I started to pair images together in Lightroom on the book section, basing this on the composition, colour and contextual information that they gave.

When I was doing this, I wanted to create variation in my work by using different page designs so that each spread would have alternating layouts. I was aiming to use full-page spreads that bled all the way to the edge, however I wanted to also leave small spaces on other pages so that they would be different. I also differentiated between the sizing, being that some images were made to be very small, taking up only the edge of the page, whilst other images were placed central to suit the image paired with it.

I wanted to create standardisation in my work by making all of the archived material have the exact same design. I came across different border options which I experimented with side-by-side to the pairing image so that I could see which one I preferred.

I also had to find the same border for the images that were portrait, as many of my archived images were landscape. However, this wasn’t a problem as I was able to zoom in the image and crop it to fit.

I also alternated the positioning of the images to assess how well the compositions went together so that I could figure what order to place them into.

For example:

I wanted to make sure that the material in the images was focused towards the centre as this is important in

I played with pairing images too as this would help me piece together the narrative whilst also show me what suited and what didn’t.

During this process, I was able to do final touches and alterations to my images so that they would accommodate the other images. This also helped me see what weaknesses I had in my images and how I could perfect them.

In images, like this one below, that were over-exposed, I used the masking brush tool as this allowed me to edit specific areas of the image without making alterations to the overall image. I did this with this photograph as it gives high contextual information about my brother. I wanted to highlight the depth of the cracks in the door whilst also keeping the image dark at an appropriate amount because this will make the image come across as angry and hurt, which are relevant emotions concerning my brother.

I experimented with this in numerous ways as I wanted to make it look the most dramatic as I could whilst still making sure it looked realistic:

I started experimenting with different layouts for my front and back cover as this sets the scene for the viewer to give them a clue on what this is going to be about. I saved doing this until last so that I would find it easier as then I can choose from my selection of images that have already been displayed, being faster.

My ideas began like this:

I began to copy over my essay into the back of my photobook. I imported the reference images into my Lightroom Catalog so that I could drag them from the strip into the pages of the book.

To add text, I used the photo description box which is just a simple text box while for my images I used the photo choice.

Here, I could experiment with font types, sizing, spacing and boldness to decide which suited my photobook the most and which one was the nicest in my opinion.

I decided on a solid black background colour as I feel that the darkness and opacity suggests to the viewer that this photobook is concerned with topics that are deep and serious. I didn’t like how the templates sat so I decided to use one, and then create my own photo cell and measure it over the top so that they would be equal.

I paired these images as the front cover shows the start of his life, and the back cover shows a more recent photograph of him once he has endured the battles of his mental health and has changed as a person. The shine of the flash in the first image can be echoed into the back cover image, which not only gives it consistency but can be perceived as still having small parts of his old personality tucked away in his mind somewhere.

I chose on the title ‘Fragments of Him’ for a number of reasons. For one, the two images on the front and back cover are small, acting like a window into his life. This is also reinforced by the pixilation on my brothers face on the front cover because there are pieces of him covering up his own face. Finally, I thought this name was well suited and appropriate as many of my images are quite abstract, being that they allow the viewer to have small flashes into the direct experiences of my brother and the second-hand repercussions that untreated mental health issues have on a family.

I decided on the Georgia font and put it into bold in order to make it stand out against the contrasting black so that it would be more eye-catching. Once I did this, I standardised all of my writing in the photobook so that it would be the same.

Once I had completed this, I felt that I wasn’t quite done with my photobook. So, under my archived images, I began to write small anecdotes about what mine and my brothers relationship was like, his hobbies and the family dynamic. I did this to provided context to these archived images but also so that the viewer can get to know who my brother was/is and learn about his life.

I dragged the image caption down further away so that it would stand alone and be more emotive. I also altered the colour of the pages as I felt that the white was too harsh for a subject matter like this.

Once I had my final checks, I sent my book to Blurb.

I chose for standard portrait with a hardcover image wrap, with premium lustre paper.

My Final Layout:

This chicken belongs to my Grandmother and is from 1980. I chose to edit this image black and white along with the other images of objects as it gives the idea they are linked to the past.

This was a wedding gift to my grandmother during 1971, and has stayed with her ever since.

This ruler was given to my grandmother during 1966, when she was 14, and she has kept it since then.

This is a close up of a doll given to my auntie as a gift from her friend who visited caketown during 1989.

In my photobook I am going to include both old images as well as new ones which I have taken. For these old photos I am going to crop and transform them so that there is nothing in the background.

Adjusting my images:

For majority of my old images the table is visible in the background. To fix this I am going to use lightroom tools to adjust it so that the photo is the only thing visible.

To do this I used the ‘transform’ option and adjusted the image slightly horizontal and vertical. I also rotated the image.

Finally I cropped the image after adjusting it. I will not make any other edits to the old images as I want them to have the same look as they already do.

Before:

After:

Making adjustments:

1: I have adjusted the image on the right so that it is a similar tone to the original image. I will put these onto the same page therefore I want them to be the same sort of tone.

I also chose to adjust the hue and saturation of certain colours such as red as i found the red jacket to be too vibrant in the original image.

I also chose to increase the clarity on the original image as it is sort of grainy as it is a very old image.

These two pages are two ideas, I perfer the second one which includes the wedding ring and the two photos on the second page.

My layout

Front + Back cover ideas:

I am planning on using a watch for my front cover as my project is based on the past and how we change over time as well as memories. Therefore a clock will emphasise this meaning.

I decided to try a different colour for the background of the book, I then noticed that the front cover didn’t really suit the colour of the pages. Therefore I decided to change the front cover to a more warm toned image of my Grandmother.

I then experimented with adjusting the colours of individual pages to suit the images on them.

Final Layout:

During one of my photoshoots, I had a set idea of what I wanted the narrative of my image to be, which was catch/ piggy in the middle. However, this narrative needed the props of balls, which I did not have, so instead of just not doing the photoshoot, I am going to AI balls into my images.

Edits

First, I drag the image I want to edit onto a photoshop document. Next, I select the rectangular marquee tool and select where on the image I want the AI to be.

Next, I type in what I want to generate, which is a football in this case.

Next, I can pick between the options it has given me, or change my search slightly, until I am happy with the result.

Final AI Images

For this photoshoot I visited the field next to Jersey Dairy, where weekender used to be. The setting of this photoshoot doesn’t particularly relate to the themes of youth and identity, as this isn’t somewhere I used to visit except when I went to weekender, but it was a good setting to display the narratives I had in mind. The setting also correlated well with the settings used in Justine Kurland’s book. The narratives I wanted to display here was playing catch/ piggy in the middle, hula hooping and playing hide and seek.

Contact Sheet

The images which are highlighted green are the images I have chosen to edit, because they are my best images with the best composition that fits my themes of youth and identity the best.

Edits

I edited this image by increasing the contrast, shadows, vibrancy and saturation, while decreasing the exposure, whites and blacks. I did this so that the image would be more vibrant and saturated, specifically the green grass.

I edited this image by increasing the contrast, shadows and saturation, while decreasing the exposure, highlights, whites, blacks and vibrancy. I did this, so that the image had better lighting and was more saturated.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the image would have better lighting and be more vibrant.

I edited this image by increasing the exposure, contrast, shadows and saturation, while decreasing the highlights, whites, blacks and vibrancy. I did this, so that the image has better lighting and is slightly more saturated.

I edited this image by increasing the exposure, contrast, shadows, vibrancy and saturation, while decreasing the highlights, whites and blacks. I did this, so the image would be slightly more vibrant.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the blacks. I did this so the image would be more vibrant.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the blacks. I did this, so the image would be slightly more exposed and more vibrant.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this to improve the lighting.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the image would be slightly more exposed and more vibrant.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the image would be slightly more exposed and more vibrant.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the image would be slightly more exposed and therefore have better lighting.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the lighting was better and the image was more vibrant.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the image was slightly more exposed, so the lighting was better and so it was more vibrant.

Final Images

In Comparison to Justine Kurland

This photoshoot relates to Justine Kurland’s images, because they have a similar wooded setting and are at a similar time of day, so the lighting is very similar. I have also made some similar photographs to the ones that Justine Kurland have made.

Both Kurland’s subject and my subject are stood up on a rock.

In Justine Kurland’s image she had her subjects wash their feet in the lake. However, in my image the subject was washing her hands.

In this image, I have pulled from the composition, by having a subject in the foreground, middle ground and background. I have also pulled from the setting, with the wooded area with the trees and the lake in the background.

Justine Kurland also displays the subjects in her work as runaways, so I experimented with the concept of runaways in my work, by having a subject scavenge through a bin for food.

However, I do not think this narrative of the runaway girls suits my themes of youth and identity and what I am trying to portray.

In Comparison to Jeff Wall

In this photoshoot I focussed on composition for one specific photo. I have used the composition of having a subject in the background, middle ground and foreground. This relates to Jeff Wall, because he also focusses on composition and has used this compositional technique before.

How does this relate to the themes of youth and identity?

This photoshoot relates to the theme of youth, specifically my youth, as I used to visit St Catherine’s woods a lot when I was younger, especially in lockdown during Covid. I would visit the woods a lot with my family, as we would always take my dog for walks here. This represents my identity during my youth, as this photoshoot represents an activity I enjoyed doing and still enjoyed doing during this photoshoot. It also represents a part of my identity, because it represents the people I enjoy going here with and the people I surround myself with represent who I am as a person.

Analysis of 1 Image

This photo has high levels of control, because I was able to manipulate the position and distance of not only my subjects, but myself as well. However, there was little control over the lighting, as natural daylight was used, rather than the lighting that can be found in a studio.

F Stop: f/ 4.5

Exposure time: 1/60 sec

ISO: ISO- 125

The colours in this image are not very bright, as the lighting in this image was quite dark. There are quite natural colours, such as the browns, green and blues, but the red and the yellow in the subjects jacket make the image pop slightly more, as they are quite a bit brighter and more vibrant. There is quite a lot of light tones in the top section of the frame, due to the sun, but throughout the rest of the image there is lots of dark tones, due to the shade caused by the trees. There is also a lot of texture in this photo, due to the ripples and current of the water, as well as the trees and muddy ground in the background. There is also a lot of line work in this image, which can be seen from the line of rocks in the lake and the path behind.

The composition of this subject is quite simple, as the main viewpoint is centre of the frame, and there is only one subject. However, the setting of this image makes it more interest due to the background and textures.

This image relates to my youth, because I used to visit St Catherine’s woods a lot when I was younger, especially in lockdown during Covid. I would visit the woods a lot with my family, as we would always take my dog for walks here. This represents my identity during my youth, as this photoshoot represents an activity I enjoyed doing and still enjoyed doing during this photoshoot. It also represents a part of my identity, because it represents the people I enjoy going here with and the people I surround myself with represent who I am as a person.

Photoshoot Conclusion

Overall, I think this photoshoot went well, as I was able to have a look at different compositional elements, such as the foreground, middle ground and background, like both Justine Kurland and Jeff Wall. I was also able to create a similar setting to the ones used in Justine Kurland’s work, with lots of similar visual elements, such as the texture.

However, some of the images were quite dark and had quite a blue tone, so next time I would adjust the exposure on my camera more to resolve this.

This photoshoot also presents the themes of youth and identity, in particular my youth and identity, as walking through these woods is an activity I used to love during my youth. This represents my identity, because it presents what I enjoy, which is part of what makes me who I am.

For this photoshoot, we visited St Catherine’s woods, because when I was younger, especially during covid, my family and I would go on walks here with our dog very regularly, so this setting relates to my youth and identity in particular.

Contact Sheet

The images which are highlighted green are the images I have chosen to edit, because they are my best images, with the best composition and layout. They also represent my themes of youth and identity the best.

Edits

I edited this image by increasing the contrast, shadows, whites and vibrancy, while decreasing the exposure, highlights, blacks and saturation. I did this, so that the image was slightly less exposed and had better lighting.

I edited this image by increasing the contrast, shadows, whites and vibrancy, while decreasing the exposure, highlights and blacks, so that the image had better lighting and was slightly more vibrant.

I edited this image by increasing the contrast, shadows, whites and vibrancy, while decreasing the exposure, highlights, blacks and saturation. I did this, so that the image had better lighting, due to less exposure and so it was more vibrant.

I edited this image by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image had better lighting.

I edited this image by increasing the contrast, shadows, whites and vibrancy, while decreasing the exposure, highlights, blacks and saturation. I did this, so that the lighting was better.

I edited this image by increasing contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this so the lighting was better. I also added a yellow tint to the image, because the image had a blue tint originally, due to the lighting and camera settings, so I wanted to cancel that out.

I edited this image by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image was more vibrant and had better lighting. I also added a yellow tint to this image, to cancel out the original blue tint that the image had.

I edited this image by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the image has better lighting and was more vibrant. I also added a yellow tint to this image in order to cancel out the blue tint it originally had.

I edited this image by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I also added a yellow tint to this image, to remove the blue tint and improve the lighting and make the image more vibrant.

I edited this image by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so the image would have better lighting. I also added a yellow tint to this image, so I could remove the blue tint the original image has.

I edited this image by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this to improve the lighting and make the image more vibrant. I also added a yellow tint to this image, so I could cancel out the slightly blue tint the original image had.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this to improve the lighting and make the image more vibrant.

I edited this image by increasing the exposure, contrast, shadows, vibrancy and saturation while decreasing the highlights, whites and blacks. I did this to improve the lighting of this image.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the lighting was better and the image was more vibrant.

I edited this image by increasing the exposure, contrast, shadows, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the image was more vibrant.

I edited this image by increasing the exposure, contrast, shadows, whites and vibrancy, while decreasing the highlights and blacks. I did this, so that the lighting was better.

Essay question

Family photographs are special to many people because they help us remember important moments and even show who we are. They can capture every little special moment that might not feel like it is special but when looking back you realize it is, special moments like birthday parties, holidays, playing in the park, sitting together for dinner, everyday moments. People don’t realize how special a family photograph can be, it’s not just a random photo from the past but also a reminder of how good the moments were. In this essay. I’m going to explore in what way family photographs extensions of our memories as well as our identities with Sally Mann and Nan Goldin as my references. When looking at family images, we often have a feeling of warmth and sentimentality and remind us of happy moments with the people we love. Every little moment counts, for example, a photo of a family trip to the beach might make us remember the fun we had building sandcastles and chasing the waves. Taking photos from these little moments fills you up with great joy when looking back at them with your parents. Family images help us remember the small details we might have forgotten.

In the early days of photography, photography was carefully staged studio photographs that were recorded in high-resolution on large-format film. This type of photography was common up through the World War II years. Families would save up money, and go to a photo studio to have portraits made that would be cherished as precious family possessions. Family photography is the most popular category of photography. The family album has only just been included in survey histories of photography, despite the fact that the majority of individuals in the Western world have produced albums in one way or another, at least since the early 1900s until the early 2000s, when digital archiving took over. 

Bull explores the relaxing potential of photography, specifically focusing on the role of family albums in personal and collective memory. Bull examines how photographs, particularly those passed down through generations, serve as powerful tools for emotional expression and healing, helping individuals navigate identity, grief, and trauma. Chalfen and Musello, among others, write about “regular” family albums. The 1965 book Un art moyen, written by French sociologist Pierre Bourdieu, was one of the first significant studies on family photography.

Sally Mann, a American photographer, known for taking lovely emotional photos of her own family. She made a book called Immediate Family showing images of her children growing up both in their playful, bright times and even serious, thoughtful times. When looking back at childhood pictures from your family is like reconnecting with the feelings and memories of those times. Just like Sally Mann photos reminds her of who she was and what herself and her family have experiences. Family images also represent our identities. They show where we come from and who we are connected with but also who were influences by such as our parents, siblings ad grandparents which tells us a story of our family’s history. Looking at photographs of family reunions with generations of family members can make you feel proud of our family’s traditions ad how everything has been passed down, which also might make you understand where you fit in the bigger picture of all generations. Looking back at baby pictures makes you realize how much you have grown and changed over time but still have that special family connection. Sally began opening boxes of photographs, letters, diaries, newspaper clippings and other papers that had been gathering dust in her attic, uncovering, as it were, family secrets. People were concerned about Sally Mann images of childhood injuries and naked baby photos which led some critics to challenge her right to record such scenes of distress.

S, Mann: Immediate Family, “Sorry Game”, 1989

Family photographs don’t only capture certain moments but also emotions, when you look at old photos you often remember how you felt at that time. Even though as you get older you don’t feel as exited to take images as when you were younger you always look back at them not regretting anything at all and just thinking about the fun you had while take them which then might make you start to appreciate the importance of these moments. Another American photographer, Nan Goldin, who took images of her own relationships in a personal way, showing strong emotions with her friends and family, capturing happy and difficult moments. She once said ‘I want to show people who they are, and I want to show them how they relate to other people, how they relate to their families, how they relate to their friends, how they relate to themselves.’ (Goldin) Our family pictures carry important lessons and emotion that help shape who we are and how we remember life.

N, Goldin: Self-portrait in the mirror, Hotel Baur Zurich, 1998

Sally Mann and Nan Goldin both explore themes of identity, and the human condition, often drawing from their personal lives and relationship. While Mann’s work often centres on her children and family life, capturing memory’s, decay and Goldin’s focus is on adult relationships, sexuality and trauma. Regardless the differences, Both photographers explore sexuality and relationships. In conclusion, photographs are an important aspect of family and our identity that capture special meaningful moments, just like Sally Mann and Nan Goldin photography.

Bibliography:

Bull, S. (2009). Phototherapy: The Family Album and Beyond

S. Mann (1992). The disturbing photography of Sally Mann

Final Images

In Comparison to Justine Kurland

Justine Kurland used some male subjects in her images, so I wanted to do a photoshoot where I also used male subjects, so that I would have a range in my work. I also wanted to present a more masculine activity, as Justine Kurland presented quite stereotypical masculine activities and I have so far only presented feminine ones in my work.

In Comparison to Jeff Wall

In this photoshoot I presented the same narrative, but I focused on changing my composition throughout this whole photoshoot. This relates to Jeff Wall, as he always focuses on his compositional elements, rather the narrative of his work itself.

I also focussed on other visual elements during my editing on Lightroom.

How does this Relate to the Themes of Youth and Identity?

These photos relate to the themes of youth and identity, specifically my youth and identity, because when I was younger I used to watch my uncle add things onto/ fix his cars. I also still now watch my friends do the same thing all these years later, so this presents that my identity hasn’t altered as much as I would have thought now that I am more grown up.

Analysis of 1 Image

There was a high level of control in this image, as I was able to manipulate the position and distance of not only my subjects, but myself as well. However, there was little control over the lighting, as natural daylight was used, rather than the lighting that can be found in a studio.

F stop- f/7.1

Exposure time- 1/200 sec

ISO Speed- ISO-800

The colours in this image are not very bright colours, but instead there is lots of neutral colours, blacks and dark blues. There is also lots of different dark and light tones throughout the image, due to the sun and the shade caused by the fence. There isn’t tons of texture throughout the image, but you can see a slight texture on the ground. There is lots of different shapes throughout this image, due to the tools and wheels etc.

The layout of this image causes the main viewpoint of this image to be the subject in the centre of the frame under the car. In this image the composition has a subject in the foreground on the left, the car in the middle ground and the subject under the car slightly further back in the background.

This image represents my youth, because I used to watch my uncle fix/ add things to his car when I was younger. This also represents my identity, because it presents how little my identity has changed from my youth, as this is still something I like to watch and now take photos of. This presents that my identity is still very similar to when I was younger, but now instead of watching my uncle, I watch my friends.

Photoshoot Conclusion

Overall, I don’t think this photoshoot is one of my strongest photoshoots, because I did not display a range of different narratives, but instead only presented one narrative. However, I was able to experiment with my compositional elements, as I was only focussed on my composition, rather than displaying different narratives. I was also able to present a more masculine activity/ narrative, just like how Justine Kurland presents more stereotypical masculine narratives. I was also able to experiment with male subjects in this photoshoot, rather than just using female subjects and activities, like in my other photoshoots.

Saskia A. Baker: https://www.blurb.co.uk/b/12320018-phantasmagoria

Evaluation

Overall the photobook has gone very well, my idea for it was to follow a narrative sequence of a person’s journey through mental deterioration, it starts with the protagonist going through mental health and personal problems, they then attempt to find a resolution to their pain through the supernatural and religion, they feel a calling, in the end their mental health becomes more severe as if they’ve been possessed by their obsession with the unknown.

The reason I made this photobook and the images within was to visually interpret hidden feelings and portray how they can feel. My intention was to make my images look chaotic and dramatic to try and capture strong emotions such as dread, anger and frustration which are common feelings associated with mental health problems like depression. The subject of depression in particular was my main inspiration when making this project.