Final shoot plan + images

Assignment 5, Notes, Reflection on assignments, Thoughts & Ideas

Summary:

In this post I

– Discussed my shoot plan, the research and practitioners I have decided to gather inspiration from

– How I intend to shoot my images and the concept behind the project as a whole

– Mentioned the lighting settings I was going to use for the photoshoot and why

– Before inserting a contact sheet of the images I ended up with, along with a brief list of annotations for the images not making the final cut

– Chose my final images, presented them as individual shots, as well as a group in typology form

– With analysis for each photograph without explaining my intentions for the images

– Reflected on the shoot as a whole, exploring my intentions for the final set in further detail to explain what went right or wrong.

Shoot plan

Reflecting on the minimalist work of Ziqian Liu and past instant photography research, I chose to create a project surrounding body image via the lens of an Instax camera.

Liu’s work is so intimate and soft visually that ‘we as the audience begin to appreciate and connect with the limbs or skin’ (Powell, 2021). Body image and accepting the skin that we are in is not as simple as just loving yourself or applying self-care to your daily routine as a fix-all. The body is complex, full of intricate organs, veins and skin cells that make us what we are. Much like the camera and its lens, the light used to fill the camera once the shutter opens is complicated and detailed, so to label it ‘simple’ would be a lie.

I intend to capture close-ups of the human body, the skin and specific features to show the imperfections, the journey it has been on and how difficult it can be to document that within a set of images. Unlike Liu, I will not be using flowers or such delicate props to compliment the subjects I am taking images of; instead, I will use a bed and sheets to reference the intimacy and privacy she explores within her work.

As explored in my test shoot, the Instax Mini 8’s light settings will be set to Hi-Key as it is the ‘brightest of all lighting choices, resulting in a lighter and softer image’ (Adorama, 2021). A brighter light setting will allow me to shoot on any given day, no matter what the weather is like outside. Shooting without knowing what the composition looks like will be a challenge, which I wanted to do for this assignment to push the boundaries of ‘simple’.

After I have gathered a collection of final images, I will use my SONY A57 to convert them into a set of digital images to mix my media, combining the limited reality of instant cameras and the flexibility of digital photography.

‘Contact sheet’

This is not my typical contact sheet as the images were physical, meaning I could not import them into Adobe bridge and annotate them as I usually would. Instead, I placed all the prints I took on a white card and took a digital picture using my Sony A57 to show all of the results from my shoot before labelling them using photoshop.

Contact sheet annotations

(See Fig. 1) for reference.

Images 1 and 2 are too tightly cropped, blurred and not what I was expecting, therefore, they will not feature in my final selection.

Image 6 is ok, but the positioning of the arm is slightly odd and was not what I intended to shoot. There is also a tiny interference at the bottom of the frame.

Image 8 is not cropped in the way I wanted, as the crop top is in the frame. It is not awful, but I would rather it was not there.

Images 11 and 12 are ok, but the black leggings in image 12 were not intentional and are distracting. I like image 11 but prefer image 10 in terms of tone much more.

Image 16 did not turn out as expected as I did not want the eye to be within the frame.

Final selection

Fig. 2. *Photography is simple 1* (2021)

Analysis

Photography is simple 1 (see Fig. 2) is minimalist in terms of tones and colour, the pop of green brings nature into the composition without controlling the emotion of the image or distracting from the main subject. The hair spread across the sheets underneath provides shape and texture to the shot as the curls twist in multiple directions away from the persons face. Are they turning their head away mid-shot, are they posed? We are unaware of any emotion shown outside the frame as the face is not visible, taking that element of context away from the audience. The focal blur adds privacy to the photograph, making it soft and less detailed than it may look if taken with a digital camera. The shot was lit by the cameras inbuilt flash brightening the skin and keeping the contrast reasonably balanced preventing any harsh highlights or shadows. Contextually were unaware of the exact location due to the framing of the shot, are there two people in the frame or just one? Removing the vital elements that could provide more knowledge for the audience makes the photograph more interesting and secretive.

Photography is simple 2 (see Fig. 3) is slightly more muted than the previous shot, as shadows have diffused the intensity of colour, lowering the exposure. The body part within the photograph framed by the material used to cover the subject emphasises the curved form and the intriguing gap in the middle of the composition. Are two people back to back? Is this a leg or an arm? Cropping the subject pushes the brain to explore the piece in further detail to figure out what is going on. The image is much softer in terms of contrast, as the lighting is not as bright and has not reflected the whiter elements in the shot. Conceptually this image explores the desire to cover ourselves up and hide away from the eyes of others rather than embrace what we have.

Photography is simple 3 (see Fig. 4) is brighter and slightly overexposed due to the flash reflecting off the skin closest to the lens. The arm cutting through the middle of the frame provides a leading line for the viewer, starting from the bright flash at the bottom towards the evenly lit and relaxed hand in the top third of the image. A monochrome colour palette of white and green brings a fresh and innocent feel to the composition. The angle of the arm adds depth as if the hand is reaching into the leaves below. Placing the subject in the centre of the frame, in full view rather than shooting it up close, juxtaposes the previous images as there is slightly more context as to what the photo is. This image feels delicate and indicative of someone reaching out towards someone or something.

Photography is simple 4 -6 (see Fig. 5-7) are cooler in temperature and more monochrome in terms of colour, with a simple colour palette of black and white. The subjects are well focussed and provide slightly more context to the viewer than the previous three images. They explore the textures within the skin, the soft elements, wrinkled areas and natural rolls of the body. Shadows and highlights are balanced, accentuating the body shape and enhancing the fragility of the skin through diffused light casts. It looks as if the images were shot in a dark room or on an overcast day due to the blue-ish grey tones surrounding the subject, however, the viewer cannot be sure without further information. These images feel the most personal and real as they explore the natural parts of the human body, the parts that we can feel ashamed of and learn to resent.

At first glance, Photography is simple 7 (see Fig. 8) looks like a failed underexposed image, however, once you take a closer look you can see the whites of an eye and the reflection of the light bouncing off of the cheekbone. The shadows are dark and contrasted causing the highlights to be more diffused and subtle to the eye, making the subject in the frame softer and hidden. Negative space surrounding the eye draws the viewer to look closer at the small area of light provided to them and explore what is going on. Context is removed completely for this shot as we are unaware of the location, who this person is and whether the shot was intentional. Instead of the eye being covered it is the only thing shown and is the opposite of privacy, perhaps implying the idea of feeling exposed and seen by others?

Photography is simple 8-9 (see Fig. 9-10) have heavy contrasted shadows with small yet strong sources of light to create a focal point for the images. The light casting on the hand in 8 frames the mouth within the shot, drawing attention to the shiny texture on the lip. Contextually the viewer is unaware of why the hand is there, whether it is the model’s hand or someone else’s, however, the close cropping and framing isolates this facial feature and highlights the delicate nature of the skin. There is little colour within these images besides the red of the lips, as a result, this makes the photographs feel mysterious and eerie compared to the brightly lit, freshly coloured shots. Out of focus shots add intimacy and prevent the eyes from understanding what is happening at first glance, pushing the audience to get up close and personal to appreciate the subject. Are these images hinting towards the way we see ourselves, the way we or others speak about us, or perhaps what we hear in the media about what is considered beautiful or not? Maybe they are reflecting the way we only show the parts of ourselves that we want others to see.

Photography is as simple as the human body (see Fig. 11) shows the range of images documented throughout the entire project. It portrays how diverse photography is, from the lighting used, to the framing, subjects chosen and colours featured throughout, that can shape an image as a whole. People may view photography as being ‘simple’ especially as we can take a decent image without much thought with our smartphones, however, composition, concepts, shapes, shadows and textures are just a slither of what makes photography complex and an adventure.

As the assignment requires 10 images, rather than presenting a strong set of nine final images as a typology, this shot finalises the set by capturing a single image that documents an entire collection in one. The writing on the picture combines digital photography and drawing to tell the story of these images as a whole. Applying a ‘smoke’ overlay over the top of the image to include post-production and photo manipulation, represents the evolution of photographic development. It also removes the element of simplicity that was a clear display of images. It can be so easy to edit digital work compared to the more traditional film photography that can take hours or days. Some images are better left untouched to allow us to enjoy what is.

Reflection

This shoot was more successful than I thought it would be. The privilege of seeing the images we are taking before we press the shutter button as well as being able to reshoot and delete any images that did not work makes you thankful for the evolution of photography and the cameras we have today.

Shooting these photographs knowing that I had a limited amount of film and the ability to see what the final result may look like once it developed, making this both exciting and challenging at the same time. As discussed in my initial thoughts for this assignment, I wanted to use ‘trickier techniques to oppose the word simple’ (Powell, 2021), so using an Instax Mini 8 camera allowed me to achieve this.

There were a few images that I did not intend to take or did not expect them to turn out the way they did, but ended up being my favourite shots. Photography is simple 7 (see Fig. 8) was one of these images, as I expected the eye to be brightly lit and the flash to bounce off of my skin, however, it did the complete opposite and captured a ‘peeping’ eye. Some may consider that image to be bad and unusable, but bearing in mind I wanted to explore minimalism, intimacy and how we view the human body, it felt like the perfect intentional shot to represent this idea. Photography is simple 2 (see Fig. 3) is another image I did not intend on capturing in the way I did. The sheets framed my body in such a way that it looked as if someone was led next to me despite the fact no one was. As someone who has struggled with body image, sharing the ‘exposed’ parts of myself is a terrifying concept. Capturing an image that could potentially reflect the ability to share yourself with others, was incredibly powerful to me as a photographer viewing my images from a cold point of view.

I feel as if I have managed to successfully show how accepting our bodies and documenting them with limited resources is not as simple as we may think it is. Nothing is simple.

References:

Adorama. (2021) How to Use the Fujifilm Instax 8 [online] Available at: https://www.adorama.com/alc/how-to-use-the-fujifilm-instax-8-everything-you-need-to-know/ [Accessed 21 June 2021].

Powell, L. (2021) RESEARCH FOR ‘PHOTOGRAPHY IS SIMPLE’ + MINDMAP [online] Available at: https://laurenpowelloca.photo.blog/2021/06/14/research-for-photography-is-simple-mindmap/ [Accessed on 21 June 2021].

Powell, L. (2021) INITIAL THOUGHTS ON ‘PHOTOGRAPHY IS SIMPLE’ [online] Available at: https://laurenpowelloca.photo.blog/2021/06/14/initial-thoughts-on-photography-is-simple/ [Accessed on 21 June].

List of images:

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

Figure. 2. Powell, L. (2021) Photography is simple 1 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2021) Photography is simple 2 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2021) Photography is simple 3 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L. (2021) Photography is simple 4 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 6. Powell, L. (2021) Photography is simple 5 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 7. Powell, L. (2021) Photography is simple 6 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 8. Powell, L. (2021) Photography is simple 7 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 9. Powell, L. (2021) Photography is simple 8 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 10. Powell, L. (2021) Photography is simple 9 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 11. Powell, L. (2021) Photography is as simple as the human body [image] In possession of: Lauren Powell: Eastleigh.

Final image analysis and contact sheets

Assignment 4, Reflection on assignments

Summary

In this post I

– Discussed the post-processing that took place to edit my final images, how it was achieved and why

– Included screenshots of the editing process before discussing which images were stronger and the weaknesses of others

– Inserted the annotated contact sheet including the final image edits and the pictures I was considering for presentation

– Included all of the final images as individuals in vertical order, allowing the images to be viewed as a group.

– Explored my reasoning for presentation, where my inspiration for the final pieces came from and the strengths and weaknesses in a short analysis

– Before reflecting on the process as a whole.

Post-processing

To create my final images I took my black and white inverted shots, enlarged the canvas by 4 (See Fig. 1), before creating three duplicates of the photographs and changing the orientations of each to mirror one another (See Fig. 2). As a result, this created multiple 360-degree pieces out of what was one image. The inspiration for these compositions came from Andy Ellison, an MRI technician who scanned fruits and vegetables as a way to test his MRI machine settings (Insider, 2013). Ellison’s work influenced me to produce a photograph that looked ‘beautiful, ghostly … like they could be part of the human body’ (Powell, 2021).

Some of the individual images weren’t strong enough when duplicated and turned into a mirrored image, as can be seen in my annotated contact sheet for these edits (See Fig. 3). Scan edit 5, was interesting in terms of texture and symmetry but wasn’t as exciting as the others due to the lack of shape, contrast and detail. On the other hand, scan edit 9 was overexposed, lacked texture and detail but had an interesting eye shape. Edits 12 and 13 were good composition-wise as the frame was full, juxtaposing the other images and documenting highlights more so than shadows. However, those particular images wouldn’t have been fitting when presented with the rest of the group because of this big difference; it would be quite jarring to look at.

The pieces with the red above them are the images I felt are the best of the collection, not only because of their comparisons contrast and details wise, but they each look like an individual body part. The similarities pull them together as a set, but the shapes and subjects allow them to be unique enough to tell their own story.

Final images

This assignment requires 6-10 high-quality photographic prints if you’re planning to submit for assessment, therefore, the editing for this particular set of images is important. The way your images are presented could heavily influence the way a viewer looks at the pieces and what they get from them. If you pick an art piece that isn’t as strong as the rest, the entire group could be less impactful and draw fewer people in.

I chose the presentation, and the order of my photographs was by referring back to my practitioner research and shoot plans. I wanted to explore the ‘aesthetic’ of film negatives, lumen prints and how ghostly they look after development. Instead of producing an image that reflected a typical black and white photographic print, the edits were inverted to represent an enlarged version of a negative film or black and white lumen print. The final edits reflected my study of MRI scans from Andy Ellison that document the thin and dense areas of the subject via heavy contrasts. Scans can ‘show the thicker areas that are blocking out most of the light or rays via a white or light grey image … ‘ (Powell, 2021) but aren’t limited to this, as denser areas can be darker while the thin areas remain whiter in some MRI’s or x-rays.

While looking at the final images, I noticed how much they looked like body parts or at least a mutated version of a body part. Printing the chosen images off allowed me to arrange the photographs in multiple orders to see what worked best and why. Eventually, I decided on the order shown above and sat with it for a few days before confirming that this was the arrangement I felt was suitable for this set. From the top downwards, we have images that look like the brain, eyes, a set of teeth, spine, torso, hips and legs.

The final set is balanced with shadows and highlights, full of detail, a range of textures and shapes. The shallow depth of field enhances the eerie effect seen throughout each image, especially in Scan 1 (see Fig. 4). There is a soft grey area just below all the crackled black areas around the edge of the fruit, that frames the middle of the image, enhancing the details within that area and the surrounding edges. Smudgy dark marks can be seen on the outer edges of Scan 4 (see Fig. 7) that look like an inkblot painting, bleeding into the paper and symmetrical all around. Scan 3 (see Fig. 6) is the strongest piece in my opinion, due to the range of tones throughout, bright highlights, dark shadows and mid-grey’s. The shapes look sharp in some places and blunt in others, the block of black in the middle of the frame intensifies the scary form of the fruit. Grooves and dents within the subject, give the image a fleshy texture, as a result providing some context as to what the object may be or how it may feel.

Reflection

This assignment has been interesting to explore as I pushed myself out of my comfort zone, experimented with controlled light and the results that could be achieved. I have managed to combine the use of lightbox and macro photography techniques from McKinlay’s tutorial, Ellison’s MRI scans and presenting them as individual prints like Gomez’ lumen prints; while keeping it unique and making it my work by taking influence from a past light project of mine from 2015.

The final images are strong, complement one another and present an interesting idea that doesn’t have a lot of context to it, unless you knew what the subject was and how the pieces were put together. This set allows the mind to analyse what is happening, inspect all of the details and paths within the photographs and the meaning behind them. It is a complex group of pieces that challenge the stereotypical use of controlled light and studio photography.

References

Insider (2013). Andy Ellison X-Ray Scans of Food. [online] Available at: https://www.businessinsider.com/andy-ellison-x-ray-scans-of-food-2013-3?r=US&IR=T (Accessed 28 May 2021).

Powell, L (2021). Further research and shoot plan. [online] Available at: https://laurenpowelloca.photo.blog/2021/06/07/further-research-and-shoot-plan/ (Accessed 7 June 2021).

List of images

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

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

Figure. 3. Powell, L. (2021) Contact Sheet [Adobe Bridge, screenshot] In possession of: Lauren Powell, Eastleigh.

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

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

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

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

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

Figure. 9. Powell, L. (2021) Scan 6 [image] In possession of: Lauren Powell, Eastleigh.

Figure. 10. Powell, L. (2021) Scan 7 [image] In possession of: Lauren Powell, Eastleigh.

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.

Contact Sheet and Final Image Selection

Assignment 2, Notes, Thoughts & Ideas

Summary:

For my final selection I;

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

List of images:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Final images and analysis

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

Summary:

In this post I will be

– Analysing the 8 images I have chosen for my final set
– Explaining why they were paired together, visually, technically and conceptually if applicable
– Sharing my overall thoughts on how the assignment has evolved, the visual techniques I enjoyed using such as colour, shapes and texture
– As well as my understanding of the importance of looking around you, to find something new.

Pair #1

Fig. 1. *Winchester 2019 03* (2019)
1/250 sec; f/1.8; ISO 400

This pair contrast in tonality, colour, and space. While ‘Winchester 2019 18‘ (see Fig. 2) shares the cool and gloomy tones of ‘Winchester 2019 03‘ (see Fig. 1), the colours are much more saturated and warm due to the tanned wooden architecture in the background and vibrancy of the leaves framing the person in the shot. There is plenty of negative space in ‘Winchester 2019 18‘, displaying how open and free the surrounding area is, unlike the claustrophobic composition of its partner. The use of daylight, emphasises the highlights and shadows bouncing off the wet paths and textured areas in a much more natural way, preventing too many harsh lines and shapes. In terms of the subject, they are almost identical, both include umbrellas, bags, and coats, however, the focal points are the complete opposite. One person is positioned in the foreground at the top of a path, the shallow depth of field appearing in the background and the other is located in the background at the end of a path, the shallow depth of field creating a much softer foreground. Their positions in frame and the clear differences in location could symbolise the start and the end of a journey.

Pair #2

Fig. 3. *Winchester 2019 11* (2019)
1/400 sec; f/1.8; ISO 400

This pair share a lot of similarities. The composition is exact which provides a repetition of the geometric buildings, the leading lines are heavier on the left-hand side, drawing the eye from the left and across to the right which in turn naturally follows the paths in the shots. The artificial lights mixing with natural light, add warmth and tension between man-made inventions and the nature of weather affecting light and temperature levels. Even though the shutter speed, aperture, and ISO were the same for each shot, the highlights and shadows completely contradict one another. Silhouettes, reflections, and intense blacks are more dominant in ‘Winchester 2019 11‘(see Fig. 3), whereas textures, colours and bright whites stand out in ‘Winchester 2019 12‘ (see Fig. 4). Signs of life are featured throughout the two via full high street shop windows, members of the public, temporary shelters and graffiti, all of which portray different elements of modern life and how certain issues such as homelessness continue to exist in the 21st century.

Pair #3

Fig. 5. *Winchester 2019 14* (2019)
1/500 sec; f/1.8; ISO 400

Visually this pair works best in terms of the similarities in tones and textures. The smooth grey brickwork of the cathedral and surrounding areas create a very cold and gloomy atmosphere with the help of the wet floor and raindrops on the bench. However, the daylight bouncing off the lighter areas of the stone brightens up the image, drawing out and accentuating the natural shadows created by the archways and cracks in the walls. While repetition is very obvious in ‘Winchester 2019 14‘ (see Fig. 5) due to the archways over the path, if you follow the natural line of the walkway and look closely, you can see the wooden bench featured in ‘Winchester 2019 19‘ (see Fig. 6). So, while it may seem that these two images don’t link together beyond the fact they are similar due to location, temperature, and tones, if more time is spent looking into the image, more connections may be found than at first glance. The emptiness of the walkway and bench forms a very lonely feeling as if what was once there many times, has vanished since.

Pair #4

Fig. 7 *Winchester 2019 10* (2019)
1/400 sec; f/1.8; ISO 400

While the two images juxtapose in terms of the architectural elements in question, the colours, window styles, and dirty marks from nature, pull the pair together. Black and Whites are more prominent in ‘Winchester 2019 26‘ (see Fig. 8), with the geometric wooden beams, painted stone walls, and dark-tinted windows, only appearing very subtly on the road sign in ‘Winchester 2019 10‘ (see Fig. 7). However, the rusty colours and textured bricks stand out more at The Pentice than it does in the other shot, creating an even balance between the two. The framing is cropped in both, in turn helping the viewer focus on the details in the image, rather than the surroundings. Viewpoint wise, they are both shots from below and are at a slight angle, implying that the subjects weren’t at eye level or as easy to photograph due to the height of the building. While the aperture was wide, the shallow depth of field cannot be seen as clearly or at all due to how close the camera was to the buildings, creating a very sharp focus that works beautifully with the precise angles of the beams and grouting in the brickwork. Animals unfortunately now have to find their place, around what man has built over time, so the appearance of the pigeon atop a windowsill sheltering from the rain may communicate the impact humans have on nature.

Overall, I am pleased with these images as it pushed me to view this town in a more detailed and clear way, rather than focusing purely on the personal connections it holds. While I was initially driven by a personal view when I first read the brief, being able to explore the architecture, shapes, colours, textures and how places have changed over time, really helped me understand that we need to look at our surroundings much closer. You may think you know a place like the back of your hand, but a bit more time and a different perspective can help you explore in more depth and find a whole new area within.

List of images:

Figure. 1. Powell, L. (2019) Winchester 2019 03 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2019) Winchester 2019 18 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2019) Winchester 2019 11 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2019) Winchester 2019 12 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L. (2019) Winchester 2019 14 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 6. Powell, L. (2019) Winchester 2019 19 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 7. Powell, L. (2019) Winchester 2019 10 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 8. Powell, L. (2019) Winchester 2019 26 [image] In possession of: Lauren Powell: Eastleigh.