Emotions and Disassociation:
This image is successful due to the lighting and exploration of technique. For instance, the subject is composed centrally within the middle vertical column of the rule of thirds gird and as such the lighting works well around the subject lighting only the important movements. Furthermore, the subtle motion displayed through this technique was later exaggerated using Photoshop editing where I layered a vignette to darken the edges and ensure that the viewers attention was commanded by the subject within the photograph.
To improve this image, however, I could also have experimented with the framing and more exaggerated movements. Despite this, the subtlety works well with the individual idea behind this particular piece within the focus of emotions.
The above photograph is another, similar, example of movement captured within the prior image. Although, the movements are more exaggerated and the subject explores more of the area within the frame than is exemplified previously. As a result, the viewer has longer to negotiate each facet of the subjects pose which then allows for more time to consider the possible connotations behind the final outcome.
However, to adapt this photograph further I could have deepened the vignette used to bring the darkness fully around the subject which would have removed the halo effect of light behind the subject reflecting from the backdrop.
The final outcome depicted above is one of the examples of amplification of technique and how the multiple flash skill can be utilised to create dramatic final images. Moreover, the success is once again routed in the use of a controlled vignette in which I was able to choose the areas which were to be lightened and which were to be kept dark.
Despite this, one factor that could still be improved upon in Photoshop is the saturation of the image. The lighting used resulted in raw images in which the subject was of a very yellow hue and high saturation: as such I edited all of the images by reducing the saturation to create a more sinister and eerie exploration of the theme. However, this image appears to not have been reduced as effectively as the others within the series.
This photograph is a secondary attempt to capture the same theme as the image directly above. In some respects the image is far more eerie due to the movement captured removing the eyes of the subject and creating a horror aesthetic piece.
Although, the motion path captured is not as erratic and emphasised in a way that mimics the emotional backstory that was desired. For example, the arms of the subject are more relaxed and less angular than the photographic outcome prior to this image. The subject does not appear as committed to the role in this image when compared to that above it.
This final outcome is a middle ground between the two initial images as it shows more movement than one image yet more skilled restraint than the other. Additionally, the lighting was more cool in this image and the saturation was reduced to a level of satisfaction resulting in a more emotional finished piece.
However, due to the minor lighting change within the time of the shutter speed the subject is less well lit and is lost somewhat in the background due to the colour of clothing and lighting. This could be amended by photographing this subject again or more simply by editing the brightness and contrast in Photoshop.
This image was inspired by the work of Sonja Hesslow yet I wanted to continue to explore the idea of motion and how it could be exaggerated within the medium of photography. The reason this photograph is mostly successful is due to the careful consideration of timing and shutter speed completed in cohesion with directing the model through clear and concise communication. The almost mirror imaging is a result of conducting the movements of the subject to fit the compositional framing and the timing of the flash.
Once again, this could be refined in the editing phase using Photoshop to reduce the saturation and yellow colourisation coming from the lighting set up. This would improve the overall aesthetic and the ability to understand the darker inferences within the image.
To further my previous statements, this photograph is directly inspired by the work of Sonja Hesslow and one extremely similar image by Antonio Mora. The composition was one that I wanted to experiment with due to the simplistic effectiveness of it. As such the image is of a good composition.
The above photograph could be enhanced though. For instance, the subject could have stood significantly more still to capture the initial layer of the image before allowing the movement to cloud the bottom ghostly section. Also, the framing of the subject is somewhat off centre and could be adjusted by cropping the final image or photographing this shoot again and more carefully preparing this. Moreover, the lighting is dark due to the fewer number of flash fires within the quicker four second shutter speed as opposed to the eight second shutter speed.
This final photographic outcome is another investigation of the work of Sonja Hesslow yet this image is different for some minor detail adjustments. For example, the subject is within the central column of the rule of thirds grid method relating to composition and is more saturated than the photograph directly prior to this image.
Some negative components of this image include the poor lighting within the shorter shutter speed which resulted in an image that could either be consider aesthetically ghostly or, more negatively, faded and washed out.
This photograph encompasses more techniques of Man Ray and his images entitled "Markiza Casati 1922" and "Dora Marr 1936" which depict the black and white blur of a women's face and an inversed image of multiple hands and faces of a subject.
Despite all of this, the image could be seen as less successful as some of the character of the image is lost through the blurring of the subjects face. Consequently, the drama and thematic encouragement of understanding the connotations could be lost within the viewers.
Finally, this image is the most dramatic of all of the movements captured due to the extended shutter speed of eight seconds with more flash firings than the others of eight seconds. This resulted in a more erratic final response within the shoot and encourages a different response from an audience than the first image in the series does. The lighting and reduced saturation are also well executed within this piece when compared to some of the others and as such places this image as one of the more successful of this shoot.
However, the vignette on this image could have been more carefully controlled and ensured that lighting on all appendages are equally lit; however this could have detracted from the central focus of the motion of the subjects head alongside that of the arms.
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