Aimee Sharman 8189
Conceal and Reveal PI Part 1
Masked Portrait Photography Refinement Ideas Locations:
PortLympne Lewes: -Southover Gardens -Town Centre -Anne of Cleves House -Side Lanes Brighton: -Beach -Beach huts -Pier -West pier -Pavilion -The Lanes -Town Centre -Bandstand -Deck Chairs -Graffiti Sheffield Park Tunbridge Wells: -Pantiles -Town Centre -Dunorlan Park London: -Victoria Station -Millennium Bridge -St. Pauls Cathedral -The Globe Theatre -Big Ben -Telephone Boxes -Paddington Station -Trafalgar Square
Paint over face- thick, textured Sticking magazine/newspaper over portrait Ripped paper over face
Portraits for physical editing:
Simple/plain background: -Blank wall -Woodland -Blurred out background Colour vs Black and White -White paint/neutral -Coloured paint - pastel colours- not bright colours Close up of face - Looking straight on, down or to the side
Black – sinister and suspense White – innocent Formal – Dresses and Suits Informal
Reflection- window, mirror Photo of model removing mask Double/ Multiple exposure Part of image with mask and part without Two portraits in one edit – different expressions: sad, looking down/ happiness, smile, laughing Landscape over face: -Sunset -Woodland/Trees -Flowers -Sky/clouds -Autumn Leaves -Cityscapes: Brighton, London
Double Expsoure Evaluation: In order to develop the simple edits I created using the primary photographs from my Brighton cityscape and portrait shoot I decided to experiment using double exposure. This enabled me to combine one photograph from each of the 2 shoots into one outcome. I found that I liked having the cityscape as the main background which remained at 100% opacity with a portrait overlaid with a much lower opacity level. I am really pleased with how these turned out and this is definitely a photographic technique I would want to work into further- both through physical and digital editing techniques. In terms of the development of digital editing I could create more outcomes to add to the set including some where portraits are used as the background and also the overlay. This could be used to show the theme of conceal and reveal more directly having the overlay showing a person hiding themselves or having it bigger so it seems like the overlaid portrait shows the true identity of the person which is often hidden/masked due to it being more opaque. With regards to physical editing I could print out the different parts on different materials in order to be able to see through some to give the reduced transparency effect.
Physical Editing Action Plan In order to produce an outcome with the use of flowers to ‘conceal’ certain parts of a portrait photograph I intend to use fake or pressed flowers and physically stick these onto a printed out photograph. Ideally the colours of the flower will be quite light, e.g. light pinks, white and light purple. I think this will work especially well with some of the brighter portrait photographs from my Brighton set where the person is against a bright/busy background. As well as this I think it will also work well when using more neutral colour photographs like the one displayed to the left as it is more likely to blend in. For this I will need to make sure I have a variety of flowers, and mount board to print the image onto so that when the flowers are stuck the paper doesn’t go flimsy. To stick the flowers I intend to use either a hot glue gun or some type of strong glue to keep them firmly in place. If I end up using pressed flowers, this will be a more long-term project that will need to take place further in the future once the materials have been collected.
Throughout my previous photography evaluations I have mentioned the idea of using paint in order to physically ‘conceal’ the models face. I think to give the impression of a fully hidden identity the use of thick paint will work best. Or, to show how often we only hide certain parts of ourselves I could use thinner, more transparent paint. I think the colours will vary a lot depending on the portrait photograph being used and it will be a case of working out what looks best with each one. In addition to using paint, other ideas I had were to stick things like photographs, magazine cuttings and newspaper cuttings over the image in order to ‘conceal’ the person’s identity. While I think for the newspaper cutting I could essentially use any printed text I think along with the magazine cuttings and photographs it would be more personal if they meant something or had relevance to the model. For example covering the face with an old photograph of themselves as a baby/young child. In order to develop my double/multiple exposure outcomes I plan to use tracing paper or a similar material which can be seen through in order to physically layer the different parts of the image. Using a material like tracing paper will give the affect of different opacity levels like displayed within the digital edits. I like the idea of using multiple exposure to show the theme of ‘conceal and reveal’ because it allows me to show both concepts in one outcome. The higher the opacity level of the layer the more concealed it appears to be. I will start by using my Brighton Photo-shoots, trying to recreate the ones already created digitally as a starting point and then develop further by creating new combinations of portrait and landscape/cityscape photographs. I could also use two/multiple portrait photographs to form an outcome or I think the use of sunsets with a portrait will also work well.
Another physical editing idea that involves the use of multiple layers is one where layers are cut out to show those beneath. Like the other ideas I will be able to use my Brighton Photo-shoots to create similar outcomes and I would also be able to use some of my previous masked portrait photographs. Having the portrait as the top layer will show the idea of both ‘conceal’ and ‘reveal’. By cutting away the portrait the person’s outline will remain but most of the things that make them a unique individual will be hidden. However, by having a landscape/cityscape showing through I would be revealing this and highlighting it to an audience. For the printing stage of this physical editing project I think using mount board would work best as it would be easy to cut through without ripping and would also allow me to experiment using different layers and depths.
Flower Concealed Portrait Example 2
Experiments with light sensitive paper and chemicals 1. For this experiment I tried out using typography by writing the word ‘reveal’ in fix and then placing the whole piece of paper in the developer to give the black background. I like the use of juxtaposition as while the word reveal is revealed by completing this process, the way it is difficult to read shows the other element of the theme which is ‘conceal’. I could use this type of outcome in my journal for titles. 2 and 7. For these I used a leaf skeleton to make the marks displayed. I placed the leaf in developer and left this to work for a few minutes. Once the leaf marks had turned black I then placed the outcomes in the fix followed by washing. Between the two I prefer 7 because it is more like the original leaf structure. In my journal I have planned a page where I will use natural objects as part of the background; displaying these could be an alternative method of showing this. I also think it shows a more ‘concealed’ leaf due to it being less detailed and less obvious as to what it is, linking back to my theme of conceal and reveal. 3.For this outcome I used a circular shaped object and printed this onto the paper by placing it in developer first and following the same process as with the leaf experiments. I like how I have done this coming in from the side of the page and this could work in my journal coming in from the side of the page as part of the background. 4 and 8: For these experiments I use the fix and a paintbrush to make the white marks which can be seen. Once the fix stage was complete I then followed the process of developer, fix and wash to complete the outcome. While I really like how these look I am unsure of how I would be able to use these in my journal. They could be used as backgrounds for mounting the photographs being presented however on their own they have no direct link to my theme or narrative. 5. This outcome was produced using a thin piece of plastic with lots of small holes in it. I placed the object in the developer and then printed it onto the light sensitive paper and waited for it to develop before placing it in the fix and later the wash. While I like the black border which has been created which could be used as inspiration for adding borders to the photographs displayed in the journal, the overall look was not what I was aiming for. In order to improve this, I would need to have less developer on the plastic so that more of the small holes would be displayed. 6, 9 and 12: To create these outcomes I used the same technique of dabbing a paint brush soaked in developer over the light sensitive paper. I really liked the unplanned aspect of this technique as while I made the marks until development took place I couldn’t be sure what the final outcome would look like. Some of the lighter areas show where the developer has run when being picked up to place in the fix meaning it had far less time to turn black like the other sections. The range of tones helps to add variation and interest within the final outcomes. Like with many of the others tried, I think this technique would work well for use as a background in my journal. 10: This outcome was created by placing a hand in the developer and printing it onto the light sensitive paper before following with the fix and wash process. I am really pleased with this has turned out and the detail that is presented. I think having the detailed sections is much more effective and interesting than what it would have been if the hand print was filled completely black. It appears this has been possible due to position and covering of developer having small sections with more on and some with less on. This could be used to link to my theme of ‘conceal and reveal’ because the small details on the person’s hand are being revealed and the marks on a person’s hand are very individual and can be significant of many things related to identifying the person, ‘revealing’ them. 11. For this outcome which can be seen opposite this page I used feathers printed on light sensitive paper after being in the developer. I started with quite a lot of developer on the feather and then carried on printing until the amount became less and less. I did this in order to see how the amount of developer affected the look given. On evaluation I see that the first print which would have had the most developer on the feather has shown the most detail with the small lines inside the feather being presented. I really like these, especially the way different shades of black have appeared. This reminds of me an ink drawing and would be something that I could use to place around the edges of the journal as borders to add further interest than just the photographs.
Photoshoot Plan Name of shoot: Magazine Covered Concealed Portraits Date: 26.11.2016 Photographer/Style influence: Using ripped sections of magazine and newspapers to cover face. Physically could stick over regular portraits or digitally could include magazine within photo-shoot and primary photographs. Environment/Location: Garden Background/Backdrops: Natural background setting â€“ leaves, trees, plain backdrops Models: Sister Equipment/Props: Will need a variety of magazines Equipment: Camera and different camera settings to experiment with what look bets in combination with lighting Props: Neutral coloured clothing to keep focus on magazine Lighting: Natural lighting with photographs taken on bright, sunny day Camera settings: Portrait setting and auto mode Mood/Feeling/Style: Concealed, feeling unhappy so desires to be hidden Composition Ideas: Subject in middle of photograph Hands held at edges of magazine to show the idea of deliberately hiding their identity. Editing: Simple editing to improve quality- brightness, contrast, saturation etc. Blurring background- keep focus on model and magazine
Name of shoot: Turning away from mirror Date: 11.12.12016 Photographer/Style influence: Mirror photography examples found on Pinterest Main photographs inspiration taken from named ‘A girl with no face’ and one advertising dress from madeit. Main idea: Photographs taken in woodland environment with model looking away from mirror. Photograph is taken looking into the mirror to reveal the model. This is how first element of theme ‘conceal and reveal’ will be shown. ‘Conceal’ is shown through model not looking into the mirror. Environment/Location: Woodland – Heathfield Woods Background/Backdrops: Natural woodland scenery: trees, leaves, branches, pathways Models: Mum and/or sister Equipment/Props: Equipment: Camera- experiment with what setting works best and mirror/s, Props: Clothing: Casual wear, boots/welly’s Lighting: Bright day using natural lighting. Use camera settings which works best in combination with natural lighting to provide highest quality photographs possible Camera settings: Experiment with a variety of camera settings to see what works best on the day- depending on light, angle of photograph and position of model and mirror. Zoom: Try some images zoomed in with outline of mirror seen at outline of photograph with main focus on model. Smart portrait mode: Will work best when focusing only on model (more empathise on model than surrounding area). Camera provides availability for ‘alerts and effects during shooting like Blink proof and Skin softening, or retouch options during playback like Glare reduction or Whiten eyes’ whilst using portrait mode. Scene auto selector: Allowing camera to automatically decide on best setting for image being captured. Landscape mode: When focusing on surrounding scene rather than model Mood/Feeling/Style: Sad, unhappy and hidden. Portrayed through model expression, the way the model is looking away/walking away from the mirror and the quiet, open space. Quiet surroundings could suggest either loneliness or peacefulness. Composition Ideas: Vary between straight on images and images taken from above and below the mirror Editing: Consist mainly of simple edits- varying contrast, saturation, brightness etc. Experiment trying some photographs in black and white to see how this affects mood/feeling/ style
Journal Test Pa
Journal Test Pa
Narrative Journal- Plan before beginning Any new photographs? No new photographs required. Ones that I could use are: Brighton portraits, initial conceal and reveal portraits, masked portraits, mirror woodland portraits, magazine portraits, landscapes and cityscapes. Refer back to journal plan for when and where photographs will be used. Techniques will involve: painting over portraits, newspaper over portraits, magazine over portraits, coloured tape over eyes on black and white portrait, flowers over portrait, multiple exposure and typography. With these and 2 quote pages, one at the beginning and one at the end, I will be using a variety of different materials. Materials I will use include: brown paper, black pen, paint, newspaper, magazine, coloured tape, fake flowers, twigs/leaves/natural objects, maps and different travel tickets. I will need to print the photographs stated above for my journal and the size of these will vary depending on the size of the journal they will be put into it. Ideally I do not want any full page photographs and most of them will be in the centre of each page with room left around the edges in order to keep a consistent theme and layout throughout the journal. I may also experiment having some square shaped images and trying out different positions on the page for these to be displayed in.
Narrative Journal Evaluation Something else I tried out in the making process was the Paul Butler style cutting out layers technique and I have presented my favourite outcome from this experiment with a bus ticket on the next page to continue this display of a journey. Then came the planned multiple exposure outcomes however there were less than planned of these and then the final fully revealed portrait before the final quote page as mentioned previously. One final thing that I added was fake flowers around the fully revealed portrait as I felt this page was too plain without anything other than the photo. How could you improve upon your journal? What you do differently if you started the journal again, what have you learned to help prepare you for your next piece of work? If I were to complete this project again, in order to improve my journal I would plan the colour scheme more carefully so that this was consistent throughout the journal. I would also think more carefully about keeping the mood at the beginning of the journey were ‘concealed’ and hidden identity are shown more negative and then having the end where ‘reveal’ is displayed more positive. This could be done through the use of colour and the use of mounting choice, potentially just using the black at the beginning and maybe a different colour near the end. One problem with doing this is that I would want the mounting colour to remain quite neutral and white would blend too well into the background. By having a really bold mounting colour choice risks taking the attention away from the photograph and narrative/ story. I do think the main area I would work on was consistency as some areas are definitely a little mixed up. I think this would make the journal have an even better flow and professional look/feel. I would also consider rethinking how the tape covered portraits are displayed as having six of these displayed in a row is a bit too repetitive and may be boring for the audience. I order to prepare for my next piece of work I definitely think I would spend more time on the planning stage as I think this would help to get the consistent theme and colour scheme. I also think doing more practice pages would have been beneficial, I mentioned previously that I was not as pleased with some pages with the magazine covered portraits double page, by trying these out beforehand would have meant that I would have been more pleased with everything displayed in the journal. Finally, if I had more time to improve the journal I would try out some different double and multiple exposure outcomes as I am really pleased with this. I may also think about including more quotes, especially near the beginning of the journal in order to give more insight into the story being told. One final small change I would make is on the first double page, I wouldn’t have the newspaper photo corners as I feel this looks a bit out of place and doesn’t really fit with the look I was aiming for. On a whole I am fairly pleased with the look of the journal and while there are a number of areas I would change and/or improve I think this has been a good learning experience and there are some strengths within the journal which I can use/incorporate into further pieces of work.
After completing my photoshoot plan which can be seen on the previous page I decided to try out the technique of using Photoshop in order to add patterns over the models face. For the first edit I kept the lines much more structured and then grouped these together before changing the layer settings to give the desired look. However, on evaluation I much prefer the second edit as the lines were much less planned and I think the blue is much more eye catching in comparison to the pink as well as looking more similar to the original image that I took inspiration from. When changing the layer settings, I tried to create the light impression which can be seen in the example. Due to the two aspects being on different layers and being created digitally they definitely donâ€™t blend together as well as the original photograph however this leaves me room for further experimentation seeing how I could create the desired effect with the primary photograph stage. I would need to find a way of projecting light patterns onto the models face and then capturing this in the camera. The setting around the model would need to be dark and this could link back and incorporate the light trail, slow shutter photography I have displayed previously.
Abbots Wood Portraits
In response to looking through my journal and thinking about where I would like to take my theme of ‘conceal and reveal’ next I decided to try and combine the window texture images from the imposed limitations shoot with my Brighton portrait photographs. After doing this I decided that in order to develop this style further I would need to take some new photographs. The location I choose to shoot in was Abbots Wood where the original aim was to take a collection of portrait photographs and a collection of tree photographs which would be used to overlay over the portraits. When on the photoshoot I also experiment with shooting through the branches in the primary photographs stage. Above I have displayed my favourite outcomes which combine both techniques tried. With the regular portrait photographs I wanted the model to be the main focal point and I feel I have done this well through both my use of composition, having the model in the foreground of the image and making the background appear less sharp or in focus. While for some of the images the contrast between the model and the background isn’t how I would have liked it there are some which demonstrate this being done that I am really pleased with. Also within the editing stage I have been able to increase the contrast and have been pleased with the look this has given. Where the person is looking through the branches I had to make sure there was empathise and the camera was focused on both the foreground branches and the model in order to give the desired outcome and I am really pleased with how this turned out. One of the portrait photographers that I researched was Stephanie Sunderland and while these portraits are shot in a different location and look fairly different some techniques I used were trying to make the images look quite sharp and high contrast. The black and white was inspired from looking through various artists on Pinterest and deciding that I wanted to see how this worked in combination with my photoshoot and how this altered the look of the original photograph. The mood/feeling of these outcomes isn’t necessarily obvious but different elements may suggest different emotions depending on the person looking at them. The idea of the models identity being partially hidden suggests quite negative connotations where the person may feel self-conscious and as though they are required to hide parts of themselves from others. However, the brightness of the images would suggest quite a position feel which is in comparison to the black & white edit which may suggest a more negative, sinister look juxtaposed by the model smiling through the tree branches. Finally, in relation to the mood/feeling of these image we may infer that the woodland environment with nothing but trees present in the portrait background suggests the idea of loneliness and isolation. However, for others a woodland environment may suggests peace and tranquillity. The editing process involved simple edits altering brightness, contrast, saturation and exposure of the primary portrait photographs before layering one of the tree images over the top. I completed this process using Photo-shop where I pasted the tree image over and portrait image. In order to be able to see through the tree image to ‘reveal’ the portrait underneath I lowered the opacity. In addition to changing the opacity I also experimented using layer setting to alter the way the two images blend together. This can be seen in the second multiple exposure edit where I have displayed my favourite outcomes created from using the different layer/blending options. I am really pleased with these double exposure edits and this is definitely a style/ technique that I want to continue to develop. I also think it works well in combination with the ones where the two-layer effect is created in a single image in order to add variation to my work and the set. I could progress from this stage by printing out some of the edits; the top layer would need to be printed on acetate so that the portrait layer could still be seen beneath. In terms of presenting and displaying these I could use a grid type effect where I have the original portrait on the left, the double exposure outcome in the middle and the original overlaid photograph on the right. An example of this done digitally can be seen below. In terms of future photoshoots using this idea I would want to try shooting in a different environment, potentially in a city environment to see how this affects the look of the photographs captured. I think there would also be more opportunity for different subject matters for the model to look through if I took the photographs outside of the woodland setting. One of the main ideas I have currently is to try capturing the image looking in or out at the model through a window. In addition to this I could try shooting through a piece of glass or plastic that the model holds in front of them. Doing this would give me more opportunity to print different things on the ’top layer’. I could also try layering cityscapes over the portrait photographs.
Through Windows Simple Edits
Evaluation of Through Windows PhotoShoot
I’m really not very happy with the original experiments of through window photographs. I don’t think the quality is anywhere near as good as it could have been and the range of photographs within each set is limited. I do think had the original set of driving photographs been taken on a camera I would have been happier with these. I just don’t feel any of the outcomes look particularly professional and don’t appear to be very well thought out. I have struggled to see opportunity to try out the colour techniques shown by Saul Leiter. I am unsure whether or not I want to continue with this idea or whether I would be able to progress further by moving away from the subject of looking through windows and instead try out some of the other ideas I originally mind mapped for my theme of conceal and reveal. I am really pleased with the previous ‘looking through’ idea so this leaves some room for development. In order to come up with an idea for my next photo-shoot I plan to use Pinterest for inspiration. At the moment I still like the idea of showing my theme through the use of portraits and potentially combining these with landscapes/ cityscapes and/or textures but I may also do some research and planning into how I could show the theme of ‘conceal and reveal’ without using people directly. I could try using different objects to have the model looking through. I have previously looked through old A level photography pieces where people have used objects such as glass, cloth, acetate etc. to capture the portrait through. Another idea I originally liked and have yet to try is how wearing makeup gives the impression of concealing certain parts of our identity to give a different impression to others of how we look. I could try shooting images where the model has half a face of makeup on in order to show this comparison or some full face portraits with some where the model is wearing makeup and some where the model is bare faced. Another idea is to project different patterns onto the model using projectors and shadowing to see how this changes their appearance.
Photo-Shoot Plan Name of shoot: UV Paint Portraits Date: Half term- 11/02/2017-19/02/2017 Photographer/Style influence: Daria Khoroshavina- ‘We are all made of stars’ https://www.youtube.com/watch?v=BoUNGtCX1Ow Environment/Location: At home against a plain background Background/Backdrops: Plain wall Models: Sister Equipment/Props: Camera UV Light UV Glow in the Dark Paint Plain black clothing worn by model https://www.youtube.com/watch?v=G-WtdjEyb6E – Makeup for model ideas Lighting: Photographs taken in dark using UV light to ensure paint glows in camera Camera settings: Unsure of specific camera settings as this will be trial and error depending on how the photographs turn out No flash Mood/Feeling/Style: No specific mood or feeling- mood may vary quite a lot depending on models expression which I plan to capture a range of. Composition Ideas: Use light to highlight the models face and make the paint glow brighter Shoot majority of images straight on however could experiment with some from above, below and the side of the models face. Editing: I think the main form of editing that will take place is increasing the contrast so that the colours appear more vibrant and the background appears darker I could also experiment with highlight and shadow variations as well as vibrance and saturation.
UV Paint and Light Evaluation This photoshoot is quite different to anything I have ever tried before but I am really pleased with the outcomes produced. The use of the UV light and paint worked really well and the light has enhanced the glow of the paint. I think the overall quality of the images is good and the background has remained dark as desired keeping the emphasis on the models face and the paint. The way the paint has been applied gives an almost tribal look. The application of the paint is one aspect that could be changed in order to develop this set of photographs and is likely to change the style shown. My sister also tried using this style for some of her own photographs and the way she applied the paint to me gave a very different look so I know this is an area that could be easily changed and will have quite a large impact on the outcomes. In terms of composition I tried shooting from different camera angles to show variation within my work and I really like the way this has been done. I have shown evidence of shooting straight on, down onto the model, and to the side of the model. If I were to take more photographs in this style I could try shooting with the camera looking up at the model to see how this effects the look of the images. For the majority of images, I have tried to keep the model in the middle of the frame however in some instances I have had to crop the photographs to make sure the amount of black background visible below and above the model is the same. I could improve and develop by trying different positioning of the models following the rule of thirds guidelines further. Looking back at my research on Daria Khoroshavina I can see that the application of paint was fairly different as in hers more small specs of paint where shown rather than lines. However, lines and pattern were present in some of the outcomes she has produced. In addition to this the background of my images is much darker than Daria’s and I would say I prefer the black background as opposed to the blue as this causes there to be even more emphasis on the model and the glowing paint. While the positioning of the model is similar within the frame, my images appear more zoomed in as in Daria’s often more of the models shoulders can be seen. This is something that I would try if I were to develop this set of photographs as I like the look this gives. It would be important for the model to wear dark clothing if this was done in order for it not to glow under the light and to distract from the paint of the models face which should be the key focal point. While I have previously suggested differing the application the paint using a similar technique to what I have already tried I could also try recreating these small specs as this is another element of Daria’s photographs that I really like. While researching this project I discovered this could be done both flicking paint with the use of an old toothbrush and paintbrush as a means of applying the paint more finely. In my research page and within the planning stage I made it clear that for the first photoshoot in this style I only wanted to use one model however this is another area open for development to see how this changes the images and the mood being portrayed. A final thing that was inspired by Daria’s works was using different expressions and I am pleased with how this worked and there is still some room for improvement thinking about how I could show more direct emotions such as happiness and sadness which would also link back in with my theme of conceal and reveal and how often we try to hide our emotions from the outside world. One of the things that I have clearly tried is having some with the models mouth open and some with the models mouth closed. I have also tried the same with the eyes, with them open in some photos and closed in others. Again this helps to add variation and interest to my works. The primary photographs were taken against a plain wall which made it easier to edit them to have a plain black background. In some of the photographs there were slightly lighter areas in the background due to the position of the light or mainly the models clothing however I was able to remove these using photo-shop digital editing software. I simple took the colour from the dark background and painted this over the lighter area/s. Other digital editing technique that I tried where increasing the contrast and varying the curves. This was a successful editing technique as the black was made darker and the colours of the paint were made even more eye catching to the audience. I kept the editing process fairly simple as the primary photographs were quite striking in themselves however on evaluation one thing that I would have liked to have tried was changing the photograph to black and white to see how this affects the look given. In general, the mood or feelings of the photographs vary depending on the position and expression of the model. For example, the photograph where the model is looking down would suggest a more negative mood whereas the photographs where the models eyes and mouth are wide open would suggest a shocked mood. In some of the photographs the darkness of the background seems to come over the models face which gives quite a suspense look to the outcome/s. This photoshoot links back to my theme of ‘conceal and reveal’ because the paint and darkness acts as a mask in order to conceal the true identity of the model.
Eastbourne Beach Portrait Evaluation After visiting the towner gallery, we walked down to the beach in Eastbourne where these photographs have been taken. I was not intending to carry out a photoshoot however the lighting appeared good and I was beginning to think about different locations which the portraits could be taken against. I started by taking simple portrait photographs which is an element of photography that I have been drawn to quite a lot within this project. When I first began I didn’t have a clear intention for what the images would be used for and kept with the idea that I could use them for future projects as often it can be difficult to take good portrait photographs if the lighting is not good or it isn’t possible to get to the desired setting/location. While both of these things were good I took the opportunity. As the photoshoot progressed I saw my sister taking photographs of herself on her phone and this instantly reminded me of the idea I had which can be seen on my original ‘conceal and reveal’ mind map of photoshoot ideas which was to have photographs of both the model taking the image and then having the exact image the model was taking themselves while the photograph was being taken in order to show how we can show whatever elements of ourselves we want to the camera which will likely be posted on online and therefore revealed to others. There is quite a lot of variation within the images captured in terms of the positioning of the model which has helped to add variation within my work. Also by experimenting with this in this beginning stage it allows me to see what worked well and can be used again. For example, I would say that I much prefer the first two portraits in comparison with the third one because I am not as keen on the downward angle which is more noticeable in image 3. I would also say that the portrait where the model is laughing is too zoomed in so to develop these works I could try capturing the different expressions but just from slightly further away. Because the backgrounds are quite minimal while there is some attention on these the main focus is kept on the focal point which is the model. Also having the model near the centre of the image or near/on one of the rule of third guidelines helps to draw the audiences into the model. In terms of the editing process for these photographs I used digital editing techniques on photo-shop to simply enhance the quality of the outcomes. This was done by adjusting things like the contrast, brightness, curves and saturation. On the final large outcome presented in my book you can see that I have decreased the saturation quite a lot as I really liked the look this gave and is a technique that I have tried in previous projects and been really happy with. I also found this technique worked especially well when overlaying coloured text when I created a magazine cover before which may be something that I am able to come back to in the future. On the front camera photographs contact sheet you will be able to see that I discussed positives and negatives of these images as well as a possible editing technique that could be used in order to display the sets of portrait images taken within this photoshoot together. In addition to this original idea I also think the way the model is taking a photograph of themselves in their phone gives an impression of being a teenager and the way the media so heavily influences our daily lives which is another possible area of idea to develop. Overall I am really pleased with how this photoshoot turned out and the quality of the photographs. I also have some ideas which have been discussed above and on the contact sheet as to where I would like to take these photographs next and how I can develop this idea further.
In order to develop the first two works I created in the style of Hattie Stewart I decided to print another photograph using the same technique of decreasing the contrast by 20% in order to make the drawings more visible. Along with the photograph I also printed a range of characters used within Hattie Stewart’s outcomes which I found on the internet. I proceeded to ‘doodlebomb’ the photographs using Sharpie pens again as well as cutting and sticking some of the characters. Because I was using the characters I decided to keep the drawings on the models face simpler however I did try out the drawing of the eyes which is often seen in Hattie Stewarts works. I continued to use the black pen to create patterns in the background of the image as this is something I identified as being a main strength before. I would say that although I am really pleased with how this outcome has turned out and the similarities which I have been able to create between my work and Hattie Stewart’s, the cutting of the characters wasn’t as neat as I would have liked. However, I do think the characters stand out well and are very eye catching to an audience. I would also say that I prefer this outcome to the ones that consist of a lot more pattern, which is partly due to the way it is more similar to the researched works but also because the characters are very bold and vivid within the outcome.
After creating some of my own outcomes in the style of Hattie Stewart and looking at the works of Ana Strumpf, I decided that in order to progress with this technique I wanted to make a magazine cover which I could work onto in order to make my works more similar to the ones I had researched. I did this by using photo-shop; taking a portrait photograph, making simple adjustments such as upping the contrast and making the image black & white, and adding typography in the form of a title and issue name and date. I also made the background lighter and slightly blurry in order to make sure the model was the focal point of the image. Overall, I am really pleased with how the magazine cover turned out and while it is quite simple, I think this will work well in combination with the Ana Strumpf technique. In order to create an edit in the style of Ana Strumpf I plan to print out blank flowers and butterflies, which I can colour and then stick onto the cover. The colours I plan to use are pinks, purples and blues. The main outcome of Ana Strumpfâ€™s that I will be using for inspiration is the Vogue Italia by Patrick Demarchelier one which is presented on my research page. I will use this because out of the outcomes I have looked at by Ana Strumpf this is my favourite.
In order to create this outcome, I used the work of Ana Strumpf as my main source of inspiration. I decided to print blank flowers and butterflies to colour and then stick onto the magazine cover I had created. I decided to do this as I thought they would stand out better and it allowed me to use a different material as opposed to sharpie pens like used in the Hattie Stewart style outcomes. In addition to this in Ana Strumpfâ€™s outcome, the flowers and other objects appear to be on top of the cover and I think I was able to recreate this well. Overall, I am really pleased with how this has turned out and would say that I prefer this outcome to the ones in the style of Hattie Stewart. It appears more delicate and precise which I like. I also think the black & white magazine covers helps the flowers and butterflies to stand out and catch the attention of an audience. Some of the main differences between my outcome and the one by Ana Strumpf are the colour intensity and the amount of objects added. While the scan does make the colour weaker they are still not as vivid in real life as the ones displayed in Ana Strumpfâ€™s outcomes. I did this deliberately due to the background being quite darker however on reflection I would say that if I were to do this again I would like to try using bolder, solid colours. The amount of objects used was also a deliberate decision due to the model holding her phone. I think it would have looked odd to have flowers over this section and I think the amount I have used has worked well and looks effective. One other thing that I would change about this outcome is the background of the magazine covers as I am not overly keen on how it looks and would have preferred if it was even lighter and blurred so that the model stands out even more. As a next step in this project working physically onto portrait photographs and magazine style covers, I plan to use thread and stitch over the portraits as mentioned on the Jose Romussi research page. I plan to start using the same magazine cover as I have in this outcome however I may be required to make more covers and take more portrait photographs as the project progresses.
Stitched Magazine Cover
Evaluation and Action Plan After working into physical development in the style of Hattie Stewart and Ana Strumpf and researching the works of Jose Romussi, I decided to use my own magazine cover that I created using digital editing techniques on Photoshop combining a black & white portrait with typography to stich onto to create an outcome that had been inspired by Jose Romussi. To begin the process I simply printed multiple copies of the magazine cover so that I had room to try out the technique before committing to an outcome. On some of the covers that didn’t go as planned I tried different sized needles and thread as well as deciding what different patterns were possible. In the experiment stage, I found that it would not be possible to create the flowers like Jose Romussi which I had discussed trying with the materials I had available to me. Instead, I began trying smaller star shapes which I really liked. Once I had a fairly clear idea of what I wanted my final outcome to look like I took a new magazine cover and began stitching the small stars up the left hand side of the models coat. The colours I choose to use were pink, white and yellow as I liked how bold and bright the pink and yellow were and found this worked well in combination with the white. On a whole, I would say I kept the stitching quite simple but I like the delicacy of this outcome and how the editing is fairly minimal but still very eye catching to an audience. The ballerina works of Jose Romussi inspired the thin lines and while originally I said I preferred the flower outcomes I definitely want to work further into the lines and letters as well as trying the flowers if possible. I think the coloured thread works really well against the black & white background as it has ensured they stand out well and are very vivid. The use of the bright colours also links the outcome back to Hattie Stewart and Ana Strumpf who I began looking at near the beginning of this physical development section of work. While I do like the look the brightly coloured threads have given, I could also develop this style by using different colours, creating more of variety between bright and neutral threads. Some colours that I have in mind that I would like to try are light purple and light blue. Something else that I could also try would be having the magazine cover in colour. It may be necessary to use thicker threads with the use of a coloured photo so that they are made more visible. The only thing I would say I don’t like as much about this outcome is the way a few pinholes have been made accidently however, for a first attempt at this kind of style this is quite a minimal thing to improve upon in order to make the works appear more professional. This style links back to my theme of conceal and reveal because elements of the model are being hidden by the thread however I could have made more direct links to the theme and previous works by covering elements of the models face as this would have given more of a ‘hidden identity’ look to the image. This is definitely something that I would consider trying to see the impact given. Something else this technique and outcome reminded me of was the bulb and wool artwork by Mark Titchner which can be seen in my Towner Gallery photographs. In order to develop this style further I will try out some of the ideas discussed above as well digital editing using a similar idea. I could use the line tool in Photoshop to make the photographs seem as though they had been stitched onto. While this is an idea that could be done using the same magazine cover or other single photographs I could also combine photographs and make it seem as though the top layer photograph had been stitched onto the bottom layer photograph. This makes me think back to my multiple exposure works where multiple photographs were overlaid onto each other and I think combining these two techniques would be quite interesting. With regards to the flower outcomes of Jose Romussi that I have said I wanted to try to take inspiration from I will need to get some thicker thread in order to make this possible. Another problem may have the thickness of the paper as thicker thread is likely to make it bend more. One way around this would be stitching onto something other than paper and transferring the image onto fabric however I am unsure how possible this will be.
Digital Stitched - Jose
After completing my physical response to the works of Jose Romussi I decided to experiment with digital editing techniques to try to create a similar look. I decided to complete one outcome using lines and pattern and one incorporating typography. In order to create the straight lines, I used the paint brush tool and the shift key. I decided to use white as this stood out against the background and I also adjusted the thickness of the line to ensure it could be seen by an audience. In the first outcome I used one of my original Brighton portraits and drew around the outline of the person as well as creating some of the small stars which can be seen in my physical outcome. The outline almost makes it look as though the figure is being cut out. This reminds me of the ‘moneyless’ photography technique. The second outcome is where I have used the Jose Romussi typography style; the portrait I have used has hands at a distance from each other so that text can be written between which helps to make the work similar to those of Jose Romussi. Overall I am really pleased with how these outcomes have turned out and I like the neat, professional feel portrayed. I would say I definitely prefer this style created digitally for these reasons. One change I could make is having the original photographs black & white and using coloured thread in order to make my outcomes more similar to the works of Jose Romussi. The use of line in the first outcome has inspired me to try producing outcomes which further incorporate the use of line and shape like the works of moneyless. To make this more personal to me I could have two layers of image so that the top layer photograph fills the cut out shapes. This would also help link the outcomes back to my theme of ‘conceal and reveal’ as the top layer would be revealed within the shapes. However, there is still a lot of control to conceal elements as only certain sections of the image will be seen within the shapes.
Brighton Cityscape Refinement Photographs Looking back through my digital book it is clear that I have used my original Brighton photographs time and time again and I would say this is definitely one of my favourite sets so far. With this in mind and a trip to Brighton planned I decided to refine this shoot and take more photographs using a similar style. In terms of quantity of photographs, I definitely captured far fewer this time due to the amount of time available and places visited however I have managed to capture some different elements of Brighton. I am particularly pleased with the improvements I made to the pavilion photographs and clock tower. I think in this photoshoot the quality and lighting appears better and I have managed to capture the pavilion from different angles, linking back to my theme of ‘conceal and reveal’ by ‘revealing’ different elements of the building that may have been missed before. Something that I could have improved about this refinement shoot is having some portrait photographs in front of the graffiti walls like before. I was really pleased with how these turned out before and if I had the opportunity to take more of these I definitely would. There are also the London graffiti tunnels that I have researched and looked into before for photography settings that would work well for this. However, the London graffiti tunnels may be more difficult to get the high quality lighting that I like in comparison with the outside graffiti walls. Something else that I would have liked to recreate from my original shoot is the portraits taken against the brightly coloured doors. On this photoshoot I used the light blue door in order to show some difference and variation however I would say that I prefer the ones taken against the coloured door and how bright this makes the images appear portraying a positive mood. In the refined photoshoot the West Pier photographs appear sharper which creates more empathise on the structure. While this is an improvement from my original photoshoot I prefer the composition and lighting in the original photoshoot as the sky is bluer and there is more variation between close up photographs and ones that are further away. Looking through the pier photographs from this photoshoot I can always see that the one where the camera angle changes and the photograph is taken from a low point looks quite effective and this is something that I could try more of in further photoshoots. Having the stones in focus and in the for ground makes these more obvious and eye-catching to an audience, making the pier seem more ‘concealed’ again linking back to my theme of ‘conceal and reveal’. While one of the main intentions of this photoshoot was to refine the original Brighton set I also knew that I wanted to keep with the idea of having a range of portrait and landscape/cityscape photographs so that these could both be used separately and combined in outcomes. For example, as I mentioned on evaluation of the portraits, something I would like to work into further is double and multiple exposure outcomes. Having a portrait combined with a landscape/cityscape is something I have previously tried however I could also experiment with combining two landscapes, two portraits or using more than two layers. The idea of double/multiple exposure links well with my theme because depending on the editing process. Part of this includes which image is on top and which is underneath determining which elements are ‘revealed’ and which are ‘concealed’ to an audience. Currently as primary photographs the cityscapes simply reveal Brighton as a town and the different elements, buildings and places this involves. One area of Brighton that was newly captured in this refined photoshoot was the i360. When I completed the original photoshoot this was still in the construction process however on this visit I was able to get some photographs of this. I think the close up photographs are particularly effective as you can see both the people inside the dome and the reflection of the beach and various buildings below. Something that I may be able to look into is taking photographs from inside the i360. It would be important to make sure this was planned for a clear day so that the photographs were clear and that you could see quite a long way out and over Brighton. This would give a different perspective to the Brighton photographs I have previously taken. Overall I am pleased that I carried out this refinement shoot as it allowed me to see in more depth what works well and maybe where areas of improvement can be made; comparing the original shoot and the refinement shoot has been particularly useful in this process. It has allowed me to see what works well and what I like in both cityscape photographs and portrait photographs as well as inspiring some ideas for further works and photo-shoots.
Photography Britain in Focus: A Photographic History Episode 1: Eamonn McCabe explores how science and technology allowed pioneering photographers like Roger Fenton and Julia Margaret Cameron to create a new art form. -Eamonn McCabe sports photography. Photographs began to be used in Observer newspaper capturing the sheer drama of sports, the heroism and the tragedy. Worked looking for the one great image that captures the whole story. -182 years since the invention of the photograph -Victorian Polaroid -Sumer of 1835: Henry Fox Talbot walking around and in country house carrying small wooden box trying to decide where to place it. Fox Talbot was inventing British photography. Using lens from own microscope he attempted to take Britain’s first photographs. He laid the foundations for British photography. Produced negative from which positives could be made. -Wanted to imprint natural objects onto paper to capture their beauty. -Slow in coming forward about creations until, at the beginning of 1839, competition arose in France. Louis- JacquesMande Daguerre was also experimenting with the idea of photography. On the 7th of January 1839 it was published in the Paris press that he had created a photographic process. This encouraged Fox Talbot to go public with his works and improve process- better lenses, larger camera and larger outcomes. -Developed composition, framing and atmospheric use of light and shadow. -Photography = Greek for light drawing -David Octavius Hill and chemist Robert Adamson produced portraits rather than images of buildings and nature. -Wet plate photography- Archer -Roger Fenton- Making photography into a fine art. Worked with landscapes e.g. abbey ruins and shore of the Wharfe downriver from the abbey. ‘Soft and mellow tone and richness of atmospheric colour.’ Wet plate photography meant that Fenton had to develop his negatives on the spot using a portable darkroom. -Fenton pushed boundaries and pointed his lens towards the light rather than having the light behind him in order to create this dramatic, atmospheric effect where the sky seems to merge into the water. -Robert Howlett- Brunel who created the Great Eastern Steamship wanted his creation celebrated and captured by the power of photography. Howlett had to capture the enormous size of the ship. In addition, photographed Brunel in front of the ships launching chains after it failed to float three times. -Roger Fenton- photographed conflict between Britain and Russia in the Crimea. Over half of the 700 hundred glass plates he took with him came out of the Crimea. Many of these were penetrating portraits of soldiers of all ranks. Some of them are almost psychological portraits giving the audience a sense of the horrors that the men have witnessed. Photographs that comment on war. -1860- Fenton returned to Yorkshire where his brother-in-law owned Harewood House. He asked Fenton to photograph its recent extension and modernisation. Architecture photography. 2 Years after Fenton gave up photography- Fenton had wanted to elevate his medium of expression to the point where it could be accepted as an art form. But this life’s work was coming under threat because, by the 1860s, photography was not so much concerned with art, but with commerce. -Boom in commercial photography. -Using a glass plate meant that adjustments can be made to the photographs using a pencil or paintbrush. -Photography was becoming part of daily life with astonishing speed. -In May 1857, society photographer Leonida Caldesi was summoned to Osbourne House and took a group portrait of Victoria, her husband Prince Albert, and nine children. -In 1860 for the first time the Queen gave permission for a photograph of herself to be released to the public in form of a Carte de Visite. -Carte de Visite – a very small photograph (approx. size of modern business card) and it’s almost always a portrait of someone. -The 1860 Cartes de Visite were taken by Regent Street photographer John Mayall. -Mourning of Prince Albert photographed by William Bambridge were also realised to public. -Bringing a bohemian spirit to British photography- Julia Margaret Cameron. Often produced un-sharp, slightly out of focus portraits. -Julia Margaret Cameron – close up portraits, dramatic use of light and dark with minimal background. Used soft focus also all sorts of streaks, smudges and bits of dust that are apparent in her photographs.
Documentary Notes -Sheer fun of life can also be captured in photography. -1892- Amateur photographer Paul Martin went to Great Yarmouth. -Dry Plate Photography- bought ready-made, took picture then took them home and processed them at your leisure. Led to use of portable cameras. Even quicker exposures- a second or less. Shutter also introduced. -Paul Martin was able to take a new kind of photograph – the snapshot. -Peter Henry Emerson ‘Life and Landscape on the Norfolk Broads’. Many of the photographs within this are portrayals of men and women in variety of traditional working practices. Looked also at how life was changing and how the way of life was disappearing. -Emerson believed that focus should not be sharp all the way through. And he called this naturalistic photography. ‘Eye travelling through the photograph’. Episode 2: Eamonn McCabe explores how British photographers responded to historic events in the first half of the 20th century. -Photo journalism- by the end of the Second World War British photography had become the dominant visual medium. -Glass negatives -Labels to show what was happening in relation to the photograph rather than lots of text in the news paper -Christina Broom: access to record lives of British soldiers leading up to WW1. Human faces behind the fighting machine. Everyday life in the army had never been captured in this way before- morning parade, routines, rituals, daily chores to the pleasure of Christmas lunch. -Christina Broom invented the picture postcard. -Vest Pocket Kodak- solider camera which they took to the war. Realism of what the war was like. -Breaking down barrier between sitter and photographer (Alvin Coburn). Each viewer looks at photographs differently. Honest photographs- photographs not set up. Wants subjects to feel involved in process and gains their trust. Also worked into ‘vortographs’ - photographing objects through a triangular arrangement of three mirrors. Also London photographs- printing (platinum process) helping to show midtones, depth and three-dimensional work. -Cecil Beaton: high society world photographs. One of most famous works was portrait of sister as a shorting star. Bright light behind sitters’ head to draw attention into the sitter. -‘Bright young things’. Part of the group but also the documenter and recorder. -1927: Signed first contract with Vogue magazine. -Manikin style photographs -1937- Bill Brant: bitter struggle facing many people. Art and photo journalism. Defining images of the Great Depression. Images bring about questions ‘could you live in a house without windows?’ ‘Why are they living without windows’. Simple images which a lot can be read from e.g. houses without windows and romantic lighting in photograph. Disconnected from our reality today. -Also photographed portraits of people who lived and worked in the industrial communities. -Captures poverty. -Images appear set up but Brant had spent a lot of time in the community and saw himself as an artist and represents the true suffocation of poverty. -Went on to work for publication that photographed every aspect of British life (work, home and play) - picture post (photographs in every page). Film camera. -Kurt Hutton- make every day scenes seem extraordinary e.g. works of two working class girls at the fun fair. Film camera. Year after photo WW2 began. Picture post took on new role to record battle which would defend country. -In this new stage photographers like Bert Hardy took the war photographs. Striking images. Only using available light. Sense of danger. Liker camera. -Dangerous place to work. First time photographer is credited in picture post. Hardy recruited to document from front line. -Importance of recording events, no matter how terrible.
Seaford Seven Photoshoot Plan:
Name of shoot: Seven Sisters landscapes and portraits Date: 11.03.2017- Afternoon Photographer/Style influence: Inspiration taken from Brighton photoshoot, using different location to capture variety of portrait and landscape photographs. Could look at using some of the photographs for Jose Romussi style outcomes. Environment/Location: Seaford Background/Backdrops: Natural background with surroundings such as cliffs, sea, beach, etc. Models: One model- Friend Rob Equipment/Props: Camera, different camera lens, regular clothing worn by model. Lighting: Natural lighting. Try to take photographs on a bright, sunny day so that the lighting appears high quality. Camera settings: Auto mode, scene select mode, landscape mode and portrait mode. Mood/Feeling/Style: Try to capture both sides of theme ‘conceal and reveal’. Conceal portrait photographs mood will be quite distant and negative however ‘reveal’ will portray a more positive mood- happiness and freedom. Landscape photographs do not need to portray a specific mood however if the desired bright lighting is available the mood is more likely to appear positive. Composition Ideas: Consider rule of thirds guidelines in order to draw attention into subject matter/focal point Variation between close up and far away images Editing: Begin with simple edits to improve quality and overall look of the photographs- e.g. adjustments to contrast, brightness, saturation, curves, etc. Possible opportunity for multiple exposure outcomes Stitching over photographs (digital and physical) – Jose Romussi inspired
Sisters Photoshoot Evaluation:
When the opportunity arose to visit the southdown at Seaford I decided that I wanted to capture a range of portrait and landscape photographs like I did with the Brighton photoshoots which I have previously carried out. With the idea of ‘conceal and reveal’ in mind I knew that I wanted to capture a range of portrait photographs which showed variation between camera angles and positions. For some of the portraits I decided to shoot straight on showing a fully ‘revealed’ portrait however in others I have taken the photographs from either the side to show a partially ‘revealed’ look or from behind showing a more ‘concealed’ model. I have also tried to keep the portrait photographs on scenic backgrounds with no other people in the focal area so that the focus of the audience was kept on the model. Some of the portraits have been taken close up whereas others have the main model in the distance. While there is this variation in positioning I have tried to keep in mind the rule of third guide lines so that the audiences’ attention is instantly drawn into the model with some emphasis on the background. Another way that I have tried to relate the portrait photographs back to my theme of ‘conceal and reveal’ is by having the model express different emotions, often a lost in thought expression being portrayed in the portraits where the camera is not looking straight on at the model. The landscapes link more loosely to my theme of ‘conceal and reveal’ and I have focused on ‘revealing’ the area. However, there are some photographs like where the fencing is in the foreground with the cliffs in the background suggesting that the cliffs could be being ‘concealed’ by the fencing. Another element present within some of the photographs from early within the day is fog and mist which transitions into clear blue skies by the end of the day. This links back to the theme of ‘conceal and reveal’ because elements of the landscape are ‘concealed’ by the fog and are later ‘revealed’ after the fog lifts. Finally, I have tried some images where the camera is looking through an object like the grass to show the idea of un-concealing a landscape. This could have also been done looking through objects to reveal portraits which I may try if I refine this shoot further; this would also link back to my woodland photographs where the model is looking through trees, branches and leaves. When I made the contact sheets I have added black dots to my favorite photographs within both sets and have also added lines to signify where photographs needed cropping or elements needed removing. The ones that I have selected as being my favorites are the ones that I think are the highest quality with the most effective use of composition. I am also pleased with how sharp these photographs have turned out and the use of natural lighting to create bright images. I also think focus is a strong point in these photographs as there is very little blurring and the main focal point stands out to an audience. Something that I could try to experiment with focus is in the portrait photographs having the model in focus and the background blurred slightly. In terms of response to a photographer, I didn’t really research anyone’s outcomes in specific for this shoot however I was able to reflect on my previous pieces of research, work, developments in order to set up and take the photographs. Once I had looked through the photographs taken I decided to create some simple edits of some of my favorite photographs using Photoshop digital editing techniques. I kept these really simple slightly adjusting things like the contrast, curves, brightness and saturation. I am really pleased with how all of these have turned out and how the quality appears. I think the most successful adjustment made was increasing the contrast as this really helped with the brightness of the photographs and making the photographs look more defined. Something that I may try in further edits would be slightly increasing the sharpness just to see how this affects the look of the image/s. One problem that I encountered right at the beginning of this photoshoot was that the original lens that I had planned to use was creating black splodges around the outside of the photographs. This was a fairly easy problem to fix and because I noticed it quite early on it has only really affected a few images, a couple which I have deleted but others I would be able to crop to remove the black marks as it is only a very small section around the outside. I was initially unhappy with the way the fog was effecting the photographs as it was not the bright sunny look I had planned however on reflection I do like how the change in weather is able to link the photographs back to my theme. As well as this, it has given me a chance to experiment with how different weathers can affect the overall look of the photographs. I could use foggy weather in further projects having the model standing within the fog to show the idea of being ‘concealed’ and having a sense of ‘hidden identity’. While the lens was a problem at the beginning, I was quickly able to change this and went back to using the original lens which worked well.
Seaford Seven Evaluation (continued): As well as using the original lens, I also kept the camera settings fairly simple using mainly the manual and scene selection mode. I found this worked well and has allowed me to produce a lot of photographs that I would say overall I am incredibly pleased with despite the few areas of change I would make mentioned previously. Something else I experimented with on this photoshoot was trying the burst camera mode which allowed me to take lots of images very quickly from which I proceeded to choose my favorite/s to put into the contact sheets. While I used this on a few photographs most of them were single shots. However, I did find the burst mode particularly useful for the throwing stones pictures and the jumping pictures. In order to progress and use the simple edits to create an initial development I have presented two multiple exposure outcomes which I created using Photoshop and am very pleased with. In order to make this possible I took one landscape photograph and one portrait photograph. With the portrait photograph I cut out the model so that I was able to paste this over the landscape photograph. When adding this over the landscape I decreased the opacity so that both layers could be seen. I also tried different layer settings, evidence of this can been seen in the multiple exposure outcome where the model looks more blue which has helped to blend the two layers together. While double and multiple exposure outcomes are something that I have tried before it is still a style that I am very interested in and want to take further. In order to do this, I could try creating different double exposure outcome using these sets of photographs, I could try incorporating more than two images and I could also complete further photoshoots which I could combine with these. One idea for a photoshoot that I could complete to use for this project is a sunset photoshoot. This would have to be timed correctly and may be a last minute decision depending on the weather and time. Something else that I could try leading on from the multiple exposure outcomes would be the Jose Romussi inspired versions that I discussed when evaluating my magazine portrait using her style. This was the idea of using digital editing techniques to make it look like the images had been stitched onto other images. This would involve using the line tool in Photoshop. Depending on how busy the background is would depend on how thick the line would need to be in order to stand out. Additionally, I could also use the photographs I have taken to inspire further magazine style works, I could either link these back to the work I did into Hattie Stewartâ€™s and Ana Strumpfâ€™s style or I think I would prefer to try making simple magazine style outcomes like the base for the Ana Strumpf experiments. Working into a magazine would be a project that took a lot longer and would require me to carry out more photoshoots however it could be something that I look into further throughout the duration of the course.