Exercise 4.4 – Personal Voice

Online Research, Part 4, Practitioner Research, Reflection on coursework, Thoughts & Ideas

In this post I have:

– Provided the brief for this exercise,
– As well as writing a short research point about Ernst Haas and his photograph Geranium, USA 1961.
– Inserted a screenshot from google, having searched “Green leaves” as my subject,
– Before explaining my shoot plan in brief, along with camera settings.
– My contact sheets for this exercise are attached to show a variety of shots,
– But only one final image was chosen and analysed in further detail.
– A short reflection at the end explains how this exercise has confirmed to me that each image is different and unique, regardless of subject.

Brief

‘Make a Google Images search for ‘landscape’, ‘portrait’, or any ordinary subject such as ‘apple’
or ‘sunset’. Add a screengrab of a representative page to your learning log and note down
the similarities you find between the images.
Now take a number of your own photographs of the same subject, paying special attention
to the ‘Creativity’ criteria at the end of Part One. You might like to make the subject appear
‘incidental’, for instance by using focus or framing. Or you might begin with the observation
of Ernst Haas, or the ‘camera vision’ of Bill Brandt. Or if you’re feeling bold you might forget
about your camera completely and think about the tricky question of originality in a
different way – http://penelopeumbrico.net/index.php/project/suns/
Add a final image to your learning log, together with a selection of preparatory shots. In
your notes describe how your photograph or representation differs from your Google
Images source images of the same subject‘ (Bloomfield, 2018:96).

Research:

Ernst Haas (1921 – 1986)

Ernst Haas was a well known European photographer, born in Vienna, Austria; mostly celebrated for his involvement in colour photography and his work documenting the Austrian prisoners of war returning home. Haas moved to the United States in his 30’s where he began exploring Kodachrome Colour Film, in turn, making him one of the first to have a colour photo feature in LIFE magazine (Ernst Haas Estate, 2018). A few years later, his work was exhibited in New York’s MoMA and again was one of the first colour photography exhibitions.

The Ernst Haas Estate website has a wide range of Haas’ photographic works from across the years, exploring both his B&W pieces, portraiture, coloured compositions using multiple techniques and subjects such as flora, rubbish, people and architectural elements.

Haas’ New Color Collection: Creation (1959-85) is more neutral in its colour palette, enhancing the earthy colours within the earth’s desert locations and the animals that inhabit them, whereas his Classic Color Collection: Creation (1960-81) is vibrant, full of flora, snow and water. Geranium, USA 1961 (see fig.1) is one of my favourites from the Classic Color Creation collection, as the use of what seems to be a macro lens, captures the minute vein details within the flower petals, the ‘hairs’ of the stamen as it’s surrounded by a warm yellow glow in amongst a sea of pinks.

Shallow depth of field allows the subject that isn’t in the frame to be out of focus and soft, in this case, enhancing the delicate nature of the flower petals and how silky they feel to the touch. Haas captures his subjects in a more detailed and intimate way, rather than shooting them from a distance to get the whole object in the frame. This helps us understand the beauty of nature much more and gives us the ability to explore what some of us may not have taken the time to examine.

Shoot plan:

For this exercise, I googled “Green Leaves” (see Fig. 2) to see the variety of images that would come up and how I could explore this subject in my photography. Thankfully there was enough of a range that I could take inspiration and look around my garden to see what I could find in correlation to this search.

My SONY A57 was on manual mode, as was the Sony DT 50mm F1.8 SAM lens, this was so I could have more control over the focus and shutter speed for the exposure. The ISO was at 100, while the aperture was set to f/1.8 to achieve a shallow depth of field when capturing the leaves in a group or in front of other objects. The exercise was quick and easy as it took place in my garden, but despite the ease it beneficial as well as successful.

Contact Sheet:

Final image for analysis:

By observing and looking further into the subject at hand (see fig. 2), I was able to capture the fine, wrinkled veins of the leaves through the shallow depth of field in the foreground. They look similar to the wrinkles we find on the palm of our hands, which go in all sorts of directions, are different depths and shapes. The natural light bounces off of the leaves from the left, giving texture to the image and helping the viewer understand that this is a smooth and shiny leaf, as opposed to a rough, matte leaf. The focal point being in the midframe pushes the eyes to be drawn into the image, rather than the subject being in the foreground and giving the audience a direct path to reach. It’s more like rummaging through the leaves yourself via a photograph, which is a fun concept to me. Shooting this in landscape was a reference to the majority of the images found via google, however, the differences between this composition and the ones in the screenshot make it my own.

None of the images in the screengrab includes the focal point being midframe or behind a group of other leaves, creating a ‘blockage’ in the foreground. The use of shallow depth of field is used, but the subjects are directly in the foreground, creating a blurred background instead. Most of the green leaf shots seen above are darker and more tropical, whereas the exposure for mine is light, airy and a more typical form of leaf you would find in the garden. Lighting in the google searches is usually either coming from behind the leaves or lit from above minus a few exceptions in the middle row. The final image I have chosen feels like an adventure that you feel involved in, to understand the details, whereas the photographs above provide a clear frame of leaves, in focus, detailed and pretty direct.

Reflection:

While images may be the same in terms of subject matter, orientation or colour, it depends on how it is captured that makes the difference. For example, Ernst Haas’ choice to shoot images of flora up close and personal, allows the viewer to understand the parts that make up a flower, rather than the subject as a whole.

Taking the time to observe, explore and look at what you are capturing, brings a whole new depth into the photograph as you connect with it more, you’ve planned it and taken the time to understand the composition more. Every image is unique, no matter whether it’s framed the same way or not, they are taken at different times, by different people, with a variety of equipment, weather changes, life circumstances and so much more. Sometimes you may not even intend to shoot a particular subject, but it makes its way into the frame anyway which is wonderful.

Each photograph is always different and personal to each individual, no matter how many times it’s documented.

References:

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 96. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 10 May 2021].

Ernst Haas Estate. (2018) Biography | Ernst Haas [online] Available at: http://ernst-haas.com/biography/ (Accessed 10 May 2021).

List of images:

Figure. 1. Haas, E. (1961) Geranium, USA 1961 [image] Available at: http://ernst-haas.com/classic-color-creation/ (Accessed 10 May 2021).

Figure. 2. Powell, L. (2021) Green leaves [Google, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2021) Contact sheet [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2021) 4.4 8 [image] In possession of: Lauren Powell: Eastleigh.

Exercise 4.3 – Ex Nihilo

Notes, Part 4, Reflection on coursework

In this post I;

– Provided short descriptions for Quality, Contrast, Colour and Direction.

– Described my shoot set up, with camera details,

– And provided the contact sheets for this exercise.

– Chose six final images to analyse briefly,

– Before reflecting on this exercise, what it taught me and what I could’ve explored more.

‘Use a combination of quality, contrast, direction and colour to light an object in order to reveal its form. For this exercise, we recommend that you choose a natural or organic object such as an egg or stone rather than a man-made object. Man-made or cultural artefacts can be fascinating to light but they’re already authored to some degree, which requires interpretation by the photographer; this exercise is just about controlling the light to reveal form. Add the sequence to your learning log. Draw a simple lighting diagram for each of your shots showing the position of the camera, the subject and the direction of the key light and fill. Don’t labour the diagrams; quick sketches with notes will be just as useful as perfect graphics‘ (Bloomfield, 2018:91).

Unlike the previous exercises where the light was found, observed and uncontrollable, this exercise explores studio lighting and the photographer’s ability to control the lighting that falls on the subject in the frame.

There is a brief description in the coursebook explaining what quality, contrast, direction and colour is, along with the possible effects on the image and subjects themselves.

The quality of light is determined by how it looks when it falls, for example, soft shadows are caused by a diffused light, whereas harsher, more defined shadows are due to hard light like direct sunlight at midday.

Contrast is controllable by a fill light, which can either be another light source or a reflector of some kind like a whiteboard. The ratio between highlights and shadows is measured to determine the contrast ‘if you measure the shadows at f5.6 and the highlights at f8 you have a ratio of 1:2, which means that the fill light is half the intensity of the main light’ (Bloomfield, 2018).

The direction of light can alter an image dependent on the distance and the angle. If the light is placed directly in front, the subject will be significantly flatter than being lit from below or the side. As a result, harsher shadows enhancing the shapes and textures within the frame would occur.

Colour can be significant within photography to give context to the composition or encourage a specific mood and emotion to come through. Lighting filters can cover the lights to colour the background, or ‘by light bounced from a coloured reflector’ (Bloomfield, 2018).

Shoot set up:

My Sony A57 was on manual mode, with an aperture of f/1.8 and an ISO of 200. The only changes made were the shutter speed and focal length where necessary. The subject sat in the corner of a bedroom to compensate for how small my LED light is, ultimately a wise choice as the shadows became very soft when pulled away from the corner. A sheet of A4 paper was on a small cardboard box to act as a curved background for the shell to sit and reflect the light. I used a small LED lightbox on a tripod as a stabiliser when stood up and a handle when lifting the light from the floor. During the second part of the shoot, I used the light from my iPhone 6 to see the effects a tiny, duller light would have on the shell.

Contact Sheets:

Images for analysis:

1- The LED box placed close to the side of the shell resulted in a softer diffused shadow, which follows the curve of the paper. Due to the intensity of the light, there are bright highlighted patches by the point of the shell, enhancing the shiny reflecting surface while the shadows fill in the grooves and curves. A very subtle yellow colour can be seen underneath the shadow, a reflection of the light entering and bouncing off of the inside of the shell, providing a bit of warmth to the aqua greens.

2- I lifted the LED light above and behind the shell to see what results I would get if it were down-lit, rather than the typical front or side position. The contrast between the highlights and shadows are much more even than the previous shot, without being flat. Lighting the shell from behind defined the textures and shapes within without being too bright or too dark. The image isn’t a flat silhouette due to the height of the light, forming a slightly stronger shadow that provides depth from the front of the shell, indicating the direction of light.

3- A bolder approach was used for this picture by lighting the shell entirely from behind. I covered the LED light with the white sheet of paper and shot the image directly from the front to capture a silhouette of the shell. The shell is not a full silhouette because we can see the grooves and textures of the surface; due to the light falling on top and through the thin walls of its body. The highlights and shadows are still heavily contrasted as the whites are extremely bright, while the blacks are dark, capturing a harsher outline of the subject.

4- The light source for the following images is from an iPhone 6, which is less intense and much smaller than the LED box. Compared to image 1, this light is a lot duller, while the shadows are harsher due to the size and proximity to the subject. The swirls within the shell are heavily defined in this shot due to the darker nature of these images.

5- Lighting from a front angle has allowed the highlights to reflect off its shiny surface and show off the pearlescent colours of the body. Meanwhile, the shadows are enhancing the natural swirls within the point of the shell and defining the sharpness of the point via a hard shadow to the left of the paper. Despite the light being slightly further away from the shell, the tones and overall balance of the image if fairly similar to the 4th image.

6- For the final image, I lit the image from the front but shot from an angle above the shell, capturing the shadow that fell behind it. The front of the shell is evenly lit, reflecting off of the body as the light hits it, while the back half of the shell is dark and less defined due to the lack of light. Despite the white sheet of paper, the light wasn’t strong enough to act as a fill light. Shooting from above allows us to see the intense, dark and extended shadow, rather than a tiny shadow at the bottom if we were to place the camera directly in front of the shell.

Reflection:

Studio lighting can dramatically change the result of composition. Having complete control over the distance of the light to the subject, the angle, the temperature or the colour of the light can decide how contrasted or defined the image is. Lighting a person or object from the front and having the camera at the same position would result in a flatter image with few shadows to help with definition. Lighting from the side or at an angle and shooting from the front allows for more textural details to be shown and brings more depth to the shot. Backlighting on a small scale was quite challenging as the light didn’t fill the paper, but I could’ve taken more time to frame the image a little closer in.

I didn’t explore contrast and metering much in this exercise, however, it’s helped me understand how balancing highlights and shadows, or doing the complete opposite by pushing one or the other to the extreme can help change the mood or finish of the piece.

References:

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, pp. 90, 91. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 7 May 2021].

List of images:

Figure. 1. Powell, L. (2021) Contact sheet 1 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2021) Contact sheet 2 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2021) Contact sheet 3 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2021) 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L. (2021) Diagram 1 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 6. Powell, L. (2021) 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 7. Powell, L. (2021) Diagram 2 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 8. Powell, L. (2021) 3 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 9. Powell, L. (2021) Diagram 3 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 10. Powell, L. (2021) 4 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 11. Powell, L. (2021) Diagram 4 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 12. Powell, L. (2021) 5 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 13. Powell, L. (2021) Diagram 5 [scanned document] In possession of: Lauren Powell: Eastleigh.

Figure. 14. Powell, L. (2021) 6 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 15. Powell, L. (2021) Diagram 6 [scanned document] In possession of: Lauren Powell: Eastleigh.

Exercise 4.2 – Artificial Light

Notes, Online Research, Part 4, Reflection on coursework

Summary

In this post I;

– Included the brief for this exercise.

– Researched Sato Shintaro and Rut Blees Luxemberg’s work before analysing one image of theirs very briefly.

– Provided a small description about my camera and shoot preparation

– Before including the contact sheets for this particular exercise.

– I then chose 5 images from the shoot and analyses each one in terms of technique and the quality of light within them

– And finished the post with a short reflection of the exercise as a whole.

‘Capture ‘the beauty of artificial light’ in a short sequence of shots (‘beauty’ is, of course, a subjective term). The correct white balance setting will be important; this can get tricky but interesting – if there are mixed light sources of different colour temperatures in the same shot. You can shoot indoors or outside and the light can be ambient or handheld flash‘ (Bloomfield, 2018).

Sato Shintaro – (1969- )

Sato Shintaro is a Japanese freelance photographer who graduated from Tokyo College of Photography (1992) and Waseda University, School of Letters, Arts and Sciences (1995). Shintaro is well known for his brightly lit Tokyo cityscapes, Night Lights (1997-9), one of many photo series (Shintaro, 2020).

Shooting during dusk allows any surroundings lit by artificial light to stand out in ways daylight cannot. The tones are much crisper, while shadows are significantly darker and highlights are glaring. While this is possible with direct sunlight, the colours are usually more washed out and have a greater risk of overexposure, causing the images to blow out. The main difference between day and night photography is that daytime images are usually warmer in temperature and contrast.

Shintaro’s work is well balanced so that the viewer has much to look at in detail. Light bounces off all of the subjects around without becoming a black block due to underexposure. The colours are vibrant, busy and fill the frame, which encapsulates the hustle and bustle of city life without including people in the shots. Asian culture is beautiful and striking; seeing such elements and the traditional decorations throughout these images is delightful.

Fig. 1. Nakano, Tokyo (Shintaro, 1997-9)

Nakano (1997-9) is possibly one of my favourite images from Shintaro, as the composition is warm and cosy as the bright yellows and reds help the white lights be less harsh on the eyes. The alleyway feels close, compact and welcoming, much like the restaurant on the left. The photograph is balanced, full of geometry from the rectangular signs and buildings, a mixture of vibrant colours and cool nighttime tones on the pavement below. Some of the bulbs higher up have created lens flares but emit softer rays than crisp glaring ones. In my opinion, this shot represents the many Asian people who welcome others into their culture and communities through their friendly, enthusiastic personalities and traditions.

Rut Blees Luxemberg (1967 – )

Rut Blees Luxemberg is a German-born photographer based in the UK, well known for her urban photography work (Artimage, 2017). Much like Shintaro, Blees Luxemberg shoots at night when capturing urban landscapes as, ‘The night is a space of freedom, where certain demands of the day are temporarily suspended’ (Blees Luxemberg, 2018).

The reduction of movement captures different energies in comparison to busy high streets or buildings lit by daylight. Instead, evidence of life features throughout illuminated buildings, lit streets and items/natural elements left behind ‘But photographs are not just a record of a moment passed, they can also be an imagination or visual premonition of possible futures’ (Blees Luxemberg, 2018).

Her aesthetic is consistent throughout the images, ranging from greens to greys to cool hues, warm yellows and oranges. The combination of colours emits an eerie and grungy mood through her works which seems quite fitting for the series titled Liebeslied, My Suicides.

Fig. 2. Nach Innen / In Deeper (Blees Luxemberg, 1999)

In Deeper (1999) was shot from what looks like multiple sets of stairs but could also be a few small steps towards a small platform. We are unaware of the location due to the lack of context within the black shadows of this photograph. Reflections in the frame imply that it has rained or flooded due to the water in the background. The texture is prominent throughout this work, from the stone steps, ageing walls or brickwork from the building on the left, the water and ripples we can see in the yellow light shining in from the right of the frame. Leading lines, a slightly shallow depth of field in the foreground, draw the eyes downstairs towards the lights and water in the background. ‘In Deeper‘ may suggest that this is a picture of a river, sea or flood, purely because of how deep the water looks and how far the reflection of light continues.

Compared to Shintaro, Blees Luxemberg’s work is much warmer in white balance than the white bulbs and LED’s featured in Shintaro’s Night Lights (1997-9). The photographs featured in My Suicides (1997-2000) are much darker and higher in contrast. With these different aesthetics in mind, this helped make my shoot for this exercise even more exciting, as I was able to explore a range of photographic techniques in one swoop.

Camera preparation

As it is now springtime, I had to wait until around half past eight at night to head out and take photographs for this particular exercise. My Sony A57 was already preset to manual mode, but I had to reset the white balance to auto to prevent any unwanted colour casts in the images taken during blue hour. An ISO of 200 enhanced the brightness without causing too much grain in the darkest areas. A large aperture of F1.8, allows for more light to enter the camera, ideal for night photography as it reduces the need for too slow a shutter speed if the camera isn’t on a tripod.

The shoot plan was simple as I took a short walk around my local area, observed the light from artificial light sources and how it shone on its surroundings and effects had on any subjects in the frame.

Images for analysis

1 – Despite taking the image during the blue hour, the period after sunset or just before sunrise, there is very minimal light to illuminate the buildings in the foreground. Secluded areas struggle to be lit during the evening regardless of artificial light due to the obstacles blocking most light sources. If I were to take the image during the day with a more powerful light level, we would see the buildings in their entirety. The sky brings a burst of colour to the composition, emphasising the shape of the buildings in the alleyway. Houses have helped frame the image nicely and document the lack of space that is in the shot. Focal pointwise, the bright white bulb from the streetlamp and the top of the tree leaves towards the background stand out before the eyes are drawn towards the soft spotlight below, lighting the pathway. The mood is mysterious and allows the brain to wonder was is around the corner or where this is.

2 – This building is in an open space, so the remaining light just after sunset was able to light the brickwork of the flats in the frame, as well as the fencing surrounding it. Added details such as these provide a context of location, type of building, how long it’s been there for; e.g. a partly broken fence implies it’s been up for a long time and endured some wear and tear. Reflections add both texture and depth to the composition, rather than it being a flat 2D image. A warm light source from the window just below the mid-frame brings a sense of home to the photograph and welcomes the viewer into a comforting space. The camera’s position compared to the fence and light source caused a lens flare to occur. As a result, it looks as if there were a torch pointing directly towards us. The tonal range is cold and suits the crisp spring evening while documenting blue hour well.

3 – With the blue hour long gone, the warmer streetlights can fully light the main road for the cars and pedestrians walking past, as seen in the far background. The white balance was changed to daylight for these shots to enhance the temperature of the bulbs and reflect Blees Luxemberg’s yellow/orange hues. Streetlights may be higher from the ground than most light sources, but they’re powerful enough to light the paths below like daylight would, just a lot softer in appearance. Headlights from cars are blinding for a good reason. Not only do they assist drivers to see where they’re going and if there are any obstacles ahead, but for the safety of other drivers so they’re aware of cars surrounding them. The contrast between the white light patch midframe and the yellow light brings balance to the frame, preventing it from looking like a sepia image, which I dislike as a photographic technique. The images leading lines draw the viewers eyes from the softly lit tree on the left, up and around the curves of the road swallowed by the black night sky.

4 – For image number 4 the light source comes from the cooker hood that is purposely brighter where the oven hobs are but much softer to the sides. Reflections from the kettle and oven top provide texture and context to the materials and shape of these objects. For example, the curves of the tiles reflect in the round kettle body. A small patch of the wooden worktop has warmed the frame up and made it feel more homely like a cottage kitchen would. Light coming from the left has created a soft shadow on the right-hand side of the frame, gently illuminating the utensils on the wall, making the kettle the main focus of the composition.

5 – This area has been fully lit by the light from the ceiling, allowing us to see the worktops, cupboards, windows and other items on the side. The door has light shining through, so we can see the cold metal handle and carved details in the window frames, which is a subtle detail to see. More context allows the viewer to understand a bit more about the subjects, where it is and the lifestyle of the people living there, much like Sato Shintaro’s works. Due to the light source coming from the right and straight out the door, means that the walls to the left are just out of range, full of shadows, bringing depth to the image. The composition is full of shapes, geometric or otherwise, as well as being warm and welcoming.

Reflection

Artificial and natural light can range from intense to soft depending on the light source, its position and the location, however, the majority of the images taken during this exercise have been dimly lit, creating softer and mysterious compositions compared to a brightly lit photograph taken in daylight where we have further context. No source of light is more superior to the other, as each is important. Without artificial light, we wouldn’t have the privilege of travelling at night or navigate around our homes in the dark. I prefer to work with natural light as I enjoy the softly lit compositions rather than harsh highlights and shadows from studio lights. This exercise, however, has made me appreciate artificial light much more and the kinds of images you can capture. Sato Shintaro’s work is a prime example of breathtakingly beautiful night photographs, full of life and detail.

References:

Blees Luxemberg, R. (2018) London: A visual love song [online] Available at: https://www.1854.photography/2018/02/rut-blees-luxemburg-modern-project-liebeslied/ (Accessed 26 April 2021).

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 87. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 27 April 2021].

Shintaro, Sato. (2020) Profile [online] Available at: https://sato-shintaro.com/profile/ (Accessed 26 April 2021).

List of images:

Figure. 1. Shintaro, S. (1997-9) Nakano, Tokyo [image] Available at: https://sato-shintaro.com/work/night-lights/ (Accessed 26 April, 2021).

Figure. 2. Blees Luxemberg, R. (1999) Nach Innen / In Deeper [image] Available at: https://rutbleesluxemburg.com/liebeslied-2 (Accessed 26 April 2021).

Figure. 3. Powell, L. (2021) Contact sheet 1 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2021) Contact sheet 2 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L. (2021) Contact sheet 3 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 6. Powell, L. (2021) Contact sheet 4 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 7. Powell, L. (2021) 1 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 8. Powell, L. (2021) 2 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 9. Powell, L. (2021) 3 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 10. Powell, L. (2021) 4 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 11. Powell, L. (2021) 5 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Assignment 3 – Tutor Feedback

Assignment 3, Reflection on assignments, Reflection on feedback, Thoughts & Ideas

I have received formal feedback from my tutor for my third assignment ‘The Decisive Moment’. Considering this particular assignment took a long time to complete due to personal situations, I am happy with the response I got.

Here is a summary of the comments received via email:

Strengths:

– Strong interpretation of the ‘ongoing’ (in)decisive moment through the representation of time in the still life flower.
– Using the domestic setting shows a strategic conceptual documentation of the private and quotidian, rather than the public realm of most decisive work.
– Good references about technical approaches.
– Explores the technical/conceptual and how it alludes to still life.

Weaknesses:

– Define critical terms right away concisely with a firmer introduction to the assignment.
– Show the subject, presentation and give context to the approach, so tell them rather than let them find out themselves.
– Link what I’ve found via references but be clear on the subject to start with.
– Expand my points further with ‘whys’ with references to show how I’ve done something.

Areas of development:

– Attach annotated contact sheets to show how I got to a certain technical decision etc.
– Explain concept initially and expand later one in more detail.
– Lead reader into the subject and reference my evidence to back it up.
– Reference influences and how I interpreted the assignment.

Reflection:

Once again, I need to work on being more concise but avoid being too vague by referencing and explaining my approaches in more detail. Write about what’s relevant and the influences I used within my own work is important. I need to lead my readers into the subject and further expand with evidence at a later point. Overall, I have the ideas there and the strong images to show that I’ve understood the assignment, however, my written work needs to be clearer and reflect exactly what I discovered. They’ve noted that it’s difficult to do, but worth getting the hang of early on.

Exercise 4.1 – Daylight

Online Research, Part 4, Practitioner Research, Reflection on coursework

Summary:

In this post I have

– Mentioned the brief for this exercise.
– Briefly explained my process for choosing Eugene Atget as my starting point for these images.
– Gave a short description about Atget’s work and what he was well known for, plus his approaches.
– Briefly covered where I was taking my images and why.
– Listed my camera settings and the reasoning behind these choices.
– Included contact sheets of all the images shot for this exercise and picked out 5 to analyse.
– Gave a short analysis for each chosen image, exploring the light and how it effected the compositions.
– Reflected on this exercise as a whole and what it taught me.

‘Taking the photography of Mann, Atget or Schmidt or a photographer of your own
choosing as your starting point, shoot a number of photographs exploring the quality of
natural light. The exercise should be done in manual mode and the important thing is to
observe the light, not just photograph it. In your learning log, and using the descriptions
above as your starting point, try to describe the quality of the light in your photographs in
own words‘ (Bloomfield, 2018).

To avoid overthinking the practitioner in which I would gain inspiration, I searched each one via Google and scanned through a few images to see which one stood out most to me. By doing this, I was drawn towards Eugène Atget, as his work contains a variety of approaches as mentioned in the EYV coursebook; ‘He usually made such images – see, for example, Environs, Amiens – in the middle of the day, when shadows were minimal. Atget’s late photographs, however, are frequently marked by subjective light and deep shadows’ ([Artist description], n.d).

Atget was a French photographer who is well known for his imagery of the architecture and streets within Paris. Keeping the idea of outdoor photography in mind, I took the opportunity to complete the exercise while out on a walk around the woods. Quite a few of his works included nature, trees especially (see Fig. 1) so my images were still taking influence even without architecture or street imagery.

Fig. 1. Saint-Cloud, Tree Roots, Saint Cloud Park (Atget, 1906)

While most of his works featured diffused light, in turn capturing a clear and detailed composition, there were also the occasional shots that included heavy shadows or highlights to provide depth and show silhouettes of the surroundings or subjects. The dynamic approach is what I took on board while exploring my surroundings, allowing me to capture a range of images that fell into both of these categories.

Contact Sheets:

Before shooting images, I set the white balance to auto mode to avoid any artificial temperature changes within the camera. The aperture was set to F1.8 for no other reason than personal preference and set the camera mode back to manual following a mini light meter exercise. My 75mm lens was also set to manual mode, allowing me to take time to observe the light and actively be aware of the depth of field for each area I shot.

Images for analysis:

1 – The light shining through the trees from the east caused shadows to fall on the sunrays below. The sky is bright but not so much that it has blown out the composition. The leaves on the left show warmth from the sun, juxtaposing the cool and shadier shadows. Shooting this image as a portrait has allowed the tall trees to frame the top, providing context to what is blocking the light and how closed in this location is.

2 – The small patches of light that shone through the gaps within the leaves of bushes and trees create a focal point for this photograph by enhancing the darker areas within the frame. The size and textures of the rocks are enhanced by the contrast of highlights and shadows, preventing them from looking flat and smooth. Light can be used as a spotlight for the subject, leading the viewer towards the significant elements within the composition.

3 – Unlike the previous photographs, this one is more diffused and lacks much depth. Despite the lack of shadows and highlights, there are still reflections and shapes within the water that provides movement and texture to the composition. In my opinion, it feels less exciting as the colours are neutral. Nonetheless, exploring the importance of natural light and its effect on a subject is what this exercise is all about, whether we like the result or not.

4 – The light came from behind the camera, as opposed to the sides or directly in front of the lens. As a result, instead of capturing the silhouette of the leaves and branches, we can see the light green and veins of the leaves. Other images in this collection lack a deep depth of field because of the enclosed areas, so to capture such a soft, diffused image that is also full of depth shows how light and location can affect the mood or overall result of a piece of work.

5 -Shooting directly at the sun has caused the camera to capture the skeleton silhouettes of the group of trees in the frame. There is no light from behind to shine on the branches to illuminate the textures of the wood, so they become spindly lines that are cutting through the sunrays. Due to a clear sky, we can see small patches of blue that bring a pop of colour to an eerie photograph. The sun glare in this shot creates a juxtaposition between images 2 and 4, where the light is bright but not enough to cause the lens to be overwhelmed.

Reflection:

This exercise helped me understand the power of light and the significance that it has within photography. Without it, capturing images would be impossible, but playing around with light and observing how it falls can be the difference between a good and bad image. I have learnt that I prefer using more dynamic and contrasting light rather than diffused when it comes to outdoor photography due to the enhanced shapes, textures and colours within the composition. My favourites from this image set are 2 and 5 (see Fig. 5., and Fig. 8), for that very reason. Diffused natural light feels better suited for indoor photography from a personal standpoint. Ultimately, however, it depends on the picture and what effect you want to create, as seen in image 4 (see Fig. 7).

References:

[Artist description]. (n.d) Photography 1 Expressing Your Vision Barnsley : OCA.

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p.84. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 22 April 2021].

List of images:

Figure. 1. Atget, E. (1906) Saint-Cloud, Tree Roots, Saint Cloud Park [Photograph] Available at: https://www.getty.edu/art/collection/objects/63460/eugene-atget-saint-cloud-tree-roots-saint-cloud-park-french-negative-1906-print-1920s/ (Accessed 22nd April 2021).

Figure. 2. Powell, L. (2021) Contact sheet 1 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2021) Contact sheet 2 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2021) 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L. (2021) 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 6. Powell, L. (2021) 3 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 7. Powell, L. (2021) 4 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 8. Powell, L. (2021) 5 [image] In possession of: Lauren Powell: Eastleigh.

Part 4 – The languages of light

Notes

Summary:

In this post I have

– Explained the short exercise and how to set up the camera.
– Described my camera and subject set up.
– Included images and histograms from auto-mode with a brief conclusion about what I found.
– Before repeating the exercise again with manual mode, inserting the images and histograms to explain the differences between auto and manual.
– Briefly concluded this exercise, what I discovered and how it’s helped me learn.

‘If you’re not completely sure how your light meter works, try this exercise. Set your camera to
any of the auto or semi-auto modes. Photograph a dark tone (such as a black jacket), a mid-tone
(the inside of a cereal packet traditionally makes a useful grey card) and a light tone (such as a
sheet of white paper), making sure that the tone fills the viewfinder frame (you don’t have to
focus)‘ (Bloomfield 2018).

Albeit a short exercise, this one was an interesting one to do as I’ve never thought about the light meter within a digital camera as it’s less prominent than the one in a film camera which lets you know whether your settings are optimal or not. With digital cameras you have a screen informing you of the result you will achieve, in turn, it’s easier to forget about the light meter.

After exploring my Sony A57 settings a little further to figure out which monitoring mode my camera was set on (spot mode), I grabbed a black coat, the inside of a cereal bar box and a white sheet of paper. They were all placed in direct sunlight to make sure each setup was the same, but despite knowing from the exercise write up that ‘In auto and semi-auto modes the light meter is calibrated to the mid-tone’ (Bloomfield, 2018) I was still surprised to see that each image was dull and grey.

Even though each image looks the same aesthetically, as shown in the histogram, there are still some differences that can be seen in the grey card and black coat histograms (see Fig. 5., and Fig. 6) which I assume represents higher exposure levels to get the darker subject to a mid-tone.

I then set my camera back to manual mode to see the difference in both the images taken and the light meter. The light meter was changing as the lens was pointing particular colours in the room, something that couldn’t be seen in auto mode and something I’ve never noticed before being made aware of it via this exercise.

The histograms for these pictures show clear differences just like each image in this set, showing the extreme whites, extreme blacks and of course the middle point with the grey card. In auto mode, we have less control over the camera settings as it makes the decisions for us based on the shooting circumstances, this can sometimes mean less dynamic images due to this inability to control aperture and shutter speed. With manual mode, we can control all aspects of the image, from the depth of field, to the exposure of the image and whether we want a dark, shadow filled image or a light, highlighted image.

This has been such an exciting exercise to explore and has helped me understand my camera much more than before. Light is so important within photography, as it can be the difference between a good and a great image.

References:

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 80. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 19 April 2021].

List of images:

Figure. 1. Powell, L. (2021) White sheet [image] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2021) Grey card [image] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2021) Black coat [image] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2021) Histogram 1 [Photoshop, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L. (2021) Histogram 2 [Photoshop, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 6. Powell, L. (2021) Histogram 3 [Photoshop, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 7. Powell, L. (2021) White sheet 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 8. Powell, L. (2021) Grey card 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 9. Powell, L. (2021) Black coat 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 10. Powell, L. (2021) Histogram 4 [Photoshop, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 11. Powell, L. (2021) Histogram 5 [Photoshop, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 12. Powell, L. (2021) Histogram 6 [Photoshop, screenshot] In possession of: Lauren Powell: Eastleigh.

Assignment 3 – The (in)decisive moment -write up

Assignment 3

The indecisive moment challenges the belief that a singular extraordinary moment is the most important and unique to capture, by recording periods of chaos and uncertainty, in turn, allows the viewer to explore multiple paths within an image. The decisive moment requires patience to document that once in a lifetime shot, showing balance and well thought out composition.

The unpredictability that took place during this assignment; pushed me to explore the indecisive moment. The in-decisive felt like the most fitting approach to pursue, despite my initial interest in the decisive.

Lockdown restrictions meant that plans had to change due to social distancing and the inability to travel far from home. Shooting in a domestic environment, where I could control what was happening, seemed like the most logical and achievable. Formulating a mindmap allowed me to figure out the best and most achievable photoshoot to explore within the home. Ideas such as, but not limited to, capturing the ordinary, invisible, empty moments, or documenting people within the home, while removing expression and gesture to reflect on Thomas Ruffs ‘Dead Pan’ approach, to ‘confound our expectations of discovering a person’s character through their appearance’ (Cotton, 2014, p. 106). Face masks remove facial expressions, forcing us to come up with a conclusion about the person beneath with very little information.

Nick Waplington perfectly captured the reality of life and the sporadic moments that occur from day to day by taking snapshots of families during their most intimate and personal periods using his film camera. Removing the context within his images allows the mind to create theories about what is taking place. ‘Living Room’ (1991) is a perfect example of this and one that I analysed well to understand what an indecisive moment could be. ‘A time full of uncertainty and disorganisation, mixed emotions and lack of stability in the area. Waplington’s use of a fast shutter speed has frozen at least eight different moments in time, if not more that we cannot see directly’ (Powell, 2021).

However, living in a small household made these sporadic and busy moments more unlikely to achieve. As a result, I took the idea of ‘isolation’ and capturing invisible moments, as Michael Wesely did by capturing double exposures of flowers and fruits decaying over time, as discussed in my Durational Space (Powell, 2020) research earlier on in the assignment. Life and death are inevitable but is not something we physically see happening unless we slow time down. Keeping the camera open while things continue to decay is one way of achieving this.

Martin Dietrich’s black and white double exposures of people in the project The Ghosts That Carried Us Away (2014) are both abstract and minimalist in nature. The ghostly figures of movement that occurred while the shutter was open paint a path of indecision and lack of freezing one moment as it happened. The removal of colour and location allows the audience to decide the story, mood and context of the image.

Nigel Shafran took snapshots of the same kitchen across various time frames, showing indecisiveness and proving that each moment is just as important as the last as it shows life.

Combining the discussed techniques and approaches, along with Shafran’s interest in the mundane and every day, encouraged me to do a test shoot and follow the life/death of perishable goods.

A quick test shoot using my Sony A57 allowed me to decide whether this was the type of project I wanted to do and what to change if anything. Direct sunlight caused my images to have vignettes due to the harsh shadows surrounding the subject and blowing out the exposure. As a result, I decided to set my final image items up in a location where the sunlight would not be too strong and ruin the compositions. I felt as if the decaying would be more visible if the items were upright and shot from the front rather than from above, allowing gravity to help with the wilting process.

Reflecting on my final images, I believe that I have understood the indecisive moment well. Hand-picking the items, organising the setup and photography timeframes; helped me to create unique and extraordinary moments of my own. I caught moments that usually go unseen, such as the movement and appearance changes during the decaying process, before overlapping the multiple images in Photoshop to create ‘double exposures’ like Wesely and Dietrich. Post-processing allowed me to enhance the shadows, textures and shapes within each layered image, formulating photographs full of movement, colour and grain similar to Waplington’s film photography. Examples of this are the most prominent in images Four, Six, Eight and Twelve, where the colours are highly saturated and dark compared to 4, 8 and 12 (Powell, 2021). The ordinary and every day is beautiful, as is the natural process of life and death, which isn’t the same for everyone, making each cycle just as valuable and unique.

This assignment has taught me the importance of composition, the beauty of the mundane, helping me ‘understand both the decisive and (in)decisive moment in a much clearer way and the differences between the two, albeit it is small’ (Powell, 2021).

References:

Cotton, C. (2014) The Photograph as Contemporary Art. 3rd ed. London: Thames & Hudson.

Dietrich. M. (2014) The Ghosts That Carried Us Away [image] Available at: https://www.behance.net/gallery/14029499/The-ghosts-that-carried-us-away (Accessed 30 March 2021).

Powell, L. (2020) Project 2 – Durational Space – Research [online] Available at: https://laurenpowelloca.photo.blog/page/2/ (Accessed 30 March 2021).

Powell, L. (2021) (In)decisive moment practitioner research [online] Available at: https://laurenpowelloca.photo.blog/2021/03/28/indecisive-moment-practitioner-research/ (Accessed 30March 2021).

Powell, L. (2021) Contact sheet and final image selection [online] Available at: https://laurenpowelloca.photo.blog/2021/03/28/contact-sheet-and-final-image-selection-2/ (Accessed 30 March 2021).

Waplington. N. (1991) Living Room [image] Available at: https://loeildelaphotographie.com/en/nick-waplington-living-room-bb/ (Accessed 30March 2021).

Contact sheet and final image selection

Assignment 3

Summary:

In this post I

– Included my annotated contact sheets for my final shoots, including the images I don’t want to use, what images are good and what needs editing if necessary.
– Briefly referred to my shoot plan and explained how I set up my shoot.
– Included camera settings and changes made throughout.
– Explained my timescale choices in more detail and discussed what I learnt about each shoot.
– Mentioned my weaker images and why.
– Discussed post-processing and how I came up with my final images.
– Briefly covered what these shoots have taught me.
– Included my final images, what I liked about them, the techniques I used, the artists who inspired me and what I liked about the (in)decisive moment.
– Wrote a brief reflection in bullet points about this process.

Before editing and analysing my final images, I made contact sheets, annotated and analysed them to find images strong enough to create multiple double exposures in the post-processing stage.

As stated in my shoot plan, I wanted to isolate a variety of perishable goods within the camera frame, across the space of a few minutes, hours, days or weeks. Setting the camera up in a domestic environment meant that I had to consider people walking around and moving items within the house during the photoshoots. With these thoughts in mind, I made sure to pick an area suitable for this project without the possibility of knocking the camera or subject between shooting.

The items were also in an area that wouldn’t be affected by direct sunlight, another interference I wanted to avoid, in turn, preventing the chances of the final image blowing out from the light.

After shooting the images ‘Final shoot 97-104′ (see Fig. 5), I decided to put a white piece of cardboard behind the items, as the wall and fireplace took away from the beauty of the flowers in the shot, distracting the eyes and overall ruining the images. Thankfully I was able to crop the image down in photoshop to save the image.

Due to the changes in light that would naturally occur throughout the day, the shutter speed was ever-changing; to avoid under or over-exposure. The distance between the subject and my Sony A57 stayed the same, as I didn’t touch either item besides the shutter button during the shooting process. Another consistency throughout these shoots was the aperture (F/1.8) and ISO (400). Using a shallow depth of field meant that the focus was entirely on the subject in the frame, while the background was soft and un-disturbing.

The time scales for this project were determined by the perishable goods I chose and the amount of time that seemed suitable enough to show signs of decay. Fruit peels and fresh foods tend to perish quickly once the air gets to them, so I decided to capture a selection of 3 perishable foods across 4, 6 and 8 hours (see Fig. 10., Fig. 11., and Fig. 12). As seen in the contact sheets the foods began to curl, wilt and show signs of oxidisation within the first hour, the exact changes I wanted to document. Overlapping these pictures in photoshop allowed me to show the process items went through across their chosen timeframes, something we don’t usually see all at once. To the naked eye, we see signs of decay very slowly, not necessarily seeing all the tiny changes as they’re happening, so being able to capture the ‘invisible’ and see all of the changes, big or small is fascinating. Double exposures are ghostly in appearance, as can be seen in my research on Martin Dietrich. Despite my images not being taken within the camera, I wanted to achieve the same ghostly paths of time that Dietrich managed to produce without removing the colour to keep a sense of life within the photograph.

Flowers take a fair amount of time to wilt, depending on when they were picked and preserved, allowing me extra time to document the changes within them. The timescale for the flower images were 4, 8 and 12 days. Increasing the number of flowers showed the differences between each variety and their life expectancies. 12 (see Fig. 9) was taken across the space of 4 days, with no water to keep them fed, so the time it took to wilt was almost immediate compared to the other flower images, both of which had more foliage and water to prolong their life.

After adjusting the exposure levels and temperatures, I used various blending modes to create my desired imagery. ‘Lighten’ allowed the images to become slightly transparent and ghost-like, lifting the exposure slightly, doubled up with ‘multiply’ brought back the shadows and textures within the overlapped images. Alternating blends and opacity levels allowed each image to be seen throughout the image while documenting various textures, shapes, colours and life paths.

As seen in the contact sheets, I also attempted to take pictures of frozen foods melting across a few minutes, however, it was unsuccessful. There wasn’t enough time between the shots, to show any changes and present the desired outcome in post-processing.

Capturing the ordinary and overlooked items we see around us every day, whether that be the food that feeds us or the flowers that make our homes looks pretty, makes you realise how beautiful they are too. Taking influence from Nigel Shafran, who shot a lot of his work in a domestic environment and took the imagery of mundane subjects we have learnt to ignore, has allowed me to respect the life and death of the things around us. Not everything lasts forever; items eventually break down and become nothing, which is why the mundane is special and no less important than the most extraordinary subjects. Each life cycle is unique, neither two are the same; this alone makes the project indecisive, numerous images and moments are involved.

Final Images

Reflecting on my initial thoughts surrounding the (in)decisive moment, I feel as if I have successfully explored what it means to me. Removing context; like many artists have done when capturing their own (in)decisive moments, allow the viewer to come up with their theories, what one person may think about this set of images may be different to somebody else. The decisive moment felt black and white and straightforward to me, almost telling the story to those viewing it. (In)decisive moments, however, show a multitude of paths and moments, all of which are unique and wonderful. The varying opacities throughout this set show movement and colour changes. Highlights and shadows capture the transitions from each minute, hour or day and the changes in light, textures in the shot, fallen petals or gatherings of dust. Centralising the subject, removing the background and fixing the frame isolates the focal point, with very little to distract the eye from it. There is so much happening mid-frame that you do not need the hustle and bustle of a busy street to document a unique and extraordinary image. The grain and pops of colour within the images create a vintage and film-like finish, much like Nick Waplington’s works of art, saturated in some areas and desaturated in others.

Reflection:

– I’m proud of the images I have ended up with and the process I took to get them.

– The research I did, has helped me understand both the decisive and (in)decisive moments in a much clearer way and the differences between the two, albeit small.

– These shoots have made me more appreciative of the mundane, as well as the life and death cycles of nature.

– It’s inspired me to explore double exposures in further detail and perhaps take some of my own in-camera sometime in the future.

– I’ve become more aware of the importance of composition and the set-up of a shoot, removing items in the background e.t.c.

List of images:

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

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

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

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

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

Figure. 6. Powell, L. (2020) Contact sheet 6 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 7. Powell, L. (2020) 4 [image] In possession of: Lauren Powell: Eastleigh.

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

Figure. 9. Powell, L. (2020) 12 [image] In possession of: Lauren Powell: Eastleigh.

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

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

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

Mindmaps + Shoot plan

Assignment 3

Summary:

In this post I have

– Included the assignment brief for the (in)decisive moment.
– Explained briefly that I have researched both moments in further details and considered the ability to shoot during lockdown.
– Discussed why I am heading more towards the (in)decisive moment and working in a domestic environment.
– Included photocopies of my mind maps for both in decisive and (in)decisive moment.
– Written bullet points for each map, covering what I would achieve or find difficult with this particular approach.
– Briefly touched upon my test shoot, including a contact sheet of the images and explored where I’m headed with my final shoot plan.

‘The (in)decisive moment’:

‘The decisive moment is not a dramatic climax but a visual one: the
result is not a story but a picture.’ (Swarkowski, 2007, p.5)

‘You know it’s funny. You come to someplace new, and everything looks
just the same.’(Eddie in Stranger Than Paradise, Dir. Jim Jarmusch, 1984)

Brief

Create a set of between six and ten finished images on the theme of the decisive moment. You
may choose to create imagery that supports the tradition of the ‘decisive moment’ or you may
choose to question or invert the concept by presenting a series of ‘indecisive’ moments. Your
aim isn’t to tell a story, but in order to work naturally as a series there should be a linking theme,
whether it’s a location, event or particular period of time. (Bloomfield, 2018)

Thoughts

Having researched further about both the decisive and (in)decisive moment, test shoots and taking into consideration that we have gone into another lockdown, I am heading more towards the (in)decisive moment, due to the fact street photography doesn’t feel like the safest option currently. The (in)decisive moment will allow me to capture imagery from a domestic environment, without feeling too restricted in terms of where I can go, what I can document, as well as who.

After completing a mind-map for both routes, there are clearer ideas for the (in)decisive one in comparison to the decisive, this, in turn, helps me understand what I am more comfortable with in regards to concepts, subjects, approaches and results.

Reflection on decisive moment mind map (see Fig. 1).

– Would be out of my comfort zone as street photography isn’t something I do often.
– Would have a variety of people and locations to work with and look out for.
– More opportunities to capture something unique or unexpected.
– It would push me to be more selective and intuitive about my shooting process.
– Could play around with expressions, movement and context surrounding them.
– Decisive moments would allow me to be more patient and aware of my surroundings, subjects, timing etc.
– Perhaps more flexibility regarding the ability to create or capture juxtapositions.
– Wouldn’t be safe to do so currently with the global pandemic.
– Restricted on where I can go, travel or enter.
– May not be as many people around due to the pandemic.

Reflection on (in)decisive moment mind map (see Fig. 2).

– I have more control of the composition and what I’m capturing.
– Can remove context if necessary to create questions and tension.
– Would be able to gather together multiple subjects within a safe environment.
– Would link back to my preferred coursework “slow shutter speed”.
– Playing around with the ordinary and bringing focus to the things we are used to is an interesting concept.
– Could play around with empty areas, without breaking covid guidelines.
– Allows me to have multiple chances to get an image I like, rather than missing a moment.
– Maybe not outside of my comfort zone, so would have to figure out a way around it.
– Restricted in terms of unique, unpredictable moments.
– Restricted to my home which in some ways, will reduce the amount of opportunities I may be able to capture.
– Would have to consider what I’m capturing, as I share a home with family.

Following my test shoots where I captured the gradual decay of fruits and flowers (see Fig. 3), I’ve decided to use this idea for my final shoot. Placing an object in isolation to something else would represent our current lockdown situation, without directly shooting images surrounding it. A play on words and subject if you will. Playing around with time, subjects and showing what is invisible, much like the research I did for coursework. I am planning this shoot, have set up a frame as well as time scale I will be shooting these images across, therefore these aren’t spontaneous moments as such as I am in control of them unlike decisive moments. Capturing the mundane indoors, rather than street photography. The removal of context by not having a background involved.

Shoot plan

– Capture the mundane and perishable goods.
– Set up camera up in front of the item to decide the desired frame and adjust the focal length to assure an in focus end result.
– Set up the item and leave it untouched until all images are shot.
– Be aware that camera settings may have to be changed throughout the day depending on light changes.
– Keep out of direct sunlight to avoid harsh light and shadows, as seen in my test shoot.
– Keep shooting at pre-chosen times to document the changes that occur across a set amount of hours or days, before overlapping each picture in Photoshop.
– Explore the idea of invisible time by creating a ‘double exposure’. We know time is passing each minute, but when can’t necessarily see it unless we isolate it. Metaphor for life and death?

References:

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p.74. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 28 March 2021].

List of images:

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

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

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

(In)decisive moment practitioner research

Assignment 3

Summary:

For this post I have;

– Researched the (in)decisive moment and compared it to the decisive moment.

– Summarised the differences and similarities between the two moments.

– Written about Nick Waplington, Martin Dietrich and Nigel Shafran, their lives, careers and approaches to their work.

– Analysed one of each image from each practitioner, exploring the techniques and messages I have gathered from their work.

– Reflected on the research as a whole.

Indecisive moment:

Unlike Henri Cartier-Bresson’s ‘Decisive Moment’, the (in)decisive moment seems to challenge the belief of a singular moment being the most important and unique by exploring the idea that all moments are just as important as the other and no less unique. Even if the moment doesn’t capture the most exciting of moments, as long as it means something and shows a passage of time, it’s still special.

Another difference between the two moments is that the (in)decisive moment tends to remove expression and gesture, by documenting “deadpan” moments, or the banalest of subjects. The lack of clear emotion may cause more questions to arise from the viewer as it may not be as clear as to how the subject is feeling or what is happening. ‘..the works’ bland expressions and lack of visual triggers, such as gesture, confound our expectations of discovering a person’s character through their appearance’ (Cotton, 2014, p. 106). For me, this ability to form questions, makes the imagery more flexible and interesting than a decisive moment, that more often than not, cuts straight to the point in terms of context and meaning.

While some planning takes place for a decisive moment, for example, setting up the camera in preparation for the perfect moment to fall within the frame at any given point, the photographer doesn’t have much control over the event or outcome of the image. The (in)decisive moment, however, feels like a more hands-on and regimented approach, whether that is through manipulation of movement, poses, expression, location or amount of images taken within a particular time.

Despite these differences, the two moments appear to be interchangeable and overlap in concept, for example, both require some form of planning and awareness of the outcome you’re hoping for, as well as the active decision to press the camera shutter at a specific time rather than spontaneously. Bearing these things in mind, I’m not sure if they can be considered two separate approaches or not?

Nick Waplington – (1965- )

Nick Waplington is a British artist; based between London and New York, mostly known for his contemporary photography practises but not limited to, as a painter, sculptor and has explored the world of video. Boundaries have been pushed and explored throughout his work, shown by the juxtaposition of traditional and new media (1972 Agency, 2020). Waplington’s collaborations with artists such as Alexander McQueen, Miguel Calderón and David Shrigley, further confirm this desire to create and work with those who produce something out of the ordinary.

The topics documented throughout his work, range from the daily lives of working-class people, youth culture, his family, businesses or organisations expanding globally (1972 Agency, 2020). Subjects like these may seem mundane to some but are without a doubt, impactful once you start to analyse the meaning or feelings Waplington is trying to portray.

Living Room (1991) is the first project Waplington published as a young man, shortly followed by an exhibition in 23rd Street Gallery, New York and then globally for a few years after. The prints were put into storage and requested to be destroyed, ‘having moved on to new projects’ (Juxtapoz, 2019). However, it was discovered in 2018 that Waplington’s gallerist Holly Solomon never got rid of the prints, were still in possession of her son Thomas and have since been presented by Little Big Man for the first time in 26 years.

Living Room (1991), is a series of images taken across four years, documenting the daily life of two families who lived on the same council estate as his grandparents in Nottingham.

It gives us an insight into the lives of people we have no connection with, as well as capturing the struggles and differences that families faced due to industry collapse, unemployment and poverty caused by a decade of a neglectful conservative government (Bint photoBooks, 2016).

The chaos portrayed (see Fig. 1) encapsulates the historical turmoil going on at the time. A time full of uncertainty and disorganisation, mixed emotions and lack of stability in the area. Waplington’s use of a fast shutter speed has frozen at least eight different moments in time, if not more that we cannot see directly. The child on the right, has a deadpan expression, distracted by something out of the frame, are they talking to somebody? Has someone caught their attention? We aren’t aware of the cause, allowing us as the audience to explore further and try to put the pieces together, using the rest of the picture as context. Midframe, we have someone who seems to be in conversation with another person, again, outside of the frame, but it isn’t clear how they are feeling or whether they are aware of the two children trying to either get their attention or grab the bag that is at an arms reach. The worried face of the child to the left is somewhat humorous. It feels as if they are trying to prevent the curtains from being pulled down or other mischievous events occurring while the adults are distracted by other things. There is a faint orb-like blur to the bottom right of the image, perhaps created by a light source just outside of the frame, smoke from the right, a smudge on the lens, or a small imperfection with the film or printing process. Waplington has shot this image at a very slight angle; whether that is intentional or not, the tilt enhances the mayhem shown in the photograph, ‘imperfect’ and unbalanced, much like daily life. Saturated colours and the grainy nature of film photography, not only shows the difference in photography practises and cameras from just a few decades ago, but makes the images feel much more intimate, soft and nostalgic. They’re not crisp, vibrant pieces that uniquely grab the viewers eye. Instead, the imagery is natural, full of life and movement, but still unique.

Martin Dietrich – (1980’s – )

Martin Dietrich is a Fine Art Photographer based in Frankfurt, Germany, mostly known for his architectural and street photography. Dietrich’s journey with photography started in 2009, as a way to balance his day to day job which is ‘full of numbers’ as a tax auditor (Dietrich, 2016), something that has only continued to grow and help other young artists besides himself with the Neoprime International Fine Arts label, founded in 2014.

Abstract, minimalism and geometrics within nature, are Dietrich’s main focus areas, continually explored through his architectural and street photography. Exploring the locations in question, inspires him to come up with concepts that may not be suitable for the chosen surroundings, in turn creating abstract compositions that allow multiple and endless paths for the viewer to explore. According to Dietrich, removing a subject out of its usual context can hide the original story or meaning behind the image, therefore creating a whole new picture, whereas minimalist images are straight forward, reduced to one subject or exciting element, a complete juxtaposition to his abstract work (Dietrich, 2016).

Growing up in a city has meant that urban life is extremely familiar and has fascinated him for years. Street photography documents real moments ‘frozen in time forever and yet offers so many different interpretations, stories and meanings. Street Photography is by no means artificial, it’s the real world, with real characters and real moments’ (Dietrich, 2016).

Dietrich’s double exposures have been created by using slow shutter speeds, in combination with moving the camera to create what he calls an ‘abstract sketch’ (Dietrich, 2016).

The Ghosts That Carried Us Away (2014), consists of 7 black and white double exposures of various people riding an escalator and climbing the stairs, documenting movement, time and indecisiveness. All double exposures were shot in-camera using a Fujifilm X-Pro 1.

Fig. 2. The Ghosts That Carried Us Away (2014)

This image (see Fig. 2) combines both abstract and minimalism into one complete frame. The lack of expression and context given from the blurred silhouettes in the background, due to their backs facing the camera, formulates a list of questions. Are they a couple? Are they strangers? Are they happy? Angry? In conversation? What are they doing? Where are they going?

Dietrich has perfectly backed up his view of abstract work and how removing part of a subject, can carve out multiple paths for the viewer to go down and explore. Black and white photography, not only enhance the highlights and shadows, the textures and shapes within the frame, but it also removes the influence that colour may have on the picture. It could be a beautiful sunny day, but without the help of colour, for me, this composition documents a gloomy day, in what feels like a silent city.

By isolating the escalator, a small part of a building and capturing the negative space surrounding them on the left, allows me to understand that the subjects are in an urban location and shows the minimalist elements within the photograph.

However, the position of the camera in comparison to the people prevents us from seeing anything else beyond that. We could assume they’re on top of a building or walking into a mall, but we cannot be sure without further information, that’s what makes it so interesting. The rule of thirds and leading lines work perfectly together, as the eyes are drawn from the bottom of the frame, right up to the main focal point at the top, taking you on a journey and moving the viewer through the image as an escalator would do. Slow shutter speeds don’t freeze a moment, they follow the moment and capture the path taken during the time the shutter is open, so instead documents multiple ‘invisible’ moments in one frame and is something I would consider to be indecisive.

Nigel Shafran – (1964 – )

Nigel Shafran is a well-known photographer and artist based in the UK, having established himself as one of the most respected fashion photographers in the 1990s (James Hyman Gallery, n.d). Much like Nick Waplington, Shafran is passionate about capturing day-to-day life, the ordinary and overlooked subjects that surround us. Unlike most photographers who have explored the decisive moment and aim to capture the unique, the extraordinary and ‘never to be seen again’ moments in time, Shafran explores the beauty in the mundane and accepting what we have around us.

His work is so casual, so familiar and domestic but still beautiful, full of life and uniqueness.

Washing up (2000) is a series of images taken across an unknown time, capturing the chaos and daily findings of a kitchen. Something all of us can relate to and find comfort in, making this project somewhat personal without it being so.

The consistent framing between these two images implies that a tripod was used, or some form of stable surface for the camera to sit on to document the changes within this kitchen without having to change location or composition. They are very much the same, yet different.

001washing_up see Fig. 3) looks to have been taken while the sun was fully out and out of reach of the window, creating a cold atmosphere due to the lack of sunbeams, blue tones and grey shadows within the picture. Tinsel is hanging off of the wires, just above the red teapot, enhancing the fact that this photograph could’ve been taken on a cold winters day. To the right, is a potted plant that seems to be dormant and withering away, the natural circle of life. There is crockery everywhere, in the sink, on the draining board, a knife has been left out on the side and the pots and pans in the top right are screaming indecisiveness and chaos.

013washing_up (see Fig. 4) is slightly more organised, tidier and warm. In comparison to Fig. 3. this image appears to have been taken during the morning, just as the sun is rising. Shadows in this composition are soft, as is the light on the walls and surfaces, making it feel more homely and welcoming. Despite the differences between the two photographs, the mess, the lack of decision making and the reality of the busy lives we lead, the pictures on the walls are still the same, the blue figurine on the plug socket is still in its usual place, the kettle and rubber gloves are where they belong.

They may not be the most outstanding photographs taken, but they document life, the changes that we make, the life and death of nature, the rise and fall of the sun. These pictures have captured time and how it evolves, which I think is just as important as capturing one unique moment in time.

Reflection:

– The (in)decisive moment doesn’t have to be something extraordinary or unique and is very much similar to the decisive moment, in terms of planning and setting the camera up to capture the moments.

– The ordinary can be the most beautiful and interesting subjects to capture and explore.

– No one moment is unique and all capture important moments in time.

– The ‘Decisive’ moment is the moment you decide to capture, when and where.

– The (in)decisive moment doesn’t mean you don’t have to prepare and look for fruitful moments.

– The (in)decisive moment captures a period or path of time, rather than one moment.

References:

1972.agency. (2020) Nick Waplington Biography – 1972. [online] Available at: https://1972.agency/artists/nick-waplington/bio (Accessed 2nd February 2021).

Cotton, C. (2014) The Photograph As Contemporary Art. 3rd ed. London: Thames & Hudson.

Bint photoBooks. (2016) Views & Reviews A Tribute to the Family as a wild Tribe Living Room Nick Waplington Photography. [online] Available at: http://bintphotobooks.blogspot.com/2016/05/views-reviews-tribute-to-family-as-wild.html (Accessed 15th February 2021).

Dietrich, M. (2016) From Experimental to Ordinary: LomoAmigo Martin Dietrich Tests the Minitar-1 Art Lens [online] Available at: https://www.lomography.com/magazine/317995-from-experimental-to-ordinary-lomoamigo-martin-dietrich-tests-the-minitar-1-art-lens (Accessed 22nd March 2021).

James Hyman Gallery. n.d. Nigel Shafran [online] Available at: http://www.jameshymangallery.com/artists/14896/biography/nigel-shafran (Accessed 22nd March 2021).

Juxtapoz. (2019) Exhibition unearths Nick Waplington’s long thought destroyed “Living Room” prints. [online] Available: https://www.juxtapoz.com/news/photography/exhibition-unearths-nick-waplington-s-long-thought-destroyed-living-room-prints/ (Accessed 15th February 2021).

List of images

Figure. 1. Waplington. N. (1991) Living Room [image] Available at: https://loeildelaphotographie.com/en/nick-waplington-living-room-bb/ (Accessed on 15th February 2021).

Figure. 2. Dietrich. M. (2014) The Ghosts That Carried Us Away [image] Available at: https://www.behance.net/gallery/14029499/The-ghosts-that-carried-us-away (Accessed on 22nd March 2021).

Figure. 3. Shafran. N. (2000) Washing up [image] Available at: http://nigelshafran.com/category/washing-up-2000-2000/page/2/ (Accessed 22nd March 2021).

Figure. 4. Shafran. N. (2000) Washing up [image] Available at: http://nigelshafran.com/category/washing-up-2000-2000/ (Accessed 22nd March 2021).