In order to create my joiners, I began by looking through all of my photos and giving them a colour label of blue or purple, I used blue to label the photos that are in focus and purple to label the blurrier image. I did this to make it easy to differentiate the photos I wanted to turn into joiners from my other images.

I then edited an image per joiner and used the ‘sync settings’ tool on Lightroom to ensure all the photos in each joiner would be edited the same way, therefore making each joiner have the same look. This ensured that each photo within the joiners wouldn’t be overexposed and would be ready to export into photoshop.

Making My Joiners

Some of my experiments did not go well as photoshop separated my photos into different mini joiners instead of creating one full landscape. However, I did managed to make some successful joiners which I like after being more selective with my images.

3d Experiments:

I decided to make some 3D experiments using photoshop using their 3D options which included making spherical panoramas, making mesh presets and making depth maps in order to make my joiners to look more interesting.

—– Experimenting with one joiner: ——————————–

—– Experimenting with another joiner: ——————————–

David Hockney

David Hockney (born 9 July 1937) is an English painter, draftsman, printmaker, stage designer, and photographer. As an important contributor to the pop art movement of the 1960s, he is considered one of the most influential British artists of the 20th century.

On 15 November 2018, Hockney’s 1972 work Portrait of an Artist (Pool with Two Figures) sold at Christie’s auction house in New York City for $90 million (£70 million), becoming the most expensive artwork by a living artist sold at auction. This broke the previous record, set by the 2013 sale of Jeff Koons’ Balloon Dog (Orange) for $58.4 million. Hockney held this record until 15 May 2019 when Koons reclaimed the honour selling his Rabbit for more than $91 million at Christie’s in New York.

Joiners

David Hockney’s creation of the “joiners” occurred accidentally. He noticed in the late sixties that photographers were using cameras with wide-angle lenses to take pictures. He did not like such photographs because they always came out somewhat distorted. Working on a painting of a living room and terrace in Los Angeles, he took Polaroid shots of the living room and glued them together as a preparatory work, not intending for them to be a composition on their own. He realised this picture created a kind of story, as if the viewer was moving through the room. He began to work more and more with photography after this discovery and even stopped painting for a period of time. Hockney had always been interested in Cubism and the idea of multiple perspectives and viewpoints so this was another way for him to explore this way of looking.

Emily Allchurch

Emily Allchurch, born 1974 in Jersey, Channel Islands, lives and works in Hastings, East Sussex. She trained as a sculptor, receiving a First Class (Hons.) degree in Fine Art from the Kent Institute of Art & Design – Canterbury in 1996, and an MA from the Royal College of Art in 1999, where she began working with photography as a material. Since then, she has exhibited regularly in solo and group shows in the UK and internationally.

Allchurch uses photography and digital collage to reconstruct Old Master paintings and prints to create contemporary narratives. Her starting point is an intensive encounter with a city or place, to absorb an impression and gather a huge image library. From this resource, hundreds of photographs are selected and meticulously spliced together to create a seamless new ‘fictional’ space. Each artwork re-presents this journey, compressed into a single scene. The resulting photographic collages have a resonance with place, history and culture, and deal with the passage of time and the changes to a landscape, fusing contemporary life with a sense of history.

Contact Sheets and Selections

Below are contact sheets from the class trip to L’etacq. After importing them into lightroom, I used the P and X tools to filter out images that I didn’t think were as successful.

I found, when taking images inside a cave at low tide, my images were overexposed. This was because the light was streaming into the cave from above, which caused very bright images.

When selecting images, especially in this shoot, I was looking for clear and well composed images. This was especially important with the rural landscapes in this shoot, as I wanted different elements of rock to be included well in each image.

Here I have selected in yellow and red my images for my joiners, in order to separate these from my normal photos.

Best Images

Below are my best images, edited using Abode Lightroom.

I chose this image as one of my best images due to the strong leading lines and balanced composition. The leading lines take the eye from the middle of the image upwards to the left middle and top of the hill. I also like the different textures and tones within this image (enhanced by my editing), such as the different green tones of grass and vegetation, and different types of rock.

I chose this image as one of my final images due to the different textures and shadows on the rock face. I think editing in black and white helped to enhance these features was very effective, as the added contrast helped to increase the darker tones in the crevices of the rocks.

I like the interesting composition in this image, as well as the deep and moody tones. I like the composition in this image because of the three parts that are each distinctly different – to the left there is a small rock with vegetation, the right a more intense, orange rock, and finally to the right in the foreground a grey rock with little vegetation. These parts act as a frame for the other parts of the image, for example the whitewash at the bottom of the cliffs, which becomes a natural focal point.

Here I produced two different versions of one image – a black and white edit and one in colour. I think that producing two edits for this image was a good idea as in black and white, the crevices and details of the rock are more prominent than in colour, due to the high levels of contrast and texture. However, in colour (below) I think this image works well as it shows the different variations of colour and texture in the whole image – the grass, the rock, the sky, and the sea. Whereas, in the black and white image, the darkness of the rock kind of takes over the whole image more, making the other parts more insignificant.

Evaluation

What went well: In this shoot, I think I produced some well composed images. I didn’t deal with much over exposure, except when shooting in the caves. I changed my settings especially for the location before I started my shoot which really helped with this.

What I could do better: If I was to do this shoot again, I would maybe shoot the caves on a darker day, to ensure the exposure was balanced in those images. Furthermore, I would make sure to hold my camera steady, or even use a tripod like David Hockney, to take my joiner images, as quite a few of them came out blurry. This was because I was taking so many images so quickly. Next time I take joiners, I will take my time more when taking the images to achieve clearer, more successful images for my joiner.

Here are the photos I have selected on Lightroom classic

I decided to do a range of experiments on my final images from the field trip.

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