TODD HIDO/HAMISH FULTON INSPIRED EXPERIMENTATION SPECIFICATION/PLANNING

I wanted to move onto portrait photographs after looking at ones created by Bill Henson and Todd Hido. Who both used portraiture as a way to build on the narrative of the photograph, often their work is psychologically charged and designed to connect the viewer to their own experiences. I plan on using my brother Ryan as a model, in the past he has proven very good for taking photographs and his slightly mysterious persona and ambiguous expression is perfect for the role.

There is a particular mirror in my house which allows you to see the reflection of someone without actually seeing them. With the correct lighting I plan on creating eerie photographs evoking a sense of human presence which both Henson and especially Hido’s work convey. I also plan on using this shoot to convey a feeling of enigma, engaging the audience to think about the character in the photo and what might be happening within the photograph.

I plan on using a tripod and creating a long exposure shot as I will be using a very low light source. I have found blue Christmas lights which I will place above the staircase, meaning light will come and reflect our of the mirror. Using this type of lighting means i will have a lot of control over the amount of light in the frame, unlike when i have worked with natural lighting. I plan on removing distracting features from the frame such as paintings to leave the viewer more focus on the figure, lighting and the mirror.

I also plan on responding to Bill Henson’s dark and jarring portrait photographs. I plan on taking these outside using the built in flash on my camera and a very quick exposure time with a low ISO to replicate the dark and high contrast tones in Ryan’s complexion, this will also mean I don’t haft to worry about over shaky images that come from using a slow exposure. I plan on using makeup such as red and blue powder to exaggerate the fleshy tones in his skin.

Nocturnal HDR photoshoot

Similar to the previous shoot, I used a tripod and took a selection of photographs to create HDR photographs. For these night photographs I needed to take extra care when taking photographs as I needed to take photographs with a longer exposure, some as long as 8 seconds long to fully capture as much light as possible. Similar to the previous photographs I kept all of these at the same 5×7 ratio. Unlike much of Todd Hido’s work, all of these photos are in landscape as I found worked better with the HDR and the composition. Hido often works with portraits to creates sense of isolation and keep a single house in the frame, but I think working in landscape creates a more cinematic effect. Similar to Hido’s work I only used the light that was available.

In the first one above there was a variety of different lighting, the largest being from the two windows to the left. I wanted to capture the green tones from the window and the green walls which evoked a fairly spooky undertone. In the second, I wanted to retake a photograph I had taken before, which was taken in overcast daylight, making the image flat and mundane, the cool, low lighting contrasted to the warm light in the foreground made added a compelling effect.

These two photographs were the most difficult to take with many of the photos being out of place, meaning the HDR could not work fully, this being said I am still really happy with the results. I liked the composition of the first with how depth was created with the light from the glass door in the foreground, this being the brightest part of the photograph made it the first thing the viewer will notice, secondly the light from the garage added depth in the mid ground and lastly the natural light created a silhouette of the trees in the background. In the second I also like the two different light sources. The contrast of colour such as the yellow with the blue adds and interesting effect.

The two photographs above are the most interesting from the selection as well are the best at evoking a Todd Hido style of narrative. Considering composition, the high angle enables only the house and sky to be in the frame, creating an isolated, dramatic effect. Using HDR gave the first image a really interesting texture on the wall. On both photographs, the warm light contrasted the cool blue tone from the sky. The most intriguing part about these images is the light coming from the windows. In the first, the TV light created a low, purple light which reminded me of cinematic, 70’s style light, this also evoked a sense of mystery. Again with the second image, I like how there is only one window light on, which adds contrast and mystery.

Considering the exam theme and my starting point, the natural aspect comes from the low lighting and how it changes the whole ambiance of the image and how this affects the narrative and how the viewer feels towards the photograph. This is then added with the man-made structures and street lights, creating a harsher more dynamic effect within the environment. The last four photographs were a direct response to Todd Hido’s work with the subject matter as well as use of available lighting.

Night photography using HDR is something I plan on exploring more thoroughly in my work as well as using the light available within a scene rather then adding my own light.

Nocturnal HDR photoshoot specification/planning

After the previous successful shoot I wanted to explore the same area and challenge myself to make more HDR images using dynamic and dark lighting, similar to that of Bill Henson’s dark nocturnal landscapes. I decided to take photographs from a time beyond dusk where there was very low natural lighting and use man made lighting that was available in the scene to add intensity and narrative. After the previous shoot I noticed there were a lot of different light sources such as motion censored lights as well as lights from windows. Similar to the previous shoot I plan on using HDR techniques and multiple exposures to emphasize areas that lacked light. I plan on referencing Todd Hido’s work with his use of lights from windows and using the composition to isolate houses in the frame. I also plan on creating edits using the images similar to Hamish Fulton by adding text and filters over the image in Photoshop.

Theme 1: Water

Water


Based on my first shoot I have identified a theme that I am considering pursuing further. Water. Water is something that is an integral part of all environments, civisialiations are based around water, in the desert the only places that permanent communities are set up are are near to water. 40% of humanity live near a coast line [1] and throughout the rest of the population they almost all live near to some source of water. Human beings need water to be able to survive and so it is an essential piece of our environment. Living on a small island as I do my life is also more connected to the water than most people would be, I have spent my whole life around the sea, I feel lost if I am too far away from the coast. The world and places that I have visited seem incredibly far away and distant from other civilization unless they are near to the coast. It is incredibly difficult to explain but I feel isolated and alone if I am a distance from the coast, even if there are people all around me I feel like the community (village, town, ect…) are isolated and alone, unless the are near to the sea. There is a great degree of comfort that I gain from being near to the sea, this is probably linked to my family history, my Grandfather on my mother’s side was a fisherman and his father before him, all the way back for a long time. My mother also had these close links to the sea and drove me to this with a lot of my childhood being spent at the beach and out on the water.

There are many photographers that have used water as a part of their work. Although usually not the main feature there are some like Tanja Deman whose work has the water as a highly integral part of it. Her project titled “Saltwater” looks at the underwater environment is a kind of activism in response to the threat of oil companies wanting to start drilling in this coastal area. This would have been terrible for the environment due to possible oil spills and other contamination from the general process of creating these rigs and housing the crews. Her works usually have some focus on structures; buildings and natural structures and how humans interact with them. A particular connection is felt between her and the sea, in an interview with Süeddeutsche Magazine Deman talks about how closely connected she is with the water, she says that

“the sea has become part of my personality”

and talks about how the people who have lived in the same place as her for over 1700 years have their whole lives based around the sea; fishing and tourism being the main industries in the area make the connection between these people and the sea one of the most powerful connections. This is something that I was trying to go for with the first shoot that I did but it did not properly work out that way, it was difficult to show that kind of raw connection between people and the sea without taking images over a much longer time frame. This kind of time frame is not available to me for this project so I’m going to have to look at another way to explore the water.

Instead I’m going to look at trying some more abstract methods and concepts for representing water as an environment. Looking into the use of colour under the water would be a good way to study this.

  1. http://sedac.ciesin.columbia.edu/es/papers/Coastal_Zone_Pop_Method.pdf