FIRST TASK
ESA - 2023 :
CASPER STANDEN.
n101ne 2017-2019
Chosen theme(s):
In this task I have been presented a slideshow of three options and I will attempt to do all three
The tasks in question are below.
The tasks in question are below.
CHANGE.
The photographer Vilde Rolfsen reflects upon the theme of change as she choses to shoot her images in a plastic bag with natural light and this captures a cavernous, etherial almost landscape that is surprising as it was taken in an item so regularly disregarded and treated like garbage.
The idea of change is shown with a bag, a regular item to be transformed into what will be below, the photographer in question ponders change as she takes a bag, an item with no form constantly changing into an etherial landscape, she also may be protesting the fact that these bags so regularly disregarded are changing our environment and we need to find other uses for them, such as this.
The idea of change is shown with a bag, a regular item to be transformed into what will be below, the photographer in question ponders change as she takes a bag, an item with no form constantly changing into an etherial landscape, she also may be protesting the fact that these bags so regularly disregarded are changing our environment and we need to find other uses for them, such as this.
Her images look that of the sky and clouds, light and peaceful, quiet contrasting with the depths of the ocean these bags are commonly dumped and wasted, it also contrasts with the next photographer who chooses to shoot lower to the ground.
Whats really impressive is the little you need to take these as she has seen what other may not be able to in mundane plastic bags, taking the ordinary to extraordinary almost like Edward Weston.
Last thing I noticed is that all the images above at least are in portrait format, odd as the images look so close to landscapes rich in folds creases and light shining though the ridges of the bag.
Whats really impressive is the little you need to take these as she has seen what other may not be able to in mundane plastic bags, taking the ordinary to extraordinary almost like Edward Weston.
Last thing I noticed is that all the images above at least are in portrait format, odd as the images look so close to landscapes rich in folds creases and light shining though the ridges of the bag.
In this task to respond I shall take these near a window to capture some of the natural light and to get some of the colour to be found in the images above, I will use a piece of the colour film also used below, no unusual aperture ISO or shutter speed needed to create this effect.
FIRST SET OF PHOTOS
Once complete it should look similar to these below...
BEST EDITS
WWW - Rich in texture and etherial as her work is typically, the edits look much nicer as I had a chance to change the highlights in colour grading, and the green ones to me are quite ugly as they have a harsh light compared to the photographers use of natural light.
EBI - To me at least her images evoke a similar aestetic with electron microscopes as the highlights are brighter and more detailed
ISO - 800
aperture - f.4
shutter - 30-60th
EBI - To me at least her images evoke a similar aestetic with electron microscopes as the highlights are brighter and more detailed
ISO - 800
aperture - f.4
shutter - 30-60th
REFLECTIONS.
In this task I had to respond to the given set of images that being a puddle reflecting the lights of neon shops and busy night life attractions afar.
The photographer I am responding to is Slava Semnuit, he is a photographer based in, Russia (Sochi) and noticed that the glimmering shining neon lights symbolic of the night life are captured and reflected by puddles to distort and refract into 'The hidden beauty under our feet' His images capture an almost otherworldly landscape, he grew up obsessed by Sci Fi and this is obviously worked it's way into his work, I personally love his work as they are so rich in texture and vibrancy.
The photographer I am responding to is Slava Semnuit, he is a photographer based in, Russia (Sochi) and noticed that the glimmering shining neon lights symbolic of the night life are captured and reflected by puddles to distort and refract into 'The hidden beauty under our feet' His images capture an almost otherworldly landscape, he grew up obsessed by Sci Fi and this is obviously worked it's way into his work, I personally love his work as they are so rich in texture and vibrancy.
As you can see above his images are full of life and are so vibrant despite the clearly overlooked subject matter, puddles.
The main matter of course being the issue, as I will attempt to respond to him indoors, with artificial puddles and torches with sheets of colored film material to replicate the otherworldly neon lights captured by the photographer.
The main matter of course being the issue, as I will attempt to respond to him indoors, with artificial puddles and torches with sheets of colored film material to replicate the otherworldly neon lights captured by the photographer.
In this task I had to take images of 'puddles' reflecting light in a manner similar to Slava Semeniut and to capture the dark grunge texture rich, close-ups of puddles I will use a high aperture, and 1/60th of a second exposure, I will also use a relatively low ISO to encapsulate the darkness lurking in the images above.
FIRST SET OF PHOTOS
Once done it should look as below...
BEST EDITS
WWW - Shots rich in focus and texture and the glistening reflections of neon lights, they evoke a similar psycadelic sci fi feel as the photographer I am responding to
EBI - Only one source of light and this was shot with a make do puddle, a black tarp sheet in a box, also only one box so I attempted to get the most out of it as possible.
ISO - 200
aperture - f.2
shutter - 1/60th
EBI - Only one source of light and this was shot with a make do puddle, a black tarp sheet in a box, also only one box so I attempted to get the most out of it as possible.
ISO - 200
aperture - f.2
shutter - 1/60th
INSIDE OUTSIDE.
The photographer I am responding to is called Danny Quirk and is an experimental american artist not photographer who creates realistic waist up portraits of people seemingly peeling off their skin to reveal the complex often regarded as off-putting anatomy we all share.
The photographer is experimental in that he uses Chiaroscuro lighting a method in which the photographer or artist uses high contrast lighting using key lighting to achieve dark backgrounds the use of contrasts and directional light help achieve a sense of volume, the blend between the faux renaissance style and the anatomical and unnerving themes clash and create a surreal feeling only possible in his medium.
Of course this is related to the theme of inside outside as it shows whats under the skin deeply anatomical Danny Quirk's work is something only to be possible in the medium of illustration and painting.
The photographer is experimental in that he uses Chiaroscuro lighting a method in which the photographer or artist uses high contrast lighting using key lighting to achieve dark backgrounds the use of contrasts and directional light help achieve a sense of volume, the blend between the faux renaissance style and the anatomical and unnerving themes clash and create a surreal feeling only possible in his medium.
Of course this is related to the theme of inside outside as it shows whats under the skin deeply anatomical Danny Quirk's work is something only to be possible in the medium of illustration and painting.
Some other things to note about his style are that they are portrait images and of course are mimicking the renaissance look of art, unlike the renaissance he uses acrylic paint as they use oil paints for a softer look, his use of Chiaroscuro lighting is also replicating the high contrast anatomical look.
Last thing is that there is no blood as he seems very uninterested in gore and wants to show the contrast between bold outside and vulnerable insides we all have.
Last thing is that there is no blood as he seems very uninterested in gore and wants to show the contrast between bold outside and vulnerable insides we all have.
FIRST SET OF PHOTOS
WWW - The shots are well lit portrait and profile pictures, with a non distracting plain backdrop.
EBI - The pose is a little two dimensional either way and the angle should be waist up and its a shame I couldnt replicate the Chiaroscuro lighting of the rennaisance or later Danny Quirk.
ISO - 400
aperture - f.5
shutter - 1/60th
EBI - The pose is a little two dimensional either way and the angle should be waist up and its a shame I couldnt replicate the Chiaroscuro lighting of the rennaisance or later Danny Quirk.
ISO - 400
aperture - f.5
shutter - 1/60th
once complete the image should look as below...
BEST EDITS
WWW - Black and white with exadgeratrted textures creates a feeling of macabre and unsease, the execution is good with photoshop techniques I have never used before.
EBI - The work is not exactly in Danny Quirks style, it isnt waist up, its detailed rather than smooth as the medium of acrylic paint I am trying to replicate and the second image below looks a bit fake and oversaturated/too high in contrast.
ISO - 400
aperture - f.5
shutter - 1/60th
EBI - The work is not exactly in Danny Quirks style, it isnt waist up, its detailed rather than smooth as the medium of acrylic paint I am trying to replicate and the second image below looks a bit fake and oversaturated/too high in contrast.
ISO - 400
aperture - f.5
shutter - 1/60th
what am i choosing to continue?
change
verb
verb
- make (someone or something) different; alter or modify.
- replace (something) with something else, especially something of the same kind that is newer or better; substitute one thing for (another).
WHAT WOULD I LIKE TO EXPLORE IN CHANGE?
- I would like to play around with scale, changing it and experiment with different lenses.
- I would also like to try and create some more meaningful work that has somewhat of an impact on the viewer.
- I would like to try and create an atmosphere in my photographic work using more dim lighting.
- I would like to try and experiment more with shutterspeeds and apeture and develop my ideas less imulsively.
- I would like to have one course of a development in which you can see me learn from mistakes.
SECOND TASK
ESA - 2023 :
CASPER STANDEN.
STRANDS
'C H A N G E'
STRAND 1
eadweard muybridge
Edward weston is an English photographer known for his pioneering work in photographic studies of motion, and early work in motion-picture projection.
Eadweard had created what's commonly referred to as the first motion picture as he captures a horse galloping, the reason for this is that he was in a debate if horses lift all hooves off the ground so he had 12 cameras take images of the horse in motion, this resulted in whats commonly reffered to as the first motion picture or 'movie' |
I like his work as it is deeply anatomical and shows moments we cant really re live often as we take flight seemingly for a fleeting glimpse in the real world, Mybridge is able to capture and display moments of articulation that suprise us. These picures consist of photographs of various activities of human figures, clothed and naked, which were to form a visual compendium of human movements for the use of artists and scientists.
His images are actually a series of photographs taken frequently and to show the movement, he typically did this on mammals such as humans and of course horses as when he put the images in order later and 'played' it it creates the effect of motion, so a gif aswell.
He photgraphs on film as there wasn't digital in the 1800s and to replicate this effect I will add a black and white filter, with a grain effect.
Also to capture the motion clearly I must use a fast shutter speed and have my camera on shutter priority for the shoot, I will create 3 different final edits, on of the subject copy pasted together to show all forms of movement, two to create a gif and the final to show all frames of movement together, so I will replicate the effect with a fast shutter speed and a burst shooting mode.
His work fits into the theme change as it demonstrates the motion of a mammal such as a horse or human and shows how the form changes as moves vaulting its legs off the ground.
He photgraphs on film as there wasn't digital in the 1800s and to replicate this effect I will add a black and white filter, with a grain effect.
Also to capture the motion clearly I must use a fast shutter speed and have my camera on shutter priority for the shoot, I will create 3 different final edits, on of the subject copy pasted together to show all forms of movement, two to create a gif and the final to show all frames of movement together, so I will replicate the effect with a fast shutter speed and a burst shooting mode.
His work fits into the theme change as it demonstrates the motion of a mammal such as a horse or human and shows how the form changes as moves vaulting its legs off the ground.
PINTEREST BOARD
DEVELOPMENT NO.1
FIRST SET OF PHOTOS
WWW - The run is exadgerated and looks cinematic and I managed to capture the change in form.
EBI - The lens had a distortion unpleasant to look at and the camera wobbled when I pressed the shutter, also the shutter speed was not fast enough with motion blur, I am also not a fan of the two dimensional setting.
ISO - 400
aperture - f.5
shutter - 240th
EBI - The lens had a distortion unpleasant to look at and the camera wobbled when I pressed the shutter, also the shutter speed was not fast enough with motion blur, I am also not a fan of the two dimensional setting.
ISO - 400
aperture - f.5
shutter - 240th
EDIT NO.1 : 'FILM SPREADSHEET'
WWW - Color grading maybe the best I could possibly do, the darker corners and perfortations indicate the medium of film, the writing is not dissimilar to that of muybidge.
EBI - The sequence is not wide enough and because of this the movement and momentum is lost, also the sequence is backwards in movement - an uncomfortable viewing experience.
ISO - 400
aperture - f.5
shutter - 240th
EBI - The sequence is not wide enough and because of this the movement and momentum is lost, also the sequence is backwards in movement - an uncomfortable viewing experience.
ISO - 400
aperture - f.5
shutter - 240th
EDIT NO.2 : 'PARKOUR SEQUENCE'
STEP BY STEP
WWW - Very stylised parkour sequence - the clothing and hair even suit into the futuristic glitchy style, editing techniques similar to the images I took for inspiration of pinterest.
EBI - The lens had a distortion unpleasant to look at and the camera wobbled when i pressed the shutter, also the shutter speed was not fast enough with motion blur, I am also not a fan of the two dimensional setting.
ISO - 400
aperture - f.5
shutter - 240th
EBI - The lens had a distortion unpleasant to look at and the camera wobbled when i pressed the shutter, also the shutter speed was not fast enough with motion blur, I am also not a fan of the two dimensional setting.
ISO - 400
aperture - f.5
shutter - 240th
EDIT NO.3 : 'GIF'
WWW - I like the nostalgic washed out color correction, the added grain was also a nice bonus, the moments of running captured are to me at least ideal and the most interesting.
EBI - The lens had a distortion unpleasant to look at and the camera wobbled when I pressed the shutter, also the shutter speed was not fast enough with motion blur, I am also not a fan of the two dimensional setting, also the burst wasnt as frequent as I would like.
ISO - 400
aperture - f.5
shutter - 240th
EBI - The lens had a distortion unpleasant to look at and the camera wobbled when I pressed the shutter, also the shutter speed was not fast enough with motion blur, I am also not a fan of the two dimensional setting, also the burst wasnt as frequent as I would like.
ISO - 400
aperture - f.5
shutter - 240th
STRAND EVALUATION
In this task I had to take images in a burst of someone running or exibiting some form of mass motion, the bursts would be edited in three different ways, a parkour sequence featuring all bursts composited, a GIF that replicates his running horse widely known as the first moving picture, and finally a slideshow of film showing the different frames with perforations, this is how he would often present his work.
Some of the challenges in the way were the burst being too slow or slowing down, the settings being restrictave and limiting and the wobbling motion when I press down the shutter, to overcome these I chose a more open space, and the wobble goes un noticed with a fast shutter speed.
What I wanted to convey was the bridge made by muybridge that paves the way from photography to moving picture, moving, moovie - movie and I wanted to show all forms this may take on whether it be film, a GIF or a parkour sequence.
It fits into the theme 'CHANGE' as I had showed all stages of change as someone runs across we see all induvidual stages that we are often to miss out on in the blink of an eye.
Some of the challenges in the way were the burst being too slow or slowing down, the settings being restrictave and limiting and the wobbling motion when I press down the shutter, to overcome these I chose a more open space, and the wobble goes un noticed with a fast shutter speed.
What I wanted to convey was the bridge made by muybridge that paves the way from photography to moving picture, moving, moovie - movie and I wanted to show all forms this may take on whether it be film, a GIF or a parkour sequence.
It fits into the theme 'CHANGE' as I had showed all stages of change as someone runs across we see all induvidual stages that we are often to miss out on in the blink of an eye.
STRAND 2
francesca woodman
Francesca Woodman is a photographer that is often found doing self portraits, unlike the typical self portrait that comes to mind hers are blurred and distorted and she is often semi nude or appears oppressed and restrained, her beautiful restrained images as they are blurred due to a longer explosion create a ghostly effect on her form and suggest a fleeting sense of power or timelessness as her work will always evoke an unsettling reaction as they are often out of the realm of 'normal' in self portrait standards.
Francesca woodman was born in 1958 Denver, Colorado her work left behind is almost immortalised by her tragic suicide as this is similarly reminiscent of Kurt Cobain or Amy Winehouse, all's work is remembered and cherished as they all cut their lives short - this fits into the 'die young effect' Her work fits into change as it shows the human form escaping the normal and the expected breaking the mould as she subverts the format of self portrait. |
Her work embraces abstraction and change and doesn't need improvement, I would like to take images in the style of hers rather than experimenting or responding, her entire body of work was produced as a young person and created over just eight short years. Her photographs explore many themes that affect young people such as relationships, sexuality, questions of self, body image, alienation, isolation and confusion or ambiguity about personal identity.
Her work is often in decrepit and dilapidated structures enhancing the bleakness if the images as she seems to be trapped in this ill state of mind, to replicate this effect I will shoot in a dark grungy atmospheric place and I will use a slower shutter speed like 1/30th of a second and I will instruct the subject to move their body in ways reminiscent to Francesca Woodman's self portraits.
Her work is often in decrepit and dilapidated structures enhancing the bleakness if the images as she seems to be trapped in this ill state of mind, to replicate this effect I will shoot in a dark grungy atmospheric place and I will use a slower shutter speed like 1/30th of a second and I will instruct the subject to move their body in ways reminiscent to Francesca Woodman's self portraits.
PINTEREST BOARD
DEVELOPMENT NO.1
FIRST SET OF PHOTOS
WWW - Setting is just what I would liked and the images are evocative of weakness and fragility, the subject seems trapped vurnerable and the black and white high contrast later to be seen is even closer to woodmans work.
EBI - The blur wasn't as pronounced and the subject couldnt move around much in the setting as the floor was littered in broken glass - and more angles showing off the enviroment and more poses.
ISO - 200
aperture - f.7
shutter - 1/30 - 1s
EBI - The blur wasn't as pronounced and the subject couldnt move around much in the setting as the floor was littered in broken glass - and more angles showing off the enviroment and more poses.
ISO - 200
aperture - f.7
shutter - 1/30 - 1s
BEST EDITS
WWW - Black and white and adjusting the levels makes a dark grungy atmosphere that evokes a similar response as franchesca woodmans work, some images I opted to heighten the texture and some I mellowed it down with haze effect as the blur wasn't working very well.
EBI - some still need to be cropped of course, the composition in some are weak.
ISO - 200
aperture - f.7
shutter - 1/30 - 1s
EBI - some still need to be cropped of course, the composition in some are weak.
ISO - 200
aperture - f.7
shutter - 1/30 - 1s
STRAND EVALUATION
In this task I had to take full body portraits of people, instructing them to move and obstruct, contort themselves to breaks the norms of a portrait.
One of the challenges was the setting, it was perfect and atmospheric, delapidated and falling apart yet not my idea of safe, we had to be extra careful not to touch class or exposed wall insulant, so the images lack variation or contact with the ground sadly this is typical of Franchesca Woodman, to be touching kneeling or crawling on the ground.
The idea overall was to blur and obstruct and conceal identity, this is key to her style as it shows the vunerablility and fragility sexuality, questions of self, body image, alienation, isolation and confusion or ambiguity about personal identity that someone of her or our age could relate towards.
It fits into the theme 'CHANGE' because it changes the norms of portraiture and also challenges the representation of personal identity, changing the person into a subject a mere ghost without form.
One of the challenges was the setting, it was perfect and atmospheric, delapidated and falling apart yet not my idea of safe, we had to be extra careful not to touch class or exposed wall insulant, so the images lack variation or contact with the ground sadly this is typical of Franchesca Woodman, to be touching kneeling or crawling on the ground.
The idea overall was to blur and obstruct and conceal identity, this is key to her style as it shows the vunerablility and fragility sexuality, questions of self, body image, alienation, isolation and confusion or ambiguity about personal identity that someone of her or our age could relate towards.
It fits into the theme 'CHANGE' because it changes the norms of portraiture and also challenges the representation of personal identity, changing the person into a subject a mere ghost without form.
STRAND 3
harold edgerton
Harold 'doc' Edgerton was an American scientist and researcher, a professor of electrical engineering at Massachusetts Institute of Technology, he is credited commonly as 'The man who stopped time' as he essentially froze time with a shutter speed of 1 millionth of a second able to even capture bullets mid flight or a nuclear bomb, the last one is particularly haunting as this otherworldly sight is of an explosion, a nuclear bomb captured and frozen in time it looks sinister and almost organic, like melting wax.
His work fits into change as it captures and freezes time in the process of change, a bullet cards an atomic bomb all immortalized and captured in the process of change. |
His work is first and formost as a professor rather than a photographer so I will respond attempting to recreate the insanely fast shutter speeds of Harold 'doc' Edgerton, the highest my camera will go will presumably under expose my image so I will have a flash or a bright light on to capture all details - I am using a water balloon and popping it while taking an image as fast as possible.
He is a polar opposite to franchesca woodman as she tended to abstract form and hide, Harold Edgerton seems more interested in capturing change in the making and with a very fast shutter in contrast to woodmans work, honestly its not fair to copare the two. Edgerton revolutionized photography, science, military surveillance, Hollywood filmmaking, and the media through his invention of the strobe light in the early 1930s.
He is a polar opposite to franchesca woodman as she tended to abstract form and hide, Harold Edgerton seems more interested in capturing change in the making and with a very fast shutter in contrast to woodmans work, honestly its not fair to copare the two. Edgerton revolutionized photography, science, military surveillance, Hollywood filmmaking, and the media through his invention of the strobe light in the early 1930s.
PINTEREST BOARD
DEVELOPMENT NO.1
FIRST SET OF PHOTOS
WWW - shutter speed alleviated any motion blur possible, and the black backdrop sometimes works, and the explosions were captured perfectly - and of course the explosions are in focus.
EBI - Images slightly under exposed, and the black backdrop sometimes not - black due to the immense amounts of light needed to not underexpose an image with this shutter speed, I would like to have more freedom with lighting and the colour of the water to create a more vibrant image, Images are weak composition wise and have no weight or resonance in the mind of those who see it.
ISO - 400-800
aperture - f.1.4
shutter - 240/4000th
EBI - Images slightly under exposed, and the black backdrop sometimes not - black due to the immense amounts of light needed to not underexpose an image with this shutter speed, I would like to have more freedom with lighting and the colour of the water to create a more vibrant image, Images are weak composition wise and have no weight or resonance in the mind of those who see it.
ISO - 400-800
aperture - f.1.4
shutter - 240/4000th
I will attemp this task further as I would like to try with a different subject
WWW - Camera raw gave me the freedom to experiment with colour texture and the focus as otherwise the images would get repetitive, some have crystal clear sharpness as the raw files tend to need some sharpening, and some obscure and abstract.
EBI - Most images above colour-wise are over edited and a bit too stylized, and due to the sharpening their is a lot of grain, also with the vial of water, I didn't include enough angles and different liquids.
ISO - 400-800
aperture - f.1.4
shutter - 240/4000th
EBI - Most images above colour-wise are over edited and a bit too stylized, and due to the sharpening their is a lot of grain, also with the vial of water, I didn't include enough angles and different liquids.
ISO - 400-800
aperture - f.1.4
shutter - 240/4000th
STRAND EVALUATION
This strand being 'Harold Edgerton' was interesting as it showed a hidden beauty lurking within the split seconds we cannot linger on with the naked eye, these images were cool pieces showing off the power a DSLR camera holds within.
During this task I was challenged with balancing lighting, shutter, ISO and aperture for a clean well lit image with good focus, trying to balance all of these aspects is difficult and resulted in some repetition and not really much experimentation with my ideas.
The overarching idea was to capture the fast faster, to employ a quick shutter freezing time as a souvenir for those who want to look at the precise moment a balloon pops.
It fits into the theme 'CHANGE' as it revolves around the process of change, capturing it in the middle of the process.
During this task I was challenged with balancing lighting, shutter, ISO and aperture for a clean well lit image with good focus, trying to balance all of these aspects is difficult and resulted in some repetition and not really much experimentation with my ideas.
The overarching idea was to capture the fast faster, to employ a quick shutter freezing time as a souvenir for those who want to look at the precise moment a balloon pops.
It fits into the theme 'CHANGE' as it revolves around the process of change, capturing it in the middle of the process.
THIS CONCLUDES : 'STRANDS'
THIRD TASK
ESA - 2023 :
CASPER STANDEN.
what strand to continue
Eadweard Muybridge.
I've chosen this because it has the most wiggle room and I could explore and improve upon elements I believe are not strong, I didn't neccisarily enjoy the results for muybrdge the most, in fact I enjoyed Franchesca Woodman, but I want something I can explore and edit in many different ways.
I've chosen this because it has the most wiggle room and I could explore and improve upon elements I believe are not strong, I didn't neccisarily enjoy the results for muybrdge the most, in fact I enjoyed Franchesca Woodman, but I want something I can explore and edit in many different ways.
DEVELOPMENT NO.1
eadweard muybridge
FIRST SET OF PHOTOS
WWW - These images are rich in contrast and seem to require little editing as I had good lighting and a sharp focus.
EBI - Benny is wearing neutral colors and the angles could be more engaging.
ISO - 800
aperture - f.6
shutter - 1000th
EBI - Benny is wearing neutral colors and the angles could be more engaging.
ISO - 800
aperture - f.6
shutter - 1000th
BEST EDITS
EDIT NO.3 : 'PARKOUR SEQUENCE'
WWW - The setting is one of the best elements of the photo above, it provides a cool atmosphere and is rich in detail - also Benny's run was dramatic and exaggerated.
EBI - The shadows sometimes do not match up and benny is wearing neutral clothes that can easily be lost in the environment towards the final frame of benny it looks like he is crying for some reason.
ISO - 800
aperture - f.6
shutter - 1000th
EBI - The shadows sometimes do not match up and benny is wearing neutral clothes that can easily be lost in the environment towards the final frame of benny it looks like he is crying for some reason.
ISO - 800
aperture - f.6
shutter - 1000th
EDIT NO.2 : 'FILM SPREADSHEET'
WWW - The individual frames are of the exact same size and precisely lined up this time and the wider ratio makes it easier to track Benny's movement.
EBI - Benny yet again can be lost in the environment especially with a black and white filter and for some reason this isnt as convincing as my last attempt.
ISO - 800
aperture - f.6
shutter - 1000th
EBI - Benny yet again can be lost in the environment especially with a black and white filter and for some reason this isnt as convincing as my last attempt.
ISO - 800
aperture - f.6
shutter - 1000th
EDIT NO.3 : 'GIF'
WWW - Their are enough frames (at the start) to create a smooth animation tracking Benny's movement, the angle as mentioned prior is a good one and showcases the powerhouse setting and Benny in motion, the black and white filter and film grain are ncie touches to cement this a retrospective work.
EBI - Some camera wobble, and towards the jump onwards the camera's burst slowed down hence the missing frames.
ISO - 800
aperture - f.6
shutter - 1000th
EBI - Some camera wobble, and towards the jump onwards the camera's burst slowed down hence the missing frames.
ISO - 800
aperture - f.6
shutter - 1000th
FOURTH TASK
ESA - 2023 :
CASPER STANDEN.
DEVELOPMENT NO.2
karyn easton
I enjoyed my previous responses to Eadward Muybridge but after more research and planning to another photoshoot I realised it was almost a dead end, their wasn't much I could do with the idea and as with Harold Edgerton I got a little tired of just capturing moments in time, I want to create meaning in my images with composition and crafting a message within subtext a little more, hence my first shift in direction to macro photography.
She seems to be experimenting with macro photography as it explores the idea of a hidden world of beauty often masked hidder or ignored by us in a day to day busy haze, her work is blissful and doesnt particularly require many expensive gadgets.
“My bubbles represented my thoughts on everyone setting aside differences. Even the most unlikely of unions (e.g. water repelling oil) could be made into a thing of beauty. It was a metaphor for the larger world around her: a glimpse into the microcosm that hopefully could be reflected into the macrocosm and, ultimately, a more unified world.
One of the things that drove her to do this work is the lockdown and how going out and socialising, or photographing people wasn't allowed so she found items in her household and changed a meer drop of oil on water into something magnificent.
“My bubbles represented my thoughts on everyone setting aside differences. Even the most unlikely of unions (e.g. water repelling oil) could be made into a thing of beauty. It was a metaphor for the larger world around her: a glimpse into the microcosm that hopefully could be reflected into the macrocosm and, ultimately, a more unified world.
One of the things that drove her to do this work is the lockdown and how going out and socialising, or photographing people wasn't allowed so she found items in her household and changed a meer drop of oil on water into something magnificent.
Especially during the time the work was mainly being done (2020 - 2022) it was very refreshing to have non politically driven work or work charged with hidden meanings, its simply just a nice looking image.
The work has bright complementary colors to contrast and attract colors, she seems to have a light-box underneath the oil and water tub.
My only complaint would be the fact that the images are repetitive after a certain threshold.
The work has bright complementary colors to contrast and attract colors, she seems to have a light-box underneath the oil and water tub.
My only complaint would be the fact that the images are repetitive after a certain threshold.
To respond to this I will create a photoshop gradient of nice rich colours and open the file on my laptop and put a tub with oil and water on top of the leaning flipped laptop, to seperate bubbles I will add a drop of dishoap to guarante more definition and clarity.
FIRST SET OF PHOTOS
WWW - The images are to an extreme degree of sharpness in the details and the oil and water trick worked.
EBI - The camera I had borrowed with the afformentioned macrolense had a very limited battery life.
ISO - 400
aperture - f.5
shutter - 240th
EBI - The camera I had borrowed with the afformentioned macrolense had a very limited battery life.
ISO - 400
aperture - f.5
shutter - 240th
BEST EDITS
WWW - The images are to an extreme degree of sharpness in the details and the oil and water trick worked.
EBI - The camera I had borrowed with the aforementioned macro lens had a very limited battery life this means a lack of variation in photos and not really enough room to experiment.
ISO - 400
aperture - f.5
shutter - 240th
EBI - The camera I had borrowed with the aforementioned macro lens had a very limited battery life this means a lack of variation in photos and not really enough room to experiment.
ISO - 400
aperture - f.5
shutter - 240th
development NO.3
colin winterbottom
This work builds on what came before as it juxtaposes it, the last focused on the ephemeral beauty of bubbles in water, whereas this focuses on the permanent, overlooked nature of grafitti, many disregard as ugly or overlook just on the surface it may be, depending on the artist or tagger in question, but further inspection you'll realise the hidden world of textures invisible to the naked eye.
At the core of most of Colin Winter bottom's photographs is an interest in hidden vivid textures and composition driven by dynamic tension between the subjects in the frame, He loves to make photographs with a strong tactile quality where by looking at the subject the viewer may 'feel' the textures as if they were touching the subject itself, his textures are then imbued by the pleasing grainy aesthetic of film.
Winter bottom's latest photographs or more recent projects build on years from working at historic preservation sites, especially the scaffolding erected to facilitate these repairs.
His work is warm and rich in browns and very smooth and almost bumpy it feels three dimensional yet it is a two dimensional presentation of reality.
Winter bottom's latest photographs or more recent projects build on years from working at historic preservation sites, especially the scaffolding erected to facilitate these repairs.
His work is warm and rich in browns and very smooth and almost bumpy it feels three dimensional yet it is a two dimensional presentation of reality.
FIRST SET OF PHOTOS
WWW - The images are very intense in focus and colorful, and the Macro lense works really upclose, I experimented a bit with some nature Macro photography but didnt follow through in editing as they are deviating from the task, The shooting conditions were perfect - no people as their was rain and good even lighting and the water added a nice new layer to the texture of the graffiti.
EBI - The images leave you feeling nothing ultimately, no interesting composition or photographic techniques, some are over expose, the lens aswell wouldnt go as close as I would like it to.
ISO - 200-1600
aperture - F.3.2
shutter - 1/60th - 1/120th
EBI - The images leave you feeling nothing ultimately, no interesting composition or photographic techniques, some are over expose, the lens aswell wouldnt go as close as I would like it to.
ISO - 200-1600
aperture - F.3.2
shutter - 1/60th - 1/120th
BEST EDITS
WWW - The colors pop even more without risking oversaturation, the texture of the wall was sharpened with the use of photoshops camera raw and the images aren't over-edited, I can appreciate the up close abstraction of these images.
EBI - They look nice - thats it, the extent of the work I've done with a macrolense doesnt really seem to carry any profound effect on the viewer.
ISO - 200-1600
aperture - F.3.2
shutter - 1/60th - 1/120th
EBI - They look nice - thats it, the extent of the work I've done with a macrolense doesnt really seem to carry any profound effect on the viewer.
ISO - 200-1600
aperture - F.3.2
shutter - 1/60th - 1/120th
I think for my next development, I plan on using macro lenses with a wide angle lens together for an up close and far away composition.
DEVELOPMENT NO.4
19 tones
close up and far away
The idea from this development sprung off the last, I noticed how almost sci fi and space-like the images of prior looked, noticing how the graffiti served as an almost alien landscape for some entities to exhibit, I then learned about a photographer called '19 Tones' and decided to do close up and far away with this photographer in mind.
Ernest Em, known as 19TONES, is a photographer and a creative director — his futuristic aesthetic and sophisticated lightning are used to create dynamic visuals.
Em has worked prolifically for more than seven years, and today he keeps experimenting, sometimes mixing photography and different visual mediums. In his early years of photography, he created highly stylising Urban Exploration images with references to futuristic aesthetics.
He believes that ‘fiction and photography' can be more truthful than 'documenting reality’ and turn his images into meticulously edited pieces of work. Thus, he takes prismatic portraits using prisms to refract images, to complement an image and to create a new composition. At the same time, he prefers to shoot without CGI to keep images true.
His work is Sci-Fi and seems very conceptual or theoretical, and fantastical to reflect the effect of his I will use a prism to refract the light.
Em has worked prolifically for more than seven years, and today he keeps experimenting, sometimes mixing photography and different visual mediums. In his early years of photography, he created highly stylising Urban Exploration images with references to futuristic aesthetics.
He believes that ‘fiction and photography' can be more truthful than 'documenting reality’ and turn his images into meticulously edited pieces of work. Thus, he takes prismatic portraits using prisms to refract images, to complement an image and to create a new composition. At the same time, he prefers to shoot without CGI to keep images true.
His work is Sci-Fi and seems very conceptual or theoretical, and fantastical to reflect the effect of his I will use a prism to refract the light.
(FAR AWAY)
(CLOSE UP)
WWW - The images (both mediums macro and wide lense) capture the aesthetic of the bar, and when put together will hopefully create a dazzling overhwhelming sensation some images with the prism were great and not enough as we didn't have the time.
EBI - Not enough people as we had a time limit as this is technically an art exhibit and we had to make space, so some of these shots were rushed or not properly thought through, more portrait shots of people would've been better and closer to 19 Tones.
ISO - 100
aperture - f.2
shutter - 1/60th
EBI - Not enough people as we had a time limit as this is technically an art exhibit and we had to make space, so some of these shots were rushed or not properly thought through, more portrait shots of people would've been better and closer to 19 Tones.
ISO - 100
aperture - f.2
shutter - 1/60th
BEST EDITS
WWW - Setting was perfect we went to Walthamstow and to a pub called 'Gods Own Junkyard' it was filled to the brim with neon lights, the edits capture the aesthetic of 19 Tones with film grain and pulsating glowing lights and nice contrasting colors, to edit I turned up the saturation contrast and exposure in 'camera RAW' also the border is much more consistent.
EBI - some of the edits look very similar with little differentiation or variation, I would've like to have some close up portraits, I also missed the mark with the grain, 19Tones seems very digital and modern compared to the forced grain effect.
ISO - 100
aperture - f.2
shutter - 1/60th
EBI - some of the edits look very similar with little differentiation or variation, I would've like to have some close up portraits, I also missed the mark with the grain, 19Tones seems very digital and modern compared to the forced grain effect.
ISO - 100
aperture - f.2
shutter - 1/60th
DEVELOPMENT NO.5
VICTOR BURGIN +
Slinkatchu
This builds on the close up and far away idea I had previously developed as it shows graffiti considered a nuisance and hideous by many upon further insight and a macro lens later the viewers may realise it is, boasting a home for little figures thriving in the supernatural and surreal environment I created.
As you can see the idea of these separate paths colliding are far fetched, it was an idea I had of course when editing the graffiti realising their is more I could get out of them and so I decided to mix it up with a photographer I had been researching in the background.
Victor burgin is a conceptual artist and uses blocks of colour and a frame with pictograms that super or juxtapose the context of the image, Slinkachu is a photographer I've already responded towards and uses figurines to cultivate little scenes mainly for humorous reasons or as a microcosm of our day to day experiences scaled down with objects often discarded.
I hope to use the images taken from the macro photography in spray paint and then turn it into a landscape and change the context with a figure painted on and some pictograms.
As the spray paint (by nature) are bright and almost space like, I hope to emulate that with a few of the edits and have a few films maybe in mind to apply to the photos.
The idea came to me while editing the previous images thinking they need a proper subject, something to contextualize and enforce the image with its (missing) underlying themes.
I hope to use the images taken from the macro photography in spray paint and then turn it into a landscape and change the context with a figure painted on and some pictograms.
As the spray paint (by nature) are bright and almost space like, I hope to emulate that with a few of the edits and have a few films maybe in mind to apply to the photos.
The idea came to me while editing the previous images thinking they need a proper subject, something to contextualize and enforce the image with its (missing) underlying themes.
EDITING PROCESS
The figure I created was a long process, between painting tiny little details smoothing, roughing over the skin with grain, adding drop shadows and of course camera RAW for the final image to have everything work together.
The borders I created with the 'Rectangular Marquee' tool and just filled in black CTRL+C and pasted again and again, I then 'Free Transfor(ed)' them and rotated 90 degrees for the border, after painting layers below with white and the block colour, and pasting the PNG's I had found the images were done.
The borders I created with the 'Rectangular Marquee' tool and just filled in black CTRL+C and pasted again and again, I then 'Free Transfor(ed)' them and rotated 90 degrees for the border, after painting layers below with white and the block colour, and pasting the PNG's I had found the images were done.
I also found PNG's of the internet and pasted them into photoshop using the anchor-select tool to discard elements I want gone.
BEST EDITS
WWW - Some of the images were seemingly perfect for this and the little people add more to it, the editing is believable for some yet cartoonish as I opted to colour the figures a little brighter, I painted them with the photoshop paintbrush, we need to keep in kind these are not a new set of images, well some are - most are from one of the previous tasks.
EBI - Some were over edited and do not fit any of the two photographers I am responding to well, the frame width is also inconsistent and sometimes too wide and narrow, aslo the pictograms choses can seem shallow or surface level.
ISO - 200-1600
aperture - F.3.2
shutter - 1/60th - 1/120th
EBI - Some were over edited and do not fit any of the two photographers I am responding to well, the frame width is also inconsistent and sometimes too wide and narrow, aslo the pictograms choses can seem shallow or surface level.
ISO - 200-1600
aperture - F.3.2
shutter - 1/60th - 1/120th
development NO.6
victor burgin +
francesca woodman
Franchesca woodman once again I have already responded towards, her work immortalises her as a smear a blur obscured by the long exposure an artifact, she takes advantage over these 1/30th - 1s exposures to convey themes such as body image, mental illness or decay within the mind or other forms of sickness.
Victor Burgin as mentioned before creates collages with mainly 3 elements, a photograph, a block of colour and then a pictogram enforcing or opposing the themes presented.
I hope to emulate Franchesca's work with using the abandoned train station again and maybe using macro photography with a filter applied to fill out the 'colour' segement of Victor Burgin's.
So this, like the previous development, is a new idea not really a singular conciept to respond towards, below I have an image made in photoshop to maybe reflect what I hope to acheive in this task.
Victor Burgin as mentioned before creates collages with mainly 3 elements, a photograph, a block of colour and then a pictogram enforcing or opposing the themes presented.
I hope to emulate Franchesca's work with using the abandoned train station again and maybe using macro photography with a filter applied to fill out the 'colour' segement of Victor Burgin's.
So this, like the previous development, is a new idea not really a singular conciept to respond towards, below I have an image made in photoshop to maybe reflect what I hope to acheive in this task.
FIRST SET OF PHOTOS
WWW - The images are well composited and the macro shots with the pills vertical seem unnerving as they tumble down the wall, some of the shots (macro) are very well focused and in perfect clarity and all the little details lost within a normal lens are preserved.
EBI - The wider shots of the subject are lacking in variation as the mobility was compromised indoors as their was broken glass.
ISO - 200
aperture - f.7
shutter - 1/30 - 1s
EBI - The wider shots of the subject are lacking in variation as the mobility was compromised indoors as their was broken glass.
ISO - 200
aperture - f.7
shutter - 1/30 - 1s
BEST EDITS
WWW -The images are rich in contrast and are well edited, the final is actually my favorite as it doesn't have the blur and seems more in-transient or static, I also appreciate how the pills on the wall serve as the 'colour' of the image to remind us this is a representation of reality and a message within it.
EBI - There wasn't enough time to do other poses or I tried and they didn't work within the editing process, the message may come across as blunt or obvious with little subtext.
ISO - 200
aperture - f.7
shutter - 1/30 - 1s
EBI - There wasn't enough time to do other poses or I tried and they didn't work within the editing process, the message may come across as blunt or obvious with little subtext.
ISO - 200
aperture - f.7
shutter - 1/30 - 1s
FIFTH TASK - FINAL TASK
ESA - 2023 :
CASPER STANDEN.
final gcse project:
victor burgin
Victor Burgin is a British artist and writer. Burgin first came to attention as a conceptual artist in the late 1960s and at that time was most noted for being a political photographer of the left, who would fuse photographs and words in the same picture.
He is considered one of the pioneers of conceptual photography breaking the rules and no longer upholding the illusion of a still picture, rather experimenting paving the way for what is considered modern art now, he expresses the abstract and complex ideas through the usage of pictograms, a block of flat colour and an image of course.
The pictograms juxtapose or contextualize the original image, and that in combination with the very obviously not candid photography creates an almost uncanny effect as the work is perfectly staged and framed carefully despite the message highlighting the corruption and hypocrisy of the current governing bodies in the US.
The block of flat colour represents how this is an illusion a mere representation of reality and a vehicle for transporting his message, his work often always has a message and he dealt with problems or societal differences faced during the 60s-80s, his work seems bleak and the pictograms sometimes enforce this with implying the obvious such as a shape that appears similar to the picture or its subjects.
Victor Burgin’s style is unique: it seems to break every rule of photography, while adhering so strictly to the medium’s oldest aspiration, to substitute itself for the world, he seems to be contradictory in his stance on art.
Other than Francesca woodman, Victor Burgin's work has had the most resonance upon me as it depicts and dissects political issues in the 60s that remain unresolved even today such as the cost of living crisis.
His interest in both concept and material has led to a unique and innovative approach to photography, manifested through photo-text works, prints, digital video and 3D modelling. Each form becomes a vehicle for an enquiry into the materiality of the medium itself. Following his work as a political photographer, he began focusing on the interplay between images and text in the 1970s, turning to digital means in the 1990s to further extend his investigations into politics, philosophy and psychoanalysis.
He is considered one of the pioneers of conceptual photography breaking the rules and no longer upholding the illusion of a still picture, rather experimenting paving the way for what is considered modern art now, he expresses the abstract and complex ideas through the usage of pictograms, a block of flat colour and an image of course.
The pictograms juxtapose or contextualize the original image, and that in combination with the very obviously not candid photography creates an almost uncanny effect as the work is perfectly staged and framed carefully despite the message highlighting the corruption and hypocrisy of the current governing bodies in the US.
The block of flat colour represents how this is an illusion a mere representation of reality and a vehicle for transporting his message, his work often always has a message and he dealt with problems or societal differences faced during the 60s-80s, his work seems bleak and the pictograms sometimes enforce this with implying the obvious such as a shape that appears similar to the picture or its subjects.
Victor Burgin’s style is unique: it seems to break every rule of photography, while adhering so strictly to the medium’s oldest aspiration, to substitute itself for the world, he seems to be contradictory in his stance on art.
Other than Francesca woodman, Victor Burgin's work has had the most resonance upon me as it depicts and dissects political issues in the 60s that remain unresolved even today such as the cost of living crisis.
His interest in both concept and material has led to a unique and innovative approach to photography, manifested through photo-text works, prints, digital video and 3D modelling. Each form becomes a vehicle for an enquiry into the materiality of the medium itself. Following his work as a political photographer, he began focusing on the interplay between images and text in the 1970s, turning to digital means in the 1990s to further extend his investigations into politics, philosophy and psychoanalysis.
So thats the gist of his work, how will I respond to this?
In the photoshoot I will shoot a workplace environment e.g office, school or library to replicate the 'office at night' series by Burgin.
To replicate the aesthetic, I will shoot at an empty or neutral location evocative of the dread many face when tasked with working as an adult, and the clothing will be formal and workplace suitable for its time perioud.
Also to capture the left, political driven explosion on the late 60s as people became more akin ton socialism leaving the cocoon of the antipathetic - dated capitalism that benefits the upper classes, I will shoot on film to engrain the time perioud I want to respond towards.
I will also use high shutter speed macro photography, I had developed earlier to take pictures of objects to change their meaning to execute the message I want to present; gender expectations of those living in the 60s or earlier, their restrictions and the harm they may cause, such high expectations to uphold.
I will also craft pictograms using photoshop to create them using the anchor select tool to create and illustration to reflect the themes at large.
I may or may not use colour in the images, in both the taken still image as it may be black and white, or the edited work, as I may colour grade the macro subjects to conform to the criteria needed for the 'colour' portion.
To replicate the aesthetic, I will shoot at an empty or neutral location evocative of the dread many face when tasked with working as an adult, and the clothing will be formal and workplace suitable for its time perioud.
Also to capture the left, political driven explosion on the late 60s as people became more akin ton socialism leaving the cocoon of the antipathetic - dated capitalism that benefits the upper classes, I will shoot on film to engrain the time perioud I want to respond towards.
I will also use high shutter speed macro photography, I had developed earlier to take pictures of objects to change their meaning to execute the message I want to present; gender expectations of those living in the 60s or earlier, their restrictions and the harm they may cause, such high expectations to uphold.
I will also craft pictograms using photoshop to create them using the anchor select tool to create and illustration to reflect the themes at large.
I may or may not use colour in the images, in both the taken still image as it may be black and white, or the edited work, as I may colour grade the macro subjects to conform to the criteria needed for the 'colour' portion.
FIRST SET OF PHOTOS
WWW - The images are framed and well composed and many techniques were used, the rule of thirds, triangle and leading lines tell you where to look, the film camera worked and the film wasn't poorly over or underexposed, I noticed film needs more exposure than a digital DSLR camera I am used to working with.
EBI - Some objects are distracting and in frame by accident, the library was closing as I was shooting, so hopefully in black and white it should look better.
ISO - (Kodak Portra 400, ISO film)
aperture - f.4
shutter - 1/60th
EBI - Some objects are distracting and in frame by accident, the library was closing as I was shooting, so hopefully in black and white it should look better.
ISO - (Kodak Portra 400, ISO film)
aperture - f.4
shutter - 1/60th
I made these two from actual photos taken above, macro photos and I composited them together.
final piece
The images represent archetypal gender expectations of the 60s, the men 'Breadwinners' and the women 'Materfamilias' The 'Hourglass' is meant to mirror the form of women expected and often unattainable and the 'Trophy' the same for men, the 'Trophy' also is symbolic of the typical competitive nature men exhibit when it comes to work, antipathetic, dated and capitalistic - the 'Scale' shows the pedestal they put on work for money for a family neglected at times, the home represents the limited options available for women in the 60s again the 'Hourglass' represents the time society at the time and now can put on women and their bodies, objectifying them as mere objects with an ephemeral nature bound to fade once the mid - late 30s about. This work is particularly harrowing for the subjects blank expressions, preoccupied with a life of sacrifice and what, for the 'american dream' or the ideal life advertised in the 60s. The consumed nature of either gender is harrowing when the fact that society as of now still remains rigid when it comes to gender expectations often unattainable, to clarify I am stating the competitive atmosphere created by advertisements for 'Hegemonic masculinity' and 'Hegemonic femininity' promoted on social media whether it be scams or get rich quick bitcoin schemes, or female instagram models working, anorexic, hours a day for this body to advertise. In conclusion this is a reflection of the expectations of gender that affect our day to day lives and struggles, photography is not to catch a moment in time and preserve the reality of the moment, rather to manipulate reality to create meaning and a message, to create art.
SHOT ON - Kodak Portra 400, ISO film
SHOT ON - Kodak Portra 400, ISO film
THE END.
Thats all folks.