In a portrait layout, the image appears to feature a slanting table on the left half of the image with a a full white cover and a small grey cloth covering the top and just over the edge of the table. The background is white on the left hand side and third of the way over blends into a light grey shadow. On the table top is a serving spoon with what could be a cerise coloured jam, orange fruit (possibly persimmons), a serving spoon, the edge of a plate, cherry pips and cherry stalks, and a second spoon loaded with what could be cream. However, some of these objects are printed cut outs and it is difficult to tell what is real. The images looks as if the table is collapsing and everything is sliding or falling off.
The composition focuses the eye on the left hand side of the image. The objects on the table top are falling into the greyness of the empty space. There is balance throughout from the first spoon with its thin stem and shadow behind to the left, the reflection of the fruit behind and below, the plate edge curving around the fruit, and the cherry pips and curving of the stems drawing the eye downwards. Everything is carefully place to create aesthetically pleasing curves and shapes.
The effect of the composition is to play with the sense of space of dimensionality. An added subversive element is the use of printed cut outs, which were shot from different perspectives.. It is difficult to tell what is real and what is printed. The lighting and use of shadow contributes to the feeling that all is not what is seems, as some objects are without shadows.
The image leaves me with a sense of being unsettled. Why is the table falling, why is the plate broken? it is an intriguing image that makes you look twice. Everything is moving from the white side of the image, downwards towards the emptiness of grey nondescript background. This is not a static still life, it captures a moment when things are changing.
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.
Peter Fraser (b. 1953) is a photographer who creates his work from everyday objects that he finds. @tate (2013) describes his work as revealing incidental beauty and strangeness in the world and identify recurring themes of things and their status, and journeys and narrative.
Fraser in an interview with Sarah Phillips (2012) describes the importance of small things and objects that he photographs close up. ‘I think small things are really important, not least because everything in the universe is made up of matter to small we can’t see it with the naked eye. I almost never interfere with my subjects: there are mysterious forces at work in the world and they know, better than I do, how things should be placed.’
Looking at Fraser’s work, in the series Material 2002, Fraser states that he is using photography to investigate the ‘physical substance of the world’. This series finds beauty, colour, detail, and patterns in the most unlikely objects, things that usually would not get a second glance. Though the images are photographed in the way they were found, the images are carefully lit, and well composed.
Everyday Icons 1986, are images taken on short walks over an eighteen month period. The images include, two blue buckets, an open empty locker, an empty hay net, washing hanging on the line with snow on the ground, a suitcase up on on a train luggage rack, an empty playground. Viewed as a series, the absence of people combined with the every day objects create a feeling of being removed from reality or a sense of time. As with Material, the composition of the images draws out lines, patterns and shapes. The use of colour is striking in the way that images have a limited colour palette, which works effectively. For example, the different shades of pink of the washing hanging in a snowy garden, or the the brightness of the dark red suitcase against the grey of the train.
Fraser, identified the image below as his best photograph (Philips, 2012). It is an excellent example showing his approach to colour, light, and composition to create a memorable image. At that time he had been very focussed on how humans had affected nearly everything on earth and found this as a timely example. He describes the moment he discovered it. ‘There I saw, illuminated by intense sunlight pouring through a small window, a polystyrene cup with cocktail sticks poked through it – an exquisite example of the brain directing the hand to change the nature of materials.’ (Philips, 2012)
Aesthetica Magazine, 2013. Review of Peter Fraser at Tate St Ives [Online]. @AestheticaMag. Available: /peter-fraser-at-tate-st-ives/ [Accessed 2 Jan 2020].
For assignment three, I chose the second option creating a narrative sequence that tells a story in a series of images. Larger versions of the images can be viewed at the end of this post.
Entitled Capture, the series initially appears to be a straightforward story of a person taking (capturing) a photo of balloons for a framed picture on a wall. However, all is not what it seems with the final image showing the photographer imprisoned behind the frame looking down at the balloons which are free again.
The intention is for the viewer to make up their own mind about whether this is just a playful series of images or to perhaps raise deeper questions about reality and the act of taking an image.
Research and planning
In my research for the series I looked at range of photographers and their approach to series, most notably Duane Michals, whose use of series and humour strongly influenced this assignment. I was drawn to images that question reality and also looked at the influence of surrealism on photographers such as Man Ray. Research and references relating to this assignment can be viewed in my Learning Log posts
In addition, I created Pinterest boards as a visual notebook to record photographs and paintings (notably René Magritte) of interest , and planned a list of ideas for the series and props before settling on the final idea. The balloons were a deliberate choice of prop as they are associated with fun and playfulness, and bring strong colour to an otherwise limited colour palette. Sketches were created and the composition of the images were planned on paper. Test shots were taken to experiment with different poses, so the final sequence could be shot in a short space of time.
The original plan was to use a printed A3 image for the two shots that use a framed image. Due to the life of the balloons (10 hours), this was not possible and Photoshop was used to place the the image in the frame.
Five images were used to create the final series of three.
The subject taking a photo of the balloons on an iPhone
A photo of the balloons for the frame
The subject hanging the frame containing the photo of the balloons
The subject trapped behind the frame
The subject trapped behind the frame, looking down at the balloons
Reflection
I found this a rewarding experience and enjoyed how this assignment built on the skills that have been introduced through the first three sections of the course. The assignment showed how my approach has changed with research and planning, and also to have a much clearer idea about working with and directing people. An example of this is the shot of the subject trapped behind the frame. This was shot with with glass removed from the frame to avoid reflections. To get the expression I wanted, I moved the balloons so the subject was actually looking at them.
Overall, I am pleased with how the photos work together as a coherent set. I experimented with landscape and portrait formats, before deciding on a square layout as this had a pleasing balance of content and empty space and worked well for displaying the final three images beside each other. Another technique to help the images work together was to start close up to the subject and move away with each shot until the final image reveals the twist in the story.
The advance planning paid a large part in how the photos work as a series. It was good to have a number of different ideas that could be refined. Sketching ideas for composition was a new experience and saved time when it came to shooting the series. The test shots for the subject trapped in the frame were informative in identifying useful poses and also the importance of shooting the subject against the correct background, and to find a way of cutting out reflections from the glass. Though I could have used a polarising filter, in the end a quick and easy solution was to shoot the images with the glass removed from the frame.
Areas I would like to develop include lighting, communication of ideas, and recording my research. To try to achieve consistent lighting across the images, I used a Canon Speedlite with a bounce adaptor and the light bounced off the ceiling to create a softer light. I am aware that lighting is one area where I have limited knowledge and is an area to strengthen. I would have liked to have been able to communicate the concept of what I was aiming for more clearly to the subject, who loved the final photographs, but didn’t really understand what I was aiming for until seeing the finished product. It would have helped to have written out my bullet point of ideas into a short paragraph. Revisiting my notes with benefit of hindsight, I would have liked to make greater use of my learning log in recording my preparation for this assignment and also other related work that supports my development.
In conclusion, this was a thoroughly enjoyable section of the course and assignment, and as I have noted elsewhere in my course material, I am noticing a change to my practice. I find it interesting that my approach is now much more similar to composing music, with research, drafts, experimentation, and refining. One of my initial development points was to be able tell a story or express a concept through images and the series of images for this assignment are something I would never have conceived a year ago when I started the course.
Development Points
For my development I have identified the following points from things I have learned during this assignment
Continue to develop my knowledge of the work of other photographers
Look at how other art forms influence photography
Create more regular learning log posts to consolidate my learning and research (approximately 500 words per post).
Research the use of flash.
Plan how I will communicate my ideas to models I am working with.
Ambiguity can be good, the photos should be able to speak for themselves without being over reliant on descriptive titles or text.
To continue to get feedback on my work from a range of people including my tutor, fellow students, and other people (including photographers and non photographers).
Charlie Waite (b. 1949) is a leading British landscape photographer. He was a guest speaker at Leeds Photographic Society on 10 December 2019. The programme introduces Waite’s themes for the talk.
Landscape photography as a way of life and an essential method of expression for Waite. In discussing his work, Waite refers to ‘pre visualisation’ first used by the great American landscape photographer Ansel Adams from which he draws much inspiration amongst others. ‘It is the creative act of the artist photographer who, in visualising a poetic or revealing image within the scene in front of him anticipates what the final print must convey to express what he sees and feels’. (Leeds Photographic Society, 2019)
His images can be viewed on his website www.charliewaite.com. Being a landscape photographer takes a lot of patience. He finds he is at his most receptive when interpreting and scene and taking images. He enjoys how a big landscape has so many different related aspects. His aim as a photographer is to pull together the different elements of a landscape to produce a coherent image. He wants his images to produce an emotional experience in himself and the viewers. If it is does this then the image has been successful.
An example of his approach can be seen in his image taken at Amiens, Somme, France.
https://www.charliewaite.com/gallery/view/amiens-somme-france/collection-1 The initial visit to the flooded grove, did not produced the effect he was looking for. Revisiting a week later, the water level had dropped leaving a dark mark at the base of each tree, providing a separation from the trees and their reflection. (Waite, 2019)
It was fascinating to hear Waite talk about photographers who have influenced him, with different reasons for each choice.
André Kertész – for the elegance of his design, and use of pattern and shape
Henri Cartier-Bresson – for the breadth of his work in different countries
Christopher Burkett – for the clarity and detail of his large format images,
Nick Brandt – for his ability to move the viewer.
Ansel Adams – a master of photography who taught him so much, and for his dedication to previsualising an image. He reminded us that Adams said, ‘if you make 12 landscape photos that count, then you are doing well.’
Key Learning Points
A photograph has to evoke the experience that you had at the time and needs to meet your expectations. It is not just a photograph it should provoke an emotional response.
Use a tripod
Take the time to get the result you want, with the sun, light, the clouds, the subject etc. Waiting is part of being a serious photographer
Look at how the light is reflected on different surfaces
Investigate different vantage points
Look for shapes, arcs, contour, shadow and line
Decide what elements are essential and what can be left out
Look for repeating shapes and relationships of form as these can provide a sense of unity to the image
Be aware of what is in front of you. You shouldn’t look at the image afterwards and notice something new.
Look for contrast
Taking good photographs is not an easy process. As with any creative work, you need to make decisions and search for that moment when all elements come together to make a strong image.
Last update 16 Dec 2019
References
LEEDS PHOTOGRAPHIC SOCIETY 2019. Winter Programme 2019/20. Leeds Photographic Society.
WAITE, C. 2019. Charlie Waite | British Landscape Photographer, Tutor and Lecturer | Charlie Waite Photography [Online]. Charlie Waite Photography. Available: https://www.charliewaite.com/ [Accessed 16 Dec 2019].
The American photographer Duane Michals (b. 1932) is known for his innovative approach. His work includes the use of handwritten text to add a different interpretation to the image, the use of series, and multiple exposures. (Gallery, 2019). Jaskot-Gill (2012) describes Michals as a storyteller, and views his photographic sequences as part of a long tradition of storytelling through to contemporary cartoon strips.
I am drawn to Michals use of sequences to tell a story, but with an unexpected twist. There is playful element to his work, in which you can see the influence of surrealist artists such as Rene Magritte. He identifies other influences on his work as Lewis Carroll, William Blake, Thomas Eakins, and Balthus (McKenna, 1993). Things are queer is an excellent example of a narrative series with influences from literature and art.
In this series of nine images, all is not what it seems. The first image is a standard shot of a bathroom and doesn’t appear to be anything unusual. It is only when you see the second image and realise that the it is a tiny bathroom (or a giant leg) and scale is being played with, reminiscent of Alice in Alice in Wonderland, who finds herself changing sizes. The third image confirms that things are out of proportion. It is however the next images when things get very strange, as image 3 is shown in a book, which is then being read by a man walking down a tunnel. A print of this image is shown in a frame, over a sink. The final image reveals that this is the first image with the print in the tiny bathroom.
The series is circular in nature, with the first and last images being the same. However, the viewers perception of the image changes as a result of the series. On looking more closely, the text in the book is from a Brothers Grimm fairy tale, The Story of the Youth Who Went Forth to Learn What Fear Was. The text shown is from the part of the story where the youth meets a giant. Other interpretations of the series suggest that the images challenge our view of reality, ‘the series subverts the viewer’s faith in photography as a faithful window on the work: seeing does not equate to knowing or understanding.’ (Jaskot-Gill, 2012). Weinberg (2019) addresses the sexual connotations of the title, and argues that the queer refers to the world itself, ‘In contradiction to its title, the series seems to say the things themselves are not queer, rather what is queer is the certainty by which we label things normal and abnormal, decent and obscene, gay and straight’.
I find this work, intriguing. In particular I like the fact that the same image (used at the start and end of the sequence), is viewed in different ways. The images reveal more through careful study and encourage the viewer to look reconsider how they initially perceive the image.
Last updated 15 December 2019
References
D C Moore Gallery. 2019. Duane Michaels [Online]. [Accessed 9 Dec 2019].
JASKOT-GILL, S. 2012. Things Are Queer. In: HACKING, J. (ed.) Photography The Whole Story. London: Thames & Hudson.
MCKENNA, K. 1993. ART : Picture Imperfect : For maverick Duane Michals, a photo is worth far less than a thousand words when the questions are about the very meaning of truth [Online]. @latimes. Available: https://www.latimes.com/archives/la-xpm-1993-03-14-ca-543-story.html [Accessed 9 Dec 2019].
WEINBERG, J. 2019. Things are Queer [Online]. [Accessed 10 Dec 2019].
Man Ray (born Emmanuel Radnitzky, 1890-1976) was an innovative artist associated with the surrealist movement. As an artist, his work includes paintings, sculpture, film and photography. Initially, he was inspired by cubism and expressionism, but Dadaism and later Surrealism became the focus of his work. Moving from America to Paris in 1921 he became part of a group of Dada and Surrealist artists (Manray.net).
Bracegirdle (2012) , describes Man Ray’s approach as a photographer as technically adventurous using a range of effects including solaristion (reversing the shadows and highlights though overexposing during printing), camera less prints or photograms (he called these Rayographs), and grain enlargement. The aim was expand the range of approaches to his creative work.
Man Ray’s, famous works representing a range of art forms. The following images I find particularly interesting for the way they were created and their ambiguity, which draws the viewer in.
This is an example of a photogram, where the image is created using photographic paper without a camera. To create this image, the paper was exposed multiple times, each time using a different object to create the silhouettes. In this example, it could have been three exposures with a pair of hands, the heads (himself and his lover Kiki de Montparnasse) and two photographic trays. Man Ray called these photograms, Rayographs. Though the technique existed before, he was the first to use it for fine art, not just as a reproduction of a subject (Manray.net, 2019). His rayographs have been described as visionary and likened to avant-garde painters of the period (The Met, 2019).
This image was inspired by the nudes of French Neoclassical artist, Jean Auguste Dominique Ingres (1780-1867). This is possibly the most well known image of French model and artist, Kiki de Montparnasse (1901-1953). The f holes of the violin were painted onto the image, suggesting her body as a musical instrument. The title is also a play on words as the phrase violin d’Ingres is a colloquialism meaning hobby, perhaps implying something about how Man Ray viewed the subject. The phrase was derived from Ingres’ well known love of the violin (Manray.net, 2019)
All is not what it seems in this image. The model is looking away from the camera and appears to be upset. The model is actually a mannequin and the tears are fake, made of glass. Education at the Getty (2019) describes the image as a metaphor for artificiality in art. The tear drops are exaggerated and could be viewed as fake tears. Taken after Man Ray had been left by his lover Lee Miller in 1932, it could be viewed as a commentary on insincerity.
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.
Karen Gourlay: Foundations in Photography 