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 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.

Photoshoot 8: Cut and Paste Old and New Juxtapositions: Straight Images -

Photoshoot 8: Straight Images - 

Juxtapositions:

 

1:

This image is the first dissection edit that I completed and is less exaggerated than some of the others as it drew direct inspiration from John Stezaker unlike the below photographs where I used more experimentation with my own ideas.

To improve this photographic montage I could have ensured that the lighting in the studio matched or closely replicated that of the original photograph to create a more cohesive yet still surreal juxtaposition of images. Additionally, this could also have been done in Photoshop to brighten the secondary layer to more closely adapt a pastiche of the original image. 

The above photograph is the secondary edit of image one which is more of my own ideas and a combination of John Stezaker's technique with the aesthetic of Lucas Simoes. The geometric joining of the photographs works well in that the images are well aligned, with the eyes matching, but reveal enough of each layer to create a dynamic final outcome.

Although, to improve upon this image I would adapt the lighting to more aptly match the base layer photograph. For instance, the below images with various hue and saturation layers such as sepia or a blue overlay had the secondary layer images edited to match the aesthetic of the original. This would be a step to take to improve this photograph to achieve a better final outcome. 

2:

The above image is a photographic outcome that is inspired by John Stezaker with the combination of two portraits, one old, and one of my own.

However, this is one of my lesser favourites in that the alignment is somewhat off centre, the scale is sightly different and the background is distracting from the subject. Moreover, the other images were edited using Photoshop so that the colourisation was similar between the two images to form a cohesive yet juxtapositional final outcome. This is seen in the below photograph in that the blue hue was increased in my photographs to match the polaroid image; this technique was not employed with this image and as such is less effective. 

3:

The image seen above is within the stylistic frame of John Stezaker but is also adapted to fit my own ideas such as the use of old family photographs and my own images captured from within a different time frame. This image is very effective in the poses of the subjects matching closely to those of the original which made the Photoshop editing process easier.

Despite this, this image could easily be improved by focusing more closely on the layering and the scale used. For example whilst the change of scale helps to provide a secondary surreal element to the final image it also detracts from the cohesive nature which is exemplified in the photographic outcome of image 1. Moreover, the ratio of layer distribution is off and as such there is too much of the secondary layer, my new photographs, covering the older image.

4:

The above photograph is successful in the careful consideration of scale and similarities needed between the shoots to create a cohesive link that works well as a juxtaposition simultaneously. Additionally, the deterioration of the primary image aids the aesthetic of the final layered outcome; one main factor being the ripped corner but more subtly the cracks in the base photograph which are not replicated in the second layer.

In contrast though, the secondary layer is too prominent when compared to the older photographic image and this could be amended using Photoshop to either fade the secondary layer or instead, the preferred method, would be to remove more of the second layer specifically focusing on the face.

5:

This image is successful in that the compositional difficulties of replicating the original images layout was done using five models posing which I then separated in Photoshop and edited individually. Furthermore, the align ment of layers and utilisation of effects allowed me to create the cohesive image where both layers were also of a sepia colourisation that made the photographic layers the juxtapositions opposed to more blatant contrasts such as colour.

Although, more elements of the secondary layer could be utilised to ensure that the technique is employed throughout the complete main sections of the image instead of focusing mostly in the top half of the image.

6:

This final photograph is successful as the images fit so well together that the layers appear almost merged with one another and create a final outcome that works as a cohesive yet mentally jarring image which creates a surrealist conflict within a viewers mind. Additionally, the compositional decision to leave one subject untouched was to ensure that the image was still accessible and understandable as a composite collage.

Consequently though, the decision to leave one subject untouched could result in the image being seen as separate to all of the previously mentioned images. Despite this, the use of technique, style and colourisation ensure that these images work well as a corpus of images within one photoshoot.
 

Photoshoot 7: Surrealism Ghost Location Portraiture: Straight Images -

Photoshoot 7: Straight Images - 

Ghosts and Memories:

The image directly above is somewhat too dark and as such the subject is obscured. Although, the possible issue outlined above could be understood as an attempted aesthetic choice to create an atmosphere that well relates to style of dark surrealism. 

The outcome of this photograph is also relatively dark as flash was not used. The reasoning for this is because the use of the flash in this environment emphasised the mist and fog which can be seen in the below image but the continued aesthetic throughout would not have made for a dynamic shoot. 

This image is variant from those above in that it utilises the flash and its effect on the mist to create an eerie atmosphere in which the eye is automatically taken to the central subject in accordance with the rule of thirds compositional grid. Additionally, this image is an example of good clarity with the background not distracting from the subject but serving to exaggerate it further. 

This photograph is effective in that it combines both the dark background with the flash lit mist which thus frames the subject within the photograph by adding silhouetted figures of the trees. The model is also extremely centralised which plays with the idea of balance and composition. 

This image is interesting due to the combination of flash lit fog and a lighter landscape. The fog is captured in circles around the lens creating a frost like effect. However, the lighting in the background, which was an attempt to utilise the setting to create a more dynamic photograph, distracts and draws the eye away from the main subject. Also, the use of flash meant that the setting reflected a large amount of light detracting from the atmosphere of the final outcome. 

The above photograph is an example of experimentation within the field of surrealism. The items placed in the foreground proved to be somewhat aesthetically distracting from the poetic lone figure of the other images although they did have a purpose. The idea behind the props was that the anonymous figure is reflected in the empty photo frames which are often used to capture images of family and friends and memories shared with them. The taxidermy butterfly is a symbol of transition and resurrection but also of a delicate balance between life and death; all of which theoretically link well to the concept of a ghost and forgotten memories.

Square Versions of Select Few: