Wednesday 30 November 2011

Free day Wednesday 30th November 2011 Object (Final re-shoot)

 Wednesday 30th November 2011 Object

Today I shot the object image again using a 5x4 Horseman again having booked the studio with three others members from group I some weeks ago.

 I'd sketched out a rough idea of how I wanted the image to look yesterday (and blogged that), so I knew pretty much how to compose the image and from which direction I wanted my lighting to come from.

As usual I shot a few frames during the day on the digital camera for the blog:

Initial partial composition (before/whilst making numerous changes and exposure checks-hence quick disc etc)

Final Lighting Method (although i forgot to add the barn doors to the diagram so excuse that omission)

Lighting and equipment set up


Contact on brown desk

Contact on green desk


Initial set up showed I needed to raise my main light, and I illuminated my background to remove an unsightly shadow which the objects created. I'd considered a fully dark or partially dark background, but wanted to represent an office space on a simplistic level, thus taking the lit/light background route.
The bin bag/recycling idea initial considered (with the bag initially being used on my first attempt at this brief) progressed into a symbolic desk/office with belongings boxed up and awaiting removal. Jonathan had previously discussed context (in relation to background) and content (in relation to the objects), and I wanted a stronger and simpler narrative. Offices generally contain desks and plain walls, and visually the boxing up of belongings I hope would be seen as a more familiar representation of the process of the final stage of redundancy. A P45 hinting (in a subtle way) at the end of a job, rather than the start of a new position, i.e moving out and not into a job! I was torn between diffusion and a harsher light, having experienced both types of light in the work place. Opting for a continuous lighting source (with gel colour correction) and a very deep depth of field (F45) to attempt to capture a sharpness throughout the image. I also wanted the text on the folders and some text on the ruler to be clear and readable, as well as text on the cup. I liked the idea of the "Shatter Proof" ruler as a metaphor.
I processed two negatives, then using some old film which is out of date I experimented by switching the desk for a different coloured (green topped) example, processing those negs also. I'd need to print the images to see how the two look and compare, as the contact sheets are both a little light (first time I've used the colour dark room contact sheet making facility). The negs look to be very sharp and i think the narrative is far more readable than my previous image.

Influences for the new idea come from sources/images such a:
image care of http://www.guardian.co.uk/society/patrick-butler-cuts-blog/2010/oct/27/lost-job-still-at-work 
(Image Rex Features http://www.rexfeatures.com) 30th Nov 2010



Image care of (Getty Images via) http://www.guardian.co.uk/money/blog/2011/jan/31/dear-jeremy-have-your-say 
(Image by Steve Cole http://www.stevecole.com) 30th Nov 2010



Image Care of http://www.dailymail.co.uk/home/you/article-1070329/Things-don-8217-t-know---Redundancy.html
(Image by Bloom production)30th Nov 2010
More images to be found on Getty web site http://www.gettyimages.co.uk/detail/photo/redundant-office-worker-high-res-stock-photography/97542879?Language=en-GB


"Self-made people thrive
They know where they’ve come from. And they dust themselves down, rely on their inner anger as fuel and try again.

The people that crumble are those who over-identify with their wealth and status; those who mistake income for personality or intelligence.
The people who are most successful are in touch with their inner core. They know what makes them great as human beings, irrespective of what they do.
It can make you a better person
Redundancy can give people a new lease of life. They can say, ‘To hell with it, I’m going to do relief work in Africa…to do what I’ve always dreamed of.’

It’s an opportunity to find your talents and your heart and to possibly pay much needed attention to your family.
It also generates an empathy with misfortune that may have been missing. And you can feel relief from the pressure of a job you weren’t aware you were carrying.
Suddenly you have a blank page. Scary maybe – but you can do anything with it."

Text also care of the daily mail article associated to the image in http://www.dailymail.co.uk/home/you/article-1070329/Things-don-8217-t-know---Redundancy.html 30th Nov 2010

Tuesday 29 November 2011

Free Day Tuesday 29th November 2011 Object

Having decided to re-shoot the object image after the interim review i have sketched out my new concept to narrate my original redundancy message. My initial idea didn't have a clear narrative, wasn't universal enough and felt rather flat and uninspiring.


Initial Idea

Adapted idea by using a cardboard box (rather than a bin liner or re-cycle container) and including much many more training folders
Tomorrow along with possibly three others members from group I have a studio booked and hope to re-shoot our initial object images. I have checked on 'myuca' and no mention of confirmed industrial action that would prevent us from shooting has been published.
I've spent some time selecting folders and ensuring they are annotated as training folders on the spine. Scanned a P45 and sorted out the props.

Free day Tuesday 29th November Deconstructing Environment Photographers

Rut Blees Luxemburg:

This Photographers work has been discussed on numerous occasions on the course so far and the three images to deconstruct were: Lovesong (liebeslied) 1997; Folly 2003: Piccadilly's Peccadilloes 2007.
Lovesong (Liebeslied) 1997

Folly 2003

Piccadilly's Peccadilloes 2007
 Aesthetically it is clear that the photographer has her own unique style and agenda. The visual style of these images taken at night have become her signature for her environmental work. Interested in the notion of duality/abstraction and capturing fleeting reflections or dark mysterious images using only available lighting. Looking for the beauty in the usually mundane, her style is to see what others miss, or dismiss. To see what many of us miss as we slumber, as we slumber she seeks images that fit her desired visual strategy and outlook on the city. Showing a layer of the city that is both mysteriously unfamiliar yet subconsciously known to many city dwellers. Her images are about mood, drawing the viewer into the images as we absorb and attempt to understand the visual choices. She is asking the viewer to engage with the environment and to look beyond the familiar. The images feel lonely and often cold, lacking people and thus highlighting their absence due to the locations and man made environment. Water and shadows often feature highly in the images creating a richness within the frame. Colours are subdued and limited in number in each image and a fine art feel exists within her images. Depth of Field is always deep and details remain sharp allowing the eye to engage fully with every aspect of the framed image. I'd also say that a stillness is often evident, and a feeling of suspense is created often by what is not within the image (the people). Traces of missing people exist, cups, chairs, footprints, lit windows inviting us to wonder at the human stories behind each image.
The images above date from 1997-2007 and in ten years her style remains strong.
Her work has been used on album covers, 'Lovesong' comes from the book 'Liebeslied Rut Blees Luxemburg  My Suicides Alexander Garcia Duttmann'. The 2007 'Piccadilly's Peccadilloe's image is one from a series commissioned to record London's underground railway system and is in fact taken at Heathrows terminal four (http://art.tfl.gov.uk/projects/detail/1125/).
http://www.rutbleesluxemburg.com/

Further images:

In Deeper also from 'Liebeslied Rut Blees Luxemburg  My Suicides Alexander Garcia Duttmann'

Narrow stage 1998 also from 'Liebeslied Rut Blees Luxemburg  My Suicides Alexander Garcia Duttmann'
Richard Wentworh:
Two images were provided to analyse and deconstruct.

Bottlestick
Tirana (from the series 'Making do and Getting' by 1999


Interestingly Wentworth is a sculptor and his interests photographically appear to lie in capturing what appear to be sculptural occurrences, which visually appear to be objects and situations that he has come across. Wentworth appears to seek the out of place, and his connection to objects and things is apparent. His making do and getting by series is an ongoing one that began back as early as 1974. So it is clear that this is an ongoing obsession, it's become a part of his own personality as an artist, and it is clear from his images that he is an artist. He gathers and documents images that depict the human interaction with the environment, often capturing the chaotic evidence of thoughtlessness. His images appear self conscious, seeking small cast off and oddly placed objects, often tucked/propped/Lent/piled. I wonder if his images are in fact a self portrait, a comment on the nature of city dwelling where you can become faceless and discarded and constrained with ease. He seems to be looking beyond the objects into some deeper metaphorical commentary, as seen in the images above. The beauty of nature polluted by the plastic bottle in 'Bottlestick'. The time worn decaying fabric of the city contrasted against the sharp reflective surfaces of the new (the mirrors/glass), it's all about juxtaposition and his work could be described as poetic and thought provoking in that sense. There is always a sense of being lost, time is evident because the cast off objects have served a purpose and then become redundant. To me there is a sadness, and a coldness to his work and it critiques modern Britain highlighting the soulless nature of the city. These images are a narrative and a commentary capturing small everyday stories overlooked due to the commonality of occurrence, but none the less worthy of consideration.

Further images:

Image care of http://www.lissongallery.com/#/artists/richard-wentworth/

Image care of http://www.lissongallery.com/#/artists/richard-wentworth/
Vera Lutter:

Images supplied to review were: '333 North Michigan Avenue, Chicago, IL, 2001 and 'San Marco, Venice, XX: December 3, 2005

333 North Michigan Avenue, Chicago, IL, 2001

San Marco, Venice, XX: December 3, 2005
 Vera Lutter uses a technique that abstracts the cityscape and creating a very interesting visual style. The concept appears be one of altering and abstracting, thus making the viewer question what they see, and how they see it. Using a Camera obscurer and projecting the image provided by the lens onto a photographic (light sensitive) paper no conventional negative is created. Being a Camera obscurer the image itself is recorded negatively on the paper. Light focused into the lens leaves it's mark on the paper, so that light from the sky for example is recorded as a dark tome on the image. This effect is striking since the paper size is large, and unlike a conventional film negative, it isn't translucent (being on paper). The long exposures required to create this effect don't record individual people so the images focus on the buildings themselves. Obviously lighting is natural and the technology involved in recording the images thus dictates the long exposure. The strong contrasts highlight the geometrical, the architectural aspect of the city. The camera position varies from street level to elevated positions. The photographer consistently seeks out rich and interesting subject matter and doesn't restrict herself to one city although she is New York based, her work is prolific and she continues to specialise in this visual and photographic technique as her signature style. Highly regarded and widely exhibited she acquired a guggenhiem fellowship (fine arts) in 2001.
Her images appear to me a homage to steel and glass, to machines and the large scale man made objects (including Jet passenger aircraft, pyramids, huge earth moving vehicles and of course the architecture of the city)

Further images:
545 8th Avenue, Looking North: February 10, 1994


Campo Santa Sofia Venice XXIII December 17th 2007

Each Photographer has taken a unique approach based on their experiences and relationships with the environment. They all use alternative approaches from their own specific perspective, in an attempt to create a visual message. The differences are obvious, but there is a theme that binds then all together. The desire to create a message and provoke thought and discussion with regards to the urban environment. The approach is visual and using the still image. Each frame is taken with great care and  consideration and in the case of Rutt Blees and especially Vera Lutter a great deal of time/equipment and setting up and composure is required to create the images. Rutt Blees would be using a tripod and longish exposures, Vera Lutter would be setting up a Camera Obscura. Each photograther has spent many years developing there creative and visual strategy and they all come from within the established world or photography (or art) via backgrounds that started with qualifications in their specific mediums making them part of the 'establishment'
 (photography/art)

Monday 28 November 2011

Day 42 Monday 28th November 2011 Perception

Monday 28th November 2011

10:00 Perception lecture 'Narrative and semiotics' Michael discussed what a narrative was and what it's constituent parts are these included: Environment; Characters; Relationships; Time; Concept; Structure; Perspective; Audience; Points of view: Perception.

We watched a short youtube segment from 'Blue Velvet' to discuss the narrative and semiotics.

Photographers mentioned for review were: Phillip-Lorca Dicorca; Geoff Wall (book The Order of Things); Gregory Crewdson
Phillip-Lorca Dicorca

Geoff Wall

Gregory Crewdson



16:00 Seminar: Pretty much a discussion on work and methods for managing time. Also discussed a few issues relating to the course.
Again group I had to wait until 16:00 for the seminar, so I tried not to waste the time in between the lecture and the seminar by mailing the Salvation Army: finding some reference books before eating in town.

Sunday 27 November 2011

Free Day Sunday 27th November 2011

Free Day Sunday 27th November 2011

Having looked after my son all day I've only had my evening free, in which time I've started my environmental task due in Tues 29th 5pm.

Made some progression towards securing a medium format camera to alleviate the issues of camera availability.

I've been reading the perception  pre-reading material and generally attempting to plan out the next few days which are going to be very busy indeed!

Saturday 26 November 2011

Free day Saturday 26th November 2011 (Body)

Free day Saturday 26th November 2011 (Body)

Again I have my son all this weekend, so my spare time is limited. I've used some of that time to tweak my blog, cropping yesterdays scans and re-posting for example.

I managed to pick up a number of useful books on Friday from the library so I hope to get time to read those tomorrow night. I've also had some background research/props posted to me for my portrait shoot.

Friday 25 November 2011

Day 41 Friday 25th November 2011

10:00 Visual Language talk. The uniform and body:

10-11:00 Talk
11:40 Lighting Demo
Followed by task

Leaf shutter allows flash sync at any speed
Focal plane requires a specific flash sync speed (most 35mm-DSLR-some Medium Format)

When using flash use 1/500th to reduce ambient light pollution
Photographers: Renaldi; Toby Glanville (work and uniform Reference); Michele Sank: Charles Fregare

Always consider shoulder position of sitters
  1. Meet Subjects
  2. Early set up
  3. Test camera/film/lights (set up using stand in)
  4. Meet at the door
  5. Props
  6. Eliminate distractions
Fill in flash technique
For this exercise create images that represent the following: Select three of the following to represent in the exercise
  1. The Worker
  2. The Intellectual
  3. The Sales Assistant
  4. The Waitress/Waiter
  5. Cleaner

Prolight (400 Joules) Monobloc switch positions for fill flash sync
 Key Light
Fill Light -2 or -3 stops

Example Key light F11
-2 = F5.6 (2:1 ratio)
-3 =F4 (3:1 ratio)

Due to time contraints based on a number of factors such as: late start time of task; number of students per camera and group dynamics my shoot time was very limited, I'd say I fired the whole roll of film off in 10 minutes? I treated the exercise as an opportunity to try the fill flash technique, not an opportunity to create a wonderful body of work! Moving the lights etc left more light spilling onto the background than I would have liked. But we'd have never all got the test images done on time if we'd spent the required time needed to make the images perfect. I have examples of -2 and -3 fill flash technique.

If I'd had more time I would have gone for some side on profile images, that i shall save for a better day when i have more time.

The flash reflected off studio lights behind and above the model, also unsightly aspects of the background are in view, so i've crudely cropped those out just to remove those distractions.






Uncropped

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Uncropped

Thursday 24 November 2011

Free day Thursday 24th November 2011 (Environment)

Thursday 24th November 2011

Waking early I took a friend to Maidstone and whilst there shot another roll of HP5 in my urban location (B&W scanned images below). This time shooting from both sides of the bridge to try a number of different camera angles (colour images below taken on digital G11- test shots).
Also shooting a pedestrian subway (which is my alternate back up idea)

















I had to return to Rochester to return the Uni camera and tripod by 13:00 (I never actually used the Fuji 6x9 in the end), I was loaned a Bronica ETRsi which I wanted to try. After dropping the camera off it was back home to collect my tripod (lighter and easier to carry) for the second shoot of the day. Again using the ETRsi I returned (for the third time) to the Rural location for my re-shoot of my initial environment images. I managed this just as the light was going, which was perfect as I'd been experimenting with different lighting conditions at this location.



As usual I used the G11 to record the progress:


I've always been fascinated with death and graveyards and i found this website that inspired me to seek my own view on this subject: http://www.davidashmanphotography.com/viewphotographsEternalView-19thCenturyGravestones.html24th November 2011

p
David Ashman (See link above)

David Ashman (See link above)


I'd like to expand on what David Ashman is doing by capturing the patina of the gravestones alongside the aged trees and environment that has grown up alongside them.

Also found this website that contains some interesting B&W graveyeard images: http://www.amandanorman.com/shop/index.html   24th November 2011

Amanda Norman has a series of over forty images which she describes as "Gardens of Death"


"Why graveyard photography?
As I wander through various cemeteries and graveyards, I can’t help but adore the architecture and design of the various headstones, tombs and mausoleums. The more elaborate, the more I think about the person it was erected for and what the community must have been like when that person lived. I love the peaceful atmosphere of these places and I’m disheartened when I see vandalism or graves that are left unattended.
These places of rest provoke a wide range of emotions prior to my over active imagination kicking in."
Text also taken from; http://www.amandanorman.com/shop/index.html 

 
Amada Norman and David Ashman are my two influences for this section of the project.


I returned some books to the local library and had a quick look to see if anything there related to my 'homework' task, without success. I have a book one one of the artists, so I'll have to see what I can find on the others at uni.

I'll process today's films and add top the blog when complete