Photo Shoot Plan
This photo shoot is based upon capturing the outlines of day-to-day objects. If I was out and I passed an object that would work well with my collection of photographs, I would capture a photograph of it (from a variety of different angles). Thus, this photo shoot took place at various times in a variety of indoor and outdoor locations, across many days. Overall, this photo shoot was inspired by the photographer Man Ray. This is due to the fact that he captured photograms of simple objects with very basic outlines, which created very interesting shapes. From my interpretation, he also captures images of objects that could possibly have very personal meanings – which I like. Therefore, I attempted to photograph objects that are personal and meaningful to me.
Within this photo shoot, I considered a variety of angles (this was the subject matter) – unlike Man Ray. I chose to use many angles (rather than just a simple bird’s eye view), since it added my own interpretation to his work. I also believe that angles add an interesting perspective to each image. For example, I used side angles, high levels, as well as low levels to obtain various perspectives. Furthermore, this allowed me to play with the idea of space within the composition. Within the coke can images, I used a side angle to allow me to use the rule of thirds – so as the coke cans did not distract the viewer from the reflections created on the mirror in the background. In addition, within the tool images I used a lower angle to create a large depth of field – this is so that the viewer is simply focussed on the outlines of the tool’s reflections created in the centre. Finally, I used a direct bird’s eye view of the blackberry images (as well as a fast shutter speed), to solely focus on the crisp and sharp outlines of the blackberries. Additionally, due to the fact that each of the images was taken at various times in various locations, the type of light and also the direction of light differ. For instance, within the cactus images, I used an artificial/studio light coming from a high level (beyond the camera lens). Thus, this provided a clear, direct view onto the outlines that the cactus thorns created – the artificial light allowed me to manipulate the direction and intensity of the light. In addition, within the images of the water, I used a natural light coming from a side angle (in front of the camera lens). This allowed the light to reflect off of the water - and enhance the patterns created by the ripples of the sky blue water. The natural light also creates a bright effect, adding a happy mood to the images.
I feel that my use of angles is quite effective, since I experimented with a range to obtain interesting perspectives and a complex use of positive space. They also allowed me to capture different views of the harsh and soft lines that provide the different shapes within the frame. However, I feel that sometimes, my use of focus was slightly ineffective – often there would be no depth of field, which would not appear very interesting. I used the manual settings on my camera and the aperture ranged from roughly F2-F5 a lot of the time. Thus, I could’ve increased/decreased this to provide a range of more in focus, or out of focus photographs. In order to develop my images further I would like to create photograms of objects that are personal and meaningful to me – similar to Man Ray’s that he created. Here, I could also focus on the formal element of line, since they would create a boundary and the outline between the (light) object and the (darker) background. In addition, due to the fact that the photogram is in monochrome, there would be a clear contrast between light and shade – which adds a clear diversity to the images.
Within this photo shoot, I considered a variety of angles (this was the subject matter) – unlike Man Ray. I chose to use many angles (rather than just a simple bird’s eye view), since it added my own interpretation to his work. I also believe that angles add an interesting perspective to each image. For example, I used side angles, high levels, as well as low levels to obtain various perspectives. Furthermore, this allowed me to play with the idea of space within the composition. Within the coke can images, I used a side angle to allow me to use the rule of thirds – so as the coke cans did not distract the viewer from the reflections created on the mirror in the background. In addition, within the tool images I used a lower angle to create a large depth of field – this is so that the viewer is simply focussed on the outlines of the tool’s reflections created in the centre. Finally, I used a direct bird’s eye view of the blackberry images (as well as a fast shutter speed), to solely focus on the crisp and sharp outlines of the blackberries. Additionally, due to the fact that each of the images was taken at various times in various locations, the type of light and also the direction of light differ. For instance, within the cactus images, I used an artificial/studio light coming from a high level (beyond the camera lens). Thus, this provided a clear, direct view onto the outlines that the cactus thorns created – the artificial light allowed me to manipulate the direction and intensity of the light. In addition, within the images of the water, I used a natural light coming from a side angle (in front of the camera lens). This allowed the light to reflect off of the water - and enhance the patterns created by the ripples of the sky blue water. The natural light also creates a bright effect, adding a happy mood to the images.
I feel that my use of angles is quite effective, since I experimented with a range to obtain interesting perspectives and a complex use of positive space. They also allowed me to capture different views of the harsh and soft lines that provide the different shapes within the frame. However, I feel that sometimes, my use of focus was slightly ineffective – often there would be no depth of field, which would not appear very interesting. I used the manual settings on my camera and the aperture ranged from roughly F2-F5 a lot of the time. Thus, I could’ve increased/decreased this to provide a range of more in focus, or out of focus photographs. In order to develop my images further I would like to create photograms of objects that are personal and meaningful to me – similar to Man Ray’s that he created. Here, I could also focus on the formal element of line, since they would create a boundary and the outline between the (light) object and the (darker) background. In addition, due to the fact that the photogram is in monochrome, there would be a clear contrast between light and shade – which adds a clear diversity to the images.
Photo Shoot??
Experimental edits**** & photograms & photocopier experiments
(1 won't upload)
annotation of edits
As a starting point, I captured a photo shoot of various daily objects. To capture the theme of outlines, I used a variety of angles to obtain different and interesting perspectives of the edges of the objects. Then, I altered the brightness/contrast (and other adjustments that I will mention below). After, I experimented in photo shop with different, more abstract appearing effects and filters to vary the editing process and be more creative with my starting edits. Overall, this made me start to think about the composition, as well as the types of objects I would like to use within my photograms – similar to Man Ray.
To create the photograms, I worked in a dark room, since light would ruin the light sensitive paper I was working with. I began by setting the enlarger to the size of the A4 photo paper; then I arranged the objects on the photo paper, into an interesting composition. I had to attempt this several times to begin with – so that the composition was effective, the objects created enough positive space and also the outlines of the shapes were both linear and organic. Next, I switched on the enlarger so that the paper was exposed to light for roughly 5 seconds. Again, I had to play around with this to produce clear end pieces. I then turned off the light and placed the paper in the developer, again for around 5 seconds – until the space in which the objects were placed were a white colour and the background had turned black. Following, I moved the paper into a second chemical: a dilute solution of acetate acid. This was to stop the action of the developer; during this process, I had to press the paper to ensure it was fully submerged, as well as rock the edge of the tray. Finally, I shook the paper to remove as much acid as possible, then I placed it in a final tray containing washing up liquid and water. Overall, I did this to remove any remaining chemicals from the photogram – I also used a brush to wipe the remaining chemicals off. So it would dry, I hung the paper up with pegs, to allow the water to drip from the paper. At the start of this process, I made a few ineffective photo grams – this was due to many features such as: the paper, the exposure time and also the composition. Therefore, I experimented with about five of my first photograms. I varied the exposure time: I began with seven seconds and decided that it didn’t produce the most effective end piece; thus I continued to decrease the exposure to five seconds, which produced a much clearer end piece. Secondly, I also changed the photo paper. It was light sensitive paper and someone must have previously left the paper out in light, as half of the photogram did not develop as clearly as the other half. As a result of changing the paper, the whole of each photogram was of a much clearer quality. Finally, I used my first few attempts to play with the composition. I found that some objects and materials (such as a lacey material I used) did not appear clearly on the photogram – I had to use more solid and denser objects/materials. In addition, I played around with the layout of the objects within the composition. This was to ensure as much positive space as possible was provided, as well as to ensure that the layout of the composition was visually appealing!
Within these edits I was attempting to capture photograms of various objects that had a personal meaning to me. I wanted to use a photogram because they naturally possess a monochrome effect. Thus, the difference between the brightness of the objects within the foreground compared to the background creates a very sudden, diverse contrast between light and shade (subject matter). As a result, the boundary between these light and shade tones really enhances the outlines – provided by the shapes and lines of the objects. When I took the starting point photographs, I used the manual settings (varying the exposure and aperture) on a Canon Bridge Camera. The settings on the camera, the time of day I took the images and also the location in which I took the images vary, due to the fact that I gradually built up this photo shoot over a long period of time. However, the development photograms were not taken with a camera, since it required only an enlarger - directing light onto light-sensitive paper. Therefore, I had to create these photograms in a pitch black, darkroom studio (at roughly midday). Furthermore, my intention to use specific objects within the photograms and also starting point edits was to create more personal and meaningful edits within my third ‘outlines’ board. For instance, I used a couple of appealing, patterned masks within the photograms; this was to connote my passion for the performing arts. I also used a roll of film and various natural objects (like leaves), to illustrate my love for films and admiration for the natural world. Whereas in the initial photo shoot, I used tools – to demonstrate my family’s passion for construction. I also captured images of fruit, to connote the fact that I really like to live a healthy lifestyle.
The work of Man Ray influenced me in completing these edits due to the fact that he also created photograms that created a sudden contrast between the light and the dark values. I really liked this, since the outlines of the shapes (created by objects laid out in the composition) are really striking and enhanced the organic and linear lines. Ray’s composition is also very effective since although the photograms were quite shallow (as there was no focus created by a camera), he was able to arrange the objects into an effective composition that filled up a lot of positive space. Within the composition, he also used objects that could be repeated to create patterns, as well as objects with different textures, that would be seen through the photogram. Finally, he used the rule of thirds effectively, so that one particular object was not situated in the centre of the frame – and didn’t distract the viewer from the remainder of the composition.
I feel that the composition of my starting point images is effective, due to the fact that I used a range of angles to obtain a range of perspectives of the outlines of the objects. However, I didn’t need to crop any of the images within photo shop, since my use of framing, levels and angles were very precise. In addition, I feel that the composition of my photograms is very effective. This is due to the fact that similar to Man Ray, I used the rule of thirds effectively – as I didn’t place any objects right in the centre of the frame, so as not to distract the viewer from other features within the composition. Obviously, as these were not created by a camera, I didn’t use photo shop to edit the composition or crop the image.
Within my starting point edits, the contrast of colour is effective since I really enhanced the hue and saturation of the edits. Overall, this created really bright, colourful images that create a really happy, jolly mood – this adds a more personal meaning, as this represents my happy character. To add a contrasting effect, the photograms are monochrome, so there is no contrast of colour, but a sudden contrast between light and shade. This sudden contrast between the light objects in the foreground and the dark background creates a clear boundary between the two values, creating a clear outline through the linear and organic shapes. Overall, this monochrome effect is quite dark – creating a mystifying mood. Again, since these edits are photo grams, I was not able to edit the colour scheme or tone of the images within photo shop. Nonetheless as I mentioned previously, when I first began experimenting and creating the photograms, they developed to look very light in certain parts of the composition. Thus, I experimented by changing the photo paper, as well as the exposure time that the light was directed on the paper. After playing around with this, most of my photograms developed to look dark enough (in the right places), with no unintentional light segments – so that the contrast between the light and shade was really enhanced.
In order to refine and develop this theme, I will take a couple more photograms during the final exam. To ensure these are more refined, I will research images online that have a personal meaning to me, as well as images that produce a really clear outline around the edges (also creating a range of organic and geometric shapes). Therefore, I will obtain final edits/photograms that are more refined and meaningful – that really demonstrate my theme of outlines. Finally, I will also compare Man Ray’s photograms with other photographers’ work, to really develop my work. For example, I will look at a photographer that uses a photocopier to create photogram-like images. As a result, I will be able to further develop my use of light and shade and also composition, by experimenting with different objects in a photocopier – to create more interesting edits that will flaunt my compositional skills.
To create the photograms, I worked in a dark room, since light would ruin the light sensitive paper I was working with. I began by setting the enlarger to the size of the A4 photo paper; then I arranged the objects on the photo paper, into an interesting composition. I had to attempt this several times to begin with – so that the composition was effective, the objects created enough positive space and also the outlines of the shapes were both linear and organic. Next, I switched on the enlarger so that the paper was exposed to light for roughly 5 seconds. Again, I had to play around with this to produce clear end pieces. I then turned off the light and placed the paper in the developer, again for around 5 seconds – until the space in which the objects were placed were a white colour and the background had turned black. Following, I moved the paper into a second chemical: a dilute solution of acetate acid. This was to stop the action of the developer; during this process, I had to press the paper to ensure it was fully submerged, as well as rock the edge of the tray. Finally, I shook the paper to remove as much acid as possible, then I placed it in a final tray containing washing up liquid and water. Overall, I did this to remove any remaining chemicals from the photogram – I also used a brush to wipe the remaining chemicals off. So it would dry, I hung the paper up with pegs, to allow the water to drip from the paper. At the start of this process, I made a few ineffective photo grams – this was due to many features such as: the paper, the exposure time and also the composition. Therefore, I experimented with about five of my first photograms. I varied the exposure time: I began with seven seconds and decided that it didn’t produce the most effective end piece; thus I continued to decrease the exposure to five seconds, which produced a much clearer end piece. Secondly, I also changed the photo paper. It was light sensitive paper and someone must have previously left the paper out in light, as half of the photogram did not develop as clearly as the other half. As a result of changing the paper, the whole of each photogram was of a much clearer quality. Finally, I used my first few attempts to play with the composition. I found that some objects and materials (such as a lacey material I used) did not appear clearly on the photogram – I had to use more solid and denser objects/materials. In addition, I played around with the layout of the objects within the composition. This was to ensure as much positive space as possible was provided, as well as to ensure that the layout of the composition was visually appealing!
Within these edits I was attempting to capture photograms of various objects that had a personal meaning to me. I wanted to use a photogram because they naturally possess a monochrome effect. Thus, the difference between the brightness of the objects within the foreground compared to the background creates a very sudden, diverse contrast between light and shade (subject matter). As a result, the boundary between these light and shade tones really enhances the outlines – provided by the shapes and lines of the objects. When I took the starting point photographs, I used the manual settings (varying the exposure and aperture) on a Canon Bridge Camera. The settings on the camera, the time of day I took the images and also the location in which I took the images vary, due to the fact that I gradually built up this photo shoot over a long period of time. However, the development photograms were not taken with a camera, since it required only an enlarger - directing light onto light-sensitive paper. Therefore, I had to create these photograms in a pitch black, darkroom studio (at roughly midday). Furthermore, my intention to use specific objects within the photograms and also starting point edits was to create more personal and meaningful edits within my third ‘outlines’ board. For instance, I used a couple of appealing, patterned masks within the photograms; this was to connote my passion for the performing arts. I also used a roll of film and various natural objects (like leaves), to illustrate my love for films and admiration for the natural world. Whereas in the initial photo shoot, I used tools – to demonstrate my family’s passion for construction. I also captured images of fruit, to connote the fact that I really like to live a healthy lifestyle.
The work of Man Ray influenced me in completing these edits due to the fact that he also created photograms that created a sudden contrast between the light and the dark values. I really liked this, since the outlines of the shapes (created by objects laid out in the composition) are really striking and enhanced the organic and linear lines. Ray’s composition is also very effective since although the photograms were quite shallow (as there was no focus created by a camera), he was able to arrange the objects into an effective composition that filled up a lot of positive space. Within the composition, he also used objects that could be repeated to create patterns, as well as objects with different textures, that would be seen through the photogram. Finally, he used the rule of thirds effectively, so that one particular object was not situated in the centre of the frame – and didn’t distract the viewer from the remainder of the composition.
I feel that the composition of my starting point images is effective, due to the fact that I used a range of angles to obtain a range of perspectives of the outlines of the objects. However, I didn’t need to crop any of the images within photo shop, since my use of framing, levels and angles were very precise. In addition, I feel that the composition of my photograms is very effective. This is due to the fact that similar to Man Ray, I used the rule of thirds effectively – as I didn’t place any objects right in the centre of the frame, so as not to distract the viewer from other features within the composition. Obviously, as these were not created by a camera, I didn’t use photo shop to edit the composition or crop the image.
Within my starting point edits, the contrast of colour is effective since I really enhanced the hue and saturation of the edits. Overall, this created really bright, colourful images that create a really happy, jolly mood – this adds a more personal meaning, as this represents my happy character. To add a contrasting effect, the photograms are monochrome, so there is no contrast of colour, but a sudden contrast between light and shade. This sudden contrast between the light objects in the foreground and the dark background creates a clear boundary between the two values, creating a clear outline through the linear and organic shapes. Overall, this monochrome effect is quite dark – creating a mystifying mood. Again, since these edits are photo grams, I was not able to edit the colour scheme or tone of the images within photo shop. Nonetheless as I mentioned previously, when I first began experimenting and creating the photograms, they developed to look very light in certain parts of the composition. Thus, I experimented by changing the photo paper, as well as the exposure time that the light was directed on the paper. After playing around with this, most of my photograms developed to look dark enough (in the right places), with no unintentional light segments – so that the contrast between the light and shade was really enhanced.
In order to refine and develop this theme, I will take a couple more photograms during the final exam. To ensure these are more refined, I will research images online that have a personal meaning to me, as well as images that produce a really clear outline around the edges (also creating a range of organic and geometric shapes). Therefore, I will obtain final edits/photograms that are more refined and meaningful – that really demonstrate my theme of outlines. Finally, I will also compare Man Ray’s photograms with other photographers’ work, to really develop my work. For example, I will look at a photographer that uses a photocopier to create photogram-like images. As a result, I will be able to further develop my use of light and shade and also composition, by experimenting with different objects in a photocopier – to create more interesting edits that will flaunt my compositional skills.
edits steps
objects_steps.docx | |
File Size: | 3076 kb |
File Type: | docx |