Saturday, 16 May 2015

Baltz:-

"I don't think people find the content of these photographs to be the sort of thing they care to look at or think about. Perhaps people will see the work and wonder 'What possible reason could there be for anyone to spend this much time photographing this stuff' - and maybe that might draw them in deeper."

Gohlke:-

About his new topographic - man altered landscape images.
"the world you would like to see and the world you have to look at"

Thursday, 14 May 2015

Evaluation

At the beginning of this project I had so many ideas and really got a little lost in which direction to go, so listening to advice, I just went out and enjoyed my photography, taking images of fishermen, objects on the street, fire escapes, bins, air conditioning units, the fire training ground at Durham Tees Valley Airport and of course the industrial units.
A month in to the project was when I realised to just push forward with the industrial estates but just wait for the right weather conditions and light, usually a cloudless sky with minimal wind. This meant having everything ready and keeping an eye on weather forecasts whilst driving round various industrial estates taking note of where the sun would be at what times on the plethora of buildings that I thought would make a suitable composition.
I put a lot more time and effort in the planning stage this time around so I could just turn up, set my camera up and take my time on the compositions and I believe it payed off and can be seen in the final 5 images I chose to submit.
I also decided to set a side a lot more time in the darkroom to try and improve my printing technique, although not always successful and sometimes hindered by things out of my control, I spent many a late evening trying to get the prints just how I wanted them. Again I believe this thirst for improvement payed off with many an evening sat at home with my finished prints up on display for me to enjoy and take in, whilst comparing them to the prints I submitted for my minor project. Even my presentation was carefully considered and took a slightly different direction to the usual classic black frame and window mount.
Overall I believe I have carried out this project to the best of my ability and feel satisfied in the knowledge that I am impressed with each of my prints. Usually I would sit and look at my final images and not be 100% happy, whereas on this occasion I am really enjoying my photography and the images I have produced.
I truly believe you can see the improvement, research, influences, time and effort that have gone in to produce my best work to date, which is only going to continue as I continue in to further education.

WHY?

This is the only question!

  • Why choose film over digital?
  • Why choose the subject matter I did?
  • Why did I even choose to do a Fine Art Photography degree?
  • Why did I choose the media of photography to express myself as an artist?
  • Why do I think I'm an artist?
  • Why do I still want to take it even further and do a Masters?
  • Why do I enjoy wading through book after book of other photographer's images?
  • Why do I spend hours loading my film, preparing my equipment, keeping an eye on the weather, dashing out and taking the images, coming home to prepare the film for processing, wait for 4 days to get the negs back - only to find that the images are shit and I have to start again?
  • Why did I look forward to Contextual studies?
  • Why did I enjoy spending 6 months of my life writing a dissertation?
  • Why do I enjoy spending 5 hours in the darkroom to end up with a print that I know I'll have to go back the next day to do properly?
  • Why is it only recently I've started to enjoy looking at my final prints rather than watching crap on the TV?
  • Why do I prefer structure to chaos?
  • Why do my parents look at my images then look at each other, smile and then look at me and say "thats nice"?

Research


Usually I blog and blog about the books I am reading on photographers such as:-

  • Lewis Baltz
  • Stephen Shore
  • Joel Stermfeld
  • Robert Voit
  • William Eggleston - to name a few
And books such as:-
  • New topographics
  • Altered Landscape
  • Shooting Space
  • The nature of photographs etc
I look through my books every evening, read the latest editions of various magazines and then use the internet to check the work out of other photographers within the periodicals. My aim for this project was more of a research into myself as a fine art photographer, looking through my previous 3 years of work and reading feedback, paying attention to the notes I made after sessions of constructive criticism and then combining this with where I want to proceed in the future, giving consideration to further education.

I believe the work I am producing now can be seen to have a little influence of all my research, not only influence from photographers but also research in how an image works and sometimes still getting a little of my humour in to the image.

What I have learned is to try and add a little to the composition, to engage the intended viewer for more than just the usual glance, rather than just a straight forward industrial composition as in my minor project submission. Having displayed my images on an easel in my living room I have come to enjoy my images a lot more and that was a big step for me.

Where as my minor project focused more on shape and structure, I believe with more of an influence from Lewis Baltz than any other photographer, this time I have tried to put that to the back of my mind and photograph a lot more on what appealed to me - what I found to be aesthetically pleasing.

As with most of my images through out the degree, all of my compositions for my major project are void of people yet show the existence of people, excluding the street photography and portraits obviously (mind - even then my street photography compositions were not crowded with people). I like the idea of showing these busy places; industrial estates, car parks, chemical sites and docks etc, places where man has made its mark, places where we go to make money, where we spend our days and yet on an evening, once man has left, nature takes over and in the right light all these places come alive and become beautiful in their own right.








Printing

I chose to opt for printing my own images as I believe it not only gives my submission a full personal feel, but also it is myself as the artist that is choosing the final print (as well as the buzz of actually printing yourself along with the heartache of getting it wrong more times than getting it right).
I have found through experience that when the negs are sent away for printing it is the machine and operator that decide on the final outcome, even compositions come back a little different.

I did like the idea of printing really big images and even considered being part of the process by going to a commercial lab and being in the darkroom as the prints were being processed, but again due to expense, time, work and the fact that I enjoy my printing (although sometimes if you met me in the darkroom you could never guess) I decided to go for 20"x24" size paper and use the facilities at college.

I would not like to guess the number of hours spent printing in to the early hours of the evening, but the buzz of sitting at home and looking at the final print on an easel in my living room just can not be beat.

I've found that final exposure, composition and colour is a very personal preference, but hopefully I am learning as an artist to accept my personal preferences whilst listening to constructive criticisms.

People will always comment that may be the image could have been a touch lighter or a touch darker, it could be suggested that certain images could do with a slight blue cast within the shadows or even a yellow cast when there are no shadows. Each image I have printed has been printed at least half a dozen times at varying exposures and casts, with hours of sitting comparing them as they were positioned on easels, ending in my final edit for submission.

A couple of my prints work well with darker shadows and a longer exposure emphasising the effect of a setting sun, whilst lighter shadows and less exposure have worked to give a less imposing feel to the final composition of others. Again personal preference, which could help with the rhetoric of the image and help engage the intended viewer for a little longer than a quick glance.

A few times I've sat at home looking at the final print which is always protected by an archival sleeve and watched the varying light within the room alter the colour cast of the print - making me think I'd got it wrong and then rushing to view my print outside (even removing it from the protective sleeve) and then giving a big sigh of relief.

I do not feel it necessary to blog and blog about my research in to printing as these final images are a culmination of everything I have been researching over the last 3 years - all of which have been previously blogged about, I myself as a critique of my own work can see a difference and a personal quality appearing within my printing technique from my previous submissions.

This can also be said for my choice of film and equipment. I have found over the last couple of years that my Bronica really works well for me with my choice of lens and my good old wooden Wista field camera with a good 90mm lens - both cameras working well with Fujifilm Pro 160. The majority of all research should have been carried out by now, sticking to what works best for you at this stage.

This is not to say I am making do with it and not trying anything else, I am at one with my equipment.

As in Harry Potter and his wand - Your equipment chooses you.




Presentation


I used various sites as above to come up with some ideas for presentation, but not only for my final submission - the end of year exhibition too.
I liked the idea of bare brickwork with a hidden batten behind to take my image away from the wall, or a sheet of cladding replacing the brickwork to help give an industrial feel.

Although when printing, I had decided on a border which was wider at the bottom and top (2 inches for both) to the sides (which were an inch), I decided that removing the border completely to allow the image to bleed out worked a lot better for the type of images I have taken. It seems to allow the impression that there is a lot more to the presented composition; the structure, road and vegetation are part of a bigger picture and space.

I usually go for the classic approach of a nice black frame complete with a window mount and non-reflective glass, but I don't think that approach would give me the punch I am after this time with the vivid colours and varying sunlight I used to take my images.

I could see what I was after in my head:-

  • A matt white background as a border
  • A nice thick border
  • A thick white deep frame
  • Space between the image and the glass
  • Space between the back of the white backboard of the frame
  • A floating picture

http://www.digitalab.co.uk/display.html#mounting

The professionalism of Digitalab Newcastle would have been a good place to start, but with time being a big factor and distance I decided to go to Nationaal Gallery in Linthorpe to discuss my ideas. The owner - John, has carried out my classical framing for my previous submissions and at the end of the day I trust his advice.

We discussed my ideas, looked a number of framing options and hopefully people will like what I have come up with.
One of the things I had not considered was the non-reflective glass. John explained that once this type of glass moves away from the print it would actually start to distort the image, making some areas look as though they were out of focus, and for this reason we opted for just plain glass - this will mean careful consideration will have to be given to lighting.
Small strip lighting within the edges of the frame may have been a consideration, but cost is a big factor too.

Hopefully my choices will do my compositions justice - really excited to see the final result.

Due to the cost of framing all prints for submission, I have chose to frame one image and the rest will be in archival sleeves and in a black print box. Over time I can continue to frame my images for solo exhibitions.

Examples












Thursday, 19 March 2015

Frank Watson

Soundings from the Estuary

Beautiful self published book
well worth a look

Just bought it and would recommend a look






Wednesday, 4 March 2015

Nature Reclamation 


Taking recon photos on my digital camera before my minor project.

A large concrete slab where once were sited a number of world war II huts for the pilots based at Teesside Airport.














Even weeds are finding there way through the cracks in the concrete slabs.

















There are no signs of a pathway to the huts as the vegetation has reclaimed them as their own.













Sadly all the huts have now been demolished, before I could return and capture them on 5x4 colour film.
Tree Survey Influence

Part of my job description has been to carry out structural surveys on properties in regard to the close proximity of trees to buildings and dwellings. This structural appraisal would usually be carried out when the owner / occupant of a property or dwelling has noticed cracking to the external envelope of the building, be it to the external leaf of brickwork, the plaster finish within a room, a crack to a concrete floor slab or movement noticed around door and window openings.

In most situations the most common scenario for the damage experienced to the property will be due to either damage caused to the bearing substrata of the foundations from the close proximity of a mature tree (root zone influence) through desiccation of the founding clay, or dislocations / fractures of the drainage system serving the property. Sometimes a combination of both scenarios where the root zone influence has penetrated the foul and surface water drainage system, which in turn allows all the water from the drainage system to wash away the small fines of the founding substrata, over time causing the foundations of the property to subside.

Misconception of how tree roots grow.
This image is of how most people picture the growth of the roots of a normal tree, expecting the root ball to almost mirror what the observer sees at the top of the trunk as foliage.






In reality the majority of tree roots grow at a shallow depth, only burying deeper when they have to search for more water, or an easier source of water and even then these roots would be thinner.








My minor and major projects, along with the majority of images I have taken this academic year, appear to be heavily influenced from my cultural background and up-bringing. I remember as a child living in a property with a small front garden, directly in front of the garden wall was a tree. Every property on the road had a similar tree located the same, which over time undermined the garden wall, causing the wall to crack. Other properties had the wall removed and a low level fence put in its place due to the wall toppling over.
My parents have just moved to a brand new bungalow on a new estate, every property with a small garden at the front has also had a sapling planted by the builder, whether it be Wimpey or similar. Without consideration to the species of tree, it may be me carrying out a survey in ten years time.

The industrial estates are quite similar; the contractor clears a large area of land from all forms of vegetation, exposing the dark clays beneath. Large amounts of crushed stone and dolomite are brought in and compacted for the road system / network, followed by the erection of the industrial units on their raft or strip foundations as the case may be. Once the construction work has been completed it is then the turn of the landscapers to bring back the nature which was previously ripped out and destroyed.

A number of sites that I am visiting have just been vacated and left to fend for themselves and nature is reclaiming its rightful place. Wildlife daring to habituate the now un-manned buildings and the un-trafficked roads, bringing with them the seeds of various shrubs and plants. Birds finding a way in to the buildings, nesting in the open span rafters, weeds and various vegetation growing through every crack, striving to bring life back to a place that man has abandoned.

It is amazing that however much concrete, or brickwork and other man-made material we use, life will find a way through.

Not only do I design and over see the construction of dwellings, offices and industrial units, I also get the opportunity to survey the same properties when they are damaged by nature to put together a repair schedule, and through my photography I am now recording the final chapter in similar buildings, around abandoned machinery and various man-made objects as they are going through the various stages of reclamation from the surrounding nature.
Back To My Major Project

I took a bit of time out from my blogging and theory side of my major project and just started to go out and enjoy taking my photos again.
I think things were getting a bit too much, trying too hard, putting pressure on myself – not just to get the right composition, but a perfect one. Trying to tick all the boxes. With work commitments, my shooting options are limited – coupled with the weather I’ve really felt up against it. There’s nothing worse than being sat at work in the office, or being on site, when the sun is shining and there isn’t a cloud in the sky and you can’t get your camera out and start taking pictures. Even worse when I’m in the office as the sun starts to rise and the light is amazing – inspirational.
But just getting out with my camera I could see that my images were becoming more relaxed and I started to enjoy it a lot more, to the point of getting my 35mm Leica back out, wiping the dust off and putting 3 to 4 rolls through. Taking my Bronica out with colour and black & white film, just shooting what I wanted – nothing to do with my project, just felt so good. Strange how it never crosses my mind to pick up my digital camera and just go out.

So back to my major it is, with a little more gusto and a positive direction.
After discussions with Mr Chambers and his humorous quirky way of telling you to take lots and lots of photographs of everything yet stick to your project, we came to the conclusion that my project may be coming a little boring, primarily due to me reading a book by Donovan Wylie called the Maze – the last I.R.A. prison in Ireland. A lot of images and a lot of repetition, 26 images from the same angle of a cell / bedroom with the only difference being the curtains, 20 to 30 images of the perimeter fence where the only difference was the number on the wall and number of pebbles and weeds on the path.
Taking this approach in to my industrial estate compositions did make the project a little stagnant, the compositions all the same, lighting very similar, with the only difference being the name on the outside of the building and the shrubs and parking spaces to the front aspect. Although this was the point being put across, almost like a fast food restaurant, an industrial estate made to order, I could understand how my major project submission may not be the appropriate time for such subject matter.
Comparing my minor project against the recent compositions there were a number of points I could take from each
  • ·      The latest images used a better technique, slower and composed a little better considering all horizontal and vertical lines.
  • ·      The actual compositions and colours from the minor project came through a lot better, although technique was a little sloppy and maybe rushed. 
  • ·      Overall – the subject matter for the minor project was a lot more interesting for the viewer.


 This led me to look at all the images I have taken from the start of this academic year; comparing composition, technique and especially subject matter.
Collecting a broad selection of prints and discussing my ideas with Jamie, we agreed with Antony’s opinion that the latest images were a little boring, albeit the concept could be revisited at a later date, but for now I should concentrate on my industrial compositions, with my images taken on my Bronica of a site in Birmingham being my strongest compositions.


Thursday, 5 February 2015

Fire Escapes


'E-Scapes'

Hopefully, weather permitting, Friday through to Sunday will be shooting the fire escapes of the back streets of Stockton.

http://www.bing.com/images/search?q=fire%20escapes%20-%20photography&qs=n&form=QBIR&pq=fire%20escapes%20-%20photography&sc=0-16&sp=-1&sk=&ajf=10

Colour?
Black & white?
120?
4x5?
Digital?
Sunshine?
Overcast?
Front view?
Side?
A dynamic obscure angle?

Jesus man - is it time for a drink!

See normally this would all play on my mind, but not anymore - Antony put me in touch with Buddha

“If you have a problem that can be fixed, then there is no use in worrying. If you have a problem that cannot be fixed, then there is no use in worrying.” – Buddhist proverb

Self-confidence is knowing that we have the capacity to do something good and firmly decide not to give up.
...to have greater self-awareness or understanding means to have a better grasp of reality. Now, the opposite of reality is to project onto yourself qualities that are not there, ascribe to yourself characteristics in contrast to what is actually the case. For example, when you have a distorted view of yourself, such as through excessive pride or arrogance, because of these states of mind, you have an exaggerated sense of your qualities and personal abilities. Your view of your own abilities goes far beyond your actual abilities. On the other hand, when you have low self-esteem, then you underestimate your actual qualities and abilities. You belittle yourself, you put yourself down. This leads to a complete loss of faith in yourself. So excess--both in terms of exaggeration and devaluation--are equally destructive. lt is by addressing these obstacles and by constantly examining your personal character, qualities, and abilities, that you can learn to have greater self-understanding. This is the way to become more self-aware.
"The Art of Happiness at Work" by His Holiness the Dalai Lama and Howard C. Cutler, M.D.


See
Better already - good bye alcohol and hello inner peace
Overcast






OR



 


Bright Sunshine






Forgive the un-parallel composition, I would tend to try and get the lines true and horizontal, but it was a quick dash whilst at work as the weather was changing, a recon image.
But there again, what's another thirty seconds to actually compose how I wanted to get an image I'd be far more pleased with.

Is it personal choice?
I know certain people who prefer the image in an overcast situation as you get a more even light distribution (diffused) and could say a uniformed detail.
I know other people who prefer the impact of the bright colours, yet stronger shadow, which ultimately hide some of the detail.

Also I think the camera position needs to raise a couple of foot, maybe to loose the shrubs and get the paving line at the bottom to complement the gutter line at roof level, giving a more de-cluttered and symmetrically balanced image. The camera also has to be in line with the construction joint in the middle, whilst at an exact 90 degree angle, perpendicular to the wall.

Although I do like the image in bright sunshine and it is what I was after in my minor project, I do feel that the image as whole would be better shot in the overcast light of the afternoon, with the paving, gutter and even the colour of the glazing complimenting each other.
The location does not allow me to experiment with early morning light or evening light, my back was hard up against an adjacent building, giving me only 7 to 8 meters to play with. This calls in to question the use of my 4x5 camera and my 90mm lens, so fingers crossed.

Saturday, 31 January 2015

Shooting Space


Great book

Recommended by Mr Ant Chambers

Reminded me of a few images I took last year







Sat in a diner on the A19 - 'Route 66'
Full english for just over a fiver
was awesome

Reminds me I need to go back and actually photograph the diner - it looks fantastic

Anyway - this was my view from my table.

 Agnieszka Rayss
Closed Cicuit Project
http://www.agnieszkarayss.com/gallery/closed-circuit-2012?page=9

All copyright Agnieszka Rayss

Images from OjodePez







"the hidden spaces within cities that we prefer to ignore, but without which life would be impossible"

exert from Ojodepez issue 39
page 24

Another great project, captivating and instilled me with motivation.

Julian Garnes Garcia
Image from his Europe's Vegetable Garden
http://garnesgarcia.com/works/g/4/pi/6/

All copyright Julian Garnes Garcia
Image from latest issue of OjodePez

A great body of work

The image reminded me of one of my site images



Helps to highlight where I can improve with my technique, maybe increasing my aperture to get the trees a little sharper.

Distance from the subject, maybe increase a little  - although I did intend to fill the frame with my subject, whilst capturing the blue, greens and red.
Latest Magazine


This weekends reading material.

Wednesday, 28 January 2015

Latest Prints

Spent a good number of hours trying to improve my colour printing

After putting my latest prints next to my minor submission prints I was blown away, I don't think I've ever printed this well before.

I was even consistent with the sky.

The scans don't really give the true effect.









The prints were done on 10x12 paper for my book, which will be part of my final submission - fingers crossed.

Taking everything in to consideration from my feedback, I've tried incorporate all the advice.













The compositions chosen, I personally, do not think would have worked as well in black and white.











After closer inspection, this will be the only re-print due to a small shadow in the bottom left hand corner.

Overall very pleased with my first printing session for my major project.


Tuesday, 27 January 2015

Tiny Trades

Building Blocks of Life
Starting off by setting up a small Irving Penn studio and testing the lighting over a 5 second exposure.

Can't really use flash on such a small subject.

So a small torch has to be used, although the shadow was a bit crisp.











Turning the subject slightly added a better feel.

Trying to keep the image within the keeping of Irving Penn - dark and moody.















Trying to achieve my desired look by moving the torch around during exposure, trying to gain a little more contrast.


But asking her to stay still for the full 5 seconds is quite a task - a rapport had to be established with my subjects.

Plus I had to pay her using my plastic.









Change of subject - and quite liking the little touch of colour. Maybe could be a little twist - bringing Irving Penn's look in to the present.
















Maybe even a little feel of August Sander emerging.

















A little bit more work and it may be ready to attempt on film.