Exercise 3.3 – What Matters Is To Look

Notes, Part 3, Reflection on coursework

Summary:

For the final exercise I;

– Expressed the difficulties faced during this task due to the continuing UK lock down and inability to travel far, therefore having to find a work around to achieve an image that fit the brief.
– Explained how I executed the exercise, the camera used, as well as the settings before,
– Documenting what I saw during each layer of the viewpoint and the details within them that I may not have noticed had I just raised my camera and clicked.
– Inserted the end result with the technical details and reflected on the exercise as a whole, the importance of looking and the impact it can have on the composition.

Brief:

‘Find a good viewpoint, perhaps fairly high up (an upstairs window might do) where you
can see a wide view or panorama. Start by looking at the things closest to you in the
foreground. Then pay attention to the details in the middle distance and then the things
towards the horizon. Now try and see the whole view together, from the foreground to
horizon (you can move your eyes). Include the sky in your observation and try to see the
whole visual field together, all in movement. When you’ve got it, raise your camera and
release the shutter. Add the picture and a description of the process to your learning log‘

(Bloomfield, 2018).

Due to the UK being on lockdown for the time being, I had to find a workaround for this exercise as my upstairs windows do not open wide enough for me to get an unobtrusive shot of the garden, therefore wasn’t a possible option. While I would’ve liked to shoot from a high-rise building to get a broader view, my only alternative was shooting from the hilltop near home.

Before taking this shot (see Fig. 1), I set my SONY A57 to shutter priority mode, used auto-focus to ensure that the image would be entirely focused, as well as adjusting the shutter speed to level out the exposure before raising my camera and shooting.

While observing this viewpoint, I first became aware of the bare tree branches in the foreground creeping into view and blocking the houses to the left of me, shortly before my eyes followed the descent of the hill leading towards the hedges and large bricked house in the middle distance. The houses behind look tiny in comparison as they get further away from the foreground, framed by the variety of evergreen and deciduous trees along the horizon and a faint foggy silhouette of woodland far aware in the background. A blanket of clouds blocked the previously sunny sky, a few grey clouds spread across before it started to rain.

Once I’d looked at all of the elements in their sections, I then sat and viewed the scene as a whole without using my viewfinder in camera. This exercise was slightly challenging as I usually look at what is in front of me through the camera before shooting, so to step back and discover in real-life was an eye-opener.
I took a brief look at the LED screen to make sure the sky was in my composition, then returned my eyes to the view while pressing the shutter button.

Fig. 1. Look (2020)
1/25 sec; f/32; ISO 200

Reflection

These past few exercises and research points have helped my understand the importance of being aware of your surroundings, to look before you shoot instead of raising your camera and taking a snapshot, hoping for the best. By spending more time to observe and understand what is in front of you, makes the shot a lot more meaningful, not only for you as the photographer, but for the viewer as more effort has gone in to make sure the composition looks ‘right’.
While it is difficult to refrain from just raising the camera and looking, it is a task worth doing to spend a few extra moments taking in the scene and what you’re about to capture.

References:

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 73. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 30 March 2020].

List of images:

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

Research Point – Henri Cartier-Bresson – L'amour Tout Court

Notes, Online Research, Part 3, Reflection on coursework

Summary:

For this research point I;

– Watched the documentary suggested in the brief and made notes on what I discovered during 70 minutes of watch time, expanding on the statement made and interpret them in my own words to further understand the decisive moment.
– Reflected on Sluban’s visit to a prison, where he ran a photography workshop and how he approached as well as taught the inmates, emphasising that the composition is extremely important and is more than just pressing a button to provide meaning.
– Explored Bonnefoy’s comments about Simiane-la-Rotonde and how being aware of your surroundings allows you to see a lot more, provides evidence of Cartier-Bresson’s ability to capture a balanced composition through intuition and the importance observing.
– Expanded on Cartier-Bresson’s view on what makes a decisive moment, by finding an example of sensitivity, intuition and sense of geometry in his work Alberto Giacometti rue d’Alésia. A photograph that documents the gaze of his friend Alberto Giocometti and the connection between the two, showing the empathy Cartier-Bresson has for his subjects.
– Briefly covered Arikha’s thoughts about painting and how we are so influenced by recognition, therefore we need to capture what we see, not what we think we see.
– Documented Cartier-Bresson’s approach to capturing decisive moments, by making sure people don’t know he is observing, to avoid an unnatural response from the subject. Once again showing a huge amount of empathy, to somewhat become invisible and connect with the mood of the room.
– Explored the critiques of Liz Wells, who believes that documentary can remove context from an image by dislocating moments in time, in turn creating a less powerful image by not showing what has happened/is happening. However, I challenged this by disagreeing and providing the reasons as to why, before
– Challenging Colin Pantell’s views on Paul Graham’s The Present, where he believes there are many indecisive, decisive moments that we don’t know what to look for, however I feel isn’t true as there is a consistent theme throughout and many focal points throughout.
– Briefly scanned John Suler’s article about the decisive moment, to increase my knowledge of it before continuing with this assignment. Understanding that it is important to look, be more decisive about what you’re shooting, don’t overly influence the shots, if at all and provide balance, questions and tension.
– Reflect on how I feel about the decisive moment as a visual strategy and the power it has to create a strong image, while expressing concerns about the difficulty of being able to capture such moments.

Brief

‘Watch the Henri Cartier-Bresson documentary ‘L’amour de court’ (‘Just plain love’, 2001) available
on Vimeo.

Write up your research on the decisive moment in your learning log taking care to give a proper
account of the three differing views offered above, and any further research you’ve undertaken
independently. What do you feel personally about the decisive moment as a visual strategy, or
just as a way to take pictures? Conclude your post with your own perspective on the debate at
this point in time‘ (Bloomfield, 2018).

Henri Cartier-Bresson’s view on a successful photograph is made evident by emphasising the importance of looking. He feels as if not many people do when stating that ‘75% of the people just press the button’ (L’amour Tout Court, 2001) and don’t necessarily think about the gaze that encourages questions. To think about what you’re capturing, making sure the image is balanced when composed, is more effective than just raising the camera and shooting without much thought. The intentional space gives context to the gaze of the subject, enabling the viewer to think about what may be happening.

This idea is further supported by Klavdij Sluban on his visit to the inmates at Fleury-Merogis Prison for a photography workshop in 1995, educating them on how to take photographs and their approach to the task in a calm, welcoming manner. Sluban communicates to the group that the fascinating element of photography is the composition, as it is a language that you have to learn (L’amour Tout Court, 2001).
Approaching the inmates politely and humanely, enables them to listen and be excited about the workshop, therefore encouraging them to take the photography seriously and give that sense of ‘meaning… an instant of your life’ (L’amour Tout Court, 2001).

Thinking about what you’re about to capture provides that extra level of care and understanding, that to some may just simply be a photograph and nothing more. However, to the more avid viewer, we may be able to discover the relation between the subject and artist by further exploring the deeper layers of the composition, to appreciate how the balance enhances the overall mood of the arrangement. Simiane-la-Rotonde taken in 1969 is an example of this.

Yves Bonnefoy states the square was usually empty and could not recall any children playing or Cartier-Bresson being around to take the image on this day, they simply walked straight past the square as usual (L’amour Tout Court, 2001). We can see that the children in the foreground are relaxed, enjoying the company of one another as if nothing has changed and Cartier-Bresson isn’t observing. A young girl in the background is pointing towards a dog, albeit a stray or a member of the communities, that may suggest sheer excitement of discovering this furry friend. The negative space emphasises the space between each group of people, supporting Bonnefoy’s statement that the square is usually empty. On the other hand, enhances Cartier-Bresson’s intuitive use of the golden section as each person is placed between or near the intersecting lines of the camera grid, keeping the composition balanced.

Bonnefoy understands that the reason he didn’t see this happening on the day he passed by was that Cartier-Bresson is always on the lookout and ready to react to a situation. In contrast, others are usually ‘distracted and unobservant’, Cartier-Bresson doesn’t have to stop for the geometry to play a decisive role in framing the scene (L’amour Tout Court, 2001).

Furthermore, Cartier-Bresson addresses that all it takes to capture a decisive moment is having ‘sensitivity, intuition … a sense of geometry’ (L’amour Tout Court, 2001). He has an incredible amount of empathy and can relate to the subject in the frame, making them feel comfortable.

By photographing Alberto Giacometti in Alberto Giacometti rue d’Alésia crossing the road in the pouring rain, covering his head with a coat for protection, gazing at the photographer across the street with somewhat of a melancholic emotion looking for support, reflects this idea of compassion. The simple connection of eyes forms a relationship between the subjects, good or bad, determined by the expression given. Capturing the distance between them, documenting the walk towards him almost radiates the action of waiting for Giacometti to reach him and feel the warmth of reuniting with a friend on this rainy day.

The painter Avigdor Arikha suggests that ‘our gaze is always conditioned by recognition’ (L’amour Tout Court, 2001); therefore we only see what we recognise and don’t necessarily observe anything further than that. This statement reminds me of an approach my fine art teacher taught our class, that was to draw what you see, not what you think you see. We must observe the form and stray from being influenced by what we assume something should look like, or like Arikha mentions ‘to look openly is to look with the senses’ (L’amour Tout Court, 2001).

Henri Cartier-Bresson doesn’t want the subjects he is photographing to know that he is doing so, since the awareness of observation, can influence someone’s posture, emotion, put on a mask that rids of spontaneity. Bonnefoy feels as if Cartier-Bresson was able to go unnoticed during the funeral of a Kabuki actor because of his ability to recognise and relate to the room, in turn becoming invisible through the act of sympathy (L’amour Tout Court, 2001).

In her book Photography: A Critical Introduction, Liz Wells suggests how this approach to documentary photography can fragment a moment in time and remove the context of an image that could, therefore, explain the photograph in a more significant way. By recording ‘dislocated moments’ (Wells, 2009:93) meant that documenting swayed from capturing major subjects and focused more on implying that something bigger had occurred.

While I almost agree with the idea that this approach can come across as a ‘stylistic cliche’ (Bloomfield, 2018:71), as many photographers have adopted Cartier-Bresson’s way of shooting, therefore removing the uniqueness of the technique, it still raises questions for the viewer. Documentary photography records factual events or environments in daily life or history, consequently may be more potent if you provide context to present an accurate reflection of what is occurring. On the other hand, by fragmenting a situation much like Cartier-Bresson does while maintaining balance, encourages the viewer to understand further what they can see and the impact of an event without being shown what caused it. This approach, in my opinion, can be more impactful than being handed the context of a photograph, as it provokes a more profound sense of comprehension and forces the audience to think about what is in front of them.

A further criticism for the decisive moment comes from Colin Pantall as he reviews Paul Graham’s photographic book The Present, a series of images that are taken in pairs, showing different events taking place in the same location moments apart from one another. Pantall states how Graham wants us to see the opposite of the decisive moment and the prospect of urban life, however, he feels that instead, we get ‘moments so decisively indecisive’ (Pantall, 2012) that we don’t know what to look out for, as a result missing the mark of contemporary life.

After viewing a few examples from Graham’s book, I can’t say I agree with Pantall, purely based on the fact Graham has decided and stuck to the idea of capturing moments through an urban landscape, to see the changes in a particular area. The sequencing of this book also presents the concept of a decisive moment, by grouping the images to allow the viewer to see the small differences over time by looking at both photographs spread out beside one another. Paul Graham has shown consistency in this series and a sense of care by looking out for these shifts in the present, creating a connection between each image, that in itself is decisive. The hustle and bustle of everyday life appear throughout, showing the diversity between each subject, the backgrounds, the journeys people are making and what each person may be doing. It poses a question for the audience, a clear understanding of what Graham is trying to achieve by recording the natural state of people navigating the city. I feel as if this wouldn’t be possible if this were an indecisive moment with conflicting ideas that don’t connect, confusing the viewer due to the inconsistency.

To understand the decisive moment further, I briefly scanned through John Suler’s article The Psychology of the “Decisive Moment”. In this text, he covers critical features of how to capture a “perfect” decisive moment; harmony, meaning, anticipation, uncertainty, unique fleeting moments, one chance shots, candid, objective fact versus subjective interpretation (Suler, 2017).

As a result, Suler shows the importance of looking or thinking about what you are capturing as a photographer. The decisive moment seems to be more complicated than I first expected, as you have to connect with the subjects you are photographing and be aware of the relationship of the whole composition. Stop and be mindful of what is around you and don’t just shoot for the sake of shooting. Be more firm about what it is you’re trying to achieve, whether that is attempting to encourage questions, document balance or tension.
While it sounds complicated, the results that have come from being more open to what you’re are capturing, instead of wanting a particular image makes for a much more substantial photograph.

I feel as if the decisive moment is a powerful visual strategy, as it steps away from a snapshot, it’s much deeper than that and for me is what photography should be about, recording moments with meaning and emotion. We are quick to pick up the camera and shoot multiple images, scanning through a selection to find the best one, however, if a little more effort goes into the composition, instead of hoping for a powerful image it may just come naturally.

References

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 72. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 30 March 2020].

Fondation Henri Cartier-Bresson. (2015) ‘Henri Cartier-Bresson et Alberto Giacometti’ [image] Available at: https://www.henricartierbresson.org/en/expositions/henri-cartier-bresson-alberto-giacometti/ (Accessed 25 March 2020).

H. Cartier-Bresson: l’amour tout court (2001) Directed by O’Byrne, R. [online video] Available at: https://vimeo.com/106009378 |(Accessed 25 March 2020).

Pantall, C. (2012) ‘photo-eye | BLOG: photo-eye Book Reviews: The Present‘ [online] Available at: https://blog.photoeye.com/2012/05/photo-eye-book-reviews-present.html (Accessed 25 March 2020).

Peter Fetterman Gallery. (2019) ‘Henri Cartier-Bresson, Simiane-la-Rotonde, France, 1969/Printed later’ [image] Available at: https://www.peterfetterman.com/artists/75-henri-cartier-bresson/works/24483-henri-cartier-bresson-simiane-la-rotonde-france-1969-printed-later/ (Accessed 25 March 2020).

Suler, J. (2017) ‘Photographic Psychology: The Decisive Moment’ [online] Available at: http://truecenterpublishing.com/photopsy/decisive_moment.htm (Accessed 25 March 2020).

Wells, L. (ed.) (2015) Photography: A Critical Introduction (5th edition). Abingdon: Routledge.

Contact Sheet and Final Image Selection

Assignment 2, Notes, Thoughts & Ideas

Summary:

For my final selection I;

– Provided annotated contact sheets of my final shoot to show the images I preferred or eliminated, along with any changes I’d like to make like cropping.
– Explained how I executed this shoot, including camera type and settings, before exploring how the various techniques helped or hindered my imagery.
– Drawn on the influence I gathered from Barry Rosenthal and Sam Oster, explaining why.
– Stated how my selection process went, what programmes I used, and the minor changes made to improve the quality of the work,
– Before explaining the reasoning of my grid work and the groups made what messages they may imply for the viewer.
– Briefly reflected on what I felt worked well during the shoot and selection process, as well as my thoughts on the final selection.

Before selecting my final images the contact sheets were printed off, annotated and analysed to figure out which shots were strongest visually, technically and conceptually when placed together as a group.

While shooting, I made sure to refer to the techniques listed on my shoot plan to make sure I shot my images as intended and the camera settings were suitable for the lighting.

Setting my Sony A57 to manual focus allowed me to make sure everything was as crisp and accurate as possible. At the same time, a narrow aperture of F/14 prevented unwanted blur and provided enough light. I did use an ISO of 400 to boost the light levels slightly, enabling me to use the slowest shutter speed of 1/4 to get a well-lit shot, avoiding bulb mode or a wider aperture.

Placing my camera on a tripod meant the framing was consistent and stable throughout, while everything was in the frame when using a focal length of 35mm. Backlighting my images was a wise decision, as it enhanced the 3D form, however, due to uncontrollable natural light coming from behind, the images were lacking in shadows or became too dark, exampled in Collection LP 2020 (2) and Collection LP 2020 (36) (see Fig. 1. and Fig. 3).

Using the High Contrast B&W setting in camera provided the definition and contrast I wanted to achieve, some subjects, however, were difficult to decipher and can be seen with Collection LP 2020 (2), Collection LP 2020 (5) and Collection LP 2020 (18) (see Fig. 1. and Fig. 2). This camouflaging was due to the plate colour, so experimenting and shooting the items on both plates was vital to give me a chance to capture each subject successfully.

Taking inspiration from Barry Rosenthal and collecting various items allowed me to experiment with different textures such as smooth, soft, wet, rough and hard, which juxtapose one another. However, as a whole, the subjects contextually link together when it comes to theme and functionality, such as electrical, health and hygiene. It also gave a more extensive range of products to choose from when selecting my final images and didn’t restrict in any way that concerned me as I wanted the set to be cohesive yet unique.

Making sure the plate was in the same place throughout and placing the subjects as close to the centre as possible, decreasing the chance of the set flow being distracted by a sudden change in composition. It also created a controlled and cold mood that compliments the crisp black and whites, making the images look profound.

After analysing the contact sheets and selecting the best images, I went into Photoshop to crop and tidy up some blemishes the could be seen on the white background when enlarged on the screen. Cropped photos provided a suitable amount of negative space to frame the subject while emphasising the importance of the items in the shot. Enlarging the canvas and adding a solid 1-inch frame around the image reflect Sam Oster’s use of white boxes in her typologies which appealed to me.

Adobe Bridge enabled me to create a grid and rearrange my edited images to form a cohesive set of images, split into three groups juxtaposing in type and functionality. On the other hand, they complement one another in terms of concept, contrast and composition, forming a solid link between the collection.

Inspiration from Sam Oster and Barry Rosenthal lead me to experiment with a narrow aperture to achieve a sharp focus. B&W photography enhanced the details and shooting overhead instead of straight on. These techniques pushed me beyond my comfort zone and tested my ability to be selective when creating a typology.

Visually this set is powerful due to the variety of tones providing depth to the composition, contrasting highlights and shadows emphasise the subjects 3D form, allowing them to be more prominent. Keeping the product placement consistent creates repetition but stays fresh due to the change in object and colour of the plates. Balance is maintained by using an even amount of background to frame the items and being evenly cropped. Artificial lighting creates harsh shadows that define the details within the plate and products; a cooler colour temperature intensifies the white background preventing the image from being flat with grey tones. Providing a focal point enables the viewer’s eyes to be drawn to the middle of the frame, focusing on the chosen objects that form a narrative when connected, varying between each individual.

The use of black and white restricts the viewer from being distracted by any colours that may confuse their overall understanding of the set, created a conflict between calm and danger, warm and cold, sadness and happiness. Enhancing the forms, textures, details allows the viewer to focus on and explore the purpose of the object rather than how it makes them feel.

Looking at the groups that have emerged, there is a set of three hygiene products, three tangible metal items and three objects that are all completely different in functionality (see Fig. 5). They are all “things” that people use which is what connects them as a set, however, are they all a necessity? Are there some items that you feel are a luxury? Do you use all of these items, and if so what do they mean to you if anything? Do you see this set as everyday, ordinary items or do they represent a particular message for you?

I feel positive about my final selection and have enjoyed exploring the different collections that we can find around us, even if it isn’t as apparent at first glance. The one issue I did have with this shoot was the influence the natural light had on my imagery, meaning I had less to choose from, however did not ruin the whole selection.

List of images:

Figure. 1. Powell, L. (2020) Contact sheet 1 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2020) Contact sheet 2 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2020) Contact sheet 3 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2020) Contact sheet 4 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L. (2020) Typology [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 6. Powell, L. (2020) Divide 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 7. Powell, L. (2020) Divide 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 8. Powell, L. (2020) Divide 3 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 9. Powell, L. (2020) Essentials 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 10. Powell, L. (2020) Essentials 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 11. Powell, L. (2020) Essentials 3 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 12. Powell, L. (2020) Tools 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 13. Powell, L. (2020) Tools 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 14. Powell, L. (2020) Tools 3 [image] In possession of: Lauren Powell: Eastleigh.

Test Shoot Contact Sheets for Collection Assignment

Assignment 2, Notes

For this post I;

– Stated why I decided to do a test shoot before my final shoot for this assignment and what I tested during this process.
– Included the camera and lens used for this photoshoot.
– Provided annotated contact sheets to show the different tests taken, as well as the strengths and weaknesses found throughout.
– Reflected on how I achieved the shots, the image editing and the reasons for the choices made.
– Provided a summary for my final shoot plan, following the analysis of the contact sheets, stating the most beneficial techniques found.

Before shooting my final images, I wanted to test different camera settings and prop choices to decide what visual and technical styles I preferred.
Tested settings consisted of changing focal length, changing the artificial light colour, changing aperture, experimenting with camera effects such as Black and White and plate colours. Using a tripod allowed the framing to be consistent throughout and prevented motion blur from an unsteady camera if handheld.

Below are the annotated contact sheets.

Equipment used – Sony A57 and SONY 18-55 3.5-5.6 SAM lens.

Reflection:

Cool 28mm, Neutral 35mm and Warm 35-Closer (see Fig. 1.) tested both focal length and artificial light temperature, which was the most straightforward test shoot to decide what elements I preferred. A focal length of 28mm was too short as the tripod legs and carpet were in the frame, as well as, making it difficult to see the subject as a whole. On the other hand, the cropped version of 35mm was too long, causing the plate to sit far too tight in the frame. 35mm allows for the tripod to be out of the shot, a decent focal length for the subject to be clear and crisp while providing some negative space to open the image up slightly and feel less suffocated.

Backlighting the plate with a 10.5″ ring light formed some soft shadows, preventing the image from being 2D and lacking in contrast. While cool and neutral light is very similar in tone, choosing a cooler bulb setting made the whites brighter and defines. The warmer bulb temperature made the shadows stronger but flattened the image with an unappealing muddy pink-yellow tone. A crisp whiter background is more fitting for the props used, so a cooler light is most appropriate for these shots.

The images following the previous three discussed tested the different camera effects available on my Sony A57, such as High Contrast B&W, Rich-Tone B&W and Toy Camera, comparing the differences the lighting would have on these settings. Using High Contrast B&W with cool and neutral light, were the most successful combinations as the contrasts were sharp and added plenty of definition, as opposed to using Rich Tone B&W that flattened the subject with the greys due to the lack of tonal variations. Cool Toy Camera (see Fig. 2) has an added vignette effect, forming a halo around the plate which highlights and directs the eyes inwards while intensifying the various blues within the plate design that aren’t in the other shots.

Finally, I tested all of the plates to figure out which colour worked best with the settings. The dark blue plate was too dark and became a solid block of black with the B&W filter, no matter the light temperature. Although Cool DB Toy Camera (see Fig. 2) had various blue tones that added depth, it wasn’t impactful enough to use in the final shoot.

The design of the mid-blue plate adds an extra layer of texture to the image and enhances the contrast due to the dark flecks of paint. Cool MB High Contrast, Neutral MB High Contrast and Neutral MB Toy Camera (see Fig. 2. and Fig. 3) have the most depth out of all of the images due to the intense highlights, shadows and tonal differences in the blue, making the mid-blue plate bolder than the others. However, darker items may get lost in the composition due to the busy plate texture, so I will consider this when shooting my final images.

Final shoot plan:

– Collect as many items listed on the survey results and personal list to have varying shots.
– Use 35mm Focal Length.
– Use a tripod to steady the camera and keep framing consistent.
– Keep the plate position identical throughout to create a fluid transition between each final image.
– Use the lighter plate and mid-blue plate to avoid a dark block of colour.
– Use cool lighting to brighten the whites and darken the blacks.
– Use High Contrast B&W camera effect for depth.
– Backlight the subject.

List of images:

Figure. 1. Powell, L. (2020) Contact sheet 1 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2020) Contact sheet 2 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2020) Contact sheet 3 [scanned document] In possession of: Lauren Powell: Eastleigh.

Community Survey + Personal Research Results for ‘Things’

Assignment 2, Notes, Online Research, Thoughts & Ideas

Summary:

For this personal research post I;

– Briefly explained my reasoning for gathering anonymous responses for this assignment and
– Provided the results of the online survey via screenshots.
– Listed my research, taken over the space of a few days to see how they correlated with the online survey results.
– Reviewed the collection of results as a whole, explored what I was surprised and glad to see from the responses
– Before suggesting a few areas I may look further into throughout this assignment like privilege, luxury and necessity e.t.c.

Instead of solely relying on my own opinions and views about the necessities in life, I wanted to see what others felt were necessary items in their daily life to hopefully build selection to experiment with when it comes to shooting my imagery.
Therefore, as part of my research for this assignment, I decided to gather some non-biased responses from anonymous persons using an online survey by asking ‘What everyday items do you consider are a necessity? (Something you need)’ (Powell, 2020).

Here are the responses:

I also took part in the research, noting down items I used daily and what I considered a necessary item (see Fig. 3) before comparing it with the survey responses. The note-taking was quite interesting for me to do, as it made me more aware of what I use and how often, something we don’t necessarily tend to do when items become a part of daily life.

Here is my response to the question:

Review of the responses:

After comparing the two sets of responses (see Fig. 1. and Fig. 2), it is clear that there is a common theme of items to work with, such as clothing, money, keys, hygiene products, medication as well as a few extras that I hadn’t thought about.

Initially, I didn’t expect to see so many people list phones, laptops and other electrical items as a necessity, however, it does make sense when you consider the modern way of communication, technology in careers and education. Without technology, many people would struggle to contact loved ones, reach emergency services or access their money due to banks going digital. Even hospitals use technology to save people’s lives, so while we may feel phones and such are a luxury, they are becoming a necessity more and more.

Those with good health may not have to be concerned about glasses or medications, however, some people wouldn’t be able to navigate safely or survive comfortably without such items that show privilege by not having to rely on prescriptions.

One item that reflected my research in the survey responses is sanitary products for those who have periods (see. Fig. 2). There has been controversy surrounding the tampon tax and free sanitary products in bathrooms, schools and shops for those who cannot afford it. Periods are a part of nature and cannot be prevented without the pill or other forms of contraception, therefore sanitary products should be widely accessible for people so they can go about their daily life comfortably and cleanly. It shouldn’t be a case of who has money or not, as it isn’t a matter of choice that highlights areas of inequality in society.

Other items that were interesting to see were cigarettes, a lighter and concealer (see. Fig. 2.). A lot of people would probably consider these items as unnecessary, however, without being in that person’s shoes you have no idea why these products are essential whether you agree with it or not. This may be due to situations such as addiction, insecurities, social pressures or self-satisfaction.

Final thoughts:

This research has given me a wide range of paths to experiment with and explore, such as politics, privilege and equality. Depending on my artist research I may decide to group up items that share the same concept, visuals and technical approaches but conflict with one another when placed together as a collection e.g Luxury vs Necessary, or Electrical vs Manual. The overriding theme that has been discovered through this research is that necessities are subjective and highlights individuality and diversity. This will allow me to form a cohesive concept for the images I wish to shoot, which I am yet to decide on.

References :

Powell, L. (2020) ‘Necessary Everyday Items’. [online] Available at : https://www.surveymonkey.com/r/KWWFQGM (Accessed 11 February 2020).

List of images :

Figure 1. Powell, L. (2020) Survey Monkey 1 [Survey Monkey, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure 2. Powell, L. (2020) Survey Monkey 2 [Survey Monkey, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure 3. Powell, L. (2020) Necessity List [Ballpoint pen on paper] In possession of: Lauren Powell: Eastleigh.

Initial thoughts about ‘Collection’ + mind-map

Assignment 2, Notes, Thoughts & Ideas

‘Collection’:

‘Fragments of a vessel which are to be glued together must match one another in the smallest details although they need not be like one another’ (Walter Benjamin, [1936] 1999, p.79).

‘The Walter Benjamin quote above expresses the idea that a collection should reflect a single
coherent idea, but you’ll also need technical rigour to match the photographs to each other ‘in
the smallest details’. Start by choosing your focal length, aperture and viewpoint combination
in advance.
Visually, similarities correspond so they’re easy to look at, but be careful of duplicates because
repetition is boring. Differences are interesting because they contrast, but randomly changing
your framing or allowing a confusion of detail into your backgrounds will distract from the
viewing.

Brief:

‘Create a series of between six and ten photographs on one of the following subjects: • Things • Views • Heads’ (Bloomfield, 2018).

Initial thoughts:

– Excited to be challenged by creating a collection of images that are consistent in terms of concept but unique in appearance, albeit small.
– Enjoy the idea of being able to branch out from a single word, allowing the assignment to be broad and open right from the beginning.
– Slightly wary about creating ‘duplicates’ and creating a jarring set, so I will have to plan thoroughly to avoid this.
– Concerned about going off-piste from the brief due to the variety of ideas, so will regularly refer to it throughout each stage to make sure everything is on track.

Initial plan for the brief:

– Create a list of ideas that link with each word.
– Choose one subject and start exploring the ideas within in more detail.
– Research practitioners for further ideas to help with the concept choice.
– Use a tripod to keep the framing as accurate as possible.
– Experiment with a deep depth of field, instead of shallow depth of field which I am comfortable with.
– Experiment with focal lengths to see what works best.
– Make sure the set is coherent, yet individual.
– Explore what makes me uncomfortable e.g different camera settings, framing and lighting.

Reflection on mind-maps:

– Wide variety of concepts for me to explore and experiment with.
– Plenty of ideas linked with ‘Things’ which will allow me to fall back on another idea if my initial plan doesn’t work.
– Also, like the idea of exploring facial features in the ‘Heads’ (see Fig. 3.) subject, but don’t have many back up ideas if that doesn’t work, hence my appeal to focus on ‘Things’ (see Fig. 1.).
– Plenty of ideas to push me out of my comfort zone and potentially collaborate with others to shoot or gather opinions. E.g. asking someone for their most important possessions, asking to shoot with someone I don’t know well, or figuring out what everyday items people would count as a “necessity”.
– Don’t enjoy the ‘Views’ subject as much due to the lack of different ideas and potential struggles with keeping the images cohesive.

After formulating a selection of ideas and concepts for the three subjects, sitting with them and going about daily life to see which ideas remain in my head, has been really helpful with deciding with routes I want to go down first. Currently, the necessities of life mentioned in the ‘Things’ mind-map (see Fig. 1.) is standing out for me, therefore will begin to note down the items I use on a daily basis across the space of a few days, as well as gathering anonymous responses via an online survey about “necessary” everyday items. I will also begin artist research to understand what a ‘collection’ can mean when it comes to photography.

References:

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 51. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 11 February 2020].

List of images :

Figure 1. Powell, L. (2020) Things [Ballpoint pen on paper] In possession of: Lauren Powell: Eastleigh.

Figure 2. Powell, L. (2020) Views [Ballpoint pen on paper] In possession of: Lauren Powell: Eastleigh.

Figure 3. Powell, L. (2020) Heads [Ballpoint pen on paper] 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.

Project 3 – Surface and Depth – Research Point

Notes, Part 1, Reflection on assignments, Thoughts & Ideas

Summary:

– This research point was difficult to complete due to intellectual text overpowering Campany’s review of the work.

– Campany helped me understand how Ruff works and the importance of archives but didn’t get a feel for how they viewed the work as a whole.

– Colberg’s review was much easier to process and got straight to the point.

– Explained what they did and didn’t like, without dismissing other’s opinions on how the work was presented.

– I agree with Colberg’s view that an image can be beautiful on its own, without having a complex concept behind it.

Brief:

‘Read the reviews by Campany and Colberg and, if you haven’t already done so, use them to begin the Research section of your learning log. Try to pick out the key points made by each writer. Write about 300 words.

If you wish, you could add a screengrab of an image from Ruff’s jpeg series, and one or two of your own compressed jpegs (taken on auto mode of course). You can achieve the effect quite easily by re-sizing a photograph to say, 180 x 270 pixels, and saving at ‘zero quality’ compression. If you use Photoshop’s ‘save for web’ you can see the effect immediately without having to save, close and reopen the file.‘ (Bloomfield, 2018)

Review 1 – David Campany – Thomas Ruff: Aesthetic of the Pixel, IANN MAGAZINE NO. 2, 2008

Campany describes Ruff’s work as being ‘cold and dispassionate’, yet surprisingly beautiful at times. They also state that Ruff’s art can ‘solicit individual and global responses’ that cannot be completely agreed upon (Campany, 2008) .

All photographic images come from archives, which has shaped Photography and how it developed over time. Photographic prints, family albums, computerised image files and gallery work are all forms of archives, all unique in their way but still forms of photography.
We cannot tell which archives Ruff’s JPEGs have come from, simply by looking at them. However Ruff does mention that the images come from the internet, as he searched for images, going from link to link and finding imagery through a route (Campany, 2008).

Campany believes that Ruff has made a great impact on introducing the ‘art of the pixel’, into photographic art, allowing us to view the pixel at a base level, both aesthetically and psychologically (Campany, 2008) .

While analogue photography was created using film and the prints being made up of grains, in the modern-day these grains are now replaced by pixels.
They suggest that Ruff’s JPEGs are not organised or planned like pixels which are evidence that our view of the pixel is changing and may not be as regimented as we first thought (Campany, 2008) .

Review 2 – Joerg Colberg – Review: jpegs by Thomas Ruff

Colberg believes that Thomas Ruff may be one of the most ‘creative and inventive photographers of all time’, however, they also acknowledge the fact that many people may debate whether his work can be classed as photography at all (Colberg, 2009).

Despite how you view the work and what you believe the art form is, Colberg, realises the importance of what the work does, more so than what the work is.
Colberg states that the images work well in book form, in comparison to the large physical prints at the Zwirner gallery, where they felt it was a ‘tad too pretentious’. While they understand the importance of physical interaction from the viewer, in their opinion the detail in the images weren’t large enough to justify the size of the prints in the gallery (Colberg, 2009) .

Despite all of the positive feedback, Colberg feels slightly uneasy about Ruff’s work as the images are great, but they feel as if the concepts rely too much on the techniques involved (Colberg, 2009) .

References :

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p.33. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 7 November 2019].

Campany, D. (2008) ‘Thomas Ruff: Aesthetic of the Pixel, IANN MAGAZINE NO. 2, 2008‘. [online] At : https://davidcampany.com/thomas-ruff-the-aesthetics-of-the-pixel/ ( Accessed 7 November 2019).

Colberg, J. (2009) ‘Review: jpegs by Thomas Ruff’. [online] At: http://jmcolberg.com/weblog/2009/04/review_jpegs_by_thomas_ruff/ (Accessed 7 November 2019).

Exercise 1.4 Frame

Notes, Part 1, Reflection on coursework, Thoughts & Ideas

Summary:

For the final exercise in this project I have;

– Documented my initial thoughts about the exercise.
– Stated how I was out of my comfort zone and the difficulties faced while using the grid, alongside the knowledge gained from it.
– Explored my process for shoot and my lack of a fixed plan to encourage a natural exploration, as well as the steps I took to select my final images.
– For example, I cut out the images and arranged them in a grid to find the best combination.
– Provided a PDF version of the contact sheet for this task, along with the final images for the Gestalt and the technical settings for each.
– Reflected on my recurring theme of city life and the use of different signs, in addition to the visual elements documented throughout, such as colour, texture and signs of life.

Brief:

‘Take a good number of shots, composing each shot within a single section of the viewfinder grid. Don’t bother about the rest of the frame! Use any combination of grid section, subject and viewpoint you choose.

When you review the shots evaluate the whole frame not just the part you’ve composed. Looking at a frame calmly and without hurry may eventually reveal a visual coalescence, a ‘gestalt’.

Gestalt: an organised whole perceived as more than a sum of its parts. (Google Search using the define: operator)

Select six or eight images that you feel work both individually and as a set and present them as a single composite image. Add to your learning log together with technical information such as camera settings and two or three lines containing your thoughts and observations.‘ (Bloomfield, 2018)

Much like the rest of the exercises, I was challenged when it came to this brief because I rarely use the grid feature on my camera. However, this pushed me out of a comfort zone while shooting and allowed me to think about what was in the particular section.

Capturing these images in a busy city made it rather difficult to ignore the rest of the frame while picking out one area of the grid, mainly due to the fact I have trained myself to be aware of everything that is in the viewfinder to avoid any unwanted objects. Eventually, however, I forced myself to keep my eye on the area I was shooting and ignore the hustle and bustle going on around it which provided me with some really good shots.

In terms of what I wanted to take photographs of, there wasn’t a clear plan, forming a more natural process as I could explore and find things to capture, instead of it being regimented and restrictive. The only plan I had set in place was to start at the top of the city and work my way down.

I used Adobe Bridge to scan through all of the photos and select the best, before creating a contact sheet of 116 images.

After reviewing the contact sheets once more, I printed a selection of images that featured both city life AND text. This decision was made due to the fact a variety of different signs were placed around the city, therefore it seemed like the most logical subject to create a complementary set from. The selection of images were then cut up and arranged in a grid of 9 to see which layout worked the best. The final arrangement can be seen below.

frame-contact-sheet Download

Fig. 1. *Frame 2019 85* (2019)
1/2000 sec ; f/5 ; ISO 400

Reflection:

As briefly mentioned above, a recurring theme I found throughout my shoot was the use of signs, whether that was to provide a warning, an instruction, a direction or a name. Therefore I wanted to form a set of images that explored all of the different kinds found through the city.

The tones within the imagery are very neutral, with the occasional burst of colour to bring life to the frame which is pleasing to the eye, it’s not too much, nor is it too little that the images become flat.
Each image shows the grime and age of the city, caused by footfall, human littering and natural causes, it doesn’t feel or look fresh which gives character.
City life is another constant factor, showing transportation of all forms, buildings of all kinds, the work-life of various sorts and the ongoing business of the place.

While the gestalt isn’t the most appealing or prettiest to look at, it is a cohesive set and captures the life and the effects of it which is what photography is about. Capturing what is there and how it changes, in a short second.

References :

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p.29. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 12 November 2019].

Powell, L., 2019. frame-contact-sheet [pdf] In possession of: Lauren Powell: Eastleigh.

List of images:

Figure. 1. Powell, L. (2019) Frame 2019 85 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2019) Frame 2019 149 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2019) Frame 2019 49 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2019) Frame 2019 115 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L. (2019) Frame 2019 39 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 6. Powell, L. (2019) Frame 2019 289 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 7. Powell, L. (2019) Frame 2019 227 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 8. Powell, L. (2019) Frame 2019 28 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 9. Powell, L. (2019) Frame 2019 165 [image] In possession of: Lauren Powell: Eastleigh.

Exercise 1.3 Line

Notes, Part 1, Reflection on coursework, Thoughts & Ideas

Summary:

In this post I;

– Provided a selection of images that explore the use of lines to create depth and the flattening of space, along with technical settings.

– Analysed the images, noting down their visual strengths, the impact of the lines and angles explored as well as textures and colours.

– Stated my initial concerns, what I have learnt from it and the importance of lines in a composition.

Brief:

‘Take a number of shots using lines to create a sense of depth. Shooting with a wide-angle lens (zooming out) strengthens a diagonal line by giving it more length within the frame. The effect is dramatically accentuated if you choose a viewpoint close to the line.‘ (Bloomfield, 2018)

Fig. 1. *Line 1* (2019)
1/640 sec; f/4.5; ISO 400

After reading the brief, I headed to my local city to explore the different architecture available and the modern public facilities dotted around the area.

As I don’t have a wide-angle lens, I used my 50mm lens while being aware of my position to get better angles and hopefully create the same effect.

The first image (see Fig. 1) is full of various lines, keeping the eyes busy. The length of the handrail leads the eyes from the bottom left corner to the top right, while the wire and the curved structural pieces throughout the middle of the rail provides a circular motion for the viewer while they travel through the frame. Despite the shallow depth of field, you can still clearly see the straight line of the step and the wall to the left; this stops the eyes from heading straight out of the picture.

The depth in the second image (see Fig. 2) stands out the most, mainly due to the unique structure of the building. The camera was as close to the wall as possible to show the sharp angles of the architecture; it goes inwards, drawing your eyes directly into the photograph then leading you back out when the glass windows come outwards. Not only do the faint and deep lines cause your eyes to flick up and down throughout, but the reflections in the glass gives that little bit more texture, as well as tonal variants due to the sunlight, feeding the eyes with more detail to explore bringing you back into the image. Depending on how you look at it and how your eyes adjust, it could create an optical illusion, causing the building to come out of the frame rather than go inwards. It’s all about perspective.

Modern architecture is something to behold, so the third image (see Fig. 3) is an incredible example of this. The curves in this building are beautiful, creating a wave effect for the eyes, very similar to the figure of a whale and its skin details. This composition provides circular motions for the eyes instead of a straight line that draws you from one side of the frame to the next. Not only are there horizontal lines, but much darker vertical lines behind the curved structure too.

Brief continued

‘Now take a number of shots using lines to flatten the pictorial space. To avoid the effects of perspective, the sensor/film plane should be parallel to the subject and you may like to try a high viewpoint (i.e. looking down). Modern architecture offers strong lines and dynamic diagonals, and zooming in can help to create simpler, more abstract compositions.’ (Bloomfield, 2018:25).

Fig. 4. *Line 4* (2019)
1/1600 sec; f/5; ISO 400

Finding a high viewpoint and looking down with a fear of heights didn’t seem appealing, so I had to get creative and find something on the ground level.

The bright yellow focal point of the first image (see Fig. 4) not only cuts the image into four sections for the audience to explore, but the eyes also travel across multiple diagonals. While there is no physical depth like the previous images, the contrast between the tarmac and yellow paint lifts the cross out of the frame. The lines are sharp and straight, very geometric and make the picture slightly more dynamic than the perspective lines.

Not only do your eyes go up and down and side to side from exploring the tiles in image Line 5 (see Fig. 5), but the different sizes also expand and shrink the image as the eyes travel through the frame. The dark lines are very sharp and draw the eyes into the frame as it sinks in from the bright white wall, much like a minimalist painting. I like how I shot this wall very closed in and cropped, preventing the composition from being overwhelmed with too many shapes.

I enjoy shooting images at odd angles and going against the idea of a straight horizon, which I applied in Line 6 (see Fig. 6). Not only do the eyes get to jump around the frame to explore the various coloured brickwork, but they are also guided through the image diagonally and around each brick in a diamond-shaped motion. Once again, the highlights and shadows provide a little bit of depth, but not too much.

Review

Despite being a little nervous about this exercise, I am pleased with the results. It made me aware of what is around me, whether it is natural or built by hand. We very often look forwards, rarely looking up at what’s above us or below us besides our feet or our phone. Not only did this help me understand how lines work in photography, how they can shape a composition, give more depth and the effect these features can have on the viewer, it also helped me find the beauty of shapes and structure in person, not just a snapshot.

References :

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 24. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 12 November 2019].

List of images:

Figure. 1. Powell, L. (2019) Line 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2019) Line 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2019) Line 3 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2019) Line 4 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L. (2019) Line 5 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 6. Powell, L. (2019) Line 6 [image] In possession of: Lauren Powell: Eastleigh.