Double/ multi exposure is the combination of two or more exposures to create a single image. The exposure values may not be exact creating a ghost like figure.
Muhammed Faread
Muhammed Faread is an American/ Egyptian artist from Seattle, Washington state USA. He is a graphic designer, who is especially captivated by double exposure. Using double exposure, he explores the power of it as a form of visual poetry.
He has combined an image of a person with their hands over their face with one of their face and made it so that the image of their face is partially visible. The visibility is enough so that we can see his eyes, nose, mouth and ears.
My Edits
To make the images below, I had to get photos of the same subject in either the same or different positions, facial expressions and lighting color. I then dragged the images onto each other and changed the opacity of all the images except the back image so that it creates a ghostly shape and multiple colors.
The Best Image
The image above is the best because It has many different exposures which contrast different colours and subject positions. It creates a phantom subject which makes viewers think about which exposure is the real one. The different images used to make the image have different facial expressions showing the idea of putting on a face which is different to what she is actually feeling.
“Large white cloud near Bilsington, Kent” – Fay Godwin (1985)
Fay Godwin, born in 1931 and died in 2005, was a British photographer who was recognised for her intense landscapes, specifically her black and white work. Godwin began her photography career with portraits of well-known writers such as Ted Hughes and Clive James, however she broadened her love for photography when she found her passion for walking and the environment. Her early landscape work was created with the intent of bringing to light the ecological crisis within the late 1970’s to the early 1980’s, where she protested the English countryside being privatised. Later, in the 1990’s, Godwin was offered a Fellowship at the National Museum of Photography, Film and Television in Bradford, where she was pushed further with in the direction of colour and urban photography.
Examples of Fay Godwin’s work
“Fence, Parkend Woods, Forest of Dean” – Fay Godwin (1985)
“The Ridgeway, Uffington Castle” – Fay Godwin (1975)
“Tree with sheep, Alcomden, Calder Valley” – Fay Godwin (1979)
Analysis of Fay Godwin’s work
“Path and Reservoir above Lumbutts” – Fay Godwin (1977)
This image by Fay Godwin, titled “Path and Reservoir above Lumbutts” depicts exactly what it states within the title. At first glance, fields, ponds and moody clouds can be seen, complete with a winding pathway. This image was taken in the late 1970’s, at the prime of Godwin’s project to help preserve British public land from being privatised. This could prove Godwin trying to display both the beauty and the threat that the natural world holds over us. This is not a realistic depiction of nature as Godwin takes tonal values to the extreme to create an intense juxtaposition.
The lighting in this image is gloomy, overcast natural lighting. The lighting suggests the image may have been taken in the late afternoon, perhaps in autumn or winter. The lighting is natural yet harsh, meaning distinct shadows and highlights are created. The most well-lit sections of the image can be seen in the light reflected onto the reservoir water and the illuminated sky. The light is directed further towards the right of the image, as the majority of the left side of the image is in darkness.
There is representation of a leading line in this image, in the form of the path that winds into the distance of the image. This thick, curved line directs the viewers eyes into the left of the image. This provides a forwards movement to the photograph, although when the path comes to an end, the viewers eyes are directed to the other sections of the image. There is also representation of lines within the fields that are separated with subtle, thin lines. The line provided by the horizon also acts as a leading line that directs the viewers eyes from one side of the image to the other.
There is a subtle representation of repetition in this image, which can be seen in the repeated squares of fields in the background of the image, as well as repetition of line within the leading line and also the slightly indistinct lines separating the fields, however these lines do not create any sense of pattern or rhythm.
The majority of the shapes in this photograph are curved and organic, for example the clouds are very irregular with soft edges, also the leading line of the image is curved. The only visual geometric shapes are the square-shaped fields in the background.
There is a shallow depth of field in this image as the foreground of the image is in focus and the background is captured with a slight blur. The shadows produced by the clouds also create the sense of a shallow depth of field as the darkened areas are indistinct and indistinguishable. The entirety of the photograph is filled with positive space.
The aesthetic of this image has a rough texture due to the masses of sharp-cut grass. However this is juxtaposed with the exceptions of the soft, light clouds as well as the calm waters.
The range of tones in this image range from dark to light. The darkest areas of the photograph can be seen in the background towards the left, and also the clouds. These areas are contrasted with the lighter areas of the photo, for example the glistening water and the gleaming sky. Overall, the image tends towards darkness, especially in the top third with the near-black clouds.
There is a lack of colour in this photograph. I think this is because Godwin wanted to show the power and beauty of nature in it’s purest form, and the extreme contrasting tones adds a sense of intimidation to the aesthetics of the image. Metaphorically speaking, as Fay Godwin’s message in her work is to preserve the natural world, the use of the monochromatic filters could signify the death and destruction of the world, as the image provides a gloomy, depressing atmosphere.
There is a complex composition to this image, as it follows the rule if thirds in some sense, yet also follows it’s own unique composition. The rule of thirds can be seen to be used horizontally, as the image almost separates into layers of contrasting dark and light. However, there is no use of the rule of thirds vertically as the focal points, being the footpath and the reflected water are not located in the middle third. I think the composition is fairly balanced as the light and dark tones are rather evenly spread throughout the image.
Fay Godwin was a British photographer known for her black-and-white landscapes of the British countryside and coast. Her first became interested in photography in the mid-1960s as he started taking photos from a young age which helped her career later on in his life. Personally I like the way in which all of his photographs are in black and white as it adds different characteristics. Additionally In several of her photos graph you can clearly see that she has chosen to take them on a bright day as you can see the sun shining through the clouds adding effect and details to her work. which may suggest that she enjoys taking photographs in the same weather conditions as well as lighting conditions.
IMAGE ANALYSIS
Fay Godwin – Winthrop Reservoir
This photograph in which Godwin has taken has several leading lines through out which add key details and focuses. I personally feel that the main subject of this photograph is the horizon line which falls in the centre of where the photo was taken. She has taken this photo from a straight angle of what it looks to be a cliff path over viewing the reservoir. The relationship in which I feel that Fay Godwin has with the photograph is that she didn’t enjoy how the community were trying to take it away from the public and make it private land. I think the reason behind why she decided to title the image Winthrop Reservoir because her main view of the photograph would of been the reservoir in the distance which may have been the first thing that captured her attention. I feel as if the theme for this photograph is quite negative as the black and white tones create a sense of mystery. Additionally I also feel as the reason to why she put her photograph in black and white could be due to her trying to reflect her photographs to the Vietnam War as this was ongoing during her photography career. The tones of this photograph vary as you can see the harsh and dark tones on the hill to the right whereas on the left you can see the smooth and warm tones on the hill which could reflect the idea of two sides of the Vietnam War fighting against each other.
I used photoshop adjustments to alter the light and colour in each image, specifically brightness/contrast, exposure and vibrance. When editing them into black and white I changed the colour levels in each image to make the highlights and shadows more contrasting to each other. In Image 4 I used the clone tool to make the mud less bright as the light was reflecting off the mud and I wanted it to be darker.
A dictionary definition of Romanticism is worded as.. “Romanticism placed particular emphasis on emotion, horror, awe, terror and apprehension. Emotion and feeling were central not only to the creation of the work, but also in how it should be read.” Romanticism in landscape photography ideally is to capture an image which strongly represents not only one emotion, but feelings of the opposite to what is trying to be expressed. Romanticism also plays a part in expressing individualism. Some examples of Romanticism landscapes are seen below…
Modern day Romanticism Landcsapes
Emil Von Maltitz
Emil von Maltitz is an internationally recognized South African landscape photographer. His work bases on the more natural side of landscapes and how the camera can capture many dynamic areas of a setting. For his career of being a Photographer, he travels the world to take mostly landscape photographs. As being from South Africa, the landscape and nature surrounding him from young is what inspired him to capture these amazing sites that were discovered by him everyday. The romanticism theme in his work relates to emotion and feelings caught in the images colour, shapes, and landscape. Some examples of his work can be seen below –
Images By Emil Von Maltitz
Analysis
At first glance, this images seems to be dull, blank and just not busy or a lot going on. It seems. to have a cold atmosphere and feeling given off it. This is from the blue and grey sea and sky that fill majority of the image. But looking closer we see tints of greens and yellows in the distance of the sea and on the horizon. This brings a sense of happiness as well as the light white clouds that poke through the image above. The rocks below bring a warm feeling to the image as they are smooth and subtle. The sand blends carefully with the white mist that covers the sea. The clouds seem to dull around the edges. of the image into a darker grey and lighten to the middle. The sea seeming to be calm and smooth and anything, sits still giving off ore.
The lines in this image are faint and not easy to be noticed. The main darker and thicker lines are found in the main rock that faces the camera. More little and subtle lines are found in the lighter clouds above. Where the sky and the sea collide with each other (The horizon) Creates the most straightest and longest line in the image. The shapes formed in the clouds seem to be little circles along with more rectangle and square shaped rocks that fall at the bottom of the image. The texture of the rocks looks smooth due to the white mist that covers them thuroly.
The contrast of the white mist to the darker rocks and darker sea makes the rocks stand out in the image making them to be the objective of what is being photographed. As most of the colours blend and shade in with each other, this photograph has the emotion of being a calm and tranquil environment. The romanticism in this landscape can be described as the setting is all natural with colours and physical things. It shows different emotions when looked in depth but at first thought is an image to go to for a more relaxing and soothing feeling.
Fay Godwin (1931-2005) was a German-British photographer known for her natural landscape photography.
Photo Analysis
The Remains of Elmet. Fay Godwin. 1979
KEYWORDS
Dark, Whimsical, Cold, Troubling
FORM
This photo is a landscape of sand dunes. The dunes themselves are very dark and imposing which is conflicting with my own experiences with sand dunes where dunes are though of as sunny and used by children to sled down. As far as the eye can see, this photo is surrounded by nature. Even as the dunes end they are enveloped by rolling fields emphasising a need for nature.The weather beaten and worn plank track insinuates that the dunes are well loved and visited regularly which gives the photo a whimsical and nostalgic aspect that contrasts with the dark and intimidating landscape. The sky is very foreboding and looks ready to thunder and rain any second. The photo seems to reflect ideas on the strength of nature.
CONTENT
The photo was released in conjunction with ‘The Remains of Elmet’ a collection of poems by author Ted Hugh’s. Elmet was the name of the British kingdom that is now part of Yorkshire. Godwin’s photos were taken in the historic region of Elmet in this area of barren dunes. At the time of the collections release Margaret Thatcher rose to power as British prime minister, beginning a series of strikes in response to Thatchers harsh approach to public workers. Those living up North such as Yorkshire were most drastically affected in the ‘Winter of Discontent’ The photo could reflect this feeling of hatred for the government and instead wanted to escape into nature.
PROCESS
As part of a poem collection, this photo was likely made in a dark room and then replicated for the anthology it was part of. To capture so much of the countryside Godwin probably stood on one of the highest dunes to get this photo. I believe that the photo was taken with just the natural light. I suspect that the photo was taken on a camera with a lens of 28mm-35mm as is typical for landscape photos.
Stezakers’ works focus on photo montage to give old images a new meaning and add a creative surrealistic tinge to his photography.
He focuses on the similarities of structural and compositional elements of an image and stitches them together in a seamless yet surreal fashion. For example in the below image he uses the structure of the cliff faces and relates them to the structure of the subjects faces in the background.
This image has quite a flat, monochromatic style which almost gives it a warm balance, soft texture and comfortable feel. The montaging of the cliff faces is visually appealing as it is framed in the centre of the image. The two layers to the image each have their own depth which creates this double up of depth in the image and the eye has a lot of elements to look at which would give it a chaotic composition however because of the montaging the additional layer fits seamlessly within the background which cancels out this chaos and rather satisfies the composition.
My response to Stezakers’ work:
John StezakerMichael KenealyJohn StezakerMichael Kenealy
Lisa Wood is an American photographer that takes abstract photographs of farmland landscapes using multiple exposures and time lapse techniques to create a collage-like affect.
I will be taking the photos and do not need any models.
What
I am going to take photos of the cliffs and sea at Devils Hole, also pictures of the woods on the path down.
Why
I want to take the photos here as there is a mix of landscapes. There is the cliffs and sea but also almost a forest on the path down. I think the more costal pictures of the cliffs and the sea will work well with the style of Lisa Woods images because her images are split into sections and look like collages.
Where
I will take photos of the more woodland area, being the trees and even fields.
When
I want to go during the day where the natural light is bright. I want the weather to be more sunny rather than grey as this will work well with the more green places.
How
I will be taking them on my camera.
Contact Sheets
I took the above photos on my phone as back up photos incase the ones on my camera did not turn out well after transporting them.
These images were taken on my camera which looked perfect on the screen when I was checking them while still being outside, however once I had transported them across to my phone I realised that most of them were either over or under exposed.
When taking these images I focused on the rule of thirds and tried to keep the horizon in the middle/upper third. When developing these further I can combine the images where the sky is brighter or darker with the images where the cliffs and sea look normal to have a clear juxtaposition but still making them look like one image.
For the sequence project I was inspired by the pop art work of artist Andy Warhol.
To save time I used photos already taken from my portrait mock. I debated using the same image repeated for my sequence however I decided that it would look more unique if I was to use a few different but similar photos. By using Lightroom I was able to put my own spin on Warhol’s iconic Marilyn Monroe sequence. To do this I played around with colour features and made extreme changes to components such as highlight and shadows
My favourite photo in my sequence is the yellow as the colours are much more vibrant and solid compared to the others which are slightly patchy. If i was to do this again I would make the colours more solid and also use different colours for different features to make to end product closer to Warhol’s pop up
