect in the 1970s. His preference was for black and white images shot with classic cameras, producing striking images, with a noticeable absence of people. (Hopkinson, 2013)

The absence of people in the majority of cityscapes strengthens the focus on the lines of the architecture, which to me creates a sense of decay and captures a sense of loneliness. For me, some of the most striking images are from Bord de Mer (Seaside), taken between 1984 and 1985. Particularly striking is the range of light and dark tones and the clarity of the buildings.

For the exercise, I chose the view from Otley Chevin that provides a high viewpoint over Otley and the surrounding countryside. Using a tripod, the images were shot with an aperture of f22 and developed in Photoshop to convert to black and white and adjust the levels. The second image is a composite of three bracketed images. I found that using black and white allowed me to create an image with more contrast, compared with the original colour.

References

Amanda Hopkinson. (2013). Gabriele Basilico obituary. Available: https://www.theguardian.com/artanddesign/2013/feb/25/gabriele-basilico. Last accessed 4 Feb 2019

Project 2 explores the use of light and shadows and is influenced by the photographer Trent Parke whose work is recommended as a starting point.

I have always been fascinated by shadows and the creative use of natural light in photography. The quote, ‘I am forever chasing light. Light turns the ordinary into the magical’ (Parke, n.d.) is demonstrated in one of Parke’s techniques which is to shoot at a time of day that provides long shadows and strong sunlight, controlling the exposure to creates dark shadows and high contrast.

His use of strong shadow, removing detail, often simplifies the scene, focussing the viewer’s attention on the main object of the image. The effect can also be surreal.

Here is an example of a recent photo taken this Autumn one late afternoon. For one minute, there was brilliant sunshine and long shadows from the trees

Inspired Parke’s use of monochrome the same image is transformed using Lightroom into a more dramatic and moody scene

Working on this project in January in the UK provided a particular challenge with finding the right light. However, a burst of late afternoon sunshine provided an opportunity to experiment in the local park.

Though these images make use of shadows, I am still aiming for something with more contrast. so this will be an ongoing project. A city centre with tall buildings casting long shadows will offer another opportunity to explore this approach.

The project has made met has made me consider different ways of using light to create a dramatic and atmospheric image. Other learning points include

• Research is important to find the right location and time of day
• Take lots of images
• Be patient, wait for the right moment
• Use the spot meter for control, either exposing for shadow or highlights depending on the desired effect
• Black and white images can be more dramatic than colour

References

Parke, T. (n.d.) Trent Parke Profile [online]. Magnum Photos Website. Available from: https://pro.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_9_VForm&ERID=24KL534BCYh[Accessed 1 January 2019]

https://pro.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_9_VForm&ERID=24KL534BCY

Key words and phrases

Bridge, civil engineering, iron, journey, light and shade, perspective, railings, rectangles, red beams, road, shades of red, shadow, shape, structure, symmetry, trees, triangles

My eye was initially drawn to the red pillars of the bridge, forming triangles; followed by the roadway leading the eye through the picture from left to right. At the end of the bridge, the road appears to continue to the right, though this is partly hidden by the forest. Finally, my eye is drawn to the top left-hand corner with a ridge of trees, which leads neatly back to the top of the bridge.

The main subject of the photo is the bridge, however to me it raises questions. Where is the road leading? Is it a journey, from light to dark? The triangles and rectangles of the bridge are in stark contrast the to free form of the forest behind. One interpretation could be humans’ attempting to conquer the natural world.

The image has been shot in bright light to highlight the bridge, with the forest background in hazy shadow. There is also a striking shadow from the bridge, which looks unnatural. The mood is almost stark with minimal content without any major distractions

The title, Red Bridge, Osaka, effectively describes the main subject and content of the image. Including the place, instantly changes how you view the image.

The image is well composed with your eye being led from left to right, which is supported by the light moving from light to darker from left to right. There is a sense of direction with the roadway across the bridge, and the perspective of the triangular structure supports this.

Listing everything I can see in the image, reveals some assumptions and questions. Some items are without question e.g. Bridge, rivets, pillars, concrete, railings, trees, shadows, road. Questions include, is it actually a road bridge or a footbridge? Is the background steep hills, a valley, or a mountain? is the bridge made from iron? is there a power cable running alongside the road at the end of the bridge? You can not see the sky so there is an assumption from the light that this was shot in bright sunlight.

My personal response to the photo is that is is something that makes me look twice and raises questions, whilst marvelling at the feat of civil engineering. I wonder where the road is going? how high is the bridge? It feels powerful, but at the same time, there is a sense of loneliness and a question about the relationship between nature and mankind.

A Walk on the Walls

A Walk on the Walls is my response to the Task to take 100 Photos in 30 mins, using a variety of subjects, close and wide shots, different viewpoints and framings. The project relates to a walk on a small section of the city walls in York.

Foolishly, I thought this would be quite easy. In practice it was a challenge to take 100 photos, especially shooting in manual mode without too much time to think about the camera settings. I usually use aperture priority mode so this was a step outside of my comfort zone. I also like to take time to look before taking any shots making this was a new experience and I struggled to get 100 photos.

The final selection of photos reflect things I find interesting in images, e.g. textures, shadows, shapes, contrasts of light. Though a challenge, the project has made me think about my approach to getting a range of interesting shots in a short length of time and the importance of having a systematic process for editing and storage.

•