Stories - Yuliya Lapshyna - Photography

Page 1



contents

4

24

Initial ideas

Chosen idea

28

54

Shoot 1

Change of idea

56

102

Shoot 2

shoot 3

154

156

final hypothesis

Shoot 4

190

198

Post Edit

200

Evaluation

Final set


4


ini l a i t ide as 5


1 6


1

Idea 1

lost

souls

Abandoned Buildings in Ukraine

This is an idea I particularly wanted to explore as nowadays many places in my own country became abandoned after the Soviet Union collapsed. Therefore factories, where many people had worked became closed. The main purpose of this project is to show that these left houses could still be a place to live for some people, despite the fact that owners probably do not care about buildings at all.

7


Not only have I photographed factories, but also old offices and houses, to show the contrast in atmosphere and style.

8


I turned this image into black&white, in order to enhance the illusion of 3 dimensional photograph, as well as to concentrate viewer attention on the composition rather than colour.

9


10


11


2

Idea 2

light The idea for this project as I have mentioned before was inspired by chiaroscuro lighting and the way photographers in the 90s, without any financial support created absolutely bizarre pictures, which then influenced many photographers. Furthermore the use of black&white has created a certain atmosphere which then leads the whole story behind these photos to live on its own.

shape 12

and


shade 13


As lighting is the key to this project, I spent the majority of my studio time finding various positions for it, as well as looking for the best angles, so that the model has her own style. This time I decided to style the model and lighting as a contemporary fashion shoot. Possible further development could be photographing various styles starting in 1900 and onwards. 14


15


3 per son ali ties

The i dea of persona lities of exploring th e d not only digital b ifferent people, hidden ut also p b hysical t y using echniqu es.


This is my own photo, using experimental techniques, where girl is representing her hidden fears and emotion. I have tried to recreate sadness and loneliness, as majority of young people nowadays feel the same way, when they are being persuaded to do a certain action.


To start my experimentation I have used acrylic paint, and black ink,.On certain photos I scratched some details and words. Girl on the photo below has half a normal and a half mystical face, as she cannot fully accept reality.

18


The photo on the left did not work out as I wanted it to, as lines were rough and random. The

emotion

it

symbolises

Anger. The photo below, I believe worked well, as I tend to use smaller

brush

strokes

with

acrylics, as well as a variety of colours to represent confusion. I purposely put her hair down, so that there is a balance between a digital image and physical experimentation.

Anastasia. 11.09.15

19


The model represents a grown up adult, who cannot

accept

the

harsh reality of life. The

painted

mask

shows the playful mood of the person hidden behind it, covering and protecting

individual

20 the outside world. from


21


dea

selection Before picking an idea, I decided to do a list of advantages and drawbacks of each notion, therefore I can weigh them and be sure which idea is the one, that I will carry on developing throughout unit 3.

1

Ukraine ruins

pros

• Personal. •Deep explorations can be made. •Uncommon notion. •Further development is possible.

• Hard to find an inspiration from existing photographers. • Cannot go back to my country, in order to shoot more photos. • Tight theme, therefore can not go away from initial concept. •The shoots can became repetitive, as only houses are likely to appear on the photographs.

22

cons


Fashion lighting

pros

• Room for experimentation. • Try out new lighting techniques. • Can create a narrative. • Explore old photography style.

2 cons

• Shoots can became repetitive, as styles could look similar.

• Hard to find the right lighting, make-up and model, in order to recreate certain time period.

• Lighting is the major concern, as most of the time I spent setting flash, whereas this time could be spent on development of certain technique or exploration of wider style.

3 cons

Experimental psycho-portraits

pros

• Personal. • Can create own style. •Various experimentation can be made. • Physical touch. • Open theme - can be done lots of development.

• Time consuming. • Limited to the variety of materials that school has. •Quality of photos will be low, due to amount of copying and editing. 23


L

Des p dra ite wba th my cks e m , 2 mo nd ide I decid ajority re p ed a, a to c e I ca o hoo f n ex rsonal s I felt diffe s t plo re a o me, like thi e s for rent si a new is s d , co well a ima instanc e of m s p g e o pho I b es or p tog letely l d ra e hot con lieve, o n black& phy, a t stor ains m old-sch rrative white ies s. ool ore pho i b m c e onc a t now ograp hind ept gery h the an rep adays, , act d rese m o u n no pur t an st of t where al pos h d edit eb com e pho as ed u to pict t mu nica s ure just a s. bea t utifu e lly

cho sen ide a

24


25


how to plan Shoot cycle 1: I will start from one of my ideas, which came from technical workshop. • Create a brief action plan and a mood board to get an inspiration. • Shoot lots of ‘loose’ pictures around my idea. Explore all the directions. Play around with equipment, colours, fabrics, textures, happy accidents and make a contact sheet. Look for the good and bad show both. • Experiment / explore digitally and physically use techniques from mini books if applicable. • Do contextual sources and apply them to my work. Look for styles and subject matter from your choices • Evaluate what I have done and decide on the concept.

Shoot cycle 2:

Need to be more focussed and concentrate on the particular idea. • Shoot lots of pictures around my action plan 2 and evaluation from shoot cycle 1. Be more specific. Make a contact sheet and note it. • Experiment / explore digitally with composition and Black&White. • Apply contextual sources properly and find a style that helps communicate what I am thinking about. Look for ways of shooting subject matter. Create Links. • Evaluate what I have done so far and be more critical and specific at this point. • Create an action plan for cycle 3.

26


shoot cycles Shoot cycle 3: Needs to be very specific and focussed on refining my ideas further. • Shoot specific pictures around my action plan 3 and evaluation from cycle 2. • • Experiment with location to create a diversity of images. • Contextual sources apply them properly. How does this artist improve my idea. What can I add to the mix. Create links. • Evaluate what I have done so far and be critical at this point. • action plan for cycle 4

Shoot cycle 4 + 5etc: Filling visual gaps in narrative / series • Shoot specific pictures around my action plan 4 and evaluation from cycle 3. Be more specific. Make a contact sheet and note it. • Experiment / explore digitally - physically use techniques from mini books if possible. • Contextual sources- apply them properly find a style that helps communicates what I am thinking about. Look for developed ways of shooting my subject matter. • Evaluate what I have done so far have I achieved what I wanted. • Move on to post edit.

27


A Action Plan

Shoot Cycle 1

There is no hypothesis for the project yet, however, as Simon suggested, I will find more inspiring photos, which will lead me through the first photo-shoot and help to decide the initial idea to start Unit 3. The first shoot cycle will contain experimentation with lighting, decades’ styles and impression that photos, gives on viewers.

I will use several clothing styles on one model with strong appearance and bright make-up, in order to create a wide variety of photos, from which I then will develop the theme. Shoot cycle will be based in the studio with one flash, however without any reflectors to create a solid contrast between the model’s silhouette and the background.

28


A

Creating a mood-board always inspires me, as I get a variety of ideas for the shoot cycle and learn new techniques, which I can experiment with.

mood board

29


direction:

FASHION The first direction, which I was going to explore was a fashion route. I decided to use chiaroscuro lighting, in order to hide model’s face and leave focus on the clothes. This will concentrate viewer’s attention on the actual purpose of the picture. I have styled model with contrary clothes and used old fashion route to recreate retro styles of photography.

Tones

After I did black and white experimentation, I realised that colours looked very Photoshopped, in contrast to old photos. I added Colour Balance layer on the top of Black&White to change undertones and by mixing red and yellow added an effect of old photography.

30


SHOOT CYCLE 1

I have tried to focus directly on shapes and shadows, which can only be seen, when using this particular angle of flash. The white jumper helped me to create strong contrast between dark and light areas. Specific movements of the girl’s hands also created more folds, that enhanced the effect. The picture has blue tones, which acted as a factor of an atmosphere of cold environment, where viewer will feel uncomfortable. ISO was 125. Aperture was f/4. Shutter speed was 1/80 sec.

31


Contextual link:

SARAH MOON Sarah Moon is one of the most popular and unique fashion photographers, who still uses old photography styles within the modern industry. She was the main influence of my Unit 1 project and I decided to come back and revisit her style, techniques and approach to fashion. A key feature of her work is blurry dark and psychedelic images, representing the fashion in a completely different way. Some consider that she rephotographs printed images to create an effect of unfocused pictures, however there is no final guess on the technique she uses.

Starting as a model, she turned into a fashion photographer, taking pictures of her colleagues models.

32


SHOOT CYCLE 1

Her imagery inspires, as it is a strong combination of delicate and feminine imagery with heavy outlines and bright colours. The way she styles models, helps not to only create visual forms and shapes, but to also to add a dynamic movements to keep the viewer’s eye reading trough the image. This style of photography intrigues and interests me, as I want to explore and do a further investigation in order to recreate such style.

33


cross

contextualisation To start with, I have used close ups from my fashion shoot, which I turned to black&white in order to concentrate the audience’s attention on the technique used on the image. ISO was 125. Aperture was f/4. Shutter speed was 1/80 sec.

34


SHOOT CYCLE 1

To create an effect of a blurry photo I firstly used the Blur Tool and covered the original image. Then by duplicating layer with initial picture I moved it on the left to enhance the effect I am trying to achieve.

However, the photo didn’t look like Sarah Moon examples I have edited original image in Photoshop to achieve this result.

35


36


SHOOT CYCLE 1


Contextual link:

bill henson Bill Henson is one of the artists that were likely discovered and brought up to the world. He has not graduated from university, but was promoted by Jennie Boddington, which resulted in his first solo show. The main influences on his work were direct periods from his life, such as his first work experience at the Bookshop, which specialised in luxurious books on ballet, dance and the visual arts. In addition, he travelled and photographed in Eastern Europe. The biggest influence was the long-term relationship with painter Louise Hearman, whom he met in 1981 at the Victorian College of Arts. Such influences pushed his further career as a digital artist and helped him to develop his style and technique.

38


SHOOT CYCLE 1

His current portfolio consists of dark, emotional pictures that are possibly shot by using one flash with a soft box. Certain examples have also another light source, which is used to warm the blue tones of the photographs.

Models are children, aged of 14 and below, which probably link back to his problematic childhood. I found his work very inspirational, as with only one lighting source he creates artificial effect and therefore his photographs look like oil paintings.

39


cross

contextualisation

Next point of development was to explore the original task, which manly focuses on body curves and shapes. The concept behind this task is to show small details and features of people, that you notice, when first look at them. However as the lighting changes, atmosphere alters as well, creating a room for exploration and deeper understanding of individuals.

focus Moreover the use of Black&White persuades viewer to use imagination and create their own colours and stories behind the photographs. ISO 125. Aperture f/5,6. Shutter speed 1/80 sec.

Shape objects 40


SHOOT CYCLE 1

geometric

Before the shoot I did research on famous last century photographers. This helped and inspired my shoot. I picked up styles of photography and the manner of framing the shoot. I have used my camera, in order to frame model and create uncommon designs. Technical characteristics were almost the same: ISO 200. Aperture f/8. Shutter speed 1/100 sec.

lines forms

stripes I purposely left the face of the girl and half of the body unfocused to concentrate audience’s attention on the geometric shape and form of the arm.

41


further experimentation On the photo above I have used creative crop and to outweigh the right side of the image, I left the shadow from body curve on the left side. On the right, I tried to recreate an effect of old camera films and copied the initial picture three times. Moreover, as I was recreating 80s style, the model was wearing glasses, which I found in a vintage shop. 42


SHOOT CYCLE 1

43


44


SHOOT CYCLE 1

45


46


SHOOT CYCLE 1

I decided to experiment with a colour within the composition, which hopefully will immediately attract attention of the viewer. The model is wearing black & white stripy coat with pure red geometric shape, which compliment the shape of shadow on the face.


creative To explore shades, which I created by adding certain shapes and forms under the flash, I have asked the model to put a hand above her head. However as it was inalienable part of the composition, I had to shoot photos with it. Therefore, by doing post editing I decided to get rid of hand, by using a creative crop, which I learnt in a technical workshop with Simon, rather than trying to hide it by Healing Brush Tool.

On this image the central point of the composition is her cheekbone, due to the direction of lines on the face, which lead to this feature. I created mysterious atmosphere, by lighting only a part of her face and left second half of it completely dark. This will encourage the viewer to stop and use imagination to complete the portrait.

48


SHOOT CYCLE 1

cropping This photo has very dramatic shades, due to the placement of girl’s hand. On the previous picture the wrist was on the left side, with flash located on the right of the model. This time the hand was above left side of her face, causing longer and deeper shades.

I have used black and white filter to exaggerate her features, as well as to eliminate u n n e e d e d details and to concentrate audience’s attention on the concept, rather than just a beautiful image.

49


50


SHOOT SHOOT CYCLE CYCLE 1 1

51


1

EVALU ATION. LINE, SHAPE AND FORM

After this shoot cycle, I rejected the idea with fashion concept, concentrating more on the recreation of old techniques and styles of photography. I feel that photos were successful in terms of lighting and composition, which enhanced model’s features. As well, I did several experimental techniques, which pushed initial idea further. Nevertheless, photographs need to have a strong concept behind the otherwise viewer will not understand purpose of presented images.



CHANGE IN

DIRECTION

54


Creative path After the first shoot cycle, I finally came up with the idea, which could be further developed and refined in a way that I will not only enjoy shooting, but also hit the exam criteria and gain as many marks for experimentation as possible. Turning to the issue of the concept for the project, I will try to create a narrative, which will both contain all the necessary information and have an open meaning, so that viewer has to create his/ her own story. For everyone the photographs will have a different appearance.

INFLUENCE The main influence on my work are from technical workshops about photo narratives plus Duane Michaels, chiaroscuro lighting, film noir and femme fatale. Further influence was caused by watching some old film noir examples, such as ‘You Live Only Once’, ‘The Night and The City’ and ‘Sunset Boulevard’.

55


A Hypothesis

Using Duane Michals as my main inspiration, I wish to create a series of short photo narrative sequences, which will amuse, beguile and intrigue my audience. My narrative series will contain elements of film noir and chiaroscuro lighting.


A

PLAN SHOOT CYCLE 2

WHAT I AM GOING TO DO I am going to shoot a variety of photographs, to develop and experiment with the idea. Such images are linked with one main story, which was influenced by film noir examples, such as ‘Night and the City’ and ‘You Only Live Once’. These movies contain controversial femme fatale types, which I have tried to combine and recreate in my photo-shoot. By and large, this is a cliché story about a woman, who came home earlier and accidentally caught her husband cheating.

HOW I AM GOING TO DO IT The shoot will be located in the Hurtwood House common room, where all the props and vintage items are stored. I will dress up a model, using classic clothes. Furthermore, by using the appropriate make-up and hairstyles I will link the idea of the shoot back to a certain time period.

PLANNING THAT I HAVE ALREADY DONE I have already ‘found’ two looks, as well as contacted a girl, who will suit the theme of the shoot cycle.

TECHNIQUES I AM GOING TO EXPLORE I am going to complete several experimentations, as well as cross contextualisations, in order to develop photographic techniques and broaden my knowledge. By using Film Noir as my main style, I will improve my skills.

PROBLEMS THAT I MAY ENCOUNTER As this shoot will be shot not in the studio, however it still requires flash, the biggest issue arising is the mobility of all the technical equipment. Therefore, to start shooting at the set time, I need to bring all the props and equipement beforehand.


Contextual link: Duane

Michals

Duane Michals' work makes innovative use of photo-sequences, often incorporating text to represent emotion and his philosophy. I have choosen him as my contextual link, as he is directly relevant to my theme. Firstly, he is telling a story through a series of photos. Then he is writing text near photographs, thereby giving information that the image itself could not show. This photographer communicates humor and fantasy through his photos, therefore creating surreal narratives.

58


SHOOT CYCLE 2

Duane Michals' style is a series of strong black&white photographs, connected with one story. He uses colourless photography to create a strong visual communicate with the audience, as it is not only emphasizes tones of the initial photograph, but also makes it easier for the viewer to read from the picture. I was particulary interested in narratives with unfinished ending, because it peruases a viewer to use imageination, in order to finish the story.

59


1. bad news

2. devastation

cross

contextualisation In order to copy Duane Michals’ work , I picked several images from the shoot cycle, linked with one theme. Such photos created a photo narrative. Nevertheless, after a talk with Simon, I realised that to recreate a Duane Michal’s style I need to have another final photo, which will not give away as much information as this example does. Therefore, during next shoot cycle I will try to shoot another ending for this story. This series includes a range of experimentational photographs, from unfocused close-ups to sharp wide angled shots. To illustrate emoution, I focused on the body language, as it is the first thing people noticed, when explore visual arts. In contrast to Michals’ series, I included only titles for the photos, to give freedom for the audience to create a story for each image. Overall, cross conextualisation went well, however I believe that this idea could be pushed forward, so that more surreal narratives can be created. I enjoyed the process of creating photographs with a story behind them, as I can make the viewer believe in created environments.

60


SHOOT CYCLE 2

3. acceptance

4. Decision

5. another perspective 61


testing composition

To start with I tried a couple of test shots, to find angles and compositions for wide angle images. My model was wearing a plain midi-dress with old-fashion heels, which I found in a vintage shop, for this first shoot. Make-up was inspired by film noir movies and fashion standards during 60s-70s. In the background there were many wrong technical items, such as computers, therefore I had to use Healing Brush Tool in Photoshop to remove them, so that viewer will not notice them. 62


SHOOT CYCLE 2

I shot wide angle photos with a deliberate lack of details, so that later on I could add more information about the character by showing close-ups. Although, model looks very feminine, her personality will be contradicted by additional information and imagery.

63


I asked my model to recreate certain moods and emotions, which suggested the story behind each photo. Although all the images have the same narrative, they are still different from each other, due to acting skills of the girl. To the left, the lighting was far from the model, therefore creating more subtle transition from black to white. The image below is a close up, as I wanted to concentrate viewer attention on her expression, rather than unnecessary details. Moreover, to enhance the effect I placed the girl on a plain background and dressed her in a palin dress.

64


SHOOT CYCLE 2

EXPERIMENTATION

angles

One major problem, that I noticed during the shoot cycle, was the lighting. On the left the photo light is absolutely crucial, as it creates sharp and scary shapes, setting a mysterious mood to the image.

In contrast to the previous picture, I moved the lighting to the right, allowing more details to be shown. This affected the atmosphere, making it more friendly and welcoming, however still scary and ‘shadowy’.

65


WHY

BLACK

&

WHITE Throughout this shoot cycle 1 I realised that by adding a layer of Black&White on the top of the photographs, this added a historical aspect. Moreover, it is an essential editing technique, as my theme harks back to an older decade.

Despite the easy use of auto-black&white setting in Photoshop, I altered its parameters, in order to bring more contrast in achromatic pallet it creates. On the top of Black&White layer I often add two more adjustments to create a strong vintage effect. Brightness/Contrast helps to create a sharp edges and strong transition between light and dark areas.

66


SHOOT CYCLE 2

Adding a Colour Balance layer after the Black&White one, helps to bring warm Red and Yellow tones on the top of the image. This affects its impression on the viewer, making it more welcoming and recognisable, as old photographs usually had yellow and red undertones.

67


68


SHOOT CYCLE 2

69



SHOOT CYCLE 2


72


SHOOT CYCLE 2

EXPERIMENTATION

EMOTIONS To explore a significant part that affect the impression of the photo to the audience, emotions I asked a model recreate sadness, devastation and hopelessness, to follow the main theme of the shoot. As a theatre student she added more feelings and experimented with objects and body language.

I purposely made some photos blurry, as well as used Black&White, in order to concentrate audiences attention on the content of the photo and enhance emotions, rather than visual appearance of each image.

Technical parameters are: ISO 125. Shutter speed 1/60 sec. Aperture F/6.3.

73


74


SHOOT CYCLE 2

75


76


SHOOT CYCLE 2

77


78


SHOOT CYCLE 2

SHOOT

DAY

2

79


Contextual link:

GUY BOURDIN

Guy Bourdin was the first photographer, who used complex narrative to shoot images. His contemporary photographs are very sensual, however rely on provocation and ability to shock the audience with surreal compositions. Moreover, illustrating erotic, sinister components, he created a whole new visual vocabulary with which to associate the goods of haute-couture. The narratives were strange and mysterious, often showing violence and graphic sexuality.

His models look dead or injured, as he wanted to create a mysterious sense of danger and sex, of the fearsome but desirable, of the taboo and the surreal.

80


SHOOT CYCLE 2

His photographs have a combination of both bazaar compositions and bold colours. This creates a strong photo, which make viewers stop and think about the meaning behind the image.

Guy Bourdin uses camera to frame the world, therefore photographs look uncommon, as he zooms in and out, plays with composition, colours and atmosphere of the final images.

81


cross

contextualisation I decided to do a cross contextualisation, to explore and learn techniques Guy Bourdin uses. As Bourdin’s photos have bright and strong colours, I used Hue/Saturation layer in Photoshop to increase the intensity of the images. By and large, I did accent on the body language as before, because it is the easiest way to represent emotions and feelings. To represent sense of danger and sex I asked model to show a bit a skin. Guy Bourdin’s main focus was shoe advertising, therefore I did similar picture. Moreover, as he did oldfashion image in Black&White to enhance the 3 dimensional appearance and exaggerate forms on the image.

82


SHOOT CYCLE 2

83


idea

development

During the whole shoot cycle, I was mainly focusing on the body language, in order to accompany ‘main’ pictures. The idea was to have several central images, which are followed by a small series of photographs, adding more information about the story behind the scenes. As before, all the photos are in Black&White, as this setting enhance the contrast between light and shade. Moreover this layer makes it easier for the viewer to guess the concept of the series of images.

anger Every movement of the body represents certain feeling, emotion or psychological state, whereas it is just an eye contact or a turn of silhouette. Furthermore, shapes that created by shadows are also suggest the mood and atmosphere of the image. I cut model’s head, because this will help people to concentrate on the meaning of the movement.

intrigue 84


SHOOT CYCLE 2

body

language

I created four absolutely opposite moods, to show their both similarity and controversy. For each of the picture, composition carefully planned, so that many geometric shapes are created, making photograph more attractive for the viewer. Furthermore, strong contrast between tones is increased by introducing Black&White, in order to exclude irrelevant information for audiences eyes. ISO 125. Aperture F/7.1. Shutter Speed 1/60 sec.

playful revengeful

85


86


SHOOT CYCLE 2

87


telling story By focusing on small details I managed to create a different approach to the ‘main’ images. These small shots are adding information, therefore are making it clearer for the spectators to read from pictures. I set up these compositions, carefully selecting objects, so that they include all the needed details for the viewer to realise the actions and purpose of ‘big’ photo. These cups are records from the dinner or the meeting, that was in the room before the character came in. These items helped her to understand what was happening before, therefore helped to realise the awful truth.

88


SHOOT CYCLE 2

idea

development As well as original shots with the model on them, I used film noir style to took all other images, in order to complement them. To concentrate attention on the details in front I used narrow depth of field with macro lens. I have not used reflectors to create bold contrast from ‘natural’ lighting. Technical characteristics: ISO 125. Aperture F/6.3. Shutter speed 1/60 sec.

89


Idea refinement Creating narrative

Having experimented with many scenarios for my theme, I decided to create a mysterious and magical narrative, so that the audience will be more interested in it, rather than in clichĂŠd theme. Initially, one photo with the lamp inspired me to create a narrative about a genie in a lamp. To make viewers interested, I have asked model to express a passion about a ‘magic’ lamp, therefore symbolising that there is something inside it.

chosen image

As I already had 2 images to start my narrative series, I needed to shoot 4 more. 90


SHOOT CYCLE 2

experimentation The next step was to create an image, where the girl opens the lamp. I decided not to change the background and placement of the girl, so that viewer will understand the progression of the story.

Some of the images, that I shot did not work, because of the position of the lamp. Despite the fact that model was the centre of the focus, viewers will not be able to see the relationship between her and the genie inside it. Therefore, I made the lamp the focal point, focusing on her emotions. She portrayed a childish look, to show the contrast between a grown woman seeing magic and wonder.

chosen image

91


digital experimentation The next image involved some digital experimentation, as I had to use a long shutter speed. The idea for photo number 5 was to make the model disappear. This will symbolise the existence of the Genie. Camera parameters: ISO 100. Shutter speed 4 sec. Aperture f/3.5. Camera parameters: ISO 100. Shutter speed 4 sec. Aperture f/5.

This photo was the most successful out of the whole series. I put the camera on a tripod while a model was rotating, which created the right movement effect.

92


all Layers

To get the final image, I had to do a lot of post editing. To bring back highlights I altered the Photoshop Black&White parameters.

SHOOT CYCLE 2

To strengthen the contrast I’ve added a n o t h e r layer. To create a look of an old image I have altered the ‘Colour Balance’ slightly.

HEALING BRUSH TOOL Although there was a lot of technical and modern equipment in the backround, I used the ‘Healing Brush Tool’ to hide these distractions.

93



SHOOT CYCLE 2


final photographs The final image had to intrigue my viewer, so that they need to think about what has happened. I have created a lighting diagram to show the position of the flash.

I have created s e v e r a l compositions, in order to find the right one. The idea behind this image was to create an effect of the girl’s absence.

In my story the Genie in the lamp ‘took’ her, therefore I have decided to show just left clothes. These items represent the initial existence of someone, however nobody is in the shot.

96


SHOOT CYCLE 2

The photo on the top is a better shot in terms of quality, however it was too staged for my series. Therefore, I decided to use the bottom image, as the clothes look like the girl just disappeared. 97


FINAL DESIGN

98


SHOOT CYCLE 2

99


2

EVALU ATION. THE GENIE

During shoot cycle 2 I did several experiments, in order to explore areas that interested me, such as an effect from lighting, composition rules, like ‘angles’ and ‘get in close’. As well as physical experimentation with the model’s emotions on the shoot day. From this shoot I got a variety of potential final images, however the development of the idea is still needed. I have also explored an idea with photo narratives, which I will experiment further throughout next shoot cycle. The biggest issue was lighting, however after practicing I achieved various results, which often affected the atmosphere of the image.



A


A

PLAN SHOOT CYCLE 3

WHAT I AM GOING TO DO I need to shoot a variety of photographs for my narrative theme. This shoot cycle will take place in Ukraine over the half term. I have one main theme, which is based on a film noir clichĂŠ stories I will produce several small narratives within this idea. Despite the fact that this idea involves two characters, I will create the second participant by using body language of the main model and particular angles.

HOW I AM GOING TO DO IT As I have mentioned before, this shoot will take place in Ukraine, Kharkiv. The old architecture located there is more suitable to the style of my theme. Furthermore, at this time of the year it is very cold, I will dress the model appropriately. In addition, it gets dark earlier therefore, I have to shoot in the morning to get enough light.

PLANNING THAT I HAVE ALREADY DONE I have found a model, whose appearance links to the time period I am shooting in. Moreover, I collected all the clothes for this shoot from my friends, so that the style will be suitable. Before deciding on the date I checked the weather, so there will be no problems.

TECHNIQUES I AM GOING TO EXPLORE I am going to experiment with documentary style, thus improving the knowledge about natural lighting. I will also experiment with Black&White.

PROBLEMS THAT I MAY ENCOUNTER Throughout this shoot cycle, weather conditions can change, therefore I need to be quick. Although, I will use one model, it might be hard to create a presence of somebody else. Moreover, the model does not have any acting skills, which may create some difficulties during the shoot.


contextual

reference

Femme Fatale

As an inspiration for the look of the model I did a research on Femme Fatale. This character was commonly featured in Film Noir movies, therefore attracted my attention as a possible raw model for recreation. INFO: A femme fatale is a character of a mysterious and seductive woman whose charms ensnare her lovers, leading them into dangerous and deadly situations. A femme fatale tries to achieve her hidden purpose by using feminine wiles such as beauty, charm and sexual allure. She may also be a victim, caught in a situation from which she cannot escape. She may also be a victim, caught in a situation from which she cannot escape. This character exactly suits the idea in my mind, therefore it will be easier for me to create the right appearance for my model.

104


SHOOT CYCLE 3

105


planning before

the shoot Costumes Before starting on the shoot I did some research and found certain clothes I wanted to use. Despite the cold weather I selected an old fashioned dress, with a floral print and a long bright coat to keep the model warm. Furthermore, I believe that gloves was an essential accessory back in that time.

model This is a model. She has an appearance, that can easily be changed, by make-up. Name: Kate Age: 18 Occupation: Student Home: Ukraine, Kharkiv.

106


SHOOT CYCLE 3

hair I want do old fashioned curls, however as I do not have appropriate equipment, I will try to recreate this style as close as possible.

Make-up

I have decided on dark lips make-up and a small wing eye liner to outweigh the bottom part of the face. Although the lips are already dark the main focal point of the model’s face will be arched eyebrows.

107


angles testing For this shoot cycle I decided to go to the Maxim Gorky Park. To start the shoot, I did several test photographs near various attractions to find the right location.

The key element for these images was the lighting. As I could not control it, I had to adapt my camera for it. By using big aperture, such as F/5, I created an unfocused background, to drag the audience’s attention to the model.

108


SHOOT CYCLE 3

109


lighting

experiments

This time the model was not an actress, therefore it was hard for her to express certain emotions and gestures. I have used natural lighting, without any reflectors, which was a gamble. Nevertheless, as the weather was constantly changing, I had to shoot many photos to catch the right moment. By photographing the model with straight lighting I have created an effect of artificial film lighting with strong contrasts and sharp shapes on her face.

chosen image

110


SHOOT CYCLE 3

On the day the sun was very bright, therefore I decided to experiment with silhouettes, halos and shapes. As well, by placing the girl directly in front of the sun I achieved a white line, which separated the model from the background, as well as giving a nice outline of the face and hair. 111


scene setting

To create the right lighting for this small sequence, I shot various photographs and tried various angles as practice before the actual narrative. Some of these photographs worked, however these photos did not, because the background was too busy and contained parts of attractions.

images that worked Here, I used natural lighting to create a film noir effect. This emphasised strong form on the face. To get the right expression, I have asked a model to show interest and concentration on flowers, then incomprehension and after that satisfaction and amazement.

112


SHOOT CYCLE 3

ISO - 100, Shutter speed - 1/100 and Aperture - F/8.

113


idea development emotions

To develop my idea, I want to concentrate my viewer’s attention on the model’s emotions, which set the atmosphere for the images. Furthermore, as I had previously shot certain feelings, such as happiness, I decided to try and portray contrary emotions, such as seriousness and intimidation. I initially shot coloured photographs, which in my opinion worked well, because of the amount of colour in attractions. This creates an atmosphere of a fun holiday, which contradicts the emotions on the model’s face. ISO 800, Shutter speed 1/250, Aperture F/5.6.

114


SHOOT CYCLE 3

ISO 400 Aperture F/5.6 Shutter speed 1/250

115


116


SHOOT CYCLE 3

117


black&white settings

Almost every photo, which I have edited contain 3 layers. The first one is a copy of the original image, however I have ‘repaired’ all the spots and other blemishes. The second layer is a copy in Black&White, which I always alter and bring up the contrast and highlights.

By bringing down the yellow and red tints, I have enhanced the features on her face and some parts of the attraction.

With this image, I turned the green tints down, to exaggerate the effect from her coat. Furthermore, I reduced the magenta to enhance the model’s lips.

118


SHOOT CYCLE 3

body language

INFO: Only small percentage of communication involves actual words: 7%. In fact, 55% of communication is visual, such as body language, eye contact, and 38% is vocal, for instance volume. During the previous shoot cycle I explored the idea by making details such as has body language the focal point of the image. Such things represent the feelings and emotional state of a person. Moreover, by looking at these details, it becomes very easy to understand what is happening in the shot.

On the top, I did not include the face of the model, as it could potentially distract the attention from the body language. Furthermore, the girl is communicating with someone. This could be seen by looking at the movement of the figure. Here we see clearly that the girl feels threatened. Her hands are in a protective position. Her face tells us that she is aware or concentrating on something or someone.

119


120


SHOOT CYCLE 3

121


creating sequences The next step was to start my series. I did not plan it beforehand, as I wanted to improvise with the idea. Moreover, I am convinced, that this way I will have more creativity and interest on the shoot day. The initial idea was to create a story with an unexpected twist in the end. To keep the viewer interested I decided to show that the model is looking at something/someone, however not showing what it is.

The idea of having two similar photos together worked well, as it created a film like effect. However, I had to crop one of them, to have a diverse range of images.

122


cropping

SHOOT CYCLE 3

experiments

For the next photograph I experimented with decisive cropping and eliminated the area of interest. By concentrating on legs, rather than a whole figure, I created a strong visual shape.

By leaving a part of the dress, which repeats pattern of the leaves, I connected the model to the environment.

result

123


digital

experimentation

process

For the last photo of the series, I decided to do an experiment and use Photoshop in order to get an artificial effect. As I did not have original image in the park without a model, I had to create it, by ‘erasing’ the girl. I used several tools, such as ‘Erasing Tool’ and ‘Clone Stamp Tool’ I drew the new environment on the top of the original photo.

After the creation of the background, I have added a Black and White layer on top of all the layers, in order to match the series. Furthermore, by adding Brightness/ Contrast I have increased shades and tints.

124


SHOOT CYCLE 3

By copying half of her body, resizing and flipping it horizontally, in order to achieve the same lighting I created different variations, so that afterwards I can choose the best photograph.

edited image

125


a poster creating Initial image

In order to create next photograph, I did several stages of post production using Adobe Photoshop. To start with, I erased certain details on the poster, such as text from the background. Clone Stamp Tool Erasing Tool

Following on from that, by using similar fonts I typed ‘The Invisible W o m a n ’ in French, in order to make it more appealing to audience.

126


SHOOT CYCLE 3

After creating the poster, I increased its vintage effect,by leaving it in my jeans pocket for a day. The final image was shot from the above, over the shoulder of the model, in order to capture both, a flyer and a girl. This will help to lead viewers’ attention directly to the poster.

127


Contextual link:

cindy sherman

Cynthia “Cindy” Sherman is a photographer, who is mostly known for her surreal self-portraits. Sherman uses costumes and make-up to transform herself into a specific character for each image. This photographer poses in different roles and settings, such as streets, yards, pools, beaches, and interiors,producing as a result conceptual and surreal, however typical Film Noir stills. She never titled her work, in order to keep the concept of the images for the viewer to figure out.

“I never thought I was acting. When I became involved with close-ups I needed more information in the expression. I couldn't depend on background or atmosphere. I wanted the story to come from the face. Somehow the acting just happened.” - Cindy Sherman. Sherman always said that she never shoot self-portraits - "I feel I'm

anonymous in my work. When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear."

128


SHOOT CYCLE 3

These particular images inspired me the most. The angle, the lighting and face expressions on the images suggest scenes from film. The combination of such technical parameters with costumes and make-up helped Cindy Sherman to recreate film stills.

129


Cross

Contextualisation

In the start of the shoot cycle, I changed model’s appearance as much as possible. To recreate Cindy Sherman’s work, I decided to use busy backgrounds, such as high attractions, houses and skyscrapers. Furthermore, by experimenting with angles and girl’s emotions, photographs came out looking like film stills. I have chosen Black&White, in order to enhance highlights and shadows on the picture, as well as face features. Moreover, I have asked model not to overexpress emotions, so that facial expressions will come more naturally.

130


SHOOT CYCLE 3

131


132


SHOOT CYCLE 3

133


134


SHOOT CYCLE 3

SHOOT

DAY

2

135


idea

136

for narrative


SHOOT CYCLE 3

137


1

second idea

The second idea was about a running girl as well, however I decided to make her to look like a criminal. I did this by photographing the model from both sides. For the background I have chosen rough wall, as it will represent the personality of the character.

2

4

3

5

138

I wanted to capture the action, therefore on the last image the model is located on the right part of the picture and is out of focus. Camera settings: ISO - 500, Aperture - F4/5, Shutter speed 1/60 sec .


SHOOT CYCLE 3

inspiration on the streets As I was walking along the streets I saw silhouettes of trees and billboards on the building, which created a geometric pattern. Furthermore, grey and yellow colours created a strong colour theme, which then inspired me to do an experiment with shadows.

The idea behind these images, were to create a ‘crime’ scene. The model shows fear. The hand on the right represents her chaser.

editing

I shot several images, however only one of them worked. Moreover, the sun was moving down very quickly, so I had approximately 3 minutes to take the right photo. To enhance the shapes and forms on the image, as well as to add historical aspect to it. Technical parameters: ISO - 500, Aperture - F/13, Shutter speed - 1/50.

139


140


SHOOT CYCLE 3

folio shots

In my opinion I have shot some pictures, which are not directly relevant to the shoot cycle. Nevertheless, I believe that they are a good quality images, which I could potentially use in my final year exhibition.

141


Cindy Sherman Inspired

Even though I have already done a cross contextualisation, I was highly inspired by her work. When I saw these buildings I immediately recognised Sherman’s type of backgrounds and decided to shoot some photographs. As I did not used any reflectors, the natural lighting worked well. Moreover, the face and the figure were lightened from both sides, which created a contrast between the body and the background. Furthermore, I experimented with the facial expressions and created an atmosphere, where viewers will feel uncomfortable and insecure. I did this by making the model look worried and concerned, as well as by creating an existence of someone else. During the shoot cycle time went fast and the amount of light was not enough to shoot on the lowest ISO, therefore I had to increase it and lower down the aperture and shutter speed. Nevertheless, as this did not help, I had to use Photoshop to increase highlights and contrast and deepen shadows. Technical characteristics: ISO - 500, Aperture - F/5.6, Shutter speed - 1/50.

142

problems


SHOOT CYCLE 3

143


144


145


digital

experimentation To create next photograph I combined 3 different images - the initial background in the shopping centre, the back of the model and several portraits from the shoot cycle.

variations By using wide variety of retouched pictures from the shoot cycle, I selected and copied the face onto a shop window in order to create a reflection. By experimenting with emotions and facial expressions, I decided that by demonstrating confusion, her portrait will better explain the whole narrative to the viewer.

146


SHOOT CYCLE 3

creating sequences

The narrative itself contains six photographs, each representing different actions. I have framed similar environments, in order to copy Duane Michals style of narratives. By exploiting a grid, images appear to be the same size and shape. The process of creating this series is simple, however long. After opening a white A4 blank sheet of paper, images are copied and resized. Turning to the point of writing annotations, I wanted to annotate each image series, however after a discussion with the teachers, I decided to let photographs speak for themselves.

147


FINAL DESIGNS

148


SHOOT CYCLE 3

149


150


SHOOT CYCLE 3

151


2 3

EVALU ATION. DOCUMENTARY LINE, SHAPE ANDSERIES FORM

Throughout the shoot cycle I have created 3 narratives. Although I did lots of experiments, only few of them worked. The most successful part of the shot was lighting, as it came from many natural sources, creating a diversity of reflections. Despite this, the major drawback was that the sun went down very quickly, therefore I did a second shoot day, to finish my stories. Ultimately, the shoot cycle went well, as I have finalised and developed my idea. Furthermore, still being influenced by Duane Michals’ worked, I am planning to continue creating short narrative sequences with a little ‘magical’ twist at the end, to insert more creativity and my own personality in this work.



154


HYPOTHESIS Inspired by film noir and Duane Michals work, my work is about mystery, secrets, uncertainty and the unknown. My photographic narratives have no beginnings, nor endings. How you interpret them is up to you.

155



PLAN SHOOT CYCLE 4

WHAT I AM GOING TO DO Being inspired by one of my previous photos, I am going to complete a shoot cycle, based around shadows. I believe, that such approach will help me to create a contrast between all of my series. Furthermore, I am planning to improve my editing skills, therefore I will later retouch using Photoshop and Lightroom. Consequently, this shoot cycle will be more technical, involving several lighting techniques.

HOW I AM GOING TO DO IT The shoot will take place in my bedroom, during the weekend, where I was originally planning to do it. I am going to use two models, which will represent my characters. I will use two types of lights, such as soft box and snoot, to experiment with shadows.

PLANNING THAT I HAVE ALREADY DONE I have already spoken to the models, in order to sort the costumes and make-up before the shoot day. Furthermore, by drawing out several variations, I have prepared a quick plan, which contains approximate compositions and staging for the shoot cycle. I have also done a research on Nosferatu, as a main influence for this idea, to find ways in which I can improve the lighting and composition.

TECHNIQUES I AM GOING TO EXPLORE Throughout the shoot cycle, I am going to explore lighting techniques and post production experiments.

PROBLEMS THAT I MAY ENCOUNTER The main problem is that images from the shoot cycle can be hard to edit, as I did not experiment with Photoshop a lot before. I am planning to just over- or under-expose the images, as this may help. Furthermore, the main problem, that could appear, is that I may not be able to use a male model, due to the rules in school, as shoot cycle will be in my bedroom.


CREATING A PLAN

158


SHOOT CYCLE 4

159


Contextual link:

NOSFERATU INITIAL INFLUENCE From the previous shoot cycle, I took an idea with shadows and silhouettes and decided to experiment and develop another narrative series. This notion will help me to explore positive and negative spaces, as well as certain composition rules. After discussing the idea with Simon, he suggested to look at this particular film.

INFO: ‘Nosferatu’ is the film, shot in 1921 and released in 1922, was an unauthorized adaptation of Bram Stoker's Dracula, with names and other details changed, because the studio could not obtain the rights to the novel. Stoker's heirs sued over the adaptation, and a court ruling ordered that all copies of the film be destroyed. However, a few prints of Nosferatu survived and the film came to be regarded as an influential masterpiece of cinema. Murnau prepared carefully; there were sketches that were to correspond exactly to each filmed scene, and he used a metronome to control the pace of the acting.

160


SHOOT CYCLE 4

relevant

examples

From the whole film I have selected these particular stills. This is due to the shadows, which can be pursued by using the snoot on the flash, without any reflectors. Moreover, by placing object closer to the lighting, it is possible to achieve the most realistic effect. By using composition rules and golden section, director made viewer’s eye follow lines on the image, making the figure the focal point.

161


Cross

Contextualisation

key details

These are the key forms and shapes, which I have highlighted from the original movie. I will try to alter and experiment with them during my shoot cycle.

my photographs

I decided to recreate the pose and symbolic features first, as this action helped me to get inspired and start the shoot cycle. In order to create sharp and defined shapes I have used a snoot, as it concentrates the light in one point. The model was located on the stairs, as I wanted to capture similar shapes and forms on the background, as were in the original movie.

Usually there are 5 layers on the original image. As I was using small light source, but high light bulb intensity technical parameters were: ISO - 100, Aperture - F/22, Shutter speed - 1/125. 162


SHOOT CYCLE 4

Throughout this shoot cycle I will continue using Black&White. This colour theme not only enhances shapes and forms, but also adds historical aspect, which is essential in my project. Furthermore, it helps to concentrate audience’s attention on the figure, rather than background.

layers In order to get the final result I have added 4 layers. The first one is a copy of the original picture, however altered by using Healing Brush Tool. Second layer consists of Black and White parameters, which I have changed, in order to get the best quality and pure colour.

The next step was to enhance the contour of the figure by adding contrast, however as it darkens the image I have also increased brightness.

Ultimately, to finish the photo, I have added levels, to brighten the colours even more, as I made the images under-exposed.

most used tools

163



SHOOT CYCLE 4


idea refinment second image Original image

After doing the first shot, I decided to experiment with the second scene. I have used both snoot and softbox in order to see the different effects. On the original image there were several issues with the amount of extra details, therefore such objects were covered by using Healing Brush Tool. Furthermore, in order to create ‘scary’ appearance, I have used Smudge Tool to increase the length and angle of fingers. By cropping the photograph and using Golden section, viewers’ eye will lead onto the hand of the ‘ghost’.

166


SHOOT CYCLE 4

using a snoot

By using a snoot, the shadow appeared sharper and darker, so therefore created a silhouette. The hardest part of image was to get the angle of the lighting right, as the shadow had to be in the middle.

167



SHOOT CYCLE 4


speed shutter Experimentation

From the previous shoot cycle, the idea with long shutter speed was successful, therefore I decided to try it again, in order to create ‘ghosted’ effect. Technical parameters: ISO - 100, Aperture - F/22 , Shutter Speed - 6 sec .

170


SHOOT CYCLE 4

experimentation angles To get a diversity of photos, I have c h a n g e d the angle of shooting. After adding several representative objects, scene became more realistic.

Original image

However, the biggest drawback was that the composition contained misleading objects, which had to be removed during the editing process. This time, there were no high contrasts, as I wanted to create a ‘movie’ atmosphere, therefore adding fear and tension. The odel was moving slowly, creating a ‘ghosty’ shape. Technical parameters: ISO - 100 , Aperture - F/11 , Shutter Speed - 6 sec.

edited image

171


creating 3

rd

photo

The idea for the third photo was to make a scene, where the ‘ghost’ lifts the duvet with the sleeping girl underneath. By using the composition rule ‘Get in close’, I changed the initial angle slightly, dragging the viewers’ attention to the main character. During the experiment with the Black and

White layer, I saw the transition between two faces and that by changing Red tint the face changes. By exploring this further, I found that +7 is a right setting for this image, as both faces appeared evenly. Technical parameters: ISO - 100, Aperture - F/18 , Shutter Speed - 5 sec.

172


SHOOT CYCLE 4

After using the softbox, I decided to use the snoot again, as the shadows on the photos were smooth and undefined. Furthermore, the model held the duvet whilst I was taking images, which created an effect of action and somebodies presence. I have used the ‘Clone Stamp Tool’ to erase the girl’s body from the image, to create my mysterious atmosphere. Technical parameters: ISO - 100, Aperture - F/5,6 , Shutter Speed - 1/125.

173



SHOOT CYCLE 4


idea development

Original image

The next step was to create the 4th image. This was going to be a ‘fighting’ scene, where the model on the bed had to fight with the ‘ghost’. However, as the shoot continued I decided to physically experiment, by throwing a drape on the model, while she was ‘fighting’.

As the original photo was underexposed, I added Levels first, in order to even the shades and tints. Furthermore, during the alterations of the Black and White layer I specifically increased magentas, to add some contrast to the purple cloth.

optional steps After the main steps, the photos were finished however naive. By adding a few more steps I created more professional images. After increasing Brightness/Contrast, I brought red and yellow undertones to the original photo, in order to create a sepia/historical effect. Technical parameters: ISO - 100, Aperture - F/22, Shutter speed -1/13 sec .

176


SHOOT CYCLE 4

successful shots

177


refining

photo #4

Original image

Having a ‘couple’ sitting next to each other, rotating their faces and bodies was my going to be in my next shot. This simple idea created an effect of change and transition of both models, the victim and the ghost, into something else. I have used the same editing method, but used a constant light bulb. Technical parameters: ISO - 100, Aperture - F/18, Shutter speed - 5 sec.

constant lighting

Throughout the creation of this photograph, I have used constant lighting, as it provides an even tone for images with long shutter speed. Moreover, by using a softbox, there is a little contrast in faces, as well as shadows, which creates a mysterious and ghostly atmosphere, which attracts the audience and provides a space for imagination.

178


SHOOT CYCLE 4

179


idea refinement Change of plans Original image

After a short conversation with Simon, I decided to change my story a little bit to make it more understandable for the viewers. It starts with this image of two friends portrayed as a photo in real life. Despite this, the last image will be the same picture but with a different girl, suggesting that first teenager has gone (possibly killed). With the initial photo the models were sitting not as close as they needed to be for a photo frame. By using several layers I created the right composition. ISO - 100, Aperture - F/13, Shutter speed - 1/50 sec.

180


SHOOT CYCLE 4

digital

experimentation To create the photo, I found a blank photo frames on the internet. By using two different ones, I was able to experiment with composition and placement.

Results

Placement on the wall

The main image with the models was placed in the middle, whereas other ‘real’ photographs were scattered around, to create an effect of a teenager’s wall. By printing my picture bigger, I not only concentrated the audience’s attention on it, but made it a focal point of the photograph.

181


182


SHOOT CYCLE 4

183


digital

experimentation

To create the last photograph, I used two different images, which were combined in Photoshop. As a third model was busy during the shoot day so this photo was taken afterwards in the studio, using a softbox, without reflectors, to recreate the needed lighting. The purpose of this image, is to show, that the girl on the left is a friend with a second girl, who is a ‘maniac’. Therefore she is symbolising her next victim. Technical characteristics of the studio shot: ISO - 800, Aperture - F/20, Shutter Speed - 1/60 sec.

184


SHOOT CYCLE 4

The editing process involved several steps. Firstly, I ‘erased’ half of the initial photo, by using the Clone Stamp Tool, in order to recreate its original background. Afterwards, I duplicated and resized my third model onto the initial image. By using the Erase Tool, this model became a part of the image. Additional layers of Black and White and Brightness/Contrast created a more natural illusion.

185


FINAL DESIGN

186


SHOOT CYCLE 4

187


2 4

EVALU ATION. LINE, SLEEPING SHAPE AND BEAUTY FORM This shoot cycle has created a carefully planned narrative series. Although I decided to experiment with Photoshop more, only a few of the images worked. The time taken to edit them almost doubled. The most successful part of the shot were experiments with the snoot, as it created the boldest silhouettes and shapes. Nevertheless, the major drawback was that photos were not the best quality, therefore this series may not be as successful as others. Ultimately, the shoot cycle went well, as I have created another narrative series in a completely different style, which helped me to improve my skills and widened my range of photographs.




post edit

*

3

Lyndsey, Tom and Simon


192


simon My post-edit was different to my AS year. The purpose of it, was to get overall comments and ideas how to improve my series and suggestions for titles. I decided to use Duane Michals style of writing annotations and titles in block capitals. After printing all the narratives, I used stickers, in order to write several titles for the narratives. Firstly, Simon looked at my series as a whole and afterwards at each individual narrative.

his verdict He mentioned that, as I was mostly concentrated on creating three main sequences, they were strong and the most successful out of all six. Furthermore, every photo was powerful on its own. Nevertheless, the last 3 (extra) series appear to be unfinished, so I needed to further edit them in order to achieve the same result. He also suggested these titles: My Best Friend Malice Aforethought The Invisible Girl The Ginny

193


tom his verdict Tom had a different approach to the post edit. He considered the appearance of them, rather than the meaning behind it. This is essential, as it will attract the audience to the exhibition stand. Tom suggested that the narratives appear strong and powerful, when looked at separately. As I have used same models several times, some series look similar, which might confuse viewers. Having discussing titles, Tom agreed with existing ideas.

194


Lyndsey her verdict

Lyndsey decided to select the best narratives out of the whole set of 6. Her choice was: ‘The Invisible Girl’, ‘Lisa Finds Herself’, ‘Chased by Shadows’, ‘The Genie’. This choice was made due to the quality of each single image, as well as the narrative itself. Nevertheless, Lyndsey decided that ‘My Best Friend’ does not fit in, as it is done with a different approach. Moreover, in the sequence ‘Malice Aforethought’ the last image was giving an excessive amount of information. In addition, for the sequence ‘The Invisible Girl’ she thought to change the title, to leave the mystery to the end.

her selection

195


SELECTING

fonts

196


INITIAL NARRATIVE

Before finalising my images, I did an experiment with types of text, in order to choose the font, which will be used for my annotations. By using handwritten titles, as well as digital fonts, I will select the most appropriate one.

ALL TEXT TYPES

LISA FINDS HERSELF Lisa Finds Herself Lisa Finds Herself LISA FINDS HERSELF FINAL CHOICE For the final font, I decided to use one of my handwritten ones, as this font adds behaviour and personality to the narratives, as well as creating a feeling of uncertainty.

197


MY

FINAL SET

198


199


evaluation


Throughout the Unit 3, I had a chance to learn and experiment with a variety of new techniques and styles, while creating my own project. I started this unit, being introduced to subjects, such as RAW/JPEG, pixels, vectors, chiaroscuro lighting, film noir and others. Learning essential skills in InDesign and Lightroom helped me to save time, as well as improve the quality of my images and presentation of my work. I started my project with 3 initial ideas, which were: Abandoned buildings, Light Shape and Shade (mostly recreating old styles) and Personalities (experimental photography). Initially, my project was influenced by technical workshops, as I started the development by looking and recreating styles, such as film noir. Having no hypothesis, I experimented with this idea, all the time researching related photographers. After the first shoot cycle, my concept has changed, moving from just a technique representation to the creation of narratives. This alteration was influenced by Cindy Sherman and Duane Michals, which lead my project to the end. I have explored several photographic styles, such as studio, documentary and film noir techniques, which helped me to improve my skills, knowledge and create a wide diversity of images for the final exhibition. Coincidentally, every shoot cycle created an image, which inspired me to create either a further experiment or another next shoot cycle. Overall, the project went well. I have created eye catching narratives, however at the start of the unit, I was lacking inspiration. I was more successful without having a preplanned shoot, as many happy accidents occurred. I am planning to start my next unit, by looking at contextual references, as they will help me get inspiration and so I will learn new trick sand techniques, which will help me as I progress.


202


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.