After doing some evaluation, I want to edit the photos in black and white, to contrast with the coloured archived photos, or visa versa.
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Virtual gallery –
Justine Kurland – Girl Pictures
1. Research a photo-book and describe the story it is communicating with reference to subject-matter, genre and approach to image-making.
between 1997 and 2002, Justine Kurland travelled across the United States photographing girls living different lives. The story communicates the rebellious life of a teenage girl where she depicts them in rural areas and in the wilderness. Justine Kurland focusses on themes of freedom, rebellion, and the defiance of gender expectations
2. Who is the photographer? Why did he/she make it? (intentions/ reasons) Who is it for? (audience) How was it received? (any press, reviews, awards, legacy etc.)
The photographer is Justine Kurland. Kurland’s main project was called ‘Girl Pictures’. Kurland started this project in 1997 when she was a graduate student at Yale. Kurland decided to focus on teenagers because of their everlasting state of becoming. She wanted to show girls’ lives, centring them by creating an all-female society. Kurland decided to reverse certain stereotypical representations by rather than showing girls as passive or vulnerable, she represented them as strong, confident and free-spirited. The main environment of her images are usually in wild settings like rural or urban places which would be the opposite of a typical environment where girlhood would be imagined to be placed. Kurland shows her opinions and thoughts by using other people to reflect herself onto them. In her work ‘Girl Pictures’ she depicts young woman in wilderness settings and shows the ongoing theme of freedom and rebellion where she often places the individuals (herself) in natural environments.
3. Deconstruct the narrative, concept and design of the book and apply theory above when considering:
Kurland’s book is a portrait hard cover which is slightly bigger than A4. It has a single photo imprinted on the top half of the book in colour which depicts 5 teenagers in a field. the title of her project (Girl Project) is imprinted on the bottom half of the front cover and it stands out so that when you run your hand across it you can feel where the words are risen above the page. She also has the same on the spine, along with her name. The book is a saddle stitch. Kurland has chosen a single colour for her book which is a light/soft pink. this resembles the stereotypical girl colour and works really well for the theme of her project. If she had used blue it would not have the same effect as it may not match the theme as blue is a stereotypical boy colour. throughout the book, Kurland either puts one phot0 on each side of the page or she puts one big image across the two page spread. these images are glossy and in colour. This theme is consistent apart from the first page where the large image is printed onto pink paper and also in black and white to create a coloured effect to the image. the photo is also textured and not glossy. She also does this at the end of the book as well as the start.
UNDERSTANDING PHOTOBOOKS:
NARRATIVE, EDITING, SEQUENCING, DESIGN, FORM, FUNCTION
I have decided to make a Typology Study of Railings as I had 9 edited images of them.
Typology 1
I made this Typology by, firstly opening up a template a made in photoshop. I made this Grid Template during the Portraiture project. I then added each of my images in to Photoshop on top of the grid.
I then played around with the images, deciding on where to put them and this is my final result:
This is my final typology. There is a range of different types of railings which can be categorised together as they all have the same function. I personally think that, if I had more photos of railings to choose from, I could have made this typology better, however, I had exactly 9. This is because I don’t think some of the images are as strong as other and, due to the formatting of my grid, some have been cropped badly.
Typology 2
I then decided to also do a typology of images where I have taken the photo of the building by looking up at it. Here is the final result:
This is another typology which I decided to do. I attempted to form a grid of images that can be linked by the way in which they have been photographed from. The images in this typology have all been photographed from below, looking up at the building. I’m not sure that this typology works as I expected it to as it’s not obvious when you look at it what I was trying to do and the buildings are all of a different architectural style. Furthermore, these buildings all function differently and were made for different purposes. This makes it less of a typology and more just a grid displaying images.
12% out of a 100, accounts for the grade
possible-essay-questions-to-investigate
Can the recreation of family portraits show how relationships have developed and changed over time?
How connection can be represented in the medium of photography?
How can photography change the way we remember and connect people and events?
Some examples of Personal Study essays from previous students:
Essay Plan
Make a plan that lists what you are going to write about in each paragraph – essay structure
My aim was to capture colour that was revealed through dynamic formations I found within the street. Alongside this unusual shapes, patterns, lines were revealed overall adding more depth.
Favourite Selection:
This photoshoot I used the TV setting on the camera which gave me this cool/warmth tone and candid feature. Inspired greately by Seigfreid Hansen and Saul Lieter I fosued on colour and how this could be clearly defyned through the unqiuenes of the features that are revealedd, and would otherwise go unnoticed
I was drawn to the reflections from within the window which created this layered affect therefore creating unique depth and structure. I wanted to express this feature, as I was already drawn to the warmth revealed by the colour then features such as the letters and writing displayed on the shop window, so decided to enhance this and clearly define these features when editing.
I experimented with various camera angles which help to produce images from unique perspectives, one giving a confrontational effect. This meant the viewer could further realise more within the photo and see things differently. Focusing on colour too, this allowed me to create particular/ subtle features that show a story when you look into it, as things are being presented to you from different angles or perspectives. It guides you into the photo, giving depth.
Siegfried Hansen Inspired
Inspired by Siegfried Hansen’s use of simplicity and capturing moments that you would perhaps not notice otherwise, I felt this gave a unique characteristic within the images which is what influenced me to produce images with similar features. It creates this gripping narrative as he has particular ways of expressing formations and shapes through vivid, bold, pigmented colour- overall creating a contrasted, and defining effect. Hansen looks at road markings and particular signs which is what I further looked into. I felt this revealed a certain aesthetic which before captured you wouldn’t notice it. The narrative is expressed through this in particular ways as only the legs of someone is displayed, giving this sense of unknown, whilst also being mesmerised by the visual features (of colour, line, shape, formation.) I edited the images to further enhance the formations in which gave this in-depth contrast, for example I firstly altered the contrast making this an obvious feature, I then altered the black and white levels as this further increased the shadows and pigmented colours
For the photo above, I firstly altered the contrast making this an obvious feature, I then altered the black and white levels as this further increased the shadows and enhanced the pigmented colours so each feature was clearly defined.
For this photoshoot my aim was to capture both colour and forms within the streets of St Helier, and how they work together to create this dynamic relationship meaning that when you look at the images your mind is completely mesmerised by the abstraction but also your confronted with something totally different and unusual – perhaps becoming unrecognisable. I took photos from various angles which helped to achieve these effects, but mainly focusing on how I can turn my sights into something complete unrecognisable, by presenting to the viewer a different perspective. My aim was for colour, formations, and shapes to take over, which creates an abstract view.
Overall I think this photoshoot was successful as you are ultimately being displayed something unusual and attractive. Throughout my goal was to capture moments or particular sights I saw in town which I through best described colour, saps, and formations. I felt this was a necessary thing to focus on as its not only until you look closely at something, it is where you notice it (colour). Then from this you notice complementing features such as lines, patterns and shapes.
Siegfried Hansen was one of my main influences. Noticing is simple yet engaging photos where subtle features distract you:
The visual elements are what you notice straight away, colour, shape, texture, form, pattern, and line. Then closely looking into this we see how they complement one another and create this dynamic connection between one another, one that we wouldn’t notice if it wasn’t for the abstract approach we are presented with straight away.
This photo instantly appeals to me. Through the structure to the colours that outline this in a formational way. It is minimalistic yet very revealing. This means the particular way the photo has been captured, to the markings on the road which lead up to the legs of an unknown person. The road markings coincidentally create leading lines towards the legs of an unknown person which automatically create a contrasting affect between this but also the pigmented, pure blocks of colour against the black. This dynamic contrast creates intense depth through the sharp, bold lines.
Relating closely to Formalism, the intense lines, layout, and colour create a close connection, bringing this much deeper meaning. Although the meaning is not presented through a specific subject, its shown instead to us through the visual aspects of the work, which enhances the aesthetic feature. Formalism is a focus on quality of colour, brushwork, form, line and composition which is what influenced Hansen’s style of work. – we can see the close connection. We are clearly presented with the structured /orderly layout expressed by blocks of colour that is then outlined by thick black lines. The visually attractive structure of formalism further complements the legs of the unknow person that comes into the photo from the right, as this creates a unique subject.
Edit One
This shot was originally yellow from the garage lighting, I did manage to correct this using colour grading within Lightroom however, it didn’t match the rest of the photos. By choosing to turn the photo black and white I adjusted it to fit the other photoshoots. It has also helped highlight the texture from the rust and age of the bike, similar to the photoshoot with the ford.
Edit Two
This photo had a similar issue, the lighting was too yellow. By moving the temp. slider down to a bluer tinge it has reduced the yellow lighting. I do like the photo now the tinge has been removed, it has allowed the bike to be seen within the garage context.
Edit Three
I did this edit in a similar way, adjusting the temperature to a suitable level of blue adjustment, allowing for the yellow tinge to be removed without changing the tint to blue. While the yellow tinge added to the age it did not fit with the rest of the photoshoots.
Edit Four
This photo is taken from an interesting angle, on a wide angle lens. I wanted to enhance the deep colours against the off white background. To do this I first adjusted the temp. slider before making small adjustments on the other sliders, enhancing the orange and blacks within the photo.
Edit Five
An insurance disc is something everyone knows, I wanted this shot as it shows the bike hasn’t been used for over 20 years, but still holds many memories. I originally thought I’d like this shot in black and white but I actually liked it in colour showing the typical insurance disc colourings. I decreased the exposure and highlights to bring out the pattern on the disc itself, which adds to the photo.
Edit Six
The texture on the tank from rust is something I wanted to highlight, adding back texture and increasing the clarity has done this. Alongside the decrease in exposure which brought out the slightly washed out colour. I took this using a 35mm zoom length so the focus was the writing rather than the rest of the bike, the writing being the brand name.
Edit Seven
This shot will pair nicely with the previous one, adding to the idea on what the bike is, I preferred this shot in black and white to provide contrast with the textured, bold colour of the previous shot.
Edit Eight
Having heard many stories about this bike, but having never ridden it myself. I wanted to create the idea of what the bike would look like from the perspective of being ridden. While the world isn’t black and white so would not appear that way when riding, it forces the viewer to look at the details within the bike. The needles on the speedometer and temperature gauge showup better in the black and white version, it also helped remove the distraction of the floor from the shot.
Edit Nine
This shot is an interesting angle, I liked the comparison between the colour of the rust and the brown of the seat. Taken from through the handle bars it has a unique viewpoint on the bike.
Edit Ten
While I don’t think this shot is particularly great by itself I think the number plate plays an important part in the narrative of the book, I remember being told how the number plate was just a sheet of metal with paint on it. It also shows the bike is not from Jersey and adds to its story.
Edit Eleven
This shot is interesting as it shows the whole bike side on, giving a fuller picture of how it was used and how basic it is in comparison to it’s modern counterparts.
Edit Twelve
Compared to the rest of the shots, this photo is dynamic and interesting. While it doesn’t give a fuller picture like previous shots, it does make a comparison between new and old. The newer bike, my bike being in the background and the mirror of the older bike reflecting the older bike, my dads bike.
Edit Thirteen
I liked this shot because it had the name of the bike framed in the middle. I just did basic adjustments to add to the photo but I think I do have stronger photos.
Edit Fourteen
Similarly to the mirror shot, I loved the way this one had the old and the new, the two generations of the families bikes. I used masking overlays to create depth within the image, the background darker and increasing the exposure on the bikes adding more focus onto them.
Final Edits
This photoshoot, produced a range of shots, from more contextual style shots to narrative enhancing shots. Each photo can be used in a specific way to benefit the books narrative. I also want to link these to archive photos of the trip done on this bike, adding comparisons and emotion to the photos. I have used a mixture of black and white editing alongside colour edits, to add depth and contrast within the final photos. I was limited with this shoot as the bike can’t move so I had to take the photos on the driveway but I think I have enough dynamic and interesting photos to make the intended impact. Having researched W Eugene Smith and his style I looked to add a human emotion element to the photos, which is tricky without a person in the photos but I looked for small details and otherwise unseen perspectives which created the strong range of images above.
Why I changed ideas
Firstly, I decided to change my exploration of racial injustices through women to domestic abuse. I changed this for many reasons. One reason was because my photoshoot exploring cultures and working- class women did not fit the sequencing of my photobook. This is because these photos were the opposite of staged and carefully crafted ultimately changing my theme. I did not begin to realise this until my photoshoot was completed, however I learnt through this and decided for my updated photoshoot to be of the same subject of my other photoshoots such as 1st and 2nd wave. To keep a seamless sequence in my photobook, I decided to explore domestic violence which a lot of women go through. This is shown statically. Globally, an estimated 736 million women—almost one in three—have been subjected to physical and/or sexual intimate partner violence, non-partner sexual violence, or both at least once in their life (30 per cent of women aged 15 and older). One of these women, including Nan Goldin, my other artist study. Nan Goldin was very open talking about her issues and her photoshoots taken in 1984, this significantly inspired me. I learnt that I wanted to mix both elements of Sherman and Nan Goldin by staging an abuse themed photoshoot, meanwhile maintaining an element of femininity and the traditional housewife. Although, my photos are not taken in the kitchen, they express the role of women serving for men in other ways, such as clothing and posing.
Ultimately, this was more inspiring to me as the 3rd wave feminism movement focuses o sexual harassment, domestic violence and abuse. Some people still believe we are still in the 3rd wave due to the fact there isn’t a massive shift or growth. This is because, to this day women still fight for their equality especially within this theme.
Contact sheet-
Filtering-
Firstly, I began by rated my images from 1-5 and either flagging or rejecting them. The main factors I took into account was lighting, posing, surroundings/props, and the gaze my subject executed. Before I began my filtering, I cropped every image therefore other things that were potentially taking the attention away from the main factor of the image, therefore I went through and cropped them to my preference before editing. This is a very efficient way of editing the images that are preferred and making your photoshoots organised and ready for editing. As this photoshoot is indoors, it was easier to get the correct lighting however my editing ability should be able to perfect any lighting inefficiencies. One final thing I took into account was how well you could see the subjects fake bruising and bleeding. This is because this photoshoot is to focus on domestic violence, therefore I put fake makeup on my subject to attempt to convey this element. However, it is not the only element I wanted to add. Overall, I wanted to add a sexual element linking to femininity stereotypes but also sexual harassment as the third wave focused on this just as much. I attempted to bring this sexualised element through the subjects clothes and red heels. Red can be a symbol of passion, confident, sexuality and love. This could ultimately signify the growth women fought for during these movements as they were encouraged confidently to fight for their passion and rights. This would significantly contrast to the clothing as women still felt as if they had to play a role in order to satisfy and serve men. This is interesting to me as it differs from my subjects face. This is because many women still stay (representing the clothing choice) even after circumstances (damage) which is a very big important contrast to these images. Lastly, I took into account the lamp facing down on her. I really like this touch as it keeps all attention on the subject which is exactly what I intended too, gives a spotlight effect.
Editing-
B&W-
This image is one of my favourites within this photoshoot. This is because the lighting giving the spotlight effect with in depth shadows really sticks out to me. The deep shadows to me portrays an element of sexuality emphasizing by the heels which is what I ultimately intended too. Not only this, I like the image in black and white as it conveys this element but also adds a mystery element. One drawback is the fact that you cannot see the coloured heels and that the fake violence on her face is not as bright and obvious.
B&W:
In colour: Potential front cover of photobook
In colour:
In colour:
In colour:
In colour:
Evaluation and critique
Overall, I like many factors of this photoshoot. One thing in particular that I like is the lighting, creating in-depth shadows which ultimately makes the image more eye catching. To emphasize this, I experimented by putting my photoshoots in black and white which I definitely prefer as it adds more of an vintage aesthetic I was aiming for as Nan Goldin’s images are taken in-between 1979 and 1986. Not only this, but black and white still shows the bold lipstick and makeup. However, the fake domestic violence is not as obvious and vibrant which is a potential drawback as that is what my photos are to be focused around. One thing I would change would be to put the fake bruising etc on the subjects right side of the face so the lighting would shine on it, allowing viewers to focus on it. This would definitely benefit my images as it will focus on the theme of sexual and domestic abuse. I found the type of posing very feminine emphasized by the ‘ female gaze’ which is ultimately signifying my overall theme of feminism and movements. Another draw back of having my images in black and white is that you cannot see the symbols included such as the red bold lipstick and high heels. However, this can be significantly fixed as I am thinking of this being my front cover in my photobook as it represents feminism and confidence ultimately representing the empowerment women felt through the movements.
I would keep this in colour, meanwhile my book being in black and white. This is because red heels represents confidence, bold, sexuality and femininity, which ultimately covers my themes therefore tells the viewer from the front page what my book narrative is. Overall, I like this photoshoot and I think I executed it successfully.
This book – Girlhood, is all about what it’s really like to grow up as a girl, told through a series of raw, real photos that show both the strength and the tough moments we go through. It’s not just about looking pretty in pictures—it’s about the real stuff: dealing with a world that often tries to control or judge you. The photos capture those little moments of joy, rebellion, and the everyday struggle to just exist as a girl. It’s about how we’re expected to be one thing but are always trying to push back, balancing what the world wants from us and what we really are. It’s real, it’s messy, and it’s all us.
I want the book to be smooth and soft, small and not too big with black ink and a while boarder and white pages – inspired by the book FEMALE, with A4 pages and a hard cover.
The title is going to be Girlhood, with roughly 20 pages with one white on one side and the photo in the middle on the next page. There will be some words on some pages, not all – relating to the exact photograph.
There will be a range of different images, ranging from girlhood and trying to make awareness for misogyny, girlhood and what girls have to go through.
1. Write a book specification and describe in detail what your book will be about in terms of narrative, concept and design with reference to the same elements of bookmaking as above.
Narrative: What is your story?
Describe in:
My child hood.
My experience growing up, the good bad and interesting.
My story will portray the growth and understanding of my childhood. Exploring the hardships and importance of growing up and the individuality of each persons story.
Design: Consider the following
I want my book to be a hard cover book, I want it to be heavy too.
I want the paper on the inside of my book to be thick, durable and sturdy. Almost to symbolise skin, as weird as that sounds.
I want my book to be as big as an A4 sheet of paper, big enough to catch someone’s eye but not too big to bother.
I think my front cover should be a portrait photo, almost like a school photo or ‘mug shot’ of me, well not actually me but a model.
‘ROOTS’ – I had black hair growing up and since I’m naturally ginger, my roots would show as my hair grew. And since I’m talking about my childhood, my roots, I thought it was fitting.
I want there to be a photo on each page, each photo couple to contradict each other.
The title of each photograph will be in the bottom right corner of each page in small simple text.