Project 2 – Lens Work – Research Point

Online Research, Part 2, Practitioner Research

Summary:

For this research point I;

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

Brief:

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

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

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

Photographer research:

Wim Wenders

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

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

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

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

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

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

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

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

Mona Kuhn

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

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

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

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

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

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

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

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

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

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

Guy Bourdin

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

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

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

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

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

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

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

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

Research point continued :

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

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

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

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

References :

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

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

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

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

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

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

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

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

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

List of Images :

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

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

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

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

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

Exercise 2.4 Woodpecker

Notes, Part 2, Reflection on coursework

Summary:

For the final exercise in this project I;

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

Brief :

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

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

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

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

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

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

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

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

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

References:

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

List of images:

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

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

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

Exercise 2.3 Focus

Part 2, Reflection on coursework

Summary:

For exercise 2.3 I;

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

Brief:

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

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

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

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

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

Reflection:

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

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

References:

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

List of images:

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

Exercise 2.2 Viewpoint

Part 2, Reflection on coursework

Summary:

In this exercise I;

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

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

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

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

Brief

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

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

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

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

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

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

Reflection:

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

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

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

References:

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

List of images:

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

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

Project 1 – Distorting Lens – Exercise 2.1 Zoom

Part 2, Reflection on coursework

Summary:

For this exercise I have;

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

Brief:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reflection

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

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

References :

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

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

List of Images :

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

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

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

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

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

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

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

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

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

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

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.

Project 2 – Visual Skills – Exercise 1.2 Point

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

Summary:

For my second exercise I have;

– Provided the brief for this task and my initial worries about how to I was going to shoot as well as
– My decision to explore flat lays and the visual preferences for this exercise.
– Stated the choice of subject and why they helped with the overall balance of the shot.
– Inserted the images taken for this exercise, explaining the different choices made and a short analysis of how I feel they fit the brief along with
– Selecting the strongest example.
– Explored the shots taken without the rules applied and why they aren’t the strongest
– While noting the few strengths they provide and choosing the best image of the two.

Brief:

‘Take three or four photographs in which a single point is placed in different parts of the frame. When composing the shots use these three rules: the place of the point shouldn’t be too obvious (such as right in the middle), the composition should hold a tension and be balanced (the golden section or rule of thirds) and the point should be easy to see. Evaluate the shots according to these rules and select which one you think works best.

Then take a few more shots without any rules, just being aware of the relationship of the point to the frame. Without the rules, how can you evaluate the shots? That will be a key question throughout the whole degree programme.

Add the photographs to your learning log together with brief observations.‘ (Bloomfield, 2018)

I must admit, when I first saw this exercise I was slightly nervous and didn’t have a clue as to how I was going to execute it, mainly due to the fact I don’t use the grid when I shoot imagery, nor do I actively think about the rule of thirds.

However, I decided to go with a flat lay shoot, as I like the way they look visually and allowed me to have more control over the negative space.

My subjects of choice we’re a pegboard, a succulent and the point being a pair of rings. I feel as if the balance was created by the different sized objects I decided to use, to avoid crowding the frame with “stuff” making the point difficult to find.

Camera settings:

1/80 sec; f/1.8; ISO 400.

For the first composition (see Fig. 1), I decided to place the point in the bottom corner of the pegboard to draw your eyes throughout the image in a straight diagonal line, whether you start from the middle and then up, then down OR from the top to bottom and vice versa.
It doesn’t take away from the text, nor is the point out of sight and ignored. Instead, it’s subtle and very natural to my eyes.

For the above piece (see Fig. 2), I chose to move the point further into the negative space and closer to the two other objects to create a cosier feel. The placement of the items creates a right-angled triangle when you flick your eyes from each object, which forms an invisible geometric shape to complement the visible geometric shapes within the frame. I found this quite clever in terms of composition, especially as the rings are placed on the 90-degree point which is the most significant part of the triangle. Therefore the point continues to be the most important element of the image without it being obvious.

For my last image (see Fig. 3) following the rules, I moved the rings on to the plant to make it a little harder for the audience to see, without it being lost. The point highlights the middle of the succulent and compliments the natural curves of the plant, however, the contrast between green and gold helps the ring stand out, despite it being small.

I feel as if the tension in this particular image is caused by the fact you have to look a little deeper than you did with the other two, which makes it a fun composition to explore and is the strongest of the three in my opinion.

I then removed the rules and just shot a couple of images (see Fig. 4. and Fig. 5), without really putting much thought into the composition at all, taking it to the opposite extreme.

While these images aren’t awful, as the colours compliment each other, as do the shapes and sizes, the fact there wasn’t much thought put into the framing or placement of the point, it feels slightly sloppy and unbalanced. The best one out of the two for me is the first image as the angle of the frame cuts up the image slightly, forming more geometric shapes.

Whether you consciously apply the rule of thirds, balance or tension or not, I think it’s important to pay attention to what you’re shooting and where things are in the frame to create a stronger image overall.

References:

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p. 23. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 9 November 2019].

List of images:

Figure. 1. Powell, L Flatlay 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L Flatlay 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L Flatlay 3 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L Flatlay 4 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L Flatlay 5 [image] In possession of: Lauren Powell: Eastleigh.

Exercise 1.1 The Instrument

Notes, Part 1, Reflection on coursework

Summary :

In this post I have;

– Stated the brief for this exercise.
– Provided the images taken, along with the technical settings and histogram screenshots.
– Documented the camera I used, as well as the settings and
– Briefly covered how I executed the exercise, my choice of a static transparent subject and the changes I saw with the naked eye and the histograms for both the indoor and outdoor shoots.

Brief:

‘Take three or four exposures of the same scene. Don’t change anything on the camera and keep the framing the same.

Preview the shots on the LCD screen. At first glance they look the same, but are they? Perhaps a leaf moved with the wind, the light changed subtly, or the framing changed almost imperceptibly to include one seemingly insignificant object and exclude another. Time flows, the moment of each frame is different, and, as the saying has it, ‘you can’t step into the same river twice’.

Now bring up the histogram on the preview screen. The histogram is a graphical representation of exposure – the camera’s sensitivity to light. As you page through the images you can see small variations in the histograms. Even though the pictures look the same, the histogram data shows that in a matter of seconds the world changes, and these subtle differences are recorded by the camera. If you refine the test conditions – shooting on a tripod to fix the framing, moving indoors and closing the curtains to exclude daylight – still the histogram changes. Probably some of the changes are within the camera mechanism itself; still, the camera is a sensitive enough instrument to record them.

Add the sequence to your learning log with the time info from your camera’s shooting data as your first images for Part One.‘ (Bloomfield, 2018)

Before shooting anything, I made sure my SONY SLT-A57 was set to auto as requested in the OCA Expressing Your Vision Course Handbook, as well as making sure my 50mm lens was switched to auto-focus.

Instead of using a solid object, or a ready-made set up, I decided to use a resin art piece as my subject, due to the fact light can pass through it which seemed like an interesting idea to play with.

For the first set of images, I decided to begin in a more ‘controlled’ area by placing the piece on the window ledge in my kitchen during mid-morning when the sun was shining through.

While the changes in the images are very slight (see Fig. 1), you can see that the framing shifts slightly where I wasn’t using a tripod to steady the camera.
As shown in the histograms, the shadows in the first image peak slightly higher than the other two, while the mid-tones in the third image peaks significantly in comparison to the first image.

With the naked eye, these light changes are very difficult to see, if not impossible so it’s really interesting to analyse what the camera can detect.

For the second set of images, I decided to head outside with the same piece and place it in direct sunlight to see how the results would differ.

Unlike the first set, I can see the changes in light levels (see Fig. 2). The left is the best of the three (in my opinion) with just enough shadow to define the details within the frame, without being blown out by the highlights. The third picture, however, is significantly brighter and takes away the depth presented in the first.

Once again there are slight differences in the framing due to the lack of tripod for support.

What I’ve found most interesting is the histograms for the images taken outside are much more smooth, with less peaking than the images taken indoors, as well as the fact the shadows are almost if not already clipped off on the histogram.

I would have to do further research on histograms if I wanted to understand why this was the case in much more depth, so I may do this in the future. But what I have taken from this small exercise is the slightest of changes can be picked up, even if you can’t notice it with the naked eye and despite where you capture your imagery.

References :

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p.21. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 9 November 2019].

List of images:

Figure. 1. Powell, L. (2019) Set 1 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2019) Set 2 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Lauren Powell OCA

Coursework

Project 2 – Lens Work – Research Point

Exercise 2.4 Woodpecker

Exercise 2.3 Focus

Exercise 2.2 Viewpoint

Project 1 – Distorting Lens – Exercise 2.1 Zoom

Project 3 – Surface and Depth – Research Point

Exercise 1.4 Frame

Exercise 1.3 Line

Project 2 – Visual Skills – Exercise 1.2 Point

Exercise 1.1 The Instrument