Emulating Laura Letinsky – Exercise 4.11 – Emulation

Brief:- Remember, there’s no need to make a direct copy of a photograph, for example a Man Ray photogram; make your own photographic experiment as Adam Fuss did (you can compare their photograms online). If you chose to emulate Man Ray, you might seek out interesting objects that can be rendered graphic shapes in silhouette by shooting them against a white background. Or perhaps you want to emulate the uncanny, liminal sense of space created in a Laura Letinsky photograph but using landscapes. Make the image your own. Artists rarely copy each other, but they do learn from each other. Try to identify exactly what it is in the photograph that appeals to you: the visual quality (tones, colours, light and dark) the composition or design the subject the concept the photographer’s viewpoint the way the photographer has influenced or constructed the image. When you’ve identified these elements, plan what you’ll need: equipment location models.  When you’ve organised all this, make the photo.

Final Two Photos

I need to begin by saying that I am not happy with the results of either photo, but there are aspects to each of them that I do like.

The first photo is the one that I most prefer, and makes more use of colour and planes. Yes it is far busy and less subtle than a Letinsky, but I ensured that it used two planes, and it is also 3D in nature because of the net which drops down from the main canvas, and the roses which are hanging down from the light socket. It is aesthetically pleasing to me, it’s pretty and beautiful.

The second photo has more movement, which I prefer. I love how the sheet hangs, and envision this as being similar in nature to the roof of a marquee. But the second plane that I tried to create, with a petal at the end of each piece of thread, just doesn’t work.

Neither photo has the amount of neutral space that Letinsky makes use of so well. Both photos have finger prints, creases and glue marks, which it goes without saying that I am not pleased with. The first photo also has a gap between the satin effect canvas (pinned to the ceiling) and the net (hanging down).

Technically this was a complicated project. Flower petals shrivel and die, each sheet was three meters by one meter, and very difficult to pin to the ceiling. I made use of super glue to place the petals in the second photo, which was a big mistake. Super glue discolours the petals, sticks the canvas to the carpet, and whilst I was raising the sheet from the floor, a lot of the petals became unatuck. I used PVA glue for the first photo and it didn’t stick the petals to the floor, but still left unsightly marks when a petal refused to stick.

Despite the piece of art that I have created being of poor standard, because of the technical errors, I am pleased with the result of the first photo. I have had a lot of fun, and developing techniques to control the space that I am choosing to work with is good progress. I definitely wish to create art in this style in the future. To do so I would need at least one technician, a large board so the canvas can be ironed, and find an alternate way to glue the petals onto the sheet.

My creation is not a copy of Letinsky, but I believe that I have used elements of her style and technique to make something that is pleasing to my eye.

Contact sheets (here)

Reference

Keys, R; 2018; Picture Analysis – Laura Letinsky – David Bate – Pieter Claesz; Online: AT:  https://photosociology.photography/2018/09/28/picture-analysis-laura-letinsky-david-bate-pieter-claesz/ (accessed on 17/11/2018)

Project 3 – Learning From Other Photographers

Brief:- Research point – Self reflection – Requirement Most visual artists learn from one another. Both historic and contemporary photographers and visual artists can teach you new things and by learning from them you can bring something new to the subject. So how do you learn from other photographers? There’s a tradition of ‘after’ painting, where an artist copies a master’s work – but in his own style rather than theirs. Pablo Picasso often did this for inspiration. Édouard Manet’s Olympia is slightly different in that it’s a critical response to Alexandre Cabanel’s The Birth of Venus and other such romantic and idealised nudes. Cubism’s visual experimentation was influenced by the work of Paul Cézanne, who had a ‘blocky’ style of painting in daubs of paint. Hannah Starkey’s photographs are clearly influenced by Jeff Wall’s tableau pictures without ever being copies. So really you take from the artist anything that interests you: the arrangement of characters in a scene, the pose of a figure, the way light and dark interact, the type of subject matter, the mixing of media, the visual strategy, etc… Research point – Self reflection – Throughout this course you’ve been introduced to the work of different photographers to help give you an understanding of the creative potential of photography. Now it’s time to question your own work and identify anything you think is lacking. You don’t have to be over-critical, just honest. Write down any areas in photography you need to develop. (Your tutor reports should give you some clues here.) Write what sort of photographs you want to take. Just note down keywords. Now look through a book like Hacking, J. (2012) Photography: The Whole Story, or Cotton, C. (2014) The Photograph as Contemporary Art (3rd edition) (both London: Thames & Hudson) and try to identify some photographers who have exactly the key elements that you want to attain or just things that interest you. It doesn’t matter if the photographer is contemporary or historic. Make a note of these key elements. Now research these photographers online and choose one key photograph to use in the next exercise.

There’s one area which glaringly stands out for me to work on. Lighting. Making use of lights to create an atmosphere, using spots, using ambient lighting or controlling background light, I need to develop these techniques. My tutor has recommended observing light in indoor settings and then trying to recreate it at home.

Now that I have a speedlight I am making slow inroads into understanding flash photography, and that’s going to be an ongoing process.

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Mixed media art is also a growing interest. It’s something that’s been developing over the period that I’ve been studying. Exercise 3.5 Photography from text (here) was a good introduction. I’m part of an OCA collaboration group and have enjoyed collaborating with other artists. Toxic Shame (here) provided me with the opportunity to write and narrate prose as part of a collaborative project. People with Autism co-authored Autism: Out Of The Box (here) with me, a project in which I wrote the essay and encouraged the co-authors to produce accompanying photography or art for the essay.

A woman with autism is currently writing her story, and my role will be to support her to make photography which will accompany her writing. This is a role I wish to develop. The OCA collaboration group is on-going, and I have had initial contact with an artist in Australia who may wish to collaborate with me.

I’m very pleased to be studying Experimentation:- Still Life, which is part 4 of Foundations in Photography. This part of the course has opened up my creative potential. I made a sensory collage, just for fun, out of materials left over from the emulation exercise. Photomontage, collage and sensory collage all give me the opportunity to practice with lighting.

Lighting is the way forward. When I return from my travels I will look through my many books to find find photographers who inspire me, and who make creative use of lighting. I will then create some emulation based upon their work.

The piece I produced to emulate Laura Letinsky will be added next week when I return home.cof

Exercise 4.9 – Repetition

Brief:- Repetition of one image or very similar images, whether exactly the same or with slight differences in exposure, crop or image quality, elicits an inquisitive eye. Repetition emphasises the sameness and yet paradoxically indicates a difference. Andy Warhol used this strategy in his screen prints and photographs. In the image below, do you notice how the dog’s ‘stare’ becomes more insistant. Make a still life set-up of your choice, but you can use any subject. Try to emphasise your subject with the use of light. Aim to make around 20 photographs. Choose the best shot and process it to your liking. Now create a presentation of that one photograph that involves six to eight copies. Make some notes on the overall effect.

final

I found the repetition example used in the Foundations in Photography manual (face of a dog) to be quite uninspiring. To be honest I didn’t find that the dogs stare became more insistant. I would go as far as to say that it was full and unimaginative.

Because of this I was reluctant to produce a piece of work that was a simple replication of the initial image  Havin remembered Warhol’s series of Campbell’s Soup cans (a – Warhol, A; 1962), and some pop art posters of Marilyn Monroe, which were based upon his silkscreen canvas diptychs (b Warhol, A; 1962), I decided I would emulate these.

The most challenging aspect is beginning to understand how to use my speedlight. I used gels which cover the flash, but soon found that I couldn’t have them underneath, behind or in front of the camera. The effect was too strong even when the speedlight was on its lowest power output. The amount of light that each gel let through differed significantly, so I had to position the speedlight accordingly. Altering the aperture and ISO was necessary, and I’ve developed the images in Photoshop in order to remove shadows. I’m not comfortable with the speedlight as yet, and it would probably have worked better if I had an assistant with a reflector. Using a speedlight is a new experience, but it would have been harder to create the same result with a gel and light set up.

 

 

References

Warhol, A; 1962; Campbell’s Soup [Synthetic polymer paint on canvas]; Online AT: https://www.moma.org/collection/works/79809 (accessed on 07/11/2018)

b Warhol, A; 1962; Marilyn Monroe [Acrylic on canvas]; Online: AT: https://www.tate.org.uk/art/artworks/warhol-marilyn-diptych-t03093 (accessed on 07/11/2018)

Exercise 4.8 – Photomontage In Photoshop

Brief:- Now that you’ve seen how to make a photomontage with newspaper cuttings, search through your archive of images to make a photomontage with your own photographs. Photomontage requires a playful, experimental attitude to exploring different arrangements, so don’t try to be too ‘tidy’ or perfect about your final result. Decide on the different picture elements: the background, the different parts of the environment, objects different people in the environment. Think in terms of depth: fg,mg, and bg. When you’ve completed your photomontage, photograph it or save it as a finished image. 

Things That Matterphotosociology.wordpress.com

I’m surprised at how short a time this take me to complete. Just a few hours this afternoon. Clearly the practice of using Photoshop is paying off. During other pieces of coursework I have used Photoshop to create montages of differing styles, one was made from several hundred photos that I had taken of street art (here), and another which combined faces (here).

It’s been enjoyable for me to connect with what matters to me. It can be easy to get bogged down with some aspects of life, which become detrimental to others. The background picture reminds me that my passion is photography. It’s become a vital part of regaining my health. Macro photography helps me to chill, to forget the things which can disable me, and to help me get present. The two family members are amazing. We never knew each other until I neared the end of my twenties, it was a chance meeting. But we lost contact and then a real life miracle happened. L was robbed in the street and she flagged down a car, the driver took them home so the police could be called. My photo was on the mantelpiece. I’m so grateful to the man who robbed L. L and G are amazing, if you’re reading – I love you deeply. The gannet is representative of birds, nature, birdwatching and wildlife photography. How can you not love a bird? The car is flying – events photography – I love the action, the fast pace of photographic technique, pushing myself technically and creatively. I’m feeling very grateful as I join some of the dots of my life.

When I embarked upon Foundations in Photography I preferred Lightroom over Photoshop. I still find Lightroom to be my go to for digitally developing my photos. However, my personal creative development has had a seismic shift, by following other creatives blogs I have started to explore mixed media art and production. I have an exciting developmental journey ahead, and I need Photoshop for the development of my creativity.

Exercise 4.7 – Photomontage

Brief:- Juxtaposition in photography can be as simple as placing two photos side by side. But juxtaposition can also be said to happen within the frame in still life when objects are purposefully placed together. In photomontage rougher and often amusing juxtapositions result from sticking bits of pictures together. Have a look at the work of John Heartfield and Hannah Hoch to prepare for this exercise. Heartfield’s photomontage’s are politically charged images designed to express social ills: www.getty.edu/art/exhibitions/heartfield. For more advanced contemporary examples, search for Beaten Gutschow’s “S” series. Get a few old magazines or newspapers. Decide on a background picture – for example a large view of space or any place. Now add to it a figure, or at least the head and shoulders of a person. Now find some other images that you can substitute for the person’s head (for example a cabbage) or their eyes (telescopes) or mouth (a pothole). Stick them on the face. Photograph the result. As you can see, the process tends to result in bizarre combinations. But there is a deeper meaning to this process. By cutting and pasting fragments of images, you’re choosing how a picture should be made and offering an interpretation of the different subjects you choose. You’re also constructing an image in a way that would be impossible to construct in reality.

For this exercise I produced two ideas boards (seen here), neither of which I have followed through with as yet. Brexit is something which concerns me . IIa  a remainer, I value cultural diversity and I want to remain part of a wider European community. Regardless of my desire for Britain totremain as part of theEU, I feel that the current British Government is making a right pigs ear of Brexit negotiations. When I made the initial collage I had the intent of producing a mixed media image. My final two images include the handmade collage, digital editing I. Photoshop, acquired images from the internet, an uploaded photo, and the Photoshop text tool. I’ve produced two results, one of which replaces Theresa May’s face, as per the brief, and my preferred picture which doesn’t. Overall I’m pleased with the result, but I took far too long in Photoshop when turning the background white.

Original Collage

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First Draft

You Will Regret This Brexit Mayhem

Final (as per brief)

You Will Regret This Brexit Mayhem

Final (preferred version)

You Will Regret This Brexit Mayhem

I believe my montage makes a strong political statement, similar in nature to Heartfield, but Hoch had more of an influence. I like that she makes use of image and text, and the business of her collages were more appropriate for my chosen theme, than Heartfield’s minimalist approach.

Review – John Heartfield And Hannah Hoch

John Heartfield (1891 – 1968)

Heartfield, J; 1932; The meaning of the Hitler Salute Little Man Asks for Big Gifts Copper-plate photogravureFig. 1. The Meaning of the Hitler Salute Little Man Asks for Big Gifts (1932)

Initial Thoughts – Possibly a magazine cover or a poster. Hitler is depicted as a smaller man, with the benefactor behind him being so large that he fills the full length of the frame, with only part of his head in view. He is handing over large quantities of bank notes to Hitler. Allegorical – Hitler is a small/small minded man who is heavily dependant upon the generosity of others to have his position of power (note – inital thoughts based upon the assumption that hitler was already in power in 1932 – when in fact he lost the presidential election of that year (The History Place; 1996)). The brief is asking us to consider juxtaposition within the genre of still life photography, but more importantly, the aim is for us as students to learn how to take control of the images that we produce. Photomontage is a means which we can employ to become the director of all aspects of our creative output. We can arrange elements in any manner to enable us full expression of our ideas, whatever they may be.

The Dada movement was founded as a political protest against the “rabid German nationalism and Anglophobia that developed following Germany’s defeat in World War I. The Dada artists were closely tied to the revolutionary political struggle; ‘Use photography as a weapon’ was their slogan” (Mulligan, T and Wooters, D; 2016; pp524). Heartfield was a founder member of the dadaist movement, and the term ‘photomontage’ developed from the Dadaists. Heartsfield has turned Hitlers salute into a e plea for power and the resources to obtain it. A very simple image which carries a weighty message.

Hannah Hoch (1889 – 1978)

Hoch-Cut_With_the_Kitchen_KnifeFig. 2. Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch in Germany (1919 – 1920)

Initial thoughts – Complex collage that has made use of photo’s and clippings from many magazines and newspapers. I find myself feeling a little overwhelmed by the amount of visual information, especially as it relates to an era of which I know and understand little. It makes use of people, words, scenes, charicatures and objects. Although I cannot read the image directly from screen (too much to know where to start) I can see the creative freedom one can achieve with this style of art. I do have a copy in a photography book, so I will take some time to have a look over the scene in more detail, and to read what the experts say.

Notes from Fabian Knierim in Photography the Whole Story (2012); pp194

  • Hanna Hoch the only woman artist in first Dada Fair in 1920
  • Image portrays politic and social upheaval
  • Fragments taken from the press
  • People are from politics and the arts
  • Includes representatives of the old empire and left wing revolutionists
  • The revolutionists are shown as unifying Germany
  • The women are in dynamic poses representative of movement
  • The men are static

 

Illustrations

Figure 1 Heartfield, J; 1932; The meaning of the Hitler Salute:: Little Man Asks for Big Gifts [Copper-plate photogravure]; AT: http://www.getty.edu/art/exhibitions/heartfield/salute_zm.html (accessed on 19/10/2018)

Figure 2 Hoch, H; 1919 – 1920; Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch in Germany [Collage]; AT: https://en.wikipedia.org/wiki/Hannah_H%C3%B6ch (accessed on 19/10/2018)

References

Knierim, F; 2012; Cut With the Kitchen Knife: Dada Through the Last Weimar Beer-Belly Cultural Epoch in Germany; IN: Hacking, J and Company, D; 2012; Photography the Whole Story; London; Thames and Hudson; pp194.

Mulligan, T and wooters, D; 2016) A History of Photography From 1839 to the Present; Cologne; Taschen GmbH

The History Place; 1996; Hitler Runs For President; Online AT: http://www.historyplace.com/worldwar2/riseofhitler/runs.htm (accessed on 19/10/2018)

 

Exercise 4.6 – Using Layers In Photoshop

Brief:- Create a series of photographs that include deep shadow in much of the frame. You could achieve this by using a black backdrop or by exposing in high contrast light as in Part One Project 2 (Shadows). Choose about four final images. In Photoshop, place the images on top of one another and change the Blend Mode to Screen (removes the black from the image) of the images above the lowest image. Experiment with Luminosity and Color blending modes. You may also want to reduce the opacity of each image. Move them around with consideration for the sense of depth the image represents and try to create a final composite.

This has been an enjoyable exercise. You’ll be surprised to know that I followed the brief, and then deviated from it somewhat as well.

Lets begin with my favourite. For the first composite I have included three subjects that bring me pleasure, although for different reasons. They create a conflict of emotion for me as well, due to the negative impact that heavy industry and aviation have upon nature.

I broke from the brief for this, because I knew what I wanted to portray and the brief wouldn’t have got me there. The bottom layer was the bird, and I left the blend mode as normal, the second image is the coastal heavy industry at Tees Port, I altered the blend mode to screen, and the third is two aircraft from  Armed Forces day in Scarborough, in which I altered the opacity. To remove the backgrounds in the second and third photos I have used the background eraser and changed the brush to Kyle Spatter Brushes – Spatter Bot Tilt. These are free brushes that I had previously downloaded. I progressively lowered the flow and opacity with the brush to try to create a more natural look. The final image is very small because the birds eye was such a small part of the original photo. It’s far from perfect, but it still says something to me.

The Originals

The following two photos were made by following the brief, although I did find that I needed to mess around with the blend modes to get the effect that I found to be most effective.  I will show the originals first, in order from the bottom layer upwards.

The above is my favourite out of five different attempts that I made from the same three photos. The church and the blue background appear as if they could be a stylised satin wallpaper. The bottom right looks a touch messy, but you know what, I like it. It has a surreal and smokey feel and the colour blends in with the blue. The difficulty was removing the obvious line over the vase, from where two layers were not aligned. I can’t remember which brush I used, and It hasn’t come out to bad here, except for the area below the vase.

Layer 1 – Blend mode:- Dissolve, Opacity 100%, Flow 100%. Layer 2 – Blend mode:- Pin light, Opacity 100%, Flow 100%. Layer 3 – Blend mode:- Darken, Opacity 59%, Flow 100%.

This hasn’t worked as well. Although it isn’t obvious that I have blended the edge between two layers, it is clear that something has happened. The brush was meant to disperse and weaken the edge, which it has, but not my best work. If I could have somehow blended that edge more proficiently then the overall quality would have been pleasing.

Layer 1 – Blend mode:- Dissolve, Opacity 100%, Flow 100%. Layer 2 – Blend mode :- Linear dodge (add), Opacity 100%, Flow 100%. Layer 3 – Blend mode:- Darken, Opacity 33%, Flow 100%.

A great exercise and one that I am very pleased to have given a go. It’s interesting to notice how I have developed with layering in Photoshop. More practice required, but I will feel better equipped and more confident with experimenting in the future.

 

Exercise 4.4 – Patchwork

Brief:- Make a series of photographs of textures and colours, objects and forms. These can be close or wide shots of essential things like clothes, bricks, bark, grass, sky, etc. Try to render everything ‘abstract’ or not entirely recognisable by altering your viewpoint. Reduce the file size of the images. Save As…JPEG. Image Size > 1500 pixels. Place the photographs together in a grid. Aim to make a composition of at least nine rectangle or square images. Consider how the colours and textures, objects and forms work together and as a whole. Which pictures seem closer and which appear further away? Which colours stand out and which colours (or tones) recede? Save the arrangement with a different file name; call it Patchwork_1. Now remove one of the photographs that appeared distant. Put in its place a photograph of a distant person. Remove one of the photographs that is close, a near detail. Put in its place a photograph depicting a close-up of the same person. Save it as Patchwork_2. What has happened to your interpretation of the finished picture?

4.4c

The pictures which feel the closest are the banana’s, and then the lower two on the right, with the stairwell and plate at bottom centre feeling furthest away. Colour-wise I would have to say that the banana, the wall centre left and the wicker on the centre right stand out the most, with the mirror at top left and diamond at bottom left less so. I find it harder to pick with the colours, because I find that they all have an impact upon me, other than the diamond at the lower left hand corner.

4.4d

The second part of the brief requires to replace near and far photos with a close-up and distant portrait. I’m quite surprised by my reaction. I don’t find that the mosaic works with the near shot image of the man in it. Perhaps it has to do with the cooler colour temperatures, or maybe it feels to impersonal by using a photo in which he is looking away from the camera. There is a positive aspect as well though, and that’s that he ties the objects/scenes together. They could easily be seen as aspects of his life, and I have seen patchwork presentations which have that sole purpose.

The course material that I am using doesn’t make mention of including a portrait to replace near or receding parts of the patchwork, I only discovered this whilst copying and pasting from an earlier word version. So I had already messed around with the photos that I had chosen, trying a few arrangements. Here’s one that I also liked.

4.4a

 

Exercice 4.2 – Constructed Imagery

Brief:- Traditional still life presents a small-scale space to explore constructive photography. But still life doesn’t have to be bowls of fruit and vases of flowers. You can place any object or combination of objects in any setting. And both can be constructed. It may be useful to think of still life as having two key elements – object(s) and setting – and go wherever your imagination takes you with them. Setting/background Choose a space that you can work with over time. You don’t need the traditional wall and table yet, just a cleared space. What does your space present you with? A wall? A floor? A corner? Put your camera on a tripod and aim it at this empty space. Now add to this space one large flat object. It could be a sheet, a painting turned back to front, an up-turned table or a large piece of paper stuck to the wall. Don’t place anything in the middle of space to act as an ‘object’ but rather compose your setting with surfaces, colours and textures. Have a look in the viewfinder. Note every element in the frame: the way surfaces create angles, lines, shapes and planes the way planes create a dimensional ‘space’ the effect of different lighting on this setting. Take a photo. This should be an entirely artificial, constructed image that could even ‘defy gravity’. Objects Now choose a simple object and carefully place it into this composition. Avoid clichéd objects. Take a photo, then remove the object. Replace it with another object, something very different. Place this object in such a way that it’s not emphasised. (Did your first photo emphasise the object?) Take a photo. Now fill the space with a lot of different things (mattresses, furninture, crockery, books, plants, anything handy) and try to create an entirely constructed ‘environment’. It may be very messy, but it should depict a ‘place’ with an identity that only exists inside the frame of your camera.

I shall start with my favourite photo first.

Exercise 4.2 Constructed imagery

I had planned to use my ceiling as the space, and hang objects from it with thread, and something I intend to try in the future. I don’t have the energy to attempt complicated right now, and I need to make some progress, so I have returned to earth.

The brief is self explanatory, so these photos demonstrate the progress through building a scene, and make use of gels with a speedlight to see how colour effects appearance and mood.

The process has shown me that it is possible to create a “set” as it would be called on stage or in film, and that a set is limited to our imagination. One of the main points of the exercise is to help us to see that any objects can be used as setting or object for still life photography. The learning point that I will be taking from this exercise is to think outside of the box. Laura Lentisky’s use of magazine photos which she has cut out, and my initial idea of using are alternate objects and settings. Perhaps it’s about going with the flow, trying something and allowing it to succeed or fail.

Having been put off of still life, based upon what I had learned at seen at school, I’m surprised to have made use of flowers and a vase for my more creative exploration. They were, they were available. But hey – I got to play, create, explore and make photos, and right now that’s just what I need.

Exercise 4.2 Constructed imagery

Exercise 4.2 Constructed imagery

Exercise 4.2 Constructed imagery

Making use of a speedlight is new to me, and it will take a while to get used to. I haven’t found it to be especially useful here, although I quite like the second-last photo above. The directional lighting, which I had covered with a gel, has created the drama that I had hoped for. The way that coloured light impacts upon a scene and objects within it is quite obvious from the above photos. However, I’m still drawn to the red tinged photo above.

Exercise 4.5 Layers

Brief:- Most imagery contains layers of some kind: subject and background, f/g m/g and b/g, for example. In this exercise you’ll experiment with ways of making layered imagery in your camera. In the following exercise, you’ll experiment with using image layers in Photoshop. Look out of a window from inside and make a photograph that includes all three of these elements:

  • foreground detail in front of the window
  • a reflection of something otherwise unseen in the window
  • background environment on the other side of the window.

Consider the light carefully. If there’s a dark area on the other side of the window, it will help the window act as a mirror for an illuminated object inside. It may be best to shoot in the evening or at night to achieve this, but then you’ll have to consider the balance of exposures between the inside and the outside environments.

Having fun exploring layers

Guess who followed the brief fully and completely? I have had so much fun with this exercise. I took all of the photography whilst I was on holiday in London, and tried to find situations where there were multiple layers within the frame. Here are a few of my favourites. These have been through Lightroom for re-sizing and auto-colour neutral only.

Exercise 4.5 LayersOne of the most pleasing aesthetically for me, and additional layers are created by the multiple frames from within the shop.

Exercise 4.5 LayersThe reflection in the window that I am looking out of, a secondary one in the other coach’s windows, and them the layers through the bus station into the car park beyond.

Exercise 4.5 LayersThis one plays tricks with my mind. What exactly am I looking at? Whats outside and whats a reflection from the inside of the bus?

Exercise 4.5 LayersThe repeated reflection, and difference between mirrored reflection and glass reflection is appealing to me, along with the colours.

Exercise 4.5 LayersThe glass cover of the escalator provides a view through to an indoor shopping centre, which is all glass. But what really makes this are the reflections of St Paul’s Cathedral. The dome is enlarged at the bottom of the frame, with a smaller reflection which shows more of the tower in the top of the frame.

Exercise 4.5 LayersEek – Confusing

Here are a few others