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Final Prints: Mock up – Evaluation

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MOCK UP


Evaluation:

Overall I am happy with the outcome of my Final photography project, The main theme of the project was Simple / complex photography. My aim was to take Photographs of architecture and street photography in London, capturing the busy city. I took photos in several locations including Covent garden, Regent street, Oxford street and Piccadilly circus. In total I took 256 photos and used Lightroom classic to pick photos I want to edit and discard the other photos that I felt had no potential to be in my photo book as they came out blurry or weren’t as good as the rest. After selecting the Images I wanted to be used I then went on to do some basic editing on Lightroom classic and grouped them as ‘coloured photos’ , ‘Black and white photos’ and ‘film photos’ which I wanted those photos too seem like they were taken on a disposable film camera to see weather or not I would use them in the photo book and I liked the outcome of them so I put them in two pages. Then I decided to make a mock of my photo book on Lightroom classic to decide the layout of it.

My main source of inspiration for this project was Saul Leiter, a renowned American photographer and painter who was instrumental in establishing the New York School of Photography in the 1940s and ’50s. His striking images of city life in New York served as a guiding force as I set out to capture the essence of London’s urban landscape.

Over the course of the project, I took a total of 256 photos, carefully selecting the most promising ones to be featured in my photo book. Using Lightroom Classic, I refined my selection by editing each image and organizing them into categories such as ‘coloured photos,’ ‘black and white photos,’ and ‘film photos.’ I even experimented with creating images in black and white while retaining a single object’s colour as a focal point, such as the iconic red buses that traverse London’s streets.

After finalising my selection and arranging them in a mock-up of my photo book on Lightroom Classic, I am pleased with the overall layout and design. Through this project, I not only developed my technical skills but also discovered new ways to see and capture the world around me.


case study 2: IDRIS KHAN

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British artist Idris Khan OBE is known for his multi-layered photographs, paintings, and sculptures that take on a variety of source material, ranging from musical scores to theological texts. He has received international acclaim for his minimal, yet emotionally charged photographs, videos and sculptures and is without question one of the most exciting British artists of his generation. Drawing on diverse cultural sources including literature, history, art, music and religion, Khan has developed a unique narrative involving densely layered imagery that inhabits the space between abstraction and figuration and speaks to the themes of history, cumulative experience and the metaphysical collapse of time into single moments. In 2012, Khan was commissioned by the British Museum in London to create a new wall drawing for the exhibition, Hajj: Journey to the Heart of Islam. In addition to the wall drawing, Khan’s stunning floor sculpture, Seven Times, was installed in the museum’s majestic Great Court. In March of the same year, The New York Times Magazine commissioned Khan to create a new body of work that was published in their London issue. Khan’s works – in media including sculpture, painting and photography – rely on a continuous process of creation and erasure, or the adding of new layers while retaining traces of what has gone before. Idris Khan draws inspiration from the history of art, music, philosophy and theology, laying and manipulating images and text in a conversation around memory, experience and society.

Here are some of his photos:

My photos inspired by his work:

My final images – BEFORE AND AFTER

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BEFORE AFTER

This is my favourite image I have created, using photoshop.

In this photo I wanted to darken the image to emphasize the lights on the ceiling which you can’t see well in the before photo.

Here I cropped the image on photoshop and then took inspiration from Idris khans work, experimenting with the layers.

moodboard

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london street / architecture

Photographers to look at:

Buildings / architecture:

Daniel shea : 43 – 35 10th street

Gerry Johansson

colour / shapes / streets:

Siegfried Hansen – contemporary – now

Saul leiter – NYC

” Although Edward Steichen exhibited some of Saul Leiter’s colour photographs at the Museum of Modern Art in 1953, for forty years afterwards they remained virtually unknown to the art world. Leiter moved to New York in 1946 intending to be a painter and through his friendship with the abstract expressionist Richard Pousette-Dart he quickly recognized the creative potential of photography. Though he continued to paint, exhibiting alongside Philip Guston and Willem de Kooning, Leiter’s camera became — like an extension of his arm and mind — an ever-present interpreter of life in the metropolis. The semi-mythical notion of the ‘New York street photographer’ was born at the same time, in the late-1940s. But Leiter’s sensibility — comparable to the European intimism of Bonnard, a painter he greatly admires — placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. Instead, for him the camera provided an alternative way of seeing, of framing events and interpreting reality. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances. None of Leiter’s contemporaries, with the single and partial exception of Helen Levitt, assembled a comparable body of work in colour. The lyricism and intensity of his vision come into fullest play in his eloquent handling of colour: to the rapid recording of the spontaneous unfolding of life on the street, Leiter adds an unconventional sense of form and a brilliantly improvisational, and frequently almost abstract, use of found colours and tones. Leiter’s visual language of fragmentation, ambiguity and contingency is evoked in Saul Leiter: Early Colour by one hundred subtle, painterly images that stretched the boundaries of photography in the second half of the twentieth-century.( source : steidl ) “
– From Lens culture , talking about Saul leiter

exploring different points of view of a city