Term 2: Digi Tech // Sara Orme Response

Orme's empowered approach to photographing the world of fashion is most definitely something to be admired. She sees the moving world around her and has a free approach which enables her to bring out the life of her subject no matter what the situation. She keeps up with trends, stays true to herself and is savvy in her approach to business. 

For this response I wanted to look at two things: 

1) To create a light tone at a shoot -  using movement and laughter

2) To 'grade' the images in lightroom - something Orme discussed several times in her guest lecture

Research

Laughter and Movement are often used in photographic fashion campaigns - particularly those aimed at young women. I personally prefer this style instead of image after image of female models being far too cool for school. At least these women seem like they are having fun. 

Glassons Imagery:

Young Women Fashion Store - NZ based

Richard Avedon Fashion:

While Orme didn't mention Avedon as someone who has influenced her, it's easy to see that Avedon's transformative use of movement in fashion photography would have had some part to play at some point. He brought to life to fashion photography before everyone else. Orme's work has more of a down to earth quality, seen her choice of models, locations and poses. 

Sara Orme  - Location Fashion Photography

Orme's fashion style feels very real in comparison to the recent Glassons campaign. Her work captures a youthful and playful spirit that is key to her style. There's something about her work that is slightly gritty even, perhaps this is the locations and her seemingly more limited approach to retouching (unless it's absolutely needed) 

Experimentation: The Shoot

Model: For my photographic response I decided to use my friend Ema who I've used before as a model. We get along really well and I figured together we would be able to generate the energy needed to create the images. 

Location: Locations in fashion shoots seem to either be country/city specific or ambiguous. Generally they lean on the more ambiguous side, with only small details giving away the place in which the images were taken. I opted to pick a location which reflected the style of playful and light energy - the school yard. But the school could be anywhere. 

Energy: For the shoot Ema and I wandered around the empty school finding spots to play or lie around in. Thankfully it was a sunny day (one of the few) and the school had loads to offer in terms of sun spots and nostalgia. 

Concept: Ema is clearly an adult and not in a school uniform so her very presence in the location is almost a piss-take - she's having light-hearted fun. The collection of images tell you where she is and show her almost reminiscing. Even the under the tree shot harks back to 'trying' to be cool rather than actually being cool. Obviously this is also due to Ema not being a model and me not being that cool but you get the point. 

Before Images:

Image 1

Image 3

Image 4

Lightroom

Orme mentioned grading images in Lightroom. I've had Lightroom on my computer since I bought the Creative Suite with Photoshop earlier in the year but never even opened it. I figured this was a good time to have a play. 

After using Camera Raw it doesn't feel as intuitive, although after a few youtube tutorials its incredibly similar. The big difference is that Lightroom has 'presets' similar in use to a filter on instagram.  I used 'Old Polar' for these images as well as playing around with exposure.  

After experimenting in Lightroom:

Image 1

Image 2

Image 3

Image 4

Evaluation: Lightroom/Laughter and Movement
Lightroom definitely enabled the images to be exposed correctly and offered an easy way of correcting colour and making the colours match so that the images could easily go together. It lifted brightness effectively and brought out the greens and blues to make the images feel more alive. I would definitely use this again especially if I needed to create a large number of images that needed to match colour wise. However I still need to experiment more as I managed to somehow loose image 2 as a RAW file when I moved it into and out of Lightroom, thus why there is no before image for number 2.

Laughter and Movement was harder to gain during the shoot than expected, at least genuine laughter and movement that is. Even though we were having a good time it was difficult for Ema to let go of the camera being there and smiles/laughter became slightly forced. Looking around the location I think I experimented well to find spots that created the feeling of reminiscing in a school grounds with the library image being the give away of the location. I looked for a mixed of diffused light and played around with framed in shadow. I think the most successful image is number 2 because it captures adventure, movement, laughter and lightness - my goal of the response. 

Term 2: Digi Tech // Allan McDonald Response

Allan McDonald
Listening to Allan's talk and looking at his work the thing that initially grabbed me the most was how he was able to re-contextualise his work pre and post the major Christchurch earthquake. His work took on more meaning and importance. His amassed work now documents buildings around the country that otherwise may not have been recorded in such a clear and detailed fashion as they near the end of their life. Viewing the images at the Pah Homestead I don't think I fully 'got' what he was doing and why, I mean it was interesting but given more context I've now been far more drawn into the idea of 'collecting' and 'documenting' and see his reason in displaying his work all together.

Initial Research // Bernd and Hilla Becher
https://www.youtube.com/watch?v=6ZSLvFY1X6g
http://www.guggenheim.org/new-york/collections/collection-online/artwork/500
http://www.artnet.com/artists/bernd-and-hilla-becher/

The Becher style
Each photograph is expertly executed and stand in their own right - but the images are meant to be viewed together in order to compare and to take note of the subject's grandeur and idiosyncrasies. These images of structures were taken at first because of their design aesthetic but then re-contextualised (as Allan did post Earrthquake) once they realised the structures were likely to be demolished . They saw these structures to be as important as the medieval quarries in terms of the history and saw these massive structures as an important snapshot of the age.

------- Adding Further Becher Research ------

Water Towers, 1980

   

For my own experimentation I initially wanted to just look at the collecting side of things so after a small amount research went straight out and shot some 'cool old buildings' - an undirected approach I'll talk about later.

Experimentation
Attempt One
To start off with I was interested in the idea of photographing older buildings situated around Auckland that had always stuck out to me. However, the reasoning or approach behind taking the images was clearly haphazard. Even when I was taking the images I struggled to define what the links between the subject matter could be. They are old yes, but what else? I eventually liked the idea of focusing on the symmetry of these buildings but then that wasn't really consistent. If anything I realised that if one was to start a collection of this nature you have to be super passionate about it. This particular method of simply driving around in a car looking for cool buildings without any clear direction probably shows in the images.

With these images there is no clear idea behind them. The vantage point is constantly changing, some have symmetry, some not, some are vacant, some are fully in use. No rhyme or reason really shows with these images. In some ways I like them more individually than I do together.

More Research...
TedxSF - James Mollison Typologies
https://www.youtube.com/watch?v=zL38jPFZIeI

While I think we had briefly looked at these images before, hearing Mollison discuss his work in more detail and show the different subject matters he has worked with was very enlightening. His methodical approach and eye opening content shows the power images can have when placed together and given the opportunity to compare. The bright colours he chooses to bring to his work is almost magazine like in its glossiness, no matter whats in the frame.


Attempt Two
Then after further research I decided to focus on something more deliberate and much smaller in scale. After spending much time walking over the past few months I have noticed my neighbourhood has many DIY swings situated on trees between the road and the footpath. While the images themselves aren't hugely beautiful it's more what they represent, a community attempting to feel connected and enjoy the world of play. The swings can be used by passers by and neighbour hood kids. There's something about them that is holding onto the idea of playing in the street, its nostalgic and generally something that's discouraged in our society. Then again, I have only once on my travels actually seen one in use.

Here they are: 

Rocklands Ave, Auckland, 2014

Halston Rd, Auckland, 2014

Halston Rd, Auckland, 2014

Wairiki Rd, Auckland, 2014

Thames St, Auckland, 2014

I found this series to be far more successful, there's intention behind the images and by collecting them, naming them and presenting them together there is something very satisfying about the approach. For these images I shot them all in the middle of the afternoon and these final images all include the tree the swing is hanging from. I wanted the images to be bright but without humans present. Some of the images show the wind movement which actually on reflection could have good to get from all the swings. I did experiment with cropping the frame but without seeing where the swing is coming from it's hard to gain context. One thing I really don't like in the images is the rubbish bins and street signs - if I had the choice I would remove them. With there presence the images with age but without them they are more timeless. 

Wrap Up

With this typology approach it constantly feels like there is a bigger meaning to be had and by looking at the same thing over and over you start to look at it differently. As someone looking for the swings I got a huge amount of enjoyment from finding a new one I hadn't seen before. If feels like you are trying to show people something that they may not otherwise see. 

Term 2 Wk 3: Richard Mosse Exercise

What genre/s does Richard Mosse's 'The Enclave' fit into?
Documentary Photography

What is the history that relates to this project?
The Rowanda Genocide

Is there anything in his own history that influences this work?
Hearing about the conflict in his own country but not directly experiencing it. Also his Quaker upbringing as a pacifist.

Why did he choose to use the Kodak infared film for the project?
To bring light/illuminate the unseen and to push against the documentary genre.

How does the use of this film fit into the documentary genre?
Traditionally it doesn't.

How many times has he been to the Eastern Congo for the project? Why do you think he has been back so many times?
8 Times over 4 years.  To truly get used to the environment, be immersed and to go deeper.

What justification does he have for creating such beautiful images to represent such horrific events? Why would he be criticized for this? How does this differ from other war photographs you have seen?
To lull his audience into the beauty and disorientate them. Immersing the viewer. By not showing the graphic nature he has an opportunity to connect with a viewer rather than shock them. People are now so used to seeing horrific photographs something beautiful and surreal has a chance to cut through the noise. 

Term 2: Portfolio Research // Alex Prager

From having a casual look at nowness.com I came across Alex Prager, a self taught LA Photographer whose stylized and colorful works resonated quickly. While the style she has may seem like something out of the 60s she herself admits the costumes she uses are from the 40s right through to the 80s. Her influences are William Eggleston, Hitchcock and Guy Bourdin - also some of my current faves.

What impressed me most with her work was her use of color and the way she works with moments and feeling.

After seeing her images I realized what was missing from my portfolio concept. Movement. I don't want my images to all require a long exposure and therefore zero movement so I'm now going to focus on creating a narrative series of between 5 - 8 final images using one model and shot outside my home. 

Now to Research:
- Composition
- Lighting Options
- Styling
- Make-up
- Hair

Here are some links to more info on Alex:
http://www.alexprager.com

https://www.youtube.com/watch?v=pIASkq7T0H8

https://www.youtube.com/watch?v=L-5lkjsTURQ

https://www.nowness.com/story/alex-prager-crowd-pleaser

And some of her fabulous images: 

Term 2 Wk 2: Staged Photographs

After the discussion a couple of weeks ago regarding Roger Fenton's Valley of the Shadow of Death  I went on a wee mission to look at other staged photo's.

I found this link:
http://blogs.photopreneur.com/worlds-most-infamous-staged-photos

And watched this lecture:
https://www.youtube.com/watch?v=DxMoeYC1bs4

This famous image Frances Griffiths with fairies. While by today's standards its pretty clear to see that they are unlikely real, at the time they caused quite the stir. I remember seeing these images years ago as a child and was convinced I too could see fairies at the bottom of the garden. I like the idea that an image can make you think, and question the possibility of the unknown. We hope that some of our legends are actually true when it's unlikely they would ever be! These photographers play with our emotions and give into that fantasy. Although today we are taught to question whether something is real or unreal very quickly. Every knows Photoshop exists.

In regards to my own practice, I don't think I'm interested in any kind of trickery so to speak. The images I will be taking for my portfolio will be staged but in a very obvious way. I intend to show this by being at vantage points not possible for candid images and by dressing my subjects thoughtfully but unrealistically.

Term 2 Wk 2: Natural Light Food Photography // Kingsize Response

After viewing Kingsize Studio's skylight/natural light space and hearing about the way in which people used the space to its full advantage by reflecting natural light from a window - I thought I'd give it a crack!

My set up involved using diffused natural light from an open door directing south at around 7pm (meaning there was no direct light on the subject). I started without using a reflector and then added a silver one in the last few shots. The reflector definitely added definition to the subject and brought light into the shadows. For all images I used a low aperture to achieve a shallow depth of field and focus on the food itself.
 
 Attempt 1: No Reflector

Attempt 2: With Reflector

Attempt 2: With Reflector cropping and brightening in Photoshop

Attempt 3: With Reflector

Attempt 4: With Reflector and brightening in Camera Raw

I'm pretty happy with these images! They were enjoyable to experiment with and obviously having a colorful subject matter that didn't move was great.  The natural light with reflector meant that the  colors of the food were kept intact. If I was to do these again I would experiment more with vantage point and see what other angles would be interesting.

Term 2 Wk 1: Pah Homestead Field Trip

Presentation Styles 
Great opportunity to check out a variety of presentation styles, while I tended to focus on photographic work it was choice to see other mediums of fine art all in one place! Overall I preferred the simple styles that didn't overpower the images. In terms of size I probably prefer slightly larger works that allow the viewer to be slightly overwhelmed especially if a work has a sense of depth and layers.

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Name of work and Artist:

Allan MacDonald | Aperture | Pitt Street Service Alley

How does the presentation affect the way you view the work?
The black frame doesn't detract from the image and adds to a sense of cohesion in the image, highlighting the shadows. The large size allows the viewer to see into the detail of the buildings in all of wear and tear.

Would you use this type of presentation for your photography and why? 
Yes. It's classic and contemporary. It doesn't take away from the image and the size allows the details in the image to easily be seen by the viewer.

Is there anything you would have done differently? 
No.

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Name of work and Artist:
Stephen Ellis | The Anchor Drags

How does the presentation affect the way you view the work?
The bull dog clips make light of the way in which the image was created using ballpoint pens. It brings you into the work making you look closer and helps to put two and two together.

Would you use this type of presentation for your photography and why? 
Ha I used to do this all the time with images I collected. It would be a cheap way to show work but it would depend on what the image was.

Is there anything you would have done differently? 

Nope. 

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Name of work and Artist: Ping XU / Chinese Women 
How does the presentation affect the way you view the work?
The smaller quality of these works meant the viewer has to move into the image and look closely to see what is going on. The floating images inside the frame mirror the reflective quality of the work.

Would you use this type of presentation for your photography and why? 
Yes - although this style seems to suit a series of images placed together and images that focus on a single subject. In terms of the size it probably won't suit the images I am looking at taking for my portfolio.

Is there anything you would have done differently? 
No - not with these images.