Aimee Sharman 8189
Conceal and Reveal PI Part 2
Brighton Graffiti Portraits Evaluation After considering the type of outcome I wanted to produce I decided that the main idea I wanted to work on was the Rubik’s cube with photographs replacing the original coloured stickers. Looking back through my previous works I was able to recognise that one of my favourite photoshoots was the original Brighton set in particular the portrait photographs taken in front of the graffiti walls which were used for various edits and within my narrative journal. I started to think about how I could include a similar style of photography with my idea of geometric shapes which I have most recently worked on. I decided that using the Rubik’s cube would allow me to present my interest in geometric shapes within photographs and by capturing different colour schemes of graffiti in the background of various portraits I would be able to use a different colour scheme on each side of the cube. Whilst taking the photographs down the North Laines in Brighton some of the colour schemes I was able to capture include: blue, pink and purple, pink and orange, green, red and purple, black and yellow. While some of the colour schemes may be similar in some aspects the different styles of graffiti and different images present will help to create further distinction between each side. I think some of the key strengths within this photoshoot are the colour and lighting. I used completely natural lighting on a fairly sunny day which helped to make the colours brighter and helped to make the overall quality of the images appear better than what they would have done with poor lighting. While this was something that I had to consider in advance when planning when to carry out the photoshoot, time of day etc. there were also a number of other things that needed consideration in order to make the photoshoot a success. For example, with the idea of printing the photographs out and cutting each into 9 smaller squares to go onto a Rubik’s cube I had to think about the composition and how this would work. Without actually creating a trial outcome it was difficult to know how the images would fit together especially if the model was in different positions hence trying to vary this within the set. I tried to take a number of photographs in the similar styles against different backgrounds so that I had plenty of options to decide which worked best in the physical stage of this project. Along with this I varied the image between being taken in portrait or landscape form however both will need cropping into squares before printing to be stuck on the cube. In all of the photographs I have tried to keep the model either in the centre of the image or following the rule of thirds guidelines so that the audience is instantly drawn into the main subject matter. While it was important for me to get empathise on the model and the graffiti, the model was always meant to be the main focal point and therefore should stand out against the background. One of the other ideas I had decided on was having the model showing different emotions and different facial expressions to highlight this. This helps to link the primary photographs back to my theme of conceal and reveal as different emotions are being revealed which may be concealing other, maybe true emotions. With a focus on my theme I also think the final Rubik’s cube outcome will have links as different parts of the image will be revealed in the different sections and as the cube is moved the photographs may become jumbled which gives the idea of being able to change our true identity and maybe hide certain areas/present them differently. For example, a smiling mouth may be moved onto a photograph which originally showed a sad expression giving the impression of repressed emotions and hidden identity. There is no exact photographer which was used to inspire this idea however I did find a couple of inspirational images on Pinterest which either had landscapes or close up portraits as the photographs. The idea to use the graffiti walls as colour schemes for the background was my own idea inspired by a past photoshoot mentioned previously. The mood/feeling of the photographs being used depends quite heavily on the facial expression shown by the model as this gives an idea to an audience about what they are thinking and how they are feeling. Other than the facial expression there is little indication about what has happened prior to the photographs being taken and therefore a story is generated through the collection of images taken which were captured over the duration of around an hour. With regards to the editing of these photographs the process of actually sticking the photographs onto the Rubik’s cube will be a physical process however digital editing will need to take place before the photographs are printed to improve the quality. Whilst evaluating the primary photographs I have already created two digital edits where simple adjustments have been made like altering the contrast, brightness, curves and saturation. I began with editing the whole photograph and experimented with upping the contrast. Not being fully happy with how this looked I proceeded to use the select tool to trace round the outline of the model so that the model and background graffiti wall could be edited separately.
Brighton Graffiti Portraits Evaluation I found that having the contrast slightly higher on the background than on the model produced a look that I was happy with as it allowed me to make the graffiti brighter without having the model to bright which looked very unnatural and overly edited. I also experimented decreasing the saturation on the model slightly just to make the difference between the model and the graffiti even more significant so that each element stood out separately and prevented the model from merging into the background. Something else I tried was altering the curves very slightly just to a point which I was happy with to improve the overall look of the photographs. Overall I am incredibly happy with how this photoshoot turned out and the edits created already. If I were to do this photoshoot again the only think I would really change would be having more time to explore Brighton more to see if I could find graffiti walls with slightly different colour schemes, maybe some that had more distinct colour schemes different from the others. I also think some of the photographs could have been improved if the floor wasnâ€™t seen at the bottom. This may be more difficult to change however using something like a wooden block that the model could stand on would mean more of their body should be in front of the graffiti. However, I donâ€™t think this will be a massive problem in the final outcome as the photographs will be cropped to squares so this bottom section where the floor can be seen is likely to be cropped out. In order to move forward from this point, I plan to continue making simple digital edits before printing and experimenting with the layout on the Rubikâ€™s cube. Something else I have thought about trying is making simple wooden cube outcomes as an area of either experimentation or refinements for the project.
Animation Wo I feel that during this project I have really been able to develop my Photoshop skills, which has enabled me to create a digital animation of the Rubik’s cube that I eventually will present alongside the physical version. I started having no idea how to create a digital animation however after doing some research and experimenting myself, I found a method that I continued to use throughout the creation process. Before I could even think about animating, I needed to decide on my final six Brighton graffiti portrait photographs to use for this outcome, which can be seen on the page above. I made sure that each of the photographs selected have simple edits made to them in order to improve the qualitya detailed description of how I edited the primary photographs can be seen above. As well as making simple edits I had to crop the photographs to a suitable size, for this I used the ratio 27cm by 27cm. Using a 27cm cube enabled me to use the grid tool to place guidelines at 9cm intervals vertical and horizontal so that I was able to see where the individual squares on a Rubik’s cube would be. Once the photographs were ready to be used, I began using the selection tool to select areas to copy and paste onto a base photograph. Each selection consisted of either 3 vertical photographs or 3 following a horizontal row. Each time I pasted a new set of squares on I used the ‘paste in place’ tool to insert the photographs onto a new layer in the timeline section. I then proceeded to make sure the new layer was turned off on any previous layers. Each layer was tweened for 5 sections and lasted 0.2 seconds to give the gradual change which can be observed. I knew the gradual change in photographs was something that I wanted my animation to include as it gives a much smoother finish and makes the outcome more similar to how the actual turning would happen in real life; it wouldn’t just change instantly someone has to turn the squares round themselves. I would definitely say the gradual change in photographs was one of the strongest elements of this animation as well as the photographs used. I was incredibly pleased with how all the photographs turned out and the quality they appear at. I also really like how the idea of having different coloured graffiti background has turned out; I think this helps the audience to identify which sections of image have come from which photograph. One of the main things that I was worried about was how the images would work together especially as I was able to tell that they wouldn’t fit exactly as the viewpoint, zoom and position had varied throughout the photoshoot. This means that within the animation when each section is turned the facial features of the model do not always line up however I have learnt to actually like this and like the more abstract look given. I do think something I could try if I were to carry out a similar project would be keeping the same camera position the same as well as the position of the model however for now I am really pleased with the look that I have been able to achieve and think it adds interest to the project. Another element which I have been really pleased with is the different expressions of the model captured and displayed as this helps to link the outcome back to my theme of conceal and reveal by either ‘concealing’ certain elements of the model or ‘revealing’ others. Something I found difficult was knowing how long to keep the animation running for and how many changes I wanted to show. I didn’t have a clear plan of this from the beginning however, I found that as I proceeded I was able to recognise when I was struggling to find new combinations and saw this as a good point to bring the animation to an end. I decided to conclude the animation by gradually ‘revealing’ another full photograph like I had started with at the beginning. The final animation finished around 47.2 seconds however, when being presented to an audience it is likely to be on a continuous loop. I am really pleased with the final outcome and how I have gone from not knowing how to create a digital animation to being able to create one that I am very happy within the space of a week. As a whole, the animation is one part of the Rubik’s cube project. The second part will be having the images stuck onto an actual Rubik’s cube physically. I plan to use the same photographs as I used for the animation as this will help to tie everything together and create strong links between the digital and physical version. Each face of the Rubik’s cube is 5.5cm by 5.5cm meaning that each individual square is 1.5cm by 1.5cm. These will be important measurements for me to know what size to print the whole photographs at as well as what size to cut each section to so that they fit onto the Rubik’s cube and look as professional and neat as possible. It will also be important that the individuals squares of the photograph fit well on the Rubik’s cube so that it turns as it normally would. Before the sections on the cube are moved, I plan to take photographs of each side as reference for what the finished project looked like as well as reflecting on how the cube looks once the image sections have been jumbled. In terms of how I plan to stick the photographs on this could be either sticky back plastic or glue.
ork Evaluation I do think the digital animation was a good place to start because it has allowed me to get an idea about what the final physical project will look like without having to commit to something physical that would be more difficult or change. I think the two together will look effective and show some of the different skills I have learnt. There is a possibility for a third section to this project where the digital animation is reflected back onto the models face and then photographed however I am unsure whether this is going to be possible or not. I would need to consider whether the model would be able to do this, how the animation could be projected and the amount of time it would take. It would also be important to take the photographs against a plain background so that the main empathises was on the model and the animation projection, which would be the key focal points, rather than anything else which may be seen in the background if it wasn’t taken in plain surroundings. So far, this has been a project that I have really enjoyed and I am excited to see the outcome of the next stage/s. Both direct and indirect links to my themes have been made which has helped link the ideas back to my overall focus as well as the refinement of the Brighton portrait photographs which were originally completed in the much earlier stages of the course. I think the main links to my theme come from the different expressions, the way different photographs are made by combining different sections of various images which may alter the mood portrayed and the way turning the cube whether digitally or physically ‘reveals’ certain areas but ‘conceals’ others. This also links to another idea I have worked into which is ‘hidden identity’; by turning the sections on the cube round a different look can be given to the model which may mean that how the model was actually feeling is hidden.
Stills with black grid
In order to make the animation stills look more like the physical Rubikâ€™s cube I have changed the white grid lines to be thicker black dividing lines. On evaluation, I can see that while these look more like the actual Rubikâ€™s cube it is not complete, as I need to have the same black dividing lines at the top, bottom and outer sides of the square. This will help the outcomes look more put together and neat. I do think the black lines help to make the sections more individual however; there is something about the white, thin lines that I really like. I think this may be down to personal colour preference though. While the animation is moving, I do not think having the distinctive dividing lines matters as much as it is clear which sections are turning however on the stills it does help the audience to see where each section of the Rubikâ€™s cube is and would be physically on the cube. I think this is particularly helpful when the same image appears across more than one square. From here, I will add the outer black lines that I mentioned above in order to make the stills look even more similar to the physical outcome. These will be presented on the following page.
Stills with black grid
Animation Work Start Frame
Stills Continued End Frame
Rubik’s Cube - Physical Evaluation In order to start physically putting photographs onto the Rubik’s cube I needed to make sure that I had prints of my final 6 edits that were the correct size. I measured each individual square to be 1.5cm by 1.5cm. I decided that the easiest way to get each small section the right size was to print the photographs out having already divided each one up into the 9 sections. In order to create the smaller sections, I had to use the Photoshop grid tool to show me where the photograph divided then I used the selection tool to copy each section onto a new document separately adjusting the sizing. This also allowed me to leave some blank space between each individual section to make the cutting easier. To cut the images I simply used scissors and then to keep the images in place I have used blue tack. I am unsure as to whether I will leave the images stuck with blue tack or whether I will stick them using glue at a later stage however for the time being I wanted something that could easily allow the photographs to be moved if I wasn’t happy with how they looked. For 4 out of the 6 photographs the colours of the graffiti background have corresponded with the colour on the side of the cube. I think this works well and makes the cube look well thought out and neatly arranged. Prior to sticking the photographs on this wasn’t something I had really considered hence the two which do not follow the colour scheme. I don’t think this is a big problem as the original coloured square is not overly obvious. If I was to refine the primary photographs further this may be something I considered however limitations to this would be what graffiti was available to use as backdrops for the portrait photographs. When I was sticking the photographs on I had to think about how the photographs would look once the Rubik’s cube was jumbled and I knew I wanted to make the rotation as similar to the animation version as possible. This has been difficult and fairly confusing as sometimes it works and lines up how I would like but on other occasions the change between horizontal and vertical rotation means that the photographs don’t fit together. This is an area which I can continue to change around and experiment with. At this point in the development I am unsure whether this is a problem which can be resolved. Even if it can’t be resolved I am still really pleased with the overall outcome and the way the project is coming together. I am really happy with the overall concept of this outcome and how I have been able to combine many elements of work that I have been pleased with during the course so far. Some of these include portrait photographs, photographs of the Brighton graffiti walls, geometric shapes and cubomania. I definitely think combining these styles has been successful because it has allowed me to present my work in a way that is very visual, using photographs that I am pleased with the quality of and brings in the neat and organised look that I am often drawn to. I also think the outcome works well with my theme of conceal and reveal which I have written about within the digital animation evaluation. The same links apply to both the physical and digital version as the main idea is the same. However, on the physical one I think because the audience has control over the turns made this links with the theme in the sense that often ourselves or others can influence and control to some extent how we present ourselves and the identity we choose to reflect. With regards to the next steps in this project I need to finalise the arrangement of the images and then decide whether or not I want to stick the photographs on with glue so that they are more fixed. I then need to take photographs of the outcome both in the original order and then a few variations where the cube has been rotated to show the transition and different image combinations produced as a result. I also need to think more carefully about the idea of projecting the Rubik’s cube animation back onto the face of the model and whether this will be possible. An alternative to this would be to take a range of portrait photographs either on a plain background or using a landscape background which could be blurred slightly in the editing stage. Using this new set of photographs would allow me to use stills from the Rubik’s cube digital animation and paste these over the top blending the two layers together by altering opacity and layer effects. Something else I could experiment with for this set of photographs may be either having the portrait in black & white or the Rubik’s cube animation in black & white to see what looks this gives. I will start with both elements in colour however this is an idea for further variation if I feel this is an appropriate way forward. At the current point some of the ideas I have in terms of landscape background include: Stanmer house in Brighton, Haywards Heath Victoria Park and Sheffield Park. These are all different locations to which I have shot portrait photographs in before so will allow for further variation within my work.
Rubikâ€™s Cube - Physical Outcome
Spacing and Layout
70cm 1.5cm between each set of 9 horizontally and vertically 2cm at top, bottom, left and right side. Animation frame stills numbers: 1). 81 7).75 2). 21 8).99 3). 105 9).63 4). 206 5). 39 6). 194
Planning for Outcome
18 by 18cm sets of 9 Pink spacing allows for subes between each individual cube. Experiment with measuring and getting layout right with black spacing between.
Spacing and Layout Planning for Outcome Image 81 1.75cm
Original ideas before changing measurements, new measurements on photo: Rough grid experiment with 0.5cm spacing between individual squares and 2cm left at each side. 3 of this spacing will fit into 70cm by 70cm mountboard. Need to neaten before printing as black lines put onto photo are visible at the top of some of the photographs. Could do this for each still and then print to make sure when on mountboard there is a frame/ base so that each section is evenly spaced and looks neat. Black background makes the outcome more similar to an actual Rubikâ€™s cube and the physical cube that I have to go with this outcome and the animation as part of a set.
Image 21 Images not to scale in book
Spacing and Layout
Planning for Outcome Image 194
Spacing and Layout
Planning for Outcome
Sunflower Minimalism Photoshoot Evaluation
This set of sunflower photographs is a development of the initial minimalism flower photographs that I took using flowers found in my garden. I decided to use sunflowers because I felt the yellow would stand out well against the blue of the background sky. When taking these photographs something that I had to be aware of was the wind moving the flowers which made it more difficult to keep it centred however I do think I have overcome this problem and it isn’t really noticeable within the photoshoot. If I did discover that they were really off centre I could crop the image to improve this. As a general overview I am really happy with the quality of these photographs and I think the colours are really bold and vivid which is something I wanted to achieve. I have thought about the rule of thirds also and tried to show this through the composition of the images. Some of the photographs have the sunflower directly in the middle of the frame however others have the sunflower coming from more a side point. The focal point is clearly the sunflower/s. The minimalism technique really helps to draw the attention of the audience to the thing the photographer most wants the audience to notice which in this photoshoot is the sunflower. The lighting of these photographs is pretty bright which helps the images to have a good colour saturation. The photographer I used to inspire this shoot was Jackie Weisberg and while I have used the general idea of her images with the sunflower against the blue, sometimes cloudy, sky background I haven’t included as much of the sunflower in the frame as she has. I have also chosen not to show the hazy type effect which is in Jackie’s as I wanted to keep my outcomes very crisp and bold. Something I could try if I were to carry out further edits would be to slightly blur the background of my outcomes so that the hazier effect is still there without affecting the sunflower itself. This could be done using digital editing tools in Photoshop consisting of tracing around the outline of the flower, inverting the selection and then adding a blur filter. I would also say that these photographs were inspired by Rachel Levy and while there are few similarities between the two it was definitely her work that started me thinking about the use of flowers in minimalism photography. The main differences between mine and Rachel’s are that Rachel focuses on flower which are decaying and all of her backgrounds are plain white. This is something I could try however I feel it would be easier to do this physically placing the flower on something white to take the photographs rather than editing the blue sky background to be plain white as this would take a very long time to precisely select every detail of the sunflower to remain as it is. While there are no models in this photoshoot I required one to hold the flowers up for me as I took the photographs. My mum helped with this by standing on a bench and positioning the flower high enough to avoid any building or trees being in the background of the images. It was also important that I didn’t get the models arm in the image as there would have been a lot of attention drawn onto this as opposed to the sunflower which was the intended main focal point. On evaluation this photoshoot may have been easier in an open space like a field as opposed to a garden as it would have been easier to not get any other subjects in the background which I wanted to keep as just being the sky. I originally didn’t even want the clouds in the background however these were not possible to eliminate and I don’t think they take much of the interest away from the sunflower because the colours of the sunflower really do jump out to the audience. I made the difference between the sunflower and the background greater by increasing the contrast so that the flower was even bolder and appeared to be further forward in the outcomes. As with the other flower minimalism photographs I kept the editing very simple and made adjustments to the saturation, contrast, brightness and curves. I found altering the curves also helped to increase the contrast further. I also cropped each photograph to an A3 size of 42cm by 29.7cm. I feel these edits were successful and improved the quality of the primary photographs. The editing also enhances the general mood/feeling portrayed by these making it seem very positive and joyful. This is inferred mainly through the colours that are present as well as the connotations around sunflowers and blue sky in summer. The general mood on these types of days often seems more positive in comparison to a wet wintery day. These photographs definitely have a happy feel to them. I would say that this use of bright colours is one of the main things I like about this photoshoot; they are very vivid and bright. Something else which has really improved the look of the images is the increase in contrast which I really like and would continue to use on other photographs. However, something I would improve about these photographs is having more images where the middle section of the head of the sunflower is facing directly towards the camera. If I were to do this, I would need to do it on a day with little/no wind so that the flower was still enough to get a really good focus to show all the individual details. As a whole I am incredibly pleased with how this photoshoot has turned out and I do think it is an improvement on the original minimalism flower photoshoot. It would also be an idea to experiment with making these into square crops and possibly even seeing what they look like slightly de-saturated or even in full black and white. I think de-saturating the images would give them an older and more rustic feel.
Sparkler Minimalism Photoshoot Evaluation For these photographs, I took inspiration from Kaique Rocha’s minimalism sparkler photograph. I knew one thing I wanted to be different to Kaique’s was that the background in mine would be completely black and I achieved this. I carried the photoshoot out at night and made sure that no light sources where present in the background; I wanted the main focal point of the sparkler to be the only light source. Keeping this as the only object in the photograph kept with the minimalism technique and helped to keep all of the audience’s attention on this. In terms of composition, I tried to keep to the rule of third guidelines with the head of the sparkler roughly in the centre of the frame. Some of the photos look less centred because of the positioning of the sparks coming off. I found that the photographs needed to be taken pretty quickly and I liked the experimental aspect of not knowing what the outcome would look like. This added an element of suspense to the photoshoot. The colour of the sparkler varied between white light and orange light; I am unsure of how this happened but I like the variation it adds within the set. The cropping of these photographs I have kept simple keeping them as well centred as possible and fitting them into an A3 Photoshop page. Other than the change in background mentioned above the main idea of Kaique Rocha’s photographers in seen within my outcome as well as a few other changes. I would say the majority of mine show an orange light whereas Kaique’s is a white light. In addition to this, I was not able to get the hand light up in the photographs the same way Kaique has done and in fact the hand of the model holding the sparkler can only be seen in two of my outcomes. I quite like not have the hand in shot as this makes sure all the focus is on the sparkler. Keeping as few aspects in the photograph is one of the key principles of minimalism photography. I have also tried having the sparkler coming in from one side of the frame in all of the images as opposed to straight on like in the inspiration example. As a general overview, I am really pleased with the quality of these photographs which I have enhanced slightly by using Photoshop. I made very simple edits to these photographs as I felt they were already very quite striking. The main thing I altered was the contrast which made the colours bolder and brighter making the sparkler stand out even more against the black background. I like the contrast created between background and subject matter as well as the variation between some more sharp sparks and others fuzzier. The sparks around the sparkler reminds me of a seedhead of a dandelion which is something I have previously photographed and would work well for the minimalism technique I have been experimenting with over the past few Photoshoots. In my analysis of Kaique Rocha’s photographs image I noted that the mood/feeling portrayed was positive and you really got a personal feel from it due to the hand of the model being in the lower third of the photographer, this helped the audience really be in the moment when the photograph was taken. While you can still see the metal stick of the sparkler which is clearly being held by someone in mine I don’t think it is as easy for the audience to imagine themselves there. I also think the completely black background almost makes the outcome put across less positive connotations than Kaique Rocha’s does. I am unsure why but the hand and the blue light in the background of Kaique Rocha’s put you more in a situation such as bonfire night where you are around lots of people celebrating and feeling joyful. The black background means that the audience is much more likely just to focus on the visuals of the image and leaves much more room for the audience to make their own interpretation and meaning which links back to the minimalism technique. There is nothing I really dislike about these images as overall I am really happy with them- the colours, quality and composition. Thinking about how I could develop this idea further I have been thinking along the lines of combining it with portraiture work as this is something I have worked a lot on in concept 2 and really liked. I could produce some multiple exposure outcomes where the portrait is pasted onto the sparkler photograph with the opacity reduced or the other way round with the sparkler over the portrait to give more of a projection look. Alternatively, I could project the image onto a models face in the primary photograph stage.
Sparkler Double Exposure Outcome Evaluation For these outcomes I decided to experiment with some double exposure work using one of my recent minimalism sparkler photographs combined with a portrait photograph from my previous Brighton set. The main subjects matters are the sparkler and then the model which has been pasted over the sparkler. As you can see I experimented with varying the size and position of the model being overlaid. The sparkler images I used were already slightly edited however the portraits were just taken straight from the primary set. When I combined them together I decreased the opacity of the portrait and played around with layer settings to see what gave the best look. One thing I had difficulty with was having sharp lines where the model had been cut out of the larger image. To overcome this problem I used the eraser tool on a soft brush to soften the edges and make the two images blend better together so that they appeared to be more together rather than just one photograph pasted over the over; I wanted to make sure it looked like one outcome rather than two photographs which had just seen shoved together with very little thought. The mood of these images is not initially obvious to the audience however I do think quite a lot can be taken from the expression of the model in each outcome. In the first two the model has a expressionless face which makes the audience question what they are thinking and about the context of the image. I think this combined with the sparkler gives quite a sinister look because the sparkler gives connotations of fire. I also think the bright red and orange colours support this. In the third outcome I used a different portrait where the model is smiling. The colours of the sparkler layer are also less intense. Although the model is looking down there is definitely a more positive mood being portrayed through the models expression . Despite this, we could question whether the smile is real. If we decided that it was a fake smile it would add to the links back to my theme of conceal and reveal because the model is hiding how they are really feeling. This could be because of the expectations for us to be happy at special occasions such as bonfire night however this isnâ€™t a reality for everyone. The main focus of these edits was to create beautiful images which signify how the different layers can relate back to conceal and reveal by hiding certain parts of one images while revealing other parts of the other image. Double and multiple exposure is something I have been interested in for a long time. This combined with being really happy with past outcomes using this style I knew it was something I wanted to try in order to develop my minimalism sparkler edits further. Clearly having the model pasted on top of the photo takes away from the minimalism approach however this is not something I was really wanting to keep. I just wanted to use the images to create something new because I was really pleased with how they turned out. With regards to the composition of these images the sparkler remains in the middle of the frame. The model has then been pasted at either the left or right hand side of the sparkler head so that the face and some the upper body of the model can be seen within the area of sparks coming off the sparkler. I would say I prefer the composition of the first two which have been cropped to A3 rather than A4 as I like the look of the greater amount of black empty space around the main focal point in the middle. In the first two the model is looking directly straight on at the camera however in the second the viewpoint is slightly different in the portrait image with the model looking to the right and down, the camera has still be set up directly in front of the model though. Both of the images taken in each double exposure outcome were taken using a Nikon Coolpix L840 digital camera. For the portraits I used the pre-set up portrait mode and for the sparklers I used quite a fast shutter speed to prevent the sparks from blurring. I think overall these edits have been really successful and I am really pleased with how they have turned out. My favourite aspects are the bold, bright colours and how well the two layers have blended together. I also think the use of the dark space around the sparkler and model has helped keep the attention on the main subject matters as well as increasing the contrast between the sparkler and model and the background. I have said previously that I am not as happy with the third outcome due to the crop however this is the only thing that I am not as keen on. This is definitely a style of work that I want to keep experimenting with.
Photoshoot Plan Name of shoot: Paint portrait photography Date: 15.09.2017 Photographer/Style influence: Various photographers found on Pinterest, as well as my own UV paint photographic outcomes which I have completed in concept 2. A few of the inspirational images I have looked at can be seen on the page above and on the right hand side of this page. Environment/Location: At home Background/Backdrops: Ideally, the backdrops for these images will be completely white, as I want to keep all the audience’s attention on the model. I could either do this against a cream wall or to get the background even whiter I could use a white sheet. Models: One model required for this photoshoot- sister Equipment/Props: Model will need to have bare shoulders and neck so that the paint can be taken down onto the neck and collarbones. Other equipment will be the digital camera to take the images on, a white sheet which can be used as the backdrop, the paint and paintbrushes. Lighting: Ideally, I want to use natural lighting however, this depends on the weather on the day and the time of the day the photographs are taken. If the lighting is too dark I could consider using a light source to improve this such as a bright lamp. Camera settings: In terms of camera settings I plan to use ‘portrait mode’ in order to take this set of photographs as I think this is the most appropriate choice and will give the best outcome. Mood/Feeling/Style: Something I want to show and portray in this photoshoot is the idea of there being a ‘barrier’ preventing the audience from seeing the model as they really are. This relates to my theme because the model is being ‘concealed’ by the paint. In general, the idea of feeling as though you can’t show your true self is usually quite a negative notion and gives a sad and unhappy feeling/mood. This is likely to be show through these images as I plan for the model to have quite an expressionless or unhappy look to correspond with this idea. Composition Ideas: For the composition of these images I plan to take some looking straight on at the model but others from a side viewpoint. There will also be a mix between having the camera looking up/ looking down on the model. In all the images, the model will be in the foreground of the frame and will be fairly close up. I will also try to keep the model’s head and shoulders on/in one of the three columns and rows in reference to the rule of third guidelines as this will improve the composition of the photographs. Editing: I will start by making some simple edits of these photography which focus on improving the quality of the images. This may include digital editing techniques in Photoshop such as altering the contrast, saturation, curves, brightness, etc.
Paint Portrait Photoshoot Evaluation This photoshoot was inspired by my previous work on UV paint portraits in concept 2. Since completing that project I knew normal paint portraits was something that I wanted to try however it was quite out of my comfort zone as I tend to prefer to shoot outdoors as I feel the light can be a lot brighter as long as you choose the right day to carry out the photoshoot. I was surprised at how much I actually enjoyed taking these photographs and how pleased I was with the outcomes. I tried to get a completely plain white background by using a sheet. This did work in the sense of making the background plainer however the creases in the sheet were much harder to edit out that I anticipated and I would have still liked the background to be whiter as it does seem to have a tint of grey. I do feel the composition of these images has been successful and I am pleased with the positioning of the model within the frame. Some of the shoots show a closer up view of the models face however others are zoomed further out showing more of the models shoulders and arm/s within the frame. I think this variation works really well. I have also tried to use rule of third guidelines when positioning the model; this is particularly evident with the zoomed out shots as the model tends to be on the right vertical line. Some of the camera angles look up to the model however others look down on the model. I feel this alters the mood portrayed by the images as the images looking down suggest an unhappy and negative mood whereas the ones looking up portray the idea of confidence and elegance. Within the set they are also a few which are taken with the model looking straight into the camera and these actually appear a bit daunting and menacing. In addition to this when the model is looking at the camera the audience may feel more connected whereas when the model is looking down the audience can question what the model is thinking about and maybe why they seem more distant. The lighting I used for this photoshoot was just natural lighting with the photographs taken with a window behind the camera. I tried using a lamp to see if this would make the outcomes any brighter however this just increased shadowing which I did not want to be a part of the photographs. I do feel the lighting was actually fairly good for being inside using natural lighting and the colours came through quite sharp which helps to improve the overall look and quality of the images. The only things I did to edit to improve these outcomes was the background removing the creases where possible, increase the contrast and on some increasing the saturation very slightly. All these edits took place on Photoshop where I also slightly cropped the photographs to fit an A3 page. I tried to make the crops so that the composition and framing remained very similar to the primary photographs. I felt the digital editing techniques I decided to use were successful however not very adventurous and it would be interesting to see what these looked like edited in a more advanced way. This may be something that I look into to see how I can change the look of them even more so with edits that are maybe more obvious to an audience. This may be something like altering the colours more. As a whole and for a first attempt I do think this photoshoot has turned out well and better than I had anticipated. While I used some images from Pinterest for inspiration I allowed the model to be quite free with how they wanted the paint and just choose positioning as the photoshoot progressed. Often as photoshoots go on I get more ideas which I can then try out which may be different to what I first planned which is what happened with the outcomes where the model has her arm up with her hand on her head. To progress from here I have started to look at the works of Rosanna Jones who also works with paint. The main difference between her works and these is that her paint is applied to the background after the image has been taken whereas mine is applied to the model before the photo is taken. While some of her paint comes over the model it is applied in a much more smudgy and less defined way. I would like to be able to produce some of my own outcomes using this style. To make this possible I will need to take another set of portrait photographs in a similar way just without the paint in the primary photograph stage. When thinking about the colours to use I want to base this around the mood I want portray, this will link back to my previous Rubik’s cube work. For example, light nude colours like the ones in some of Rosanna’s photographs combined with light blues show a cold and sad mood whereas brighter colours such as yellow and orange portray a happier mood. This is where I plan to take this work as a next step however as this project progresses I would like to try out different ways of showing the ‘barriers’ concealing the model in the photographs.
Simple edits of portaits for physical
manipulation work in style of Rosanna Jones
These are a range of paint swatches from my second and third outcome. You can see there are some oranges in here as well as this is something I would experiment with if I developed this further- seeing how the mood portrayed by oranges and red contradicts the blue and purple colours.
The main parts of the images which I left ‘revealed’ rather than ‘concealing’ them with paint is the models face and hands/sections of the arms. Overall I do think this has been successful and I am really pleased with the colour range that I was able to create and blend together in the end. I started with one of Rosanna Jones’s images in front of me which is what inspired the pink/nude colours however as I moved onto the second and third outcome I started to think more about the colours in terms of emotions I wanted to portray. This is particularly evident where blue paint is used as I knew I wanted to give the impression of a sad and cold mood. I would say in the blue outcome however that the paint could have done with being a bit thicker to cover the models jumper better however I can always add to this at a later stage. I would say the main differences between mine and Rosanna’s are the exaggeration of the pulling of the face in Rosanna’s and the colour differences as I have tried colours such as the purple and blue instead of the oranges and reds which can be seen in two of the examples presented on my research page.
These paint portraiture works were inspired by Rosanna Jones. I started by completing a simple portrait photoshoot using natural light and a white sheet for the backdrop. One of the ideas of Rosanna’s that I wanted to try and recreate was the pulling of the face. This wasn’t as successful as I had hoped but this is something I could re-shoot in the future. In order to edit these photographs digitally I increased the contrast and chose my top 8 to display on the page above. I then narrowed this down to 3 to print. In terms of the primary photograph stage I tried to keep the model in the centre of the photograph however there is slight variation in the viewpoint with some straight on but others from a slightly above or below angle. I started using an A4 print but then decided to try working on a smaller scale which I felt much more comfortable and happy with. When I first started the colour variation was not very good but as I started to experiment mixing more colours I was able to create different tones and blend these together. I used acrylic paint and applied this with large and fine paintbrushes in order to cover parts of the image.
You can also see in this outcome where I have tried different paint strokes to see what effect this gives. On evaluation I would say I prefer the less distinct strokes like those in outcome 1 and 2 and in other places of outcome 3.
Cellophane Experiment 1 Evaluation This was my first photoshoot trying out using cellophane in order to create a form of ‘barrier’ I am basing concept 3 around. I decided on red and purple cellophane as these are two colours which contradict each other in terms of the moods they represent. For example, red can signify love and courage as well as aggression and defiance whereas purple is much more cold and potentially relates to calm feelings and royalty. This was a very experimental shoot and as a whole I am not particularly happy with it. It did give me the opportunity to try out some different things however. I do think the coloured lighting was successful and I did this by using a phone torch through each colour and this created the colour filter on the face. This is something I would be interested in experimenting with further. In the editing stage I increased the contrast and altered the curves in order to increase the intensity of the colours. I think having the two colours on the face helps reinforce this idea of colour relating to mood and how this changes the connotations and feeling portrayed by the image. Out of the images where the cellophane is actually on the model the one I am most pleased with is the one which is presented as an edit on this page. Again I just upped the contrast and altered the curves in order to improve the colour quality. In addition to this on both images I made the crops closer so that there was less background within the frame. I am unsure exactly what it is but I just don’t like the majority of these images. I don’t think where the cellophane has been cut really works and although it does link back to my theme showing an element of both conceal and reveal I just don’t like how it looks. I am especially critical of the images where there is a section of red over the model as this looks a bit strange. Getting the cellophane in the correct position proved to be quite a challenge. Using the hands like in Craig McDean’s¬ examples did work however I also tried sticking the cellophane using cellotpae which worked where it couldn’t be seen. I don’t like how in the ones with the use of both colours you can see the cellotape in the middle as this makes the work look very unprofessional. I’m not sure whether I want to continue to experiment with this or not. Something I could try is firstly using a different model to see how this effects the images and potentially larger pieces of cellophane which are less crinkled more similar to the ones produced by Craig McDean. I have also noticed that the cellophane used in Craig McDean’s looks thicker. Something I could do is use pieces of scrap plastic coloured acrylic and have the model hold these over there face and see how this turns out. This will most likely be the next photoshoot within this idea and from there I can decide whether I want to take the use of coloured plastic as a barrier any further or whether I want to try something new. In addition to trying out this more practical photography I could also experiment with creating the effect of the cellophane over the face using Photoshop. By using coloured blocks and altering opacity and layer effects this could be possible. To start with I will use my previous set of portraits which I took for the Rosanna Jones outcomes however if this is something which I find I can develop further I will most likely take a new set of simple portrait photographs. It would be interesting to try using both coloured and then black & white images. While I haven’t been overly happy with this photoshoot it has taught how to make the coloured films which project colour on the model. I have also been thinking about having a darker background and what effect this would have on the outcomes. On initial thought I would need to really consider the coloured cellophane I was using so that this stood out to an audience. There are a variety of ways I can progress with this and will experiment with these next.
Digital Cellophane Inspired Outcomes
After not being particularly happy with my primary photoshoot using cellophane I continued to search Pinterest for ideas of how this colour film could still be incorporated. I came across an outcome which had been created which appeared to have overlaid coloured shapes in the digital editing stage. This made me inspired to try my own outcomes using a similar style and techniques. I went onto Photoshop to create these outcomes. I started by using a portrait image from a past photoshoot and pasting a coloured shape over the top. To give the shape a look closer to that of cellophane I lowered the opacity and altered layer effects to see what I thought looked best. You can also see how I have tried adding a drop shadow to slightly lift the shape off the base photograph. I am much happier with how these digital outcomes have turned out as opposed to using the cellophane in the physical stage. I think one of the reasons I prefer these is because of how much neater the coloured layer looks, I also had a bit more freedom with the shape of the coloured layer as it was easier to create different shapes digitally than it was to cut different shapes out of the sheet of cellophane. This is definitely a style of work that I would be happy to experiment more with alongside the physical experiments using thicker acrylic as the next step. Something else I could also try to move these experiments on would be to try pasting parts of the image in triangular shapes over the base portrait to give the broken mirror impression which can be seen on my portrait development ideas-masks and barriers page taken by Annegien Schilling. To do this it might be good to take another set of portrait photographs just to create a bit of variation and having the hand up where the mirror would be being held.
Acrylic Portraits Evaluation As a next step from my work with cellophane I decided to see what effect using thicker sheets of coloured plastic would have and how this would look. I used a mix of shiny and matte acrylic mainly in pinks and purples. As you can see in the primary photographs I varied the angle of the plastic throughout the set so that different elements of the models face were being ‘concealed’ or ‘revealed’ at different times. For example, in some the eye/s are uncovered whereas in others the eyes cannot be seen as clearly because the acrylic acts as a barrier between the model and the camera but something like the mouth is being revealed instead which links closely back to my third concept. In regards to composition I have tried to keep the model roughly in the centre of the frame in each shot however there are some images which this hasn’t been as successful in therefore cropping has taken place in the editing stage to give the desired centred look. In each of the images the key focal point appears to be the element that isn’t being covered by the acrylic or what can be seen through the cut out section in the acrylic as the audience’s attention is really drawn to this. The different expressions from the model as well as what part of the face is brought to the attention of the audience through the ‘reveal’ aspect gives impressions about the mood. Throughout the set the model varies eye contact between looking into the camera and then looking away. The images where she is looking at the camera give a much more powerful feel whereas the ones looking away give the impression that the model is quite unhappy and she feels a bit lost due to these connotations of feeling as though you have to hide certain parts of your identity in modern society. I think the ones where the models eyes cannot be seen or when they are looking away or shut definitely give this impression of quite a concealed and withdrawn expression. Additionally, I have experimented with the use of shadow to show different moods. I think the shadow works have been effective in showing that even when something appears to be ‘revealed’ it may not be truly honest and often there are still parts of ourselves that we try to hide. The contrast in colour with the shadow could either suggest that the shadow where it is darker represents hiding the parts of ourselves which others may think negatively off or actually we could be hiding the parts of ourselves that we not be very proud of or happy about even though to an outsider the general vibe given off by the model is positive. Giving these connotations of feeling as though you have to hide parts of your true self seems to present quite negative feelings and gives the idea of having lowered self-esteem and feeling as though you can’t show your true self through fear of judgement from others. This links back to my idea of a ‘barrier’ preventing the audience from getting a really close understanding of the model because often people metaphorically build these barriers around themselves to prevent people from realising who they truly are and this is shown in a visible way through the acrylic. In order to light these photographs, I took the photographs in a fairly dark environment however the flash of the camera really made the colour quality vibrant and made the images seem fairly high quality. In some the focus has been slightly off with more of a focus just on the acrylic rather than the model however for the most part I have been able to achieve the desired look of having the model in focus so that this still appeared bold even though the acrylic was in front of the models face. Focus is definitely an area which I could improve to see how this could make the model clearer in all of the images and actually still keeping the acrylic fairly well focused as well so that both elements remained really bold to the audience. I was sceptical about using the flash on the camera however because the light coming from outside was poor I decided to give it a go and was pleased with the results I produced.
In terms of the background and environment these photographs were taken inside using a white sheet hung over a door in order to create a plain white background. The white wasn’t a bright as I had hoped but I think this is due to the use of the flash as opposed to natural lighting and some of the creases on the sheet prevented it from being a clear white backdrop however by cropping some of the photographs quite close in this was able to be improved and less of the creased sections were visible if at all in some of the images. For the rest of the editing I went back to the multiple exposure technique that I have looked at before and combined this with different coloured photo filters. In the first edit you can see that I kept it quite simple and just cropped the photograph closer in and made it black and white altering things like the contrast and curves to get the black and whites more distinct. In the second I used the same image and then overlaid a purple and blue layer of the same image slightly varying the position so that each layer could be seen through the others. I like how this has worked and how the different layers have come together to almost make it look as though you are working your way through the acrylic and coloured filter in order to get to the unconcealed model. The fourth and fifth edits have taken on a similar style however the fourth is just more zoomed out and instead of the acrylic being in a similar position it changes position and direction so that the acrylic is making a cross shape over the models face. Having the different layers in these photographs is representative of how people have different layers of themselves and how we may actually never uncover the true, raw version of somebody. The third edit which is my favourite is slightly different in the sense that instead of using the same photograph multiple times I have actually used two different photographs from different perspectives; one being much more zoomed in and one where the model is more in the background holding the acrylic forward. I think this one has been particularly successful because the colours have remained consistent in both layers and the two images appear to fit well together as you have the eye section revealed in the top layer and then through this acrylic and the bottom layer acrylic you have the left hand side as opposed to the right which is shown in the top layer being revealed. I also really like the different sizes/zooms of the layers and think this looks well thought out giving the audience two different angles of the model showing how both a close up and more distant photographs allows different elements of the model to be revealed. For example, in the top layer we can see more detail in the models eye, their makeup and piercings whereas in the bottom layer more is revealed about the models dress style. I also think the way I have edited the contrast and brightness in these outcome has been successful because they appear to be fairly good quality images. I do think the quality of the colour is something which I like in edit 2 and 3 because in 4 and 5 the colours aren’t as saturated and the photo filters aren’t as strong making the colours more similar to the primary photographs whereas the third one clearly has a pink/purple filter over the whole image. These photographs are no longer that similar to the works of Craig McDean and while this was the starting point of inspiration for this set of work I do think I have been able to include some of my own ideas like the multiple exposure experiments and trying out things in the primary photograph stage such as holding the acrylic forward and seeing how I could incorporate the use of shadows. I definitely think one of the key disadvantages to using the thicker acrylic was that less of a colour was projected onto the model which was something that I liked in the cellophane images and there was much less flexibility in terms of how the plastic could be positioned because it couldn’t be wrapped around the model and therefore this is where the close crops came in. However, I do think the cut out sections in the acrylic are much neater and more structured which I like. I think the key concept of using the cut out colour plastic is the same but due to the things mentioned above there are definitely a lot of differences between this set of work and the one/s produced by Craig McDean and my initial response to the Craig McDean photographic works. The double/multiple exposure photographs were also much more individual and I didn’t really focus on any particular photographer for inspiration for these, instead I simply started trying to combine and duplicate different layers as this is a style of work I have tried before and used the coloured plastic as inspiration for the different colour filters applied to each layer. Although I have been able to identify some positives in this photoshoot and things that I have been happy with this isn’t a style I am keen to take much further because I don’t feel I can go much further with it and it isn’t something which is making me really excited to work on, as well as there being lots of elements that I’m not as keen on such as the difficulty with focus, having to use close crops to avoid seeing all the edges of the plastic which has been quite limiting. I also think the lighting whilst it has made the colours on the model vivid it isn’t as good as the cellophane shoot where I mainly used natural light and then a phone torch for the coloured gel effect.
After doing some further research into the use of colour and multiple exposure I found the works of Dalia Ramos and knew this was a technique that I wanted to try and respond to. In order for this to be possible I carried out a simple photoshoot which involved using one model and having them pose in different positions. Something I had to be careful of was making sure that I had a big enough white space in the background to allow for movements similar to those in Dalia Ramos’s outcomes. In order to make this possible I shot against a plain wall inside, however in some, other elements in the background can still be seen. I was able to eliminate these and make the background whiter by cutting the model out of the image and pasting onto a new white background layer. Overall I think the primary photographs were fairly successful and as the model became more comfortable you can really start to see some of these different movements taking place which is something I really wanted to recreate and am very happy with the outcome of. On evaluation I think the photographs would have been better and more similar to those taken by Dalia Ramos had I have been able to get the models feet in frame as well, however because the flooring was carpet I wasn’t happy with how this looked. However, if I were to re-shoot this set I could include the feet even if they were on carpet now that I have established the way I am able to cut around the model and make a completely clean white backdrop through digital editing software. Something else that I feel has been successful in the primary photograph stage is that the model remains pretty much centred throughout the set showing consideration to composition and despite using natural lighting this has been fairly high quality. I do think the contrast between the model and the background is not as good as it could have been but with the chosen editing techniques this didn’t impact the final outcomes. It is clear the model is the focal point and the focus on the model has remained consistent throughout. Some of the images are slightly more zoomed out than others; I decided this slight variation would be useful for the editing stage so that I could experiment with keeping some of the coloured layers close but also having some that were further away in different photographs. In order to begin the editing process for these I stuck with simple CMYK edits which involved changing the colour programme to CMYK in Photoshop and then gradually dragging the different colours away from the original portrait. I had to make sure to select the whole image before moving a different coloured layer so that the whole layer moved and not just one section. One problem with this technique was that it wasn’t possible to only use one colour and all three colours had to be on in order to save the image. One way around this was screenshotting the image at the stage were the desired colours were on however this really reduced the quality of the images and I wasn’t happy with them due to this. You can see how in each of the edits using this style, I have displayed the original where the colours have been moved and then a further edit where I have altered curves, contrast and levels in order to make the colours bolder and more vivid trying to get the colour light effect we see in Dalia Ramos’s outcome. This has been fairly successful however one of the main problems I encountered was in the cutting out stage especially around things like the models hair and in places the edges may appear a little rough. I had to be very careful making the edits to the colour that this didn’t make it more obvious in areas which I had previously been able to make neater and more professional looking. In the first edit the colours are closer to the original image however in the second they have been dragged further out. In the first edit the contour/outline is stronger as a result of this yet I actually like both and think they show well a couple of the different ways CMYK can be used. I think the first edit does have move of the movement aspect to it because the second just appears to be exactly the same image in the same position just moved to the left whereas the way the layers are only moved slightly away from the model give the impression of subtle movements and shifting in position. In order to progress from here I knew that I wanted to make the edits more similar to those created by Dalia Ramos and this meant making the colours more similar and having the two layers only. I started by cutting the model out of the original image again. I still had difficulty going around some of the edges however this is something which has improved the more I practiced and shows an element of development throughout. The first edit took quite a long time as I was experimenting with how to get the best colour possible and how to make this bright and vivid like in Dalia’s outcomes. I found different ways of increasing the colour and making it red or blue possible through adding photo filters, adjusting the hue & saturation and colour balance. In order to give the brighter, light effect I changed the blending layers to ‘pin light’. I found changing the layer effects really made the colour have the light effect like in the ones produced by Dalia Ramos. I do think my blue layer is slightly darker than the ones in Dalia’s but this appears to be because of how dark the models dress is and I was unable to find a way to make this lighter in the editing stage. I could have further lowered the opacity however this really reduced the boldness of the layer. In the first two you can see that I have used the same image in both layers just having the second blue layer moved away slightly from the top red layer however in the third despite using the same image I have flipped it vertically which is similar to another one of the examples shown by Dalia Ramos. I think these edits have been successful and I am really pleased with the outcomes. I think the particularly successful areas are the intensity of the colour, the chosen layer effect and similarity in movement and positioning of layers which we see throughout Dalia’s. This is definitely a style of work that I would be interested in working into further because I like the way the outcomes look and think they are really bold and eye catching photographic works. One area of improvement would be to have the feet in show as mentioned previously. This would also improve the movements able to be shown and make these stronger. A further area of development could be to see what the outcomes look like if the model wore both black & white like Dalia’s model has done instead of all black. Something I would be careful of when reshooting is the hair and how this falls so that tracing the outline was easier and continued to look realistic and similar to the primary photograph/s.
After carrying out the CMYK portraits which can be seen above I decided to try out more experimental movements in the form of yoga poses. My original intention was to use the same editing technique however as I began experimenting I found that I really liked how the black and white looked. On each page you can see a rough process to creating the images and variations using different layer effects. I started by cutting the model out of the image using quick selection, magic wand and polygonal lasso tool combined to get the neatest edges possible. I do feel this was fairly successful however where the bed has been removed and replaced with a white background there are certain areas which don’t look as neat as the bed was changing the shape of the body and when this was removed the edges aren’t as clean. Elements of double exposure can be seen in all the outcomes using two layers of the cut out model and making one more opaque and slightly larger. I have also tried various layer effects in some of the outcomes on one of the layers which made it so that the layers blended together slightly differently and in some better. There are two edits which involve an element of colour as this was something I decided to try out however I would definitely say I prefer the black and white edits and that is why I have stuck with this for the majority. Out of the edits which have the red layer/s my favourite is the one where the red blends over both layers and the layer effects have been changed to make this blend together better to make the layers come together more and appear less like separate images the same way layer effects have been used in some of the de-saturated outcomes. In terms of the photoshoot itself it wasn’t overly planned but I am really pleased with the outcomes I have been able to produce. In the contact sheets of primary photographs, you can see that there is quite a lot of elements in the background however by cutting the model out and putting this layer onto a white background this problem has been eliminated. The images have clearly been taken inside but in order to improve the quality of the lighting I used 2/3 studio lights which has helped make the lighting brighter and photographs clearer. At the start of the photo-shoot I had some difficulty focusing the camera resulting in a few unfocused images which can be seen between 3795 and 3803 however by changing camera settings this was able to be improved and the rest of the photographs have been in focus with the model as the main focal point. The model becomes even more eye catching when they have been put onto the white background as there is nothing else to draw the audience’s attention away. In terms of composition for the most part I was able to keep the model in the centre of the frame however where this is slightly off I have made the crops to A3 sized and then to fix this problem I slightly moved the position of the model to ensure they were centred. Once I had made the model black and white I altered things like contrast, levels and curves in order to make the contrast greater and have more intense different between the monochrome. This has also made the contour the model shaper especially on the first layer when the opacity has remained at 100%.
The mood of these photographs seems quite relaxed and calm due to the nature of yoga as a new age movement evoking feelings of self-awareness, kindness and self-compassion. I think the black and white aspect is reflective of how yoga offers the opportunity for self-reflection and how by eliminating external factors, problems and concerns we are able to focus on the self and think more clearly about the body and mind which makes us more equipped to deal with life. By having the image de-saturated it shows how the focus is just on the individual and shows the importance in this in being in a state of calm, using yoga as a release from worries and critical thought. This is contrast in the outcome which has the red layer
because red is a colour according to the psychology of colour which reflects aggression, and fight or flight stimulation and therefore by having it with the connotations of yoga being relaxed and mindful the red almost seems reflective of how the model is choosing to use yoga and actually through the practice they are able to find release and distance from negative thoughts shown in the way the red layer is moving away from the original image of the model. Where the second layer is also in black and white this may link more closely to the idea that through yoga the model is able to realise more about themselves (self-awareness) and feeling as though they are allowed to take up space increasing feelings of selfworth and appreciating the self for how they are. The second layer is the same colour but bigger showing this increase in positive thought and increase in focus on the self. The main idea behind these photographs was to develop on the Dalia Ramos inspired coloured double exposure outcomes in a way that gave the movements being shown more meaning. Yoga is a practice which can have different meanings to different people with some using it purely for the physical benefits and increased strength and flexibility whereas for others it is much more about seeking a freer mind and being mindful and conscious of the mind, body and you as an individual which is the element I have tried to show through my outcomes as discussed above. Therefore, the key concept was to show through double exposure outcomes how these feelings of calm and release can be achieved. It links back to my idea of how barriers are used to conceal a model by looking at the different side of it and how with time and work we can uncover our true selves even if this starts as only being revealed to the self and remaining hidden and less authentic to a wider audience. Overall I am really pleased with how these edits have turned out. I really like working with double exposure as I think this adds a lot of interest to what would otherwise be quite simple images. I think what has worked well with these images is having a lot of meaning behind them and while I have been quite exact about my ideas behind the images I think people can interpret these in different ways which may be more reflective of themselves. This is definitely something that I want to take further.
I have looked at the works of Annegien Schilling who edits barcodes onto portraits so I could try and combine that onto these. I could also take it down the route of splicing like the barcode lines maybe with the word written beneath the image. This is something that I could do physically. I think this will be the step in the process however others things I could try are using different coloured layers like the red, maybe trying different colours to see how this effects the mood and style portrayed. As a first step to the splicing I will need to select my favourite edits and print these.
Barcode Portrait Outcome 1
After looking at the works of Annegien Schilling I decided that I wanted to try and create my own version of the barcode outcome. In order to do this, I took a new set of primary photographs with my sister as the model. To make the outcome more similar to Annegien Schillingâ€™s the model smeared black eyeshadow mixed with water across her face. The model also tidied her hair up in a similar way to Annegien Schilling did in her self-portrait as well as moving her top down so that the collar bones and top of the chest were bare to allow for room for the barcodes to be applied. Having this bare space helped to keep the attention just on the primary focus which is the model and the effect having these barcodes on them creates. I have used simple editing techniques on the primary photograph into order to increase the contrast and make the image slightly darker further reflecting the negative mood I am trying to present. The barcodes have been created digitally as well, using a barcode image from online and removing the background. You can see that I have slightly adjusted the layer effects of the barcodes to make 3 of them bolder and then to make the one under the chin blend better and appear to be on the actual model rather than the others which are very clearly on another layer. I do like how the barcode looks that is more blended with the photograph and this is something I would try again and maybe make more of the barcodes like this. One of the main things that I donâ€™t like as much about this outcome is the shadow on the light hand side of the model. I feel it makes the left side of the face less sharp and I ideally wanted a plain white background with no shadowing. I could re-shoot to try and remove this experiementing with different light set ups.
Barcode Portrait Outcome 2
In order to improve upon my initial edit using the barcode style I decided to try and alter the way the barcodes where put onto of the model so that they blended more to the shape of the model and I do think this has been successfull. In order to do this, I used Photoshop and the warp tool in order to curve the barcode and the text underneath slightly. I think this looks much better because the barcodes blend in better as an outcome rather than just looking like a layer pasted over the top of the portrait. As you can see I have also continued to alter some of the layer effects to blend some of the colours of the barcodes better with the portrait and the colour of the black smudged makeup over the models face and neck/chest. Again I have only done this on a couple of the barcodes as I like how this contrasts with the full black ones which are most similar to the works of Annegien Schilling. You can see that I have used a slightly different primary photograph to complete this edit on and in this one the model has her hand up by her face. I think this adds to the sadness I am trying to portray through the photograph. It may connote that the model is despairing and doesnâ€™t know what to do anymore. They seem to be unable to fight off these labels or rise above them because they have become so ingrained highlighted through the way they are printed on the models skin in this outcome. The way the models eyes look directly into the camera seem to show a sense of emptiness when combined with the expression of the model being photographed. Overall I am really pleased with how this outcome has turned out and the next step will be to try and take some of the makeup and blend this over the barcodes to see what effect this gives and whether or not it changes the mood/feeling being portrayed.
A2 Work Throughout concept 3 I have explored the idea of how photographers use different layers and forms of barriers to conceal a human portrait. The idea of layers and barriers examines the way through both physical manipulation and digital editing techniques a model can be distorted to give deeper meaning and/or emotion to an outcome. To begin concept 3 I explored the idea of minimalism photography but realised this wasn’t something that I wanted to develop. However, I didn’t just leave it there I went back and used these images and combined them with portraiture work to produce some multiple exposure outcomes adding additional layers. Something I have really focused on throughout concept 3 so far is portraiture work as I find this really interesting. I love how through the lens of a camera you can capture a model and freeze in time how they are feeling and what is going on for them which I have further highlighted through the use of different layers. One of the first photo-shoots I did with this idea in mind was one where the model had paint over their face. This linked back to some of my previous works in concept 2 where I tried out UV paint and lighting and Hattie Steward magazine works. The layer/barrier added here was the paint which was applied in the primary photograph stage. I have also tried applying paint in the physical editing stage as well and have been pleased with how this turned out. Other barriers/layers I have used are colored plastic including acrylic and cellophane, barcodes, makeup, hands, and CMYK. The use of different barriers and layers responds to my theme of conceal and reveal as through the use of these different things you can either uncover deeper meaning behind the image or you can show how a model conceals parts of themselves. I have also further explored the use of color which is something I looked at in concept 2, especially in the Rubik’s cube final outcome. Some of the ways I have used color throughout my project are to reveal something about the model by the colors used as different colors portray different emotions and feelings known as the psychology of color. When selecting the photographers for this project I have tried to keep it very varied with some who are well known in industries such as fashion e.g. Craig McDean and others which have started up by themselves such as Annegien Schilling. I also like that all the photographers I have researched so far have used very different editing styles as this has added a lot of variation and experimentation to my project. For example, research into Rosanna Jones gave me the opportunity to try physically painting onto portraits, Dalia Ramos allowed for CMYK and color light effect experimentation linking to Craig McDean where I tried color reflection imagery and having color layers held in front of the model, and Annegien Schilling’s gave me the chance to try adding layers such as the barcodes in the digital editing stage to further increase the effect of the black smudges which were created in the primary photograph stage. Additionally I like how the photographers I have looked at have given me the opportunity to produce outcomes similar to theirs as well as taking my own ideas further such as how the Rosanna Jones’ outcomes further inspired me to try applying the paint to the model before taking the image. Similarly, the way the movement element of Dalia Ramos’ inspired me to try the yoga multiple exposure images. All the photographers I selected have been very individual and link back to my idea of wanting to conceal or reveal a model. I think one of the strongest elements of my photo shoots throughout this project has been my willingness to try out new things even though this may involve stepping outside of my comfort zone. One thing that I have really challenged myself with is taking photographs inside as I have often found that it is more difficult to get the lighting right in these outcomes. I especially like the yoga outcomes where I was able to use studio lighting as this made the images appear quite bright and of a high quality but I also think using natural lighting and some of the color reflection lighting where I used cellophane in front of a torch has been effective and again added variation to my work. I have also been more experimental in my use of the layers/barcodes, creating different forms of ‘masks’ such as with the paint. Finally I think the way the model has settled into the photoshoots and become more confident has really enhanced the outcomes as I have been able to get images that are exactly like what I was aiming for showing particular feelings or expressions in order to evoke thought and emotion within an audience.
Evaluation In terms of the edits/developments I have created in response to my chosen photographers something that I think has been particular successful has been the way I have removed the background in outcomes like the yoga ones, and the CMYK inspired ones in order to make it whiter and cleaner looking. There has been some difficulties to this such as cutting around small pieces of hair however I have furthered my knowledge of different Photoshop techniques such as the magic wand tool and quick selection tool in order to make the process of cutting the model out of the background easier and quicker. I also think with the Dalia Ramos outcomes the way I have made the red and blue really light and bold through adjustments to contrast, brightness, etc and layer effects is a strong element. Another editing technique that I have been really pleased with is the multiple exposure yoga outcomes and how I was able to combine this primary photograph set with the barcode idea in order to create the spliced development. I like the way with the barcoded spliced physical edit there is a lot of meaning behind. I like that different people could interrupt the meaning behind it differently even though from my perspective it is about showing how the labels we attach to individuals in society can have either a positive or negative effect on their self-concept. It’s also about how the labels given to us by others and yourself can change how we present ourselves and really impact on how we feel. I also really like the edits I created for the portraits where the model had her face covered in paint, especially the way the edits remained fairly simple adjusting things like contrast, saturation, curves, and brightness leaving the emphasis on the paint, position of the model and the white around the models eyes. You can see in the paint portraits I have combined the idea of using acrylic paint shown by Rosanna Jones with my previous UV paint works from concept 2 which were inspired by Daria Khoroshavina. I have combined these two photographers work in the sense that I have used acrylic paint but put this onto the model before taking the photograph rather than after. I have also combined Dalia Ramos’ works with other CMYK photographers to create the CMYK outcomes where I have tried to keep the element of movement we see throughout Dalias’. The other area where I have combined two photographers styles is the works of Craig McDean holding the plastic acrylic with gel light photographers works to reflect the color from the acrylic onto the face of the model. I have also combined photographer inspiration with my own ideas such as that with the barcode edit produced by Annegien Schilling with my own splicing idea to make the actual photograph into the shape of a barcode. I think the main photoshoot that I wasn’t as happy with was the ones inspired by Craig McDean’s plastic film outcomes. I didn’t really like the way these looked and they have been something that I haven’t really taken any further. I initially tried re-shooting using thicker acrylic however I still wasn’t overly pleased and ended up cropping the photographs very close in to begin to get the look I was hoping for. I did like the color reflection outcomes within this set however these were difficult to do and the color intensity was not as saturated as I had hoped for. Gel lighting is something that I would be interested in looking at again in the future however I don’t know how possible this would be. Another response that I didn’t feel was as successful was the CMYK ones, I did like how they turned out in the end however they aren’t what I had in mind as ideally I didn’t want to have all the colors showing yet this was unavoidable due to Photoshop only being able to save with all the color layers turned on. Finally in the most recent photoshoot inspired by Annegien Schilling I need to re-shoot in order to remove the shadow in the background as I am not happy with how this element looks and the way it stops the contour of the face being as sharp.