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Additional Image Selection For Printing

I wanted to select a group of images that I used in my portfolio, which I made in my own time, so that I could print and mount some of the images.

Firstly, I would like to print these 2 examples of my graphic design skills. For the image on the left I used Blender (3D modelling software) and Photoshop, it was the image that I entered into the Eco Active Competition about climate change. For the right image, I made it in Photoshop and is a strong example of photo manipulation using 3 images.

Firstly, I would like to print these 2 examples of my graphic design skills. For the image on the left I used Blender (3D modelling software) and Photoshop, it was the image that I entered into the Eco Active Competition about climate change. For the right image, I made it in Photoshop and is a strong example of photo manipulation using 3 images.

Secondly, I would like to print these 2 images from my Portfolio, as they are my favourite images from it.

The image of the cat I shot during ‘golden hour’ which gave the eye, the central focal point, a vivid golden effect that emphasises the detail of the cat’s iris. I used a macro lens to get really close to the subject. This created more attention to the eye positioned in the centre of the image, and created a slight soften blur to the nose, whiskers, and the mouth. However it still maintains the detail of the hair and the pattern of the cat.

For the aerial image, I used my drone, a DJI Mavic Mini 2, to fly above L’Etacquerel Fort, one of the many Heritage sites in Jersey. The photo was taken from the cliff path, at a height of 120 metres. I boosted the greens and blues to get a more natural look to the environment. I feel this image works well as the curved lines in the architecture contrast the jagged cliff rocks, showing the footprint of the fort really well.

Finally, the mask mask photo, I wanted to create an old, World War 2 atmosphere. In order to do this I took the shot through a cardboard tube with a ripped end, which created a frame around the subject which gives the appearance that the subject is inside a room and you are on the outside of the door looking in through a peephole.

My online Portfolio on Behance: https://www.behance.net/MatthewBrownPhotos

Personation (Virtual Gallery)

To showcase my images I will make a virtual gallery in Photoshop, so that it looks like my images have been displayed in an actual gallery.

I used CTRL-T to warp the image so that the top and bottom edges of the photo are parallel to the the floor and ceiling. After all the images matched the perspective of the gallery I used blending options to make the images look real and 3D, such as, bevel and emboss and, drop shadow.

Left: Bevel and Emboss. Right: Drop Shadow.

Overall, I think that these extra images help display my photographic and post production abilities and therefore the main reason which I wanted to include them in the next print job.

NFT Project Image

I also wanted to include the poster image from the NFT project, which looks like this:

I used the same technique to make a gallery in Photoshop, by using bevel and emboss and drop shadow.

It will be printed A3 unless the quality is bad as its 2560 × 1440 pixels. If it can’t be printed A3 then A4 is ok.

Presentation of the Final Images From the photo book

To decide the images that I wanted to print and mount, I used my photo book and picked my favourite images. I would also decide an additional 5 images from my Portfolio that I would print.

In total there are 7 images in the book that I would like printed. I chose them as they stand out and demonstrate great camera skills. I feel that they represent the photo book very well as they are the best ones from it, however they don’t take the value away from the book as it have created contrast and juxtaposed some of the images by paring them with objects and other different images.

Presentation (Virtual Gallery)

To showcase my images I will make a virtual gallery in Photoshop, so that it looks like my images have been displayed in an actual gallery.

Portrait image display

After postponing the images where I wanted them, I used blending options to make the images look real and 3D, such as, bevel and emboss and, drop shadow.

Left: Bevel and Emboss. Right: Drop Shadow

Overall, I am happy with my selection of images to print as they are my strongest images from my most recent project.

Printing

These are the images that I decided to print A4:

These are the images that I’m printing A3:

Creating A PHOTO-BOOK In Lightroom And Blurb

I took all the photos that I wanted to use and, that I have already edited from the photoshoots in Photoshop, then I created a new collection set in Lightroom Classic to import the photos into.

The editing process is shown on the photoshoots blog posts.

After importing the photos into the photo-book collection I used the “pick” and “reject” method using the “P” and “X” keys.

Next, I used the different colours to visualise what type of photo each image was, e.g. aerial (yellow), underwater (blue), hillclimb (green), etc.

These are all of the images that I plan to use in the final book design.

My Book Specifications

Before I design the book I need to decide the specifications and think about the design.

This is information about how I will make the book and about the materials and requirements it needs.

How you want your book to look and feel.

Ideally, a hardback book would be nicer as it has a more genuine feel to it, and it lasts longer. However, it is more expensive compared to a regular, softback book.

Paper and ink

The premium paper will make the images better and isn’t to different to the standard paper, price wise.

Format, size and orientation

I will use a normal A4 book. (8×10 in)

Binding and cover

I will use a hardcover with an image wrap, with Mohawk proPhoto Pearl 140#.

Title 

Bouley Bay

Design and layout

  • Single image full bleed
  • Single page image with white borders
  • Double page full bleed
  • Double page spread
  • Double page single image.

Editing and sequencing

I will try and create a zoom effect with the images and use certain objects to carry to flow of the book.

Images and text

There won’t be any text except for the essay at the back of the book.

2. Produce a mood-board of design ideas for inspiration. Look at BLURB online book making website, photo books from photographers or see previous books produced by Hautlieu students on the table in class.

This is a mood board of books that have inspired my design process. I found them Blurb’s bookshop page on their website.

https://www.blurb.co.uk/b/11080504-empty-spaces
https://www.blurb.co.uk/books/11080310-katy-stone-force-field
https://www.blurb.co.uk/b/11080001-i-dream-of
https://www.blurb.co.uk/books/11078338-dudley-after-dark

I mostly chose these pages from these books as the display the images in a unique way that engages with the user.

I reorganised the order which I the photos would be in, in the photo-book. Then I clicked the book button where I chose to use the “Standard Portrait” book, then put the images in the order that looked the best.

I made use of the page setups to arrange the images to create an interesting composition. I mainly had two images on the double page spread and, they either linked with each other or were opposites.

To create a narrative I tried to create a zoom effect. I started by getting images that where of a general overview of the bay, then I focused on the pier, the water coming on to the pier, then I focused on the long exposure shots of the water on the rocks, which transitions to underwater photos. Once there is a brief introduction to the bay there it focuses on the hill climb which brings in the areas “character”. After I introduce the bay again by using the greens hill and the green around the waterfall in the bay, which shifts the focus back to the bays features like the L’Islet, and the heritage site. I often compared close ups of objects and match colours to create an interesting concept and presentation.

My favourite images are these below, I chose them as they are unique and interesting, and showcase great camera skills.

I achieved my goal, which was to accurately recorded a physical location through images. These images above are the strongest images I have taken which help showcase the environment that is Bouley Bay.

Unfortunately, I deleted all of my work, which meant the pervious book design disappeared. Therefore, I had to redesign the book, which isn’t necessarily a bad thing a I had too many images. This helped me reduce the size of the book and add more contrast, as the pervious version was more illustrative.

This result is more balanced as there is a greater mix of content and I feel that I have used a wide range of different page layouts to shift the viewers focus whilst looking a different images. My favourite pages are, 8-9, 14-15, 16-17, and 32-33.

I decided to add 2 more images. One would be a 2 page spread using full bleed and, then second would be a single image, which would probably be on a double page however, it would only use up one page. I plan to do this to a few more images earlier on in the book and eliminate some of my weaker images.

Creating the book cover

I decided to use an image that had a wide view of the bay which clearly shows where and what the book is about. I am using the image from the extra photoshoot I made with my drone. For the back of the book I wanted to have an abstract image where it is hard to work out where it was taken. Doing this makes lets the front cover have all of the attention. These are the two images I’m using for the book cover:

Left: Front Cover, Right: Back Cover

I needed to create a design for the spine, I thought I would blend the edges of the two images above to create a fade between them. After, I would add text to the front cover, and the spine.

I used layer masks to create a gradient fade on the edges that meet with the opposite image. Then used motion blur to smoothen the transition between the images. This will look better when I add the text to the image.

This is what it looks like without the text on the cover. As you can see it looks good, even without the text.

I have created a mood-board to gather inspiration on books about places to decide how to design a title. These are the designs that inspired me:

Using Photoshop I have made 3 different front cover designs, and just needed to chose with one I wanted to use. I used clipping and laying masks to help me design and layout my process throughout creating the cover.

I decided to use the design on the right as it is more ascetically pleasing than the others as, it is on one line and incorporates a more complex design whilst keeping it simple.

The design on the right I used blending option on the text such as, stroke and inner shadow, with a clipping mask of the image to let the image show through.

For the two similar covers, I used a layer mask to remove parts of the text to show the island, to give the simple look and complex effect.

I changed a few small details, such as moving the text up a bit. Then I added and replaced the image on the front of my book and on the spine to see what it looked like completed.

I added the text to the 2 files (spine image and front cover image) that I had open in Photoshop to my the final cover images.

I quickly made an inside cover page with just text on, which is the same as on the front cover.

Final design and layout

These are the rest of the pages in my photo book:

After some last small adjustments, I’ve come to my final presentation of the photo book. I removed the panorama of the bay, the image on page 54 (underwater image), and I change the bleed on some of the images to removed some of the borders, you can see the before (above) and after (below) of the changes that I’ve done.

I feel that this is the best design and layout, as it includes multiple double page spreads, 2 image layouts with borders, full bleed pages and single page spreads. I decide not to add my essay into the back of the book as I feel that it would ruin the “professional” look.

Personal Investigation – Photoshoot 3/4 Josef Sudek

Initial aims for shoot:

My initial aims for this Josef Sudek inspired photoshoot were to combine the technique I discovered while on my ‘Photoshoot 2 – Pictorialism’ , creating a dream-like bur, with Sudek’s iconic display of flowers in clear vases being captured on window sills. I wanted to combine these ideas to create a whimsical depiction of nature, however showing how it can adapt to its surroundings – as if these flowers are symbols of hope. I planned on capturing my shoot using the windows inside my home, however I found it difficult to replicate Sudek’s compositions due to my windows not having such a large space underneath for the flowers to sit. Therefore, I had the plan to use my grandparents home to capture my images, a place still close to my heart that held meanings in location as well as subject. I aimed to conduct my shoot during the afternoon as I wanted there to be enough light to illuminate the subject, but not too much so that it became a silhouette. I planned on using the downstairs bedroom window which looks out onto the garden as I knew there were netting curtains that I could experiment with across the windows, I wanted to see whether this background still allowed for the observer to ‘look through’ the image. I had the idea to use an array of either singular flowers or bunches of flowers in the vase, I wanted to use a selection of types of flowers, and also a set of flowers that were more wilted to compare the effects and atmospheres they created.

Initial Shoot Experiments

This first shoot was conducted at my grandparents house, using their curtains to create a set of images with an abstract background. I wanted to mirror Sudek’s use of the rain which lined his windows/background but to experiment with a different pattern to see whether this created a similar mood. The lighting of the room was very cold on my shoot day, the sun was behind clouds which actually made it easier to capture the flowers without risk of them becoming silhouettes, however this also meant the warm pink tones that I had captured in my Photoshoot 1 and Photoshoot 2 were not replicated. I knew that I would have to heavily edit the tones and hues of these photographs in order to mirror my fantasy/dream-like theme, nevertheless I captured several images with strong compositions that I knew could be of use when creating my final selection.

Second Shoot Experiments

I decided there was a need to do a sub-shoot using the same theme and ideas, however this time using a different location where I could better reflect Sudek’s work. I discussed my idea of shooting in front of a panelled window with my friends and was lucky enough to be able to use one of their bedroom windows to conduct my shoot, it was a subtle reflection of Sudek’s location and gave me the opportunity to experiment with compositions lined up with the window panels. I began my shoot without steaming up my camera lens for a few images so when editing I could experiment with how I could manipulate the image to seem blurred in a Pictorialism style, without manually doing it on the day. I then used my technique of creating a fog over the lens with my breath to take the rest of the images, nevertheless there was still a blue hue that washed over my photos. I also wanted to replicate Sudek’s capturing of rain in the background of his images, however on the day of this photoshoot there was no rain forecast, so I came up with the idea of pouring a glass of water over the outside of the glass to look like raindrops rolling down the window. This idea was very successful and allowed me to experiment with aperture to focus on either the flower or the raindrops – I wanted to create a set of images that were delicate and soft, breaking up the fantasy world from previous shoots with hints of reality breaking down.

Juxtaposition Shoot Experiment

After going through my images from each photoshoot, I realized there were not enough nightmare style images to disrupt my photobook design, I wanted to have a book full of juxtapositions and disjointed hues of blue and peach that contrasted each other, conveying a sense of anxiety creeping in. Therefore, I decided on conducting a 4th photoshoot based on the idea of ‘nightmares’, bringing in the idea of Alice in Wonderland by photographing mirrors and clocks that could be placed next to images of foggy streams to link to the theme of escapism. I undertook this photoshoot around my home, capturing old photographs of my younger self/of family members using the blurry method, as well as capturing sharp images of them to contrast which looked better next to my other shoots. I wanted to focus some images on the idea of reflections, using a small mirror in my bedroom to act as symbol for clearing the mind, starting by capturing it fogged up and then capturing it from the same position once the mist disappeared. I used this photoshoot as an opportunity for experimentation, I knew that I would only choose a small selection of images to be presented in my final collection, however I still wanted to see how many ways I would portray the idea of ‘a nightmare’.

Editing

For the first flower experimental shoot I knew there would need to be a lot of manipulation in Lightroom to make the images fit my whimsical theme. I used this as an opportunity to use the different features of Lightroom that I had previously not used as much, such as turning down the clarity of the image and dehazing it to create an over-exposed style. I then saw how turning up the temperature and tint of the image would give it the same peach/pink filter that washed over my other shoots, creating this fantasy display similar to an old blurred photograph. After exploring how turning up or down the contrast/exposure/highlights of the image affected its atmosphere, I found the perfect balance of editing which created my final image. For the second flower shoot, there was still a blue hue that washed over the images due to the artificial indoor lighting being cold, therefore during the editing process I had to, again, turn up the temperature and tint of my images to fit my theme. Even though I had steamed up my lens for most of this shoot, I still used the dehaze and clarity feature to create more of a dreamlike blur over the photos, I believe this successfully replicated Sudek’s work while also bringing in my own personal fantasy style. The nightmare shoot images were mostly cold and lacked in vibrancy, however when editing the two images of my mirror I wanted to experiment with how increasing the blue hue created a mystical and dark atmosphere. All of my images have a fantasy theme, may it be soft positive dreams of childhood or mysterious dark memories rooted in anxiety – this shoot let me edit in an abstract style to separate my subjects from reality. I increased the contrast of this shoot to create sharp edges underneath the blur as there was a lot of shadows and darker tones that I could draw focus to – the circular composition of my mirror image is inviting and unsettling, which were the main ideas I wanted to convey during this shoot.

Final Sudek Inspired Images

Final Juxtaposition Images

Comparison to Sudek:

Sudek’s images are dark, they have a sense of mystery to them, and a sense of loss. Nevertheless, when I look at Sudek’s work, though there is loss, there is also hope – flowers are symbolic of life, it is as if Sudek (even in his confinement to his studio) is telling his observer there is still life wroth living – possibly he is trying to convince himself of this fact also. Comparing my work to Sudek’s, there is a clear link in subject and location – I have tried to replicate his surroundings as best I could with the weather circumstances etc – yet there is a contrast in atmosphere. My images are soft focused and bright, there is a content and calming mood within them as if the over-exposed highlights are beams of sunlight bringing joy and hope. Contrastingly, Sudek’s images are cold and dark – even without saturation it is clear that there is a gloomy atmosphere surrounding his subjects – hinting towards his own isolation. I wanted to create this difference to convey a sense of optimism, even though Sudek may be documenting a difficult time in his life there is still faith in nature and finding a way to adapt – this faith and hope is what I wanted to draw the most focus to in my images, they still give an impression of isolation, however this loneliness is surrounded by warmth and brightness as if its optimism for the future. Additionally, Sudek’s use of soft focus is replicated in my work, yet I have taken it to the extreme using my Pictorialism inspired technique – there is an impression of reality breaking down in both mine and Sudek’s work, with abstract shapes in the background creating an eerie atmosphere. Overall, I am really happy with how my Josef Sudek inspired photoshoot turned out, I have been able to experiment with different editing techniques and compositions, having to explore different ways of conveying a theme of anxiety, escapism and safety.

Personal Investigation – Photoshoot Two Pictorialism

Initial aims for shoot:

I wanted to create a set of images that combined the work of Robert Darch and Josef Sudek, mirroring techniques and themes used in Pictorialism photography. I plan on using the main location of Reg’s Garden, a community garden that I used to visit as a child with my grandparents, capturing areas where I would escape into imaginary worlds. I also plan on using my grandparents home for several images, using locations such as the kitchen, hallway and spare bedroom. In these rooms I hope to capture a sense of memory, past and nostalgia by photographing mirrors and doorways, windows that look into the past and provide a view to the future. The theme of safety is one I want to focus on in this shoot, the Pictorialist style will hopefully create a mystical yet welcoming atmosphere, using a soft blurred focus to distort any harsh textures or shadows in each image. I plan on conducting this photoshoot during the mid-afternoon, I want to take full advantage of the bright weather to create exaggerated highlights in my images. Experimenting with the Pictorialism technique is something I really want to explore in this shoot, I plan to bring Vaseline with me on the day to smear over the camera lens, however I would like to try using different materials to create the staple blurred filter over my images. This shoot will serve as an exploration of childhood imagination, physically capturing the Wonderland-like world I escaped to, whether I was happy, sad, confused or anxious – I want to display the dream-like state of ‘playing make believe’.

Editing:

I began editing in Adobe Lightroom, going through each image and flagging it if it portrayed the right atmosphere and theme I wanted to put across. Aesthetics was a feature that had importance in this shoot, I wanted my images to have a whimsical fantasy style that gave the impression of an almost ‘too perfect’ world. I looked for warm tones and orange hues when flagging my images, I found they were more successful when resembling colours of late evening sunsets as it created a cosy and welcoming atmosphere. After flagging my favourite images, I went through them again rating them from 1 -5 and focused on finding the meaning behind each image, when I took this image what did I have in mind? Does that message/idea come across successfully? Additionally, I wanted several images to hold a sort-of ‘escape route’ within them, may it be a door or a window, a clearing in the trees or a bridge to walk across – anything that could lead to this mystical world. Negative space that I captured in my images sometimes served as this ‘escape’, when sorting through and choosing which would be my final images to edit it was clear that keeping this fanciful narrative helped create my desired effect. Below is my selection of 5 star images, I considered colour, composition, meaning and light to create this selection and give the impression of an idyllic world full of imagination.

How I replicated Pictorialism:

I had planned on using Vaseline smeared over the camera lens to mimic that of Pictorialism, nevertheless when I began setting up for this shoot I though of a different idea and technique to create this imagery style. I wanted to create a gradual blur, some images slightly misty and foggy and others completely distorted, to compare how much I wanted to change the atmosphere of my surroundings in each image. Using Vaseline, although effective, was not the most practical material to create this gradual effect, as I would need to keep removing and reapplying the gel to the lens when I wanted less or more blur. Therefore, I thought of using my breath to steam up the lens, as the effect would ware off after a few seconds and I could take multiple shots of the same location as it gradually loses its blur. This allowed me to experiment with how much the lens should be steamed up when photographing to create enough blur to be distorted and dream-like, however not so much that the subject cannot be recognised as a bench or statue. As this project has such a personal connection to me, it was as if I was breathing life into these images to create this other-worldly effect – experimenting with how an image can be manipulated without editing it harshly in Photoshop or Lightroom was something I really wanted to explore. This Pictorialism imagery gives the impression of memories, foggy and blurred but still remembered as happy and content – there is a calmness to this shoot that when mixed with the oil-painting-style imagery portrays an imaginary world where anxiety disappears and childhood can live on.

Experimentation:

The images above and below were both taken in my grandparents home, it was the secondary location to Reg’s garden, holding memories of childhood and happiness. However, during the time of this shoot the lighting and weather was dull and cloudy, blue undertones and shadows made the images seem desolate and forgotten – which was no the atmosphere I wanted to create. When photographing I though of changing the ISO and white balance to create a warmer tone, however I was undecided as to whether the images would make it into my final selection, so did not make the changes. This gave me opportunity while editing to manipulate the highlights, temperature and tint of these photos in order for their colour pallet to match the rest of the blurred images. Instead of keeping the cold blues and putting these images with the ‘nightmare-style’ shoot, it made no sense to take a photo of a happy, loving place and change its whole meaning – therefore slightly warming the temperature and tones helped create my desired mood of welcoming. My grandparents home has always been a place where I have felt safe, as a child I would create stories in every room and escape from the outside world, using props such as cutting boards for boats or shields and curtains to keep the ‘monsters outside’ – all of these memories are now foggy yet still so clear, I wanted to use a Pictorialist style to show this.

Final Edited Images

Overall I am very pleased with how the final edits of this shoot turned out, using breath to manipulate the camera lens and capture a distorted scene allowed me to experiment with how a Pictorialist style can represent a fantasy world. Themes of serenity, perfection, calmness and persuasion were all ideas I wanted to keep in mind during the shoot. Using the style of Robert Darch by capturing nature in all of its beauty, and of Josef Sudek by taking his use of misty blurred surroundings, altogether created this display of fantasy. Using pink and orange tones that replicated a sunset throughout created this warm welcoming atmosphere, which will be disrupted by the harsh ‘nightmare’ shoot images which will break up my photobook. I am using Darch’s technique of progressing narrative through colours and tones, in The Vale of Despond by Dan Cox he describes this in Darch’s work; “A change in the palette of the images, another influence from the cinematic, signals this move, with cooler blues and yellows fading into greys, as the space becomes increasingly hostile.” I plan on creating a third photoshoot delving more into the world of Josef Sudek, being influenced by his study of flowers on a window sill and linking it to themes of adapting to my surroundings and to change. I want to progress these ideas further by experimenting more with the Pictorialism blur and using it to capture scenes in Sudek’s style.

Personal Investigation – Photoshoot One Robert Darch

Initial aims for shoot:

During my initial planning for this photoshoot I aimed to create images focused solely on nature and the environment, I wanted to capture specific areas around the island where nature has felt both comforting and unnerving to me- juxtaposing ideas of contentment and anxiety. I planned on keeping to locations where memories of childhood lay, such as St Catherine’s Woods and Le Creux Woods – I knew there were possible photographic spots full of twisted trees that I wanted to capture so I made sure to shoot on a bright sunny day to take full advantage of the shadows that would be created. I wanted to reflect the work of Robert Darch using natural sunlight to create a sense of optimism and hope in my images, I planned on beginning my shoot early in the morning to capture some more golden tones around the landscapes. Similar to Darch’s style, I will use an aperture setting of about F/16 to create a balance between depth of field and sharpness ensuring that each element of the image is in focus. Nevertheless, to contrast this and provide a break in the synchronicity, I plan on capturing several ‘nightmare-style’ images with cold blue hues and darker tones throughout. In these images I will experiment with using a wider aperture of F/2.8 to focus on a specific branch or leaf, then using a very narrow aperture to compare which style creates a more eerie atmosphere.

Editing:

I began editing my images in Adobe Lightroom, flagging the images I liked best due to composition, lighting, atmosphere and repetition. I found that the images I captured at St Catherine’s Woods were more successful then those taken at Le Creux due to the location holding more expansive landscapes that related to Darch’s work greater. After flagging my images, I rated them from a score of 1 to 5 to create a final selection of the strongest ‘unedited’ images – then I went in and touched up exposure, vibrancy and contrast to enhance the comforting ‘dream-like’ atmosphere I wanted to create. The theme and intertextual idea of Alice in Wonderland came to me during this shoot, I thought of combining a series of the whimsical Josef Sudek photos with vibrant Darch inspired landscapes to create this fantasy ‘Wonderland’ influenced world where one could escape to in times of panic. It was always an idea I wanted to portray however I didn’t yet know how ‘make’ this world, throughout this photoshoot I tried to capture areas that seemed a little too perfect to stay compatible with ideas of Wonderland and dreams.

When undertaking the 1-5 rating of my images I focused on selecting those that best gave the impression of escaping into another world, may it be over a bridge or through a gap in the trees – I wanted each image to have a sort-of ‘clearing for an escape’. Composition wise, I looked for geometric shapes within my images, many had hints of circles that opened out into an expanse of sky, or distant trees. I was really drawn to these photographs as I believe they tell a greater story for the observer, like there if still more to be seen beyond the image – yet it also allows them to come up with the end of this story themselves. I also aimed to include images with lots of repetition, to keep with this ‘too perfect’ idea, like this magical world is not all it seems to be. Images with repetitive trees contorted around each other that seem to just keep going and going into the background of the image always fascinated me and made me think of fantasy worlds – I wanted to include the themes of escapism, but through natures captivating features. Hues and colour pallets in each image we mostly warm and vibrant, I did minimal editing to keep a cohesive pallet throughout of oranges, greens and yellows. However, when shooting the more ‘nightmare-style’ photos I wanted to use colder, more blue hues. I edited my images, which were taken late evening, by turning down the temperature and adjusting the amount of shadows and highlights to create a more mysterious brooding atmosphere. I aim for this contrast to confuse the observer, making them think of why such warm and welcoming images have been disrupted by these dark reminders of reality and fear creeping in.

Experimentation:

This was one of the first images I captured for my project, on a walk through a familiar woodland one evening I found this branch covered in raindrops. At first I was focused on its beauty, I tried capturing it from different angles and using a wide aperture to blur the background, however when it came to editing I couldn’t decide which atmosphere it created more. Looking at the image it made me feel quite unnerved, the branches closing in from the right have an almost claustrophobic feel to them, I saw a more ‘nightmare-inspired’ atmosphere than a calming one. Nevertheless, this meant editing had to be more thorough to fit with my idea of harsh blue tones breaking up the warmth of other images. I began by decreasing the temperature to -68 so I was able to work with the blue tones, I then increased the contrast to create a sharper image and decreased the exposure slightly however the image had too many purple undertones from the original sunset haze. Therefore I slightly decreased the tint of the image to create more green undertones so the image wouldn’t look too unnatural. After touching up the dark and light tones in the image I was really happy with how it turned out, from beginning my edit with a pink, soft image which I had edited to fit with the ‘dreamlike’ photographs, it was interesting to then completely try to change the mood by using a colder palette.

Final Edited Images:

So much inspiration was taken from Darch’s photobook ‘Vale’, I wanted to create that same welcoming but also disconcerting atmosphere. Some quotes that inspired me, from critics discussing ‘Vale’; “Vale is the latest photobook by the artist, which he has self-published. Images of  old trees, verdant valleys and hot summer hazes denote an archetypal British countryside and typify the narrative. Alongside this, disconcerting elements peek from behind; something can be felt amongst the trees. The beauty of nature faces a ghostlike, fractured, and melancholic stillness. There is more at play under the surface of this pastoral landscape.” “The work draws from the lived experiences of ill-health. Darch found comfort in fictional worlds, domestic interiors, and the natural landscapes around him. Vale is a compilation of these multiple worlds, allowing the realities, dreams, fictions and memories to blend together in a space of escapism and meditation. Vale cannot be found on a map. It is not a topographical reality, but a semi-fictional one Darch has lived in for the last decade.” – Isaac Huxtable – 2021. It is these fictional worlds that I wish to continue creating in each photoshoot, I plan on undertaking my second shoot by focusing on this theme of ‘dreams’ and using a pictorialism influence to make some Robert Darch inspired images seem even more mystical and unreal.

Personal Study – Art Movements and Isms

Pictorialism

Time period; 1880 – 1920’s

Key characteristics/ conventions; Reacted against mechanization and industrialization, dismayed at increasing industrial exploitation of photography through commercialisation. Championed evocative photographs and individual expression, constructed images looking for harmony of matter, mind and spirit – subjective and spiritual motive. Pictorialism is an approach to photography that emphasizes beauty of subject matter, tonality, and composition rather than the documentation of reality. Images had a foggy, mystical-type quality of fantasy that highlighted the aesthetically pleasing elements of an image.

Influences; Allegorical paintings – figurative mode of representation conveying meaning other than the literal. Communicates through symbolic figures, actions or symbolic representation – the underling meaning has moral, social, religious or political significance.

Artists associated; Alfred Stieglitz (Equivalent; clouds study), Peter Henry Emerson, Hugo Henneberg, George Davidson (Reflections 1899), Charles Job (Pulborough Bridge), Alvin Landon Coburn, Henry Peach Robinson, F. Holland Day, Robert Demachy, Edward Steichen.

Key works; Alfred Horlsey Hinton (Fleeting and Far 1903), George Davidson (Reflections 1899), Joseph Gale (Cottage Garden 1890), H P Robinson (He Never Told His Love 1884), Alfred Stieglitz (Equivalent; clouds study).

Methods/ techniques/ processes; Making photographs that resembled paintings, manipulating images in the darkroom, scratching and marking their prints to imitate the texture of the canvas, using soft focus, blurry or fuzzy imagery based on allegorical and spiritual subject matter. Photographers smeared Vaseline onto their camera lens to create a dream-like effect over their images, making them look like hand-made art.

Allegorical Paintings

An allegory is the description of a subject in the guise of another subject. An allegorical painting might include figures emblematic of different emotional states of mind – for example envy or love – or personifying other abstract concepts, such as sight, glory, beauty, Revolution, or France. These are called allegorical figures. The interpretation of an allegory therefore depends first on the identification of such figures, but even then the meaning can remain elusive. Allegorical subjects were frequently painted from the Renaissance until around 1800, although they were probably most often used in medals and engraved frontispieces to books. Single allegorical figures were also painted, sometimes in series, each figure representing, for example, one of the Liberal Arts or the Virtues.

Pictorialism Photography

Straight Photography/ Realism

Time period; Began in 1915

Key characteristics/ conventions; Photographers believed in the intrinsic qualities of the photographic medium, making use of its ability to provide accurate and descriptive records of the visual world. These photographers strove to make pictures that were ‘photographic’ rather than ‘painterly’, they did not want to treat photography as a kind of monochrome painting. They abhorred handwork and soft focus and championed crisp focus with a wide depth of field. Realism, which is closely associated with Straight Photography, has claims of having a special relationship with reality and it’s premise, that the cameras ability to record objectively the actual world as it appears in front of the lens was unquestioned. The key characteristic of this style was to reflect a person/landscape/object with complete honesty and ‘realism., without heavy editing or manipulation.

Influences; Social Reform Photography – he rural poor or the urban environment were not subjects for Pictorial photographers. But when a Danish immigrant, Jacob Riis, published his book ‘How the Other Half Lives’ about the slums of Manhattan, a new kind of realism was born with a socialist dimension. A number of photographers such as Dorothea Lange and Lewis W Hine began to document the effects of industrialisation and urbanisation on working-class Americans. This work influenced what we now call photojournalism.

Artists associated; Walker Evans (1903-1975) was often considered to be the leading American documentary photographer of the 20th century. He rejected pictorialism and wanted to establish a new photographic art based on a detached and disinterested look. His most celebrated work is his images of three Sharecropper families in the American South during the 1930’s depression. Paul Strand, Jacob Riis, Dorothea Lange.

Key works; Frederick Henry Evans; ‘A Sea of Steps’, Wells Cathedral, Steps to Chapter House (1903). Paul Strand; Bowls (1917), Ansel Adams; Monolith, the Face of Half Dome (1927), László Moholy-Nagy; Funkturm Berlin (Berlin Radio Tower, 1929), Manuel Alvarez Bravo; Ladder of Ladders (1931).

Methods/ techniques/ processes; Straight photographers visualized the image before taking the photo. Edward Weston defined this term in 1921 and stated: “Get your lighting and exposure correct at the start and both the developing and printing can be practically automatic.” The aim is to create an image which is not manipulated, either in the taking of the image or by darkroom or digital processes, but sharply depict the scene or subject as the camera sees it.

Straight Photography

Modernism

Time period; 1900-1960’s

Key characteristics/ conventions; Some things that were questioned in modernist photography, art and literature is what is the difference between wrong and right, what will America’s future be, what is truth, and what does it mean to be an American. One of the major changes in the modernist era is a break from tradition which focuses on being bold and experimenting with new style and form and the collapse of old social and behavioural norms. Practitioners of each new style were determined to develop a visual language that was both original and representative of the times.

Influences; Modernists drew inspiration from the philosophical investigations of 19th century writers, in addition to experimental forerunners in their own mediums. An investigation into the key areas of Modernism reveals influences among a variety of 19th and early 20th century thinkers and artists.  The American poet Walt Whitman revolutionized the concept of poetic form, and his “Leaves of Grass” served as a foundational text for Modernist poetry. French writer Arthur Rimbaud inspired Modernists with his symbolic poems and unconventional, obscene subject matter.

Artists associated; Alfred Stieglitz, Dora Maar, Edward Steichen, André Kertész, Man Ray, Otto Umbehr (Umbo), Walker Evans, Iwao Yamawaki, Hannes Meyer, Richard Neutra, Paul Strand, Tina Modotti.

Key works; Salvador Dali (Metamorphosis of Narcissus), Raoul Haussmann (The Art Critic), Wall Street (1915), Abstractions (Twin Lakes, Connecticut 1916), Blind (Paul Strand 1916), The Steerage (Alfred Stieglitz), Workers Parade (Tina Modotti 1926).

Methods/ techniques/ processes; Although many different styles are encompassed by the term, there are certain underlying principles that define modernist art: A rejection of history and conservative values (such as realistic depiction of subjects); innovation and experimentation with form (the shapes, colours and lines that make up the work) with a tendency to abstraction; and an emphasis on materials, techniques and processes. Modernism has also been driven by various social and political agendas. These were often utopian, and modernism was in general associated with ideal visions of human life and society and a belief in progress.

Modernism Photography

Post-Modernism

Time period; Began during 1960’s/1970’s

Key characteristics/ conventions; Postmodernism can be seen as a reaction against the ideas and values of modernism, as well as a description of the period that followed modernism’s dominance in cultural theory and practice in the early and middle decades of the twentieth century. The term is associated with scepticism, irony and philosophical critiques of the concepts of universal truths and objective reality. While modernism was based on idealism and reason, postmodernism was born of scepticism and a suspicion of reason. It challenged the notion that there are universal certainties or truths. Postmodern art drew on philosophy of the mid to late twentieth century, and advocated that individual experience and interpretation of our experience was more concrete than abstract principles. While the modernists championed clarity and simplicity; postmodernism embraced complex and often contradictory layers of meaning.

Influences; Jacques Lacan (1901–1981), was a prominent French psychoanalyst and theorist. His ideas had a huge impact on critical theory in the twentieth century and were particularly influential on post-structuralist philosophy and the development of postmodernism. Lacan re-examined the psychiatry of Sigmund Freud, giving it a contemporary intellectual significance. He questioned the conventional boundaries between the rational and irrational by suggesting that the unconscious rather than being primitive, is just as complex and sophisticated in its structure as the conscious. He proposed that the unconscious is structured like a language which allows a discourse between the unconscious and conscious and ensures that the unconscious plays a role in our experience of the world.

Artists associated; William Eggleston, Cindy Sherman, Jeff Wall, Guy Bourdin, Goran Sekulovski, Lee Friedlander, Andreas Gursky, Jacky Redgate, Robyn Stacey, Yasumasa Morimura.

Key works; Untitled Films Stills (Cindy Sherman), Ice (Robyn Stacey 1989), A requiem: spinning a thread between the light and the earth 1946 (Yasumasa Morimura), Campbells Tomato Juice Box (Andy Warhol).

Methods/ techniques/ processes; Its main characteristics include anti-authoritarianism, or refusal to recognize the authority of any single style or definition of what art should be; and the collapsing of the distinction between high culture and mass or popular culture, and between art and everyday life. Postmodern art can be also characterized by a deliberate use of earlier styles and conventions, and an eclectic mixing of different artistic and popular styles and mediums.

Postmodern Photography

Further Information

Difference Between Modernism and Postmodernism
Modernism & Postmodernism
William Eggleston

Identity & Community – Newspaper

The above is the first image I chose due to its powerful use as a double page spread. This is because the landscape can fill the page and create an immersive experience when this page is opened. The negative space is also powerful as it splits the page horizontally and also presents an obscure aesthetic.

I then gathered related images and laid them out to create a photo-story. I chose theme images as they feature good framing, focus and balance while presenting the emotion of the subjects. After presenting them in this way I decided to configure them in a more traditional fashion suitable for a newspaper, with some images bigger than others and set out where a readers eye would easily follow down the page from left to right.

I then decided on another full double page spread using the below image as it presents the idea of identity and community well. With the girl staring into the lens it confronts whoever is looking at at the image and evokes emotion. This images is effective as a double page spread as it it immersive with depth of field created by the subjects in the foreground being out of focus while the subject in the background staring into the lens, makes it feel like you are part of the team huddle. The girls head is placed just before the middle of the spread so her head is not split in half.

Finally I presented a montage of screenshots from the NFT film.

Personal Study – Book Specification

Narrative

Identity, Pressure, Masculinity

Tell the story of an hypermasculinity in sports and the pressure it puts on young men and how it effects life off the playing ground.

A story about how the pressures of sport can effect individuals off the playing grounds. The story delves into how a young man finds a sense of identity on the field however struggles with the overbearing nature of masculinity within sport and the need to always put on a brave face as a young man. The narrative will begin by introducing sportsmen in action followed by juxtaposing images of them out of action. The story then follows on by introducing the main protagonist who is a young rugby player. It follows him around his life, around his home environment and begins revealing the emotions this individual feels. The story concludes by settling on this side of the narrative and lets the notion of the bleak condition linger and leaves reader with this stale sentiment.

Design

I want my book to feature a minimalist front cover possibly with an inconspicuous portrait or an object. I want this minimalist design to continue through the colour scheme on my front cover, this being no more than two earth tone colours. I want the book to have a matte texture on the exterior with the pages being Mohawk proPhoto Pearl paper. The format will be A4 portrait and will have a hard cover and be case bound and section stitched. The title for my book is ‘Big boys don’t cry’. The book will be structured with a combination of single images on one page as well as multiple collages and double page spreads with blank pages being included to create an interlude in the narrative. The images will be sequentially placed to create the narrative I intend to convey. The use of epilogues and text captions will aid in conveying this narrative.

Essay 2

Is God dead/does he exist?

No one can disprove the existence of God.  

One reason for this is because in the beginning there was an explosion and within minutes, 98% of the matter that there is or ever will be was produced; we had a universe.  

For 2500 years most scientists agreed with Aristotle’s theory of a steady state universe; that the universe has always existed, with no beginning and no end.  

However, the Bible disagreed. In the 1920s, Belgian astronomer, George Lemaitre, a theist (someone who believes in the existence of God), said that the entire universe jumping into existence in a trillionth of a trillionth of a second, out of nothingness, in an unimaginably intense flash of light, is how he would expect the universe to respond if God were to actually utter the command in Genesis 1:3, “Let there be light.” All of which points to a God that created it. For example, in the real world, we never see things jumping into existence out of nothingness. But atheists, want to make one small exception to this rule, namely the universe and everything in it.  

You may argue that in the book, The God of Delusion, Richard Dawkins says, “if you tell me God created the universe, then I have the right to ask you who created God.” But Dawkin’s question only makes sense in terms of a God who has been created, it wouldn’t make sense to apply that question to an uncreated God which is what Christians believe in. Even leaving God out of the equation, I then have a right to turn Mr. Dawkins’ own question back around on him and ask, “if the universe created you, then who created the universe?”  

As you can powerfully see both the theist and the atheist are both burdened with answering the same question of how things started.  

You may argue that Stephen Hawking, the world’s most famous scientists, and who is not a theist, has come out in favour of a self-designing universe. This is clearly shown in the quote, “Because there’s a law such as gravity, the universe can and will create itself from nothing. Spontaneous creation is the reason there is something instead of nothing. It’s why the universe exists, why we exist. It is not necessary to invoke God to set the universe in motion.”  

But, Professor John Lennox, who teaches mathematics and philosophy, has demonstrated that there are 3 errors of logic contained in that one simple sentence which all boils down to circular reasoning. Hawkins is basically saying that the universe exists because the universe needed to exist and since the universe needed to exist it therefore created itself. For example, imagine I come to you and say, “I can prove that spam is the best-tasting food that ever existed because in all of history, no food has ever tasted better”, you’d probably look at me strange and say that I haven’t proven anything. And you’d be right, all I’ve done was restate my original claim.

But when Hawkins claims that the universe created itself because it needed to create itself and offers that as to how and why it was created, we don’t immediately recognise that he’s doing the same thing. But he is, promoting Lennox to further comment, “Nonsense remains nonsense, even when spoken by famous scientists. Even though the general public assume they’re statements of science.”

I’m not trying to say that Stephen Hawking is wrong, I’m saying that John Lennox, a professor of mathematics and philosophy, has found Professor Hawking’s reasoning to be faulty, and I agree with his logic.

On the other hand, if you can’t bear to disagree with Hawkings thinking, then I suggest you turn to page 5 of his book, “The Grand Design”, where he insists, “philosophy is dead.” And if you’re so sure of Professor Hawking’s infallibility, and philosophy really is dead, then there is really no need for people to ever study philosophy and this argument is useless. 

Another point to consider is that for the last 150 years, Darwinists have been saying that God is unnecessary to explain man’s existence and that evolution replaces God. But evolution only tells you what happens once you have life. So, where did that something that’s alive come from? Well, Darwin never really addressed it. He assumed that maybe some lighting hit a stagnant pool full of the right kind of chemicals and bingo, a living something. But it’s not that simple.  

Darwin claimed that the ancestry of all living things came from that one single, simple organism, which reproduced and slowly modified over time into the complex life forms we view today. Which is why, after contemplating his own theory, Darwin uttered his famous statement, “Natura non facit saltum”, which means, “Nature does not jump.” Well, as noted, author Lee Strobeck pointed out, that if you can picture the entire 3.8 billion years that scientists say life has been around as one 24-hour day, in the space of just 90 seconds, most major animal groups suddenly appear in the forms in which they currently hold. Not slowly and steadily as Darwin predicted, but in evolutionary terms, almost instantly. So, “nature does not jump” becomes “nature makes a giant leap.”

So, how do theists (someone who believes in the existence of God) explain this sudden outburst of new biological information? “And God said, “Let the water teem with living creatures and let the birds fly above the earth across the expanse of the sky. So, God created the great creatures of the sea and every living and moving thing with which the water teems according to its kind. And God saw that it was good” – Genesis 1:20.  

Put simply, creation happened because God said it should happen. And even what looks to our eyes to be a blind, unguided process could be divinely controlled from start to finish.  

People have the right to believe what they want to believe but, it’s easy to dismiss what you don’t understand or what you don’t want to understand.  

Another argument could be said that evil is atheism’s most potent weapon against the Christian faith, and it is. After all, the very existence of evil begs the question, “if God is all-good, and God is all powerful, why does he allow evil to exist?” The answer at its core is quite simple: free will. God allows evil to exist because of free will. From the Christian standpoint, God tolerates evil in this world on a temporary basis so that one day, those who choose to love him freely will dwell with Him in heavily, free from the influence of evil, but with their free will intact. In other word, God’s intention concerning evil, is to one day destroy it.  

Contrastingly, others may argue that “one day, I will get rid of all the evil in the world. But until then, you just have to deal with all the wars, and Holocausts, tsunamis, poverty, starvation, and AIDS. Have a nice life.” You may assume that next I’ll talk to you about moral absolutes. But why not?  

Someone who’s an atheist, doesn’t believe in moral absolutes, but let’s say that you find someone cheating in the same exam you’re taking and gets a good grade. I bet you’ll suddenly start sounding like a Christian, insisting it’s wrong to cheat, that the person should have known that. And yet, what basis do you have? If the actions of others are calculated to help them succeed, then why shouldn’t they perform them?  

For Christians, the fixed point of morality, what constitutes right and wrong, is a straight line that leads directly back to God. And I’m not saying that you need God to be moral, that a moral atheist is an impossibility. But with no God, there’s no real reason to be moral. There’s not even a standard of what moral behaviour is. For Christians, lying, cheating, stealing, in my example, someone stealing a grade they didn’t earn is a form of theft. But if God does not exist, as Dostoyevsky famously pointed out, “if God does not exist, then everything is permissible.” And not only permissible, but pointless. If this is right, then all of our struggles, our debate, whatever we decided to do is meaningless. Our lives and ultimately our deaths have no more consequence than that of a goldfish.  

In conclusion, it all comes down to choice of believe or don’t believe, that’s all there is. That’s all there’s ever been.   

Additionally, James Warner Wallace – homicide detective was the author of the book ‘Cold Case Christianity’. In his book, a subtitle he writes was, “A homicide detective investigates the claims of the gospel.” He was an atheist at the time of his research which reduces bias. Obviously, his duties as a homicide detective includes investigating cold case homicides. He states that ZERO of his cold cases were solved through the use of DNA evidence. He states that the cases got solved by examining eyewitness claims, even ones made many years earlier. This is possible through the number of techniques that they use to test the reliability of an eyewitness such as, forensic statement analysis.

Forensic statement analysis is a discipline where researchers scrutinize the statements of eyewitnesses while looking at what they choose to minimise, emphasize and omit altogether, how they expand or contract time. By examining these eyewitness accounts, researchers can tell who’s lying and who’s telling the truth, and even who the guilty party is.

Interestingly, as a former atheist, he applied his expertise to the death of Jesus at the hand of the Romans while also looking at the Gospels as he would any other forensic statement. The fact he was a non-Christian at the time means there was zero bias or influence for his findings to support or disprove that Jesus was not a real person. Within a matter of months, he determined that the 4 gospels, all written from different perspectives, contained the eyewitness accounts about the life, ministry, death and resurrection of Jesus. Also, he considered that the 4 accounts may be part of a conspiracy, designed to promote belief in a fledgling faith. However, he states that successful conspiracies often involve the fewest number of people. For example, it is a lot easier for 2 people to lie and keep a secret than it is for 20. That is where the problem with the conspiracy theories related to the apostles in the 1st century; there are just far too many of them trying to hold this conspiracy for far too long a period of time. And far worse, they’re experiencing pressure like no other.

Everyone one of these people were tortured and died because of what they claimed to see, and none of them ever recanted their story. Therefore, the idea that this is a conspiracy in the 1st century is really unreasonable. Instead, what was found in the gospels was something James called, “unintended eyewitness support statement”. For example, the Gospel of Matthew, the passage states that Jesus is in front of Caiaphas at a hearing, “Then they spit in his face and struck him with their fists. Others slapped him and said, ‘prophecy to us. Christ. Who hit you?'”. At first, it seems like a simple request given that the people who hit him are standing right in front of him which makes no sense. Why would it be prophecy to be able to tell you who hit you? But it’s not until you read Luke that you get an answer to this. He says, “the men who were guarding Jesus began mocking and beating him. They Blindfolded him and demanded, ‘Prophecy, who hit you?'”. So, now we know why this was a challenge, the gospel of Luke tells us the thing that Matthew left out, that he was actually blindfolded at the time this took place. This kind of unintentional eyewitness support that fills in a detail that the first witness left out is very common.

After years of scrutinizing these gospels using the template that James uses to determine if an eyewitness is reliable. He concluded that the four gospels in the Bible contained the reliable accounts of the actual words of Jesus on the other hand, it may be argued that there are numerous discrepancies between these accounts. But James Warner Wallace says that that is exactly what we should expect. This is because reliable eyewitness accounts always differ slightly in the way they recall a story. “They’re coming to it from different geographic perspectives, their history, even where they are located in the room.” When Wallace examined the gospels, he was trying to determine if these were accurate, reliable accounts in spite of any differences there might be between the accounts.

Finally, he states that when he began his study, he was a devout atheist. He began examining the gospel as a committed sceptic, not as a believer. He wants raised in a Christian environment even though he does have an unusually high regard for the value of evidence. He says that the reason why he’s a Christian now is not because he was nurtured into it or because he hoped it would satisfy some need or accomplish some goal. He says he’s a Christian because it is evidently true.  

Bibliography

Solomon, C. and Konzelman, C. (2014). God’s not dead. 1st film, Greg Jenkins Productions, Pure Flix Entertainment, Red Entertainment Group.

Solomon, C. and Konzelman, C. (2016). God’s not dead. 1st film, Greg Jenkins Productions, Pure Flix Entertainment, Red Entertainment Group.