I have been taking photos as I walk around London. These are part of my research for when I begin the degree in Photography with the Open College of the Arts.m. Square Mile is the first assignment. I’m considering shooting in The City and capturing the contrast between wealth and poverty.
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.
One of the most pleasing aesthetically for me, and additional layers are created by the multiple frames from within the shop.
The 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.
This one plays tricks with my mind. What exactly am I looking at? Whats outside and whats a reflection from the inside of the bus?
The repeated reflection, and difference between mirrored reflection and glass reflection is appealing to me, along with the colours.
The 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.
I really appreciate all of the kind words, wishes and comments upon my last post. Since returning home I have rested deeply, and haven’t checked WordPress nor Instagram, I’ve allowed myself to switch off, and build my model aeroplane.
Although I am feeling better than I was I’m still very tired. Getting checked up by the Dr has confirmed my blood pressure is low and that the anaemia has worsened, which are as a result of anorexia.
I am going to take my time in replying to people’s comments over the next few days, and although I wont be able to catch up with your past posts, I will endeavour to read current ones as and when I can.
The good news is that my referral to the eating disorders day centre has gone through, funding has been approved, so fingers crossed that they will accept me. In the mean time I increased my calories again on Saturday.
Here are a few photos of reflections that I took whilst in London. I came to realise that central London could easily be known as The Glass City. It’s everywhere. It was useful preparation for one of the exercise coming up in part 4 of Foundations in Photography. There is a Starbucks very close by, which meant that I could recharge my lapstop whilst I was having a break.
The brief asked us to produce a series of photo’s that reflect a piece of written material, and I completed this with my own photography earlier in the coursework (seen here). Having previously read ‘Behind The Image: Research In Photography’ By Anna Fox and Natashe Caruana (2012) I had started to make a photo archive which includes my own photography, photo’s purchased from EBAY and second-hand shops, and photography and articles from newspapers and journals. Creating the archive reminded me of the montage produced by Gerhard Richter’s series Atlas (seen here), in which he makes use of newspaper photo’s and sometimes overlays text from those same papers.
Initially I was attracted to Richter’s overpainting, and my first response to Atlas was quite negative, it wasn’t something that I liked. However, over a period of time this has grown upon me, and exercise 3.5 gave me the perfect opportunity to try something different.
The process of selecting which photos and text to include required me to experiment with which worked together on each individual plate, and then create a layout that symbolises the line(s) from the poem (signifier). For example the presentation ‘what is this life if full of care’ (below) is about connections and networks that we create throughout our life and create value for each of us.
‘No time to stand beneath the boughs (below) is a reflection upon how precious life is, and that it will end in death – let us enjoy the life we have by slowing down to appreciate it.
Some of the photo’s and text were cut carefully, and others I tore from the newspaper, I wanted to see the effect of each – my structured mind has resistance to having torn edges, and layouts that are not aligned. The non-aligned layouts work, it creates a scrap-book style, and the torn edges are effective as a physical collage, but this comes out poorly in the photographs of the art.
My aim was to create light box style digital images from the pastiches, and although the process for doing so takes just a few steps – Lightroom, set white balance the same in each image, adjust clarity, contrast, vibrance and exposure to create brightness in the text and pictures, adjustment brush up to the edge of each text/photo – increase exposure to maximum (bright white background). This sounds simple, however auto-mask was tricky for images with a white border and without auto mask the process was time-consuming. The process wasn’t 100% accurately even when I followed up with the auto-masked erase brush. Consequently I was left with some digital artifacts around the edges. They have been removed or altered in some places by exporting to Photoshop and painted out.
Relationship to current photographic trends
There is a lot of talk in relation to how the digitization of photography and the excellent cameras in smart phones, along with social media, have created a situation in which photographs are taken with ease, shared almost instantly and then deleted or never seen again, and only printed on very rare occasions.. The reaction by many professional and academic photographers has been to focus upon the materiality of photography by printing, creating photobooks and making use of scrapbooks and albums to store and present photography. I am in agreement with the argument and have begun to print my own photos, make photo-books and use appropriated images.
However, I don’t think the argument is as simple as it appears. The digitization of photography has meant that old and damaged photos have been saved by uploading them and digitally removing scratches and marks, adding colour, and creating archives or new print’s. There is a saying ‘What goes on the net, stays on the net’. What this means is that if I or you publish a photo on the world wide web, there is always the possibility that it remains as a record that could be permanent even if I delete it. As soon as a photo is published on-line it can be copied, downloaded for individual or collective use, re-posted in a positive manner, or used to troll and embarrass. Deleting my original post in no way guarantees that it has been removed from the web. My creative process has been a representation of this, and a rejection of the view that physical photos are the only ones with intrinsic value.
Although I created the collages as a physical piece of art, once I had created and photographed them I removed them from the white card and returned them to my archive. Yes I can recreate the physical object as a permanent record because I have kept the photo’s and text, but right now, none of these plates exist in the material form. The only places that these exist are on my hard drive and online. The digitization has provided me with a permanent record of the art I have created.
As mentioned previously, the use of the adjustment brush, which was necessary in order to achieve my objective, has left digital artifacts. You can’t see them unless you zoom in very close, but I can, I know where they exist. The use of WordPress slide show is the correct presentation for this sequence, however it isn’t possible to adjust the caption text colour on a free site. This meant that white text on a white background left the text unreadable. I have had to return to Photoshop and include a layer the length and position of the caption on the slide show, dark in colour, with reduced transparency, so that the text can be read. It works, but it is not how I want the presentation to be.
What an enjoyable and interesting project this has been for me. I love photography, so much I cannot express it enough in words. Becoming more involved with photography has increased my creative drive, and this has freed me up to let go of some of my rigid thinking so that I can explore and express myself with other media. Despite the challenges of the adjustment brush, technically this has been straight forward, creatively it has felt powerful and dynamic, but again very simple.
This has been my first attempt at working with these materials and this genre, and there is room for improvement. The photo’s in each plate work well with each other, but tI haven’t created a consistent sequence photographically, and wouldn’t be effective without the captions. Leisure is my favourite poem, and the words create a strong narrative, in future I can strengthen this by using photographs which connect from one plate to the next.
You know what – despite the imperfection (my perfectionism may be easing? Or that inner critical voice may be becoming a touch kinder?), I am pleased and excited about what I have produced.
I’m so pleased that I am now going out into the sun, walking to the cliff’s and I am going to stand and stare.
Fox, A and Caruana, N; 2012; Behind the image: Research in photography; Switzerland; AVA Publishing SA
Brief: – A narrative sequence – a narrative sequence can be like a story board or comic strip that tells a story in a series of images. The story may be mysterious or humorous like Duane Michals Things are Queer (1973). It can be a fleeting moment or a monumental event. But there’s always the sense of time passing and an event unfolding. Research the sequences of Duane Michals online. Use your own life and work experiences as a source for ideas. Or use your dreams. Here are some key elements to think about: Event – Your aim here is to express a situation or event. Perhaps it’s something you’ve noticed, like someone sneezing in the high street or two people arguing. You don’t need to encapsulate war and peace. People – It will almost certainly involve people who will need to be rehearsed and directed like actors. But they can be themselves, they don’t need to pretend to be other people and they don’t need to be actors. Try to just let them be themselves and see what kind of images you get. If that doesn’t work, ask them to think about a memory which reflects the one you’re trying to portray. Setting – Every event has a setting. it happens somewhere. So think about places that would be accessible and telling. If you can, use environments that you have access to, like your workplace, your home or back garden. Props – Objects you use are important for setting the scene and expressing meaningful and narrative points about the situation.
At this moment in time I find that I am not able to work with people for this assignment, and although I am submitting this, I will also be submitting a staged photograph as well.
Birds and bird photography are a life-sustaining and nurturing part of my life. They have long brought peace to the overwhelming mental chatter that has impacted upon my ability to function. Since I have had a camera, bird photography has been a safe haven, a meditation and a means of feeling and expressing joy.
This narrative is more important to me than my previous post of the moorhens. By making use of three different species there is a stronger impact demonstrating that the creation of life is a universal phenomenon, rather than an individualised event. It is also symbolic of my process of transformation with regard to my mental health. Building a nest is creating a safe community, incubating the eggs is the experience of hope, glimmers of potential, friendship, love and kindness, and the goslings are the foundations of manifesting and developing possibilities.We all know there is still a lot to be done to move towards maturity at this point.
My gosling is the passion that has developed within me for photography. It has been a life changing experience which has enabled me to face anxiety about being outdoors, and helped me to get out of my home at a time when it was too overwhelming for me to do so.
There are no people involved in this narrative, and the shots that I made, were spontaneous rather than planned. The planning has come from the process of digital developing and personal reflection. My narrative may not fulfill the brief in relation to people and planning but I believe that it’s strong and just as valid as if I had made the photo’s according to the brief.
Symbolism is an important part of photography. Discussions with my tutor with regard to the work of other photographers, and my own photography in relation to society and mental health, have helped me to begin considering how I can make more use of allegory in the work that I create.
Personally I believe that all three photos are good but the strongest is of the mute swans. They were in the process of changing which was one of them was incubating the eggs. The way the new sitter is staring at the eggs and making sure that they are all there is evocative of the value of life. I guess it means so much to me because I have not always felt that value, so this photo brings up both sadness and joy for me.
As always feedback/critique are welcome upon my reflections and the previous post with the photos.
This is a scary one for me because I am going to need to make this a self-portrait. As you are aware I do not have anyone that I can work with on this, and although I had initially considered working with one or two people who I know who are homeless, my mental health currently leaves me unable to approach people.
I have anxiety about revealing myself, so I am going to build upon my tutors feedback with regard to assignment two. She suggested that I explore identity by making portraits of people and by using masks where possible.
The brief is quite specific about what a formal portrait is, and I am choosing to break away from it a little, otherwise I will not be able to complete the exercise. I hate my face right now, so I cannot create a formal portrait of myself in which my face is revealed, it wouldn’t help my mental health.
So I am going to create a multi layered approach that will include the use of masks, clothing, and current books and camera, to explore questions around gender identity along with practice representations of my current lifestyle. The use of masks will mean that I am breaking away from the brief and also respecting my needs with regard to keeping my mental wellbeing as well as I can.
The photos in this post are self portraits that I have taken in a manner that I can cope with sharing with others.
My views shall never be viewed as imposing upon the freedom of expression of other photographers.
I have the right to make and produce photography according to my personal ethics as long as:- I do not invade the privacy of others, understand and respect what constitutes public and private property, according to the law of the country that I am in, respect that minors and vulnerable people cannot or may not (vulnerable adults) be able to offer informed consent, is not defamatory, does not cause breach of the peace.
Responsibilities and reflections
To review the ethics of my photography on a regular basis
To understand that photography involves the photographed, the photographer and the viewer.
Photography is not a “one off” experience. It can be viewed over centuries. This means that the interpretation of a photo is not fixed and does not conform to the intended aims of the photographed and photographer.
To ensure that the photographed understand both the permanent of a photo and the transience of its meaning and hoped for impact.
To question as to how to best achieve the desired outcome for the photographed and myself.
To know that I am embedded into my own socio/economic/political beliefs. Genuine neutrality is never a given in any situation.
Editor’s and curators change the meaning and impact of photography to suit their own needs.
Organisations can use anyone’s photography as a means of propaganda, it’s a simple as an addition of text or juxtaposition with a conflicting photo.
Copyright is only a legal definition of ownership for commercial purposes.
Ownership of photography can never be a moral truth. With photographed, photographer and viewer all having a determination in the use of photography then there cannot be an owner.
Reading the opinions of photographers and photography critics is my most valuable tool for reinforcing or changing my understanding of photography and my motivations.
Being clear about my motives and ethics frees me up to enjoy making photography and to explore the potential benefits to others.
I make photography first and foremost for me, and that’s why reflection is important.