F l a w s
Perfection I d e a l s Compromises Georgina 0 1
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Reid 2
INSIDE
THIS
MAGAZINE...
A R T I S T
PHOTOSHOOTS RESEARCH
CLASSWORK
P O S S I B L E
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TECHNIQUES D
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FLAWS
LIGHTING
MACRO
BLACK AND WHITE
NATURAL
COLOUR
PERCEPTION
VECTORS
SURFACE
S TAT E M E N T OF INTENT
My chosen theme is ‘Flaws, perfection, ideals and compromises’, I have chosen this because this will help me follow a wide variety of possible ideas that can be similar or different and produce some refined photographs... I intend to carry out detailed and sophisticated research into this idea by using books/magazines I have read, online journals/blogs/pinterest/websites and learning from previous work that I have done. This will give me starting points to influence the production of my work. There are many photoshoots I intend to complete on this project to help explore my chosen topic involving object-based set-ups and possibly the involvement of people and portraiture. I like the use of flaws/perfections in relation to perception and different people view things/people differently... what is considered beautiful or ugly, with people or a viewpoint, or an object shot from close-up that you wouldn’t expect to look so wonderful as a photograph because when you take a photo of it, it can be seen as something entirely different. For example, peeling paint on a wall, shapes that are formed in liquid states, rubbish on the ground, food and fruit in an unusual state etc. In other words, the ideas of abstract photography appeal to me. For this project it is important for me to study other artists and photographers’ work to support my own work. I would like to look at the work of Stephen Gill, Irving Penn, Aaron Siskind, Alina Szapocznikow and more. To develop my work I will apply techniques to photos and throughout photoshoots; done manually and digitally. Manually - applying manipulations to printed photos for example; scratching, cutting, folding, layering, painting, scrunching, applying mixed media e.g. paper, tape, newspaper, card, lettering. Digitally (on Photoshop/InDesign/Camera raw) - blending modes, layers, cropping, black and white, alterations to contrast, clarity, exposure, black/white levels, highlights, shadowing, curve tools, filter gallery edits.... some of these techniques may be inspired by the studied artists and some may be experiments. Additionally, I will make sure that I use my camera efficiently by controlling manual options to create the best outcomes. ISO, aperture and shutter speed will allow me to have refined images, no matter the lighting available and location. Throughout this project, I hope to expand my knowledge with editing/computer software e.g. InDesign and creating websites, I would also like to improve the strength of my photography - I hope to combine potential future work involving space in this project also. I see the final format as being a series of framed work as this is something I have not yet done. I would like my work to look professional and refined and I believe this is going to be the most effecrive way to do so with the expected outcomes of my photoshoots.
PHOTOGRAPHER RESEARCH -
Alina Szapocznikow
She These 20 ing gum
was grainy black set on a
a polish artist/sculptor and white photographs were taken in 1971. Each shows shelf after being stretched/chewed this way to form an
Photosculptures MY
To interpert her work, ups. in colour and in ing that create shadows. her compositions are very
LINKS
I interpret her ered perfect has Turning ugly
INFLUENCES
FROM
HER
(1926-1973) a wad of chewabstract sculpture.
WORK
i would like to take the use of chewed gum and recreate images in different setblack and white - I could also use colourful chewing gum with different types of lightI love the shapes and forms created from stretching the gum out into an abnormal way similar but carefully varied across each photo, as if the gum is a moving object that has life.
WITH
THE
THEME
work as the beauty of imperfection. Something which wouldn’t be considbeen stylized in such an unsual way that a viewer can see its obscure beauty. into a percieved perfection, through sculpting and photography.
SZAPOCZNIKOW ISO
800
f/5.0,5.6
The idea of using chewing gum as a means of sculpting and photography fascinated me, so here are the photos from my interpreation of Szapocznikow’s chewing gum series. I put chewed gum on a desk in my room where there was dim lighting so that when I used flash it captured shadows on the wall and intricate marks on the gum itself. I edited the images using only camera raw - with very minor alterations I increased clarity slightly and reduced black levels, in order to see the details on the chewing gum.
INTERPRETATION 1/60
I changed the composition of the gum every few shots so they are varied in terms of angles and viewpoints. I used both portrait and landscape angles because I wanted to have different viewpoints. If I was to do a reshoot based on this idea, I would like to use different types of chewing gum e.g. varying in colour, on a different surface with different texture. This would expand the idea, by involving other texture and background.
I would also create new shapes with the chewing gum I also increased highlights but reduced white levels as I didn’t to explore other ideas. The four images on this page want the images to look overexposed or reduce the visable detail. are my favourtites and the ones i believe worked best.
Irving Penn was also known for his stark black and white portraiture and involvement in fashion photography. His unique style of capturing a character, focusing on individual’s features. LINKS WITH THE THEME These black and white portraits are a potential idea to follow by incoporating the perception of human facial features and beauty I like the idea of using portraits and applying techniques to these like the top right photo I’ve shown on the page. Composiions and cropping is used effectively in his work, his chosen camera angles allow a viewer to look at these people in different ways, I think that this kind of photography works with the flaws and perfections aspect of the theme.
Irving Penn
MY IDEAS: I would like to interpret Penn’s style of black and white portraiture by doing a similar photoshoot - the photos are all very crisp and clear. So I will use photoshop to edit and use manual settings on my camera so I can achieve a similar effect. This will be done by using a studio set-up with either black or white backdrops. I would like to use both male and female nodels to show variation because society percieves makeup on women as a perfection, but men do not etc... another theme I could research into further.
I could combine this work with another of Penn’s photography series of ‘radical beauty’ where he places things onto faces, e.g. smudged lipstick.
INFLUENCE FROM IRVIN
NG PENNPHOTOSHOP EDITS
A display of photoshop manipulations to a single image. This allows myself and a viewer to see the difference and changes that are created. Photoshop will be useful throughout my work to create flaws and imperfections to help relate to the theme. For example, I used inverting, liquify tools to pinch and distort specific areas of the models face. I used the curves tool to dramatically change the levels within an image to darken and lighten unusual parts. I used the selection tool to duplicate layers a rearrange them over the same area but at a larger scale. These edits used can easily be applied again to my future work.
PHOTOSHOOT 1
CLOSE UP: PEOPLE
This first photoshoot came from a spontaneous idea relating to imperfections and flaws with emotion, the human face etc. I used my sister to model for me, behind a glass door in a room with ceiling lights. This worked really well because the flash was not needed and didn’t create any reflections on the glass. I used different angles and camera positions to capture her expressions in several ways. The glass distorts the normal perceptions we have as humans of another person... by squishing the nose, mouth, cheeks, eyes so we would regard that us un-normal. I decided to edit these all into black and white because I think colour is too distracting. I want the viewer to focus on the imperfections on the face. I used photoshop for the black and white adjustments and the use of the curves tool/blending modes. I then used camera raw to make further refinements using clarity, shadows, highlights, editing the exposure, contrast and the different tones in each image. I wanted to darken and lighten specific areas on the face and also around the face like shadows - this enhanced the distortion of the models face. I believe these images have sad emotions attached to them, they’re quite daunting to look at. I am really happy with the outcomes, I think that they reflect the theme effectively in terms of imperfection. If I was to do a reshoot I would make use of other manipulations, for example, apply manual techniques to create layers. I could also use a different person so that I have new features to work with, possibly male.
ISO
640/800/1000
F/3.5,4.0,5.0
1/3
30
1/40
1/50
1/80
Throughout this photshoot I wanted to focus upon creating and capturing lines on the paper and using the fram ows also which create viewpoints. In regards to the theme, the flaw comes in through how the perfection of a piece, to a bent, curved new piece. By doing this manually, it creates an instant imperfection. I set up the photos room. I kept the same white background throughout, which enabled me to focus purely on the paper and its folds/c
I edited the photographs with camera raw, and occasionally with the curves tool on photoshop. Only slightly enhancing over-exposed or false - which would have been easy as the main colours are very neutral at different shades of white. The and would have over-powered the white levels and hiding the vectors across each. To compromise for this, I had to keep t
ISO 400 / 800
APERTURE F/4.2 F/4.5
CLASSWORK:
me of the photograph to compliment the composition. I like how the colour is plain, and involves lines from shadpaper is changed by folding, bending and curving it’s originality. Altering the paper’s state from a flat smooth shoot in a studio-based environment with natural lighting and also room lighting because of the darkness in the curves and lines. I appropriately set the camera so that it would focus on the paper and not the white background.
g the white against the minimal shadows to keep the natural look, because I didn’t want to make the photographs look e lighting that I used was fairly dim, inside the classroom during the day. To use the flash it would have been too strong the camera extrememly still and also edit them very carefully to increase the whiteness and balance the camera raw tools.
SHUTTER SPEED 1/40 1/50 1/60 1/80
PAPER
-LINE
Black
an
For this set of photographs, I added in black paper with the white to create the obvious, bold contrast. I used the exact same set up, with an automatic setting combined with the manual use of the lens where I had control of what remained in focus. To edit the photos, I used camera raw to enhance the strength of white levels in each image. I did this by altering the exposure and shadows, increasing highlights and small changes to clarity. I used the blacks tool to make sure darker areas also remained strong against the brightness of the white.
nd
white
I wanted to emphasise on the curves and lines that follow pathways across each image, to portray strong composition. When shooting, I made sure that I kept taking photographs from different angles and heights to vary the images. For example, so for some of the photos I stood further away and zoomed in, some I stood close, or I stood on a stool to take the photo from high above etc. The four photos on the left are actually all the same image, at the same size but simply re-arranged in a single frame. This shows development to how I can display an image because one image can be viewed in different ways to create new images - depending on what is percieved. I really like how different areas have been cut off, where our eyes want to follow the path but the subject goes beyond the boundary. LINKS TO THE THEME In relation to the theme of flaws and perfections, this photoshoot integrates ideas of perfection and how the lines follow perfect lines and curves. The simplicity of focusing on these elements, relates to the theme by folding, bending and ripping the perfect paper instantly flaws the the original paper. CAMERA ISO 450/720/800/1600
APERTURE F/4.5
SETTINGS SHUTTER SPEED 1/15 1/30 1/50
SHADOWS
CHANGING SUBJECT
BY CHANGING THE TYPE OF PAPER, AND COMPOSITION, I HAVE PLAYED AROUND WITH LIGHTING TO CREATE THE SHADOWS THROUGH THE HOLES AND NATURAL LINES ON THE PAPER WHICH I REALLY LIKE. IT CAN BE SEEN AS DIFFERENT LAYERS. I ALSO WANTED TO MIX UP THE COMPOSITION WITH THESE IMAGES - THEY ARE MUCH CLOSER-UP IN COMPARISON TO THE OTHERS. WHAT I LIKE ABOUT THE BOLD BLACK STRIPE IN THIS IMAGE, IS THAT IT COMPLIMENTS THE CIRCLES THAT FOLLOW A STRAIGHT LINE, RUNNING PARALLEL TO THE STRIPE.
ISO 720 / 800 APERTURE F/4.5 SHUTTER SPEED 1/125
Rotation Techniques
ROTATION is a great techniuqe to apply to my photographs. It could also be a possible idea to my final piece, It can be done digitally or manually and simply involves making duplicates of an image and either flipping/rotating the photographs to play with symmetry and mirroring an image. Multiple duplicates can make a whold new image and view upon a photograph. They can also have different frame types - for example, in some of my edits I have used a polygon border and used rotation. I like this technique also a means of making my photos imperfect by hiding some areas, and showing others.
Repetition Techniques
Across this page I have displayed edits of the paper shoot I did previously. To create this technique I have produced multiple versions of the one same image, altered the size and moved it around the behind image and repeated this to build up the layers. I love the outcome and want to use the idea later on in my work to develop other photographs.
On this page I have displayed my cropped edits where I simply take an original image and display an entirely new version but just cropping specific areas. This is an effective way to change how we view an image and to even create an entirely new one because cropping can make something different. I like how you can easily changed what you want to be viewed.
Techniques
Cropping
Cropping is an alternative way to zooming in - however it runs risk of losing quality of the photographs - but can be useful for my theme in regards to imperfection.
PHOTOSHOOT
2
I have displayed my favourite edited photographs from a photoshoot I did with old lipsticks. I wanted to test out a potential idea with beauty - how lipstick is used normally to enhance beauty on women. To improve facial feautures, which is viewed as a perfection. However, in these photographs I have taken a different approach with make up. Doing the opposite of what liptsick is meant for. By smudging and ruining the liptick, it contrasts the idea. I used entirely natural lighting, by setting this up on a window sill during the day. My camera angles are varied to show the subject from different viewpoints high above, looking down, macro etc. On photoshop and camera raw, I was able to enhance the photos by altering clarity, shadows, highlights/white levels and contrast. I wanted to make sure the background stayed a strong white with no distractions. This benefitted the surface of the lipstick because it has enhanced the detail of the smudge itself. The depth of field in some of the images work really well - for example on the top right image we can see how I have blurred out the area of the liptsick we can see so that the focus and attention lies on the smudge itself. Thus suggesting the idea that is is flawed. The idea of this photoshoot is just to experiment with potential paths to follow for my final piece. I doubt that I will continue with using makeup as it is something I have decided not to explore, however I like using the camera angles at a macro distance.
CANERA
SETTINGS
ISO
100
F/5.6
1/60
1/80
1/100
IRVING PENN RADICAL BEAUTY
‘Radical beauty’ explores Penn’s “radical and long-standing investigation into what constitutes beauty, an aspect of his career that has received only passing attention. These works reflect the artist’s deep appreciation for the diversity of human physiognomy, and challenge a media-driven and image-saturated society that has narrowed the very idea of beauty” - i.e. perfection.
INFLUENCE & DEVELOPING
To interpret his work in the way that I have been influenced, I used the photographs that I took whilst considering possible ideas to follow within my work which was the smudged and ruined lipstick. I then manipulated these photos with the black and white Irving Penn style photographs from previous photoshoots. I did this by placing the lipstick areas, flipping and rotating them positioned on the lips and using the ‘colour burn’ and ‘darker colour’ blending modes to strengthen the detal across the underneath image and keep the colours as bright/bold as I could without the composition looking to false. With the images below I changed the hue settings to create new colours - the idea is for it to look abstract and over the top so that it relates clearly to the theme of striving for perfection in terms of beauty.
Iso
Textures
camera settings
Capturing textures from different viewpoints throughout my day creates a variety of photographs which can be further used as developments to initial photographs - with layering, blending and opacity changes this can be successful. These images on the left are from several locations - one very urban (a supermarket car park) and the other much more rural (chobham common) - an open green rich in nature. I really love macro shots of metal and rust; and the textures the build up of corrosion makes.
To edit the photographs, I used only camera raw and some curve changes on photoshop. By darkening shadowed areas and balancing the whiteness/highlights accordingly I was able to make strong refinements. I also like the integration of lines and vectors within this set of photos. The fact that they are macro means that as a viewer we don’t see where the lines finish and led us to imagine ourselves where they belong, the purpose and what they are connected to.
f/
The idea of macro and close-up shots at different angles is definitely a possible route for future photoshoots. Capturing these close viewpoints relate well to my theme because it involves capturing what may not be seen as perfect and flawed, to create an ideal photograph. I like using colour in these type of photos however black and white can also look very effective and refined - especially when I want to hide potential distractions. Cropping these kind of images also effectively create new images, focusing on unsual areas within the frame.
j i r o A
Yoshihara ist. Born
B
was a in 1905
O
U
Japanese and died
T
in
art1972.
Little involvement with art during childhood (no formal art education). as he grew older he became more influenced and began to develop his skill as painter In his twenties, he received guidance from Kamiyama Jiro (1985–1940), who taught European art and philosophy, and Tsuguharu Foujita During the 1920s and 1930s, Yoshihara was attracted to the work of Giorgio de Chirico, Joan Miró, and Wassily Kandinsky. In 1934, Yoshihara’s first exhibition was taken place at the Nika-kai’s annual show. During the 1930s, Yoshihara works were created in a surrealist manner that was popular among Japanese avant-garde artists. Gradually, Yoshihara gains his interest in geometric abstraction. I really like his work, and how he combines colour with a limited palette in a simplistic way. These elements are what i can interpret into my work.
LINKS
WITH
THE
THEME
Yoshihara’s work relates to the theme in regards to perfection - the spotaniuty of the paint can be interpreted as if it were an act of vandilism on a perfect background.
INTERPRETATION
IDEAS
My initial idea to intepret his work is to use paint/ink and paper to create a similar effect but have more involvement with lines and changing the camera angles.
yoshihara
Yoshihara Interpretation
When editing these photos I wanted to resemble Yoshihara’s work closely. I did this by varying my content in terms of colour. I was able to use photoshop to develop numerous hue alterations where possible. I had my main colour as yellow, a bold, strong colour - which photoshop was able to detect and therefore when creating new colours (blue, purple, orange, green etc) it worked really well. These images have also been edited on camera raw to increase the whiteness, further refining the images. I also defined shadowing and angles where possible, to include in the cropped versions. I really like the cropped versions also because I have created new compositions and links to the theme by leaving the lines in the images to continue out of the initial border - so the viewer must think beyond the image - compromising what they see.
Paper and ink
VECTORS AND ANGLES
IMPERFECT AND FLAWED LINES
high exposure
I did numerous camera raw and photoshop edits for these photographs because I think that they can be used in such variety - editing the colour, the contrast/exposure levels, rotating and flipping images to combine new ones. For example the photos on the right are different photos rotated four times each and put together at differnt rotations by flipping vertically and horizontally. I also cropped several areas of the images on this page - making even more versions. Changing the hue was a quick and easy way to make new alterations.
Rotation
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INVERTED
IMAGES
SO FAR
With my work, I have gathered together several paths to follow from this point. When choosing my theme I came to the conclusion that ‘flaws, perfection, ideals and compromises’ would give me a wide range of opportunities and ideas to experiment with and so I have explored the theme through research - e.g a created a mind map of potential ideas and inspiring images to help get me started. I learnt that I wanted to be abstract in the way I present my photographs/photoshoots and compositions. I have researched photographers and artists yo help develop my understanding of the theme and also have influenced the basis of my photoshoots; Yoshihara Irving Penn and have used both object-based and portraiture photography. From doing this, I have intentions to combine the two types through techniques and influence from other photographers that I intend to research e.g. Maria Aparicio and Aaron Siskind. Szapicnikow has influenced me to include and make detial the focus in my photos Other influences... Pinterest has been a relative influence in my work so far. By creating ‘boards’ i.e. collections/groups of images under specific categories of ideas has helped to organise influential images which act as potential ideas to follow/recreate. It allows me to look at more than one artist/photographer at once which has been beneficial when comparing. Techniques and processes So far I have also realised that I like using the digital techniques to apply to my photographs such as rotation, repitition and cropping - which have been successful within my work. I have completed several photoshoots; Szapicnikow and Irving Penn interpretations, ‘random’ photos that I put into my mind map. I think my best photoshoot so far would be the Yoshihara intepretation and developments within that because I feel as though I have gained lots of ideas to work and expand on. His work seems to link throughout and suitably combines with other types of photography. The interpretation involved both manual and digital work - carefully painting ink across paper (abstract) and creating strong vectors with black and white backgrounds. The paper that I used also was imperfect because I folded and randomly bent areas so that the lines displayed different angles. Adjusting camera settings has been hugely important when taking photos so that I get the best outcome. I have used manual and automatic settings when necessary and carefully selected the correct ISO, apertures and camera speeds to prevent any blurring, ensuring all my photos are in focus. I will definitely be taking rotation, cropping, repition/ layering further by experimenting with new photographs of different subjects. Refinements.... I would also like to continue discovering new techniques and processes to apply to my photos. I intend to increase my use of manual photo manipulation i.e. cutting/tearing/scrunching - all of which have obvious relations to the theme.
BLACK AND WHITE: PEOPLE
KEY POINTS/THEMES TO CONTINUE WITH... TEXTURE
MACRO - SURFACE
TEXTURE / CORROSION
Planning for the outcome To develop my theme I could explore how to combine people-based / portraiture with the abstract style of Yoshihara with lines and colours. I would also like to develop my work with textures and surfaces by researching artists like Aaron Siskind to also combine with my current ideas. These can be done in black and white and colour. The photographers that I have already researched and intend to research allow me to apply varieties of techniques. In terms of a display strategy - at this current moment I am fairly open to possibilities, however using frames is something that I am interested in because I haven’t yet done this and I think it would look very refined and professional within the style of my work.
ABSTRACT - INTERPRET
COLOUR
MANIPULATION
PHOTOGRAPHER RESEARCH -
Maria
Aparicio
‘certain geometric patterns, sequences and elements that in my mind, are asking to be connected.’
An image to Aparicio has
A
is
B
Aparicio She
works
‘I like to can work
intervene on images in black and white. I think that is and where the relations that I seek to emphasize can
on
based different
O
in personal
Santiago and
U
de commissioned
T
Chile. projects.
a more “neutral” base where I be highlight in a better way.’
As a current artist I think it is important to recognise her work because her work is new and stems from recent ideas rather than old. It combines old techniques and a modern image, making the style unique. She mainly works on black and white images and applies coloured thread to a piece - it’s applied to where she wants to make connections. For example from corners and angles, and what comes to mind when she views the image. This is something that I have been influenced from, how she views an image and manipulates it by what she feels should be changed. Using this technique I can create or emphasis new flaws and imperfections within and on top of my photographs. This could be digitally or manually done- by either using a needle and thread or geometric line tools on photoshop. It helps that the colour of these adjustments stand out over the black and white of the original image. I have noticed that the photographs she chooses to use are very people-based, with the occasional building or landscape, and I can see why I’d think she has done this. These photos of for example, an individual tying his show lace/ talking on the phone/ lying on the sofa/ taking a photograph would be considered very relatable. However I also think it helps the viewer engage with her work, by putting themselves into the image. If I were to put myself in her work I would feel as if I should be deep in thought, and focusing on something. I imagine that her work is fairly contreversial in regards to who enjoys/likes the style because of how abstract it is and the fact that she uses other people’s photos. However, I personally like her work and from it I have been influenced by techniques to use both digitally and manually and to also have a little fun.
A
M
I wanted to do a black and white photoshoot inspired by Aparicio’s work. I did this by using a model against different backgrounds and used photoshop to further edit the images in a similar style with colourful lines that join up what I think should be joined in the photo. On photoshop, I used the black and white tool and then further used camera raw to inrease clarity, contrast and darkness levels. The curves tool was also useful in changing the type of black and white. To create the colourful and geometric lines I used the pencil and the brush tools - to vary the lines I changed the settings to either feather or mix colours within the line.
CAMERA SETTINGS ISO 100/125/160
1/40, 1/60, 1/100, 1/160
Aparicio My
own
Interpretation
photographs
YOSHIHARA P H O T O S H O P M A N I P U L AT I O N
Using layering on photoshop and the opacity tool allowed me to create these edits. By altering the blending modes alongside, the top layer of Yoshihara’s work blended across the image appropriately creating imperfections across the models face/body. I really like how I have directly used my interpretations of Yoshihara’s work with ink and paper and combined them with Aparcicio’s similar, but different style of work with people - that associates colour with the black and white with the obscure technique of sewing. So instead of sewing on the imperfections I have bought together previous work to make my own developed version. I think that the bold blocks of colour work well when they have been blended onto black and white because of the obvious contrast but also how it shows alternative to Aparicio’s work - rather than using a sewing technique. I like using techniques in this way to make direct flaws onto my theme . By obscuring and placing things like these lines across an image becomes imperfect.
V
APARICIO THE TAKING WORK
NEXT
STEP MY FURTHER...
To take this idea further and combine the corrosion/ texture photos which I plan to take next. I mentioned this in my statement of intent - because I want to involve more texture to add this into my photos. This will allow me to progress further with my theme of flaws/imperfections whilst integrating ideas from throughout the course. I intend to do this by layering corroded photos with the current photos on this page - on photoshop. I will erase and blend away the coloured areas which outline Yoshihara’s work to bring to the surface the behind layers of corrosion that fit into the coloured lines almost like a puzzle. This suits the black and white photos also. By interpreting Aparicio’s work and applying Yoshihara’s style of work I have and will be able to create new.
S
PHOTOGRAPHER RESEARCH Aaron Siskind A
B
O
U
T
Siskind was an american photographer (19031991) who was closely involved with the abstract expressionist movement and social realism. During his life he worked in new york and chicago. His work focuses on details of nature and architecture all in black and white, in which he presents them as flat surfaces to create a new image out of them - he said this was independent of the original subject. his closeup framing style, emphasises texture, line and visual
rhymes and creates abstract images if the real world.
LINKS TO THE THEME AND FURTHER IDEAS FOR MY WORK
In regards to the theme, the peeling and decaying within the photos which would normally be viewed as imperfect and not an ideal image. However the way that they have been captured has allowed siskind to present flaws as an attractive photograph. I would like to use a similar approach - using macro photography and varying my camera angles to develop an interpretation. Much of siskind’s work is in black and white however, I would rather use colour within my work as well. This will be done by visiting a number of differnt locations to capture what is overlooked and seen as a flaw to a unique and interesting photograph.
Bill Edwards
A
B
O
U
T
Bill Edwards is a Southern Californian based current, fine art, landscape, nature, and travel photographer. His work is rich in colour - which is what I love so mcuh about his work. He takes something regarded abandoned and ugly (flawed) and creates a beautiful photograph that can be percieved in a new way. Viewing these imperfections as art.
LINKS
TO
THE
THEME
His work links with my theme through corrosion and the destruction of materials by for example the weather and natural processes after being abandoned. Each photo is unique and displays lots of colour - this is something that I can combine within my work. The photos portray a sense of warmth. I would like to continue using the rusting/old/wearing-away idea in my photos by finding appropriate locations to create similar interpretations and developments.
Comaprison
I intend to manipulate and develop my photographs with digital and manual techniques, which will further create flaws and imperfections. Scrunching/stitching vs. layering and filter edits will look great with this style of photography. One thing I have learnt from his work is how important your focus and camera angle is... I will be considering this in my next photoshoot.
These two photographers are very similar in terms of content, and the camera angles that they use - but a distinct, clear difference is the variation in format i.e. Siskind’s work is entirely black and white and Edwards’ contrasts this with strong use of colour. Edwards being a current artist you could argue that his photos are also of higher quality - but equally they both effectively display the same kinds of work.
COLOUR
CORROSION
Siskind My
own
Interpretation
photographs
Whilst on holiday, I visited an old Spanish town - I felt inclined to take photographs because I couldn’t look past the beauty of the decaying flaws I walked past. On walls, posts, floors, buildings, surfaces and nature I could see the perfect opportunity to interpret Aaron Siskind’s and Bill Edwards’ work. The images are rich in colour - which I love! They could also be switched to black and white at any point on photoshop in relation to previous artists work. This macro style of photos works really well with the content in the photographs because it disguises its originality allowing the viewer to percieve the flaws and imperfections in a new way rather than frown upon the corroding objects etc. This is also an alternative to the previous macro photography which I have done but with people at the beginning of these magazine, wherby I used surfaces instead of faces.
CRACKS IN THE GROUND
SIGNAGE
I found these signs really fascinating, how they had been left to rust and grow old. Yet the colours of the sign contrast effectively against the orangey rust. The smooth lines on the sign show what it would have originally looked like new. But the decay creates texture and new surface on the edges. Relating to imperfection and how the sign is flawed.
P
ATTERNS C R E A T E D ON WALLS FROM AGEING
FOCUSING ON A SINGLE COLOUR
What I think that works well in each of these photographs, is the ly. The obvious lines of the bars and handles at different angles - horizont The clear cut lines of these contrast with the uneven and rough surface ground has been kept in focus on some shots, but also slightly out of I actually think that my photographs work better than Siskind’s work because mine show much this beautiful green colour complime
I edited the images on photoshop and camera raw by increasing - I successfully refined my photographs and strengthened the colour to produce clear imag see on the street - the mundane in everyday life - works succesfully as macro photogra
The following photographs are a variation of camera angles of an interesting wall I came across during this shoot. I took close up/macro photos which emphasise the detailing on the handles and bars. These are my favourite edits which focus on a single colour - green. They show close up detail of the kind of corrosion found on the streets anywhere in the world that would be regarded as imperfect. The strength of these colours remind me very much of Bill Edwards’ work. I feel pleased that I have been able to achieve this similarity.
ROTATION
e composition and how the border of each frames the content effectivetal/vertical etc - further complimented by my appropriate choice in camera angles. texture on these bars/handles and also the backgrounds of each. The backfocus on others - experimenting with depth of field - and showing variation. more detail, refinement, variation and a higher skill level, and although black and white ‘plays safe’, ents the orangey/brown corrosion layers.
g and altering contrast levels, clarity, vibrance, highlights and shadowing ges of what I saw with my own eyes. I have learnt that capturing everyday flaws that we may aphy because we learn to focus on the detailing and colours that are created un-intentionally.
LAYERS, RUST, CROP, ANGLES
The colours of the rust and natural formation of layers where metal and paint is peeling away through corrosion and creates these unusual surface textures. I like how the visable layers look different at every angle and reveal a new pattern each time. You look closer and find new colours amd textures you don’t see the first time that you look. This combination of naturally formed colours from corrosion remind me of fire - but in relation to the theme it is the imperfection of these beautiful occurances in society that are viewed as flaws. I used only camera raw to edit the following images - by increasing the clarity I managed to further enhance details of scratches, and imperfections. A slight change in vibrance and contrast picked out the colours so they became stronger and much more striking.
FOCUS
For the images on this page was to contrast two colours that I came across. The grey and the vibrant orangey brown of the rust works well with the decaying and layers on the wall. The middle point in the above image draws the most attention; which is why I have displayed cropped versions to the above on the right which further enhance the focus of the detailing captured.
When editing the above photographs, I wanted to enhance the colour of the corrosion in the centre by increasing the contrast and vibrance slightly I was able to recreate the natural look that I saw actually standing in front of the wall. The clarity tool was again useful for these images because it picks up on the layers and brings up the different lines and imperfections. I also made sure that the outside areas of the images weren’t too dark by reducing the black and shadows levels I was able to do so. I find that this kind of photography doesn’t require huge photoshop manipulations which entirely change the photo because they are so unusual in themselves, Each new angle is a new photo. In comparison to the other photos that I took they are lacking colour and show a limited palette of colour - the grey, white, shadowed areas and the colour of the rust from corrosion. I like this combination. The effect of the corrosion is almost as if it has been splattered across the surface and over time spread further like an infection. Corrosion is something you can’t really get rid of unless it’s replaced with new - a permanent flaw.
CORNERS LAYERS TIME
If I were to criticise my work I would say that I find it hard to get the perfect shot from a straight on angle at eye level which could probably be overcome by using a tripod, which I unfortunately didn’t have available at the time of this shoot.
The above photographs have been edited on cam - I increased clarity to refine the details and alte trast, highlights and shadow levels. Increasing vib lowed me to enhance the natural colours that have
I’ve displayed several variations of a single cropp to - among this I flipped and rotated some to the focal point and where the paper is peeli This gives depth to the images and triggers an illusio eyes because we don’t know where or how the lines
What I really like about this individual photo is the bend ing of the sticker and the shadow it has created in th light. It picks up nicely on the theme in regards to imp
mera raw ered conbrance ale formed.
ped phoo change ing from. on to our continue.
ding/peelhe natural perfection.
I think that these images are worth remembering and fairly easy to rememember because they draw attention to things that we don’t usually pay much attention to. It’s not normal that we would stand and stare at the rust forming on the screw that holds a signpost together and consider it aesthetically pleasing. These specific photos I feel are quite industrial and manmade - the metal and human interference have cold emotion attached to them.
MACRO ANGLES VECTORS
I took the photographs in natural daylight I was abroad so the sunlight was much stronger than at home - which was beneficial for me. Flash or other props were not needed and made the quality of the photos even better. I edited the below photos on camera raw where I significantly increased the vibrance, which dramatically changed how strong the colour of the corrosion was. An effect I intended to create. So in comparison to the original stimulus, although it is enhanced it is still very much the same just a lot brighter.
DEPTH
OF
FIEL
LD
AND
FOCUS
EMPHASIS O N L AYERS
Emphasis on layers; using layers has been integral throughout my work. I like this technique to combine several photographs because I think the illusion that it creates is effective in making a new image - especially with surface-based photoshoots because there is so much interesting content to include. To make the following edits I used photoshop to crop and reshape groups of photos and arranged them on top of each other, one after the other. I was careful when selecting the images and made sure that my best ended up on top. These edits in particular I have kept 100% opacity because I don’t want to blend them - the blocks of contrasting colour work well. This is definitely a technique I want to consider using for my final piece.
M A NU A L TECHNIQUES
I really enjoy creating these manual techniques for my work. To begin with I have a printed copy of a photograph and then apply a technique - for example, the top photograph is simply scrunching/ screwing up one image and then opened out - I retook photos of the image which can then further be edited. I like the new texture created on top of the photograph and the details you can focus on. I think it emphasises the content of the original images and shows new aspects. Scrunching up a photo in itself is a flaw - so by using these flawed techniques I am linking in with the theme and developing my work.
Black & white
BLACK & WHITE
I wanted to include black and white manipulations in my work also because it is important to recognise how my photos work in black and white as well as colour because it could be a potential format for my final piece - and shows direct association with Siskind’s style of work. I do like the black and white edits but I much prefer these specific photos in colour because I think they are more exciting and interesting to think about what is going on in each.
IGNORE THE COLOUR
WHAT DO YOU SEE?
IDEAS FROM PINTEREST
POSSIBLE FROM
IDEAS
I have established that lines (vectors) are important and therefore want to involve them in my final piece through photo manipulation and content. This has stemed from linking natural formation with Aparicio, and also combining colour with black and white photography. The uneven marks of paint/ink etc comes from research into Jiro Yoshihara and the use of abstract lines with limited palettes of colour. I could add in the textures by layering them with corrosion style photos and replacing patterns with the corrosion from the beneath layer. On pinterest I found plenty of sources of influence from photographers, artists and individuals they may not even be well-known. I was able to collect together these images under different aspects of the theme and integreate them into potential ideas.
SISKIND
ARTIST
MY PHOTO
COMPARISON
I have picked my favourite photograph of Aaron Siskind’s selection to compare with a photograph of mine which I think associates closely. I chose to compare a black and white edit of mine - an instant similarity as Siskind’s work is black and white. One of the main similarities between our wok is also the peeling away of the pain/wood on the surfaces we have captured in the content. Both of which are natual occurances and show many lines and patterns. Obviously a difference between the two is that it’s not an exact/direct copy as the two surfaces are different. I also like how in Siskind’s photograph the outside layer consists of lighter tonal areas (whites/greys) whereus the underneath layers which are becoming apprent through peeling are darker tonal zones (dark grey/blacks), this is the opposite in my interpretation; with the back layers being lighter areas mostly white nd the top layer being dark tonal zones. Additionally, due to modern technology and the vast improvement with cameras, my photograph is of better quality than Siskind’s - to my advantage this helps me to capture the surface textures and imperfections effectively. However, with this in consideration, Siskind’s work consistently shows details.
ISO f/4.0, 1/30,
100,
4.5, 50,
160,
5.0,
200, 60,
reshoot
To my previous photoshoot on holiday, I visited a different location based in the UK. From the outcomes of the last, I knew that I wanted to continue with surfaces and including colour. I wanted to find interesting textures, lines, shapes, an unusual markings that can be developed into this unique style of photography for my theme. Throughout the following shoot, I varied the camera angles and distances that I stood from the subject and content. To edit the photographs I mainly used camera raw and photoshop; increasing the colours with vibrance/saturation and the contrast but keeping it in balance with its natural looking format.
250, 5.6, 100,
400, 6.3,
125,
640, 7.1,
800 8.0 200
The wall for the above photos had lots of interesting content to be captured, so I tried to focus on specific areas that stood out. The areas with the weirdest texture and markings that make you wonder and think about how they got there in the first place. What I like about being the photographer of these images is that when viewing the actual wall of where these images come from, the surrounding that I was in when taking the photos and the smells I could smell whilst stood there was not pleasant at all - infact the place was entirely flawed and not perfect!! Yet, these photographs which I have created look as if I have perfectly created the compositions and colours. Within the border/frame of the photograph I have created a tranisition of imperfection to perfection.
SURFACE TEXTURE COLOUR DETAIL
When I took these photos I imagined what the surfaces and walls originally looked like - wtihout any rust, ageing, vandalism, scratching, writing, paint and peeling - this is when I vision the flaws and imperfections. I stood at different distances from the focal points to vary the kind of shots. I edited the photos on camera raw - making basic alterations to the contrast, clarity , vibrance and light levels.
Although this is viewed as a flaw - and not at all an ideal by our society, this vandalism and corrosion creates unusually attractive photographs. To make sure they were successful I had to be careful with camera angles to include what I thought would look best in the photo frame.
FAVOURITE
PHOTOGRAPH
I’m happy with all of the photos from this reshoot, but this photo in particular stands out to me. I love the colours within the image , the angle which creates blurring in other areas and the actual content. The blurring and peeling of paint and human vandalism creates flaws across the surface.
U
sing
lines
from
within
a
photograph
Similar to my influence from Aparicio’s work, I focused upon vectors within these texture photographs by drawing on lines to where I believe they fit in with the content and expanding them outside of the frame. In some ways you can then view the lines in a comparison to where you believe they finish.
To
E
xpand outside the frame and
M
anipulate
BEAUTIFUL
CORROSION
PEELING
CAMERA RAW
These screenshots from camera raw give you a simple insight into how exactly I use the tools to develop my images. The page on the left shows several edited photographs - all of which manipulated using camera raw. These tools allow me to create many versions of one photograph that show detailed refinements and alternatives, from colour and black and white. The clarity tool is extrememly useful for my photography because it strengthens the natural patterns, marks and blemishes all of which I want to portray in my photos for associations to my theme. I simply use the sliders on the left to determine how weak/strong I want to change the settings within the photograph i.e. the darkness of shadows or how bright the lighter areas are.
CREATING FLAWS
DIGITAL EDITS
E
Blending modes on photoshop allow layers to be combined. For example, with the two photographs at the top of this page - I have created the following edits.
T I really like how extra cracks have been created which adds to the imperfection in the content.
D
I
The white layers with blending modes have effectively created different shades of the blue over the top that contrasts well with the corrosion.
POSSIBLE IDEA 1
My first idea for my final piece is to merge my favourite photographs together in strips though manual and digital manipulation. I could potentially take the idea of sewing to combine them together along the edges - and leaving any odd bits of thread to add to the idea of imperfection.
POSSIBLE IDEA 2
My second idea involves arranging four key photographs (edited with manual and digital techniques) in a simple, refined composition each with white frames The sizing will be as follows; two A3 images - one portait, one lanscape and two A4 images - one portait and one landscape.
CHOSEN PHOTOS FOR MY FINAL PIECE The photographs that I have chosen for my final piece consist of manural and digital pieces that include ideas from Jiro Yoshihara and Maria Aparicio, combined with Siskind and Edwards’ corrosion/texture interpretations and reshoots.
EXAM
I took some photographers of my set-up throughout the exam to show ‘hands-on’ perspectives whilst developing my final piece. Some of my ideas were kept and some were scrapped as I continued...
FINAL
PIECE
I am happy with the outcome of my final piece, which is shown above. I stuck with my intentions of using a frame for my photographs which works brilliantly because it refines the photos even further. The frames hold four of may favourite and best digital and manual edits - and have arranged the two landscape, two portraits in an effiecient composition. I wanted to make sure the whole piece was much more simple than pieces I have created in the past and this is what I have done.
Evaluation
As a final outcome, based on the chosen topic I have produced a compositon of four key photographs - with added techniques that involve the combination of differnt photographs. Each of these have been displayed in white frames; two A3 sizes (one landscape, one portrait) and to A4 sizes (one landscape, one portrait). I chose this format because I think it’s refined and effectively displays my work. In the production of my work I used several techniques that involved ‘hands on’ work and some that were digitally-based on photoshop. The manipulation process involved different stages; initial edits were done on camera raw where I altered clarity, highlights/shadows Some ideas were dropped throughout the course because I felt they weren’t working. For exaple sewing/stictching during the exam was dropped because it didn’t work out with the framing. Although, i’d practiced this, On the day of the exam I had to scrap it. I also did some object-based photography at the beginning with paper and shadows which I thought were successful but didn’t relate closely enough to the theme. Similarly, I did some quick research into beauty - looking at Irving Penn’s ‘radical beauty’ with makeup and creating flaws by smudging lipstick but I decided against this idea. However, much of my photoshoots, developments and reshoots were extremeley successful and helped to lead me to my final outcome. The two key photgraphy styles I carried forward were black and white portraiture and surface textures e.g. corrosion/cracks/paint etc. My work successfully explores the topic by combining numerous styles of photography and techniques that portray flaws and imperfections. By applying these techniques I created new flaws - and the original photographs were influenced by photographers that also show ideas towards flaws and imperfections. To take the work further I could create several more layers on each photograph by using the repition technique. I could also use several more frames at different sizes/scales adding to the amount of photographs displayed which would alter the composition. How does the work link to the artists, photographers studied? I believe I have created many links to the work of studied artists and photographers (Yoshihara, Penn, Aparicio, Siskind, Edwards) - some obvious and some obscure. The black and white portraiture stems from Irving Penn and Maria Aparicio, as I progressed I combined Yoshihara’s use of abstract lines and colour to apply directly on top of these images which create more flaws. After researching texture photographers, I interepreted work by replacing colour with layers of surfaces and patterns that show more interesting content within the abstract lines. I think I took risks with this because, the initial photos could have been distracted by new layers of the textures - but instead it works well. After completing my work and final piece, I understand more about my chosen topic and further sub-themes which I didn’t know before. For example, how much of our society is flawed and that realistically, perception plays a huge role in regards to what is considered flawed or perfect. I defintely feel as though my confidence with my camera and using specified settings has improved as well as my general knowledge about photography.
CONTACT SHEETS
On the forthcoming pages, are the contact sheets for the photoshoots throughout the magazine. These display the original, enedited photographs which I have developed into refined manipulations. The contact sheets allow a small insight to how I have done this.