Spent a lot of time at the keyboard over the past couple of weeks. I have been writing up my commentary to Assignment Two, which I have come to a point where I would like to submit it for a report from my tutor. The commentary ran to over 4000 words, which reflects the fact it has taken so long to complete the assignment, but also that I have been doing a lot of other work in the background towards my major project at the same time. Also been busy with a report response to Assignment One, which includes a re-shoot of the images for the Gestalt project after some negative feedback.
I have also been putting together artists statements, biography and commentary for the upcoming exhibition at Bank Street Arts in sheffield which I am taking part in along with 5 other student. I'm very much looking forward to this as it will be my first ever exhibition. I'm also hoping for a solo exhibition of work from my 'Counting Seeds' series so have put together an exhibition proposal ( first time I have done anything like that and it was very difficult from the point of view that I hadn't got a clue where to start or what the finished text should look like). So that is being sent off to various galleries in the Manchester area, and my fingers are firmly crossed.
Work towards my other future assignments is coming along slowly but steadily in the background. I am recognizing a couple of themes coming out in the shots; one is the presence of barriers such as fences and gates which are everywhere in the edgelands, and the other is of urbanization 'peeping' over the top of things like woodland, hedges and greenery.
Tuesday 1 April 2014
Tuesday 11 March 2014
Transience at a location
For some weeks I have had the area near to Salford Rugby Stadium earmarked as a potential area to include in my study for the major project. I called by on Sunday as the weather was just right for shooting; hazy sun with intermittent clouds creating depth and texture to areas. I was pleased to see that some work had been carried out on an area of scrubland; clearing the brambles and pruning the trees. Not sure what the area is going to be but it looked like the beginnings of parkland. This would be particularly fitting with my project as the area has the backdrop of Barton Locks on the Manchester Ship Canal, and what I think is a gas works or fuel storage depot across the water. Felt very inspired and fired off 2 rolls of film, so hopefully some keepers in there.
Later in the day I went to the area near Manchester Airport which is being developed as the new freight hub; a large area of former farmland being bulldozed and turned into warehouse space. Again the light lent itself to picking out a lot of the manmade landforms created as part of the development works, though as it was late when I got there I only had time to do a couple of shots before I lost the light. This is another area I shall return to repeatedly to experience a wide gamut of conditions to get a real feel for the area and subject.
I find I am now getting much more selective about my use of depth of field. I had been trying to get everything in the frame sharp by using small apertures, but I am now realizing a greater sense of depth and atmosphere can result from slightly softening the focus on certain elements in the background or foreground. So I have been working on using apertures which give the subject of greatest attention to the sharpest focus, and letting other elements fall slightly off focus, yet retaining enough sharpness to still be included as elements of interest and composition within the frame. This seems to work especially well with medium and large format images where the fall-off of focus has a very distinctive look. It is something I shall continue to experiment with. I am, however, conscious of the need to keep a uniform style and 'look' to the images, so need to study the images side to side to see if the 'sharp front to back' images and the 'selective focus' images sit well together. If not, I have a fair amount of re-shooting to do, though it is something I am prepared to do in order to maintain the integrity of the series of images.
Later in the day I went to the area near Manchester Airport which is being developed as the new freight hub; a large area of former farmland being bulldozed and turned into warehouse space. Again the light lent itself to picking out a lot of the manmade landforms created as part of the development works, though as it was late when I got there I only had time to do a couple of shots before I lost the light. This is another area I shall return to repeatedly to experience a wide gamut of conditions to get a real feel for the area and subject.
I find I am now getting much more selective about my use of depth of field. I had been trying to get everything in the frame sharp by using small apertures, but I am now realizing a greater sense of depth and atmosphere can result from slightly softening the focus on certain elements in the background or foreground. So I have been working on using apertures which give the subject of greatest attention to the sharpest focus, and letting other elements fall slightly off focus, yet retaining enough sharpness to still be included as elements of interest and composition within the frame. This seems to work especially well with medium and large format images where the fall-off of focus has a very distinctive look. It is something I shall continue to experiment with. I am, however, conscious of the need to keep a uniform style and 'look' to the images, so need to study the images side to side to see if the 'sharp front to back' images and the 'selective focus' images sit well together. If not, I have a fair amount of re-shooting to do, though it is something I am prepared to do in order to maintain the integrity of the series of images.
Thursday 27 February 2014
Geoff Crossley Exhibition
Took the opportunity to see the Geoff Crossley exhibition in The Cornerhouse, Manchester, and a worthwhile outing it was.
Geoff's Crossleys images of an empty family home, redecorated ready for sale and for a new family to settle, are over-laid by forgotten snapshots taken from the same perspective, giving the viewer an immediate sense of 'then and now'. With my own photographic interest often being concerned with transience and change, on viewing the images I experienced one of Barthes's 'punctum' moments, usually denoted by a feeling of 'wish I'd done that'.
From my own experiences of house-buying and selling, I'm used to properties being decorated in a very 'neutral' style, to appeal to the widest range of viewers and so the potential buyer feels they can stamp their mark. Often this can make a house feel soul-less and impersonal, and I can really see where GC is coming from with these images
The snapshots take on poignant personal moments contrasting with the now impersonal decor of a home decorated to appeal to a wide range of buyers, and the homeliness depicted in the original snaps compared to the present state of the rooms is as if the whole slate of the history of the home had been wiped clean. It is easy to see the memories contained in those snapshots and with the viewer initially focussing on the those it is like seeing a home full of life and warmth, then as the eye moves to the present-day part of the image, it feels silent and empty.
Very powerful work, but in a subtle and understated way, I liked it a lot.
Geoff's Crossleys images of an empty family home, redecorated ready for sale and for a new family to settle, are over-laid by forgotten snapshots taken from the same perspective, giving the viewer an immediate sense of 'then and now'. With my own photographic interest often being concerned with transience and change, on viewing the images I experienced one of Barthes's 'punctum' moments, usually denoted by a feeling of 'wish I'd done that'.
From my own experiences of house-buying and selling, I'm used to properties being decorated in a very 'neutral' style, to appeal to the widest range of viewers and so the potential buyer feels they can stamp their mark. Often this can make a house feel soul-less and impersonal, and I can really see where GC is coming from with these images
The snapshots take on poignant personal moments contrasting with the now impersonal decor of a home decorated to appeal to a wide range of buyers, and the homeliness depicted in the original snaps compared to the present state of the rooms is as if the whole slate of the history of the home had been wiped clean. It is easy to see the memories contained in those snapshots and with the viewer initially focussing on the those it is like seeing a home full of life and warmth, then as the eye moves to the present-day part of the image, it feels silent and empty.
Very powerful work, but in a subtle and understated way, I liked it a lot.
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Went on a recce to find new locations for my project, visited Reddish Vale on the periphery of the M60 motorway. A worthwhile journey as it has a lot of the feel of the 'edgelands' about it; areas or semi rural appearance with evidence of urbanity providing a backdrop. I'm sure I will be visiting several more times to explore in more detail. This is all good groundwork for what is to come.
Tuesday 4 February 2014
Starting to find a 'Look'
Felt like some progress was being made towards the major project, I have done a few images lately which I am reasonably happy with. Some will need to be re-visited and re-shot with slight tweaks to composition or balance of daylight to artificial light ratio before I have anything I am happy to send for assessment, but at least things are going in the right direction and I feel I am close to something concrete on which to base the feel of the project.
The shot below is an example. I really like the general look and atmosphere of the shot. The riverbank at the bottom and towpath put me in mind a little of the Andreas Gursky shot (The Rhine II) which was sold for a few million a couple of years back, though obviously I would expect my shot to fetch quite such a fee.
The shot below is an example. I really like the general look and atmosphere of the shot. The riverbank at the bottom and towpath put me in mind a little of the Andreas Gursky shot (The Rhine II) which was sold for a few million a couple of years back, though obviously I would expect my shot to fetch quite such a fee.
I'm in two minds about the centrality of the tower block, I may re-shoot with it in a different position within the frame. I don't remember it being so central when I framed the shot, but in a way I like the boldness of it stuck there in the middle. I'm happy with the lighting in the flats, the church and the yellow streak of lights from a passing tram. The aspect of looking over the fields towards the traces of protruding urbanisation fits into my theme well.
I'm continuing with my reading of 'The Language of Landscape' by Anne Whiston Sprin, though it is turning out to be very different to what I expected. Though there are many interesting philosophical points raised in the book, I haven't found much that could be applied to my own project. Hopefully something more relevant will appear with further reading.
In the meantime, I've been looking at 'Around the M60' by Matthew Hyde, Aidan O'Rourke and Peter Portland; which is very relevant to my project in the sense of providing background info to the areas included in my study. A fascinating book with many historical insights in to the area, it charts the development of the M60 up to the point of the book's publication. Whether it will influence the outcome of my project remains to be seen, but it is certainly providing me with more ideas for locations to check out.
Still no progress on the 'Colour Accent' brief. I have my tail trapped in the door with this one at the moment and I'm feeling very frustrated with it, and seem to be wasting a lot of time trying out ideas which don't work for it. Hopefully I'll get a break though with it soon. Nonetheless, at least my ideas for other projects are progressing.
Tuesday 21 January 2014
Film and digital
Slow progress over the last couple of weeks. Have managed to get out with the camera a little over the last couple of weekends, and the ideas for the Major project are starting to form into something more solid with a definite 'look' to the images. I want to pursue the idea of shooting at twilight, using a mix of ambient and artificial light (streetlights, flash, car headlights etc.)
Have started to use the digital camera as a way of shooting test shots in these difficult conditions, a bit like the old 'polariod' method of doing things. It gives the added bonus of providing a 'backup shot' incase there are any disasters with the film shots (which happens more frequently than I would like, especially with the large format camera). What has struck me the most is the difference in the 'look' between the shots done on digital and those on film, the two having a quite different feel and atmosphere. I've also experimented with making the shots more subtle and less 'popped', while trying to avoid them looking dull or lifeless.
Of the two images below, the top one was shot on film, and the bottom one on digital. Both have had some processing done in Photoshop, but retain the key differences in the 'look' of each shot straight from the scanner or RAW file. On balance I prefer the film version, it has an 'edge' to it which I feel is lost on the digital version, which is more 'polished' looking, and somehow looks a little artificial, almost CGI-like. Some may not like the colour cast from the lamp in the film shot, but I feel it adds to the atmosphere (it looks a bit greener for some reason on the original, less yellow than below - maybe the blog software playing a part there).
I've also been getting to grips better with scanning the images, with the discovery the for some reason, certain negs look better scanned as a positive, then inverted and colour balanced later. Im not sure of the science behind this, but I know it works with some negatives.
Still frustrated by my lack of progress on Assignment 2, I seem to be stuck on the Colour Accent brief in finding enough oppertuunities to make images using the principle, there just doesn't seem to be that much around which I can use. I shall endeavour to continue the search.
Took delivery of the book 'The Language of Landscape' by Anne Whiston Spirn, so this will hopefully give me a deeper insight into my subject matter and provide some food for philosophical thought. I shall post my thoughts on the book when I have read through it; it's quite a substantial book, so there is plenty to go at.
Have started to use the digital camera as a way of shooting test shots in these difficult conditions, a bit like the old 'polariod' method of doing things. It gives the added bonus of providing a 'backup shot' incase there are any disasters with the film shots (which happens more frequently than I would like, especially with the large format camera). What has struck me the most is the difference in the 'look' between the shots done on digital and those on film, the two having a quite different feel and atmosphere. I've also experimented with making the shots more subtle and less 'popped', while trying to avoid them looking dull or lifeless.
Of the two images below, the top one was shot on film, and the bottom one on digital. Both have had some processing done in Photoshop, but retain the key differences in the 'look' of each shot straight from the scanner or RAW file. On balance I prefer the film version, it has an 'edge' to it which I feel is lost on the digital version, which is more 'polished' looking, and somehow looks a little artificial, almost CGI-like. Some may not like the colour cast from the lamp in the film shot, but I feel it adds to the atmosphere (it looks a bit greener for some reason on the original, less yellow than below - maybe the blog software playing a part there).
I've also been getting to grips better with scanning the images, with the discovery the for some reason, certain negs look better scanned as a positive, then inverted and colour balanced later. Im not sure of the science behind this, but I know it works with some negatives.
Still frustrated by my lack of progress on Assignment 2, I seem to be stuck on the Colour Accent brief in finding enough oppertuunities to make images using the principle, there just doesn't seem to be that much around which I can use. I shall endeavour to continue the search.
Took delivery of the book 'The Language of Landscape' by Anne Whiston Spirn, so this will hopefully give me a deeper insight into my subject matter and provide some food for philosophical thought. I shall post my thoughts on the book when I have read through it; it's quite a substantial book, so there is plenty to go at.
Monday 6 January 2014
Re-shoots and further developing ideas
Further to my concerns about some of the shots for Assignment 2 'ticking the boxes' rather than reflecting the intention of the shot, though with the aims of the brief fulfilled, I have been re-shooting some of the shots and doing some other ones which I think are moving more towards the theme for the Major Project.
Spent a lot of time thinking about this idea of 'the periphery' and how it can be interpreted. I realised that one theme that was coming out was that of intruding into the background or things looking over barriers or divisions: things such as control towers or radar equipment protruding from behind hedges or woods near the airport; moterway signs forming a backdrop for playing fields; tower-blocks behind common green areas etc.
Just waiting for the films to come back from processing to see what the results are like. Included a fair number of long exposures in low light, so may be a bit hit or miss. This is a n area I am hoping to improve my skills at. Had some success shooting that way using didgital, but it is trickier with film due to reciprosity failure nad no immediate feedback of the results.
Spent a lot of time thinking about this idea of 'the periphery' and how it can be interpreted. I realised that one theme that was coming out was that of intruding into the background or things looking over barriers or divisions: things such as control towers or radar equipment protruding from behind hedges or woods near the airport; moterway signs forming a backdrop for playing fields; tower-blocks behind common green areas etc.
Just waiting for the films to come back from processing to see what the results are like. Included a fair number of long exposures in low light, so may be a bit hit or miss. This is a n area I am hoping to improve my skills at. Had some success shooting that way using didgital, but it is trickier with film due to reciprosity failure nad no immediate feedback of the results.
Thursday 19 December 2013
Mood lifting news and and further thoughts on Assignment 2
After a slight feeling of 'setback' with the feedback from Assignment 1 in relation to the Gastalt project, my mood has been lifted following an email from OCA to say one of my shots will be used on an advert for the college which is set to be included in the January edition of Advanced Photographer and Black and White Photography. A couple of months ago I was also charmed to be told that another of my images would be used on one of the 'Assignment Completion' postcards; so receiving those will be fun little progress markers as I go throught the course.
After mulling through the comments about my Gestalt shots being 'too technically focussed', and aso watching the WeAreOCA video of Jefffrey Martin's eloquent and inspiring work, I think the penny has fully dropped at where I went wrong. Jeffrey's images set out on a visual path which follows his interest, with the images incorporating the requirements of the brief within the images and in so doing creating some great images along the way; rather than setting out to demonstrate the theories and finding a means of visually doing so, as mine did.
I think part of the reason for my stumble here may be with not having worked though the different levels of the photography course and not being used this kind of project. Having been APL'd onto Level 3 and starting with the Advanced course where the student more or less has total control over what they will produce, The Gestalt project was the first one where I had to meet requirments laid down by the couse; hence to some extent, I went about it in the wrong way; kind of back to front. So, henceforth, I shalt be making that mistake again.
Looking through what I have produced for Assignment 2, because the shots are starting to 'build up' to the major project using locations and exploring ideas, I don't feel the images quite fall into the same trap, though with some of them it could be constued in that way so a bit of selective editing of which ones to use, plus a few re-shoots with better variations on the theme will be taking place over the festive holidays.
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