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Wednesday 27 July 2011

PARIS



So last year I went to PARIS! It was the trip for the first year of Uni, which is pretty damn good if you ask me (I know you didn’t...). 

The trip was mainly based around ‘Paris Photo’ where some of the best photographers exhibited their work at the Louvre, but we made some other visits such as the EIFFEL TOWER! Haha

Anyway, if you want to know more about Paris Photo I suggest this website to start with: http://www.parisphoto.fr/?lg=en

And I would definitely recommend it as a visit even just to glance at some top photography.

Anyway I’m not here to talk about Paris Photo, although that would be nice, and fairly simple.
I’m here to talk about photographing in public. I don’t know about the rest of you but I find it a hell of a time taking photographs in a public space, of public people or buildings. I’m probably one of the most tame, shy people that any of my friends or relatives will know, and being shy definitely does not help me with my piccies!

I mention Paris because it was a prime example of how difficult it was for me. I found myself watching other people in my group snapping away, popping up and down streets and round corners just whistling through the process! I started to feel so awkward and found that I was making excuses not to take a picture I wanted. – The light isn’t right – I don’t want to wait around for the people to move – I don’t want to be rude and ask to take a picture – I can probably do it tomorrow. I felt so under pressure because everybody around me was just snap, snap, snapping and I was just watching, making excuses.

Then we sat down. A brief moment past until I realised I most definitely needed to relax! I thought to myself – just do it, nobody gives a damn what you are doing, just do it. It doesn’t matter what anybody thinks, just do it! Well there’s nothing quite like a bit of self motivation but hey, I kept telling myself that and after a short while – my camera had joined the choir of snaps!

Ahhh... beautiful story aye? Ok well it’s not, but its things like these that can prevent any kind of artist from doing what they really want and it’s probably a lot more common than I think. I’ve been in many situations since, where I’ve had to give myself the ‘motivation speech’ but there is probably a better way.... haha! 

Anyway you’ve read the story here’s a few from PARIS!


Tuesday 26 July 2011

Shape and Texture

Sometimes I find it's best just to forget about the 'meaning' of what a photograph is or could be, and concentrate on the simplest of textures or shapes

Forgetting about colour opens up a range of possibilities, creating images that you wouldn't necessarily have thought of.

I like how lines, patterns and textures create a sort of movement in a frozen medium, a flow inside an image.
 


Saturday 23 July 2011

Infra Red?


Just a quick one today, being a Saturday an all!

Last autumn I went out for the day (ok I know that doesn’t sound too exciting but keep reading anyway...), with my camera to a little park called Etherow. It was massively sunny and I thought it would be a perfect opportunity to try out my Infra Red filter. I’d never really thought about trying out anything like it before, I don’t like the thought of nothing turning out right, that’s why I’m scared of trying film cameras! haha...but I tried it none the less. 

This particular filter was the cheapest one I could find on eBay. The reason being if I liked it I would probably want to invest in a better one, but it would do for the time being.

I stuck the camera on a tripod and got started on some positions. I wasn’t thinking too much about this just because I was trying it out and didn’t set my expectations too high. 

I soon realised that I probably should have read up on how to use this type of filter, since its nothing like the UV filters I use. The main problem being, once the filter is on – the viewfinder is black, so no point looking really! Since this stopped the autofocus working, I found I had to take the filter off, set the camera up and focus, hold it down and stick it back on which was a pretty lengthy process!

These shots were all on 30 second exposures on F8 if I remember correctly.


Now these didn't come out of the camera like this, I'll show you what I mean:


So a bit of editing needed, but interesting none the less - maybe this year I will invest in a better filter?

Stay tuned!

Friday 22 July 2011

A Colourful Story

It’s day 3 and time to talk about another recent project of mine. It’s a little less heavy than the previous Sister project, but still very close to my heart (if I can say that about this type of project?).

The project was designed to cover my affections for fluorescent light and its powerful effect on my emotions. It was like I was trying to show the audience how it makes me feel, but without plainly explaining it. This project has influences of photographers such as Troy Paiva and Gregory Crewdson – but also Dan Flavin (which I will explain as I come to it).

The project is called Electric Vision – I had no choice on this matter, it being a university project and all...but that’s fine, it tied in brilliantly with what I had in mind.

Being immersed in a space of light and colour makes me feel fuzzy inside, ever since I was a little girl light and colour has just fascinated me. Every chance I get, I buy and collect any fairy lights and plasma orbs, twinkly sparklers and glow sticks – It’s almost as if I crave the feeling I get when I am immersed in the colours. I like to mix them up – maybe red and blue to make a beautiful purple in the middle, it fills me up with the colours and it’s great. Capturing this joy was the hard part, the first set of images was pretty much unsuccessful, I started in a literal sense – attempting to capture the atmosphere whilst being immersed in the light.

A more successful attempt came from a very lucky moment. You know those nights where the fog is so thick, you can only see a few yards, and all the street lights are collected and dispersed throughout the cloud of fog – where it’s like everything is at a standstill as you take in the atmosphere? Well I do, it happened whilst I was thinking about this project. 



Yeah, massive danger of becoming THE most cliché captured moment, but you know what? The moment was amazing and without having to do anything the feeling I crave was set out for me, and it was very powerful.




So I started to think, portraying this emotion like this might work if I search for environments where light and colour play a big part. This also, being quite unsuccessful Рwith again, very clich̩ results!







So it was time to try something different, trying to make somebody feel how I felt when immersed in light and colour was proving difficult, using photographs – so here lies where I had a look at Dan Flavin’s work. Dan Flavin uses installations with various fluorescent coloured tubes and shapes, creating visual and atmospheric effects.






This is much more like it, his use of space and fluorescent colour creates really atmospheric situations, well worth a look at some point if you spot an exhibition, most importantly – let me know so I can experience it!
This brings me to my conclusion, an installation bringing these elements of light, colour and space together to make an atmosphere that others could experience, and have their own feelings whether good or bad, it was there to experience.





Ok, so agreed these aren’t the best sketch ups but they do the trick I guess.
The installation was a space big enough for one person, to stand or to sit, to be completely immersed in light and colour; with the only light in the room being from the installation. One of the panels was left open for people to walk in and out. The space was filled with RED light which coincides with the installation being named RED. I used the colour of red for its positive and negative elements. 

RED. Physical
Positive: Physical courage, strength, warmth, energy, basic survival, 'fight or flight', stimulation, masculinity, excitement.
 
Negative: Defiance, aggression, visual impact, strain.
Being the longest wavelength, red is a powerful colour. Although not technically the most visible, it has the property of appearing to be nearer than it is and therefore it grabs our attention first. Hence its effectiveness in traffic lights the world over. Its effect is physical; it stimulates us and raises the pulse rate, giving the impression that time is passing faster than it is. It relates to the masculine principle and can activate the "fight or flight" instinct. Red is strong, and very basic. Pure red is the simplest colour, with no subtlety. It is stimulating and lively, very friendly. At the same time, it can be perceived as demanding and aggressive.


As well as being immersed in the powerful RED energy, I decided to add a different element into the installation. A camera was installed just above the lights, facing into the space onto whoever was inside. This live image was then projected onto one of the outside panels for the audience to see. (Demonstrated here as a see through panel...)



This resulted in a space where both participants could be involved, one being inside the space and the other viewing from the outside, the idea being I could receive a mixed reaction from the audience.


Was it successful?
Success, being an odd word for a university project because I guess it’s not really the point? The installation was a big risk, definitely a big step away from being behind the camera, you could say it was a bit of ‘out of the box’ thinking. But really, in my view it was the only way to portray the fuzziness inside to other people. 

Now, RED being described as being both a positive and a negative in the sense of emotional connections; the resulting reviews of the installation were both positive and negative (In the way that the installation piece made the individual feel inside rather than the quality and presentation etc...).

Some individuals explained that the space made them feel funny, in a good way, and that it was an exciting experience to be a part of. 

Other’s had said that the experience was quite negative, being on show to the audience whilst being confined to a small space full of redness. One individual described it as being tense and uncomfortable, and the red being an overpowering force in the confined space.

Overall in the broadest sense, the installation was a success – portraying a feeling that others could experience, I am sorry I don’t have any pictures from it though!

Thursday 21 July 2011

Studio Lighting; Flash Heads or Continuous Lighting?

It’s day 2 of Tess mumblings, huzzah! Well ok it’s not really that thrilling, but I suppose I’m pretty proud of myself for giving it a go. 

Today I will be talking about my experience of studio lighting, yes – I know it’s a topic often covered, but this is mainly going to be used as a guidance tool for myself, to look back on when I need it.

Studio Lighting; Flash Heads or Continuous Lighting?

Continuous Lighting



Advantages:

·       The main advantage from my experience is that continuous light heads and bulbs are relatively cheap compared to the more expensive flash heads.
·     The continuous flow of light lets you see and control exactly what is going on with the shadows, tones and highlights – I really like this about continuous lighting.

Disadvantages:
·         Whilst I find controlling the amount of light and exactly what it is doing, continuous lighting has a tendency to heat up very quickly, and can cause trouble when using make up!
·         Depending on what Kelvin bulb is used, generally – I find that even daylight bulbs can have a sort of yellow effect on the image. However – a bit of tweaking in an image processing software can sort this out.




These images have been shot in a home studio set up – with three continuous lights connected to reflector umbrellas. The bulbs are daylight bulbs and so far – they haven’t gotten too hot so I’ve avoided the melting make up situation. I’ve found that to really get the most out of them, they need to be quite close to the subject – which is very intrusive. This affects the control of the light as well, but I find I can get around it by adjusting the umbrellas.



 The results I’ve gotten so far with the continuous lighting I really like, even with the difficulties of control and power, I find that the light produces effective portraits.







One problem I should note though, I haven’t been able to use a white background with these lights, I found they haven’t been powerful enough, but it might be a different story with a canvas backdrop (I use muslin).


 I've found these lights are pretty good with still life, but I'm not with still life so I can't really comment on still life lighting....











Flash Lighting

 

Advantages:

·       The lighting which I have used has modelling lamps fitted, which solves the issue of light control – the modelling light is a continuous bulb which can be controlled parallel to the flash settings, so you know what you’re getting.
·         I found that you can actually control a flash head much more compared to continuous lighting, the lights allow you to change the settings on the back of the heads.

Disadvantages:

·       Clearly disadvantaged by the pricing – even the cheap flash heads tend to be pricy compared to continuous, including more expensive bulbs.








Granted – these images have been taken as part of a University Degree, but the examples are fitting for the object of this blog – a tool to look back on.







 

This is my favourite from the shoot – mainly because of the detail in the top and the positioning of the model. I used a large soft box with a white reflector underneath the chin, creating a softer shadow on the neck.







Straight away, it’s easy to see the difference these images have compared to the continuous set. I found that using the flash heads meant I could completely control the light source and its power. The flash lighting generally produced really sharp, high contrast images in the way I was using them.








I did find it difficult however, to produce a softly lit portrait, it seemed quite difficult to get rid of the highly contrasted shadows behind the subject but I suppose it will take practice to get used to the control that these lights have.














Conclusion

Ok, so it’s not really a conclusion - I guess it’s just a summary of my findings (but I suppose that is a conclusion anyway?)

Continuous Lighting gives average results, depending on environment. I need to try the lights with a white canvas background to see how they cope. They have been best for single portraits and small still life images, any more than that has proved difficult and sometimes not possible.

Flash Lighting so far has given very good results, since I have only used them in a studio environment it would not be fair to comment on how well they would do outside say in a park or something.  It’s going to take time, but hopefully I will be able to fully control the lighting environment with flash heads, to produce really high quality images.