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.
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.
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.
For my third photo-shoot, I will be focusing more on the physical objects that can be associated with gender, and will be contrasting these with each other in the photograph. As the focus of my project is on breaking gender stereotypes (liberation of gender) and showing the truth behind peoples identities and the way they express themselves through gender, I will be focusing on creating images that encapsulate stereotypical gender roles and stereotypes, with small twists within the image that allow the viewer to realise that the image is not what it seems (specifically, that the stereotypes they link to the objects may not always be accurate. For this photoshoot I will be focusing on feminine objects, such as makeup and jewellery, and will be intertwining the idea that both women and men can suffer when it comes to expressing femininity, to create a contrast. This photo-shoot will be focused more on the hints to the viewer that some people express their identity in less stereotypical way, and that there are often social consequences for those who do this.
Below are the contact-sheets for my photo-shoot, I have indicated my decision making process using the brush tool:
COLOUR KEY: GREEN: tick – possible final image, rectangle – final image, question mark – possible final image, RED: line – rejected image, S – subject is in the wrong pose, O – wrong orientation, E – too high/low exposure, C – camera is in the wrong position, hatched red lines – shadow/unwanted aspect
COLOUR KEY: GREEN: tick – possible final image, rectangle – final image, question mark – possible final image, RED: line – rejected image, S – subject is in the wrong pose, O – wrong orientation, E – too high/low exposure, C – camera is in the wrong position, hatched red lines – shadow/unwanted aspect
COLOUR KEY: GREEN: tick – possible final image, rectangle – final image, question mark – possible final image, RED: line – rejected image, S – subject is in the wrong pose, O – wrong orientation, E – too high/low exposure, C – camera is in the wrong position, hatched red lines – shadow/unwanted aspect
COLOUR KEY: GREEN: tick – possible final image, rectangle – final image, question mark – possible final image, RED: line – rejected image, S – subject is in the wrong pose, O – wrong orientation, E – too high/low exposure, C – camera is in the wrong position, hatched red lines – shadow/unwanted aspect
COLOUR KEY: GREEN: tick – possible final image, rectangle – final image, question mark – possible final image, RED: line – rejected image, S – subject is in the wrong pose, O – wrong orientation, E – too high/low exposure, C – camera is in the wrong position, hatched red lines – shadow/unwanted aspect
COLOUR KEY: GREEN: tick – possible final image, rectangle – final image, question mark – possible final image, RED: line – rejected image, S – subject is in the wrong pose, O – wrong orientation, E – too high/low exposure, C – camera is in the wrong position, hatched red lines – shadow/unwanted aspect
COLOUR KEY: GREEN: tick – possible final image, rectangle – final image, question mark – possible final image, RED: line – rejected image, S – subject is in the wrong pose, O – wrong orientation, E – too high/low exposure, C – camera is in the wrong position, hatched red lines – shadow/unwanted aspect
This was the original image I began with.
For my first image, I wanted to separate the image itself from the background in order to replace the background with a simple black background (as I felt this would draw maximum attention to the image and details in the foreground). To do this, I used the lasso tool to highlight the areas of the background, and deleted it from the layer. I then went around the edges of the image with a 0% hardness eraser tool in order to soften the boarders so that it would blend more realistically with the black background.
Here, I erased the background of the image, and softened the edges of the image with the eraser.
I then added a black background to the image to make the foreground image stand out more and draw maximum attention:
Once the black background was added, I erased the remaining areas which looked uneven, and I smoothed out all boarders of the image.
I decided to focus on the contrast of the shades, textures and shapes of the image, and therefore decided to make the image black and white, and raise the contrast substantially in order to emphasise these contrasting aspects:
Here, I altered the image to black and white in order to increase the contrast, and also increased the contrast of the colour itself to highlight this.
After increasing the contrast and turning the image black and white, the boarders of the image faded more into the background, allowing the image to fit more flush with the background.
I decided that for this image, I wanted to highlight a certain area of colour in order to draw the viewers attention to the image, and to provide a small amount of contrast in the image which would draw attention to the jewellery that the subject was wearing (by highlighting the colour of the stone, the viewer can more easily focus on the jewellery itself, rather than looking at the whole image as a flat continuous image). To to this, I copied the original coloured image, and copied the stone using the lasso tool. I then pasted that over the top of the black and white image, and smoothed out the edges:
I first copied the original stone from the coloured image, and pasted it into a seperate layer.I pulled this layer to the top, above the black and white later, and layer the coloured stone over the top of the black and white stone.I then smoothed out the edges to sit the stone smoothly onto the black and white image.
The final image can be seen below:
I used the same sort of editing process for the other final images in my photo-shoot. I increased the contrast of many of my photos, (especially if the image was going to be turned monochrome in order to increase contrast between shapes).
Below are my final images for this photo-shoot:
for the below image, I used the lasso tool to cut the lip mark out of the original layer and paste it onto asseverate later. I then made the first layer monochrome and increased the colour contrast of the lips to make them stand out from the background. I also cut the mirror from the background and replaced the table background with all black to force the viewer to focus on the image in the foreground:
This was the image after I turned it monochrome, before I pulled the layer with the lip mark to the front.
These were the 2 separate layers to show the contrast between the coloured lipstick and the black and white background.
After pulling the lip print to the front, I increased the contrast of the red colour, and this was the final result.
In order to add more context to my personal study I wanted to make sure to capture landscapes on the island my parents are originally from. While on holiday, I will be taking images in both villages that my parents are from as I think my photobook would benefit from having a few landscapes, to separate the portraiture, and archival images. I want to take images at different points of the day, and the weather will most likely vary slightly meaning I will be using different camera settings depending on what the scene is like.
Lightroom selection:
Here I have colour coded the selection of my best images, with green representing my best ones, and red showing my least favourites.
Editing my best images:
As you’ll see below, my original image is already quite bright and colourful. My aim was to further accentuate this, to make the picture look very aesthetically pleasing. I increased the contrast so that each individual house, and colour stood out. I increased the vibrancy so that the colours would become more vivid.
Before
After
This image was taken just as I was driving out of the airport into the main city, and has no particular symbolic role. I chose this image as one of my best, because I like how to looks messy, yet very aesthetically pleasing at the same time. On one hand, there is nothing particular organised about the photo, however I think that all the bright colours help the image look quite appealing, and helps draw in attention.
These next few images were taken while I was visiting my dad’s hometown, Porto da Cruz. It is a fairly small municipality with a population of around 2,000 people located at the north-eastern part of the island.
I thought that my initial image had all the right aspects I the frame, but I wanted it to look less dull and slightly more colourful so I increased the contrast and slightly decreased the exposure, and increased the vibrancy. I like how the blueness of the sky and green from the mountainous regions complement each other in the images.
Before
After
I like the framing of this image because on the first third, we see a glimpse of the mountainous regions, to the right we see the sea which acts as a sleek backdrop for the street scene seen in the foreground. With the changes made above, I was able to bring out the colour of the sea further, which helps bring out the beauty of the landscape. I think the electricity cables in the image are quite distracting, however I think it depicts a truthful portrayal of the village.
Before
After
The image below shows the coast of the village. An area which holds many memories of my father’s younger years. Initially, I thought that the different mountain ranges struggled to stand out against each other, and my increasing the contrast I think they are more easily distinguishable as they stand out more, especially as ore colour was brought out by increasing the vibrancy.
Before
After
These last images show Curral Das Freiras, where my mother and her family is from. This is a little secluded village in the heart of the island with a population of around 2,000 people. named Valley of the nuns as it was a refuge to 16th century nuns during times where pirates frequently attacked the island. As you’ll be able to see from the images below, the village is surrounded by cliffs and peaks making it quite secluded from other areas of the island. These images were all taken from a particular viewpoint, Eira Do Serrado, which stands at an elevation of 1.096m allowing the entire village to be seen.
This image is perhaps my favourite from my outcomes as were able to see the skyline, mountains and village all in one making a successful landscape. Due to the fog at the top of the mountains, My image was slightly overexposed leading my image to have a whiteish tint to it. After adapting the contrast and exposure, I believe I found the right balance and by changing the vibrancy I was able to restore some colour to the scene making it appear more inviting, and less dull.
Before
After
The image below is a slight close up of the image above, showing the village with some aspects of the mountains still being visible. Similar to the other pictures, I made sure the exposure was appropriate and added some extra colour by adjusting the vibrancy.
Before
After
The image below shows a close up of the many houses. I think that by itself, the image is not as successful compared to the previous ones, however I included it as it could be useful in a series along with some of the other images. The original image appeared too exposed, leading me to decrease the exposure.
Before
After
Evaluation:
I think overall I was able to capture a few successful images depicting both important parts of the island. However, I think I should have experimented more by photographing a few more different areas as most of my images are taken from the same places.
For this photoshoot I wanted to capture images showing my father, my brother, and my brother’s family. I’m planning on taking these images at a bonfire event we will be attending. I think this will be interesting as it will allow me to get some more “natural” looking images since, for the most part, I will not be telling the subjects how to pose allowing me to capture more candid looking outputs. Since it will be dark, I will have to use flash when talking all these images, along with a quick shutter speed as I will be moving around a lot. My aim is to show close bonds between the family members.
Selecting images on Lightroom:
my flagged images.I then colour coded the images in order to find the best images.
Editing my best images:
When editing the below images, I followed very similar steps in order to make sure these images had a more uniform look. I wanted to make sure my subjects stood out amongst the background since we were in public and there was a lot of distraction, and it was important they were the main focal point of my image as my aim was to show a close bond between everyone. I increased the contrast and decreased the exposure the appropriate amount for each image. In combination with this, I also increased the vibrancy to reintroduced some colour into the image, after the exposure was decreased.
Before
After
pictured above (left to right) is my father and brother.
Before
After
Before
After
Pictured above: My brother, his girlfriend and her daughter
Evaluating the shoot:
On the whole, I feel that I was able to capture some technically successful images using my camera, and flash. I think I was able to show key members of my family and also the concept of family. On the other hand, I think that I may struggle to make these images fit in with my photo book narrative because These images are taken at an event, not portraits.
To what extent can we trust documentary photography to tell the truth about reality?
“The process of manipulation starts as soon as we frame a person, a landscape, an object, or a scene with our cameras: we choose a portrait or landscape format” (Bright, S. and Van Erp, H. 2019; 18)
My personal investigation looks at my grandparent’s lifestyle and how it has been influenced by the time period they grew up in, the 1940’s. I have explored the influence of religion and spirituality, gender roles within the family structure and social norms during this time period which are still present in their lifestyle to this day. Holding strong connections with my grandparents led me to want to base my project on them, as I know I will be able to easily retrieve useful insight into their lifestyle, enhancing the imagery I produce, on top of forming a piece of work in which my family will cherish. In this essay I aim to discuss the extent to which documentary photography accurately portrays reality, with reference to two documentary style photographers, Latoya Ruby Frazier and Walker Evans. In this essay I will be referring to Walker Evan’s photographic series entitled ‘Let Us Now Praise Famous Men’ (capital letters on title) and Latoya Ruby Frazier’s photographic series ‘The Notion of Family’. Analysing photographers who captured imagery in two different periods of time, contextual and contemporary comparison, allows me to illustrate whether the reliability has changed overtime or stayed consistent, providing a valid argument.
The art movement of realism and straight photography looks at creating imagery which showcase life how it is, this emerged in the 1840’s. Artists who work within this area look at raising social and cultural issues relevant within society at that time, in order to make the audience aware of this issue in hoping something can be done to make a change. This area looks at documentary photography and photojournalism to document the events which are occurring. Artists stick to the original techniques and purpose of photography, the use of photography for science, to create detailed, sharp images showcasing real life. Henry Fox Talbot created the calotype, which is said to be the basis for how photography is practised today in documenting everyday life. The calotype was done by creating a paper negative, exposing a sheet of paper coated with silver and chloride to a light source. His photographs used a short exposure time and allowed multiple prints to be produced through one negative. He believed that photographs were the cause of light, the influence of nature, on a paper negative and is illustrated through optical and chemical means. Artist Louis-Jacques Mandé Daguerre, also shared this ideology behind image making and stated that photography “consists in the spontaneous reproduction of the images of nature received in the camera obscura, not with their colors, but with very fine gradation of tones.” (Daguerre Mandé 1838: page no – if known?). This illustrates how this art movement allows nature to present itself showing the reliability of imagery, which is then contradicted as it states its a spontaneous reproduction suggesting the accuracy of the imagery is reduced. Artist Frederick Henry Evans’ ‘A sea of a step’ clearly presents realism through the composition and use of the formal elements of light and space. Conceptually, the imagery portrays the climbing up the stairs, as if the stairs lead towards a euphoric feeling. “He drew on the Symbolist manner of using objects to directly express esoteric ideas.” (The Art Story – need help referencing this please – okay, where did you get this quote from?). This use of symbolism creates a subjective perspective reducing the reliability of this art movement. Paul Strand took a different approach to capturing objects, using a macro technique with clear focus on light and shadow and the contrast between the two in order for the work to “be brutally direct; devoid of all flim-flam; devoid of trickery and of any ‘ism’; devoid of any attempt to mystify an ignorant public, including the photographers themselves.” (need help again referencing). This suggests how Strand’s work produces a more objective narrative which clearly depicts reality illustrating how this art movement can be truthful. Looking closely towards documentary photography, a style of photography which places into this art movement, artist Walker Evan’s and Latoya Ruby Frazier use portraiture to showcase the lifestyle of the subjects presented in the frame in their natural environment, somewhere familiar to them that they have a relationship with, but to what extent does these photographers accurately portray the subjects lifestyle? With my topic being based in my grandparent’s lifestyle, I felt that using a documentary approach to photography would be the most appropriate to showcase this, as well as the project looking at social issues of family structure and gender roles being raised, thus drawing connections with realism and straight photography.
Comments: This paragraph provide a good historical overview of the origins of photography and its relationship with reality. You need to comment on photography inherent inability to represent truth as the act of photography is always subjective and artifice ie. the person behind the camera decided where to point the camera. And, the photograph itself is only ever a representation of a reality. I will try and think of a relevant essay fro you to read that questions photography and veracity seen from a postmodern perspective – I will email or send an online link via comments on the blog.
‘A Sea of Steps’ (1903) – Frederick Henry Evans
‘Bowls’ (1917) – Paul Strand
Walker Evans – 1936 – Allie Mae Burroughs
Walker Evan’s ‘Let Us Now Praise Famous Men’ photographic series explores the exploitation of Tenant farmers in Alabama during the Great Depression, through the medium of documentary portraits. With close analysis to the ‘Allie Mae Burroughs’ produced in 1936, the portrayal of the narrative clearly illustrates the dire conditions to which these families are subjected to, and draws upon the ideology that they do not know life any differently to the life they live now. “The essence is done very quietly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking. After knowing what to take, you have to do the editing.” (Evans 1971 : page no – if known?) – Evans suggest that although his photographs are trying to capture reality, manipulation of capturing or editing still effects the photographs and the way in which it truthfully presents the Tenant’s pejorative lifestyles. In an article, published by the Guardian, the author describes Evan’s imagery to accurately present reality, “You can’t sniff the stink of the quilts in the Evans pictures, nor itch with the lice in the pillows. The foul beds take on a Shaker dignity of form. A gasoline pump on the porch of a post office metamorphoses into sculptural permanence within the fixed focal length of Evans’s lens.” (author ?? 2001 : page no – if known? ). His positive critique to Evans’ imagery emphasises how accurately he managed to capture the raw living environments of the tenant families, which allows viewers to sympathises for these families, as we understand that they do not know life any differently, which contradicts the viewpoint of Evan, but who are we to believe more? Simplicity in the composition allows an accurate reliable source to be illustrated. Evan’s subject is placed in the centre of the frame, and using naturalistic lighting he captures the subject gawking into the lens as if they are asking for mercy. He captures the subject in their naturalistic environment allowing the authenticity of his imagery to be upheld, and allows reinforcement for the sympathetic connection to be between the subject and viewers. Technically, he uses a large depth of field, due to the whole frame being in focus, suggesting a small aperture and slower shutter speed. It is recorded that Evan has four different variations of his ‘Allie Mae Burroughs’ which reduces the reliability of his work, due to manipulation of his subject in each image, which can lead to us not fully conforming to believe in this social implication, as it not being a reliable source due to several versions of the same image, with only one outcome being used. In my response, I captured my Grandparents outside of their homes, in locations where they spent the most time when outside, or the areas in which they felt illustrated their lifestyle. Similarly, using a small aperture and slow shutter speed, I used a tripod in order to produce detailed and well structured portraits. The natural light source from outside and naturalistic environment, allowed me to maintain the authenticity of my imagery allowing for a reliable source presenting my Grandparents lifestyle. In terms of concept, I captured my photographs mainly outside using simplistic backgrounds illustrating their lifestyle, but I also decided to explore this connection of subject and location with the interior of my Grandparents house, as they spend more time inside than out.
My Response
‘The Notion Family’ – Latoya Ruby Frazier’
Bibliography:
Bright, S. and Van Erp, H.(2019), Photography Decoded. London: octopus Publishing House
Rule, V. (2001). Review: Let Us Now Praise Famous Men by James Agee and Walker Evans. [online] the Guardian. Available at: https://www.theguardian.com/books/2001/aug/18/historybooks.highereducation [Accessed 15 Jan. 2020].
After my close analysis to the work of Walker Evans, I decided to conduct a photo shoot which captured my Grandparents lifestyle, by presenting their narrative through their outfit and emotion through facial expression, like Evans’ imagery of Allie Mae Burroughs. I intend to capture a lot of this imagery outside, using the exterior of my Grandparents house in order to make close contentions with his work and also plan to take a few (not many inside) to experiment with this technique and whether it will withstand the same conceptual representation as it would if the photographs were taken outside. Prior to this shoot, I contacted my Grandparents and asked them to wear an outfit which they believe showcases themselves and their lifestyle. In addition, I asked them to choose areas of their house, outdoor and indoors, which they spend the most time in and feel most comfortable in, which will allow the naturalistic documentary photography to accurately depict their reality. With regards to my camera, I intend to use my DSLR, utilising a quick shutter speed, low ISO, and experimenting with the aperture to add depth of field, and dependent on the natural lighting provided.
Edits:
Edit 1 – Flagged
Edit 2 – Star Rating
Edit 3 – Colour Rating
Outcomes:
In respect to editing my outcomes from this photoshoot, I wanted to produce final imagery which held the stylistic features of Evans’ work. In order to achieve this I made all of my outcomes be presented in black and white, and looked at creating high tonal contrast to allow facial features to help express and convey the lifestyle in which my grandparents live in. To achieve this I looked at adjusting the contrast, structure, blacks whites and shadows in order to achieve this intended effect. My final selection are images which I believe have the same simplistic composition, but still holds strong conceptual and contextual representation, about the life my grandparents live and providing information about how they achieved this lifestyle, which is further explained in my photograph analysis.
Analysis:
The two photographs below is my photograph which has taken inspiration from Evans’ imagery, which I believe shows my understanding and application of Evans’ photographic technique. The framing of the two images are very similar, both present the subject in the foreground, with the background being wooden and simplistic, not distracting the viewers.Similarly, both images are presented in black and white with high tonal contrast, which has allowed the detail and structure of the subjects to clearly stand out to present conceptual representation. In addition, the methodology used to capture both photographs share a lot in common, with a low ISO being used, a quick shutter speed, low aperture due to no significant depth of field, and natural lighting being utilised. Comparing the two images visually, my image shows more structure and detail, which allows a warmer atmosphere to be presented holding ameliorative connotations, which contrast Evan’s image which is a lot more smooth and naturalistic which holds a cold atmosphere, creating pejorative connotations. Along side this, the outfits of the two models are different as it clearly shows two different socio economic status of two people, and showcases their lifestyle.
Conceptually, Evan’s captured Tenant Farmers in Alabama, and their lifestyle through portraits of different families. Where as I have captured my Grandad in order to present his life story, from when he was younger working in finance and making his fortune to be able to live his wealthy and happy lifestyle now a days. Contextually, the subjects in Evans’ imagery had low income and would not be able to change their lifestyle due to their situational factors. Where as, I contextually presented Jersey as a finance institute which holds the most income on the Island, it also shows how my Grandad worked in this field as he know he could make a lot of money for it in order to afford this lifestyle later on in life.
My Imagery
Walker Evans – Allie Mae Borrough
Conclusion:
To conclude, I believe I have reinforced my ability to produce photographs which take on the stylistic features of another artist. In addition, I have also been able to apply similar conceptual representations within my work as another artists, which shows my ability to apply different elements of artists work through my understanding of their methodology. I have been able to explore capturing my subjects in a different environment, which presents them in a new ‘limelight’. Technically, I have shown my ability to capture portraits in an outdoor environment, and have again reinforced my ability to capture high quality portraits. I believe this photo shoot has been successful as I have been able to produce high quality imagery which clearly showcases lifestyle in the stylistic way of Walker Evans.
