Studio Practice (Semester 2)

Studio Practice: Evaluation

I’m really happy that we worked with the speedlites, due to the fact that I worked a little bit with them before this meant that I was able to learn different techniques with them. I felt like the statues worked extremely well with the statues and after the i8nitial shoot I was eager to try it with some more. With the first shoot we did it was hard due to the fact that the statues were up high and we had to use stands. Previously I had only used speedlites on people and objects in a studio style setting, rather than on objects on location so this was all new to me.

Cinemagraphs were something which I enjoyed a lot, as it was something I had touched on before I was confident in making one – without using the flash that is. I made a few different ones focusing on people and traffic, however didn’t use the flash, once we had to use the flash it was much harder due to the fact that you wasn’t taking images but taking video. This meant that my results with the flash weren’t as effective as the ones with the flash. I think in the future I will try and find a way to incorporate both into my work.

Throughout the studio practice module we worked together as groups a lot, at times this could seem a bit ineffective as there were times in which you felt as if people weren’t pulling their weight. However, for the most part it was very useful working in groups because you could assign roles and get a lot done. It also meant that you were able to come up with lots of different ideas. Something which I enjoyed was the fact that even though we all had the same pictures at the end of the shoot everyone would come up with something different and we could also work together and help people with their images.

With the Crewdson images I was really happy, but I rarely do location shoots in a big group, so I’m happy that I was able to create the type of images which I haven’t created before.

 

Gregory Crewdson Inspired · Irene Kung Inspired · Studio Practice (Semester 2)

Studio: Final Images

Statue sleeve size This is the Irene Kung image which I feel was my best, I chose this one because of the amount of red light we used within in the image, which I feel links to all the suffering which the slaves went through, with the blue white light offering the abolishment that Wilberforce managed to get. I feel as if the background isn’t too distracting like some of the others were. I also think that the red brings out his facial expression a lot more than it did in some of his other images. I feel as though it is very effective using speed lights to light up inanimate objects within this way and can be something I can include in future projects.

Graveyard sleeve size

This is the image which I created from the graveyard shoot, with this I made the image look a little more yellow tones to symbolise the streetlights rather than the moonlight. The blue tone from the coloured gel connotes sadness and adds to the narrative of the images. There is a strong balance between both ides of the image, as you don’t want the image to look cluttered. I also think it works better as a thin strip as it links back to Crewdson and how he would do it.

Underpass sleeve size

This is the image I created from the underpass images, I wanted to show the point of view from the stalker and show what he would see. The distance between the stalker and stalkee is quite large, making Lucy look very small – making it look as though it is a predator and its prey.  The lighting is effective in both instances, with the strong lights on both of the models. I feel as if this looks more cinematic than the graveyard one maybe because of the contrast in colour.

Gregory Crewdson Inspired · Studio Practice (Semester 2)

Underpass Shoot – Development

Here is my development for the underpass image, I decided to choose the set up where we pointed the camera from the stalker’s point of view because it was my favourite set up. For this image I began with the image of the just the pillar and the background, I then added in the image of Lawrie and used a layer mask to get rid of the bits I didn’t need. I then added in the image of Lucy, as you can see i needed to remove the part of Lawrie where the flash was too bright on him. I removed Paddy and Meg’s arm from the shot and then proceeded to move Lucy down a little bit because I felt like it looked better this way.  I then changed some of the colouring by changing brightness and contrast and adding filters over the image to change the tone. I then cropped the image in the way that Crewdson would.

Gregory Crewdson Inspired · Studio Practice (Semester 2)

Gregory Crewdson inspired – Underpass shoot

After the success of our graveyard shoot we decided to do another Crewdson type shoot. We came up with the narrative of a young girl being stalked, which then led us to the idea of using an underpass near The Deep. We discussed that we could light it in a film noir style image, and perhaps turn it into black and white. We also suggested using coloured gels, such as red and blue for police sirens.

We used the same kit as before, the Canon Mark iii, 50mm lens, speedlites, transmitter, stands and tripod. We also decided that Keith would be the stalker and Charlotte would be the stalkee, this was due to the size difference between them. On the day though Charlotte was ill and Keith was running late. As much as I wanted to model I couldn’t as I had modeled in the last one which meant I didn’t get a lot of time on the camera. Lucy and Lawrie both stepped in. Lawrie was wearing a dark coat so he could the hood up and I gave Lucy my handbag so she had something to cling onto.

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Paddy took charge, while Emily and Meg too control of the camera and I held the speedlite. We had a few different ideas in mind of images so decided to try them all. This idea we wanted a wide shot but also wanted the pillars in the shot too. We were going to have Lucy in the foreground while Lawrie in the background lurks behind her. We found that this as very hard to light though so in the end decided to move onto the next idea.

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We decided to move Lawrie and have him stood next to the pillar almost as if he was waiting for Lucy to pass. He decided to hold his phone up so it looked like he was trying to take a picture of her. For this set up Paddy held the flash at one side flashing it in Lawrie’s direction while I stood near Lucy and lit her up. We tried it at different places, making me nearer and further way from Lucy and also behind the pillar. We felt like we got a good set of images for this set up.


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I decided to shoot an image from the stalker’s point of view, we changed into a portrait orientation and made it look as if we were looking over Lawrie’s shoulder. Like the last set up I wanted one light on Lawrie and one light on Lucy. It took a while to light Lawrie effectively, sometimes it was too subtle and sometimes it was too bright. I also didn’t want a lot of the pillar to be lit up too much. We tried a few different methods, mostly was just the position of the speedlite. We tried lighting through a cardboard box but it didn’t work. I felt as though the way Lucy was lit as really effective, the light would pool into a circle beneath her, almost like a spotlight. It also would do this above too and took us a while to only get it on the bottom.


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For our last set up we decided to make it seem really ominous and use the road above, to showcase what was happening below. This contrast added a deeper meaning to the narrative. I also think that the composition of this is really effective, because you have the two triangle of light and dark meeting. For this one i just wanted Lawrie to be following Lucy. Paddy stood behind Lawrie with the speedlite and Meg lit Lucy. Originally Meg lit her from where we were stood but I told her to move nearer s I wanted the intensity of light on Lawrie to be the same on Lucy.

I feel as though we have got quite a few strong set ups for us to edit some Crewdson style image from.

Jeff Wall Inspired · Studio Practice (Semester 2)

Cineamgraphs: Town

After struggling to get our head around doing the cinemagraphs with the flash we decided to give it one last go. We decided to stand at the crossing near the fountain and opposite Princes Quay, this was so we could get people and cars within the shot. As we needed to use the flash as close to someone as possible I decided to model as Charlotte would film. I held the speedlite and as I walked I would flash it in my face. I don’t think this would show up well in the video.

Within this video I walked across the frame, it looks as though I am following a man, however that’s not the case. With this cinemagraph the plan was to have me still and then have the traffic pass me, however the flash didn’t pick up on the video so we will have abandon this one for now.

We then decided instead of seeing the side of me that we see the front of me instead, so I walked by the camera and out of the shot. This way you can see my face and this can be the focus of the cinemagraph. I pressed the flash as I walked by, however in this instance the flash is too subtle. We’ll have to change the power output and try it again.

In this video you can see the flash very clearly, however it’s not very flattering. But it is something! I think what I will need to do is pause the part when the flash is fired and then have the background moving.

With this attempt the movement is very subtle after the car goes by, all you can see is the flag flickering and some people moving near the bus stop. Like I said earlier it’s very unflattering this flash, and you can also see that I am holding the speedlite in my hand. Also there is some soft focus with the image of me.

Charlotte suggested that I do the cinemagraph of me walking and then flash is what freezes me, I then wanted to add the other cinemagraph to the end of this, but because after the flash I carry on moving, there was no way to mask it out. This also meant that you couldn’t see the car at first, which would mean it looked as though it was coming out of nowhere.

I feel like this is the best I can do and that my other cinemagraphs which I used without flash were a lot more successful than these ones.

Jeff Wall Inspired · Studio Practice (Semester 2)

Jeff Wall: Research

Jeff Wall is a photographer who is renowned for large format photographs with a subject matter which range from mundane corners of urban environment to elaborate tableaux which have the scale and complexity of 19th century paintings. A tableau is a group of models or motionless figures representing a story or scene from history. Usually his images are complex and usually indicate some sort of scenario which can be left to interpretation. He got the idea of producing large back lit photographs after seeing an illuminated advertisement from a bus window in Madrid.

He describes his work as “cinematographic” and recreates everyday moments which he witnesses, however does not photograph them at the time of them happening. This means, in his own words that it “gives a certain freedom to then re-create or reshape what I saw”

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Here are the images which we looked at in relation to Jeff Wall, within these images there is suspension of liquid which looks to be frozen by a fast shutter speed. This looks simple enough, however with the fact that this is a studio brief we need to use flash to freeze the object. I wanted to relate this with the cinemagraphs, however I found it really hard to do with flash, I have tried one more time to see if they work.


Sites used:

http://whitecube.com/artists/jeff_wall

https://www.theguardian.com/artanddesign/2015/nov/03/jeff-wall-photography-marian-goodman-gallery-show

Irene Kung Inspired · Studio Practice (Semester 2)

Irene Kung: William Wilberforce statue shoot

After the success of the statues in town and the use of speedlite and coloured gels e decided to try some which were a bit easier height wise for us. I worked with Charlotte, Emily and Meg and we chose the William Wilberforce statue outside Wilberforce House. We chose this one as it was lower down and easier for us to light, we asked permission before taking our pictures as Wilberforce House is a museum.

The kit we took included Meg’s camera which was a canon, her kit lens, transmitter, 2 speedlites and stands and also red and blue coloured gels.

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We first began by just using the speedlite plain, without any coloured gels. We wanted to try it in different places to see how the light would react against the statue. We moved around the statue and also changed how close we put the speedlite. There were times were we were too close and there was burn out and you could tell that it as too bright against the statue. We also added in another speedlite too and concluded that the best set up was one from behind which would light up the bottom half of the statue and one from the right hand side which would light the left hand side of the statue.

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We experimented with different ways of using the colours gels, such as swapping them from top to bottom while also experimenting with their intensities. We found that sometimes we could get the light to look very intense and dark, whereas sometimes it looked a bit more saturated and you could see the white of the statue coming through. I feel in comparison to the last shoot we got a lot more striking and effective images.