Photoshoot 10: Emotions and Disassociation: Work Diary Evaluation -

Photoshoot 10: Work Diary Evaluation - 

Equipment Used: 
Canon EOS 450D, standard lens, tripod, soft box flash lights.

Settings: 
4" to 8", F/32, ISO 200. 

Lighting: 
Soft box flash lights. 

Theory: 
How emotions are shown and disguised. 

Favourite(s):

 

This photograph is one of the more successful images of this series due to its framing, exaggerated yet carefully considered subject movement and inferences. The image is an exploration of mental health and its stigmatisation and understanding. As such the smaller elements that form the final image such as colourisation, saturation and execution of technique are all vital and this image is a good representation of those skills when compared to some of the more inferior images from shoot ten.

 

Although, this image could have been improved by being more cautious when removing the darker sections of the vignette around the subject. To explain, the removal of too much darkness around the central subject can, as has, resulted in a minor halo effect of lightness surrounding the outline of the subject.

 

In conclusion of the favourites from within the series, this image is one of the most commanding outcomes from this series due to the extended shutter speed which is double that of some other images from shoot ten. As such, it allowed the flash to fire more times and create more examples of the body in motion which therefore created a more erratic final image.

 

Despite this, once again the vignette could have been improved suing Photoshop to increase the brightness on the outer areas of the subject within the frame as these are less significant than the parts in the centre of the rule of thirds grid due to the ghostly effect.

Least Favourite(s):

 

The above image is one of the more eerie of the series due to its blurring of the face which has resulted in the removal of the eyes of the subject. However, this was not my intention and is one of my lesser favourites of the series for a few other reasons.

 

This is one of my least favourites as a result of the lacking commitment to character in the subject which is emphasised through the soft and less angular or dramatic responses of the arms in accordance with the brief to show aggressive and challenging emotions through jagged arms and harsh expressions. Moreover, the lighting is somewhat washed out and creates a faded appearance of the subject.

 

 Photoshop Process - 

 

 

I began by unlocking the image layer. 

 

 

I then moved to the 'Create New Fill or Adjustment Layer' where I moved onto the 'Curves...' option. 

 

 

Carefully changing the points on the graph I changed the light and dark values of the image to encourage a subtly more dramatic final outcome. 

 

 



 Once again I moved over to the 'Create New Fill or Adjustment Layer' and this time selected 'Hue/Saturation...'.

 

 

Using the slider 'Saturation' bar I reduced the orange undertones reflected from the lighting.

 

 

Heading up to the 'Layer' option then selected the 'New Fill Layer' and chose 'Solid Colour...'.

 

 

The layer can be renamed for ease of editing if wanted but I kept the layer name as the default option.

 

 

For this series it was important that I chose black as my solid colour fill layer. However this is the colour of the vignette so it can be changed to fit any aesthetic.

 

 

 Whilst on the new fill layer I moved up to the 'Opacity' slider and changed it to 50%.

 

 

Ensuring that I was on 'Layer 0' I then moved up to 'Layer' where I chose 'Layer Mask' and then 'Reveal All'.  

 

 

Changing to the solid colour layer titled 'Colour Fill 1' I then hovered over the 'Brush Tool' (B) and selected black paint and adjusted the softness and size of the brush so that it was both large and soft to reduce unsightly lines of block colour .

 

 

This is the final result, using the black paint on the layer mask makes items invisible and as such the dark solid colour fill remains on the unpainted areas.

 

Evaluation and Development -

 

This final photographic shoot is successful in demonstrating how I have been influenced by the prior experimentation of techniques such as blur, slow sync flash and multiple flash. The idea of implementing connotations and a narrative within my work is something that I believe is significant. I want my photography to encourage a response from a viewer or for it to at least have some meaning or purpose to myself. As such this exploration of emotions and mental health means that this photoshoot, along with the new skill of adding a vignette, is successful.

 

This is an example of how I have developed a skill further and as this is my final shot I will not be experimenting any more with this skill. The only reason that I would extend this idea further would be if I was unhappy with the final outcomes depicted above.

 

Photoshoot 10: Emotions and Disassociation: Contact Sheet -

Photoshoot 10: Contact Sheet - 

Photoshoot 10: Emotions and Disassociation: Straight Images -

Photoshoot 10: Straight Images - 

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.

Photoshoot 10: Emotions and Disassociation: Image Bank -

Photoshoot 10: Image Bank - 

Definitions: 

• Surrealism:  A 20th-century avant-garde movement in art and literature which sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images.

Examples: 

 

 

(Man Ray)

 

 

(Antonio Mora)

 

(Sonja Hesslow)

 

 

(Antonio Palmerini)

 

 

(Edward Honaker)

 

Photoshoot 9: Identity Anonymity: Work Diary Evaluation -

Photoshoot 9: Work Diary Evaluation - 

Equipment Used: 
Canon EOS 450D, standard lens, tripod. 

Settings: 
1/60, F/5.6, ISO 400. 

Lighting: 
N/A. 

Theory: 
How identity is strongly linked with our spatial context and appearances. 

Favourite(s):

 

This is one of my favourites from within this series due to the composition and the decisive choice to remove certain subjects from the photograph which resulted in an aesthetically pleasing, balanced, final outcome. The process requiring the use of a scalpel worked well and resulted in a final image which was created through physical experimentation despite the fact that it could have also been created using Photoshop.

 

Although, this image could be improved through using a more advanced scanning system as the final image lost its bold black and white aesthetic and now appears more sepia through the reflective surface picking up on the yellow hues and tones. As such, however, this could be easily fixed as it is only a minor post-production flaw.

 

This image is again another of my favourites from photoshoot 10 as a result of the composition and consideration of which subjects to remove from the photograph to create a more dynamic final outcome. The use of various subjects meant that scale could be emphasised within the image despite the use of a singular hue colour paper.

 

However, the same sepia yellowing occurred to this image as it did to all the others during the scanning process and has changed the desired outcome. Moreover, I would also reconsider one of the subjects that I chose to remove from the initial layer of the photograph as there appears to be a pattern occurring instead of the spontaneous effect which was the initial aim.

 

 

This image is one of my favourites despite the slight subject change as it also strongly links with the themes of this photoshoot but also shows another layer of experimentation. For instance, the minor choices to keep sections of the image such as the window provide an intriguing surrealist perspective on the subject of identity but also on the style of landscape photography.

 

Once again, the sepia effect caused by the reflective photographic paper in the scanner reduced the exaggerated effect that was desired by increasing the contrasts in Photoshop after having applied a black and white filter.

 

Finally in relation to my favourites, the above photograph epitomises the simplicity yet effectiveness of the technique used for all of the images within shoot 10. The clean lines between the original image and the secondary layer composed of the primary colour red allow for a cohesive body of work that is formed through a contrasting style.

 

Furthermore, as outlined above, this photograph could again be improved if scanned in using a superior scanner to what was available. This would result in an even more exaggerated contrast between layers and form a more interesting and demanding final piece.

 
Least Favourite(s):

 

This is my least favourite of the series due to the failed composition and lacking focus on a specific area that I chose to address with the other images in the series. For example the image is neither focusing on the idea of portraiture or landscape but is instead somewhere in between. Due to the timing of the shot the number of subjects that I could remove from the image successfully was reduced dramatically which encourages me to pay closer attention to Henri Cartier-Bresson's ideology of the decisive moment.  

 

Evaluation and Development -

 

As a collective series this is one of the more successful in its exact and replicated stylisation that demonstrates the focus that most photographers use when finding a skill that they enjoy and depicts their style. The physical experimentation is a skill that I have used before in another photoshoot and is one that I wanted to extend further and show my development as a photographer but also as a conceptual artist.

 

I enjoy physical experimentation and as such I may use this technique and expand the skill even further in the remaining aspects of this project such as later experiments.

 

Photoshoot 9: Identity Anonymity: Contact Sheet -

Photoshoot 9: Contact Sheet - 

Photoshoot 9: Identity Anonymity: Straight Images -

Photoshoot 9: Straight Images - 

Identity Anonymity:

1:

 

 

This image is compositionally sound in that the image is framed by the tree along the top horizontal third of the compositional grid, the central focus of the photograph is off centre and ensures that the viewer goes on a journey through the image and finally the decision to leave certain elements of the original layer provide an aesthetically pleasing final outcome.

 

2:

 

 

This image is an example of the production choices that create a better final image; for instance, the decision to leave the window but also to remove a segment of the chimney resulted in a well balanced final outcome that still demonstrates the technique to a high standard.  

 

3:

 

 

The above photographic final image is one of the better of this series in that it is a perfect representation of the simplicity of the technique yet its effectiveness at depicting the surreal idea of the main subjects being removed from a photograph. Although, initially I was unpleased with the framing and composition with too much blank space at the top which was not necessary for the aesthetic of the image and such I cropped it out.

4:

 

 

This photograph is successful due to the careful consideration as to where the negative space should be applied through the means of removing the initial layer of the photograph to reveal the red beneath. For example, the space between the body and arm is left and partial elements of the clothing are left to reveal the shape of the human form.

5:

 

 

This image is one of my favourites from this shoot due to the compositional framing of the overall photograph but also because of the demonstration of scale due to the removal of various subjects present in the image. Although, it could be improved by utilising a more random technique as subconsciously a pattern was formed which does not match the desired spontaneous outcome.

6:

 

 

 

The above photograph is one of the more successful of the series due to its ability to exemplify the sporadic yet strategic technique of removal of subjects in a way that takes the viewer on a journey through the image. However, the image lost some of its potency in the scanning process when the deep tones of black and white were transformed to a more sepia filter.

7:

 

 

 

This is my least favourite image of this series due to its poor composition and as a result weaker aesthetic than the other images. This image is neither within the vein of portrait or landscape and is lost due to the framing and scale of the overall image.

 

8:

 

 

 

This image is mostly successful in that it depicts the form well although the delicate nature of the image meant that section I intended to keep as part of the image were removed when using the scalpel on the other areas. Leaving the small sections would have framed and broke up the red section and allowed for a more flowing and pleasing piece.