Contact Sheet and Final Image Selection

Assignment 2, Notes, Thoughts & Ideas

Summary:

For my final selection I;

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

List of images:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Test Shoot Contact Sheets for Collection Assignment

Assignment 2, Notes

For this post I;

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

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

Below are the annotated contact sheets.

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

Reflection:

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

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

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

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

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

Final shoot plan:

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

List of images:

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

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

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

Assignment 1 : Tutor Feedback

Assignment 1, Reflection on feedback

As agreed with my tutor, I sent my first assignment off for feedback via email. This made it a lot easier for me to process any constructive criticism as it was in writing, rather than making quick notes from a phone or video call.

A summary of the areas for development and my strengths are as follows:

Strengths

– The blog shows a clear development process and presented well for the assessor (backward to linear logic).
– Well researched and applied walk around Square Mile.
– Some well-written image evaluations.
– Analysing images and how the interpretation emerges.

Areas for development

– Let context emerge and avoid illustrative photos.
– Show references, definitions and where you got them from.
– Avoid personal ‘feelings’ the viewer won’t have.
– Summarise research in blog, then reference in the assignment.
– Reference practical and technical tests in the write up.

Pointers for the next assignment

– Adopt a critical methodology to study images.
– Consider traditions: objectivity, ‘strait’ approach etc. informed by research/ photographers.

Reflection

Receiving written feedback has allowed me to sit down and review their advice properly, highlighting areas of improvement and strength, which in turn helped with the re-editing process and approaching the critique in small stages. The most common critique was to develop and expand on the points made in the text, as well as steering away from personal statements and focus on how the image is made formally. Getting straight to the point and avoid rambling, is another helpful point for clarity of the text.

Understanding what areas I am strong at is encouraging and settles some anxieties regarding my ability to succeed in this course. However, to be aware of the elements that need to be pushed and improved upon is just as important as the positive feedback, which I have discovered fairly quickly having reviewed my work after feedback. I have since made the necessary alterations to make sure I have a good chance of succeeding at the assessment which my tutor feels will be possible if the advice given is taken on board.

Assignment 1 – The Square Mile

Assignment 1

Having finished my Square Mile assignment, the first port of call was to review my initial thoughts on this particular brief which can be found here and here. It is pretty clear to me how the original ideas evolved through each step of the project, just by looking at my final images. Instead of revisiting a town which held significant memories, emotions and specific buildings which meant a lot to me alone, I ended up including family too.

While I covered most areas I originally wanted to explore, the project was shaped by my grandmother without realising, as I subconsciously retraced our recent visit to Winchester, helping me see the town in a completely different way.

Considering this assignment was somewhat of an introduction to my tutor, I wanted to avoid receiving too much influence from others, to stay true to how I create, hopefully making it easier for my tutor to understand my creative process at current, hence my decision to study one practitioner in depth.

However, having studied Keith Arnatt and his various works, I began to understand how much of an impact your work can have if you create a cohesive series. Choosing to be consistent with your camera settings, lighting and framing can help tell a story, without it being too jarring.

I took this knowledge and used it in my work, by becoming more aware of what I was shooting, how images linked together through subject matter, composition and lighting which I feel I was successful with. Framing and distance was a struggle due to the available space, as well as the angles subjects were captured at which can hopefully be improved in the future. Examples of this can be found in Nature vs Man Made and Home Sweet Home. While they aren’t bad, I would’ve preferred that I captured the window head-on instead of below and the houses were less tightly framed.

Despite my struggle with space, the use of depth of field is one of my favourite techniques, which I feel I was reasonably strong at showing throughout, albeit the depth was more obvious in some and subtler in others, such as Work vs Life and Walking in the rain.

Another thing I noticed while analysing my imagery, is my ability to juxtapose. For example, Perspective and Hymns by the bench don’t necessarily pair up at first glance, but the story of my grandparents link them together beautifully.

I’m really happy with how this project turned out as my strengths aren’t found in street photography or architecture, however pushing myself out of my comfort zone and trying a few different techniques, made me realise that my horizons can be broadened and be successful. If I were to develop this in the future, I think I would be a little bit kinder to myself in terms of failed concepts and images. Not everything is going to work, but you will find some gems amongst the dirt.

References :

Powell, L. (2019) ‘Initial thoughts about ‘The Square Mile’ + Mindmap’. [online] Available at: https://laurenpowelloca.photo.blog/2019/08/12/initial-thoughts-about-the-square-mile-mindmap/uare-mile-mindmap/ (Accessed 23 September 2019).

Powell, L. (2019) ‘Plan for ‘The Square Mile’. [online] Available at: https://laurenpowelloca.photo.blog/2019/08/20/plan-for-the-square-mile/ (Accessed 23 September 2019).

Powell, L. (2019) ‘Keith Arnatt Research’. [online] Available at: https://laurenpowelloca.photo.blog/2019/08/13/keith-arnatt-research/ ( Accessed 23 September 2019).

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.

Contact Sheets for ‘The Square Mile’ + reflection.

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

Summary:

In this post I have;

– Provided annotated contact sheets of my shoot around Winchester, noting the strengths and weaknesses of a variety of shots
– As well as a PDF version for a clearer view of the sheets.
– Noted what images worked well and drew on the techniques used, such as consistent framing, natural lighting and such.
– Covered what went well during the shoot, for instance my ability to think about my surroundings to gather a cohesive series much like Keith Arnatt, reflecting on his influence.
– Explored how the shoot went despite an unexpected burst of bad weather, enabling me to achieve the ’empty’ town shots I was looking for and supplying an added interesting atmosphere, as well as
– Stating what could be improved in the future, for example being aware of the angles images are shot at and reducing the amount of duplicate images I capture, in turn being more selective.

Contact sheets:

The following contact sheets include all of the images shot during the ‘Square Mile’ photo-shoot in Winchester, Hampshire. They’ve been annotated and scanned onto my computer, providing suggestions of how the images could’ve been stronger and/or the various elements I enjoyed.

All images were shot in RAW on my Sony A57, so I could then make the basic corrections in post-production without losing too much detail.

Notes :

What do I think of my images?

I’m pleased with how my images turned out, considering that street photography isn’t my usual area of focus and isn’t something I have explored very much. I tried my best to consider similar framing techniques and be aware of the light in my surroundings, to take inspiration from Keith Arnatt who has been part of my practitioner research. Summaries of Arnatt’s work suggest that he ‘may have planned his approach, due to the way he composed the series and stayed consistent with his choice of natural lighting and fixed camera distance’ (Powell, 2019).

What are some of my favourite images?

One of my favourite technical elements from the images shot in the high street (see Fig. 2.) is the contrast between cool, natural light from the gloomy, rainy weather and warm artificial light from the shops and cafes.
Another shot that stands out is the pigeon resting on the window ledge (see Fig. 2.), with the reflection in the glass, very subtly adding tension to the image as you don’t know at first glance what that silhouette may be.

What went well?

The variation of subjects I shot and being able to form a cohesive series purely from my surroundings, successfully achieving my aim to be flexible with what I captured in-camera while keeping the final selection process in mind so I’m not going to be left with a group of random ‘snapshots’ that don’t compliment each other.

What could be improved?

I need to work on my framing and angles a little bit more when shooting. Sometimes my photographs are intentionally taken at an unusual angle, but I also understand that some subjects are better suited with a straight horizon line, which creates more work in post-production if I don’t think about it or can’t get it right the first time round in camera.
Also, I have a habit of taking multiple images which aren’t necessarily an issue, but a few duplicates would be better than half a dozen especially when it comes to producing contact sheets. This is something I will discuss with my tutor to get their opinion on whether I need to work on this or not.

How did the shoot go?

When the shoot was planned, I stated that ‘I would like to go early in the morning so that it isn’t too crowded. This way it’ll allow me to focus on what is around me, what is happening and how I feel about it as a whole’ (Powell, 2019). However, one element not considered was unexpected weather conditions. Thankfully the rain worked in my favour as it was even quieter than expected while creating a moody, dark atmosphere which challenged me to work in conditions that I wouldn’t usually choose to shoot in, due to the inconsistency of light levels, much like direct sunlight at midday.
It was interesting to see how I worked with what I had and how the quality of the images wasn’t necessarily hindered by the weather.

What am I going to do with these images now?

After going through my images as a whole on my computer, I am going to select a few of my best images and apply very basic corrections to them, such as highlight/shadows alterations e.t.c. They will then be cut down again and paired together for the final series of photographs needed for the assignment.

References :

Powell, L. (2019) Keith Arnatt Research. [online] Available at: https://laurenpowelloca.photo.blog/2019/08/13/keith-arnatt-research/ [Accessed 20 July 2019].

Powell, L. (2019) Plan for ‘The Square Mile’. [online] Available at: https://laurenpowelloca.photo.blog/2019/08/20/plan-for-the-square-mile/ [Accessed on 20 July 2019].

List of images:

Powell, L. (2019) Page 1 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Powell, L. (2019) Page 2 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Powell, L. (2019) Page 3 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Powell, L. (2019) Page 4 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Powell, L. (2019) Page 5 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Powell, L. (2019) Page 6 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Powell, L. (2019) Page 7 (Scanned document) In possession of: Lauren Powell: Eastleigh.

Keith Arnatt Research

Assignment 1, Online Research, Practitioner Research, Thoughts & Ideas

Summary:

For this research section I have;

– Challenged the critics theories about Arnatt’s level of influence in the conceptual art movement.
– Briefly explored the definition of conceptual art.
– Drawn upon Arnatt’s planning and technical approaches to his work.
– Analysed a selection of Arnatt’s artwork and
– Stated which techniques I would like to use in my own work, such as pre-planning my camera settings, concepts and compositions to gather a cohesive set of images
– To reflect on my understanding of how Arnatt works and how this can be implemented in my own work.

Keith Arnatt

Keith Arnatt (1930-2008) was primarily known as a British conceptual artist, however, his work was also spoken about concerning land art, minimalism, and photography.

Arnatt was born in Oxford in 1930, where he continued to reside to study at Oxford School of Art in the early 1950s, however, he furthered his education at the Royal Academy Schools in London later on in life. From 1962 he taught in Liverpool and up until 1969, Arnatt taught in Manchester.

Settings for his work we’re as follows, Liverpool (The beach at Formby); the moors around his farmhouse in Todmorden, Yorkshire; and his garden in Tintern which was surrounded by woodland.

Arnatt’s work was associated with the new conceptual art movement by the late 1960s, during which he took part in various exhibitions for conceptual art such as the following; ‘Konzeption-Conception, Städtichen Museum, Leverkusen’, 1969; ‘Information’, MoMA, New York, 1970; ‘Umwelt-Akzente / Die Expansion der Kunst’, Kunstkreis Monschau, 1970 and ‘Art as Idea in England’, CAYC (Centro de Arte y Comunicación), Buenos Aires, 1971′, (Wikipedia, 2019).

There was plenty of theorising over the amount of influence Arnatt may have had within the contemporary art practice of that time, mainly due to his realistic style of shooting.

Having looked at some of his work such as ‘Miss Grace’s Lane’ (Arnatt, 1986-7) and ‘Pictures from a Rubbish Tip’ (Arnatt, 1988-9) I can understand how critics or other artists may have gone back and forth about his impact on the practice because he does indeed show the subject in frame as it is without ‘manipulating’ it if you will.

However, after researching further about conceptual art and what it means (see Fig. 1.), it’s not as black and white as people may believe. Just because an artwork isn’t abstract or experimental, doesn’t mean that it isn’t conceptual or contemporary.

Screenshot (31) — Fig. 1. Conceptual Art (2017)

A summary of ‘Pictures from a Rubbish Tip’ (Arnatt, 1988-9) provides us with the idea that Arnatt may have planned his approach, due to the way he composed the series and stayed consistent with his choice of natural lighting and fixed camera distance. ‘Although the types of rubbish shown and their exact position within the compositions varies slightly, each is presented at a fixed distance from the camera and this, as well as the similar lighting effects used across the five works, creates a sense of cohesion in the series’ (Tate, 2014).

Therefore, with this information, I feel as if Arnatt had quite a significant influence on the contemporary movement by challenging what people assumed experimental looked like.

‘a conceptual artist uses whatever materials and whatever form is most appropriate to putting their idea across’ (Tate, 2017) which I feel as if Arnatt did, as his work has made me think about how long it had been there, who it belonged to before and see beyond the fact that it is just a pile of rubbish in a tip.

The clear plastic bags in the background of the objects in the frame allow for the colours to pop and draw your eyes towards the bottom right corner where the focal point is. One of the works from the series features a collection of meat ridden bones and a brightly coloured pool of ketchup in the top right-hand corner. In my eyes this is thought provoking, mainly because to some it could just be seen as a condiment for a meat eater’s dinner, but could it also represent the blood of the animal it used to be?

Highlights and shadows help bring depth into a piece of art, defining the shapes in the composition, leading your eyes around the work and giving texture to the subject.

I like how the edges are lighter in the work with the loaf of bread, slowly getting darker as you look further towards the middle, showing that the bread is cushioned by the rubbish underneath and triggers the mind into thinking that the items below were possibly quite soft, like dough almost?

Someone made that bread with their own hands, with love and care, yet it’s ended up in the bin? This leads me to the idea that despite how beautiful, how healthy or useful things are, it may not matter to some, it can be thrown aside. Although, that being said, maybe our perception of a rubbish tip should change from trash to treasure. Items that can be found there have provided life, nutrition, memories and happiness to some, as well as the various negatives.

This reflects the idea previously mentioned that artwork doesn’t have to be viewed so simply, even if you think it is just a realist piece.

Upon researching and reading Arnatt’s work, I see a lot of similarities within our thought/creative processes. I tend to plan what I want to shoot beforehand, think about why an image has been shot that way and whether others will see the work in the way it was intended. Shallow depth of field and natural light is my preferred style too as you get a much softer background while maintaining a clear and sharp focus on the subject.

One of the techniques I would like to bring into my work, however, is creating a series of images that are cohesive and make sense alongside one another, whether that is through the concept or in literal terms e.g. Similar compositions, shapes, colours e.t.c.

Another piece of work I find intriguing is the black and white variant of ‘Portrait of the Artist as a Shadow of his Former Self’ (Arnatt, 1969-72). It is not only a self-portrait shot in a unique way, but it is also once again challenging people’s views about his influence on contemporary art practice. This is a much more obvious conceptual piece, as the medium of chalk and paint have also been used within the work, making it rather experimental by combining more than one medium.

The shadows from the street which are falling around Arnatt’s form creates a spotlight effect and almost emphasises what the work is about. The artist.

Looking further into the image and noticing the graffiti sprayed, dirt-covered brick walls in the background provide a little bit of character to the building by aging it and showing the wear and tear it been through over the years. It shows history.

‘Arnatt has commented: ‘I was beginning to become aware of the unreliability of photographic evidence and began to play with that feature. I felt that what a photograph could not tell or show might be just as significant as what it could.’ (Quoted in John Roberts, The Impossible Document: Photography and Conceptual Art in Britain 1966–1976, London 1997, p.47.)’ (Tate, 2014).

As Arnatt has stated himself, this piece of work is playing around with what a photograph can be. Initially, I thought the dark area within the chalk lines, were indeed his shadow, but with further research, I now know it was painted. The lines are distorted and exaggerated, but you understand what he was trying to portray even though it wasn’t his shadow in the image, instead, it was an outline of what once was there before he disappeared out of frame. A very clever way to work with a concept.

Once again, there are similarities between my work and Arnatt’s. We both think out of the box, play with words and what could be. I also like to exaggerate ideas within my work through props, outfits, makeup or expressions, much like the distorted shadow. However, one thing I would like to explore more is the use of black and white photography. It takes the element of colour away but helps the viewer be a little more intimate with the different tones and textures within a piece of work which you may not have noticed in a colour image.

In ‘The Square Mile’ assignment, I would like to use my style, however, implement the various techniques Arnatt has used in his work so I can create a successful series of images that mold with one another.

List of works, materials, and proposals that are held at various galleries, collections from the late 60s-80s;

Self Burial – the version documenting the WDR televised Self-Burial (Television Interference Project) (1969), and Trouser-Word Piece (1972-89 version) are held in the Tate collection.
Examples of early materials are held at The Henry Moore Institute in Yorkshire, including slides of early works. Leeds City Art Gallery holds drawings from the early 1960’s.
Examples of proposals are held at the V&A Museum in London.
Documentation of proposals that Arnatt gave to Robert Smithson were donated to LACMA, Los Angeles by Nancy Holt.
Tate Archive has proposal related materials by Arnatt including correspondence with the writer Barbara Reise.

References:

Arnatt, K., 1986. Miss Grace’s Lane. [image] Available at: https://www.tate.org.uk/art/artworks/arnatt-miss-graces-lane-t13166 [Accessed 13 August 2019].

Arnatt, K., 1969. Portrait of the artist as a shadow of his former self. [image] Available at: https://www.tate.org.uk/art/artworks/arnatt-portrait-of-the-artist-as-a-shadow-of-his-former-self-p13143 [Accessed 13 August 2019].

Arnatt, K., 1998. Pictures from a Rubbish Tip. [image] Available at: https://www.tate.org.uk/art/artworks/arnatt-pictures-from-a-rubbish-tip-t13170 [Accessed 13 August 2019].

Tate. 2014. ‘Portrait of the artist as a shadow of his former self’, Keith Arnatt, 1969–72 | Tate. [online] Available at: https://www.tate.org.uk/art/artworks/arnatt-portrait-of-the-artist-as-a-shadow-of-his-former-self-p13143 [Accessed 13 August 2019].

Tate. 2017. Conceptual art – Art Term | Tate. [online] Available at: https://www.tate.org.uk/art/art-terms/c/conceptual-art [Accessed 13 August 2019].

Tate. 2014. ‘Pictures from a Rubbish Tip’, Keith Arnatt, 1988 | Tate. [online] Available at: https://www.tate.org.uk/art/artworks/arnatt-pictures-from-a-rubbish-tip-t13170 [Accessed 13 August 2019].

Wikipedia. 2019. Keith Arnatt – Wikipedia. [online] Available at: https://en.wikipedia.org/wiki/Keith_Arnatt [Accessed 13 August 2019].

List of images:

Figure 1. ‘Conceptual art – Art Term | Tate’. (2017) [Tate, screenshot] Available at: https://www.tate.org.uk/art/art-terms/c/conceptual-art [Accessed 13 August 2019].