Below is the contact sheet for my 5th photo-shoot:
GREEN: box = final image, tick = possible final image RED: line = rejected image, E = over/under exposed, F = poor focus, C = poor camera angle
I will be using the first image of the dress as a possible front cover for my book, and so the editing process for this image can be found in my Book layout experimentation blog-post.
GREEN: box = final image, tick = possible final image RED: line = rejected image, E = over/under exposed, F = poor focus, C = poor camera angle, S = subject in wrong position
GREEN: box = final image, tick = possible final image, squiggle = unsure RED: line = rejected image, E = over/under exposed, F = poor focus, C = poor camera angle, S = subject in wrong position
After selecting the images I wanted to edit, I uploaded the images onto Photo-shop and began the editing experimentation:
For the first image, I increased the contrast of the image (causing the background to disappear, which was also the desired effect). I also changed the colour to monotone in order to draw attention to the overall texture and shapes, rather than the colours of the image.
I further increased the contrast of the image, and used the lasso tool to cut certain areas of rougher skin, placing them on the knuckles and using the eraser tool to soften the edges, to give the knuckles a slightly bruised effect.
Above is the final image. I feel like the bruising represents a tougher, more masculine approach, whereas the rings on the finger indicate that the subject is female. These 2 contrasting concepts, along with the hostile position of the hands, represent a move from traditional femininity towards masculinity, with the bruised hands representing defence of ones self.
For my second image, I decided to make a statement about a merge between femininity and masculinity, focusing on the delicacy of masculinity (taking inspiration from Phoebe Jane Barrett’s work)
For this image, I used the selective colour tool to increase the brightness of the white in the background. After several attempts I was able to present the background as completely white, which was the desired outcome for the image. I also increased the contrast of the image to show the contrast between the different colours of glitter, and the harshness of the metal on the spanner.
I feel like this final image gives an obvert example of the merge between feminine and masculine qualities, with the simplicity of the glitter providing such a contrast to the masculinity of the tool. I feel like this is a good example of just how strict society can be when it comes to the presentation of gender, as even a change as small as glitter creates a completely different opinion within the viewer when judging the object.
For my final image, I used the same process as the image above, increasing the contrast of the image, anodising the selective colour tool to reduce the pinkness in the hands of the subject (to keep the continuity of the colour scheme). Below is the final image:
I feel like this image is a simple yet effective rebellion against gender norms, as the masculinity of the subject is shown through his jacket and can of beer, and yet the inclusion of painted fingernails warps the view of the viewer when looking at the image, and they judge the subject based on this one small break from their understanding of gender and masculinity.
In order to come up with the final layout of my photo-book, I experimented with different sequences, arrangement, sizes and shapes of the images within the book in order to create a layout which reflected the concept and theme of the images. I started with arranging the images into a sequence that I felt best fit the narrative that I was trying to achieve, and the process involved the following.
In order to begin the process of editing my book together, I uploaded my final images into Light-room. I then used the Book template in order to layout my images in the series I wanted.
This is the layout of the book using Light-room
In order to layout the pages in a series that presented an appropriate narrative, I experimented with a series of layouts and narratives in order to best present the images. I decided on my narrative, which would use the images to present a story of both liberation and rejection/judgement/denial. I would use the images in order to show a story/progression of internal conflicts within someone struggling to express their true gender identity (which goes against the stereotypical gender norms of modern time). I wanted to use the images to present an internal conflict, and in doing so would use a narrative that jumps backwards and forwards from suppression and negativity, to positivity and liberation, while constantly presenting an overall theme of how gender identity is influenced by, and how it influences, the world around the individual, as well as all aspects of their life.
The above spread includes 2 images which work together ti give an example of the liberation of gender identity. It makes use of confident rebellion against gender roles, and the rejection of traditional gendered objects (makeup). This spread is used as an example of the positive things that can come from being ones self, and expressing ones self and ones gender in a way that feels comfortable, regardless of how uncomfortable it makes society.
The above spread contrasts the first example, as here, the images are used to show the struggles of gender expression, and how rejection, fear, and judgement is part of the daily lives of those who decide to express themselves openly with their gender (which perhaps opposes society’s requirements for gender expression). With these, I have used a black background, as I feel is compliments the images the most, but it can also be used to represent the oppression and “darkness” that the subject in the image suffers as a result of the conflict they feel due to their gender expression.
I experimented with adding double page spreads to the image as well.
I also used double page spreads in order to draw maximum attention to the image. I decided which images to use on double page spreads based on the detail within the image, the concept of the image, and took into account whether the image was initially taken in portrait or landscape. I decided that I would use landscape images for double page spreads (in order to cover the page fully), and would use images that evoked emotion and had enough detail to allow the viewer to occupy themselves with the visual aesthetics, along with the concept of the image.
I soon found that my book was following a narrative of 2 types of stories; one following a rebellion against gender norms, and the other following the suppression and repression of individuals forced to follow these norms. I felt that these two concepts contrasted and complimented each other perfectly, and my narrative allowed for the viewer to be led through each of the stories, processing information as if they were directly involved in the mental and physical stresses, pressures and liberations of the subjects in the book.
I experimented with different possible images for the front cover. Although I felt like the above image was appropriate for the front cover and would work to draw the attention of the viewer, I realized that the image did not work as a cover, as the subject would be folded over the left side of the book onto the back cover, and I found this to retract from the shape and presence of the image as a whole (I felt that the image did not sit right on the front cover due to 1/2 of it being folded onto the back cover).
For the above image, I experimented with using this image as the front cover. Although I like the way the starkness of this image looks as a front cover, I feel like using a single image to wrap around both the front and back would allow for continuity across the 2 pages, and would allow the covers to flow better.
I then found that I needed to create an image for the front cover that was separate from the rest of the book. I looked to find a simple image that related to the theme of the book, and decided on photographing the dress that reoccurs through the images within the book:
The above image is the result of the photo I took of the dress. I took the photo from a birds eye view in order to show the dress as flat, which would fit as the front cover as a book well.
I then decided to put the front cover in monotone, as I felt like this provided a more passive, simple cover that would not draw attention from the title.
I also used the spot healing brush tool to remove the dark shadow in the left top corner of the image. I did this to keep the cover flat, as I was able to remove the depth from the image.
I decided on the above as a final cover image, which was a separate image not included in the book itself, but taken from the same dress material as the dress that reoccurs within the book. I feel like this added a layer of continuity to the book, as although the front cover is more simple and less detailed than many of the images (which allows for space for the title), it follows the same theme as the rest of the book, and is a representation of a reoccurring pattern that can be found in multiple images within the book.
I then moved on to the title of the book. I had decided to use the title I had experimented with in an earlier blog post “Liquify”, as I feel that this is a simple analogy for liquifying the boundaries between gender norms, and mixing the 2 together to create a personal identity. I placed this title in a well placed gap within the pattern of the image, and experimented with fonts and colours to find one that best matched the theme of the book. I decided on a red for the colour, as a reoccurring bright colour within the book is a deep red, and I felt like adding this to the title would allow for continuity through the book.
I decided on using “Baskerville Old Face” font, as I felt that it gave a serious yet delicate appearance to the text, which I felt encapsulated both the masculine and feminine aspects of the book. I also located the deep red that I found was to be reoccurring throughout the book, and made sure that the title was coloured with the same red.
After finalizing the front and back cover of the book, I spent more time finalizing the sequencing and layout of my images. I decided that some of the images had been packed together, and I felt that by including more space between the images, breathing room would be freed up in order for the viewer to take in each image individually without feeling overcrowded. I also began focusing more on the sequencing of my images, with the reoccurring theme of applying, wearing and smudging lipstick and makeup presenting a theme throughout the book. I left some pages before and after bold images blank, as I felt some of my images were strong enough to work on their own with their own page. Below was the final result of my experimentation:
Here, I included a blank page as I felt the image was strong enough on its own, and including a second image would overcrowd the spread
I decided to boarder some of my images with a contrasting colour (e.g white background against a dark image) in order to bring them forward on the page, and to stop them from blending to the background.
I decided to begin the book using an image of hands, and end the book on an image of hands to show continuity. I included blank spaces and pages in order to show clear breaks between the images, and to make sure the viewer was not bombarded with pages of images without time to consider them individually. I showed the progress from fear to liberation and carelessness when it came to expressing individual gender identity and going against society’s gender norms, and I feel like my final layout represents this effectively.
A sentence: My project is about how gender expression and gender roles have changed and developed through time, and how individuals are able to liberate themselves and express their identities through non-conventional gender expression.
A paragraph: I will explore the relationship between people and their own gender identities, and the way they express themselves privately, compared to the way they express themselves to others. The book will focus on following how gender expression has changed and developed over time, and how, through the ages, what is accepted as normal and what is still considered abnormal and controversial has changed. The book will attempt to break the boundaries of gender identity, and show that personal identity can be both masculine and feminine, and the lines between the 2 do not have to be drawn so strictly. The book will also explore the danger of not being able to express ones identity due to fear of being judged by others, and the way that effects individuals.
Design: Consider the following
How you want your book to look and feel:
Front and back cover (normal card-based) – continuous image across front and back cover – title in the bottom right corner or across the middle – small writing – unusual but subtle cover image to make the book interesting and eye-catching.
Paper and ink:
Normal photo paper, minimal writing to give full attention to the images
Format, size and orientation:
I will use a portrait orientation for my book, as the majority of my images are take in portrait mode, and I feel this orientation best reflects the theme of my book.
Binding and cover
I am looking to bind my book using a common binding method, and will use one single image over both the front and back cover in order to express continuity.
Title
My title must include something to do with: gender, identity, expression, repression, male, female, liberation, sexuality, rebellion against the norm, society, individuality – examples of titles include:
“XXY” (including all chromosomes from both male and female individuals)
“FeMale” (both Female and Male highlighted respectively to show both sexes mixed together in the word)
“Fluid” (reflecting breaking from the norms of gender expression, and allowing for a more “fluid” gender identity which reflects the individual, rather than society)
“Liquify” (same concept as “Fluid”)
Editing and sequencing
I will be sequencing the images in order to covey 2 sides of the same narrative; the struggles and successes of expressing ones gender identity – I will do this from both “male” and “female” perspectives, and will be mixing the two more throughout the book in order to ease the viewer into the understanding that gender expression should not be defined by stereotypes and expectations of the sex of the individual.
Images and text
The book will focus more on imagery text – my essay will be incorporated into the book
For my 4th photo-shoot, I have decided to directly respond to my artists Cindy Sherman and Phoebe-Jane Barrett, by creating photography that overtly have their influence in them. My previous photo-shoots have all contained influence from these artists, however I felt that in order to best reflect the influence I have gained, I should attempt to recreate their imagery and concepts in my own way. In order to do this, I used a subject for the 2 different styles of shoot, conducted in the same place. The contact sheet can be seen below:
RED: line through: rejected image, S: subject in wrong position, E: too over/under exposed GREEN: tick: possible final image, box: final image
RED: line through: rejected image, S: subject in wrong position, E: too over/under exposed GREEN: tick: possible final image, box: final image
RED: line through: rejected image, S: subject in wrong position, E: too over/under exposed GREEN: tick: possible final image, box: final image
Both of the above contact sheets were created with the intention of developing images that reflected the overall style and concept of both Sherman and Barrett’s work, with the first sheet representing an approach to Barrett’s more emotionally driven, soft focus work that reflects the hardships of expressing the same gender identity as the one that is expected of you, and the second sheet making reference to Sherman’s bold, brash approach to gender stereotypes and the exaggeration of feminine features.
After selecting my final images from the contact sheets, I moved on to editing the images:
For my image in which I took inspiration from Phoebe Barrett, I initially cropped the image to place the subject as the centre focus, and to remove the edge of the image which captured the bedside table (I found that the darkness of this corner removed attention from the subject in the centre of the frame).
Selective colour setting, focusing on increasing the cyan shades in order to give a soft, almost washed out effect to the image.
I also increased the contrast of the image in order to show the contrast between the dark shades of the subjects clothing, and the light bedspread in the background.
I added a range of elective colour edits in order to perfect the washed out, soft blue hue that I was going for in the image
The above images show the ways in which I edited the colours of the image in order to give a overall blue/cyan hue to then image in order to soften the image and its harshness. Although Barrett focuses on black and white imagery in her masculinity work, I decided that the image would look better in colour, but still made efforts to stick to the overall soft theme of Barrett’s work.
Above is the final image from this part of the photo-shoot. I feel like it accurately reflects the concept of Barrett’s work, while not copying it directly. I have used this photograph to convey emotion to the viewer, with the bright, sparkly and outgoing attire of the subject contrasting their solemn, fed up look, as if to convey that their emotions and personality does not match the way in which they convey themselves to the world. I feel like this is an example of what the pressure of conforming to gender stereotypes can do to a person, removing their ability to express themselves freely, and thus they develop an emotionless, solemn outer shell, protecting them from society’s judgement. I feel like this is a very important aspect of Barrett’s work, and therefore I attempted to recreate this concept in my own photo-shoot.
I then made edits to the other part of the photo-shot, in which I recreated an image made by Sherman, reflecting the bold and brash gender stereotypes of women I the media, and making a satirical comment on how these features actually look. Below is the process of how I edited my final image:
Initially, I increased the contrast of my image in order to copy the very bold, striking colours of Sherman’s work, in which the high contrast oranges, blues, reds and yellows make her work recognisable and eye-catching.
In order to individually increase the contrast and tone of the hair (so that the hair did not come off in the same pink hue as the face), I used the lasso tool to copy and paste the hair of the subject onto a different layer, and increased the contrast separately to stop this from happening.
The above image has a background that did not match the subject in the foreground, therefore I covered the background with black, and cut the subject out in the foreground, below was the final result:
I feel like this final image accurately reflects the concept and theme of Cindy Sherman’s work. I feel like the pose of the subject is over exaggerated and fake, giving the image an overall exaggerated and satirical feel (which follows the theme of Sherman’s work). Furthermore, I feel like the extreme contrast within the image, along with the extreme and rough make-up, gives the image a fake and heavily edited feel to it, which in turn helps to reflect the same satirical, over the top reflection of female gender presentation in the media that Sherman reflects in her own work. Altogether, I find that this image successfully conveys the concepts and themes of Sherman’s work, while not directly copying it.
On top of these two images, I also experimented with some of the images I took that did not directly reflect the work of the artists I was studying, but I felt would suit the style and concept of the book regardless. Below are 2 of the images that I also decided to use, after editing:
I feel like the second image above also reflects Cindy Sherman’s work and concepts very overtly, although the colour scheme and editing makes this less obvious (although the attitude/pose of the subject is closely related to Sherman’s satirical approach to photography). The first image above is, however, more conceptual its approach, as it shows a subject presenting a huge, over the top smile, while makeup runs down her face. I feel like this evokes the same raw emotion as Barrett’s work, while visually presenting in a bold way (like Sherman).
The aim of this further experimentation is to re-edit my imagery in order to convey different conceptual representations of my work. I am going to be editing the images in a simplistic and minimalistic way, in order to explore my imagery following my projects aesthetic as well as taking a more contemporary route to manipulating my photographs, using photo shop to do so. Taking the original edit will allow a comparison to be created between the old and new, and doing this will hopefully make my imagery stronger and produce outcomes to which I will want to use in my photographic book. In addition, this will allow me to showcase my ability to creatively manipulate my work in order to create an intended effect. I am planning on taking my top imagery, which I believe could look better in a different variation, from a couple of my photo shoots that I have conducted and will produce two edits of the same image.
Experiment 1:
Original Edit:
In the original photographic edit of the hand and the pen, I used Lightroom to adjust the white balance, white, blacks, shadows and contrast in order to showcase detail on his skin and the pen, allowing contextual representations about my Grandad’s job and age to be illustrated. The simplicity of the edit allows the image to follow my aesthetic which has been upheld within my project. With this edit I am wanting to create a more contemporary approach as well as a black and white version of this edit.
Design 1:
Below showcases the steps I took in order to achieve the final effect. To start the edit off, I opened up the hand picture into photo shop and using the quick selection tool I selected the hand and pressed layer via cut. Then opening a new photoshop page, I placed this layer onto the document, duplicating this layer allowed this hand pattern design to be created. I then merged all these layers into one layer. Opening up the photograph of my Grandad at work and then I placed this hand layer onto, adjusting the size to fit the page (ctrl + t). I then turned down the opacity of the hand layer to around 40% which allowed the affect below to be created. Personally, I really like the way in which this final outcome looks as it allows the conceptual representation of my Grandad being a hard and dedicated worker within the finance industry to be illustrated, as well as showing how this hard work has been developed into his retirement. Visually, the piece is interesting to look at due to the busyness of the frame and the contrast of monochrome and colour within the composition of the frame.
Design 2:
Taking a more simplistic route which follows my projects aesthetic, I decided to experiment with this outcome in black and white. Using Lightroom I got the original image and made the it monochrome. I then looked at adjusting the contrast, shadows, blacks and whites until I was happy with the overall effect. I wanted the photograph to show clear detail on the hand, allowing a clear tonal contrast to be created, in order to conceptually represent his hard work and dedication to his work life which is illustrated through the formal element of texture due to his skin. I believe this is my strongest outcome as it clearly represents my intended concept of the project, as well as following the stylised features of my other photographs.
Experiment 2:
Original Edit:
For my next experimentation I decided to explore with the photograph of my Grandad getting ready in the morning as he looks into the bathroom mirror. I wanted to take a contemporary route in order to conceptually and contextually represent his age and inner thought. In the original edit I used Lightroom to adjust the white balance, white, blacks, shadows and contrast in order to showcase detail on his skin and the pen
Design 1:
For my first contemporary edit I decided to explore using the burn, smudge tools in order to create texture within the image. To achieve the effects simply went round the outline of the back of my Grandad and smudged him which represent decay and his age, suggesting retirement and his peaceful lifestyle. Adding to this I used the burn tool in order to blend the smudge and make it look more naturalistic. I really like the way in which the photograph edit has turned out as it clearly showcases conceptual and contextual representations through distortion of my subject.
Design 2:
In my next edit of the same photograph I wanted to stick to the same contemporary route. I decided to use the quick selection tool to cut out the face of my grandad. Then using the transformation tool I placed the face in the mirror, looking directly at him, and turned down the opacity making it blend in. Doing this conceptually represents a more intimate approach to himself and his lifestyle, it suggests how he is always criticising himself to do better in the sense of work. It also showcases how perfection has followed him through his lifetime. Personally, I really like this outcome as it showcases my Grandad in a new limelight which is more intimate and informs us more about him, however I prefer the aesthetic of the outcome above.
Experiment 3:
Original Edit:
In this original edit of a photograph inspired by LaToya Ruby Frazier, I wanted to produce another simplistic edit as well as a more contemporary edit in order to illustrate conceptual meaning within the imagery. In the original edit I wanted to have my photograph monochrome, to match the stylistic features of LaToya Ruby Frazier. I wanted to showcase the formal elements of detail, space and form, which was clearly showcased by the composition and the way in which I adjusted the structure, whites, black and shadows. I believe that this outcome is strong but want to explore with the photograph in colour to make a comparison.
Design 1:
For the colour variation of the photograph I wanted to make the image showcase the same conceptual and contextual representation as the monochrome version of the outcome. To achieve this I simply adjusted the sliders to the same as the other variation. I then slightly adjusted the lights and darks in order to showcase detail on their skin and still illustrate the sense of space within the composition. comparing the two outcomes, I much prefer the monochrome version as I believe the contextual elements of the work is much clearer in presenting itself, due to more detail being showcased and the closer links with the artist the photograph was inspired by.
Design 2:
Utilising the black and white outcome of this photograph, due to my personal preference, I wanted to withstand the simplicity of the outcome but add a more contemporary stylistic feature towards it. Simply using the quick selection tool I cut out both of my Grandparents and moved them slightly from their original positioning, allowing a black outline of them to showcased. Conceptually, I was trying to illustrate how their past is leaving them as they become older how their lifestyle habits have changed and how their personality is changing due to situational factors presented in their lifestyle today. Personally, I really like the way in which this outcome has turned out as it creates a interesting piece to look at through the rule of thirds and the subtleness of the black outline.
Experiment 4:
Original Edit:
For my final experimentation I used another photographer from my LaToya Ruby Frazier photo shoot. In the original edit I wanted to have my photograph monochrome, to match the stylistic features of LaToya Ruby Frazier. I wanted to showcase the formal elements of detail, space and form, which was clearly showcased by the composition and the way in which I adjusted the structure, whites, black and shadows. I believe that this outcome is strong but want to explore with the photograph in colour to make a comparison. My third edit will still follow the simplicity as I feel if I take a contemporary route to it, it will ruin the strong conceptual values the imagery holds.
Design 1:
For the colour variation of the photograph I wanted to make the image showcase the same conceptual and contextual representation as the monochrome version of the outcome. To achieve this I simply adjusted the sliders to the same as the other variation. I then slightly adjusted the lights and darks in order to showcase detail on their skin and still illustrate the sense of space within the composition. comparing the two outcomes, I much prefer the monochrome version as I believe the contextual elements of the work is much clearer in presenting itself, due to more detail being showcased and the closer links with the artist the photograph was inspired by.
Design 2:
For my final variation of this outcome, I took the black and white version of the edit, due to it being stronger in presenting my conceptual and contextual representation. I experimented with adjusting the hue of the photograph in order to make it have a more orange/yellow sepia tone which helps to emphases the contextual element of the time period they were raised which influences their lifestyle of the male of the house hold being more dominant. Although I like this outcome, I feel you loose the texture and detail on my Grandad’s skin which takes away from the conceptual elements.
Evaluation:
To evaluate these further exploration, I feel I have been able to successfully use Lightroom and photoshop to create image which take a minimalistic and contemporary route to producing conceptual and contextual elements of my photographs. I have been able to demonstrate my skills of using the different tools on photoshop and justify why artistic decisions where made in order to illustrate my photographs. Moving forward, the stronger variations of the outcomes, which follow my minimalistic aesthetic I will look at using and implementing into my photographic book, in order to allow the sequence of my images to flow my easier. To conclude, this further exploration process was useful in the sense that I have been able to make my outcomes stronger in representation.
How do Diana Markosian and Rita Puig-Serra Costa express the notion of family history and relationships in their work?
"If manipulation is the first thing someone thinks of in connection to photography, what does that say about the value of the photograph as a reflection of reality?" (Bright and Van Erp 2019:17)
The notion of family is a subject that has been thoroughly explored by photographers such as Rita Puig-serra Costa and Diana Markosian. My personal study is focused on my family's history; more specifically the story of both my parents and important events in their life which lead to me being where I am today. I have chosen to analyze Markosian because her project "Inventing My Father" contrasts directly with Costa's study "Where Mimosa Bloom" which I will also be referring to throughout this essay. I like the way Markosian explores the absence of her father in her life in such a personal and raw way. In her project she explores the absence of her father, which eventually leads to a reunion which she captured through images. The photographs along with the context she provides into her life, makes this project very interesting. Equally, I think the way Costa explores her family through the use of archival images and objects was very effective as it really conveyed a sense of love and importance of family.I specifically loved how her entire project was an homage to her mother as it further shows how fond she is of her family when paired with carefully photographed objects, a thoughtfully taken portraits. These two photographers were particularly interesting to me as I felt I could personally relate to both bodies of work. Due to my portuguese heritage, family is a of great importance to me and is valued highly in my family’s culture. However, my parents choosing to separate also led to the lack of a parental figure in my life which will be included in the narrative I intend to tell. In this essay I will be discussing the notion of family and relationships, loss and hope in the works of both these artists.
Realism is the concept of capturing things in their natural element. This genre of photography is most useful when trying to capture something such as family history, as documentary photography allows us to be able to see someone's real life situation through a photograph. Photographers such as Dorothea Lange and Paul Strand focused on documenting the effects of urbanization and industrialization on working class Americans. This was something very prominent at the time of this movement, as the great depression in 1929 left a lot of people struggling. We now see this type of photography as realism. I feel as if this movement fits in well with my personal study as it recognizes the importance of capturing raw, documentary style images which I think is important when exploring something as personal as a family’s history, especially when it involves immigration and the struggle surrounding that journey. Images of this sort are characterized by having a wide depth of field and having sharp focus which contradicts the pictorialist style. The movement away from creating a painterly aesthetic ultimately opened the door to a more forensic approach but also one that is open to distortion, manipulation and the notion of narrative. This will ultimately depend on the agenda of the artist, their integrity and skill in delivering a message, story or sequence of events.
Markosian’s “personal exploration” (Fiona Mackdonald 2019) can be seen as a non-traditional method of exploring the family concept. Instead of portraying a sense of happiness and love, which is typically associated with family relationships, Markosian chooses a more raw and honest approach highlighting how she grew up without her father figure and turning that into the foundation that her project is built upon. I believe this makes her work stand out amongst other artists exploring this same theme, since “the camera is an instrument of evidence” (John Tagg:1988) a certain truthfulness radiates from her images which goes against the dominating stereotype that every family is perfect, leading to more contemporary outputs that appeal to modern day people. This view is put across quite skillfully and subtly through the use of black and white images which puts forward a sense of emptiness since the monotone theme is often associated with despair. This means that the audience will be able to feel a sense of coldness and the lack of emotion, while also simultaneously feeling a surge of emotion through the scenes and objects depicted in the images leading to an interesting contrast that is highly effective throughout her work. The use of archival imagery is complementary to Markosian’s photography since by itself it would usually portray a sense of happiness, however with the context, it is instead replaced with a slight sense of resentment, especially the archival image showing her dad cut out
I believe the image above to be one of Markosian's best not just due to its impeccable technicality, but also because it is rich in context. This image shows a suitcase belonging to her father containing things such as undelivered letters, newspaper clippings, and a shirt he was saving for her brother’s wedding. This image is in black and white making it more emotionally detached yet since the objects are sentimental it creates an interesting juxtaposition, as it shows the photographer is conflicted over her feelings.I believe Diana Markosian represents a modern wave of photography where beauty can be found in imperfections, and still appreciated.
“where mimosa bloom” by Costa takes the completely opposite approach into the exploration of family culture. It becomes obvious that the entire project is very thoughtful and the audience can almost feel an overpowering sense of the love Costa has for her family. Although Costa focuses on the positiveness of relationships with family, I believe it is the underlying theme of her mother’s death which makes her work particularly stand out as she alludes to it in a respectful way, while also exploring important people, objects and places that play a significant role in her relationship with her mum making her work more original. This notion is put across carefully through many aspects such as a light colour scheme throughout the book conveying a sense of delicacy through pastel shades and also the metaphorical link to mimosa, a tree that blooms bright, yellow flowers in Spring, in Barcelona, where Costa is from.
This image is one which perhaps conducts the most emotion. In this double page spread we see Costa clutching a premature bird in her hand. Costa said, “When she died, I felt like a bird whose mother had abandoned the nest. I had to learn how to fly on my own,”. The context in combination with the image show a real sense of vulnerability, shown through the bird, that Costa is feeling in relation to not having her mother anymore. I think that using the bird as a medium for her own feelings, further shows how much thought and care was taken into each image as this has deep metaphorical value. I think that Rita's work is a more traditional way of portraying family as she utilises portraiture and archival objects in a positive way. I believe Rita Puig-Serra's work represents positive sentiments towards relationships giving a romantic representation of a typical family unit.This book exudes closeness and sentimentality, a kind of poetic bond between her relatives. However, it has been said “photography is a system of visual editing” (John Szarkowski:1976), which suggests that some work may be refined and tailored in order to portray perfectionism.
To conclude, both Markosian and Costa have created very emotional pieces of work based on their own personal family stories and journeys. Although we do get a sense of love from Markosian's work, I believe this sentiment is often fighting against a feeling of hatred and resentment towards her father, whereas we purely get the feeling of love and closeness from Costa's photo book with hint of sadness due to the loss of her mother. Costa's photo book contains a very unique color palette containing light, delicate, pastel colors which is expected as her images are delicately framed and excrete fondness towards her family. On the other hand, Markosian's body of work contains a lot of black and white images which shows that there is a lot of distance between her and the subject, yet all the things she photographs are of rich sentimental meaning to her. Both photographers also make use of archival images and objects, Costa utilises this to show a deep connection to her mother whereas due to the nature of Markosian's work, her archival objects are used to show her father as being someone she is detached from.
Bibliography:
Bright, S. and Van Erp, H.(2019). Photography Decoded. London: octopus Publishing House
Mackdonald, Fiona (2019).“Diana Markosian: A father cut out of a family album”. BBC culture
Szarkowski, John (1976), William Eggleston’s Guide. New York & Cambridge, MA: The Museum of Modern Art & The MIT Press
Tagg, John (1988). The Burden of Representation. Basingstoke and New York: Palgrave Macmillan
This book is a large sturdy book with a hard back cover. It is a relatively heavy book which connotes quality as well as time and effort spent in the production of the book. The pages inside are glossy and smooth to the touch. This slight sheen helps to enhance the images within and brings out the natural colours of the photographs. The title ‘Sans limites’ translates to ‘without limits’, clutivating the mood of the book from the very beginning that freedom is almost a state of mind.
Content and Imagery:
The images are all full bleed, double page spreads with a landscape orientation. They are all high resolution, colour printed images focusing on landscapes and scenes captured on a road trip with friends. The scale of the images helps incorporate the concept of being in the limitless outside world, out in nature. The book focuses on the idea that the world is beautiful and shows the meaning of true freedom and memory making with our chosen families. The images are all literal, yet they posses some poetic feel to them as they are supposed to carry a message and emotion of how it felt to go on this breathtaking journey. The sequencing of the image follows Gosselin and his friends on a chronological journey, showing the different aspects of the road trip, focusing at points on the car journey itself, and the driving, or a run along an empty road in the middle of a beautiful countryside.
Conducting a sixth photo shoot for my personal investigation has allowed me to obtain more imagery which explores different aspects of my Grandad’s lifestyle which I have not previously captured. Regarding my narrative, my Grandad was and is the ‘head of the house’ and head of the family hierarchy, thus I decided to dedicate this shoot to him, in order to capture strong imagery of him which will help this narrative be illustrated in my photo book. In my initially stages of this investigation I talked about my Grandad being religious and a business man, and so I wanted to capture these elements, as well as produce imagery which breaks the boundaries of intimacy in order to reveal more about his lifestyle and personality. I decided to photograph my Grandad in his bedroom, bathroom and office, which are considered his ‘private chambers’, where he spends a lot of time alone. Doing this will allow me to gain a clearer understanding and showcase his personality and how his lifestyle has affected his traits. With regards to camera settings I intend to keep it naturalistic to maintain authenticity within my outcomes, ie my shutter speed will be quick, ISO low etc. In addition I intend to just use the artificial lighting found in these rooms stated above in order to present a naturalistic setting and ambience towards my outcomes.
Edits:
First Edit – Flagged
Second Edit – Star Rating
Third Edit – Colour Rating
Final Outcomes:
As like previous shoots, I decided to keep the edits simplistic by editing my outcomes into black and white or in colour. I decided not to take a more contemporary root to editing as I felt meaning and reality to the imagery would be lost, loosing the point of the photographs. In order to achieve these outcomes below I simply adjusted the white, blacks, shadows, contrast and structure in order to achieve my intended affect. Along side this, I explored with the idea of slightly desaturating an image in order to create a vintage feel towards the imagery. The photograph this is done on is the one of him working at his desk, this affect works as it contextually shows how he has been working all his life in order to create a happy and luxurious lifestyle for his family, showing his motivation and hardworking qualities, I believe this edit clearly showcases this through the desaturation.
Analysis:
The photograph above is my top outcome from this photo shoot. Conceptually, the photograph represents my Grandad’s Christian belief through him praying on the bed. He has always been a Christian and has been raised around the idea of their being a ‘God’ and how this figure created life on earth and life in an afterlife. Being regular attendants at their local church, they explore their reasoning for their existence and look for hope in the future. The line in the bible ‘Love our neighbour as much as we love ourselves’ is one drive which he stands by. He believes that everyone should be treated with equality and fairness, and that a neighbour isn’t just the person who lives next door but all the disadvantage people around the world. Due to this thought him and his wife intend to help all through many different ways, for example volunteering every Friday at he hospital with the tuck shop going round the different wards. Contextually, religion has been with my Grandad from a young age, due to the popularity of it during the 1940’s when he was born and raised. He has reflected his beliefs onto his offsprings by teaching them moral lessons he has learnt at church, and by providing them with prayers which they say nightly.
Visually, we are presented with my Grandad who is leaning against his bed with his eyes closed na d hands joined together. In this he is saying his nightly prayer where he thanks God for all that has happened today and asks for a successful day the following day. Taken at a straight on angle the formal elements of tone, shape and texture is clearly presented through the composition of the frame. The photograph itself is presented in black and white, which allows for a higher tonal contrast as well as a more serious atmosphere to be created, illustrating the importance of religion on his lifestyle. The background of this image is of a bedside table and a door to the rest of his house, which suggests a sense of safety and intimacy as his room is a place where he can speak to God. The way in which the photograph is taken showcases the rule of thirds due to the positioning of my subject. Technically, the imagery has used a quick shutter speed and slightly higher ISO, due to no intended blur but some noise being presented due to the sensitivity of the lighting. An aperture of around f/5.6 was used in order to create a slight narrow depth of field and allowed enough light in. In addition, artificial lighting was due to the naturalism of the scene, as I was capturing his reality.
Evaluation:
To evaluate, I believe I have produced strong imagery which breaks this boundary of intimacy. The photographs capture him on a more personal level, creating vulnerability allowing a higher impact on conceptual representation. Capturing him in his bedroom, office and bathroom, has allowed more conceptual elements of his lifestyle to be illustrated, such as religion, working and his personality towards his luxury lifestyle. Making there artistic decision to just capture my Grandad, allows the sense of authority and top of the family higher archery to be with stained, which allows my narrative and aims of this investigation to remain focused. In terms of ability, I have been able to provide further evidence for my ability to capture high quality imagery as well as use Lightroom to effectively edit the photographs for intended effect. In addition, I have shown further exploration by experimenting with the saturation of my imagery. In conclusion, I believe this photo shoot was successful as I have produced intimate imagery which allows the narrative to flow, while reinforcing my capability to capture and edit imagery.
