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
My choice for a specific subject was flowers. To achieve a unified visual strategy, these are all cropped to a square and use an aperture of F/4 to create a blurred background. These images were shot on the same day for consistent lighting. In Photoshop a fibres filter was applied at 50% opacity to bring consistency to the background. The images are all closeups rather than a wide view of the garden. To take this a stage further, the series could have featured different varieties of one type of flower. The presentation in a grid (see learning log post, Creating Image Grids in Photoshop, for the process) is influenced by the work of Michael Wolf’s My Favourite Things discussed below.
In preparation for this series I looked at Gerhard richter’s Atlas. In this collection, Richter assembled collections of images, sketches, and newspaper cuttings that are related on to loose sheets of paper. Searle (2003), describes Richter’s collection as images that shock, chill and amuse as they range from family images to cities to concentration camps. The collections of images provide an insight into Richter’s thinking and inspiration for his art. There are many similarities to a composer (such as Beethoven) keeping sketch books where themes are explored, elaborated, and revisited as part of the creative process.
Another collection of work that uses a series is Michael Wolf’s My Favourite Things. Here the whole is greater than the sum of its parts, as collections of seeming mundane objects such as mops or string, provide a photographic documentary of the streets of Hong Kong. The uniformity of the grid and similarities of layout support a cohesive visual approach.
I spent a very interesting afternoon walking round Keswick with a camera in hand, Though I have visited Keswick before, I have never explored with a camera in my hand. Starting near Derwent Water my route took me across Crow’s Park towards Keswick, up the Main street to the church, back down to Derwent water, a walk through Hope Park, finishing back in the market square. Over the space of three hours I took over three hundred photos, following what ever my eye found interesting. Not surprisingly for the Lake District, there were many changes of light from bright sunshine to moody grey skies. Walking around, I found myself drawn to a number of different themes, such as shop window displays, landscapes, bikes, trees, and the courtyards of Keswick. Contact sheets for the selected images are presented as three collections at the bottom of this page. They are presented in chronological order, reflecting my journey around Keswick
Searching Part 1: Crow Park to Keswick
Searching Part 2: Derwent Water to Keswick
Searching Part 3: The Court Yards of Keswick
I also used this an an opportunity to experiment more with photoshop and also Nik Collection plug ins. The experience produced some pleasant surprises, with some of my favourite images capturing a completely unplanned moment. An example of this is the image below bringing to life an otherwise ordinary landscape image.
Photobomb
I found this an eye opening experience and quite liberating to be able to take the time to walk around freely. Walking round with a camera and a long space of time definitely changes how I view a place, and I am much more drawn to details that I would otherwise miss. This approach is a valuable technique to try out different ideas and find new sources of inspiration. For example exploring the courtyards of Keswick, each of which has its own character. As a bonus, I also found new areas that I did not know existed. The image below, The Archway was taken in a street at the top of Keswick
The Archway
After each exercise and assignment, I have always come away thinking I should take more images with a wider range of angles, exposures, different compositions etc. This way of working and allowing more time meant that I had a wide range of images to choose from. I found the exercise was also very good at generating different ideas for themes, and felt more creative that in some of the previous images. Conversely, I found the large number of images overwhelming to work with until I split them into smaller more manageable groups. I took the opportunity to use this exercise a vehicle to develop my Photoshop editing skills, there are some photos I am very pleased with (Serenity), but others that may be dramatic, but are over processed to my taste (At Peace). The image below, Serenity, achieves a softer, more fairy tale like look by reducing the sharpness. The starburst sun, was produced in camera with a small aperture.
Serenity
At Peace
Though the point of the exercise was to search and to be open to a range of ideas and approaches, the diversity of subject and processing means that the images don’t work as a cohesive group. The selected images have been presented in chronological order, representing three areas of the search, but could have have also been grouped into themes such as shop windows, landscapes etc. with a more consistent approach to processing. The last set featuring the courtyards of Keswick are all in black and white and work together more effectively with a shared subject, and visual approach.
One of the contributory factors for things that went well in this exercise was allowing enough time. I had a free afternoon from work with no distractions and being able to explore generated lots of ideas. Reviewing the results in camera also contributed to a more successful set of images. When it came to editing and selecting, this took place over three weeks, which allowed plenty of time for me to view things in different ways and experiment. The following image uses the Lightroom infrared photo preset, which enhances the contrast in the foliage.
Reach for the Sky
Having completed this exercise, I would like to follow up with a more detailed exploration of just one area. Though the photos work as a journey, they do not work for me as balanced set of images (though that was not the point of the exercise). This has been the most thought provoking exercise completed so far and has raised my awareness of producing a set of work in a series and having a consistent approach. I took a photoshop course two years ago and slowly working with layers and masks is starting to make more sense. I will continue to develop this. Reviewing the photos as a whole, they very much reflect the place, rather than the people, which is consistent with much of my photography (unless I am shooting bands or cycling).
My development points are
Create a set of photos focussing on one specific subject (exercise 3.2)
Plan a single visual strategy for a series
Plan in enough time for the next exercises, even if it takes longer to complete the course
Continue to develop Photoshop skills, particularly working with masks and layers
Karen Gourlay: Foundations in Photography 