ELINOR FARLEY-HILLS PHOTOGRAPHY A-LEVEL YEAR 13
AIMS & OBJECTIVES In this project, I aim to capture my theme of water, I intend to do this through landscape, portrait, studio and macro shoots. My intention is to emphasise the movement of water and how it can be manipulated or recreated. The majority of my work will focus on natural water forms, consequently, I will be doing a lot of outdoor or location shoots. To inspire my project, I will be analysing the professional photography of Mark Mawson, Jim Reed and Leif Westling to encourage me to be experimental and adventurous in my approach to my theme. Whilst I will be taking photos of rivers and the sea, I will also use Photo Shop to manipulate my images to give the illusion of water; The 'twirl' tool allows me to distort my image into a ripple-like effect. Furthermore, I have planned low-key shoots to show how humans can interrupt water, I will show this by photographing cupped hands that are catching a flow of water. When complete, I want this portfolio to have a calming, serene impact on my audience.
SHOOT 1
SHOOT 1 Equipment Tripod DSLR D3100 One Spotlight Black, reflective umbrella
SHOOT 1
SHOOT 1
METHODOLOGY
For this image, I set up a low-key shoot, with one single light source being a spotlight placed to the left shining directly at the side of the face and shoulder of my model. I then, asked my model to sit on a chair in the middle of the set-up and maintain a serious, monotone face so as not to distract from the water droplets. Next, I used a small pane of glass (from a photo frame) and I flicked it with water droplets; it was difficult to try to create a random pattern as some of the droplets kept joining together so I had to use a pipette and a straw to attempt to evenly distribute the drops. Finally, I held the sheet of glass close to the camera but far from the model so that my final photograph would feature some in-focus water drops and an out-of-focus model as a back drop. For this to be successful I needed a shallow depth of field and a small aperture . I am pleased with the final result as I like the reflections that are captured within the larger droplets however, to improve my images, if I was to re-do this shoot, I would move the camera slightly closer to the model so that he was still out of focus but slightly more defined and recognisable. Photo Shop In photo shop, I used the black & white setting to emphasise the white flecks of light on the top of each droplet. After this, I then used the shadows/highlights tool to exaggerate the depths of the shadows to add to the gloomy mood.
PHOTOGRAPHER RESEARCH
LEIF WESTLING TITLE: ANOTHER DAY For this macro photograph of ice crystals surrounding a metal ring, Leif Westling used a NIKON D50 camera and a macro lens to get a close-up, textured image. The main focus of the image is on the ring and the leaf next to it, Westling has used a contrast between the flat background and the more prominent curve to draw attention towards the centre of the photograph. To add to this, by blacking out the top half of the image, Westling has further emphasised jagged texture of the other surfaces. As well as this, Westling has added a pop of colour through the autumnal-coloured leaf that morphs with the rest of the photograph due to the fact that it is also coated in ice crystals. This image links to my theme of water because it shows an alternative form of the liquid (solid), I am inspired by this image to use a macro filter to take close-up images of the intricate patterns that frost and ice can create. TITLE: IN VINO VERITAS Again, this photograph was taken using a NIKON COOLPIX 4600 and depicts the refraction of light as it is shone through a wine glass. The hue of the whole picture is warm, supported by an fiery orange background, the glass and reflection are solid red. I like the way that although the photograph is taken from directly above the glass, we, as viewers are given a birds eye, and an exaggerated side view through the shadow. To add to this, the refraction of light through the liquid has given a triangular pattern to the shadow. If I was to attempt to interpret this idea into my own work, I could use a coloured follow-spot through a glass of water.
PHOTOGRAPHER RESEARCH
FARENHEIT (set of photos: 'just some photos') This image was taken with the Nikon Coolpix 4600 and presents a hand print melted into an ice-covered window. Westling has managed to capture the structure of the hand and the way that the person's body heat was able to manipulate the ice into melVng into water. The centre of the photograph is transparent, then around the print there in a translucent middle-ground and an opaque frame, this presents a gradual change from water to ice. Furthermore, a vigneYe effect has been added to the photo to purposefully draw the viewers eyes into the centre of the photograph. Consequently, Westling has presented the different states of water in one image. I am inspired by this technique although I will be dependant on icy whether to reproduce my own version of this image, to give my own twist I could show a comparison of two different hand prints
SHOOT 2
SHOOT 2
SHOOT 2
SHOOT 2 EQUIPMENT Nikon D3100 DSLR Macro Filter (x10)
SHOOT 2
SHOOT 2
METHODOLOGY
I took these images of a frosty day, as a result, the sky was dull and there was a lack of natural light. To counterbalance this I had to use a large aperture and a slightly higher ISO level. On the other hand, I kept my shutter speed relatively low to allow more light in however I had to ensure that I was very steady with my hands to make sure the photos were sufficiently in focus. 1-This image shows the irregular yet repetitive pattern of condensation on a window. The predominant colours of the image are grey/blue which add to a melancholy mood to the painting however I like the macro effect in that the tiny droplets are given the spotlight within the image. I tried to capture the striking highlight on each individual droplet although, if I was to re-do this shoot I would aim to keep the bottom left corner in focus as well. However, to achieve this I would need a larger depth of field 2,3-In contrast to the first photograph, these two focus on the individual crystals of frozen water (ice) and the structures that they make in jagged patterns. Similarly, I used a macro filter to get close to the ice however I faced the same pattern that the depth of field was not large enough to keep the whole photograph in focus. 4,5- These photographs were inspired by my study of Leif Westling's work, I used my car window on a frosty day and then I used the body heat on my hands to melt away the silhouette of my hands. As the window is blacked out, it was not completely transparent, I chose this window because its translucency gave a better clarity to the texture of the half-melted ice hand-prints.
PHOTOGRAPHER RESEARCH
MAYA
Maya is inspired by the "creative energy of movement, fluidity & the feeling of life as boundless. ". Although Maya is based in London, she originates from a seaside house in Portugal where she first discovered her fascination with the movement of water.
In contrast, this photograph is set above water although a film of water covers the face like a barrier between the face and the air. In order to take this image, Maya has used a fast shutter speed and was positioned close to the surface of the water although the image is taken from a slightly above angle; the model is snapshotted bursting from beneath the water with her eyes clenched shut and her mouth slightly open, as a result her facial expression does not look staged. It is obvious to an audience that the model is moving at speed through the motion capture of the water drops that create a waterfall-like shape below the nose and chin of the model. On the other hand, similarly to the second photograph, a shallow depth of field has allowed Maya to blur the background so that the sole focus is on the face of the model. I am inspired by this photo shoot to create my own shoot in which I will use a fast shutter speed to capture water as it runs down people's faces and their reactions to it (facial expressions) to do this, I will need large buckets of water, a tripod and a flash. This photograph was taken underwater in a swimming pool, the ripples of the water have cast pale reflections on the face and shoulders of the male model. The whole image is very simplistic, the predominant colour is white and the man has a pale, smooth complexion with no facial or head hair to distract from his face. To add to this, the model is standing far away from the background, this combined with a shallow depth of field has blurred the background for a tie-dyed effect that does not distract an audience's eye away from the face of the model. In my project, I intend to take inspiration from the reflections across the face of the model however instead of taking the photograph underwater, I think that I can imitate this style using a projector directed at my model's face,
PHOTOGRAPHER RESEARCH
In this photograph, Maya has captured the head and shoulders of his model, with the water line interrupting the face so that the model is only identifiable from the mouth downwards. On the other hand, the bottom half of the image is reflected above on the water's surface to create an abnormal figure of a person. To take this photograph, Maya would have used an underwater camera case and bright lighting for a high key set up, as a result, the ripples on the water casts shadows across the chin and lips of the model in streaking patterns. Consequently, the lips are emphasised, this is furthered by the use of vibrant lipstick on the model From this the audience can assume that the model is youthful although her true identity remains hidden. On the other hand, excluding the top section of the photograph, the water appears to be serene and peaceful, this calm atmosphere is projected onto its audience. I am inspired by the way that Maya has used the ripples of the water and the waterline to dissect the conventional portrait of a woman, leaving the audience to assume her identity through small clues such as her lip colour. On the other hand, if I was to interpret this technique, I would take the photograph from above the water although I would take inspiration from Maya's use of bubbles and ripples to distort the facial features
SHOOT 3
SHOOT 3 EQUIPMENT Whiteboard Projector Model Black sheet Nikon D3100 DSLR SETTINGS Low ISO Medium Shutter Speed Large aperture
SHOOT 3
SHOOT 3
METHODOLOGY
The aim of this shoot was to create the illusion of reflections on the face of my model, to resemble the effect of a the reflections that are made from a large aquarium. In order to achieve this, I asked the model to tuck as much of her hair out of the way as possible to reveal a smoother skin surface to project on to. Then I used a photograph of breaking sea waves to project on her face for a rippled effect with a rage of blue tones. When carrying out the shoot, I found that as my model had dark hair, the projection did not show up on her hair, however, I liked this effect as the hair creates a dark border to frame the final image. I asked the model to look away from the camera, slightly upwards as this gives the impression that she is admiring something; this links back to the theme of being at an aquarium. I am pleased with the final result of this image because I find that it has a fantasy-style atmosphere. PHOTOSHOP To edit this image, I created a second layer, above the raw photograph and brushes to create a pattern of lilacs, greens, turquoises and blues. I then second layer so that the colours were transferred onto the image below. As a vibrancy of the bus hues. On top of this, I darkened the edges for a vignette into the centre of the photograph, towards the face of the model.
on this second layer I used paint increased the translucency of the result, I was able to increase the effect to draw the eye of a viewer
PHOTOGRAPHER RESEARCH
MARK MAWSON
To create this fairy-tale style photograph, Mawson has used a waterproof camera case to capture the moment beneath the surface of a swimming pool. This means that after obtaining the raw image, Mawson used photo manipulation software to remove traces of the floor and walls of the pool to give the impression of a never ending infinity of water. This adds to the magical atmosphere of the photo. Alternatively, he has produced the effect of a misplaced model due to the lack of air bubbles, it is as if she is floating in air. This idea is furthered by the use of balloons which are traditionally floated in the sky. Similarly, the balloons provide a child-like innocence to the model, this is furthered by the white, flowing dress and lack of shoes worn by the lady in the image. The model is positioned with open body language, wide-spread arms and chin upwards to give the image a welcoming feel. Contrastingly, the juxtaposition of the deep blue background and her light, elegant attire creates the illusion that she is small and vulnerable in her dark environment, perhaps the photographer was linking his photograph to the fact that the water is not a human's natural habitat. As a result, viewers are presented with a surreal representation of a realistic fairy-tale. Similarly, this portrait photograph was taken underwater however, in this instance, Mawson has not removed the walls or floor for a more enclosed or trapped effect. this image depicts a worn, muscular man 'running' towards the camera with one arm outstretched. The model's clothes are simple and crumpled to provide him with an ordinary appearance. However, The way that the model has kept direct eye contact with the camera and is reaching towards it gives viewers a sense of involvement in the scene as if the model is communicating with his audience. The concerned expession and body language of the man implies a sense of desperation perhaps to escape or to reach his audience.
Mark Mawson is a London based photographer that has dedicated 25 years to capturing fashion and beauty photographs beneath the surface of the water. He is best known for his sequence titled "Aqueous" of which a video was projected onto Buckingham Palace to form the background of Sir Paul McCartney's performance at the Queen's diamond Jubilee celebration.
Aqueous Fluoreau #2 This is part of Mark Mawson's Aqueous selection, created by dripping paint into water s o l u t i o n s t o c r e a t e colourful cloud-like formations. They have been described as "clouds of vivid colour hang in a black void" and compared to "the latest images from a satellite deep in outer space" by their surreal curvature. In this image, Mawson has used pink, yellow and blue, opposites on the colour wheel therefor they complement one another. This photograph would have been taken with the paint dripping downwards however he has used photo manipulation software to flip the image horizontally to give the 'clouds' suspension as if they are rising upwards. I am inspired by the work of Mark Mawson to investigate the patterns of ripples on faces and the curved shapes that colours within liquids take.
PHOTOGRAPHER RESEARCH
SHOOT 43
SHOOT 4 EQUIPMENT Nikon DSLR D3100 Ring flash Bath of water Model
SHOOT 4
SHOOT 4
METHODOLOGY In this photo shoot, I filled my bath with warm, clear tap water. My model was dressed in a strapless swimming costume so that I could take the photograph from the shoulders upwards and the costume would remain hidden. As my bathroom is not naturally well lit, I used the ring flash to aid my camera to achieve an even distribution of life, furthermore, the flash created intense highlights on the surface of the water. I asked my model to hold her head just below the surface of the water and blow bubbles out of her mouth and nose to disturb the water above her face, this had the desired effect and distorted the form of her face. When carrying out this shoot, I found that that the closer to the surface the face was, the more effective the distortion. I had to do this in short bursts so that my model could take breaks however the ring flash meant that I could keep a consistent exposure so this did not effect the continuity of my photographs. If I was to do this photo shoot again, I would experiment with floating objects in the water or using food colouring to change the colour of the water however I did not do this this time because I did not want to distract to much attention from the pure water as that is the theme of my project.
PHOTOGRAPHER RESEARCH
TRACEY BLOXHAM Location: Loch Lomond, Scotland This Image features an idyllic lake landscape with a background of mountains, a middle ground of rippled water and a foreground of green shrubbery. Bloxham has used the foliage around the edges of the photograph to frame the serene lake scene; the photograph appears to be fantasy-like. Furthermore, the wide, open space encourages viewers to feel relaxed. Overall the majority of the image has a blue or a green hue which emphasises the peace of the natural environment. I think that I can take inspiration from this image by taking my camera to photograph large spaces of water to try and recapture the calmness of the setting by focusing on the ripples. Location: Beadnell, Northumberland This picture was taken of a small harbour in Northumberland, as there are no people in the picture, the harbour seems to be frozen in a moment of tranquility. On the other hand, the whole image is vibrant and lively in colour, from the orange roof tiles in the middle ground to the glowing pink buoys and boat covers in the foreground. However, the separation of the light foreground, darker middle ground and then light background create the impression of depth to the photograph; it is easy for viewers to imagine being in this scene. I aim to go on a location shoot to Faversham creek to use this artist as inspiration when taking photos of the boats that are moared up.
PHOTOGRAPHER RESEARCH
Location: The Tweed After taking this image, Bloxham has used a photo manipulation program to give a warmer hue to the photograph, In this way, the grass appears more vibrant whilst the sky has a sunset effect. Alhtough this means the photograph no longer looks natural, I like the way it seems dream-like. This is added to by the perfect flatness of the water surface.
SHOOT 5
SHOOT 5
SHOOT 5
SHOOT 5
SHOOT5
SHOOT 5
METHODOLOGY
I went on this location shoot at Faversham Creek and took my Nikon DSLR D3100, I wanted to use natural light from the sun for this shoot to add more variety to my portfolio in contrast to my previous studio shoots. I had to use a large aperture and fast shutter speed to keep my photos sufficiently exposed yet still sharp photograph of the moving water. I focused primarily on the different patterns and arrangements of ripples along the surface of the water, I aimed to highlight the reflections on the peak of each ripple for a textured effect. When carrying out this shoot, I struggled with the fact that it was quite an overcast day and had to time my photographs in accordance with the constantly changing cloud coverage. To aid this, I used photoshop to heighten the warm hues of my images to imitate the effect of warm sunlight. I think that my most effective image of this shoot shows the curve of a small river between reeds, I like this image because I am pleased with the combination of orange, green and blue contrast.
PHOTOSHOP
PHOTOSHOP
SHOOT 6
SHOOT 6
SHOOT 6
PHOTOSHOP
SHOOT 6 EQUIPMENT Low key set up (Black sheet backdrop, one spotlight) Black, reflective umbrella water Two hands
SHOOT 6
METHODOLOGY The aim of this photo shoot was to take an image of a pool of water in cupped hand, in a low key setting. However, whilst carrying out the shoot i became interested in the pattern and angle of the water's path as it fell into the hands. As a result, I used a black back drop for the background of my image to be a block colour. I then used one spotlight, faced upwards, with a reflective umbrella attached to it so that the light was then reflected back downwards onto the hands. This meant that the hands where illuminated from above, leaving the hollow between the fingers in shadow.
SHOOT 7
SHOOT 7
SHOOT 7
SHOOT 7 EQUIPMENT metal bowl of water Flower heads macro screw on lens D3100 Nikon DSLR
Â
SHOOT 7
SHOOT 7
METHODOLOGY For this shoot, I chose a very sunny day so that I could use natural light rather than artificial light, this meant that I avoided a yellow hue on my images although it also meant that the light was intermittent due to passing clouds. As a result of this, I was able to use an ISO of 100, and a fast shutter speed, I counterbalanced this with a relatively large aperture. I knew that I was going to be doing a macro shoot so I used a metal bowl as the backdrop of the photographs because I knew that it would emphasise the light reflections on the surface of the water and would not distract from the vibrant colour and petal pattern of the flowers. For my props, I used the heads of three different flowers of different colours and petal shapes, I chose the brightest and flattest flowers so that they would stand out and so that they could float for a sustained period of time for me to capture them on camera. Finally, I used a 52mm, +10 close-up macro lens on my DSLR Nikon D3100 camera and I used a combination of Auto-focus and Manual-focus. Whilst carrying out the shoot, I found that when submerged too much, the leaves with smaller surface area would sink beneath the surface of the water and once they had done this they were no longer capable of floating next to the flowers. To combat this, I had to overlay the leaves on top of the petals to support them. To add to this, I also faced the difficulty that the exposure of my images kept changing depending on the unreliable cloud coverage, to overcome this, I had to constantly monitor and adjust my aperture. The aim of the shoot was to capture the droplets of water that protrude when flicked onto the surface of the water-proof petals, I did this by using my hands to flick droplets onto the flower whilst it floated. However, when taking the photos, I also noticed and took particular interest in the distortion and ripples that were created around the edges of each petal as the top layer of the water was disturbed.
PHOTOGRAPHER RESEARCH
TEAM LOUISH
SETTINGS Camera: Canon EOS 7D Exposure: 1/160 Aperture: 4.0 Exposure Program: Manual ISO Speed: 100 Focal Length: 24.0 mm Lens: EF24-105mm f/4L IS USM The aim of this shoot was to create a surreal image based on the impossibility of perfectly organised, tilted water, on a flat surface. The team of photographers achieved this by adhering the glasses to a flat plane of glass for stability and then arranging both the camera and the flat glass at the same, diagonal angle; by having them both at the same angle, they will counteract each other to give the illusion that the photograph was taken from a flat angle. Behind the foreground, the set up is a simple, blue sheet with one spotlight shone towards the backdrop to illuminate a rounded area behind the glasses. This gives a sunrise-type effect although it has been done with cold, blue colours. To create the vibrant shades within the glasses, the photographers have used different food colourings in water to maintain the transparency of the liquid but to differ it from the background. In addition, the flat glass provides a reflection that features a reversed version of the glasses, this adds to the surreal nature of the image as the clarity of the reflection gives the impression that there is a second set of glasses. Overall, the result of their shoot was very successful as the contrast between dark and light background splits the image directly across the centre for a divided look. I think that my analysis of the method of this shoot will help me to investigate a way of similarly manipulating water within a glass. I am inspired to attempt to recreate the power and motion of a wave whilst simultaneously capturing it within the small confines of an ordinary, household glass. In this way, I can reflect on the movement and power of natural sources of water, such as the sea.Â
PHOTOGRAPHER RESEARCH
SHOOT 8
SHOOT 8
SHOOT 8
SHOOT 8 EQUIPMENT Nikon D3100 DSLR Table Wine Glass Water Follow-spot spotlight Blue tack White sheet
METHODOLOGY The aim of this photo shoot was to capture the shape of a wave within the small confinement of a wine-glass, as if I am recreating the natural structure inside a man-made structure. To set up this shoot, I used a transportable frame and attached a white sheet so that it hung without any creases. I then placed the follow spot behind the sheet, at a distance to create a large circular shape behind the glass. After this, I placed a glass to the top of a moveable table and half-filled it with water. When doing this step I had to be careful not to get too many drips on the sides of the glass as they distracted from the wave-like shapes. Then, I asked an assistant to shake the table vigorously to make create miniature waves in the water. To create the perfect pictures, I used a fast shutter speed to ensure that my images were in focus and they acted as a freezeframe of the movement of the water; this was especially effective when single drops of water separated themselves from the main body of water and in some cases escaped from the top of the glass. When carrying out this shoot, I faced the difficulty that the glass was moving too much and was i danger of falling over, to overcome this I had to use a small amount of blue-tack hidden beneath the base of the glass to secure it to the top of the table to avoid the risk of the glass breaking. To add to this, I also found that as the table was moving, I found it a struggle to maintain the glass in the centre of the spot light although I was not so worried about this because I wanted the main focus to be the action within the glass rather than the background. Afterwards, I experimented with using the follow-spot to shine through the glass to cast shadows across the table, this method was less effective as I though that the colour of the image overpowers the focus on the water however I liked the dramatic silhouettes that had been created. If i was to do this photo-shoot, I would time my photographs so that they were consistently in the centre of the spotlight however to achieve this, I would have to develop a more reliable method of shaking the glass containing the water rather than just shaking a table. Despite this, I am very pleased with the results of this shoot.
SHOOT 9
SHOOT 9
SHOOT 9 EQUIPMENT One spotlight Reflective umbrella Models x4 Nikon DSLR D3200
SHOOT 9
METHODOLOGY For this idea, I conducted a simple low-key shoot in which i had one spotlight, faced diagonally upwards; I used a reflective umbrella attached to the spotlight to shine the light back downwards onto the face and shoulder from above. I wanted to have the face brightly illuminated but I Â wanted the backdrop to remain a solid black colour. I carried out this process with a range of different people, taking the photograph in portrait from the shoulders upwards. I then used photoshop to manipulate the images. PHOTOSHOP On photoshop, I used the shadows/highlights tool to further brighten there face in each of the photographs. After this, I used the 'twirl' tool to give the effect of a ripple in the photograph. I intended to make it look as if the photos had been distorted by water in that the faces are twisted in circular motions, like a whirlpool.
PRESENTATION
ICE CUBES
PRESENTATION For the presentation of this unit, I wanted to solidify my photographs within water, I have experimented with freezing my photographs in plastic cups and Tupperware pots of both distilled water and tap water to find the most effective method. For my first test, I used one of my 'twirl' images and I pushed it to the front of a plastic cup and filled it with tap water. I then placed the cup in the freezer overnight until it solidified. For my second test, I used distilled water and let the image float towards the middle of the cup. When I returned to these tests, I found that the tap water was clearer and allowed the photo to be seen more easily whilst the photographs that were towards the front were more visible (although when the ice melted it meant these photographs fell off). Through this experiment, I learnt that for my final presentation I should use square containers so that they stand up better, as well as this, it was more effective to use tap water and to let the photograph float. Furthermore, I found that the photo paper curled when wet but did not smudge so it will be an appropriate material to use. When I do my final presentation, I will use a trisector of the ‘twirl’ images in ice cubes and I will line them up next to each other and film it as I melt them. I want a black backdrop because I think that a decorative background would distract from the ice cubes.
I
will use one spotlight shining from above, then I’ll use a white umbrella to diffuse the light, To add to this, I will have a heater directed at the ice cubes to speed up the melting process. When all of my filming is done, I will use imovie to make a time-lapse style video that shows a fast-forwarded version of the ice-cubes melting.
PRESENTATION
FINAL ICE CUBE MELT EQUIPMENT Tripod Nikon DSLR D3100 One Spotlight White Umbrella A empty locker Portable fan heater Freezer 3 small plastic containers 3 photograph printed on photo paper (to fit in the containers)
METHOD To prepare for this shoot, I filled three small cube containers with tap water, I then let my three (pre-cut to fit) twirl images float in the containers. The intention of this is to create a trisector of photographs frozen within ice cubes. Whilst the images were freezing, I set up my shoot, I used an empty, black locker as a backdrop because the cube shape reflected the shape of my ice cubes and gave a plain background colour. I placed my Nikon DSLR on a tripod directly in front of the open locker, I decided o use a tripod so that the clips would be steady and would avoid the shaking of my hands. Next, I placed a spotlight above my camera, directed into the locker however, I attached the white umbrella to diffuse the light to make it less direct. Finally, I placed the fan heater next to the locker to speed up the melting process. When carrying out this shoot I had to be conscious of safety and ensure that none of the electrics would be in range of dripping water once the ice had melted. Once my ice cubes had frozen, I removed them from their containers and placed them in a row in the centre of the locker. I had to be quick to focus my camera and ensure that my lighting was alright as it was a hot day and my ice cubes were melting quickly. I set the ice cubes, allowing space in front of them for the pool of water that would gradually spread out. I then turned on the heater and began filming. When shooting this video I faced many difficulties, firstly, my camera kept running out of battery and memory, meaning that there were gaps in my footage. Secondly, I found that the ice cube closest to the heater melted a lot more rapidly than the other two and as it melted it lost stability and fell over (meaning that the photograph could no longer be seen). To overcome this I tried to regularly change the position of the heater but it was difficult to achieve an even melting rate on all sides. As a result, if I was to exhibit my work I would leave the ice cubes to melt at room temperature rather than attempt to speed up the process. To add to this, if I was to redo this photo shoot, I would set it up on a more stable flooring as the one that I used moved when people walked past meaning that when I watched the footage back, the camera became unsteady whenever anyone around it moved.
EVALUATION
FINAL EVALUATION Overall, I feel that this portfolio of images successfully unravels my theme of water whilst still avoiding the clichÊ approach. Throughout the process, I was conscious of using unusual, innovative methods of capturing my theme and I think that my final outcome of freezing my images especially confirmed this. Within this project, I analysed the works of Leif Westling, Maya, Mark Mawson, Tracey Bloxham and Team Louish; I took inspiration from their previous photo shoots for my set-ups, camera settings and editing. I found my analysis of Leif Westling the most useful as he worked primarily focusing on small details and the different forms of water. Personally, I consider the water bath shoot to be my strongest work; I supported these photos with an investigation of Mark Mawson and Maya’s portfolio. I like this shoot because I successfully manipulated the appearance of the face using ripples in the water to portray the power of a body of water. If I was to do this project again, I would experiment with taking photographs with a water-proof casing, beneath the surface of the water. Similarly, I would be more adventurous with Photo Shop whereas this project is comprised mainly of simplistic images. As a whole, I wanted my project to effectively represent the peaceful power of water, both in large quantities and small quantities. The majority of my photographs emphasise the movement of water: in ripples, bubbles and streams. I feel that this body of work contains a diverse depiction of all of the different forms and shapes of water.