Yay, I’ve just had a lunch date with a couple of friends and fellow artists. It’s done me so much good. I’ve come away feeling refreshed.
My motivation is high, and I’ve just finished the third piece of embroidery, but I haven’t had the energy to get out with my camera. However, I have been taking photos on my phone, which is keeping my foot in, and I’ve just been reminded of the value of smart phone photography.
My recovery has developed very quickly since August. Initially I was on a weight gain regime, then onto maintenance, and now I’m learning some flexibility.
My nutritionist agreed that I could try a new food this week. We didn’t specify what that should be, but that I could choose it on the day.
Yesterday I ate at East Street in Rathborne Place, just off of Oxford Street in London. East Street has a menu of many Asian foods. I chose a hot and spicy Thai chicken dish with Jasmine rice. Now that’s the kind of food I want to eat more off. It was delicious. The service was quick, friendly and accommodating (I changed tables because I felt a draft where I initially sat), the food was tasty, and the restaurant was stylish.
I needed some new clothes, and purchased a fab pink jumper and matching pink shirt, pink really suits me, but my real self-care was buying a bath bomb and soap from Lush.
This was a reward for me having the courage to follow my heart and move to London. The photo of the bath bomb isn’t good, but the bath was. I smell like a fizzy lemon. Truly lush.
It was cold and wet in London yesterday. Not my favourite conditions to be outside in, but there’s always a photographic opportunity if we seek it out.
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.
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 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.
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.
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.