We will be looking at Romanticism as a starting point and if you click here you will have a better understanding of some of the roots of landscape in contemporary photography….
The focus of your study and research this week is natural landscapes and the notion of ROMANTICISM in Landscape Art and then later, Photography.
Working Title/Artist: Stormy Coast Scene after a Shipwreck Department: European Paintings Working Date: (1830)
RESEARCH
The Age of The Enlightenment (1700-1800ish)
VS
The Age of Romanticism (1800-1900ish)
“Writers and artists rejected rationalism for the same reason that rationalism was rejected by the movement as a whole- it was in rejection of Enlightenment, which had sucked emotion from writing, politics, art, etc. Writers and artists in the Romantic period favored depicting emotions such as trepidation, horror, and wild untamed nature.”
“The ideals of these two intellectual movements were very different from one another. The Enlightenment thinkers believed very strongly in rationality and science. … By contrast, the Romantics rejected the whole idea of reason and science. They felt that a scientific worldview was cold and sterile.”
JMW Turner- Hannibal Crossing The Alps 1835
Caspar David Friedrich 1832 Germany
PAINTING VS PHOTOGRAPHY
Roger Fenton inspired by nature and romanticism revisited a spot in Wales where previously Samuel Palmer had been inspired by the natural beauty of this river valley.
Roger Fenton c. 1852-62
Samuel Palmer c. 1840-45
Ansel Adams 1942 USA
Don McCullin 2000 UK
Fay Godwin 1985 UK
ANSEL ADAMS: Photography With Intention
LANDSCAPE PHOTOGRAPHERS
Joan Fontcuberta
Richard Misrach
Wynn Bullock
Luigi Ghirri
Fay Godwin
Carelton E. Watkins
Eliot Porter
Edward Weston
Minor White
Don McCullin
Ansel Adams
BLOGS
An introduction to rural landscape photography, including a definition and mood-board of influential images
Create anin-depth case study that analyses and interprets the work of a key landscape photographer…EG: Ansel Adams or Edward Weston or Fay Godwin or Don McCullin (or similar)
3. Create a blog post that defines and explains what Romanticism is in Landscape Photography…include examples and make reference to Romanticism in other art-forms eg painting
4. Create a mind-map / mood-board of potential locations around Jersey that you could record and create romanticized landscape photographs of….look for extremes (either calm or wild, derelict, desolate, abandoned or stormy, battered and at the mercy of nature)
AIM to photograph the coastline, the sea, the fields, the valleys, the woods, the sand dunes etc. USE the wild and dynamic weather and elements to help create a sense of atmosphere, and evoke an emotional response within your photo assignment. PHOTOGRAPH before dark, at sunset or during sunrise…and include rain, fog, mist, ice, wind etc in your work. LOOK for LEADING LINES such as pathways, roads etc to help dissect your images and provide a sense of journey / discovery to them.
5. Take 150-200 photos of romanticised landscapes. Show evidence of using exposure bracketing technique. Add your edited selective contact sheets / select your best 3-5 images / include edits and screen shots to show process.
6. Produce comparative analysis between one of your images and a landscape photographer – discuss similarities and differences.
REMEMBER you MUST use TECHNICAL / VISUAL / CONTEXTUAL / CONCEPTUAL to analyse effectively.
Ensure that you include the following key terms in your blog posts…
Composition (rule of thirds, balance, symmetry)
Perspective (linear and atmospheric, vanishing points)
Depth (refer to aperture settings and focus points, foreground, mid-ground and back-ground)
Scale (refer to proportion, but also detail influenced by medium / large format cameras)
Light ( intensity, temperature, direction)
Colour (colour harmonies / warm / cold colours and their effects)
Shadow (strength, lack of…)
Texture and surface quality
Tonal values ( contrast created by highlights, low-lights and mid-tones)
Exposure bracketing means that you take two more pictures: one slightly under-exposed (usually by dialing in a negative exposure compensation, say -1/3EV), and the second one slightly over-exposed (usually by dialing in a positive exposure compensation, say +1/3EV), again according to your camera’s light meter.
TASK : try a few variation of exposure bracketing to create the exposures that you want…you may already have pre-sets on your phone or camera to help you do this, but experimenting manually will help your understanding!
Exposure Bracketing
Many digital cameras include an Auto Exposure Bracketing (AEB) option. When AEB is selected, the camera automatically takes three or more shots, each at a different exposure. Auto Exposure Bracketing is very useful for capturing high contrast scenes for HDR like this…
…by taking the same photograph with a range of different exposure settings
You can use Exposure Compensation to quickly adjust how light or how dark your exposure will be using these controls…
A photo. Montage is the process of making a composite photograph by cutting out segments of an image and rearranging them and gluing them once they are rearranged or oven overlapping two or more photographs into one new image.
Author Oliver Grau in his book, Virtual Art: From Illusion to Immersion, notes that the creation of an artificial immersive virtual reality, arising as a result of technical exploitation of new inventions, is a long-standing human practice throughout the ages. Such environments as dioramas were made of composited images.
The first and most famous mid-Victorian photomontage (then called combination printing) was “The Two Ways of Life” (1857) by Oscar Rejlander, followed shortly thereafter by the images of photographer Henry Peach Robinson such as “Fading Away” (1858). These works actively set out to challenge the then-dominant painting and theatrical tableau vivants.
Now that it’s over, what are my first thoughts about this overall project? Are they mostly positive or negative?
Now that its over, my first thoughts are that it went really well, and i was mostly consistent throughout all of my blog posts.
If positive, what comes to mind specifically? Negative?
I think that my final images were really strong, and linked back to the photographer I researched and referenced.
What were some of the most interesting discoveries I made while working on this project?
I discovered that i’m good at explaining the process and showing it in steps. I also found out that there were more steps involved then I intentionally thought, for example the work I did in the style of Evilsabeth Schmitz-Garcia, that involved printing out and taking photos of the scans.
What were the challenges?
Time was a big challenge, as I finished with 4 final images, I felt that the time spent to edit them, and explain them, as well as presenting it, took longer than i thought.
What can I improve?
I could of shown more ways of my exploration of ideas, as it was my weakest point. I did think about by didn’t write much about how, and why I chose to do what I did, which is a big part about the process and presentation, as it leads on to how i edited the final image.
How will I use what I have learned in the future?
I have a better understanding of what I can improve and what I need to go into detail about more. I also feel that my Photoshop skills are more consistent.
I wanted to create a set of images in the style of Birthe Piontek. This is the image that inspired me.
Firstly, I chose 2images to edit. I would edit 1 with no face, and create the hole in the head effect. And 1 of the face inside and 1 outside the head, as I think it relates to hiding your identity and the opposite showing your identity.
I chose these 2 images to edit :
Process of editing the hole in the head.
I started off by removing the background. I used the object selection tool then select and mask option then I refined the edges to make it smooth.
I then put the background in, which was a normal cloudy day. The problem was that the subject was a different colour to the background and it didn’t match. I used the curves adjustment and used the dark colour picker to select the darkest colour in the background then put that on the darkest colour on the subject. I did this for the mid-tones and highlights. This made it so both the subject and background matched. I added gaussian blur to the background.
I used the pen tool to create a smooth mask of the face then I deleted the selection, which made the hole in the face effect.
It didn’t look normal, so I used the pen tool again to create an edge, I changed the colour to a skin tone so it looked normal. Although the whole of the image was 3D except from the hole in the face.
I used the pen tool to create the second layer which signified a 3D aspect. I added a shadow by creating a clipping mask, then using a black brush tool with 0% hardness. To contrast the shadow I added highlights by using a white brush tool with 0% hardness, after I added a soft light blend option, which made it more smooth.
These were all the layers with adjustments, so you can see the structure.
Final Image – 1
Reviewing my image, I really like how it turned out, as it is similar to Birthe Piontek’s image where he removed the face and you can see behind it. The background is clean and fits well. I feel that the gaussian blur in the background makes you focus on the subject more. I also like how you can clearly see through the background through the hole.
Critique
I don’t really like how the inside of the hole is fake, maybe I could of taken a sample of the skin off the face and textured the inside to make it realistic.
Birthe Piontek’s Image
My Image
Process of editing face inside the head/off the head.
Firstly, I used the pen tool to create a clean mask selection of the face. For the face inside I had to make sure that the mask wasn’t touching the edge. For the face outside the head I had to make sure that it was over the edge, to get all the side of the face. I moved the face outside the head to create the effect that it was coming off.
Next I used a black brush tool to create shadows and to blend the face into the shadows, which create a nice blend.
I used a black and white adjustment layer and put it on everything except of the mask of the face, because I think it gave a unique touch.
Final Images – 2
Evaluation
I like how this image turned out, as it unique and in the style of Birthe Piontek. I feel like the black and white filter works well, as the saying “showing your true colours” I think that it represents it as the face is the only coloured part in this image. I think this image shows someone that is confident, and someone that “puts their face out there.”
Final Image – 3
Evaluation
I think this images composition, is better. Not only is it in the same style as Birthe Piontek, but I think it shows someone that is more shy, therefore hiding their identity. It shows that as the face is hiding behind in the head.
Critique
I think the original mask of the face could be smoother as there is some ridges in the image, such as the pointy chin in the image where the face is coming off. Also if the photo was a bit more clear, and facing towards the camera, it would be easier to mask out, instead its at an awkward angle, therefore harder to accurately mask a selection of the face.
Firstly, I started out to create an image in the style of Evilsabeth Schmitz-Garcia.
I would use the photographs from Photo Shoot 1. These were the photos that I took that were simplistic, and had a variety of facial expressions. This was because that was one of the key aspects of Evilsabeth Schmitz-Garcia’s work, other than the warped and manipulated effect.
Overall, I chose the photo where the subject was smiling as most of Evilsabeth Schmitz-Garcia’s work has their mouth open or semi-open, as the manipulation effect works better.
This is the photo I chose to edit :
Process
In Photoshop I would need to : – Edit the background black (as all of Evilsabeth Schmitz-Garcia’s photos have a dark background) – Add some green/yellow particles into the background (In Evilsabeth Schmitz-Garcia’s photos there is always some colouration in the background) – Add grain/noise (to get the scan effect) – Experiment with overlays, such as the hands I took in Photo Shoot 3.
After Photoshop I would print out the image and place it on the scanner. Whilst it is scanning i would move the printed photo along, this is how the manipulation effect occurs.
These are all the layers in Photoshop.
Firstly, I selected the object with the quick selection tool, then clicked the select and mask option. This would remove the white background so I could replace it with a black background. To clean up the edges, I used the refine edge brush in the select and maskscreen. This blurs the edges so any white space; cause by the lights, in the hair would get removed. This gave the cut out a clean look. After I outputted it onto a new layer then renamed it “fin”.
I created a black background layer under the “fin” layer, this made the edges of the face stand out too much and created a sharp line, which I didn’t want. To fix this I created a Clipping Mask then used the brush tool (black) with a hardness of 0% and smoothing of 0%. This made it so the brush wasn’t harsh and gave it a “gradient” effect, so it faded into the background. On the left side of his face I added some “highlights” using the brush tool (white) at 0% hardness, I used a clipping mask then used the brush to create the shine effect, where the light was coming from. I had to turn down the opacity to 65%, otherwise the white was too overpowering. I added a green tint to a part of the face, the layer named “green”. I used an adjustment layer then changed the hue to green. This made the whole face green, so I used the eraser tool with a hardness of 0% to remove the green from 70% of the face.
To add the background colours I used the brush tool with 0% hardness, the colours I used were green and yellow. I added motion blur to the colours, so they weren’t just block of colour in the background. I also turned down the opacity so the colours weren’t as bright to match the tones Evilsabeth Schmitz-Garcia used.
I experimented by adding a hand into the photo. I started by removing the background with quick selection and select and mask, which is the same process as the face cut-out. First of all, it seemed out of place as it was really bright, so I added an adjustment layer for brightness and contrast, which I turned down the brightness and turned up the contrast. After I turned down the opacity to make it so that was almost hidden, therefore not contrasting the main focus point.
I printed the image, although it was a bit dark so the increased the brightness and reprinted it. After, I placed the image on the scanner. As it started to scan I moved the image to manipulate the outcome. I did this about 20 times. I photographed the best 4 so I can take them into photoshop, and refine them. these were the 4 scanner outcomes:
I took these 4 images into Photoshop. Firstly I, found my base layer, which was the one in the top row far left in the selection above. Then, I removed the background of the tall image with the eraser, then added it on top of the base layer. I used the eraser tool with a hardness of 0% to create a gentle gradient into the base layer. Next, I only masked out the lips from the tall face, and made duplicate copies of it. I used the warp tool to change the aspect ratio of it to match the image so it would look like it is being stretched and pulled between the faces. After, I added motion blur to smoothen it out.
After it all matched, I added another face as Evilsabeth Schmitz-Garcia normally uses 3 faces. I removed the background then uses the eraser tool again to fade it into the base layer (middle face). After, I masked out the right eye from the new face then used the warp tool the connect it to the middle faces eye. I would need to use the eraser tool to get rid of the sharp edges.#
Once I had finished the composition of the image, I renamed all of the layers, then fattened the image. I added adjustment layers to make it more in the style of Evilsabeth Schmitz-Garcia. I used a hue/saturation where I added the green effect that Schmitz-Garcia uses in here final images. The brightness/contrast adjustment is a normal adjustment where I brightened the images and made the blacks more dark.
Finally I added a camera-RAW filter to touch up the final image. I started off by changing the tint, highlights, shadows, blacks, and the white. (right image). Secondly, I changed the individual colours, but mostly the greens, yellows, and oranges. The greens I increased the most as it was one of the more distinguishable colours. The yellows and oranges I also increased to counter the green. As it was too strong in some areas.
After, I realised that the background was too shiny as I took the images of the paper with a camera. So, I decided to go over the background with the black brush tool and made opacity 75%. It fixed the problem and removed the lighter areas.
That is how I edited my image in the style of Evilsabeth Schmitz-Garcia.
Final Image
Evaluation
Reviewing my image, I like how it turned out, and I feel that there is a strong connection between my image and Evilsabeth Schmitz-Garcia’s image. The main reason she displayed her images in her style was to capture people with multiple personality disorder. I feel that the manipulation in my image shows that perfectly as there is no sharp interrupting lines between images, instead it looks like it is all one image. The colours mostly match. I feel that the camera raw filter really helped me achieve this look. The scanner produced lines on the my images similar to Evilsabeth Schmitz-Garcia image. This is because I actually used a scanner and was a good idea even though it was risky, and I didn’t think it would work.
This is my image side by side with Evilsabeth Schmitz-Garcia’s image that I based mine off, and inspired me. As you can see they are fairly equal. Overall i think it turned out well.
Critique
Looking back it all went smoothly, except from when I went to print it and it turned out really dark. This is an easy fix, I could of printed it on higher quality paper or better printer. I fixed it by making the image really bright before printing, so when it printed it would be how it was on the screen.
Also if the printer saved a digital copy of the scan I wouldn’t need to take photos of the manipulated results, therefore getting a clearer version. Although, it did add more texture to the image, so it turned out better.
Originally, I was going the use the liquify filter in Photoshop to create the result. In the end I didn’t use it at all. Instead, I used the photocopier, which was a good idea.
I plan to merge these photos together in Photoshop, create a hole in the head, or use a scanner to disfigure them in the style of Evilsabeth Schmitz-Garcia’s work.
Photo Shoot 2 – Colour / Blur Photos
I use different colour lights to experiment which produces better tonal values and highlights.
Photo Shoot 3 – Hands
I plan to edit the background out in Photoshop, then add it to another photo.
Photo Shoot 4– Leaves And Cables
I looked for leaves and cables that would be a material to edit coming out of the face when I edit it in Photoshop in the style of Birthe Piontek.
Birthe Piontek is a Vancouver-based photographer is most widely recognised for her intimate, narrative-driven portraits.
Most of her work has a straightforward approach. In her recent series “Mimesis” she’s uses images that have a meaning and background to create collages which displays her personal portraits with an investigation into the complexity of human identity.
Piontek searches for found images on Ebay, in thrift stores and flea markets. She primarily looks for images like studio portraits and other non-candid scenarios in which the subject has direct eye contact with the camera.
She knows little about the people in the photographs, she uses them as source material to create her own fictions about their identities, she said, “I usually spend quite a bit of time with the image, looking at it and familiarising myself with it.”
Once she likes the outcome of a photograph, Piontek scans it, then reproduces the image, in many cases working from its copy. She begins manipulating the copy, sometimes cutting into it and incorporating other materials like glass, paint, foil and fabric to give the image an entirely new form.
I would like to experiment in Photoshop in the style of Birthe Piontek. I would like my final outcome to be like the first image in this post, where the face out of the head.
Claude Cahun (1894 – 1954) was a French surrealist photographer, sculptor and writer. Born Lucy Renee Mathilde Schwob, they adopted the pseudonym Cahun in 1917, and are best known for their self-portraits, in which they assumed a variety of different and eclectic personas. Cahun’s work challenged the traditional concepts of gender roles, and in their autobiography they state: ‘Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me.‘ It is likely Cahun would have identified as non-binary today.
In 1937, they settled in Jersey with their partner Suzanne Malherbe (pseudonym Marcel Moore). Following the German occupation of the island in 1940, both Cahun and Moore became active as resistance workers and propagandists, working extensively to produce anti-German fliers, which they would place discreetly in soldiers’ pockets or in cigarette packages. Their resistance efforts were not only political, but also artistic; using their creative abilities to undermine and manipulate the authority they hated. In many ways, Cahun’s life was marked by a sense of role reversal, and like many early queer pioneers, their public identity became a commentary upon the public’s opinions of sexuality, gender, beauty, and logic. Their adoption of a gender neutral name and their androgynous self-portraits display a revolutionary way of thinking and creating, experimenting with the audience’s understanding of photography as a documentation of reality.
CINDY SHERMAN
Cindy Sherman (1954 – ) is an American artist whose work consists primarily of photographic self-portraits, depicting herself in many different contexts and as various imagined characters. In 1972, Sherman enrolled in the visual arts department at Buffalo State College, where she began painting. During this time, she began to explore the ideas which became a hallmark of her work: She dressed herself as different characters, cobbled together from thrift-store clothing. Sherman works in series, typically photographing herself in a range of costumes. To create her photographs, Sherman shoots alone in her studio, assuming multiple roles as author, director, make-up artist, hairstylist, wardrobe mistress, and model. She explained to The New York Times in 1990, “I feel I’m anonymous in my work. When I look at the pictures, I never see myself; they aren’t self-portraits. Sometimes I disappear.” She describes her process as intuitive, and that she responds to elements of a setting such as light, mood, location, and costume, and will continue to change external elements until she finds what she wants.
Sherman’s work is often linked to feminism, since her photos call attention to the objectification of women in the media. Sherman’s 1981 series Centerfolds contains pseudo-voyeuristic images of young women. Her 2008 series Society Pictures addresses the obsession with female youth and beauty in American society. Her most recent series, the 2016 Imitation of Life, explores the glamour that can be found within mature women. By using stylized, vintage costumes and heavy makeup, Sherman is rendered as a subject that looks almost artificial, aside from her conspicuously-placed, aged hands, which point to the reality behind the illusion. Sherman has identified an uncertainty toward the Untitled series’ relationship with the male gaze.
IMAGE COMPARISON
Despite the fact that these two photographs were taken almost 50 years apart, the message behind each of them is strikingly similar; that identity can be whatever you want it to be. Both photographers explore what it means to be perceived and judged by others, and, perhaps more harshly, by yourself. They have stripped themselves of all things, both physical and emotional, in order to transform themselves into re-invented and more developed versions of their previous selves, with both of them taking on the roles of various different personas and characters. For the brief moments during which they are in front of the camera, they are able to let go of what they and society thinks they ‘should’ be, and express themselves through their art form. Both images have been shot in plain black and white tones, with Sherman adding the effect in order to accurately portray her character’s time of relevance. They have also both been shot against a black backdrop, which means we can assume that they were captured in a studio of some kind. The black backdrop also allows the viewer to see Cahun and Sherman clearly, with nothing in the background of the images becoming a distraction to the eye. Additionally, it strips the photograph of any depth, making both images appear flat and two dimensional. Furthermore, the two subjects have very pale complexions, which contrasts heavily to the dark background. As these pictures were captured in a studio, it is highly likely that artificial lighting was used to illuminate the subjects, and we can see that by the way the light is spread evenly over Sherman, we can assume that 3 point lighting was used. Another similarity is that both Cahun and Sherman have used makeup to exaggerate their features as a way to emphasise their respective characters. For example, we can see that Cahun has drawn on her bottom eyelashes in order to make her eyes appear larger and more doe-like, and Sherman has applied a heavy amount of contour to her cheekbones. This can be linked to the theme of identity as makeup is often used by people to create an entirely new face, or alter the one they had before.
Cahun organises the photoshoot and brings preps, such as the ripped piece of paper then, she takes the photo which pretty much the final image. Where as, Schmitz-Garcia takes the photo then edits after using scannographies. this, shows that there is more of a process with Schmitz-Garcia’s photographs. This is partly due to the fact that equipment has been evolved, so there is more potential.
Schmitz-Garcia’s used a dark environment then lights up the face, usually there a a green tint. Schmitz-Garcia uses a more increased saturation. Cahun uses a more natural looking light, during the day.
Schmitz-Garcia’s looks like it would be a long shutter speed as the image is manipulated. Although it is slightly underexposed. Cahun uses a fast shutter speed to make sure there is no blur, also it is perfectly exposed.
Contextual
Cahun is representing more obscure identities within here photographs, it has a high historical context as it was in 1900s-1950s.
Schmitz-Garcia’s is displaying multi-personality disorder in the modern world, which is more relevant to our current time period, which is why i’d like to focus on it more.
Visual
Cahun’s photos are mostly in black and white, as it was the standard in the 1900s. Her shots tend to have an empty background, which makes you focus on the subject more.
Schmitz-Garcia’s photos are coloured but use more dull colours as they’re taken in low light, and have a more serious context. There seems to be some grain in her final results. This is due to the effect that the scanner creates. Schmitz-Garcia’s focus point takes up more of the whole space, as the image is moved out of place.
Conceptual
Schmitz-Garcia’s concept was to stretch the image to visually show different facial expressions and manipulate the figure, it shows something similar to what people with multiple personality disorder would display.
Cahun’s concept was to question identity, gender and the subconscious mind. Successfully she did it by using mirrors, teared paper, outfits and other props to piece together her individual identity and photograph it.
Identity is the essence that defines an individual. It can be qualities such as beliefs, personality, looks, gender, sexuality, job role, etc. It can be defined by the way you express and feel about yourself.
Other people may also have a different view on your identity than you which can be positive or destructive. It is scary to think that every person sees you in different ways, see other aspects of your personality and behaviour that you may not even have noticed; have different memories and viewpoints about you.
Identity affects people in various ways, but some aspects of your identity may be due to nurture and cultural upbringing as Tabula Rasa states that one is born as a blank canvas and the way you think, and behaviours are shaped by the people around you who you have grown and looked up to.
Others may argue that identity can be due to nature. For example, you are born with a specific set of genes that are more likely to influence your behaviour and identity and how other people may see you.
In my opinion, I agree to a certain extent that identity is down to nurture. But I think the way you see yourself is the most important base of your identity as you’re the only one that knows yourself the best and not other people. However, other opinions of you may affect the way you think and feel about yourself.
For this project I will attempt to portray the way that others opinions and behaviours towards me has affected me, the way I saw and see myself then and now, and how destructive others opinions may have in your life. As Billie Eilish states in her son ‘Everything I wanted’, “…if they knew what they said would go straight to my head, what would they say instead?”
Claud Cahun
Claude Cahun (25 October 1894 – 8 December 1954) was originally named Lucy Renee Mathilde Schwob. She was a French lesbian photographer who enjoyed sculpting and writing.
Shwod adopted the name Claude Cahun in 1917 and since then has been exploring self portraits were, they explore themes such as sexual and gender identity in their work. However, their work was mostly frown upon due to homosexuality being seen as shameful and disgraceful in the 20th century and beyond, but their portraits were very strong with some people adoring their work and others hating on it. The view on homosexuality was so frightful people would usually be beaten up, stoned, tormented and their family would neglect them and have so association with them.
In the image at the top, we can see Claude’s transition from a stereotypical girl to a boy with short hair. Due to the reflection of Claude in the mirror we can clearly see that they saw themselves as a boy/lesbian and looks into the camera in a sort of prideful but seductive way suggesting that they know who they are. To strengthen this point, we can see they are wearing typical male clothes. Also, the reflection may show that they were living a double life, one that they were born in some way and the other they identify as something else.
Photo analysis:
Substance:
Due to the time the photographer existed; we can assume that this image was originally in a film format due to digital cameras only being invented in 1975.
The image was taken inside of their or someone’s apartment to what seems in the living room.
It was taken for personal work on self identity and gender, and it could be argued it was a sort of silent protest towards society at the time as images like this were mostly negatively viewed.
Composition:
The main focal point of this image is obviously Claude and their reflection in the mirror.
Author has powerfully used the rule of thirds to compose this image as the model and reflection are positioned in the center.
The main colours of this image are black and white tones. He purposely used the black and white technique to create this image to create a sense of light vs dark and may also have used it to show how there is beauty during times of tribulation and times of joy.
Lighting:
The light in this black and white image seems to be coming from the front as there are shadows behind their head which could suggest that the light is indeed coming from the front. Evidently, the light seems to be quite natural as there is little evidence that could suggest the artist used a flash or artificial lighting as there isn’t evidence of a flash reflection
There are soft shadows and dark tones throughout the image. For example, the bottom of the picture is darker than the top. The image is natural, but the camera seems to have focused on the bright sides first as the image seems to be a bit naturally underexposed as there are soft lights and soft shadows throughout the image.
The artist may have taken this image during light or evening hours as the light suggests that it was taken in a dim environment or sunny but rather more a cloudy environment as all the details is quite perfectly shown.
Techniques and editing: (evidently black and white filter or camera were used)
A fast shutter speed was powerfully used to produce this image as the subject (Claude) has been shot to a razor-sharp focus.
The depth of field for this image appears to be quite large as most of the image is fixed. This was used to capture as most of the setting as possible while keeping a crisp detail to the image.
The artist may have purposely naturally underexposed the image to keep it in focus and so it isn’t too bright or too dark just natural.
The camera is still as this is a self portrait and all the details are in focus suggesting that the camera was stationary; a tripod was likely used.
Atmosphere:
The photograph makes me feel amazed at how confident and courageous the artist was to portray and express their sexual identity in a patriarchal society.
The photograph seems to be communicating a message of freedom of speech and expression as the artists explored with self identity portraits in a society that shames homosexuality for decades.
My response to this image is just how inspirational this artist was to my project in to exploring identity.
Response:
I will attempt to use the same black and white techniques to capture my shots to make it alike the original artist.
In order to incorporate elements into my own work I will need to make sure most or some of my subjects are in portrait
Similarly, Cahun has influenced my shots by following his key theme which is the theme of gender and sexual identity, the alignment of subjects and personal nature in their work have also influenced the way I set up my portrait images and identity photographs.
I love their work as it is very personal project for the photographer; the artist is basically telling their story even though there is danger that they could be imprisoned for being lesbian.
Lara Gilks
Lara Gilks is a photographer that comes from Wellington, New Zealand. She came to photography around 2009 when she received her first camera. According to sources (laragilks.com/about), she utilises “elements of nature, water, light, beauty” that are often mixed with aspects that are ambiguous, weird, scary and disturbing. She apparently works “at the precipice between perfection and imperfection, human and inhuman, and dream and reality”.
In an interview for PhotoForum, August 2019, she states that she puts “incongruous elements into beautiful landscapes” in order to create a sense of tension and playfulness as she also mentions her choice of models; children “with masks and other props”. She also mentions something interesting which is that “people will experience the images in their own way influenced by their own stories”. When she mentioned the need of tension in her images, she mentions that she wants “the sense of being out of place and absurd yet somehow normal.”
Lara has explored with identity in different ways, so much so that she has a blog post called, “identity and disclosure”. In here she explains the lack of identity due to social media. We know this because she states, “The brink of a digital identity crisis – where the digital era tests the limits of identity – what is safe to disclose and what must be concealed. There are questions of trust and vulnerability – the stakes are high.
Photo analysis:
Substance:
This image was clearly taken with a DSLR in 2018 as it is in a digital format.
This photograph was taken outside by a lake. We can also assume it was taken in the evening due to the brightness of the clouds, but this could have been manipulated using software like Lightroom.
This was clearly taken for personal work as it was part of Lara’s series “white lies”. Her description for this project was a simple quote from Alan Moore, “You wear a mask for so long, you begin to forget who you were beneath it.”
Composition:
The focus for this image is the “Horse Bride” which delivers a sense of strangeness and wonder at the experience of marriage.
Author has powerfully used the rule of thirds to compose this image as the model and background have been purposely adjusted so that the model at the center along with the background.
The main colours of this image are black and white tones. She purposely used the black and white techniques to add to the theme of tension, ambiguity, strangeness, incongruous.
Considering the description for white lies, the audience may also assume that many people marry a fake spouse; people who have been wearing a mask for so long. In addition, the fact that the image is in black and white may also reveal that marriage is not always dreamy and colourful; it can be dark and obscure. We can assume this is the case as Lara has said before that her photographs are open for interpretation.
Lighting:
The light in this black and white image seems to be coming from the natural environment as shoot was done outside. The light however seems to be coming from the front as it is lighting the Horse Bride and background quite well.
Soft shadows and dark tones are present in the shot. The bottom of the image is darker than the top, for instance. The picture is natural, but first the camera seems to have concentrated on the bright sides as the image seems to be a little naturally underexposed as the image is full of subtle lights and soft shadows.
The artist may have taken this illustration during the day, during light or evening hours.
Techniques and editing: (evidently black and white filter or camera were used)
Evidently, a fast shutter speed was used due to the waves being fixed to a focused position.
As most of the image is set, the depth of field for this image seems to be very high. This was used to catch as much of the environment as possible while retaining a crisp picture detail.
The artist may have naturally underexposed the picture purposefully to keep it in view, because it’s not too light or just normal and not too dim.
As this is a portrait, the camera is still, in focus and all the specifics show that the camera was stationary; a tripod was presumably used.
Atmosphere:
The photograph makes me feel quite interested and confused as I have never seen a Horse Bride before, especially standing by a lake. This is evident that Lara has achieved her aim of strangeness through this image.
This image, clearly is open for interpretation and considering that inside the wedding dress is Lara’s son this may suggest that there is a prince trapped in the body of a mare getting ready for marriage but decided to take a moment by the lake to think of things.
Successfully, this image has achieved what it was created for which is to make the audience question what is going on. I know this because Lara states that Horse Bride is intended to challenge and provoke such ideas.
Response:
To keep it the same as the original artist, I would strive to use the same black and white methods to take my shots.
I would need to ensure that most of any of my subjects are distorted and have their faces hidden in order to integrate concepts into my own work.
Lara has influenced my work on identity by giving me the idea of making the audience question what is happening in the photograph.
This is one of my favourite pieces of photography as I find it very creative due to the nature and contents of the image. It’s an image open to interpretation and communicates a series of different messages. It’s also very strange which just adds to creativity.
Similarities
• Both artists have used a series of black and white images to communicate a similar message: that there may be light in the darkness, there is 2 sides to every story and not everything is a perfect, colourful world.
• Both artists clearly play with the theme of identity with Claud exploring gender identity and Lara hiding the model’s face / identity.
• Both have composed their images in a similar way. For example, both have placed their models in the centre or close to the centre.
• Lara attempts to create tension through her images. For example, the Horse Bride image encapsulates all my feelings of strangeness and wonder at the experience of marriage. In a similar way, Claud creates tension in society with her images as homosexuality in a patriarchal society was unacceptable.
Differences
• Claud focuses on gender identity and explores with my gender roles such as weightlifter in a photograph of hers. However, Lara focuses more on trying to make the audience question the nature and meaning of her images.
• Most of Claud’s images are taken in indoor places whereas Lara’s images are taken in a naturalistic environment.
• Lara uses elements of obscurity, strangeness, unique and quite dark. This can be shown through her image of the Horse Bride. Claud Cahun however attempts to use self portrait and self identity methods to create an image that demonstrates who they are as a person and sometimes compare it to society and how society has this “ideal” way that people should behave.
Manipulation – “Manipulation was an artform in which you failed. Better luck next time.”
This is my #1 outcome.
My main purpose for this project was to “to capture various portraits and to try and convey a message/story to the audience. I will be touching sensitive topics in my life such as; bullying, insecurities, gender, sexuality, and more.” Therefore, I believe I have achieved this through this artwork called, “Manipulation”.
This is one of my most personal photographs ever made to this day as it explains a bit about my life. For example, this photograph is a clear representation of what I have been going through for quite some time as I was recently in a situation where someone did whatever they could to control and manipulate me. This can be clearly shown using models creating a sense of puppetry / puppet show and the fact that you cannot see the male model’s face shows that not many people knew who the manipulator was.
However, there are some broken strings which to me represent a few of those manipulative methods being broken and on the process of setting me free to be my own person and have my own identity. In addition, the use of double exposure on the “puppets” represent madness because you tend to lose your mind in such situations.
In comparison to my key artists, Claud Cahun and Lara Gilks, this image is very open for interpretation. This is because one of my aims for this project was to create something like Gilk’s Horse Bride and have the audience interpret the image according to their own experience and link the audience to the photographer due to relation to the viewer, ultimately creating a bond between the artists and the viewer; sort of telling them that they’re not alone. As well, the use of a female model as the puppet may convey domestic abuse that a lot of female face.
Also, the shot is in black and white clearly showing similarity to Claud Cahun as their images are all in black and white. Both Claud Cahun and I have used harsh shadows and tones to show how difficult it can be to be our own person and have our own identity in a judgemental society; sometimes we are so pressured to act and look a certain way by society which makes us feel entangled in these strings and imprisoned at times.
Cut you off
Faceless
Stalker much
These are a trinity of images which try to show how other opinions have shaped and reconstructed my identity.
As you can see, the text in my images is a series of anonymous messages I received from people that know me, but I still do not know who sent most of these messages.
In “Cut you off”, there’s a message saying, “It’s funny cuz you acc think we like you but we’re j pretending… go AWAY.” This message came from someone that I know that clearly doesn’t like me. I did everything in my power to at least be civil with them, this was until I figured the friend group was talking about me behind my backs and so I cut them off. Hence the name, “Cut you off“.
In addition, “Stalker much” the messages that are going through my models clearly show how much these messages have got to me. Also, the female model looks like they are sort of guarding or looking over the male model. I did this in purpose in order to try and create a sense of the psychic staring effect; when you have that sense of being watched to which the messages suggest that people paid close attention to me and even saw who was texting me. The colourful double exposure, alike “Manipulation” was done to show madness and or how multiple people seem to be watching over me.
Similarly, “Faceless” is a photograph where the identity of my model is hidden, blurred out and shaken while they’re holding a message that reads, “Your 1000% gay, stop being in denial.”. This message was one of many that made me question who I was, what my sexuality was and made me question everything about myself and it got to a point where I genuinely hated everything about myself because no matter what I did, that was the ONLY slur that people tell me, it even got to a point where my old tutor had to ask my friends if I was gay because of the way I dress. That shattered me and confused me so, enjoy the series of images that attempt to show how I have felt during these times.
In relation to my key artists, most of my images are in black and white which relates to Claud’s images, the composition of these images remains quite close to both Lara and Cahun as my models are near the centre, my images also have a go at talking about identity / lack of identity which relates to Cahun. Also, it may be argued these images could be interpreted differently according to the viewers own experience which successfully links to Lara’s ideas. However, the use of messages in these images may reduce this effect as not every viewer has probably received similar messages.
Ghostin
This is my final outcome, it contains a series of messages that read, “gross”, “gay”, “there is no way you’re straight” and “he’s definitely a bottom.” These are just messages that people have said to me.
This relates to Lara Gilk’s approach to identity as I have incorporated elements of ambiguity, strangeness and obscurity. This was done through the ghost effect where the model appears to have multiple faded exposures of themselves.
In comparison to Claud, there isn’t much correlation except the fact that we both have attempted to talk about identity and what it means for us.
These messages are mostly blurred and over-layered one another which has a go at showing 2 different perspectives, one being that overtime these messages don’t hurt you anymore and two, over time the messages get deeper and harder to see on the surface but they’re still there. Obviously, the perception may change due to the viewers own experience. Like my favourite show, 12 Monkeys, states, “There are many endings and the right one? The right one is the one you choose.” Therefore, this image was created to purposely let the viewer pick the ending for this project on identity, let it be happy or sad. After all, the author is still deciding on what ending to this story to choose from.
How I edited these images:
For this project on identity I have used Photoshop to adjust the black and white filters for most of my images, I have also used it to create and bend the strings in “Manipulation” to make it more realistic and add to movement as there is little evidence that the model is moving so I tried to bend these strings to add to this effect. I have also used the “blur more” tool to blur the strings and ellipses around the fingers so that it looks like it was part of the original image, and in “Stalker much” I used these methods to blur the text to achieve the same outcome.
In addition, I have used photoshop to add the text to my images, change the opacity and adjust it to “Darken” so that it removes the background and displays just the text. Also, setting it to darken means that when it comes into contact with a darker background, it fades away. This and the eraser tool helped create the effect in “Stalker much” and make it seem like the text is actually in the background.
For the other images, I have used the “Glitch Lab” app on my phone to:
add the glitch effects around “Faceless”.
remove the faces in “stalker much” and “Faceless”. There was also a filter called “stripe shift” which helped cut off the face in “Cut you off.”
For “Ghostin” I used the pre-set “Troubled waves” to create the blue/green filter so it looks quite old and gives a cemetery, cold feeling enhancing the name “Ghostin”.
Snapseed was also used to sharpen the text in “Ghostin” so it’s clearer and more readable.
Step 4: Create your own location or choose a template.
Step 5: Upload your images, put them in your exhibition, name it and give it a description. For mine, I justified my photographs.
Step 6: Present / view your Exhibition.
Why I decided to do a Virtual Gallery:
I decided to do a Virtual Reality Gallery again because I feel it links very well with the theme of Identity. This is because the viewer is placed in a corner of a room and has to find the 5 outcomes that are in that VR building. This relates to identity as it puts the viewer in a way, in the artist’s/my shoes in the search to find my identity.
I am very happy with the final images of this project on the theme of identity. I love how I have successfully talked about past experiences in my life and managed to turn it into art. This project has really helped me turn my pain into a series of beautiful and artistic images.
The planning went really well and I said everything I needed to say through these images. But, next time i’ll make sure to think about props and how to use them successfully as you can see in my contact sheets some comments didn’t stick quite well. Also, the background for “Manipulation” could have been done faster if we thought about the colour of the props and background which is always important to think about.
I have clearly related my images to the key artists and have shown a great understanding of photo analysis, use of lighting and have shown great expertise with photo manipulation.
I strongly believe I have achieved the main purpose for this project which was to mix identity and portraiture. I have powerfully touched on areas like identity, sexual identity, how others opinions may change how you see yourself and I admire the way that I left the audience on a cliff hanger; having them decide what the final image “Ghostin” could mean to the whole project. For example, as explained above it could mean that the artists has moved past these hurts and the criticism they have had in the past is becoming nothing but a memory, or, the criticism is taking over the artist slowly becoming one. This could mean that the audience chooses the identity of the artist; are they someone strong, who’s moved past the experiences or is their identity confused?
The fact I am basically getting the audience to choose my identity adds irony as the project talked about rude and negative these comments could be to someone, talking about being driven into madness and having the constant fear that you’re being watched. This at last makes strain which identifies with how Lara needed her crowd to feel the feeling of being strange and crazy yet some way or another ordinary.
In conclusion, I am very excited to share this project with you, viewer. I hope you can relate or find comfort in my photographs.
