The intention behind this series was to create a simple documentary of a day out, but to shoot the photos from a kneeling position. Using a crutch makes photography difficult to do whilst standing up, so I thought I could make use of the need to kneel by exploring the altered perspective. I will write a further post to write about what I’ve learned about this, and to discuss the difficulties I’ve had with white balance and digital developing.
Of note, I felt reasonably comfortable whilst making the street photography for this series, which is an unusual experience for me.
It’s such a relief and joy to have spent more time with a camera in my hand recently. Since coming out of hospital my energy and physical health have lowered opportunity and motivation to take my cameras out with me. Canary Wharf was the first Photography trip, and I’ve been out recently as well.
I’m getting used to my camera, settings and operation again. However, I feel my “eye” is good.
Here’s a couple of recent photos, taken on my Olympus OMD EM10 MK III
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.
Richard and Action Man would like to wish you all peace and joy. May you be well, may you be free from suffering and the causes of suffering, may you be happy and have the means for happiness, may you live with ease.
Cork is one of the most beautifully decorated cities that I know. They really go for it with their Christmas decorations.
Action Man and I took a walk this morning so that we could enjoy the lights.
Some of the shop window displays are truly wonderful.
Brief:- In this first exercise, you’ll use fragments of still life images to create a combined design. Arrange a still life set-up that includes a background (preferably an ironed white or black sheet) and three distinct objects. It would be helpful if at least one object was sized at least 0.5m or you’ll be photographing everything in macro. Use either sunlight from a window or one single source of electric light to cast shadows and bring out the 3D form of the objects. Photograph around the objects, both close and wide shots, not all from the front. Capture the edges and the lines of the objects as well as defined shapes within them – for example the sound holes of a violin. Capture edges where light and shadow create a sense of depth or recess. Take pictures of the textures and colours of the objects. Think of this project as collecting impressions and perceptions of these objects and let this guide your camera. You’ll need approximately 20 well-exposed images.
The idea behind this exercise is to imaginatively combine the different photographs into a single conclusive design. Have a look at some Cubist paintings and sculpture as inspiration. Notice how one object blends into another and how different viewpoints of the same object co-exist in surprising ways. The classic example of this is Picasso’s combination of the front and profile of a face, as in Weeping Woman, which you can see on the Tate’s website. Then look at Brendan Fowler’s Spring 2011 – Fall 2012 on the New York Museum of Modern Art (MOMA) website, which attempts similar arrangements with photography. Combine the photos by arranging prints or by using Photoshop to assemble the images as different layers. Cut the images and choose only fragments of each image, matching up lines so they flow and placing shapes in meaningful juxtapositions as defined points in the composition. You should find the composition grows into a large picture. When you’ve finished the design, photograph it or save it as a finished picture.
The final result is not as good as I would have liked, and I certainly could go back an rework this photo. It doesn’t fulfill the brief in relation to cutting and layering parts of different images to combine shapes and planes.
What it does do is make use of parts of three different photos, which have been shot from different perspectives, using the same single light source and turned them into a fourth photo. It hints at the kookaburra being created out of the shadows of the other subjects. I followed a YouTube tutorial on pixel dispersion to mingle the shadow from Action Man with that from the first kookaburra. It took a while to get used to, and once complete I felt the image was somewhat flat. I decided then to make use of the third bird, to see if I could make it appear as if it was being formed from the shadow. The result is OK. Now that I have an idea of how to use the technique I could make better use of it in the future.
I haven’t followed the brief if you’re a purist, but I am pleased with my interpretation.