reiss simms-williams

candidate number

by reiss simms-williams

RELATIONSHIPS

BY REISS SIMMS-WILLIAMS

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STATEMENT OF INTENT

My chosen theme is relationships and within this I have chosen to study the relationships in the natural world. The reason I have chosen to do this is mainly be-cause, I am naturally a nature photographer and I think it will be really interesting to explore this interest further. I intend to carry out a series of artist’s research on spe-cific artists such as David Spero, Joel Sternfelds, Ed Ruc-shas and Hans-christian Schinks. I am going to research these artists because they link to the natural world theme and will help me learn and understand relationships in the natural world a bit more. I intend to do at least three photo-shoots where I will go out in appropriate locations to my theme such as parks, woodland and fields. In these environments I will take photos of vegetation mainly such as flowers and trees as they symbolize nature, I will also take natural landscape photos. I also want to a pho-to-shoot that it the complete opposite to the nature shoots so I can display the contrast. I have a few photographers in mind that I think will compliment my theme that I will research, one of those photographers is Melinda Gibson. The reason that I want to research this particular artist is because she contrasts manmade objects with nature by merging them together and I think this is a very creative way to show the contrast. There are many camera tech-niques that I want to test out and work on which ranger from the subtle edits on camera raw to photo manipula-tion on Photoshop. I will be practising colour edits such as the Harrison shutter effect.

MIND

MAP

ARTIST INTERPRETATIONS

ED RUSHAEd Ruscha was born December 16, 1937, he lives and works in Culver City, California. Ed is an Amer-ican artist who is mainly associated with the pop art movement. He has worked in many different types of media which include painting, printmaking, drawing, photography, and film. Ed Ruscha moved to Los Angeles in 1956 to study design at Chouinard Art Institute. He had a very long career which lasted for nearly fifty years and in this time he has produced paintings, photographs, prints, drawings, and films that usually reflect the city’s architecture, urban landscape, and car culture. Photography has been his main focus out of his other artistic practices and in his photography he is most renowned for his pocket-sized volumes that he began publishing in 1963 and his extensive documentation of Los Angeles streets, begin-ning with Sunset Boulevard in 1965.

I will be mainly focusing on his architecture col-lection in the streets of LA called in focus. Ruscha produced sixteen photo books between 1963 and 1978 in large editions on high-speed professional presses. Most of these books feature snapshot style photographs that he made with his 2¼-inch-format Yashica camera and sequenced in straightforward layouts. They included A simple, descriptive title in capital letters against the monochromatic back-ground of the cover provides the narrative content for each book.

For the first of his photo books, Ruscha photographed gas stations along Route 66 during road trips between Los Angeles and his hometown of Oklahoma City. In addition to images that appeared in Twen-ty-six Gasoline Stations, this selection includes

I thought that Ruscha’s fourth book was very interesting as it was make up of structures on the mile-and-a-half stretch of Sunset Boulevard between Beverly Hills and Laurel Canyon. Ed created a twen-ty-four-foot-long view with both sides of the street using a 35 mm camera mounted to a car and then manually collaging the photographs together. Now part of West Hollywood, the Strip then lay in an independent part of Los Angeles County, which facilitated its development as a nightlife hotspot. The signage of the establishments there, as well as the many billboards, has continued to provide inspiration for Ruscha’s work in other media.

The main aspects that make this particular photo successful is based on the angling, text and colour. In order to stay consistent with ed rushas theme I used a black and white filter over all of my photos. The reason that this photo has o lot of interest to it is due to the fact that I took the photo from an upwards tilted angle which isn’t done a lot. The pub is actually quite small in height but as you can see the bottom or the sides of it the audience will be thinking about how big it might be. The clouds actually complete the photo as the soft texture of the clouds contrast against the hard lines in the building.

In this photo I used the technique of shapes and lines. What drew me to pho-tograph this building was the interest-ing shapes and hard lines such as in the staircase. I photographed this photo in a specific way in order to exaggerate the strange form of the building, I did this by not including the ends of the buildings. The main focal point of the photo for me is the tunnel, this is because it is the darkest part of the photo and it draws the viewer’s eyes in and at the end of the tunnel there is a silhouette of a man which adds extra interest to the photo.

The photo above is very successful I think because it has a very strange organ-ic looking structure which caught my eye. I find that the foreground is used well because there is nothing there except for a lamppost and I think that if there was anything more in this space then it would distract the viewer from the structure.

This photo uses the technique called the rule of thirds (fore-ground, mid ground and back-ground). What makes this photo particularly interesting is the series of lines that lead the eye to the building. The range in greys in the clouds also help complete this photo and I also like how the building is used to split the photo into thirds.

JOEL STERNFELD

Joel Sternfeld was born June 30, 1944. He is a fine-art colour photographer renowned for his large documenta-ry pictures of the United States which helped establish colour photography as a respected artistic medium. He has many work in the permanent collections of the MOMA in New York City and the Getty Centre in Los Angeles. He has influenced a generation of colour photographers, including Andreas Gursky, who borrows many of Sternfeld’s techniques and ap-proaches.

Joel Sternfeld is best known for his exploration of human-altered land-scapes in the United States, his shots of recent tragedies, and his images of degraded landscapes, including the Hunt Island cemetery, where the home-less of New York City are buried. A native New Yorker, Sternfeld has earned many awards including the Prix de Rome, the Guggenheim Memorial

Foundation Fellow-ship, and the National Endowment for the Arts Photographers Fellowship

Sternfeld has greatly influenced the current generation of colour photographers, a group that includes Andreas Gurksy and Thomas

Struth. His striking images recapture the social history of locations such as LA that are haunted by the past.

INTERPRETATIONS

These photos are from a photo-shoot that I did in order to use Joel sternfelds style and insert it

into my own photos so I can understand his work better. I picked three main locations close to where I go to school and took a series of photos in all of these. The first location was the supermarket car park. The reason that I chose this particular location is because I was inspired by his photo of a man sitting on a trolley and I wanted to

recreate this in my own way. The reason that I got the model to look away in most of the

photos is because I wanted the viewer to feel a disconnection to the model in order for them to

see the bigger picture and not just the model.

The second location that I went to take photos was the sta-tion. The reason that I decided to take photos at the station was because it is one of the main attractions in that area and it also has a wide range of lines and struc-tures. The third location was the corner shop. I chose the corner shop because it is the most visited one in the area which makes it quite iconic.

SCANOGRAPHY

photos from google images

scannography

Scanography is the process of capturing digitized images of objects for the purpose of creating printable art using a flatbed “photo” scanner with a CCD (charge-coupled device) array capturing device. Fine art scanography differs from traditional doc-ument scanning by using atypical objects, often three-dimensional, as well as from photography, due to the nature of the scanner’s operation.

Scannography is near from photography but also very different from it in many points. A few of them are the absence of perspective and of depth of field, the regulari-ty of the light captured by thousands of captors… Some of these points are very differ-ent from one artist to the other. The material seeem to have it’s importance too.

One of the most interesting things about scan-nography is that it is a new way to see the things around us. It’s not macro but can be ! It’s not draw-ing but has something sim-ilar to those documentary drawings done to capture the essence of plants or animals ! It’s not photogra-phy but it reproduces the reality with extraodinary precision !

photos from google images

I experimented with the use of a scanner by collecting some interesting objects that re-late to the natural world such as flowers and shells. I arranged them into various different patterns and scanned them. The results were very successful. After I had tried the basic scans I began to experiment with putting my hand on it as well and I realized that if I moved my hand down the scanner while it was on it created a really nice effect.

As i developed my understanding with scan-

nographoy i began to experi-ment with the materials that i put

over the objects in order to create a different textured background.

MELINDA GIBSON

Melinda Gibson was born 1985 in Aldershot, United Kingdom but now she currently lives and works in Lon-don. She studied for a BA in Photography at the London College of Communication and is said to be planning on completing an MA in the next few years. After graduat-ing Melinda Gibson started her career by assisting nu-merous photographers such as Martin Parr and Wolfgang Tillmans, while still continuing to develop her own pho-tography skills. Melinda Gibson has exhibited in London and also participated in the European Capital of Culture exhibitions in Finland 2011. She was also been selected by The Magenta Foundation as one of the UK winners for this 2011s Flash Forward Emerging photographers

In the section of Melinda’s work that I am mainly focusing on called; Contemporary Art, I can tell that Melinda is interested in the changing perspectives of the photographic medium and it’s positioning within contemporary art. This series of work is inspired by the educational text by Charlotte Cotton. Using the medium of photomontage, each piece is a trio of imagery removed from the book and re-con-structed as one. Melinda wanted this body of work to encourage ques-tions surrounding our educational system, copyright

Melinda Gibson’s work relates to mine because I am looking at the subject of relationship and na-ture within that sub-ject and I can see that in much of her work she has used people to represent the relation-ship between nature and man. The way that she had done this is by taking a photo-graph of a person in a certain environment, usually indoors, and cut them out then

replaced them with an element of nature such as grass and this shows a massive contrast between nature and man-made objects such as a house.

The way she creates these photo montages is quite simple. Each piece is composed of three separate parts, the separate images where the same size are manipulated into one. This is done by cutting out specific parts of the photo and placing it under or over one another, parts have been removed and thrown away while others have been added. Each image has one main photo, the original photo, which addi-tional elements are added that makes itself into a new original. Through this deconstruction you start to gain a greater appreciation of the works and start understanding why and how these photographers, these images have become so prominent.

Melinda Gibson Interpretations

In these set of photos I was trying to accomplish an understanding of Melinda Gib-son’s work and interpreting it in my own way. The first thing I did in order to develop my understanding was researching this artist and found that Melinda Gibson merged photos together by either editing them into an object or a person. The pieces that seemed to be the most effective were the photos that showed a contrast between natural and manmade objects, this is what inspired most of my photos. I find that the photo above is successful in accomplishing the desired theme and this is based mainly on the colours and shapes that I inserted into the shape of the person. I purposefully went out beforehand and took a series of photos which consists of colourful flowers and leafs. My reason for doing this is that the inserts had to be colourful because the photo that has a natural background could blend in with the person but I really wanted them to stand out. I decided to use the purple leaves was because there were no other purples present in the photo which means it will really stand out.

My journey for experimenting with Melinda Gibson’s style con-tinued and lead me on to creating these two pieces. I created the one on the right first and I wanted to create a more subtle feel as if it was almost camouflaged. I think this photo really works well but for the different reasons than the first picture. Mainly because the white flowers inside the model camouflages against the metal lamppost and I think this creates an interesting concept that man mad and natural objects can work together.The image below is interesting as this is the only photo where I have manipulated two models but it’s not just that. I decided to choose colours that compliment and contrast each other in order for the audience to see it as two independent pieces and I think I have achieved this.

This photo shows the extreme con-trast between man made and natural environments

This photo is the opossite to the one oon the left, it shows the contrast between natu-ral enviroments and man made environments

So FarThe reason that I decided to choose the theme natural world within relationships is because I believe that it can open various roads to explore as natural world is a very big topic. The other reason that I picked this topic is because previously I have always based my photography around nature, landscapes and animals and I found that this is where I produce my best photographs.

The way that I have explored the theme is by basing my pho-to-shoots around the theme but this time I did it a bit more subtly by just having elements of natural world in the photos so it wouldn’t be immediately recognised as a natural world based piece.

I learned quite a bit form researching about the theme such as the specific photographers that specialize in that sort of pho-tography. I also realized that natural world wasn’t as direct as just a photo of a bird for example it could be anything in a natural environment, even a photo of people walking their dog in the park can be considered as natural world pho-tography.

The photographers that I have researched into are artists such as Ed Rusha, Joel Steinfelt and Melinda Gibson. They have helped develop my understanding of the theme quite a bit because Ed Rusha developed my understanding about buildings in the environment as he would photograph things such as gas stations, but the thing that made it interesting was the lo-cation of the shoot as it was in a very town next to a dessert. Joel showed me how to represent relationships between people in the natural world but I think Melinda Gibson gave me the best under-standing about my theme because she displayed the contrast be-tween man made objects and nature using the form of people.

The way that I used the photographer’s ideas in my work to develop my ideas was by taking out taking out segments of their work that I liked and implementing it into my own photos. Some of the things that I took was the way Joel Sternfeld positions his models in or-der to portray the relationship and I also used the idea of mixing man made Objects with natural world in order to show the contrast.

So far I have completed a photo-shoot which focuses on extreme natural environ-ments and extreme manmade environments to show the relationships between them and I have done the reshoot to this as well. They relate to the theme because the topic is rela-tionships and I’m showing the relationship be-tween two environments in the natural world.

What camera settings have I used in the photo shoots and why? I haven’t used an extensive range of camera skills for these photo-shoots as the artists that I research didn’t use any camera settings that noticeably changed the photo. The main camera settings that I used was macro, landscape, high aper-ture and portrait setting.

OBJECTS PHOTOSHOOT

photoshoot

This section of my E-mag Focuses on the photo-shoot that I did based around manmade ob-jects. This pho-to-shoot is a con-trast to the natural world photo-shoot that I did previously. In this photo-shoot I am trying to portray the manmade environment in an extreme way. The way that I tried to put this across is by taking the photos in very cold concrete place which is deprived of any natural world aspects and the loca-tion that had all of these was an abandoned car park. In order for the photos to be more interesting I asked a model to be in the photos doing various poses.

I took this picture as I liked the straight lines and cold empty feel. I manipulated these photos digitally in order to change the feel and effect the photo has on the viewer. I edit-ed the first photo by changing the hue to give it have a red and purple overlay. This changed the mood from a cold empty feel to an angry or dangerous feel. The second photo was created due to an error in the images processing but I thought that it was a really interesting creation. I had added an overlay beforehand as I wanted to experiment with giving the photo a warmer earthy feel even though it is completely man made.

I digitally edited this photo using the Harrison Shutter Effect and i think this is an effective edit because it gives the photo an omnimus feel, also the fact that the original photo is so colour deprived gave me the idea to add some colour into it in a creative way.

I wanted to illustrate the mood of

these pictures by getting my model to act as if he was

homeless. I like the contrast between the metal and concrete and the low lighting meant the picture has a cold atmosphere to it. What I also did to create this sad atmosphere was changing the brightness and hue on the pho-tos. In the photos on the right of the model posing as the homeless man in I increased the hue to make it more green, this created a mouldy effect making the lo-cation look more uninhabitable than it already is..

In the picture below I liked the natural and manmade elements in the picture. The lines and bricks and metal create interest.

Photoshoot

In the natural world there are a wide range of vibrant colours and inter-esting shapes that are presented in such things like flowers or trees, in this photo-shoot I tried to portray all of the aspects of the natural world that I could. In order to complete this photo-shoot I travelled to various lo-cations seeking out vibrant colours (which mainly came from leaves and flowers) and natural forms within nature.

Textures are featured widely in the natural world and I thought the

best way to present this was through a photo of tree bark which presents

depth and really visible rigid rough segments and even though the photo

in 2d it almost looks like it has become 3 dimensional. In order to increase the effect of

this photo I edited it in camera raw. The main things that I did to manipulate this picture

was increasing the clarity which gave more detail within the bark segments and I also

decreased the saturation because I want-ed the focal point to be on the texture

and not the colour.

This photo is an effective because of the symmetry introduced into the photo. The path is in the centre of the shot leads the viewer’s eye up the photo. The photo is also symbolic because the nature on each side looks like it is wrapped around the manmade structure and has been separated by this concrete path.

Spirals feature a lot in natural environ-ments and in this photo it is presented in trees that have grown over a path to be-come an arch. The reason that I think this is an effective photo is because it has a mag-ical feel to it as if it is an enchanted forest, this is mainly because of the unusual shape and vibrant yellows and blues.

As I wondered deeper into the woodland I began to experiment with the camera techniques that I used. The photo on the right was taken using macro. Macro function increases the detail in the photo and focuses on a certain point of the image and blurs the background. This photo is particularly interesting because of the certain textures and colours and the soft moss texture that covers the wood gives the photo a very earthly feel to it. The bright green in the photo works well as it isn’t overpowering yet very vibrant and intense detail which leads the main attraction not just the colour but texture. The second photo interested me mainly because of the form of the branches and leaves which drape across like a washing line and leaves hang like wet clothes. In order for the colours of the leaves to be the vibrant red and purple colour I dramatically edited the photo using hue to increase the purples and saturation.

These two pages focus pure-ly on the colours in the natural

world. I tried to discover a wide variety of colours while I was in

the woods and realised that flowers would be the source. This first pho-to is successful because the whole image is pouring with colour and the fact that the main colour in the image is yellow means that the viewer’s eye will be instantly drawn to the colour and not the form.

I really like the photo below be-cause of the vibrant blend of colour and

tone. The each individual leaves are a mix of red, yellow and orange which creates a nice warm feeling image.

The large image on the right is my fa-vourite of them all mainly because the

concept of the photo isn’t as simple as the other two. In this photo the main focus is still colour but you almost have to look for it within all the green. I also like how the photo isn’t shot in macro because it means you can’t see the indi-vidual shapes of the flowers clear-ly which putts more focus on the

colour.

This was my forest edition to the Photo-shoot where I mainly tried to focus on the trees in order to portray the forest to be big and powerful. I would find an open space and photograph the trees straight ahead of me but not reveal-ing the tops of the trees as I wanted them to look as tall as possible. I also made sure there was always an open space or pathway as it made the clusters of trees in the foreground look more en-chanting and mysterious. I edited the photo on the left in this particular way by changing the temperature in the photo in order to completely change the mood as I want-ed to portray the woods in a different way to how I previ-ously have.

This set of photos represent depth and an al-

most magical feel to them. In the picture on the left, the photo

shows the height of the trees with their slim form together creating an almost solid mass. The picture draws your attention down the line in the centre towards the end of the clearing giving a feeling of depth.

The picture at the top on the right is the same picture that I edited with simple hue and Saturation to give an alterna-tive feel yet still give a feeling of depth but with a more realistic feel.

The next picture down is of an unearthed tree with its roots en-crusted with soiled shown. The ball of soil has a strange appearance of a face side angled with the left ear, cheekbone and jaw and shoul-ders emerging from the ground.

I liked the last photo just because of the simplicity of the picture with only a couple of tones. I felt these tones created a sense of depth and gave interest in natures form.

TECHNIQUES

TECHNIQUES CROPPINGWhat does cropping do to your images?Cropping changes the view of the photo and can change the focal point of the photo.Which is your favourite and whyMy favourite photo of all these cropped photos in the first one because it shows all of the necessary

cropping

resizing

rotation

repetition

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EVALUATION

I have produced a collage based piece which consists of 7 separate collages that I displayed together using a back-ing board. The reason that I did this for my final piece was because I wanted to portray the contrasts in nature and manmade objects but also show that they can work together. What I did was too some of my best photos from my nature and manmade shoot, then I cut out the shape of the model that was in the photos. After that I filled the empty shape with a bright colourful nature photo if it was a manmade main photo and if it was a nature photo I filled the shape with some sort of structural photoI used many techniques when making this final piece. I used manual techniques where I cut the photos using a craft knife and stuck them together using glue. The digital techniques that I have used was camera raw edits. I edit-ed them by reducing the saturation in order to turn half of the photos nearly black and white. I also increased the saturation and contrast on the nature photos because I wanted to emphasis the colours.

I explored various ideas when progressing towards this idea. One of the ideas that I had was to make an A1 final piece where I was going to create one side of the photo to be manmade and the other side to be natural. I was going to accomplish this by digital-ly editing half of the photo to be black and white in order to look cold and hard and I would also use a crafting knife to cut out parts of the photo and place a structural photo behind it. The other side would be over exposed in order to emphasise the contrast. I realised that this wasn’t a very good idea because there weren’t enough techniques involved and it wouldn’t take very long to do. Another idea that I actually tried in the exam was to back the A2 piece with 4 A3 pieces of card but that wasn’t practical be-cause it wasn’t sturdy and would collapse in on itself so I decided to use 2 A1 foam boards and tape them together instead.

I think that my final piece explores the topic very well because the topic chosen was relationships in the natural world and in my final piece I clearly por-trayed the relationships between the natural world and manmade objects using collage.

I understand what relationships means in photography terms now. Before I had the impres-sion that the only relationships that I could depict were relationships between people but I know realise that I was looking at the phrase to literally. Relationships could mean connections or links.

The way that I could take this further is by cutting out multiple parts of the photo and re-placing them with the opposite environment but I would have to think really carefully about what I actually pick otherwise it might just look messy.My final piece links very closely to Melinda Gib-son’s work because she uses the same techniques of cutting out people form a photo using a craft knife or doing it digitally. She inspired me to use that technique as I saw how successful it was in her photos. She also mainly mixed nature with manmade objects in a lot of her photos but in a more subtle way like using a photo of someone in a bedroom and replacing there body with grass whereas I would be a bit more extremeThe way that I have interpreted my work is by looking at the photos individually. I think that my work is trying to portray the contrasts be-tween manmade objects and nature but as it is doing this it also shows that if they work togeth-er they can create something wonderful.

MAIN AIM OF PHOTOSHOOTMY MAIN AIM FOR THIS PHOTOSHOOT WAS TO INTERPRATE JOEL STERN-FLDS WORK AND TAKE PHOTOS IN HIS STYLE

ISOAPERTURE RANGESHUTTER SPEED RANGE

PHOTOSHOOT EVALUATIONI BELEIVE THAT MY PHOTO SHOOT WAS SUCCESSFUL AS I DID EVERYTHING THAT I PLANNED AND IT IS EASY FOR THE VIEWER TO SEE THAT I HAVE USED HIS STYLE. IF I DID IT AGAIN I WOULD TAKE A WIDER RANGE OF PHOTOS IN MORE LOCATIONS

PHOTOSHOOT IDEASI PLANNED TO TAKE THE PHOTOS AT SPECIFIC SIGNIFICANT LOCATIONS IN THE AREA THAT I GO TO SCHOOL IN

SHUTTER SPEED RANGE

MAIN AIM OF PHOTOSHOOTTHE AIM WAS TO INTERPRATE ED RUSHAS PHOTOS AND DO A SHOOT USING HIS STYLE OF WORK

DATE OF PHOTOSHOOT

LIGHT SOURCETHE SUN

ISOAPERTURE RANGE

PHOTOSHOOT EVALUATION I THINK THE PHOTOS THAT I HAVE PRESENTED AND EDITED PORTRAYS RUSHAS WORK IN THE RIGHT WAY BUT I THINK IF I DO IT AGAIN I NEED TO TAKE A LOT MORE PHOTOS

PHOTOSHOOT IDEASI PLANNED TO FIND BUILDINGS WITH HARD LINES AND AN INTERESTING STRUCTURE IN THE TOWN THAT I LIVE INi

shutter speed range

MAIN AIM OF PHOTOSHOOTTHE AIM OF THIS WAS TO EXPERIMENT WITH SCAN-NOGRAPHY AND LINK IT WITH MY CHOSEN SUBJECT

date of photoshoot

light sourcescanner

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PHOTOSHOOT EVALUATIONI BELEIVE THAT THIS PHOTOSHOOT WAS SUCCUSSFUL AND ACHIEVED WHAT I WANTED IT TO DO BECUAUSE I FOUND A LOT OF CREATIVE WAYS TO EXPERIMENT WITH SCANOGRA-PHY.

PHOTOSHOOT IDEASI PLANNED TO USE SOME NATURAL OBJECTS IN THE SCANNER AND MAKE INTERESTING PATTERNS OUT OF THEM.

SHUTTER SPEED RANGE

MAIN AIM OF PHOTOSHOOTTHE MAIN AIM OF THIS SHOOT WAS TO PGOTOGRAPH OBJECTS IN DIFFERENT LOCATIONS THAT THEY ARNT USEUALLY FOUND IN IN ORDER TO EXPRESS THE RELA-TIONSHIP BETWEEN THE OBJECTS AND ITS ENVIRON-MENT.

DATE OF PHOTOSHOOT

LIGHT SOURCESUNLIGHT

ISOAPERTURE RANGE

PHOTOSHOOT EVALUATIONI THINK THIS PHOTOSHOOT WENT QUITE WELL AS I DID COMPLETE THE OBJECTIVE BUT I JUST DONT THINK THAT THE PHOTOS HAVE ENOUGH OF AN IMPACT.

PHOTOSHOOT IDEASMY MAIN IDEAS WERE TO PLACE CERTAIN OBJECTS (THAT USUALLT BELONG INDOORS SOMEWHERE) IN THE NATURAL ENVIRONMENT.

MAIN AIM OF PHOTOSHOOTTHE MAIN AIM OF THIS PHOTOSHOOT WAS TO TAKE A COLLECTION OF PHOTOS BASED ON RELATIONSHIPS IN GENERAL TO PUT ON MY MIND MAP

DATE OF PHOTO-SHOOT

LIGHT SOURCESUNLIGHT AND FLASH FROM CAMERA

ISOAPERTURE RANGESHUTTER SPEED RANGE

PHOTOSHOOT EVALUATIONI THINK THAT THIS PHOTOSHOOT WAS SUCCESSFULL BECUASE I WAS ABLE TO REPRESENT ALL THE DIFFERENT ASPECTS OF REALATIONSHIPS USING THESE PHOTOS

PHOTOSHOOT IDEASI DECIDED TO BRAINSTORM SOME IDEAS ABOUT RELATIONSHIPS AND I CAME UP WITH THINGS LIKE THE RELATIONSHIP BETWEEN A ZIP, PADLOCKS, TV AND NATURE. THROUGH THAT BRAINSTORM I CAME UP WITH THESE PHOTOS

SHUTTER SPEED RANGE

MAIN AIM OF PHOTOSHOOTTHE MAIN AIM OF THIS PHOTOSHOOT WAS TO SHOW THE COMPLETE OPPOSITE OF THE NATURAL WORLD. IN THIS SHOOT I WANTED TO SHOW THE CONTRAST BETWEEN MAN MADE OBUJECTS AND MY OTHER PHOTOSHOOT WHICH WAS PORTRYING NATURE .

DATE OF PHOTOSHOOT

LIGHT SOURCECIELING LIGHTS AND FLASH FROM THE CAMERA

ISOAPERTURE RANGE

PHOTOSHOOT EVALUATIONI THINK THAT THIS PHOTOSHOOT WENT REALLY WELL AS I REPRESENTED MAN MADE OB-JECTS IN THE WAY THAT I WANTED AND ALSO I USED A RANGE OF DIFFERENT ANGLES TO TAKE THE PHOTOS SO THEY DONT ALL LOOK THE SAME

PHOTOSHOOT IDEASMY IDEA WAS TO FIND A DARK CONCRETE STRUCTURE THAT LOOKS QUITE RUN DOWN AS I WANTED TO PORTRAY MAN MADE OBJECTS IN A NEGATIVE WAY

MAIN AIM OF PHOTOSHOOTMY MAIN AIM FOR THIS PHOTOSHOOT WAS TO PORTRAY NATURE IN A VERY POSITIVE WAY. THE WAY I DID THIS IS BY PHOTOGRAPHING VERY COLOURFUL AND GREEN THINGS. THE WAY THAT I EMPHASISED THE VIEW OF NATURE WAS BY EDITING THEM IN CAMERA RAW. WHAT I DID IN THE EDITS WAS INCREASE THE CONTRAST AND SATURATION. I ALSO TWEEKED THE COLOUR TEMPER-ATURE A LITTLE BIT BY TURNING IT MORE GREEN OR ORANGE

DATE OF PHOTOSHOOT

LIGHT SOURCESUNLIGHT

ISOAPERTURE RANGESHUTTER SPEED RANGE

PHOTOSHOOT EVALUATION

PHOTOSHOOT IDEAS MY IDEAS WERE TO PHOTOGRAPH A RANGE OF PLANTS, FLOWERS AND TREES