Brief:
Revisit one of the exercises on daylight, artificial light or studio light from Part Four (4.2, 4.3 or 4.4) and prepare it for formal assignment submission:
- Create a set of between six and ten finished images. For the images to work naturally as a series there should be a linking theme, for instance a subject, or a particular period of time.
- Include annotated contact sheets of all the photographs that you’ve shot for the exercise.
- Assignment notes are an important part of every assignment. Begin your notes with an introduction outlining why you selected this particular exercise for assignment, followed by a description of your process (the series of steps you took to make the photographs). Reference at least one of the photographers mentioned in Part Four in your assignment notes. Conclude your notes with a personal reflection on how you’ve developed the exercise in order to meet the descriptors of the Creativity Criteria. Write 500 – 1000 words.
Include a link (or scanned pages) to exercise 4.5 in your learning log for your tutors comments.
Introduction.
The exercise I have chosen to develop is exercise 4.2 – Daylight.
When this exercise was first completed it was a cloudy day producing flat uninteresting light, so I was curious to experiment further with how different light intensities can produce different results in an image.
My theme is based around how light from varying angles can affect how the image looks and if light can also make an image.
I not only wanted to emphasize the lines, shapes and textures, reveal form and show depth; but I wanted my images to represent “the good old days”, before life was played out at 100 miles per hour, when you had time to reflect, think, when as a child you played outside instead of stuck indoors glued to a TV, before there were 24 hour food outlets and Sunday was a day of rest.
Monochrome images represent (at the moment), what I am seeking in my life; the calm, relaxed feeling, where the world is peaceful and safe. That is why I have chosen this style of photography; however for this particular assignment, the creative side of me wanted to add that something else and show what I had pre-visualized the image to be when finished, like Ansel Adams did in his famous picture, Moonrise, Henrandez, New Mexico, 1941.
To achieve this, a classic film camera filter was applied to the images that were then overlaid with a filter imitating scratches, dust and dirt to give the appearance that period.
Description of the Process.
For my collection I wanted to break one of the rules of landscape photography and shoot at midday and not during the ‘Golden Hour’.
The golden hour “half-hour on either side of sunrise and sunset where the light quality compliments the surroundings” (Hoddinott & Bauer, 2013 :60)
The idea arose following reading “The Essence of Photography, Seeing and Creativity” (Bruce Barnbaum 2015: 162), where he talks about taking students out photographing during the midday, discussing the light and altering their preconceived notions about what to photograph.
So I waited for a time when the sun was out during midday and ventured out remaining vigilant to any opportunities that may present themselves in order to fulfil my objective.
Out of the number of images I took on that day, I have chosen seven to put forward for this assignment.
Photographers and how their approach to light might link in with mine.
If you look at the work of Brassai, he uses the night light to alter the viewer’s perception of Paris. The images show a calm, somber, deserted place and locations where different activities are taking place, than there would be during the day. By using monochrome I have attempted to show that quiet, peaceful, idyllic location.
In Southern lakes by Sally Mann, she has used black and white images coupled with different light intensities to create that surreal effect; if you look at Fig’s 3 & 5 in my collection, you can see a similarity.
Eugene Atget, later in his career used deep shadows to create a mood and despite my series being centred around midday, due to the sun not been as high in the sky, this was achievable.
Monochrome is not to everyone’s taste, there are photographers who prefer to display their work in colour, as by using colour you can infer a certain time, mood or focus the viewer’s attention on one particular area (PhotographyVox, 2017)
Michael Glover, (Art Critic, Editor and Fiction Writer) states that The godfather of colour photography is William Eggleston as he inspired a generation – from David Lynch to Juergen Teller. (Glover, M. 2013)
However there are photographers who still think that monochrome has a place in photography today.
Here is a link to “Why it is still important to shoot black and white” by David Geffin who is a photographer, videographer and editor based in New York.
Geffin lists 8 reasons why to shoot in black and white and one of the reasons is it enhances lines, shape etc.
Inspirational Photography Quotes – Black and White
- “Photography takes an instant out of time, altering life by holding it still.” – Dorothea Lange
- “The world is in color, you have to work at black and white.” – Andrew Maclean
- “Black and white are the colors of photography. To me they symbolize the alternatives of hope and despair to which mankind is forever subjected.” – Robert Frank
- “One very important difference between color and monochromatic photography is this: in black and white you suggest; in color you state. Much can be implied by suggestion, but statement demands certainty… absolute certainty.” – Paul Outerbridge
- “I’ve been forty years discovering that the queen of all colors is black.” – Henri Mattise
- “Light and subject are inseparable. But when it is well integrated, they becomes a fine masterpiece.” – Paul Chong
- “To see in color is a delight for the eye but to see in black and white is a delight for the soul.” – Andri Cauldwell
- “Colour is everything, black and white is more.” – Dominic Rouse
The above nine quotes were taken from the website of photographer Paul Chong (2013)
From my personal experience whether to shoot monochrome or colour depends on the style, aesthetics, mood or vision that you are trying to create, this would suggest that there is a place for both in modern photography.
Personal reflection on how I meet the creative criteria.
I am aware that by capturing my images in black and white does not show much imagination or invention, however, at this stage in my journey, my “Personal Voice” leans towards this style of photography, why?
Monochrome motivates me to explore, experiment and look at my images in a different light. As all the colour has been stripped away, the image is exposed, layer bare, opened up, where you see it differently. You see the lines, shadows, textures and shapes.
I look at the work of Ansel Adams, a good friend of mine Karen Thurman, Brassai, Atget, Barnbaum, Mann and a local photographer John Myers; they all inspire me to attempt to perfect monochrome.
To meet the creative criteria I have gone back in time to when images had that gritty, grainy, old style to them. A past where post processing was done in a dark room, however as I don’t have a darkroom I have achieved the equivalent ascetics by the use of filters in Adobe Lightroom, Photoshop and Nik.
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- Fig. 1 Argyle Close
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- Fig. 2 Self and LampPost
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- Fig. 3 Two Trunks
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- Fig. 4 Post Circle
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- Fig. 5 Looking Up
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- Fig. 6 Shining Down
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- Fig. 7 Self
Contact Sheets
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- Fig. 8. Contact Sheet for assignment 4
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- Fig. 9. Contact Sheet for Assignment 4
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- Fig 10. Contact Sheet for Exercise 4.2
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- Fig. 11. Contact Sheet for Exercise 4.2
Reflection
Demonstration of Technical & Visual Skills
Whilst shooting for the exercise I was aware of my surroundings to achieve the desired results.
I have shown good technical skills, not only in camera techniques by shooting with and against the sun, but with my vision and editing skills.
Quality of Outcome
I brought my idea to life and achieved my goal, I have presented my images well, taking into account the different framing perspectives in order to maintain a balance.
Demonstration of Creativity
As this exercise was about controlling light and being creative, I have achieved this by producing images using light at different positions, I have demonstrated a good technical knowledge of post processing and despite reservations from my peers, I have continued along my original theme.
Context
At this stage in my development, I am demonstrating a good balance in my research both for and against the use of techniques. I am continuing to grow both in knowledge and confidence.
List of References.
Barnbaum. B (2015) The Essence of Photography Seeing and Creativity (1st edition), California : Rocky Nook Inc.
Glover, M (2013) Genius in colour: Why William Eggleston is the world’s greatest photographer. At http://www.independent.co.uk/arts-entertainment/art/features/genius-in-colour-why-william-eggleston-is-the-world-s-greatest-photographer-8577202.html (Accessed 3 October 2017)
Hoddinott, R & Bauer, M (2013) The Landscape Photography Workshop, East Sussex: AE Publications.
Paul Chong (2013) Inspirational Photography Quotes – Black and White. At https://paulchongphotography.com/2013/10/10/inspirational-photography-quotes-black-and-white (Accessed 3 October 2017)
PhotographyVox (2017) Color vs black and white photography – What makes sense and when?. At: http://www.photographyvox.com/a/color-vs-black-and-white-photography (Accessed on 3 October 2017)
Bibliography
Barnbaum. B (2010) The Art of Photography. An approach to Personal Expression. (1st edition), California: Rocky Nook Inc.
Freeman. M (2013) Capturing Light. The Heart of Photography. London : Ilex.
https://fstoppers.com/education/why-its-still-important-shoot-black-and-white-48141
List of Illustrations.
Figure 1. Cope, P. (2017) Argile Close [Photograph] In possession of the Author: Stourbridge.
Figure 2. Cope, P. (2017) Self and Lampost [Photograph] In possession of the Author: Stourbridge.
Figure 3. Cope, P. (2017) Two Trunks [Photograph] In possession of the Author: Stourbridge.
Figure 4. Cope, P. (2017) Post Circle [Photograph] In possession of the Author: Stourbridge.
Figure 5. Cope, P. (2017) Looking Up [Photograph] In possession of the Author: Stourbridge.
Figure 6. Cope, P. (2017) Shining Down [Photograph] In possession of the Author: Stourbridge.
Figure 7. Cope, P. (2017) Self [Photograph] In possession of the Author: Stourbridge.
Figure 8. Cope, P. (2017) Contact Sheet for Assignment 4 [Photograph] In possession of the Author: Stourbridge.
Figure 9. Cope, P. (2017) Contact Sheet for Assignment 4 [Photograph] In possession of the Author: Stourbridge.
Figure 10. Cope, P. (2017) Contact Sheet for Exercise 4.2 [Photograph] In possession of the Author: Stourbridge.
Figure 11. Cope, P. (2017) Contact Sheet for Exercise 4.2 [PhotographIn possession of the Author: Stourbridge.
Learning Log for : BA(hons) in Photography. 