Work Record 7

Plans for Shoot

For this shoot, I plan to further experiment one last time before my final pieces, and look into one more interpretation of writing, with portraiture still incorporated.

Research

Looking further into portraiture and writing, I found the photographer Duane Michals, who captures people with simple portraiture and will write onto these photos physically.
I have further analysed his work in my blog post 'Photographer Research - Duane Michals'.

Image bank

All these pieces are created from the photographer Duane Michals, I selected these photos because I believe these are the best pieces Michals' has created. Michals will take portraits of people, sometimes even himself, he will place them into a white border, and will write little things physically onto these borders. This is a less direct way of incorporating writing into portraiture, but still very effective. 

Contact sheet

These are all the raw photos captured for this shoot.

Best Photos

These are my best selected raw photos from the shoot.

Photos that require improvement

These two photos I feel do not meet the standards expected for this shoot. For the first photo, the shutter speed is at 1/160, aperture at F4.2, and exposure at ISO 100; flash was also used. The main issue with this photo is its lack of focus on the subject. With me having to take my self-portraits using self-timer and the focus having to be manually set, sometimes I will move while posing causing me to be out of the line of focus. This tends to happen often, but it is more noticeable and I will not allow the photo to be in the rest of the shoot. This photo was not noticed though. If I were to retake this photo, I would make sure I am in the line of focus and make the same pose, I would keep retaking the photo until the focus is clear.

For the second photo, the shutter speed is at 1/160, aperture at F

4.2, and exposure at ISO 100; flash was also used. The issue with this photo is the forced appearance of the pose on the model. In model/portraiture photography, the appearance is made to be natural and look authentic; with this photo, the pose appears forced and unnatural for the model. If I were to retake this photo, I'd either try and relax more for this pose, or keep retaking the same pose till one appears authentic. Another thing I could try is attempting to take the photo in motion, where I would move into the pose just before the camera took the shot, this is more likely to present a better flowing pose.

AO3: Record ideas, observations, and insights relevant to intentions reflecting critically on work and progress.

My Ideas

My intentions for this shoot was to challenge my typical aesthetic in my photographs; instead of taking such a serious meaning to my photos, I create something lighter in appearance and meaning. When analysing Michals' work, I found him to use obvious and simple wording to be mildly humorous, this wasn't in all of his work, but most of it. Michals' work also presents the power of what words can do to premises and photos, completely changing a presentation with a few words, I find this impact inspiration into presenting the topic writing. I believe I was able to recreate Michals' work successfully, having my photos appear less harsh, and lighter overall. The wording I used in the edits and the composition in my modeling for this shoot lacked humor the way I intended, but I believe I can work on this for the future.

Reference to best photos

This photo represents and exhaustion and misery. The facial expression appears tired and forlorn on the model. The stretching of his face suggests exhaustion and frustration. The model not looking at the camera supports further an uncomfortable atmosphere for the model, almost as if he doesn't want to be where he is, a fed up presentation.

This photo, similar to the previous one, presents exhaustion and frustration. The pulling of hair suggests a need for physical release, due to exhaustion and/or frustration. The model looking down and not at the camera suggest the model not wanting to be there anymore, avoiding the situation by looking away.

This photo presents a candid shot of the model. The model appears to be simply wondering, not noticing the camera or the situation he is in. He looks tired and deep into this thought as if it troubles him.

AO2: Explore and select appropriate resources, media, materials, techniques and processes, reviewing and refining ideas as work develops.

Use of Camera

I used a Nikon D3400 DSLR camera and a tripod for every photo taken. The camera was in manual mode, shutter speed at 1/50, aperture varying from F4-5, and exposure at ISO 200; I also used flash since it better revealed facial details in the darkly set area I was taking the photo.

Shoot Process

Since these photos were taken of myself, I had to capture myself using self-timer while my camera was on a tripod, I used someone else to make sure all the camera settings, focus, and alignments were right. Once making sure everything was set right, I put the camera on self-timer (taking a photo every 5 seconds for 5 photos each time) and posed in various poses and facial expressions that I felt were intriguing and enticing.

Experimenting

I have not got onto experimenting with this shoot yet, but I believe I would be experimenting with the use of colour instead of monochrome photos.

Final Pieces

Firstly, I used the spot healing brush to remove any blemishes or imperfections on the model's skin to remove any distractions from the focus of the overall photo.

Secondly, I press CTRL+SHIFT+A to open up the 'camera raw' edit box. I set the treatment to 'Black & White' and continued to edit the exposure and contrast settings. I avoided using the dodge and burn method because I felt this would make the appearance too harsh on the photos like my usual work, so I made settings fit a lighter appearance this time.

Then I make the border for the photo. I decided 2cm thick borders seemed the most flattering and closest to Michals' work style. I pressed CTRL+R to open the ruler borders to then mark out where my borders will go.

Then, using the crop tool, I pulled out the size of the photo to where I marked, creating white borders around the photo.

Finally, I needed to add the text. After looking through a range of font options to best fit the photo, I chose 'rage italic' as it was one of the only aesthetically pleasing fonts that also was rough on its lines to mimic genuine handwriting.

For each photo, I wrote something that I felt best linked with the appearance of the photo.

I put a tilt on most of the text put down as it appeared more realistic to real life handwriting.

Also in some photos, I added a signature of my initials, since, in Michals' works, he will signature it sometimes.

This is the complete photo.

AO1: Develop ideas through sustained and focused investigations informed by contextual and other sources, demonstrating analytical and critical understanding.

My research into Duane Michals has helped me find a new aesthetic to challenge myself with. My work has been typically heavy in tone and dark in meaning and atmosphere, Michals' work light-hearted and gentle in appearance, he uses the power of words to mold his premise of the photo and removes dark suggestions. I find his work welcoming and brighter in calming, I want to try and have my work do this for my future shoots.

AO4: Present a personal and meaningful response that realises intentions and, where appropriate, makes connections between visual and other elements. 

I believe I was successful in recreating Michals' work style, the aesthetic is the same with a lighter toned photo and writing on the borders. These are my final pieces.

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Progression

Looking into Michals' work, I find it challenging for me and very inspiring. I am able to recreate the direct aesthetic of his work so far, with a brighter appearance and the composition. I do not believe I met the intention of creating a more light-hearted presentation though. In all these photos I appear tired and forlorn, so I linked the writing with this, creating a depressing presentation. I plan to further my work with Michals' being my inspiration and challenge myself to create a humorous, light-hearted premise to my photos.
I am moving onto my final pieces now, I feel following the inspiration is best fit for me, since it is a challenge for me to develop my skills in aesthetics and his incorporation of writing and portraiture I find to be perfect.

Work Record 6

Plans for Shoot

For this shoot, I plan to continue my experimentation with the artist Peter Strain and attempt to better recreate his work compared to my last shoot.

Research

Looking further into portraiture and writing, I found the artist Peter Strain, who paints portraits and incorporates writing to reveal the skin of the face typically.
I have further analysed his work in my blog post 'Photographer Research - Peter Strain'.

Image bank

All these pieces are created from my research photographer Peter Strain, I selected these photos because I feel they best present the style I want to experiment with and recreate. Strain uses the words to reveal the face of the subject or identify them. The words link to the subject and reveal their history or story. This use of writing is a technique of imagery, what the words present is physically presented by having the words make what they present.

Contact sheet

These are all the raw photos from my shoot.

Best Photos
These are the best raw photos I selected from my shoot.

Photos that require improvement

These two photos I feel do not reach the standards expected for this shoot. For the first photo, the shutter speed is at 1/50, aperture at F4.8, and exposure at ISO 200; flash also used to reveal better details. My main issue with this photo is the lack of atmosphere and impact in the photo. The facial expression appears candid due to the eyes being open in an odd way, the expression is blank and lacks any meaning to it. The overall composition also is bland, no pose is being made, and the model is simply looking in a direction. If I were to retake this photo I would position myself in a more enticing way so the photo owns a better composition and appearance.

For the second photo, the shutter speed is at 1/50, aperture at F4.8, and exposure at ISO 200; flash also used to reveal better details. I have the same issue with this photo, the composition is lack-luster. The model is simply looking in a direction, that's all there is to the photo, the expression is blank and the body language is neutral. If I were to retake this photo I would position myself in a more enticing way so the photo owns a better composition and appearance.

AO3: Record ideas, observations, and insights relevant to intentions reflecting critically on work and progress.

My Ideas

My intentions for this shoot were to improve my skill in editing, so I could better recreate the artist Peter Strain's work. I feel after doing the edits which will be revealed later, I have finally successfully met this intention and been able to recreate Strain's work.

Reference to best photos

This photo presents exhaustion within the model. The facial expression appears sad and tired, the exhaustion further shown by the model rubbing his eyes, a typical indication of tiredness. 

This photo is presenting stress and elegance. The expression on the models face appears unimpressed and rather stressed by something, looking deep in thought. The hands pulling back the model's hair and the general definition in facial structure presents elegance to the model and a formal composure.

This photo presents a darker atmosphere and dominance from the model. The model staring at the viewer can create intimidation since the stare doesn't appear welcoming for a viewer. The model's facial expression suggests anger or a general distaste for what is happening; thus making the photo welcoming and closed off with negative feelings.

AO2: Explore and select appropriate resources, media, materials, techniques, and processes, reviewing and refining ideas as work develops.

Use of Camera

I used a Nikon D3400 DSLR camera and a tripod for every photo taken. The camera was in manual mode, shutter speed at 1/50, aperture varying from F4-5, and exposure at ISO 200; I also used flash since it better revealed facial details in the darkly set area I was taking the photo.

Shoot Process

Since these photos were taken of myself, I had to capture myself using self-timer while my camera was on a tripod, I used someone else to make sure all the camera settings, focus, and alignments were right. Once making sure everything was set right, I put the camera on self-timer (taking a photo every 5 seconds for 5 photos each time) and posed in various poses and facial expressions that I felt were intriguing and enticing.

Experimenting

Strain's work varies in colour or no colour. My work best excels when colourless, but I thought I'd see how the photos would potentially look if I had their saturation enhanced rather than removed.

Firstly, I added an adjustment layer of 'levels' to increase the depth in darker and lighter tones in the photo.

Then, I felt the warm tones in the subject's skin were too harsh, so I lowered the vibrancy in the photo to remove the heavy appearance.

Then, I removed the blue colouring in the photo with an adjustment layer of 'hue/saturation'. The blues were in the background wall of the photo and I felt this was an unnecessary appearance in the photo.

This is the complete photo.

Overall, I feel using colour in my further edits would not be successful. Strain's use of colour is a better fit for him since he actually paints his work, whereas my recreation is digital. I will continue on with my intention of having my photos colourless.

Final Pieces

Firstly, I used the spot healing brush to remove any spots or imperfections on the skin.

Then, I pressed CTRL+SHIFT+U to remove all saturation in the photo.

Then, I added an adjustment layer of 'levels' to deepen the dark tones and bring up the lighter tones; this made the photo appear less flat.

Secondly, I move onto the dodge and burn method. I firstly add an adjustment layer of 'curves' and brought the centre point of the line down to darken all the dark areas of the photo.

Then, I add a second adjustment layer of 'curves', this time bringing the centre point up, to brighten the lighter areas in the photo.

For the two adjustment layers, I pressed CTRL+I to invert the effect they create, then adding a layer mask on each.

Then, using a white soft paintbrush, I painted over places that I wanted either darkened or lightened on either layer. The opacity and brush size would vary depending on where I was revealing the effect.

Now, I would move onto the main intention of this edit. Using a wordcloud generator, I put quotes from my favourite book 'Diary of an oxygen thief' into the generator and changed the settings so it made a wordcloud I felt would appear best.

Using the quick selection tool, I selected the subject only, then clicked 'refine edge'. Making sure the smart radius was on and the output was to create a new layer.

This then created a new layer with only the subject on it. I then added a new layer and filled it with the solid colour black, making sure this is below the subject layer.

Then, dragging the wordcloud I made from earlier onto the photo and adding a drop shadow to it to create a 3D appearance.

I then copied this layer multiple times pressing CTRL+J and dragged these layers over the subject still fully covered in the words.

I grouped all the word layers and converted them into a smart object. Then coping this layer for later use. I hid both word layers but highlighted the outline of the words by CTRL-clicking on the layer.

I then went onto the subject layer and pressed layer mask to make the outline of the words reveal the subject only. Then pressing CTRL+ALT+SHIFT+E to create a layer that is everything currently visible in the photo. I revealed one of the word layers again and made sure it was below the layer I just made, having this layer have the blend of 'darken to create more depth in the lettering.

Finally, using the other word layer, I brought it up to the top, CTRL-clicking on the subject layer, and adding a layer mask to this word layer, then pressing CTRL+I to invert it and have the words only visible behind the subject.

I removed the link between the layer mask and the words so I could adjust where the words are without affecting the layer mask, I also lowered the opacity of this layer so it didn't overpower the subject.

AO1: Develop ideas through sustained and focused investigations informed by contextual and other sources, demonstrating analytical and critical understanding.

My research into Peter Strain has helped me to further my creativity into using writing in portraiture, with Strain's style being abstract and complex. Allowing the words to create what they hold internally, similar to what Idris Khan did, but with portraiture/people instead. Strain's style is a direct way of incorporating the two topics of writing and portraiture.

AO4: Present a personal and meaningful response that realizes intentions and, where appropriate, makes connections between visual and other elements. 

I believe I have finally met my intentions for this shoot, I was able to further my edit skills and recreate the style of Strain's work more directly and add my own details to it also. These are my final pieces.

Progression

Overall, I am relieved that I was able to meet my intentions and further my skills in editing with this shoot. I find Strain's work to be a brilliant direct interpretation of writing and incorporating portraiture into that. I have furthered my research into writing and portraiture and found a less direct photographer who incorporates portraiture with writing. For my next shoot, I plan to look further into this photographer and recreate his work.