Project 2 – Lens Work – Research Point

Online Research, Part 2, Practitioner Research

Summary:

For this research point I;

– Draw on the work of Wim Wenders, who shoots dynamic imagery to document history and signs of civilisation by using a deep depth of field to capture fully focused shots.
– Challenge the view that deep depth of field prevents the viewer from focusing on one point, by providing evidence of specific focal points in Wenders work.
– Analyse how the specific aesthetic codes may affect how the image is interpreted as well their ability to enhance the work.
– Draw on the work of Mona Kuhn, who uses shallow depth of field to provide a sense of intimacy within her imagery.
– Analyse how her compositions reflect her ability to connect with the subject and create a comfortable atmosphere, that even the viewer can feel through her delicate series of photographs.
– Draw on the work of Guy Bourdin who creates images that are sexual and shocking in nature, to grab the viewers attention and make them question the concept of an advertisement.
– Reflect on his use of deep depth of field and meticulous planning of compositions, what they may portray and why.
– Selected an image from my personal archives to show the aesthetic code of intimacy, much like Mona Kuhn, an aesthetic choice I made at the time to enhance the warmth of the fire and coziness of being wrapped up on a winters night.

Brief:

‘Read around the photographers above and try to track down some of the quotations. Write up your research in your learning log‘ (Bloomfield, 2018)

This research point explores how the different depths of field can influence how an image is perceived. For example, a photographer may choose to shoot a portrait in a busy town with a shallow depth of field to direct the viewers eyes to the focal point and provide tension between the subject and blurry background, or instead use a deep depth of field to prevent the eyes from focusing on one specific point in the image and allowing the viewer to take control of their journey through the image.

These different aesthetic codes could be used to explore the idea of memory, politics, imagination for the viewer, intimacy and history, whether the artist is aware of that at the time or not.

Photographer research:

Wim Wenders

Wim Wenders, born August 14, 1945, was one of the first to venture into New German Cinema and is one of the most well-known figures for contemporary German film. Wenders specialities consist of scriptwriting, directing, producing, photography and being an author, which has led to a substantial collection of work in the form of ‘documentaries, photo exhibitions, monographs, films and books’ (Royal Academy, 2018).

A broad collection of Wenders’ photographic works have been exhibited in multiple galleries across the world such as the Ronald and Rita McAulay Gallery, London (2019); the Museum of Contemporary Art, Sydney (2003); Museum of Contemporary Photography, Thessaloniki, Greece (2006); and in his birth city, Museum Kunstpalast, Düsseldorf, Germany 2015.

A recurring concept throughout the photography Wenders shoots, is a sense of journey, memory and life, either through the subjects captured in the frame or the composition of imagery.
For example, a summary of the time capsules. by the side of the road (Wenders, 2015) exhibition Germany suggests, the imagery ‘alludes to the relationship between memory and photography’ (Blain Southern, 2015), therefore showing how photography is a powerful medium that can capture a moment in time and keep it preserved for the future.

America and Germany are locations that are important to Wenders due to how much time he has spent between the two for both work and living. Being able to document the changes, events and effects of human nature seem to be something that drives Wenders in his work as he claims ‘in those landscapes, German or American, I’m still looking for the traces of civilization, of history, or people’ (Wenders, 2015). A great example of Wenders capturing traces of history and the effects of human activity is shown below (see Fig. 1.)

Fig. 1. time capsules. by the side of the road (2015).

As quoted by Broomberg and Chanarin in 2008, directly from the book The Act of Seeing: Essays and Conversations, Wenders states that ‘The most political decision you make is where you direct people’s eyes.’ (Wenders, 1997).

While he doesn’t use a shallow depth of field to direct the viewer’s eyes to a focal point, the centralisation of the fallen aircraft enhances it’s prominence in the foreground, almost teasing the viewer as to what the most important part of the image is, similar to politics. Another visual element that draws the eyes towards the centre, is the contrast between the deep red of the desert land and the bright whites in the paintwork, highlighting the clean and aerodynamic shapes of the plane in amongst the dirt and dust, helping it stand out from the rest.
Wenders’ choice to shoot this image as a panorama expands the shot and provides the viewer with more context by being able to explore the environment behind the aircraft. The dry clumps of grass, the empty road curved by the panorama, the vast plains and rocky mountains in the background, emphasise how abandoned the area may be. We as the viewer don’t know how this crash occurred, or what happened to the remains after this shot was taken which goes back to the idea that the relationship between memory and photography can be very important when it comes to preserving the past and showing signs of civilisation or lack thereof.

Despite his use of deep depth of field, there is seems to be a clear focal point, which challenges the idea that fully focused and sharp images ‘remove that direction.’ (Bloomfield, 2018).

Mona Kuhn

‘I like to cherish the body as a source of inspiration, as a platform for metaphors, for intimacy and complexities of human nature, hoping to use the visual impact of provoking the viewer’s imagination to encourage thoughts beyond what is revealed. – MK’ (Kuhn, 2013).

Mona Kuhn was born in São Paulo, Brazil, 1969 and is of German descent. Currently residing in the US, having moved in 1989 to start her higher education at The Ohio State University and the San Francisco Art Institute.

Kuhn is well known for her large-scale photographs of the human body, capturing people in their most natural state and presenting the nude as a ‘contemporary canon of art’ (Kuhn, 2013).
A consistency throughout her work is the reflection and encapsulation of the need for human connection and being united, which is beautifully achieved due to Kuhn’s close relationships with the subjects. This allows them to be intimate and comfortable in their skin, which is incredibly inspiring due to the negativity that has surrounded nudity.

Using a shallow depth of field and translucency as a visual choice, challenges the viewer’s ability to connect to the environment, those within it and what is happening (Kuhn, 2013). However, due to how soft and comfortable the compositions are, the tension doesn’t feel uncomfortable in any way, portraying Kuhn’s strong ability to respect and form an attachment with the subject and present that throughout her work.

A wide collection of Kuhn’s work is displayed both publicly and privately across the world such as the Flowers Gallery, New York; Jackson Fine Art, Atlanta, Georgia; Camerawork, Berlin, Germany; Elkis Gallery, São Paulo, Brazil and many more.

Kuhn not only forms a connection between the people in her series but also with the environment, the colours, different elements of nature and in turn creating metaphors from the imagery. This can be seen in her Native series, shot in Brazil.

By using a shallow depth of field, the focal point is brought forward in the frame and the case of Spring (see Fig. 2.). It shows the delicacy of the curling leaves and thin twigs, gently lit by the natural light in what looks like a tropical forest, however, slightly unsure due to the blurred background. This forms a tension between the subject, background and viewer and forces a little bit of imagination to be able to connect with the image. The pale greens are subtle and fresh, signifying the lushness of nature and potentially a metaphor for the start of new beginnings. The inconsistencies in the leaves and direction of the growth exhibit how different and unique nature can be. Much like the model in Marina (see Fig.3.) who we may assume, however, cannot confirm, is an indigenous person whose facial features and complexion differ from those of a different ethnicity or race, which is a beautiful thing. Her bare torso stands out and warms what is a crisp and cold background, the blur created by a wide aperture compliment the fragility and softness of the skin.

While intimacy isn’t shown through the appearance of breasts and genitals, instead it is presented by the lack of makeup and clean skin, therefore showing vulnerability and openness. The model’s gentle gaze and deep brown eyes almost draw the viewer in to connect with her soul, more so than her appearance, which is a whole different level of human understanding.

As previously mentioned, not all images show a connection between a group of people, but the similarities between the natural growth of plants and humans. They share imperfections, there are different shapes, sizes and textures throughout. The compatibility of greens, whites, golds and browns, mix and pair up so naturally. Both images are simple, draw the eyes directly to a focal point to help you form a relationship with the subject.

The series as a whole is comforting and celebrates the beauty of people of colour, their home and the importance of connecting with those from all walks of life regardless of our differences.

Guy Bourdin

French fashion photographer Guy Louis Banarès, widely known as Guy Bourdin was born in Paris, in 1928 and was one of the most ‘radical and influential fashion photographers of the twentieth century’ (Michael Hoppen Gallery, 2015).

Bourdin pushed the boundaries of standard advertisements by creating sexual and shocking imagery, to draw the viewer in, steering away from the common product shot and instead exploring surrealism to create discomfort and intrigue.
He understood that fashion seduces people, as does the fantasy of it, which I believe refers to the ability to turn into someone or something completely new through the clothes worn (Michael Hoppen Gallery, 2015). Therefore his provocative compositions marry together with the feeling fashion creates.

Due to the lack of digital advances we have today, Bourdin had to plan in great depth to make sure his work fit the format of the printed page, as well as pushing the models and himself to the limits to capture the desired effect (Michael Hoppen Gallery, 2015).

He was one of the first to tell stories through imagery, putting more emphasis on the importance of the image than the product being advertised. The thoroughly planned compositions, interesting cropped elements, both in black & white and bold colour sometimes made it difficult for the viewer to understand and distinguish what the narrative was trying to say, which made Bourdin’s work even more ludicrous (Louise Alexander Gallery, 2014).

“Thanks to depth of field, at times augmented by action taking place simultaneously on several plane, the viewer is at least given the opportunity in the end to edit the scene himself, to select the aspects of it to which he will attend” (Bazin (1948) quoted in Thompson & Bordwell, 2007).

At first glance, it seems as if the image has a particular direction set in place due to the bright red dress, therefore providing a potential focal point. However, the white graffiti to the right of the models creates some sort of distraction and breaks the direction, causing the eye to start exploring the various leading lines in the composition such as the pathway, the white pole to the left, the edges of the brickwork and the framing of the windows. Due to the way the camera has been positioned, there are subtle angle differences that can be seen between the path and the top of the wall causing an uncomfortable illusion for the eye and forms questions. Are the models going uphill, downhill or neither?

The unsettling feeling Bourdin wanted to create, stands out through the motion blur of the two models, in comparison to the sharp surroundings. The viewer is unaware as to why they are moving, whether they’re running, being pushed or what they look like as their faces cannot be seen clearly which can be anxiety-inducing or confusing for some. Red is the colour of danger and lust, so this scene could potentially represent two lovers either parting ways or reuniting, making a nod to the use of sexual imagery, or representative of the danger that can occur when you’re not looking.

Bourdin’s use of deep depth of field allows the viewer to explore the whole image as they wish, in detail and gather their own story from it. For example, I got distracted by the graffiti and started looking around the image from there, however, this may be different for the next viewer. The image isn’t too busy, which can be an issue with some images shot with a narrow aperture, however, enough is going on to keep the eyes from being drawn to one area.

Research point continued :

‘Now look back at your personal archive of photography and try to find a photograph to
illustrate one of the aesthetic codes discussed in Project 2. Whether or not you had a similar
idea when you took the photograph isn’t important; find a photo with a depth of field that ‘fits’
the code you’ve selected. Add a playful word or title that ‘anchors’ the new meaning‘ (Bloomfield, 2018).

When it comes to personal work, I use a shallow depth of field very often, therefore, have begun to understand how the aesthetic code of intimacy can be applied, whether that is presented through the people in the shot, the pose, clothing, surroundings or by the deeper message.

The image of choice from my archives, now named Fireside (see Fig. 5.) was shot a few years ago during Christmas which for most, but not all, is a comforting time of year to reconnect with loved ones, as well as looking after oneself. The shallow depth of field directs the viewer to the thick winter socks on the feet of the subject, complemented by the soft outline of a fire in the background. While you don’t see the subjects face, the dimmed lighting, haziness of the background and cropped framing provides that sense of sleepiness, intimacy and warmth, which a lot of people can associate with.

Fig. 5. Fireside (2017)
1/8 sec; f/1.8; ISO 200

References :

Bazin, A. (1948) ‘Observations on film art : Do filmmakers deserve the last word?’. [online] Available at : http://www.davidbordwell.net/blog/2007/10/10/do-filmmakers-deserve-the-last-word/ (Accessed February 5 2020).

Blain Southern. (2015) ‘Exhibitions, Blain|Southern’. [online] Available at : https://www.blainsouthern.com/exhibitions/time-capsules-by-the-side-of-the-road (Accessed February 3 2020).

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, pp. 47, 55. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 7 February 2020].

Kuhn, M. (2013) ‘Bio/CV | MONA KUHN‘. [online] Available at : https://www.monakuhn.com/pages/bio (Accessed February 5 2020).

Louise Alexander Gallery. (2014) ‘Guy Bourdin – Louise Alexander Gallery’. [online] Available at : https://www.louise-alexander.com/artist/guy-bourdin/ (Accessed March 16 2020).

Michael Hoppen Gallery. (2015) ‘Guy Bourdin | Michael Hoppen Gallery‘. [online] Available at : https://www.michaelhoppengallery.com/artists/30-guy-bourdin/overview/ (Accessed February 5 2020).

Royal Academy. (2018) ‘Wim Wenders | Artist | Royal Academy of Arts’. [online] Available at : https://www.royalacademy.org.uk/art-artists/name/wim-wenders-hon-ra (Accessed February 3 2020).

Wenders, W. (2015) ‘Wim Wenders | time capsules. by the side of the road. Wim Wenders’ recent photographs‘. [online] Available at : https://www.wim-wenders.com/photo/time-capsules-by-the-side-of-the-road-wim-wenders-recent-photographs/ (Accessed February 3 2020).

Wenders, W. (1997) ‘Text – Unconcerned But Not Indifferent – Broomberg and Chanarin’. [online] Available : http://www.broombergchanarin.com/text-unconcerned-but-not-indifferent (Accessed February 3 2020).

List of Images :

Figure 1. Wenders, W. (2015) time capsules. by the side of the road [image] Available at : https://www.wim-wenders.com/photo/time-capsules-by-the-side-of-the-road-wim-wenders-recent-photographs/ (Accessed February 3 2020).

Figure 2. Kuhn, M. (2009) Spring [image] Available at : https://www.monakuhn.com/portfolio/works/detail/1809/ (Accessed February 5 2020).

Figure 3. Kuhn, M. (2009) Marina [image] Available at : https://www.monakuhn.com/portfolio/works/detail/1785 (Accessed February 5 2020).

Figure 4. Bourdin, G. (1975) Vogue Paris, August 1975 [image] Available at : https://www.louise-alexander.com/artist/guy-bourdin/ (Accessed February 5 2020).

Figure 5. Powell, L. (2017) Fireside [image] In possession of : Lauren Powell : Eastleigh.

Exercise 2.4 Woodpecker

Notes, Part 2, Reflection on coursework

Summary:

For the final exercise in this project I;

– Noted the restrictions caused due to the space available to me in my chosen location and how the camera settings were changed to deal with this minor issue.
– Documented the variety of camera settings used and how I took the images, for example, resting the camera on my knees to reduce camera shake and maintain the framing,
– Analysed the visual differences between each shot, how the different focal ranges helped enhance certain details that couldn’t be seen in the other.
– As well as exploring the lack of focus caused by using a small aperture and focusing on a midpoint, making the composition quite messy.
– Acknowledged the importance of a focal point and aperture, depending on the kind of image you’re trying to achieve.

Brief :

‘Find a subject in front of a background with depth. Take a very close viewpoint and zoom in;
you’ll need to be aware of the minimum focusing distance of your lens. Focus on the subject
and take a single shot. Then, without changing the focal length or framing, set your focus to
infinity and take a second shot.

As you review the two shots, how does the point of focus structure the composition? With
a shallow depth of field the point of focus naturally draws the eye, which goes first of all to
the part of the image that’s sharp.

Again without moving the camera, select a very small aperture (perhaps one stop above
the minimum to avoid diffraction) and find a point of focus that will give you acceptable
sharpness throughout the entire field, from foreground to infinity. Take a third shot and add
it to the first two to make a set.’ (Bloomfield, 2018)

Due to the lack of space between the subject and I, the longest the focal length could be with the SONY 18-55 3.5-5.6 SAM lens was 26mm keeping in mind the minimum focal distance and being able to frame the fence appropriately. The aperture on my Sony A57 was set to it’s widest at f/5.6 to provide a clear difference between the foreground and background. To assure the framing was consistent, the camera was balanced on my knees as there was no space for a chunky tripod.

1/250 sec; f/5.6; ISO 400; 26mm
Fig. 1. *Focus on subject* (2020)

Focusing on the subject means that the eyes are drawn towards the outer edges of the frame as the trellis fence fills the space (see Fig. 1). We are also able to see the grain of the wood, the moss and twigs that cover and intertwine the fence, which cannot be seen when the focus is set to infinity. The fence also frames the blurred background and creates a balanced composition by cutting the scene into individual sections. Infinity mode draws the eyes into the image and through the frame, rather than around it. This provides more depth due to the layering of objects and buildings behind one another. More detail can be seen in Infinity (see Fig. 2), making it interesting for the eye as the individual sections provide more context, texture and colour than the first image. Despite the busy background, the composition remains balanced due to the blurred foreground dividing the frame.

1/10 sec; f/25; ISO 400; 26mm
Fig. 3. *Midpoint focus* (2019)

For the final image (see Fig. 3), I set the aperture to f/25 and made sure that as much of the image was in focus as possible. This took a couple of attempts as the camera was set to manual focus, meaning it is very easy to be slightly out of focus when adjusting it by hand.

Comparing this image to the previous two, I can see quite clearly how important aperture, viewpoint and focal length can be when composing a shot. This is an extremely busy image, too much is going on for the eyes to take in and feels messy as a whole. The balance between foreground and background achieved in the first set is much more comfortable for the eye than this shot as everything just blends, so the depth is lost.

References:

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 46. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 6 February 2020].

List of images:

Figure. 1. Powell, L. (2020) Focus on subject [image] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2020) Infinity [image] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2020) Midpoint focus [image] In possession of Lauren Powell: Eastleigh.

Exercise 2.3 Focus

Part 2, Reflection on coursework

Summary:

For exercise 2.3 I;

– Mentioned the choice of location and my reasoning for changing positions, in terms of safety while making sure I still covered what was asked in the brief.
– Stated the camera settings and my approach to the task by adjusting my focal lengths, in addition to my own personal distance from the model.
– Analysed the images briefly to understand the visual elements created by the various settings before
– Reflecting on the task as a whole, the difficulties faced while executing it and the importance of going out of you comfort zone.

Brief:

‘Find a location with good light for a portrait shot. Place your subject some distance in front
of a simple background and select a wide aperture together with a moderately long focal
length such as 100mm on a 35mm full-frame camera (about 65mm on a cropped-frame
camera). Take a viewpoint about one and a half metres from your subject, allowing you to
compose a headshot comfortably within the frame. Focus on the eyes and take the shot.‘ (Bloomfield, 2018)

Taking into consideration I had to focus on the subject’s eyes, I adjusted her position so the direct sunlight was shining on the side of her face to avoid eye strain, yet providing enough light for the portrait. My SONY A57 was already set at a wide aperture of f/5.6 from the previous exercise, the SONY 18-55 3.5-5.6 SAM lens only reaches 55mm so, unfortunately, it was the longest the focal length could be. Therefore I stood about a metre away instead of one and a half to make sure she was framed appropriately.

Fig. 1. *Focus* (2020)
1/4000 sec; f/5.6; ISO 400; 55mm

The model was positioned roughly 3 metres away from an old brick wall at the bottom of our local town, which towers over a pathway and forms a heavy shadow. As well as the background being soft and blurred due to the wide aperture and distance between the subject, the intensity of the sunlight and the dark shadows help the subject stand out even more, making sure she is the main focal point.

It’s interesting how the soft focus creates an illusion of the background being a studio backdrop right behind the model, however, in reality, it is quite a distance away. While you can see subtle shapes and colours, it’s difficult to decipher what is behind the subject which creates a little bit of surface tension between the two.

Reflection:

I use a wide aperture regularly for personal work, so I knew what kind of effect this exercise was meant to achieve. However, direct sunlight isn’t something I have challenged myself with before due to how intense the highlights and shadows can be. These exercises are all about testing your abilities and pushing your comfort zone, which is why I decided to shoot at midday and stop avoiding the fear of intense light.

While it took a little while to figure out which position was best for the model and me, in the end, it worked out better than I expected. In conclusion, exploring different locations, lighting and subjects is something I need to do more.

References:

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 45. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 5 February 2020].

List of images:

Figure. 1. Powell, L. (2020) Focus [image] In possession of: Lauren Powell: Eastleigh.

Exercise 2.2 Viewpoint

Part 2, Reflection on coursework

Summary:

In this exercise I;

– Documented the camera and lens type, along with the settings used.

– Explained the process taken to take these images, the use of direct sunlight and the difficulties faced.

– Briefly analysed the various shots to compare the differences in background, depth of field and distortion.

– Reflected on the difficulty of remembering the difference between long and short focal length, how I handled this and noted the contrasts between the two compositions.

Brief

‘Select your longest focal length and compose a portrait shot fairly tightly within the frame in front of a background with depth. Take one photograph. Then walk towards your subject while zooming out to your shortest focal length. Take care to frame the subject in precisely the same way in the viewfinder and take a second shot. Compare the two images and make notes in your learning log.‘ (Bloomfield, 2018)

Fig. 1. *Viewpoint 1* (2020)
1/4000 sec; f/5.6; ISO 400; 55mm

Just like the previous exercise, I used a SONY A57 with the SONY 18-55mm 3.5-5.6 SAM lens, set the aperture to a wide aperture of f/5.6 to provide a subtle blur behind the model and kept the camera on manual focus to avoid relying on autofocus for a crisp image.

These images were taken in direct sunlight, as all other areas of the town were too dark to capture a crisp portrait, which is why my model is looking sideways rather than forwards. While I preferred the eyes facing the lens, we had to consider eye safety first.

For Viewpoint 1 (see Fig. 1), I zoomed the lens all the way in at 55mm, standing roughly a metre or so away from the model and making sure her upper torso fit tightly within the frame. The background is close yet soft and out of focus, assuring that the person in the frame is the primary focus with minimal distractions from the surroundings. The wall subtly frames the model and doesn’t “cut” through her head. You can see that the image is at eye level, not from above or below, meaning the models face isn’t warped in any way.

For Viewpoint 2 (see Fig. 2), I zoomed out to 18mm and had to stand extremely close to the model to frame the image as accurately as I could to match the previous shot. Despite the wide aperture, the background is much clearer and more in focus than its partner. The buildings are much further away, showing even more of the wall to the right and featuring a whole new building to the left. Unlike the first image, this shot looks as if it has been shot from a lower angle and has distorted the models face in a way a fisheye lens would.

Reflection:

It was difficult for me to actively remember the difference between long and short focal length while taking these images. Usually, I refer to it as zooming in or out. Therefore, I noted that longest = the large number, shortest = the smaller number. These exercises are helping me to push my technical knowledge even further, which is helpful when it comes to comparing the imagery.

The differences between the two images are immense, which I wasn’t expecting even after looking at the example images provided with the brief. It was intriguing to see how small changes can impact the subject and its surroundings in a way that results in two opposing shots.

Hopefully, this experience will challenge me to be more aware of my camera settings and the viewpoint I take an image from, experimenting a little if initially they don’t work out or look ‘right’.

References:

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 44. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 22 February 2020].

List of images:

Figure. 1. Powell, L. (2020) Viewpoint 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2020) Viewpoint 2 [image] In possession of: Lauren Powell: Eastleigh.

Project 1 – Distorting Lens – Exercise 2.1 Zoom

Part 2, Reflection on coursework

Summary:

For this exercise I have;

– Stated the settings used on my camera, the camera and lens type, as well as
– Explaining where the images were shot and how they were taken, including the variety of focal length settings.
– Briefly covered the difficulties faced while shooting in a busy environment and the knowledge I have gained by completing this task, such as the impact zoom has on the depth of an image.
– Analysed the imagery taken, documenting what I found within each shot visually alongside the technical strengths.
– Inserted a slideshow to show the idea of moving through a scene without actually moving.
– Cropped an image to show how zoom can affect the context of an images, before exploring
– The history of pixel art in gaming and the comparison between peoples preference for clearer graphics in games and sharp HD images in digital photography, versus nostalgia and aesthetics.
– Made notes on the power of a pixel within an image and they importance of the detail within an image before
– Reflecting on the exercise as a whole and what I found both difficult, or interesting.

Brief:

‘Find a scene that has depth. From a fixed position, take a sequence of five or six shots at different focal lengths without changing your viewpoint. (You might like to use the specific focal lengths indicated on the lens barrel.) As you page through the shots on the preview screen it almost feels as though you’re moving through the scene. So the ability to change focal lengths has an obvious use: rather than physically move towards or away from your subject, the lens can do it for you. But zooming is also a move towards abstraction, which, as the word itself tells us, is the process of ‘drawing things away’ from their context.‘ (Bloomfield, 2018)

Before starting this exercise, I made sure that my Sony A57 was set to aperture priority mode as requested at the start of Imaginative Spaces, as well as switching the SONY 18-55 3.5-5.6 SAM lens and camera body to manual focus, to avoid relying on autofocus to sharpen the image correctly.

I decided to take these images while out and about in my local town, therefore I didn’t have a tripod with me purely out of convenience. However, to make sure the position was fixed I crouched to keep my feet firmly in one place and used my knees to keep the camera balanced. Due to how busy the environment was, a few attempts had to be made, as members of the public were walking in and out of the frame, blocking the main focal point at the end of the walkway and disturbing the abstraction.

There are 5 focal lengths labelled on the lens ring (55mm, 35mm, 28mm, 24mm, 18mm) however I used these as a rough guide to show a gradual difference in the zoom settings. The focal lengths used were 55mm, 45mm, 35mm, 30mm, 26mm and 18mm, which created a fairly even spread as can be seen below.

Fig. 1. *Lens 1* (2020)
1/1600 sec; f/5.6; ISO 400; 55mm

For a few years I have been using prime lenses and have learned the importance of being able to move your body to get the image you want, therefore switching back to a zoom lens and being able to ‘move’ through a scene via the lens has reminded me of the difference perspectives you can achieve if you vary the lenses and settings.

The longer the focal length is, the more cropped and out of context the subject (see Fig. 1.) becomes having eliminated the true length of the walkway. However, you can find much more detail within the scene such as the walls and poles in the car park that you can’t see as clearly with the shorter focal length. As you pan through each image, the shorter the focal length gets the more it creates the sense of backing out of the small box of darkness at the end of the tunnel, into a bright and open space showing the true extent of the path. The shot taken at 26mm (see Fig. 5) is the most accurate portrayal of what I could see in person, a combination of shadows and highlights from the midday sun, a clearer view of the latticed walls, the true length of the path and a small slither of blue sky, therefore looking at how much detail is captured in the 18mm shot shows how powerful zoom can be. The last image (see Fig. 6) is an expanded shot, almost like a vertical panorama showing more of the sky, bringing more colour and light into the frame than could be seen in person, bringing the viewer about 2 metres further back from the position of the camera, providing more height to the image and showing the full framework of the walkway.

1/1600 sec; f/5.6; ISO 400; 55mm
1/2000 sec; f/5.6; ISO 400; 45mm
1/2000 sec; f/5.6; ISO 400; 35mm
1/2500 sec; f/5.6; ISO 400; 30mm
1/2500 sec; f/5.6; ISO 400; 26mm
1/3200 sec; f/5.6; ISO 400; 18mm

Considering my camera lens couldn’t zoom in any further than 55mm, I created the last image in Photoshop by repeatedly zooming in and cropping the image shot at 18mm, taking screenshots of the process. This created a very abstract final product, focusing more on the details of the images up close than as a whole.

This process reminded me of pixel art and how the early era of game producers, used this style despite the lack of technology and experience, to create simple yet fun games by using simple shapes to represent certain objects or characters, relying on the ‘imagination of players to fill in the blanks’ (Griffiths, 2017).

Over the years the style evolved due to the advance in technology, while they were still restricted, 8-bit games such as Super Mario Bros. 3 (see Fig. 10) explored the idea of turning pixel blocks into more recognisable characters, as well as including backgrounds and inserting cut scenes, ultimately fleshing out the game and making it more interactive and immersive as a whole (Griffiths, 2017).

Fig. 10. *Super Mario Bros. 3* (1988) : Level 5-3 (2013)

In modern times, however, pixel art is mostly used for the retro aesthetic and challenging imagination more so than a technical choice, mainly because games with higher graphics and 3D elements seem to be more appealing to most players due to the realism.

This is very similar to the development of digital cameras and lenses, to help capture more high definition imagery via digital pixels, in comparison to pinhole and film cameras which are instead made up of noisy grains. Much like old games, “vintage” cameras are used by a lot of people these days for nostalgic and visual purposes rather than the technical elements.

More and more people are becoming interested in the latest technology and capturing more detailed and crisp photographs, almost as if you were looking at it in person, however at the end of the day no matter how high the resolution may be, the closer you zoom into the details you will see that every image is made up of individual pixels or grains. The final image I have created may not be the most appealing to the eye, but the distorted out of context blocks all add up to create the full photograph in a frame. Not every image has to be clear or aesthetically pleasing, as long as you have the imagination to see the deeper details within a simpler, abstracted piece.

Reflection

Despite the fact this exercise took a few attempts to get right, I’m pleased that it allowed me to re-explore the power of zoom lenses, what details can be captured in the frame, what changes and how the perspective can be altered just by changing the focal length. The position of the camera within a scene, the settings you choose and the lens you pick, can affect the outcome of an image which is something I had forgotten due to the restrictions of fixed focal lengths.

It also helped me look at my images in closer detail, by experimenting with extreme zoom and cropping to discover the tiny details that build the whole image.

References :

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 40. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 3 February 2020].

Griffiths, D. (2017) ‘The History Of Pixel Art – The Factory Times’. [online] Available at : http://www.thefactorytimes.com/factory-times/2018/9/27/the-history-of-pixel-art (Accessed 29 January 2020)

List of Images :

Figure. 1. Powell, L. (2020) Lens 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2020) Lens 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2020) Lens 3 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2020) Lens 4 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L. (2020) Lens 5 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 6. Powell, L. (2020) Lens 6 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 7. Powell, L. (2020) Cropped [image] In possession of: Lauren Powell: Eastleigh.

Figure. 8. Powell, L. (2020) Cropped and zoomed [image] In possession of: Lauren Powell: Eastleigh.

Figure. 9. Powell, L. (2020) Cropped, zoomed and cropped again [image] In possession of: Lauren Powell: Eastleigh.

Figure 10. Nintendo. (n.d) ‘Super Mario Bros. 3 (1988): Level 5-3‘. (2013) [Gameological, screenshot] Available at: http://gameological.com/2013/05/super-mario-bros-3-1988-level-5-3/index.html (Accessed 29 January 2020)