Very happy to get these remarks. "A set of photographs which are technically outstanding and beautifully presented". There was no mention as to whether I had achieved the primary goal of images in the style of Edward Weston, but on the assumption that no news is good news I assume they were.
This assignment required far more research and time than any of the others and I think that the final set of prints show this. Previous assignments were conceived by content rather than concept, largely due to my inability to think conceptually. Here the brief was to look at a style, not a season or place and after a few days of aimlessly wandering about I regrouped, read more Weston and started again. You can literally photograph anything in his style, indeed he did, toilets, cats, nudes, peppers etc. Keeping within the "Landscape" was the only restriction which seems reasonable. Assignments that required seasonal shooting were often rushed and even now I would like another whole year to drill down into the seasons rather than the superficial work that I will have to show for assessment. The Modernists, Weston , Stieglitz and others had a vision of final output quality that left no room for error or compromise and it is my belief that modern photographers can do the same.
Showing posts with label Assignment 5. Show all posts
Showing posts with label Assignment 5. Show all posts
Tuesday, 10 January 2012
Thursday, 8 December 2011
Assignment 5 : in the style of an influential photographer - Edward Weston
This assignment is now finished and on its way to my tutor. The final set of 12 were difficult to choose (there must be 200+ images to look through) and to decide upon a style for Edward Weston is not altogether simple as his style changed during his lifetime. To add some clarity to my work I wanted to pick a period when his work represented the best of his landscape output. Weston is not renowned for his landscape work while his studio work with shells, nudes and peppers is easily recognisable in popular culture. I have chosen the period when he lived in Carmel, California and his style during these later years of his life suited my own preference.
The images are shown here without the write up that accompanied them and are thumbnail quality. Original prints are 12.5"x10" with 2.5" white borders.
The images are shown here without the write up that accompanied them and are thumbnail quality. Original prints are 12.5"x10" with 2.5" white borders.
No1
No 2
No 3
No 4
No 5
No 6
No 7
No 8
No 9
No 10
No 11
No 12
Panel Layout
Thursday, 17 November 2011
Assignment 5 - Making Images - Making Prints
The assignment requires 12 photographs in the style of Edward Weston. Most of the images were shot during the summer and autumn of 2011 on the island of Menorca, around a small piece of coast at Cala de Sant Esteve and near Favoritz lighthouse with two from other locations. These quiet areas on the South East and East corner of the island are regular places for me to photograph when I am on the island as they provide some unique opportunities. While there I constantly quized myself about Weston and how would he photograph here. There are some similarities with Point Lobos, California although they are tenuous. They are by the sea, there is rock, the sun in the summer is high and intense. Weston's style had changed during the pre war years. He became interested in shape and form within the landscape, looking closely around his feet with the occasional vista. I needed to find images at these locations through the eyes of Weston. Technique was an issue. Weston used a view camera, which gave him movement of the lens and film plane. I have a 5x4 field camera but the logistics of getting film through x ray machines at airports makes it too difficult to use overseas. I had part of the solution with a 24mm tilt/shift lens for my Nikon but this looked too wide for Weston, and I was conscious that the 1:1.5 ratio of my camera was wrong for Weston as he worked with 1:1.25 using either a 5x4 or 10x8. Cropping to 1:1.25 would take place later in processing. I am wondering at this stage, while standing on a rock in the baking heat of mid June whether I am taking some of this too far. To work in the style of Weston ?, does that mean go back to the 1940's or bring Weston to today, would his style be different because he has a Nikon in his hand ?.
However, images were taken and back in the UK, editing, selection, processing, printing has to take place. My first hurdle is to remove my style for the output and final set of prints. This posting is being written during the processing (hence the rather fragmented words) and I am constantly finding myself selecting files that I think will work, only to question, would EW pick that one, I doubt it and move on.
As an example:
Old Army Building at La Mola is the type of photograph I am happy to make. I like the shape of the building, how it sits within the rather barren landscape, its isolation ( it may have been an explosives store) and the cloud shape. I have gone towards Weston in changing the aspect ratio and I have toned it with a tritone, to mimic the colour of the prints that the chemistry of 1940 produced.
But, I don't think it is a "Weston". There is shape (the building has symmetry and perspective), texture (in the sky and the building) and the foreground is strong and supportive, but for Weston I think it would be a tadge superficial. Weston is more intimate with the landscape, he wants you to feel as if you can touch it. The generic style of Weston at this time is Modern Realism, he had met Alfred Stieglitz in 1922 and had joined Willard Van Dyke and Ansel Adams and others in the infamous Group f/64 during 1933 and all of his work in the 1940's is of that style. Modern Realism and Group f/64 wasn't only about "realism" it was realism with a style, not relying wholly on technique.
Another example: slightly darker tone.
UPDATE
Now on the second set, first set were oversharpened and the tone was poor. They are printed from a roll printer and this induces a slight curl. They need to be mounted on some light card (lucky that my office / studio is next door to a office supply company). Freeman suggests this assignment should take 60 hrs, well maybe it could but I seem to have entered an iterative state and cant get the result.
However, images were taken and back in the UK, editing, selection, processing, printing has to take place. My first hurdle is to remove my style for the output and final set of prints. This posting is being written during the processing (hence the rather fragmented words) and I am constantly finding myself selecting files that I think will work, only to question, would EW pick that one, I doubt it and move on.
As an example:
Old Army Building - La Mola - Menorca - 2011
But, I don't think it is a "Weston". There is shape (the building has symmetry and perspective), texture (in the sky and the building) and the foreground is strong and supportive, but for Weston I think it would be a tadge superficial. Weston is more intimate with the landscape, he wants you to feel as if you can touch it. The generic style of Weston at this time is Modern Realism, he had met Alfred Stieglitz in 1922 and had joined Willard Van Dyke and Ansel Adams and others in the infamous Group f/64 during 1933 and all of his work in the 1940's is of that style. Modern Realism and Group f/64 wasn't only about "realism" it was realism with a style, not relying wholly on technique.
Another example: slightly darker tone.
Log on Rocks - Favoritz - Menorca - 2011
Log on Rocks is a probable for selection into the 12. There is more of Weston in here by way of texture and shape and its intimacy. The light is soft and allows me to see all the detail among the rock, its angularity and its roundness. There is a lot to look at and it engages the eye at many levels while the viewer can explore. The geology is interesting and varied and the log is clearly driftwood, so contextualises the scene as being near the sea. Weston was a craftsman in the darkroom. He would spend hours retouching and it is clear from his daybooks and his images that his skill with dodging and burning is a contribution to his style and his success. My work here does not include that much using of the dodging or burning tools within PS. I prefer to make layers with lasso area adjustments and use curves, selective colour, levels and vibrance.
For local small areas the history brush, with a tablet and pen using various blending modes. In particular for this image, Colour Dodge, Colour Burn and Soft Light.
During the processing constant reference is made to the Soft Proof image. For the paper I am using this tends to lighten the image very slightly and reduces the contrast.
Prints for my tutor are being sized at 12.5 inch x 10 inch.
UPDATE
Now on the second set, first set were oversharpened and the tone was poor. They are printed from a roll printer and this induces a slight curl. They need to be mounted on some light card (lucky that my office / studio is next door to a office supply company). Freeman suggests this assignment should take 60 hrs, well maybe it could but I seem to have entered an iterative state and cant get the result.
Thursday, 10 November 2011
Assignment 4 & 5 plus other updating.
My desertion (no, its deferment) has ended and I am back in the system. Assignment 4 has been emailed to my tutor and assignment 5 is well under way. I am able for the time being to spend 3 or 4 days a week on photography due to a bit of time rearrangement with workload, so progress is brisk. A number of projects are being held in draft while I complete the processing and gather my words into some order. The next assessment slot is March 2012 and hopefully without the benevolence of clergy or police I will make it.
Wednesday, 27 July 2011
Assignment 5 - Proofs
While writing Assignment 4 I am preparing a few preliminary photographs for Assignment 5. If I publish them here it gives me the opportunity to look at them away from CS5. Apart the the "style" I am conscious of the need to replicate the finished prints. This image is a proof and is by no means a certainty for the assignment, but it is of a style and a genre.
UPDATE
This image will not be included
This image will not be included
Tuesday, 5 July 2011
Update July 2011
I am conscious that I am not writing enough here, and by not doing so it indicates that nothing is happening with my photography. This is not the case, so here are a few notes on where I am and what is happening. Mostly groundwork, research and shooting raw images for editing and PP, so nothing to show for the time spent.
13th June, went to Minorca for 2 weeks. The holiday was for the normal amount of rest and relaxation in my favourite boutique hotel. Plans were made beforehand to take my newly acquired netbook so that I could write some of my assignment 4 essay and maybe shoot assignment 5 around the rocky coast with the wild flowers and succulents, and imagine myself as Edward Weston at Point Lobos in California. All plans laid, but 11th June, chest infection starts, 12th June, get antibiotics and spend the first week feeling sorry for myself, albeit in heaven. 2nd week, I did get some writing done and I did shoot enough images for assignment 5.
Returned to UK, still with chest infection. My faith in Amoxicillin destroyed, so another visit to the doctor who sends me for xray. Not feeling like a full shilling at this stage and worried by health events with a friend I decided to reduce my business workload by a considerable margin. So, with time on my hands I am catching up on a whole range of undone chores and looking to proceed asap with the course. In the meantime I have had chance to look at my Alamy account, and what a surprise, a sale, which is nice and an enquiry through Photographers Direct to photograph an altar cloth in St Margaret's church in King's Lynn for a book on ecclesiastical textiles. The publisher requires high res digital images of the whole piece, close ups of parts, something contextual and an image suitable for an exhibition banner that is 2.5m high. I pointed out that the banner requirement was going to be difficult and I will have to shoot some 5x4 and have the transparency scanned on a drum scanner. I am meeting the editor tomorrow at the church to look at the shooting options and get a feel for the publication. On assignment in the past I have often struggled with "the feel" of the whole work and like to spend time asking questions about the project that may appear intrusive to the editorial team. "Just take the photos" you can hear them saying under their breath. My main concern of course is to get it right technically as I can imagine a book as esoteric as this will have a readership who will want to see every stitch and have absolutely perfect colour. We will talk to the church people tomorrow about just how much gear they will let me set up, bearing in mind the church is open to the public. I would like a flat bright light rather than the shafts of light often associated with large church windows as a starting point, but wonder if I will get enough texture. I will take my studio strobes and soft boxes with me as these may be useful to add some side soft light. I will use the D3 to set up the lighting and check exposures for the 5x4, as there will be no time for a second visit if the trannys are poor.
100m from my office is a burger van, selling cups of tea and everything from venison burgers to salad rolls. Its a good excuse for a walk in the fresh air, a cup of tea and a read of the paper. The owner says today "you do photography, don't you". From the conversation that followed I now have Monday set aside, my small studio set up and the prospect of shooting burgers, salads, wraps etc for a new flyer campaign and an A2 laminated menu. I did a test today with a "BLT in a bun" which wasn't as easy as it seemed. A simple white curved base/background is the basic setup as this will allow cutouts. I always underestimate the amount of light needed for the background to burn it out and had to use my old Bowens to blast the back with +2 stops. If not when you go to print the background it is a muddy white and any amount of moving sliders in PS, just messes up the main subject. You also learn that lettuce isn't that green and we need greener for Monday and that Michael Douglas in the classic film "Falling Down" had every right to be angry about the Whammy Burger when it looked nothing like the picture on the wall. Food photography is fascinating and difficult, finding a balance between truthful representation and an appealing product.
2 shoots to do, so, what happened to taking it a bit easier
.
13th June, went to Minorca for 2 weeks. The holiday was for the normal amount of rest and relaxation in my favourite boutique hotel. Plans were made beforehand to take my newly acquired netbook so that I could write some of my assignment 4 essay and maybe shoot assignment 5 around the rocky coast with the wild flowers and succulents, and imagine myself as Edward Weston at Point Lobos in California. All plans laid, but 11th June, chest infection starts, 12th June, get antibiotics and spend the first week feeling sorry for myself, albeit in heaven. 2nd week, I did get some writing done and I did shoot enough images for assignment 5.
Returned to UK, still with chest infection. My faith in Amoxicillin destroyed, so another visit to the doctor who sends me for xray. Not feeling like a full shilling at this stage and worried by health events with a friend I decided to reduce my business workload by a considerable margin. So, with time on my hands I am catching up on a whole range of undone chores and looking to proceed asap with the course. In the meantime I have had chance to look at my Alamy account, and what a surprise, a sale, which is nice and an enquiry through Photographers Direct to photograph an altar cloth in St Margaret's church in King's Lynn for a book on ecclesiastical textiles. The publisher requires high res digital images of the whole piece, close ups of parts, something contextual and an image suitable for an exhibition banner that is 2.5m high. I pointed out that the banner requirement was going to be difficult and I will have to shoot some 5x4 and have the transparency scanned on a drum scanner. I am meeting the editor tomorrow at the church to look at the shooting options and get a feel for the publication. On assignment in the past I have often struggled with "the feel" of the whole work and like to spend time asking questions about the project that may appear intrusive to the editorial team. "Just take the photos" you can hear them saying under their breath. My main concern of course is to get it right technically as I can imagine a book as esoteric as this will have a readership who will want to see every stitch and have absolutely perfect colour. We will talk to the church people tomorrow about just how much gear they will let me set up, bearing in mind the church is open to the public. I would like a flat bright light rather than the shafts of light often associated with large church windows as a starting point, but wonder if I will get enough texture. I will take my studio strobes and soft boxes with me as these may be useful to add some side soft light. I will use the D3 to set up the lighting and check exposures for the 5x4, as there will be no time for a second visit if the trannys are poor.
100m from my office is a burger van, selling cups of tea and everything from venison burgers to salad rolls. Its a good excuse for a walk in the fresh air, a cup of tea and a read of the paper. The owner says today "you do photography, don't you". From the conversation that followed I now have Monday set aside, my small studio set up and the prospect of shooting burgers, salads, wraps etc for a new flyer campaign and an A2 laminated menu. I did a test today with a "BLT in a bun" which wasn't as easy as it seemed. A simple white curved base/background is the basic setup as this will allow cutouts. I always underestimate the amount of light needed for the background to burn it out and had to use my old Bowens to blast the back with +2 stops. If not when you go to print the background it is a muddy white and any amount of moving sliders in PS, just messes up the main subject. You also learn that lettuce isn't that green and we need greener for Monday and that Michael Douglas in the classic film "Falling Down" had every right to be angry about the Whammy Burger when it looked nothing like the picture on the wall. Food photography is fascinating and difficult, finding a balance between truthful representation and an appealing product.
2 shoots to do, so, what happened to taking it a bit easier
.
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