The Everyman Cinema
During this shoot, I shot 14 images mostly from different viewpoints. This was my first structural shoot and all the images were in focus, however I did further increase the sharpness in photoshop, as well as increasing the hue and saturation. I believe many of the images have a strong contrast which enhances their impact. However, not all of the images have a contrast as I was mainly focusing on capturing the architecture. I think next time I will take many more images as I only captured 14.
St James' Church
Compared to the previous shoot, I captured a lot more images (20), however many are similar to one another. The majority of the photos are in focus, but once again, I edited the images in photoshop by making them more appealing. I think St James' Church had a lot more areas with good contrast due to the age of the building and the sunlight coming through multiple, large windows. When editing my images, I chose to brighten up and increase the saturation to make the images more intriguing.
St Pancras Railway Station
I chose to travel to St Pancras Station as I knew it had fascinating architecture on the interior and exterior. I captured 30 different, unique images from different angles with some edited to black and white in order to make the image the most effective. I ensured all my photos would be in focus otherwise the images wouldn't look very appealing, as well as having a good contrast. Personally, I don't think I could improve my collection of photos too much apart from perhaps making sure every picture fits perfectly in the frame.
National Theatre
This time I shot 35 different images of the interior and exterior of the National Theatre. The first time I visited it for my shoot, I was not able to actually go into the building as it was closed. However, the following day it was open, so therefore I was able to capture many more images of the interior. Once again, I ensured all images were in focus by adjusting the aperture and shutter speed. Due to the dull colour of the building and clear weather, it was easier to capture an effective contrast. I don't believe I could have done much better to improve this structural shoot. When editing these images, I chose to turn many exterior shots to black and white in order to amplify the sombre building but keep the images that were inside in colour, as the room had a bright and colourful ambience.
Brunswick Centre
I captured 28 unique images which surprised me because the Brunswick Centre is relatively small. It was a bright, sunny day so I had a lot of negative space in some of my images, creating a strong contrast between the buildings and the sky. My photographs didn't require sharpening in photoshop as they were all in focus so there is no need to re-do the shoot. When editing my images, I always decide to increase the hue and saturation as it makes the images more pleasing.
The Barbican
In this contact sheet, I have 35 images of the Barbican as it is such a huge estate. I visited the Barbican on the same day as the Brunswick centre so therefore the weather was bright and clear, benefiting capturing a contrast of light and dark. I have an image of running water, so in order to capture it, I had to have a very fast shutter speed to avoid any blur. In other shots, I had to change the aperture and shutter speed due to how bright the day was or if I wanted to focus on one thing and make the background blurrier. Once again, I increased the hue and saturation of each image.
Structure in Nature
Myoung Ho Lee photographs solitary trees framed against white canvas backdrops in the middle of natural landscapes
Myoung Ho Lee, a young artist from South Korea, has produced an elaborate series of photographs that pose some unusual questions about representation, reality, art, environment and seeing.
Simple in concept, complex in execution, he makes us look at a tree and its structure in its natural surroundings, but separates the tree artificially from nature by presenting it on an immense white ground, as one would see a painting or photograph on a billboard.
His works are largely composed by following four procedures:
1. Selection of The Subject
2. Separation of The Subject (meta-subject)
3. Photographing
4. Confirmation of The Separation
The object becomes a ‘separated object’, an ‘ambiguous subject’ and a ‘meta-subject’.
Myoung Ho Lee photographs solitary trees framed against white canvas backdrops in the middle of natural landscapes
Myoung Ho Lee, a young artist from South Korea, has produced an elaborate series of photographs that pose some unusual questions about representation, reality, art, environment and seeing.
Simple in concept, complex in execution, he makes us look at a tree and its structure in its natural surroundings, but separates the tree artificially from nature by presenting it on an immense white ground, as one would see a painting or photograph on a billboard.
His works are largely composed by following four procedures:
1. Selection of The Subject
2. Separation of The Subject (meta-subject)
3. Photographing
4. Confirmation of The Separation
The object becomes a ‘separated object’, an ‘ambiguous subject’ and a ‘meta-subject’.
Using the ideas of Myoung Ho Lee, we attempted to recreate this by going to the local woods (Coldfall) with a camera and a large piece of plain, white card.
Evaluation
This shoot was successful as all images were in focus, with and without the white backdrop. I captured 24 images of different parts of the woods in order to prevent repetition. In photoshop I used the crop tool to straighten out images, however next time I would do more editing of the images by increasing the hue and saturation to make the images more gratifying.
This shoot was successful as all images were in focus, with and without the white backdrop. I captured 24 images of different parts of the woods in order to prevent repetition. In photoshop I used the crop tool to straighten out images, however next time I would do more editing of the images by increasing the hue and saturation to make the images more gratifying.
Sanna Kanisto field work
By using a plain white backdrop and a clamp, we captured the structure of several different plants and flowers in order to show their natural beauty. This idea was created by Sanna Kanisto who has photographed animal, plant and landscape subjects over a couple of decades. She is interested in humankind's desire to control nature and to study and gather information. To create her images, Kannisto takes a portable studio of her own design out into nature. She displays nature and its detail simply, carefully lit or against a white studio background.
Evaluation
I believe that this shoot was successful due to the fact I had a large collection of different flowers and plants shot from several different angles and viewpoints (15). Additionally, my images were all in focus and I continued to edit my best images, mainly focusing on enhancing the green colours of the plants. In order to improve this shoot, I would capture more pictures.
I believe that this shoot was successful due to the fact I had a large collection of different flowers and plants shot from several different angles and viewpoints (15). Additionally, my images were all in focus and I continued to edit my best images, mainly focusing on enhancing the green colours of the plants. In order to improve this shoot, I would capture more pictures.
Abstract Structure
The relationship between photography and abstraction is intriguing as unlike other visual art which begin with a blank space or surface that has to be filled by the artist, photography begins with a world full of faithful manner. However, it could be argued that all art, including photography, is essentially abstract.
Source: Fortismere Weebly
Source: Fortismere Weebly
Evaluation
In this abstract shoot, we were instructed to fold, crumble but not tear a piece of A4 paper and create an interesting shape. We would then place it onto a plain, white back drop and using coloured, translucent paper as well as a bright light, and capture it. The use of the light created a nice shadow whilst the translucent paper would create an aesthetically pleasing colour. Admittedly, it was difficult creating interesting shapes with the paper, however the combination of colour and light enhanced the whole image. I didn't have to do much editing in photoshop as the images were already full of colour.
In this abstract shoot, we were instructed to fold, crumble but not tear a piece of A4 paper and create an interesting shape. We would then place it onto a plain, white back drop and using coloured, translucent paper as well as a bright light, and capture it. The use of the light created a nice shadow whilst the translucent paper would create an aesthetically pleasing colour. Admittedly, it was difficult creating interesting shapes with the paper, however the combination of colour and light enhanced the whole image. I didn't have to do much editing in photoshop as the images were already full of colour.
We were then instructed to manipulate gold foil and once again, using a white backdrop, capture detailed images of the shape. The idea was to make it seem slightly like a landscape, creating different, interesting images.
Evaluation
In this shot, I only captured 15 images as I found it reasonably difficult to create different interesting, effective images of the golden foil. I did have to use photoshop to sharpen and focus the images and the room was very dark, making it difficult for the camera to fully focus. I also used photoshop to enhance the golden colour of the foil in order make the foil look more metallic.
Evaluation
In this shot, I only captured 15 images as I found it reasonably difficult to create different interesting, effective images of the golden foil. I did have to use photoshop to sharpen and focus the images and the room was very dark, making it difficult for the camera to fully focus. I also used photoshop to enhance the golden colour of the foil in order make the foil look more metallic.
Similar to the A4 white paper task but using two or more coloured cards, we attempted to make fascinating shapes and capture the detail with our cameras.
Evaluation
I used a light and the translucent filter paper a few times in order to create variation. Once again, I found it was difficult to create interesting shapes but that was overlooked by the colours of the card.
Evaluation
I used a light and the translucent filter paper a few times in order to create variation. Once again, I found it was difficult to create interesting shapes but that was overlooked by the colours of the card.
Structure In Buildings
Evol
Evol is a Berlin-based street artist, who literally transforms streets with his art. Electric boxes, small planters and a variety of other geometric city forms turn into miniature apartment buildings and many other structures. These urban installations and paintings are made on used cardboard and depict 1960s East Berlin housing architecture. Each piece of paper is printed with a pattern of flat grey walls with plain window frames, a repetitive sight which makes Evol's work recognizable in a number of different cities.
Source: Widewalls
Evol is a Berlin-based street artist, who literally transforms streets with his art. Electric boxes, small planters and a variety of other geometric city forms turn into miniature apartment buildings and many other structures. These urban installations and paintings are made on used cardboard and depict 1960s East Berlin housing architecture. Each piece of paper is printed with a pattern of flat grey walls with plain window frames, a repetitive sight which makes Evol's work recognizable in a number of different cities.
Source: Widewalls
I find Evol's style of photography very interesting due to how unique and different it is compared to other street artists. Using his ideas, I tried to recreate this by placing windows and a door on a bit of worn down card and placed it around my school.
Evaluation
I only managed to capture 8 different images due to time restrain and the restrictions of the school, however I believe the shoot was successful as the aperture and shutter speed were adjusted correctly resulting in all images being in focus. I think this could be improved by going out into Muswell Hill to capture different backgrounds as well as using stencils the way Evol does.
I only managed to capture 8 different images due to time restrain and the restrictions of the school, however I believe the shoot was successful as the aperture and shutter speed were adjusted correctly resulting in all images being in focus. I think this could be improved by going out into Muswell Hill to capture different backgrounds as well as using stencils the way Evol does.
I really like this image by Evol as it is quite illusionistic and deceptive as it involves a contrast between a living animal and a fictional building. Using stencils, Evol placed lots of windows on to a plain, grey structure to make it seem as if it is an actual building. With the pigeon sitting on top, it makes the admirer look twice to understand what is happening. If we ever use stencils, I would love to capture an image similar to this, involving a real life, living object.
City In Photography
The camera started to act as a detective moving through street scenes that were invisible to many. Thomas Annan revealed the poverty on the streets of Glasgow in 1839.
In the early 1860s, Napoleon III commissioned photographer Charles Maville to document the city's transformation from medieval architectural hodgepodge to modern metropolis.
Alfred Stieglitz bought an idealism to the city that bordered on the spiritual. Dynamic and modern, he photographed the city divorced from the chaos that he surrounded it.
Jacob Riss Hoe moved into forbidden and invisible urban territory within the appalling conditions on New York's lower east side. He revealed both private and public space.
Weegee (pseudonym of Arthur Felig) in the 1940s photographed the underworld of New York using a police radio to capture crime just as it happened. Murder in Hell's Kitchen (1940) is an example of this.
Walker Evans captured people of the city in the New York subway with a concealed camera, giving a sense of urban loneliness and separation. In the 1980s, Bruce Davidson would continue the work by Evans in his subway series. Davidson's vivid underground exploration of New York's subway system in the 1980s is an epoch-defining series that marked the photographer's shift from black and white to colour
Source: Fortismere Weebly
The camera started to act as a detective moving through street scenes that were invisible to many. Thomas Annan revealed the poverty on the streets of Glasgow in 1839.
In the early 1860s, Napoleon III commissioned photographer Charles Maville to document the city's transformation from medieval architectural hodgepodge to modern metropolis.
Alfred Stieglitz bought an idealism to the city that bordered on the spiritual. Dynamic and modern, he photographed the city divorced from the chaos that he surrounded it.
Jacob Riss Hoe moved into forbidden and invisible urban territory within the appalling conditions on New York's lower east side. He revealed both private and public space.
Weegee (pseudonym of Arthur Felig) in the 1940s photographed the underworld of New York using a police radio to capture crime just as it happened. Murder in Hell's Kitchen (1940) is an example of this.
Walker Evans captured people of the city in the New York subway with a concealed camera, giving a sense of urban loneliness and separation. In the 1980s, Bruce Davidson would continue the work by Evans in his subway series. Davidson's vivid underground exploration of New York's subway system in the 1980s is an epoch-defining series that marked the photographer's shift from black and white to colour
Source: Fortismere Weebly
Joel Meroywitz is a street photographer who was born in the Bronx in 1938 into a neighbourhood that offered daily lessons in the divine comedy and tragedies of human behaviour. He believes it was that that basic 'street' education that nurtured his delight in human observation, a perception that is at the heart of his photography. In 1962, Robert Frank made photographs for a booklet Meyerowitz designed, and it was while watching Frank work that he discovered that photographs could be made while both the photographer and the subject were in motion. The power of this observation made Meyerowitz quit his job immediately, borrow a camera, and out onto the streets of New York. He has been on the streets ever since. Meyerowitz famously exclaimed that "the enigma of the city as experience and a place of rich and dangerous problematic subject for the camera.
Source: joelmeyerowitz.com
Source: joelmeyerowitz.com
Structure In The Body
Evaluation
In this shoot, we captured pictures of both a human as well as a plastic skeleton. We ensured we captured different angles of each in order to help find what would be the best image after being edited in photoshop. When in photoshop, we would place one image over the other, line them up by lowering the opacity and use the eraser tool to get rid of certain parts to create an effect. I believe my final image was successful as it is a clear mixture of human and skeleton.
In this shoot, we captured pictures of both a human as well as a plastic skeleton. We ensured we captured different angles of each in order to help find what would be the best image after being edited in photoshop. When in photoshop, we would place one image over the other, line them up by lowering the opacity and use the eraser tool to get rid of certain parts to create an effect. I believe my final image was successful as it is a clear mixture of human and skeleton.
Three Strands
Derelict structure
Karen Brodie
Karen Brodie
My images:
Evaluation
I visited a derelict structure in Cherry Tree Woods at around midday. This pavilion was leased out by the Barnet Council a few years ago and since then, there has been very little progress on renovation work undertaken by the leaseholder. As you can see, the building is in very poor condition with graffiti, unstable fencing and colour deterioration. I chose to not make the images black and white as the weather was very dull, enhancing the lifelessness of the building. Unfortunately, I was not able to enter inside the building due to its restriction but I managed to get surprisingly good contrast between the brightness of the graffiti and the gloominess of the derelict structure. Overall, I do believe my images captured how dismal the abandoned, derelict building was because of the insipid colours of it.
I visited a derelict structure in Cherry Tree Woods at around midday. This pavilion was leased out by the Barnet Council a few years ago and since then, there has been very little progress on renovation work undertaken by the leaseholder. As you can see, the building is in very poor condition with graffiti, unstable fencing and colour deterioration. I chose to not make the images black and white as the weather was very dull, enhancing the lifelessness of the building. Unfortunately, I was not able to enter inside the building due to its restriction but I managed to get surprisingly good contrast between the brightness of the graffiti and the gloominess of the derelict structure. Overall, I do believe my images captured how dismal the abandoned, derelict building was because of the insipid colours of it.
Original Structure at night
Rut Blees Luxemburg
Rut Blees Luxemburg
My images:
Evaluation
This was probably the hardest to complete as it required a good view of London and somewhere where I can rest the camera to avoid blurring the image due to how low the shutter speed had to be. At around 8-9 o'clock in the evening, I chose to visit Archway bridge first and then Alexandra Palace next as I was aware they had extensive views of the city of London. When doing the shoot, it was very important that I captured bright, preferably red lights to avoid the image being dull and unclear, hence why I chose to capture some of the road, to create a blurry red light effect. When going to Archway, I had to rest the camera on the edge of the bridge which conveniently had upward spikes which I could perfectly fit my camera into to create stability. On the other hand, at Ally Pally, I had to rest my camera on a bench and take the picture blindly which captured an effective image of the view but was slightly blurry. I think if I choose to focus heavily on structure at night, I need a tripod to make the camera steady when taking the image as well as visiting areas at dusk in order to get a clearer, more interesting image.
This was probably the hardest to complete as it required a good view of London and somewhere where I can rest the camera to avoid blurring the image due to how low the shutter speed had to be. At around 8-9 o'clock in the evening, I chose to visit Archway bridge first and then Alexandra Palace next as I was aware they had extensive views of the city of London. When doing the shoot, it was very important that I captured bright, preferably red lights to avoid the image being dull and unclear, hence why I chose to capture some of the road, to create a blurry red light effect. When going to Archway, I had to rest the camera on the edge of the bridge which conveniently had upward spikes which I could perfectly fit my camera into to create stability. On the other hand, at Ally Pally, I had to rest my camera on a bench and take the picture blindly which captured an effective image of the view but was slightly blurry. I think if I choose to focus heavily on structure at night, I need a tripod to make the camera steady when taking the image as well as visiting areas at dusk in order to get a clearer, more interesting image.
Portrait structure
Jasper James
Jasper James
Evaluation
I chose to redo this strand as my previous attempt didn't work properly. This time I made the human face more of a silhouette, as well as making it a side-profile in order to capture distinct features such as the nose and outline of the head. This was done using pictures of nature from Coldfall Woods. This process involved placing one image over the other in Photoshop, adjusting the opacity to line up the image, and then using the pen tool to outline the face. Once I had done this, the outline of the head was copied and placed in front of the nature image, then once again adjusting the opacity in order to prevent either the nature image or human head image from standing out. This process was quite complicated and took lots of time however I am pleased with the final result.
I chose to redo this strand as my previous attempt didn't work properly. This time I made the human face more of a silhouette, as well as making it a side-profile in order to capture distinct features such as the nose and outline of the head. This was done using pictures of nature from Coldfall Woods. This process involved placing one image over the other in Photoshop, adjusting the opacity to line up the image, and then using the pen tool to outline the face. Once I had done this, the outline of the head was copied and placed in front of the nature image, then once again adjusting the opacity in order to prevent either the nature image or human head image from standing out. This process was quite complicated and took lots of time however I am pleased with the final result.
Monoprinting
Monoprinting is a form of printmaking that has lines or images that can only be made once, unlike most printmaking, which allows for multiple originals.
Source: Wikipedia
Stages of monoprinting:
1. Place an appropriate amount of coloured paint onto a palette. Too little will mean you won't get much print and too much paint will result in smudged print.
2. Using newsprint, place it onto the exposed paint and apply pressure using a roller. Then once pressure has been applied, remove the newsprint off the paint.
3. Next, place paper over the newsprint as well as your chosen printed image and line them up.
4. Using a pen or pencil, trace the image, the more detail captured, the better the image will look.
5. Once completed, find a place to dry the image for a few minutes to avoid smudging.
Monoprinting is a form of printmaking that has lines or images that can only be made once, unlike most printmaking, which allows for multiple originals.
Source: Wikipedia
Stages of monoprinting:
1. Place an appropriate amount of coloured paint onto a palette. Too little will mean you won't get much print and too much paint will result in smudged print.
2. Using newsprint, place it onto the exposed paint and apply pressure using a roller. Then once pressure has been applied, remove the newsprint off the paint.
3. Next, place paper over the newsprint as well as your chosen printed image and line them up.
4. Using a pen or pencil, trace the image, the more detail captured, the better the image will look.
5. Once completed, find a place to dry the image for a few minutes to avoid smudging.
Evaluation
I chose to use my derelict images to use in monoprinting as they have the most detail meaning the final result would look more successful. I chose to use the colours red and green due to the fact they are quite eye-catching colours, making the images more aesthetically pleasing. In my opinion, I believe that my derelict pictures weren't the most effective pictures to use in monoprinting as the images had railing and fencing covering the building, meaning I traced straight lines from top to bottom of the image, making the monoprint less intriguing and more confusing.
Experimenting with my monoprints
Evaluation
I chose to use my derelict images to use in monoprinting as they have the most detail meaning the final result would look more successful. I chose to use the colours red and green due to the fact they are quite eye-catching colours, making the images more aesthetically pleasing. In my opinion, I believe that my derelict pictures weren't the most effective pictures to use in monoprinting as the images had railing and fencing covering the building, meaning I traced straight lines from top to bottom of the image, making the monoprint less intriguing and more confusing.
Experimenting with my monoprints
My Developed Strand: Night Photography
Evaluation
I chose to mainly focus on night photography because I was interested in that strand the most as well as it being much more accessible rather than derelict structures which are uncommon or not allowed to be seen by the public. Over the Christmas holidays, I visited different parts of London such as Primrose Hill, St Paul's cathedral and St Mary Axe with a tripod where I captured 25 different, unique pictures of London. The incorporation of the tripod evidently made the images much less blurry in comparison to my previous attempt where most of the pictures were blurry. Furthermore, I shot more close up's of structures inspired by the work of Rut Blees Luxemburg rather than distant landscapes and it is much more effective. Some of the images contain bright coloured streaks along the road caused by moving cars and a slow shutter speed which enhances the interest of the image.
I chose to mainly focus on night photography because I was interested in that strand the most as well as it being much more accessible rather than derelict structures which are uncommon or not allowed to be seen by the public. Over the Christmas holidays, I visited different parts of London such as Primrose Hill, St Paul's cathedral and St Mary Axe with a tripod where I captured 25 different, unique pictures of London. The incorporation of the tripod evidently made the images much less blurry in comparison to my previous attempt where most of the pictures were blurry. Furthermore, I shot more close up's of structures inspired by the work of Rut Blees Luxemburg rather than distant landscapes and it is much more effective. Some of the images contain bright coloured streaks along the road caused by moving cars and a slow shutter speed which enhances the interest of the image.
After completing this new shoot, I was instructed to continue to capture more night photography but to focus on isolated areas. This was more challenging to complete due to the restriction, however I went around my local area of Muswell Hill at night with a tripod and attempted to capture deserted looking areas. I went to areas such as under bridges, gloomy car parks and warehouses inspired by photographers such as Giles Coulon, Andreus Lever, Harlan Erskine as well as William Eckersley.
William Eckersley's images
William Eckersley's images
My Slideshow
Evaluation
Overall, this shoot was slightly hard to complete due to the lack of deserted-looking places in North London so I had to plan where I would visit before completing the shoot. Therefore, I went to places such as tennis courts, carparks and through tunnels during the night to capture the isolation of each destination. I managed to capture 10 unique images from different angles using a tripod where all my shots were in focus with a high aperture and a very low shutter speed.
Overall, this shoot was slightly hard to complete due to the lack of deserted-looking places in North London so I had to plan where I would visit before completing the shoot. Therefore, I went to places such as tennis courts, carparks and through tunnels during the night to capture the isolation of each destination. I managed to capture 10 unique images from different angles using a tripod where all my shots were in focus with a high aperture and a very low shutter speed.