Photoshoot 8: Cut and Paste Old and New Juxtapositions: Image Bank -

Photoshoot 8: 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: 



(John Stezaker)



(John Stezaker)



(John Stezaker)



(Lucas Simoes)



(Matthieu Bourel)

Photoshoot 7: Surrealism Ghost Location Portraiture: Work Diary Evaluation -

Photoshoot 7: Work Diary Evaluation - 

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

Settings: 
Beneath individual images. 

Lighting: 
N/A. 

Theory: 
The fine balance between life and death, the storing of memories and the lack of permanence within human life.

Favourite(s):

(1/60, F/4.5, ISO 400, Manual Focus, Flash)

The above photograph is my favourite of the series in that I utilised the effect of the flash on the mist when shooting in the woodland environment to create a mysterious and eerie final outcome. Additionally, the framing is aesthetically pleasing in that the subject is centralised within the rule of thirds compositional grid. Moreover, the light from the flash created a sense of depth in that the trees on the back left and right front were lit which provided tan effective hint of trees using the negative space in the dark landscape. Furthermore, the natural light from the area meant that the fog dissipates towards the edges of the photograph, giving an impression of a vignette effect, whilst the landscape fades away the further back in the image again adding depth. Also, the removal of the aspects of the subject which I didn't wish to be in the image was well executed using the clone stamp tool in Photoshop which therefore exaggerates the surreal nature of the final outcome. 

To make improvements this image I could experiment in Photoshop to exaggerate the eerie effect further. This could include adding a vignette, exaggeration the dark areas using a histogram levels tool and increasing the pure black values. However, despite this I am very pleased with the image in its current state. 

(1/6, F/11, ISO 1600, Manual Focus, Flash)

This image is one of my favourites from shoot 7 due to its combination of techniques learned from the photographs taken prior to it. By this I mean that it combines the use of the flash which emphasises the mist whilst the different manual settings allowed for more of the dark tree silhouettes to appear in the backdrop of the image. Additionally, the photograph is well balance in that the subject would sit within the central column of the grid method which means that the viewer is instantly drawn to the centre of the image also due to the framing of the trees behind. 

To improve this photograph, if I were to shoot again, I could have considered implementing secondary light sources that filled and highlighted specific areas of the photograph such as backlighting some of the trees to exaggerate their silhouettes on the landscape. 

(1/6, F/11, ISO 1600, Manual Focus, Flash)

The image above is one of my favourites not because of its aesthetic appearance but more so because of the planning and symbolism that it involves. For instance, the subject is anonymous due to the cloth obscuring their face, influenced not only by the work of Christopher McKenney but also strongly by Rene Magritte and as such Tommy Ingberg, which is mirrored through the empty photo frames which are usually used to hold images of loved ones and memories. Furthermore, the taxidermy butterfly is a symbol of transition and resurrection according to various religions but also infer a delicate balance between life and death which is further supported by the idea that butterflies carry the spirits of the deceased. Also, the box beneath the butterfly is my example of McKenney's suitcase to connote a sense of impermanence. 

To improve this image I would re-compose and experiment with various focal lengths. For example, the subject is centralised as is the case with all of the images from this series but the object and props scattered around are not placed in dynamically engaging position that takes the viewers eye on a journey. Additionaly, the focal length between subject and camera could have been extended to ensure that the subject was not going to be sitting too highly within the image when it was edited and cropped into a square structure. 

(1/60, F/3.5, ISO 400, Auto Focus, Flash)

This photograph is another of my favourites as it demonstrates a more dynamic approach with the experimentation within my shoots in the positioning of the model. Also, the flash lighting emphasises the tree to the side which frames the image within a compositional grid due to the square crop.

Least Favourite(s):

(1/6, F/11, ISO 1600, Manual Focus, Flash)

This is the least favourite of this series in that the attempt to utilise the landscape and the lighting unfortunately then distracted from the simplistic aesthetic. To further this, the flash effected the fog in a way that was less subtle than exemplified within the first image.

Technique - 

I began by unlocking the layer to allow the process of editing.

Next I clicked the 'Create New Fill or Adjustment Layer' which gave me the choice of a drop down menu. I then selected the 'Curves' tool which allowed me to adjust the exposure, brightness and contrast of the image.

Once satisfied with that I again returned to the 'Create New Fill or Adjustment Layer' where this time I chose the 'Levels' tool; whilst the 'Levels' tool acts similarly to the 'Curves' tool it instead affects the whole image evenly as opposed to various segments depending where on the curve you make movements. 

After that, the next change was to right click on 'Layer 0' and select the 'Duplicate Layer' option; this appears now as 'Layer 0 Copy'. 

Knowing that I have the untouched 'Layer 0' beneath my 'Layer 0 Copy' I begin using the 'Quick Selection' tool to isolate the legs of my subject which I want to remove. 

After making the selection on 'Layer 0 Copy' I then simply press the delete button on the keyboard whilst leaving my quick selection on. 

The next thing to do is to click back onto 'Layer 0', head up to 'Select' and chose 'Deselect' from the drop down menu and then change back to the 'Move' tool.  Drag the image layer until the main removed section (from the copied layer) is filled with the background (the initial layer) and as closely colour matched as possible.

Next I headed to the 'Clone Stamp' tool where I spent time carefully layering the background over the area where the legs once where to disguise the lines. 

This can be done in one of two ways, the first being to select one circumference by pressing the 'Alt' button and then clicking with the mouse where the copied section should go. 

The other process takes less time but has to be done carefully otherwise it can lead to odd end results; this is created by clicking the section you wish to copy, again using the 'Alt' button, but then dragging whilst the mouse button is clicked. This copies from the selected area and pastes it over the larger area. 

This is the finished product now floating without the aid of legs.

Evaluation and Development -

This photographic series has produced one of my favourite images from this project as many elements came together such as location, camera settings and editing. The photograph that is shown first within the favourites element, seen above, is my favourite as it is one of the most fine art images that I have captured and it also shows how I have been directly influenced by the work of the inspirational photographer Christopher McKenney.

The main things that I have taken from this shoot are the importance of editing and how connotations and atmosphere can be created. These elements are ideas that I would like to further explore within my next few photographic experimentations.

Photoshoot 7: Surrealism Ghost Location Portraiture: Contact Sheet -

Photoshoot 7: Contact Sheet - 

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:

Photoshoot 7: Surrealism Ghost Location Portraiture: Image Bank -

Photoshoot 7 - 

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: 

(Christopher McKenney)



(Christopher McKenney)



(Christopher McKenney)



(Kevin Corrado)



(Kevin Corrado)

Photoshoot 6: Surrealism Location Portraiture: Work Diary Evaluation -

Photoshoot 6 - 

Equipment Used: 
Canon EOS 450D and standard lens.

Settings: 
1/80, F/16, ISO 200.

Lighting: 
N/A. 

Theory: 
'Alice in Wonderland'.

Favourite(s):

This image is one of my favourites due to the composition with the subject being in the central column within the rule of thirds grid. Furthermore, the subject being only half emerged from behind the tree could evoke a symbolic response from an audience and creates a surreal portrait in that the anonymity of the model is preserved and they are not fully visible to the audience both physically and metaphorically.   the colourisation adaptions created using Photoshop worked well in that the blending between the layers of colour merged well. 

However, this image could be improved more so than already using Photoshop once again. Whilst the blending is aesthetically pleasing, if the image were to be increased in size for the printing process then I would consider using the feathering tool to ensure that the lines between the colourised areas and non-clolourised are well disguised. 

The above photograph is a favourite of the series due to the dynamic and varied subject positioning in contrast to the others from within the series. The colours of the trees are more subtle and work well in cousin with the bold pink of the landscape. 

However, to improve this I could have experimented even more so with the posing of the models and tried the image from various focal lengths before settling on one. Despite this, this is still one of the favourites from shoot 6. 

This is one of my personal favourites from within this series due to the hue and saturation of colours and that the colorisation editing is continued over the whole background creating a more surreal atmosphere. 

Although, to improve this image further I would change the position of the model to create a more unbalanced surreal style. Also, I would experiment with the feathering tool to more accurately and subtly transition between the areas of colourisation that were edited using Photoshop. 

Least Favourite(s):

This image is one of my lesser favourites due to the lost effect of sequencing. The distance between camera and subject in cohesion with the technique and position of subject means that the main focal point of the surreal outcome is lost. 

This image is also one of my least favourite due to the lacking surreal colourisation. Whilst I did use Photoshop to edit the trees behind the subject it did not take extreme colours such as brightly saturated hues of pink or purple as weak as was hoped for. 

 

Evaluation and Development -

 

This series was successful in exemplifying the way that editing software such as Photoshop can be used to either create or exaggerate the surreal elements of a series.

 

The editing skill is something that may be used again to create a more dramatic final outcome but the narrative storyline of using pre-existing stories such as Alice in Wonderland as inspiration will most likely not be implemented again in my planned photoshoots.

 

Photoshoot 6: Surrealism Location Portraiture: Contact Sheet -

Photoshoot 6 -