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Charlotte white PIP sketchbook

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CharlotteWhite46

Sketchbook displaying my journey through PIP.

Art & Photos
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Professional Interactive Practice Charlotte White 17105131 27.04.2020 In my practice this year I have been focusing on photography, mainly portrait photography. Appropriating photography as an art, allowing the viewer to experience the concept, capturing atmosphere and using the camera as a statement of portrait photography with visual elements. Also looking at the basis of aesthetic and the modes of sensory with body perception.
Fares Micue…………………………………………………………………………………………………………………………………………………………..pg 3 Endonia Series………………………………………………………………………………………………………………………………………………….…pg 4-6 At One series………………………………………………………………………………………………………………………………………………...…...pg 7-8 Myrtle series…………………………………………………………………………………………………………………………………………….……….pg 9-10 Portrait Photography tips………………………………………………………………………………………………………………………………….pg 11-12 Portrait photography experiments……………………………………………………………………………………………………………………pg 13-18 Vibrant Edits…………………………………………………………………………………………………………………………………………………….pg 19 Lindsey Adler………………………………………………………………………………………………………………………………………………….....pg 20 Derrick Freske…………………………………………………………………………………………………………………………………………….…..pg 21 Using the gel through the lenses……………………………………………………………………………………………………………………..pg 22-23 Concealed rose series………………………………………………………………………………………………………………………………….……pg 24 Ruby blossom series…………………………………………………………………………………………………………………………………….…pg 25-26 Rosy Radiance series………………………………………………………………………………………………………………………………….…..pg 27-28 Urban Infuse……………………………………………………………………………………………………………………………………………..……pg 29-30 Outdoor portraiture………………………………………………………………………………………………………………………….…………..pg 31-32 Portraits: Using the light gels……………………………………………………………………………………………………………….………..pg 33-41 Alternative ways using the gels……………………………………………………………………………………………………………….…….pg 42-45 Nick Francher……………………………………………………………………………………………………………………………………………..….pg 46 Creating shaddows………………………………………………………………………………………………………………………………….…….pg 47 Jiri Kylian………………………………………………………………………………………………………………………………………………………pg 48 Dancing in the shadows………………………………………………………………………………………………………………………..……pg 49-50 Expressions of a dancer…………………………………………………………………………………………………………………………..…..pg 51-55 Review of project…………………………………………………………………………………………………………………………………..…..pg 56-57 Vaporwave………………………………………………………………………………………………………………………………………….……..pg 58-59 Collages……………………………………………………………………………………………………………………………………………..………pg 60-61 Nam June Paik…………………………………………………………………………………………………………………………………….…..…pg 62 Mike Campu……………………………………………………………………………………………………………………………………….………pg 63 Contents page
Sabato Visconti……………………………………………………………………………………………………………………………………..….pg 64 Plan for shoot……………………………………………………………………………………………………………………………………….…..pg 65 Future Nostalgia………………………………………………………………………………………………………………………………………pg 66-71 Synthetic Glaze………………………………………………………………………………………………………………………………………...pg 72-75 Bea Fitler…………………………………………………………………………………………………………………………………………………pg 76 Long exposure………………………………………………………………………………………………………………………………..……...pg 77-81 Plan for shoot……………………………………………………………………………………………………………………………..…………..pg 82 Be my eyes series………………………………………………………………………………………………………………………………….…pg 83-87 Signe Pierce…………………………………………………………………………………………………………………………………………....pg 88-89 The girl in a screen………………………………………………………………………………………………………………………………....pg 90-94 Makeup Mood board…………………………………………………………………………………………………………………………..…..pg 95-96 Dreaming in signals series………………………………………………………………………………………………………………….…..pg 97-101 Plan for shoot…………………………………………………………………………………………………………………………………..……..pg 102-103 Confined series……………………………………………………………………………………………………………………..………..………pg 104-106 Azure thoughts………………………………………………………………………………………………………………………………….……pg 107-108 Mass material……………………………………………………………………………………………………………………………………..…..pg 109 David Ligare……………………………………………………………………………………………………………………………….………..….pg 110 Plan for shoot………………………………………………………………………………………………………………………………………….pg 111 Emancipation shoot………………………………………………………………………………………………………………….…………….pg 112-115 Racheal Russell…………………………………………………………………………………………………………………………………….…pg 116 Maggie west…………………………………………………………………………………………………………………………….……………pg 117 Projector photography……………………………………………………………………………………………………………….……….…pg 118-125 Zigian Lui…………………………………………………………………………………………………………………………………..……….….pg 126 Plan for shoot………………………………………………………………………………………………………………………………………..pg 127 Natural reflection series…………………………………………………………………………………………………………..…………...pg 128-129 Meadow reflection………………………………………………………………………………………………………….…………………...pg 130-133 Lee Friendler…………………………………………………………………………………………………………………………………………pg 134 Facetime photoshoots……………………………………………………………………………………………………………………….…pg 135 Review of Project……………………………………………………………………………………………………………………………….…pg136 What next?.................................................................................................................................................pg 137
Fares Micue Fares Micue is a self-portrait photographer, she uses photography to express her emotions and explore her perception of reality. She states her work is very symbolic, her elements, compositions, body language and colour are all elements that create a conceptual image as she wants her images to be told as a story. Micue started her photography projects as a hobby, however, grew to love the process of creating conceptual work and expressing herself through this. I think her use of colour is very captivating and experimental creating an image that solid and expresses texture. she shows bare skin in her models to show the natural aspects of humans and the flowers to reflect on this idea of connecting nature to humans. I inclined towards the abstract element with vibrant colours it brings in texture and colour into the photographs. I also like the idea that you can’t see her face which suggests to me a feeling of vulnerability. I particularly liked her use of flowers and colour to create a textured image. I would like to experiment with this myself, I desire the use of flowers to add contrast to images, also looking at natural aspects in comparison to the human body.
Plan for Shoot I want to look at connecting humans to nature. I liked the contrast of the natural human body as a form and nature aspects such as flowers, I wanted to refer to the theme of beauty and the natural beauty of the model and flowers as a representation of this. I looked at aspects such as subtle makeup but with a bold colour such as red. I wanted to embody and embrace the body by showing some skin in the photographs, as they are going to be portrait images it could be an option to show the shoulders or have a form of natural clothing. The flowers will bring in a sense of texture and colour, referring to Micure, I wanted to bring in a form of colour in the pictures with the flowers. By combining different colour and types of flowers, this will allow the image to have more dimension. I knew I was interested in communicating the body through portrait photography, therefore I thought this was a good place to start thinking about portraiture and experimenting with my ideas in the studio. Makeup inspiration- Natural colours with bold statement lipstick, looking at natural aspects of the body by perceiving skin, for example shoulders.
I experimented with using flowers to represent natural aspects. I wanted to create a serene mood by embodying and embracing the natural flowers with beauty, particularly looking at connecting humans with nature. For these images I used a dark background to help the model and colours of the flowers outstand the surroundings. I used the flowers as a prop embracing the model with the flowers, I was able to focus on the flowers and model as a whole rather than two septate aspects. I experimented with different compositions such as the model hiding behind the flowers, flowers in the models clothing, mouth and hair. Some compositions had better potentially which included the close-up portraits where the model is more cultivated in the flowers. Looking at a cohesive series I started to think about each element and how they can complement each other. I considered how the flowers played a part in the shoot. I acknowledged that the flowers can add colour and texture to the image. I desired creating visual images with elements of intermixture with the dark background and substance of the flowers with a degree of softness. Eunoia Series
In the selection of images, I chose images that I thought complimented each other in terms composition and variety. I inclined towards the images where the model was engaged and immersed with the flowers. Looking more at the composition of the model, I selected images which looked similar in terms the model’s format but different arrangements of the flowers. The styling of the model was also considered before the shoot. Looking at hair and makeup I got inspiration of how I would like the shoot to aesthetically look. I asked the model to wear a bandu top, this creates a sense of showing skin and with inspiration from Fares Micue who shows a lot of bare skin in her photography to reflect on natural aspects of the human body. I also asked the model to wear simple makeup with a bold red lipstick. I wanted to create this idea of natural beauty but with the lipstick as a representation of beauty standards.
Eunoia- The black and white series These are the images that I displayed in the first Link gallery exhibition, alongside a video. I wanted to create a more powerful image with the black and white images layered with the colourful flowers. I created these of photoshop by selecting areas to restore colour. I played attention to the colour scheme of the flowers. With mainly green and white flowers then one bold colour as a statement. Using contrast colours in the flowers allowed me to create a more overpowering image with the black and white portrait. I selected these images by thinking about the composition of the model. I looked at the figure and the different arrangement of flowers and selected my images from there. I was happy with the images, however I didn’t particularly think they worked well in the Link gallery because I felt the flat images were too contrasting to the TV screen my video was shown on which took away the experience of viewing the pictures as an audience.
For this shoot I wanted to explore different areas of photography outside of the studio. I experimented with liquids and incorporated the flowers to communicate my idea of connecting humans to nature. I didn’t think this worked as well because the lighting outside of the studio was difficult to control. I would have experimented with better lighting, for example, turning the artificial lighting off and using smaller hand help lights to focus more on the model. The flowers also detirated in the water, so I had to work quickly. I enjoyed trying out my ideas outside of the studio. At One series 5/5
I started to look more closely at the composition of the model. Following the lines and format of her body, for example, making sure the arms are in the portrait. The images on the left show certain areas cropped out therefore it is something that I can consider more in the future. I enjoyed using the flowers and representing humans connected to nature. I particularly liked bringing in texture and colour into the portrait with flowers and the use of water. I used dye in the water to create a contrasting image with the bright yellow flowers, the white background and the pink/purple colours the model is wearing. At this point I knew I was particularly interested in portrait photography and the connection between humans, society, nature etc. I wanted to peruse this throughout the rest of my project looking closely at my technical skills and communication of ideas and experiments.
Myrtle Series 3/3 I collaborated with Amina on this shoot. Amina created the setup of the model and the plant, we used green colours and plants with a nude shirt to bring in a sense of colour by experimenting with one bold earthy colour which is more natural. I liked the colour scheme and the combination of merging the model with the plant. I thought more about the model and plant as one subject. For example, the model looking through the leaves and being merged with the plants itself allowed me to create a different image. I selected these three photographs for this series as I thought they worked well together, for example, the image in the middle works well with the one on the right as they are very similar composition, however different variations of the plant. The image on the left refers to the one on the right which represents the model looking through the plant. Although I selected these images for this series; one thing I would change is the composition of the first image on the left. As it is a little different to the other two images. Showing more of the model’s shoulders/body compared to the other images. I Thought that these worked well in terms of looking at subject and how I can incorporate other subjects/objects to photoshoots which will help me in the future.
I also experimented with focusing on one areas of the plant, such as the leaf and stem. This got me thinking about composition and how the model would be merged with the plant. By shooting the plant as one subject this helped me think about composition of the plant in comparison to the model. I wanted the model and plant to become one subject to shoot rather than two separate subjects. Therefore, shooting the plant helped me think more about the compostion and subject.
Portrait Photography I am interested in capturing the body and people through portrait photography, I researched into aspects which are desired within portrait photography. The points being, a background for the subject, looking at different colours and lighting adjustments to create shadows or a solid colour background. Preparing the model grounding to the type of shoot, looking at clothing and styling as well as aspects such as hair and makeup, thinking about other aspects of preparing for a shoot other than taking the photographs, being a stylist, lighting technician and set designer all come under this aspect. Looking at creating portraits that are also theories correct, for example, looking at the eye lever of the model, using a flattering focal length, mainly focusing on the eyes. Also ensuring the subject is lit through correct lighting, but also creating shadow to add dimension to the photograph so it doesn’t not look as flat. Through planning shoots through preparing, such as planning equipment, models, location, preparing settings for the camera and preparing the studio. These are all things to consider when working in the studio shooting portrait photography This book by photography Pail Wilken, it gives tips and advice for shooting portrait photography and has lots of technical information to refer to. I gathered some basic photography techniques; these will help me move forward with improving my photography and creating professional images.
Portrait Photography poses I had gathered some information on models and portrait photography poises, I am interested in shooting portrait photography this year, therefore I thought it would be helpful to get a sense of posing tips. This enables me to experience the position of a model, finding what I comfortable, but also giving my models confidence in the studio. This way I will have suggestions for poses, if a pose isn’t working, I can refer to this and guide the model into a position that represents my ideas.
Portrait Photography I continued with experimenting with portraiture in the studio. I wanted to work on my skills on capture the portrait as well as learning about the studio/camera along the way. I looked at certain things that I needed to focus on within the studio, one being the lighting, making sure my model is well lit, but not over exposed. Creating a focal length to capture the position of the model, for example, if capturing a shoulder to head shot or a full body image. Making sure all the subject is fit in the frame with proportions such as space in the background. The same amount of space between the head and the feet etc.
After working on my proportions of capturing portrait photography I felt more confident in taking this forward into my project. Allowing me to think more about the composition of my models, I also looked at adding depth to make the image less flat, such as using shadows and different lighting set ups to enhance the portrait. Although, I thought that these images did not work as successfully, although I learnt a lot, I felt they were very monotoned and colourless.
Portrait photography I realised I was stimulated in capturing portrait photography and counted on working on my technical skills in this area. In previous years; my ideas and stimulus had always been a key factor of my work. However, this year I wanted to focus more on my technical skills then build on my ideas. From this I experimented with portrait photography in the studio, allowing me to experiment with the lighting and work on my technical skills in the studio. I found the images a bit stark and felt they didn’t draw the viewer in. Therefore, I started to look more closely to ideas and the incentive behind my work. I experimented with portrait photography in the studio, allowing me to experiment with the lighting and work on my technical skills. I found the images a bit stark and felt they didn’t draw the viewer in. Therefore, I started to look more closely to ideas and the stimulus behind my work.
Portrait photography Still experimenting with lighting in the studio and portrait photography. I created these images by using darker lights and a dark background. I wanted the model to wear dark clothes to highlight the light on her face. These did particularly not work very well as the model looked washed out and very light in comparison to the dark clothing and dark background. Although the images did not particularly work well. I felt I had gathered transferable skills. I had learnt how to use the lightings in a dark photoshoot setting. I was also happy with the background around the model as it was very dark which was what I wanted to achieve. I can refer to this shoot for the next shoot If I would like to use a dark background.
Portrait Photography Again, looking at portrait photography, I added dimension, such as using this box to create a form of three-dimensional aspects in the image, so it doesn’t appear as flat. The images were still looking very colourless, this was due to the lighting set up that I had created as well as the models clothing. I had used white lights and a white background, with dimmer lights creating some grey tones. I started to think more about colour and how that can enlighten the image, therefore I started to look more closely to my stimulus and use of colour.
Vibrant Edits After reviewing my previous work and the use of portrait photography, I decided I had become interested in the use of colour to enhance my portraits. I created these edits on photoshop by experimenting with layers and the hue. I was interested in creating this format through the camera using colour and coloured gels. I valued this idea of adding colour to the images, I edited these in photoshop, by experimenting with layers and colour. I wanted to create these in the studio rather than through an edit. Inspired by these artists, I was motivated to use coloured gels within my work.
I was motivated to use coloured gels within my work. I particularly like Lindsey Adler’s work as she used them in a unique way to add drama to her portraits. Adler is a fashion photographer who has been featured in many fashion photography publications. Her work explores a clean, bold and graphic style. I like how I can add emotions through the lighting for example, the red gels create a more intensive portrait whereas the blue gels create a more eerie mood. Lindsey Adler I was interested in her use of colour to create a powerful image that draws the viewer in which communicated emotion. I was particularly interested in the way that she uses the gels. Focusing on certain areas to create colour and using the white light to add dimension. From this; I was motivated to using the coloured gels within my own work.
Derrick Freske Derrick Freske is a commercial fashion and lifestyle photographer. I felt his work was a bit more personal to me as he is a DIY photographer. Although he is a recognised photographer, he still shoots at home often using friends as models alongside his commercial and fashion publication work. I liked his use of gels and the idea of focusing colour on certain areas of the model. The use of multiple colours and highlighting certain areas of the model adds dimension the portraits. I was stimulated in capturing these colours in my own portraits to give dimension to the model, but also create mood and atmosphere looking more closely to ideas and communicating these through lighting.
After looking at inspiration, I decided to use some light gels. These were my first images with the gels. I used the gel by putting it over the lens of the camera. I used a red gel and liked the idea of creating contrast between the portrait and the colour background. However, felt these created a more orange and yellow effect and took away the clarity of the portrait. I started to think more about the technical side of using the gels to improve my proficiency on using them. Using the gels over the lens These images did not work that successfully. Using the gel over the camera took away the clarity of the portrait. I liked how the use of the gel can create contrast and dimension between the background and the model, however this did not work within this shoot. From this I started to think about how I could create this contrast using the gel over the lens of the camera. One idea was to create a darker background, so the colour does not project onto the background of the studio but more the model. I wanted to experiment with dark and colour shadows therefore I started to investigate experimenting with this in my next photoshoot.
Using the gel through the lens This was my second try at using the gels over the lens of the camera. As I suggested to myself after the first shoot, I decided to use a darker background in hope it could create more shadow. I wanted to create more shadow with the darker aspects using dim lights. Carry on with using the red gel I created a more intensive mood. However, like the other shoot the clarity of the model and portrait did not work as successfully. The red gel created a yellow washed out look on the models face. Although the model herself did not have that much clarity. The background worked well with creating shadow and colour with the gels. I wanted to focus more on colour and shadows to create an intensive portrait that creates more mood. I started to think about using darker aspects as well as the gels so that it creates a darker atmosphere on the background to give more focus to the model. For this shoot I used a black background and the red gels to focus on the model. These did not work as successfully but I was still motivated to carry on experimenting with these ideas.
These are some other images using the gels. Again, I used the red gels to create contrast between the model and the colour. I felt these worked better and worked a little differently to the previous images. I used the gel by still shooting through the lens but by allowing the model to hold the gel over herself it made the image to become a lot clearer as it was shot a distance away from the lens. I also used a darker background by using a black backdrop. This allowed the portrait to become clearer and make a separation between the background and the model. This brought more contrast to the image. However here were still little imperfections of the image such as reflections on the gels from my hands holding the camera, and the model herself. Therefore, I will start to think about other ways in which I can use the gels more successfully. Using the flowers again, I captured the model movements representing the flowers and model as one subject. I wanted to think about how the gels creates a mood. Looking at the contrast between the dark background and the model I felt my use of gel worked better on these set of images. I decided to select these 3 images for this series, and they show the models movements through the gel. I felt these images were the ones with the most contrast and suggested the movement of the model through the use of her arms. Concealed Rose Series 3/3
Ruby Blossom Series 7/7 I used natural lighting and used soft tones with the use of fabric to bring in colour and light gels reflecting from the sun. Also looking at dark and light aspects to create shadow. The images represent a more creative use of colour. The flowers, fabric, sunlight and gels are all elements which enhance the portrait. I particularly liked the contrasting colours. The pink and reds clash well together with the form of light from the sun, also creating yellow and orange tones. The colour scheme particularly works well, looking at the use of fabric and the gels together, I liked the combination of the two.
The model interacted with the fabric and the flowers in a calming and free way. She does not look at the camera suggesting a feeling of concealment. The colours give an atmosphere that is lustre and romantic in a glowing way. The flowers and colours give this theme of lustful and glamourous. I wanted to continue with adding colour and forms of dimension to my image to take away from the flat image, I liked the use of natural light as well as the studio lights. Therefore, within my next shoots I am planning on working outside looking at natural lights and their reflections.
I wanted to experiment with some photography outside of the studio as a lot of my previous work was in the studio, I wanted to experiment with different atmospheres and lightings to work on my technical skills. I was still looking at ideas of how to incorporate lighting to enhance the portraits. I found a strip lighting in the city which I used to reflect light onto the model. I liked the idea of using flowers which have previously been featured in work against the urban background. I started by looking at different compositions. For example, being closer to the portrait to reflect more of the colour. Or incorporating more of the background of the city buildings to create contrast between the natural flowers and urban buildings alongside the natural colours of the buildings and the light reflection. Capturing the portrait outside inspired me as I have been previously been shooting in the studio. I wanted to experiment my ideas outside of the studio focusing on how I can incorporate artificial lighting in a different way from using the blank studio and white lights. Rosy Radiance Series 6/6
I chose these images for the series by looking at composition. The images on the left look at the reflection of light more focussing on the portrait and close shots on the model. These images on the right, look more closely at the urban background behind her. Looking at the contrast of the model’s light reflection and the artificial lights of the city. I thought these 6 images complimented each other well as reflected on the light, contrast between the urban background and the use of flowers. This series represents all three of these factors. Previously looking at connecting humans with nature. I started to look more closely to this and the contrast of these ideas in the city. Including the use of using artificial lighting. I thought that these images worked well in term s of lighting. As I have previously been working with the gels. I was interested in continuing with this form of colour. I searched for aspects in the city that I felt could represent this form of colour. I saw a strip lighting which I saw being projected onto the road. I felt this was a good opportunity to create an aspect of lighting onto the model as a subject by having the model stand closer to the light. Also capturing the street behind her to show this representation of contrasting colours and the urban street.
I created these images from another outdoor photoshoot. I was still looking at colour, but more using street art and coloured backgrounds from aspects from the urban street. I looked at areas of the city that could represent colour in a non- typical way. The images on the right looked more at colour in a form of street art. These images on the left looked at using a form of colour in a different way looking at more natural aspects such as a gate and the buildings behind. Urban Infuse Series 6/6
I decided to select these 6 images for this series as they complimented each other. I liked the variations of the different locations, but I think they work well together as a series such as the blue and dark aspects complimenting the red and yellow tones in the left images. However, one reason I feel these images don’t work well is the composition. The red images, I have two portrait images and one landscape whereas the blue images are the opposite. I felt these would work better if they were the same proportions. Other than that, the series worked well together.
These images are some more experiments with lighting outside of the studio. I still wanted to work with colour within my portraits, so I looked at artificial lighting outside such as led panels and streetlights. I liked the way they looked urban and testing my skills on using different ways to reflect lighting onto the portrait. However, found it was much easier to control the lighting in the studio for what I wanted to communicate. I felt from this experimentation outside I worked better in the studio and wanted to start looking more closely to my ideas. However, felt I learn transferable skills to my future shoots. Outdoor portraiture
I wanted to carry on my ideas of looking at connecting humans to nature but in a form of urban street too as a contrasting element. I looked at certain aspects of the city which represented natural flowers and plants, as well as lighting. For example, these images above had a blue artificial lighting as well as hanging baskets with flowers and plants. The images on the left include flowers and bushes as well as a red led light. One aspect that I particularly payed attention to in this shoot was the location. I started by searching the city and experimenting with locations that I thought would look interesting. This was a longer process compared to working in the studio. However, benefited from finding locations and working closely with the model during this shoot. I found it was difficult to communicate my ideas outside of the studio however, I felt I benefited technically on using my camera outdoors and also finding locations to shoot from looking at aspects of which I can include in my shoot rather than a plain white background in the studio what I have been previously working with.
I started working with the gels again in the studio. I looked at using more than one gel this time and instead of shooting through the gel I put the gel over the lights in the studio. These worked more successfully, they added dimention and shaddow to the portraits and well as vibrence. I took these portrait images using a red and blue light and experimented with different brighness and colour. I looked at how using more than one gel can create dimention such as the red shaddows formed by the gel and the blue gel creating a background. Portraits: Using the light gels
Throughout this shoot I noticed that the red light was not taking well to the models face. It was creating a big shaddow and making her features unclear. Therefore I changed my lighting set up and decided to carry on using the blue gels but with one white light to create a lighter eerier mood and the lighting looked more succesful on the models complextion. I thought that these images worked succesfully in comparison to the red and blue light images, I focused the white light on the model with tones of blue and more of the blue gel focusing on the background of the studio. Creating a gradient between the model and the background. I thought this was an opportunity to bring in colour in my portraits through the lights creating more mood and atmosphere in my portraits. I wanted to carry on using the gels over the lights in the studio in my future work.
For this shoot I wanted to experiment more with the vibrance of the gels. I used a red and blue gel to create these images. The red gel created a pink effect, I think the colours contrasted each other well and reflected more on the background of the studio. My technical proficiency with the gels worked well within this shoot. The colours blended well with each other creating a contrasting image mainly focusing on the background of the studio. I wanted to focus the light more on the background but creating shadows but also reflecting on the model slightly. I took into consideration colour theory thinking about what colours complement each other. Using the red and blue gel works as they blend well together, creating pink, blue and purple tones. Portraits: Using coloured gels
I liked how the colour turned out on the background of the studio. I wanted the light to reflect slightly from the model, however some images did not particularly work well on the model herself. For example, some images have a strong hue on the model’s skin. Where other images suggest a form of dimension and shadows. The way that I used the gel resulted in the model being the centre and allowing the two colours to combine but not in a way that they meet. By doing this it allows the coloured background to blend together rather than looking like two separate colours.
Portraits: Using the gels For these set of images, I used a yellow gel. Previously I had worked with blues and reds therefore wanted to experiment with a new colour. I think the use of colour worked well in these set of images. It created dimension and shadow in the background by using a dim white light too. The yellow projected well onto the model’s skin and didn’t look too solid or took clarity away from the model. The yellow gel created a more uplifting mood. I was interested in bringing colour, mood, and vibrance into my portraits. I reflected on previous work such as the red and blue gels and took into consideration of how the gels can create a feeling and mood for not just the viewer but also the model. For example, the model looks happy in these set of images. The atmosphere of the studio and the way I work also has a reflection of how the model communicates her mood and feelings in front of the camera, which is something to consider in my future shoots.
Portraits: using the gels These are some more examples of using colour as a form of emotion and mood. In comparison to the yellow images. The blue gels create a despondent mood. I noticed how the model interacted with the lighting. For example, within the yellow portraits, the model looks happy and enlightened. These set of images present the model as passive and dispirited, creating a gloomier mood. This made me think more about the use of colour, and how not only the audience can experience the mood, but also me as a photographer and the models can experience the atmosphere.
These are some other experiments with using the gels. I took inspiration from a previous artist Derrick Freshke. His use of gels focused on the model’s face. I wanted to experiment with this use of colour by using smaller handheld lights in the studio. These created multiple layers of colour and a suggestion of a ray of light. I used the blue gel on the big studio lights which reflected on the background. I then used red and yellow lights on small handheld panels to reflect on the models face. This is one way of highlighting certain areas of the model using colour. The background worked successfully on these, projecting a blue light, and I think the red and yellow lights worked successfully on the model. However, some images have a higher hue and a slight layer of solid colour reflecting on the model Portraits: Using coloured gels
One thing that particularly did not work within this shoot was the model’s gasses, because of the use of light, especially smaller handheld lights. This created a reflection on the models’ glasses, reflecting the lights from the lenses, especially the yellow light. This was something that I had not considered before the shoot, therefore the only alternative I had was to direct the camera further away from where the model’s glasses and light hit.
Alternative ways using the gels: Creating shadows Still looking at alternative ways to use the gels, I thought about how the gel can be used as a form of dimension. This was a use of creating shadows on the background. These images were created by putting a red gel over one studio light and the other light projecting white light. This created a form of one shadow of the model with the model herself still being visible. These images did not work very well, I think the use of shadow was something to think about in future shots. However, these were shot in the Box not the studio therefore I did not have the right light set up as well as a plain white background. Therefore, the images did not have that much dimension from the light source.
Although I liked the sense of colour and the concealed effect, I particularly didn’t like the way the model and the background were portrayed. The model’s clothing was slightly duller, with the soft tones I thought this would uncover the colour more in the portrait, however the mode blends with the background too much. Due to the fact the flash was used on these set of images this made the background appear a different colour. The original colour of the background was white, however in combination with the flash on the camera, it created a grey background. This makes the model not stand out as much and blend into the background of the studio. The use of the gels and colour in these portraits are something to think about in the future. Maybe they would work better with a darker background rather than the white set up. I will also think about combining more than one colour over the flash of the camera to highlight certain areas of the model. Alternate ways using the gels: Over the flash These are some images that I created using the gel in a different way. I put the gel over the flash of the camera. When taking the picture, by moving the gel slightly it gives this eerie and slightly ghostly form of colour. I liked how these were subtle and selected certain areas of the image rather than one block colour. I think the images worked well in terms of colour and the way the gel projected onto the model, looking at the selected area of colour it creates a masked sense of colour in comparison to the other gel work previously shown.
Alternative ways using the gels: Reflecting from sunlight To create these images, I experimented with using the gels outside, using the sunlight as a source of reflection and light source for the gels. I used a red and yellow gel to create these images. Using the grass as a form of colour for the background and the light gel reflecting on the models face, this was an ideas and consideration of using the gel in an alternative way. However, these images did not particularly work that well, as it was a windy day and the gels seemed to blow in the wind. A combination of making it difficult to focus on one area and having to shoot quickly was a reason why these images were not that successful. But was useful in terms of thinking about using the gels outside of the studio.
Nick Francher Nick Francher is a photographer, I was interested in his use of colour and shaddows. Looking at alternative ways in which I used the gels I became interested in the use of shaddows. Francher specialises in dramatic lighting, and bold colours using experimental camera techniques. I particuaally liked his use of shaddows and using colour as a form of dimention. I wanted t experiment with this myself by taking inspiration from his use of multiple colours and building on the portrait with shaddows.
Creating shadows Inspired by nick francher, these are my experimental images using the light gels as a form of shadows. Working with the blue and red gel. I created a purple background with the gels and then used the blue and red on smaller studio lights to reflect on the model, these lights were further away from the model, allowing the light to focus on the shadow of the model. I liked the use of shadows; however, I think the clarity of the model was unsuccessful, the hue on the model’s face created more red tones making it less clear.
Jiri Kylian Jiri Kylian is a choreographer dancer and photographer. I took inspiration from his work as my next photoshoot was a collaboration with a dancer. I particularly liked this image above as I created a shadow of the dancer, reflecting on my previous work using the gels as a form of shadow I thought that this would work well for the photoshoot with a dancer. I liked his use of monochrome tones, such as the blacks, whites and grey. Although I had previously interested in working with colour within my photography. I thought it would be interesting to try out more natural colours for the next shoot I had lined up.
Dancing in the shaddows Series 6/6 Looking at shaddows previously, I started to look at sillhoettes of a figure. I collaborated with a dancer for the photoshoot, this was a projector that refelected a white background. The model was dancing in front of the white light and by photographing the background rather than the model I was able to create these sihohoette shots. They show deep definition of the figure, it is bold and dramatic which reflects her dancing style.
I liked the use of shaddows within this series. The white background and the dark definition of the subject worked well in contrast of each other. Hoewever I started to think more about composition for my next shoot. For example, some images have certain areas cut out, such as hands, legs and fingers. This series would have worked better if the full figure was included within the shot.
Expressions of a dancer Series 10/10 I liked the idea of capturing the body and looking at movement. This an additional photoshoot where I collaborated with another dancer, the model performed, and I captured her movements. I used the gels for this shoot rather than the silhouette as the images had more clarity of the model and her movements.
I started to think more about the colour for this photoshoot, this was more of a commission shoot, the model was using the images for her dancing portfolio, I wanted to experiment with capturing the body and the movement therefore I was keen to take this images for her. The model wanting to incorporate the blue gel as it created an atmosphere for her performance, I also added a hint of pink to some images that created shadow, for example, when she was on the floor, it created shadows of her legs, arms etc.
In comparison to the previous shoot with a dancer, I started to think more about composition and including the whole body of the dancer in the shot. I looked at the rule of thirds and the position of the model whilst capturing her movements. This meant the model being centralised in the shot. Looking at the position of her hands and feet and how this creates an atmosphere that is compositional. For example, the image above, the hands are presented at either side of the shot, there is a space from the feet and the head. This creates a more energetic image.
Looking at artists and inspiration, I took a direction turn. Reflecting on my previous work looking at humans and nature, opposing this, I became interested in looking at connecting people with technology. I felt this was a closer subject for me to connect to. I felt I had gathered enough technical skills to want to peruse my ideas and stimulus behind my work. I started looking at the modern phenomena and exploring our concept to the digital world looking at mass media and new technology. I started by researching into prepossession and preoccupation invoking the phenomena of prepossession and the human experience. I felt I had worked more on my technical work through this project and wanted to focus on an idea. I started by reflecting on my previous work, I had looked at colour and using the gels in different ways to create atmosphere, moods and feelings. I had also looked at nature and connecting humans to nature. I was interested in working with the human experience, the body and our connection to subjects as humans. Review of my project so far: I read an article from this book by Gerd Lenhard who discusses mankind’s urge to upgrade and automate everything. I started to think about our connection to technology and how relevant it is today.
Photoshoot mood boards I wanted to create a photoshoot inspired by these ideas. I liked the idea of reflective clothing which represents a futuristic feel. Exploring hyper reality and consumerism in the form of pop culture and the power of technology. A critical look at human’s relationship with technology with technology and the millennial obsession with the neon aesthetic. With themes of nostalgia and passing of time. In preparation for my shoot, I created mood boards looking at colour, textures and technology. I wanted to explore this idea of dystopia which would be communicated through my photoshoot. I looked at old technology and how it is considered as aesthetic and nostalgic. I wanted to recreate these ideas with new technology and social media by creating a future nostalgic.
Vaporwave Movement I looked at the vaporwave movement which I was inspired by colour and the futuristic feel. Vaporwave was inspired by early internet imagery, cyber culture and glitch art. Including Microsoft pop ups, Greek stone statues which create this idea of ascetically nostalgic images. My ideas were to create a modern vaporwave reflecting on this idea of nostalgic future with the perception of technology, phones and social media references.
Vaporwave came from electronic music; it was an online movement with visual elements and music references. It includes early internet imagery, cyber culture and glitch art. It looks at surreal futuristic themes including 1980’s/90’s imagery. My ideas were to create a photoshoot inspired by the colours and ideas of technology from the vaporwave movement. I can achieve this through the light gels to project the pink/purple and blue colours as a representation of the vaporwave colours. I also would like to include technology such as phones and laptops as a modern representation of the vaporwave. Instead of the Microsoft pop ups, these could be messaging platforms, notifications etc.
Collages inspired by vaporwave These are some collages that I created from inspiration of the vaporwave movement. I created these digitally and physically. I manipulated and experimented with imagery such as reflective, pop ups, statues, and grids. All which represent the vaporwave movement. These were created in hope that they would be featured in my next photoshoot/ Video. I thought they could be featured to create a contrast between the new feel to the imagery through technology aspects/ The pop ups and stone statues create this nostalgic image, and something that you would not see on a phone, with new media. Therefore, I thought about projecting the collages onto the model, through the phone and on laptop screens etc.
The collages represent technological aspects in an aged way such as Microsoft pop ups but with a new feel to it such as the holographic/reflective backgrounds and certain aspects such as the Instagram heart. This creates a contrasting image between the old technological aspects and aesthetic imagery, which continues with my theme of looking at nostalgic images, combining new and old technological aspects to create a new aesthetic as such.
Creating collages on photoshop I had never made digital collages before, previously I have been working with the physically. However now my work has been directed more digitally, I thought it would be useful to create my collages online through photoshop so I can combine them with my own imagery/videos. I particularly wanted to learn how to create visual text with images, I wanted to experiment with this so I can use my own photography to create graphic text images. To be featured in a collage. I learnt how to create these text images in photoshop., I created the image on the right which I created by using a picture of a tree, I then converted this into lettering by using layers and dimensions. I think this was a useful tool to learn to this time so I can bring it forward into my project, working on photography and combining visual elements.
Nam June Paik Nam June Paik’s work is experimental and innovative. He is known for his innovative use of TV’s and video art. I particularly liked these two pieces of work my him; the first one being TV garden. I liked the use of media within this piece, one mainly being that you don’t typically see TV’s being combined with nature and natural aspects. Previously looking at connecting nature with humans in my own work and now looking at our connection with technology, I liked these two ideas combined. I am interested in the contrast between technology and natural aspects. The second piece I was interested in was a combination of multiple screens, I took inspiration from the use of screens and how the video is presented. I wanted to think about how I can incorporate screens within my own work, weather that is the image being presented on a screen or incorporating them within my work as a photoshoot prop.
Mike Campu Mike Campu is a digital artist, he creates images to tell stories, weather that is a social cause or to promote a brand. He combines photography with CGI and graphic elements. These images were particularly made with CGI and photography. This series is called antisocial, it highlights activities performed on social media platforms. He states that each platform has its own problems and has an impact on society/ The large glowing signs take place in an empty parking lot which represents emptiness and a symbol of isolated posts; however, the glowing sign represent how it can be easily seen by many. These set of images express the flaws of social media incorporating logos from Facebook, twitter, snapchat etc with captions such as “I probably should have sent that, good thing it disappears right” and “look at me look at me, I need more followers” I was interested in his meanings behind the work, looking at social media as a dystopian and expressing pointless activities executed on these platforms. Exploring the dark side of social media and the effect on society, this is something that I am interested in incorporating within my own work, looking at technology as a dystopia. Running with the theme of societies desire to stay continually connected with what others are doing and highlighting themes such as fear of missing out and loneliness, exploring social media and how it has become an integral part of our lives, comparing ourselves to others based on social posts.
Sabato Visconti creates glitch art photography, gifs and videos. He experiments with the glitch art as a process looking at digital media and technological aspects. I am interested in the finished images as well as the process, they reminded me of cyber culture art which is inspired by vaporwave. I thought about how glitching is a form of technology aspects, but more referred to older technology. It has a new feel to it and represents technology but also has and old aspect to it, including older technology glitching, E.g. old computers, creating coloured lines, multiple images of the subject and how old TV’s fuss. I thought I could incorporate these ideas into my own work, thinking about the technological aspect as an artefact and thinning about old technology and new technological aspects combined. These are a few things to consider for my next photoshoot. Sabato Visconti
Plan for the shoot For this shoot I want to explore the form of the screen referring to technological aspects. I am planning on incorporating screens refer to the themes of nostalgia with references to vaporwave movement and glitch art. I want planning on creating a shot inspired by the future of technology, creating a digital nostalgic image to be consumed in the future. Presenting screens, social media references and using multiples of the model’s images. I also intend to create aesthetic imagery, for example, using reflective clothing, flowers, wires and technological aspects I am hoping to create a future nostalgia.
These were my images from this shoot, using the coloured gels to reflect on colours inspired by vaporwave, looking at pinks, purples and blues. It gives a soft calming feel. I looked at reflection of the light on her clothing which gives a futuristic feel. I had worked on my skills in using the gels and took inspiration from the colours inspired by vaporwave. I incorporated wires and screens from inspiration of artists and vaporwave. I incorporated flowers embedded with flowers inspired by Nam June Paik as I liked the contrast between the technological aspects and natural forms. I also started to experiment with including the model’s images on a laptop screen, thinking about the online self and natural self. I captured her hiding behind the screen and covering herself with the laptop to represent her hiding behind her online self. Future nostalgia
The set up included the model being on the floor, I included props such as a tv, laptop, phone screen, I added pink and purple tones with the gels, I also added a lava lamp which reflects on the idea of nostalgia. I styled the model in a reflective dress, I wanted to work on the idea that previously reflective silver clothing was futuristic, ‘Space suits’ were being a movement in fashion towards the futuristic look. I played on this idea by incorporating a contemporary reflective dress, I thought about how the light would reflect from this but also give a futuristic feel in contrast with the technology involved.
Future nostalgia Still inspired by aesthetic imagery I felt these communicated the vapor wave inspiration well. These images give a closer interaction with media with a futuristic feel. I looked at the idea of screens and her being inside a screen by displaying her own image on the phone, laptop projecting the model onto herself. Recreating a mixture of distance past with technology. Creation or imagining the future. Articulating the aesthetic phenomena in an unchanging form that can be left as a digital nostalgic artefact.
I edited some of the images within photoshop thinking about layers and the use of technology. I layered images with the model using her phone, incorporating wires with the model. The image above was created with layers I started to look at enlarging certain areas of the photograph. This suggests the apple logo being on her face and incorporated in technology.
Synthetic Glaze I looked at the use of fabric and mesh to bring in a sense of consoling the model and bringing in texture and colour to the photographs. I used this pink mesh fabric; therefore, you can see the model through the fabric, but it brings in a sense of hidden consolatory. The model is embedded in the fabric, suggestive a veiled and obscure atmosphere. These images were created at the same time as the previous images. The model is still being involved in technological forms such as holding technology, the involvements of iPad etc, but in a less obvious way. The model looks glamorised however, looking Deeping into the photograph, you can see she is wonderous, she is involved in technological aspects and looking deeper into the image revels this sense of automated and programmed look. The fabric created a dusky and clouded image which I was trying to achieve through the camera. I used the light gels to bring in a sense of colour, but the fabric also helped do this with creating layers on the models face and a layer over the image itself.
Again, these images incorporated the flowers and although they look glamorised and romanticised, the model herself is screen with an obscure look. The way she is being veiled under the fabric suggests a feeling of vulnerability, there are iPad in these images which are hidden behind the flowers and the model’s hands which suggests a disguise of technological and remote world.
I wanted to create this glamorised look in a unique way, previously looking at technology, I was interested in this idea of presenting yourself online in this form of a romanticised way. For example, the colours that I used are desired, the use of flowers to create a serene mood, but with subtle references to social media and a form of being consoled. I felt the use of fabric creates a soft tone in the images creating a glow and form of gloss over the model. The way that the model is not looking at the camera creates a form is disconnect and refers to this dissociate form with online platforms and media.
From the previous shoot I decided that I wanted to carry on with the idea of using multiple screens by projecting the model onto herself. Inspired by Bea fitlers work I researched into ways I could communicate using the same model and the previous shoot to project herself in multiple screens. Showing an online self, looking at the reflection of a blue screen and the model herself being present allows me to experiment with the idea of social communication and technology. Creating more than one format and version of the model within the same shot. Bea Fitler Bea Fitler is a graphic designer, photographer and art director. She is an editorial photographer known for being on many front covers of Bazaar. I was particularly interested in her using the projector as a form of creating multiple selves. This gave me inspiration for my next photoshoot where I was planning on projecting the model onto herself. Thinking about technological forms and media platforms. Images of oneself can be posted online, creating different versions of yourself, including an online version. I thought about projecting the model onto herself thinking about her online presence in a form of being presented on a screen, including and iPad, laptop, phone etc.
I started to look at experimenting with the exposure to create edits through the camera. These are unedited images and were created through the camera, I used a projector and a long exposure to capture the movement and wave of the model. these reminded me of glitch art and referring to the vaporwave movement with the pink and purple colours I had never worked with the long exposure on the camera before therefore I thought these worked ok for an experiment. I liked the idea of creating a form of edit/glitch art through the camera itself. I started by thinking about projecting technological forms such as the loading signs below and the glitch art on the right. These images were not that successful to the clarity of the portrait, I wanted to carry on this idea of using long exposure as it was a way to produce the models face more than once. Therefore, for my next shoot I plan to create a long exposure of just the model and not the projections. Long exposure edits
These are the next images that I created, I looked at long exposure as this is a way to produce the models face more than once in the same shot. These images did not work as well as the clarity was not that strong. However, the idea of creating more than one portrait in the same shot allowed me to develop my ideas. I asked the model to mover her face/fads over her face to create these layered images. I had previously worked with layering images on photoshop before therefore was pleased with how they turned out through the camera although they are not that clear. Long Exposure portraits
The layering and the exposure of the model’s figure worked successfully, however the model herself seems to be washed out, her skin has gone a lighter colour and this reason is why these images did not work too well. I liked the colouring on these images though, the red gel helped me create a yellow/orange figure and the background being separated from the model. It allowed the exposure figure itself to become more highlighted from the figure and the background.
Plan for shoot I have thought about bringing aspects of the model to life through a screen. Referring to previous shoots using screens, I think it will be interesting to experiment with certain aspects of the model by highlighting areas of the models face and body. Previously I have used images from other shoots to incorporate in the screen, however for this shoot I would like to experiment with bringing aspects of the model to life as she is in the shoot, including taking images on a phone. Screen to be featured and held by the model showing some features through the screen. I believe I can create a dystopian aspect with this by using darker lighting such as blue, reflecting on the atmosphere this project in the studio. Using screens such as iPad, phones and laptops, I can create this sense of self being online and inside the screen. Referring to the model physically being there for digitally being perceived through a screen.
Be my Eyes After looking more closely to my stimulus, I wanted to create a more dystopian atmosphere. Again, looking at the gels, I decided to use the blue and red gel to create a darker and shadier atmosphere. Creating a monocratic image, where the model looks more controlled I started to think about the concept of online self and the differences between offline environments and the online settings, touching on self-presentations and the tenancy to create a different self-online image in comparison to the offline self. Looking at themes of confidence, self-worth, subjective and social anxiety.
In this shoot, by using screens, I was able to bring certain aspects of the model to life through the screen. Looking at the idea of producing more than one image through a shot with references to platforms through media and online images. The phone is a representation of online platform and images online. I thought about including the real self through the presentation of the phone, for example, bringing certain features of the model to life and presenting herself in a dystopian way through the phone.
The way the model looks away from the camera but is looking through the phone is a representation of online images and the self-presentation. Showing the boundaries between the embodying of self and the online self, through a photo sharing society. The everyday self’s and loves and the online self as a different format in the same setting. For example, the model looking away and the online version was taken in the same setting but involves a disregarded format by looking away from the online self. With the concept of society and looking at the relationship between the digital self and representation of self and how these affect different meanings. Looking at self- presentation and young people in the online environment. These images create a dystopian atmosphere using colour, the model herself being involved and playing a part in the disregarded sense of the real self and the online persona, thinking about bodies and our perception of the media. Creating a visual self that value aesthetic, emotional and self- reflecting imagery, the ideal self and the versions that are created online.
These were my second try at bringing the model to life through the screen. I used an iPad for this shoot and a darker atmosphere with the blue light and shadows. The model held the iPad up to her face. The image on the iPad shows the model smiling, the model in real life has a different emotion. I wanted to represent the model in the screen and in real life in a different way. I think that these images did not work as well in terms of what I wanted to communicate. One idea for next time is to take the image on the iPad with a more uplifting colour and the real self in a more dystopian colour and atmosphere. I wanted the image to represent an uplifting version of the online self and the model in real life representing a darker atmosphere, therefore it is something to think about for the next shoots.
Signe Piece I was particularly inspired by Signe Pierce as her work reflects the idea of screen consumption and inspired by the vaporwave movement. I took inspiration from her use of screens and started to think about screens and how these can be featured in my work. Her work looks at themes of femininity, identity, sexuality, I like her use of screens and looking at identity in a form of faux reality. Themes of the online world and inspired by the vaporwave movement I like her use of colour and the form of creating multiple self’s and the form of phones and technological forms. Inspired by hyper reality she exposes ways in the modern world, showing how women are socialised, especially looking at surrounding and the perception of reality in a digital world. The subject matter and the colour suggest this authentic and manipulated media.
Pierce uses the world, her mind and her body as a medium, she uploads the work online which can be consumed by anyone who sees it. She wanted to create work that that is not ‘trapped’ inside a gallery, but more work that is accessible for anyone to see online. She describes herself as a reality artist, she suggests that online we are all the stars of our own reality show, this is where she coined the term reality artist.
These are some stills that I took from my video. In these set of images, I was bringing layers from previous videos and shoots by creating layers on the iPad. From the video that is being help by the model, it incorporates layers including the model being on a screen in the previous video. Showing images of herself and hiding behind the screen represents the online version of herself. A reflection of social media life, looking at how we perceive reality in an increasingly digital world. That includes the subject matter, the screens with the model presented on them and the lighting. Particularly looking at the colour scheme that I used, which has been cohesive throughout my work, I wanted to look at colour and aesthetics that you often don’t see in ‘real life’ The pinks and purple colours reflect on this idea of vaporwave and Instagram aesthetics and comes away from the neutral colour pallet often seen in daily life. The girl in a screen. Film stills series 5/5
I looked at how I could highlight certain areas of the images, for example, the image above I focused the area of the wrist through the screen, like the previous screen images that I took, looking at bringing certain areas to life through the screen. This image includes the wrist, which shows a sense of being trapped in the screen. I also used a projector to highlight certain areas of the model, for example, looking at different formats in which the model is being projected, on the iPad, laptop, phone and projector brings in this sense of dimension. I wanted to look at including multiple screens and formats which give this sense of screen consumption in a form of self-expression. Looking at how the model perceives herself and how others perceive her through the screen. I think that the images worked successfully alongside the video. The images represent a form of self-expression and media, I thought that I communicated these well. I particularly liked the images with the projector as they create a form of dimension and have a bigger impact. However, throughout the shoot, the projector had stopped working, the Tv could not upload my images therefore this resulted in just using the iPad. I think that these images still communicated my theme well; however next time I will think about adding a combination and screens to create a more screen led image.
The girl in a screen This video was presented for the link exhibition, it shows the model incorporated with her own imagery and self. Looking at layering and multiple screens it has allowed me to look at this dystopian idea in a technological form. And the uncertainty of which figure is the model I wanted to experiment with layering the previous images to create this format. Exploring herself in touch with the outer social network, I wanted to present these on iPad to create this second layer of her being trapped inside the screen, She This creates a certain uncertainty of which layer is the model herself, being a on screen in the video, her images being presented on the pads and this form of creating multiple layers which reflects on this infinite aspect of media. Exploring how bodies and identities are consumed and perceived in relation to the digital evolution. Focusing on the individual’s connection with their own digital persona’s they create to be consumed by other people. The memorisation of technology and the camera-ready culture which is dehumanizing us in shone through this series of videos focusing on our connection with technology and society.
Who is the girl in a screen? Series 4/4 These are some edits that I created from the film stills, I experimented with layers and combining images, I wanted to work with this idea of adding more layers, which I have been previously achieving through the camera. I thought by adding images I would able to achieve this infinite effect that I have been achieving my adding layers of videos and working with the same model. I wanted to think about the uncertainty of which figure is the model, by adding layers this has helped me achieve this. I thought about the way the model is presented on a screen and how I can create a mask of multiple layers to work on. Some of these images did not particularly work well, however communicated my ideas of multiple layers and the infinite screen. I worked with creating the model more than once to achieve this uncertainty, however some images can be obvious of which figure is the model. Therefore, I started to think about creating this again using the camera, working with the same model is allowing me to create these layers.
Makeup Shoot Mood board I am planning on collaborating with a makeup artist for my next shoot. I want to communicate social media in a dystopian way by being presented on the face, embedded into the model’s skin. I took references and from influences I sent a mood board to the makeup artist to see if she would be interested in a collaboration. The makeup artist typically does glamour looks therefore she was keen to try something new, we worked together by discussing lighting set ups and compositions of the model. I wanted to create this dystopian effect with the makeup by referring to acts performed on social media platforms to represent social media being embedded into people, also reflecting on technological forms being projected on to us as a society, I wanted to communicate this through the makeup, therefore a collaboration would work well for this shoot.
John Yiyi Inspired by John Yiyi, I am wanting to create this for my photoshoot through the form of makeup, inspired by his theme I wanted to project these social media and technological aspects onto the model. Using makeup this will be a different media to John Yiyi. However, I am more inspired by her themes and ideas. Creating this format of storytelling using makeup, I wanted to add more intense emotions to my portraits and thought this would work well during this collaboration. John Yiyi is a visual artist who explores social media, photography and the internet. She explores a combination of human connectivity within a hyper connected world as a reflection of herself and the world she is living in. Her art ferers to branding of the model, by incorporating tattoos that are layered on the skin, face, body and tongue. This represents a feeling on change, she suggests it is presented on the eyes, nose, mouth to ponder about if we think about the way that will change, for example, how we will use them in the future now our lives revolve around the digital world.
Dreaming in signals Series 12/12 Using the blue gels, I was able to carry on this idea of dystopian technology by using the wires the model was incorporated in this by being trapped, over the wrists and face the wires played a representation of being trapped in social media and technological aspects. This series represents a form of being trapped with the wires, the model is looking distressed a way by looking at her phone and the wires playing a part in being trapped within the technological aspects. Using the blue gels, I was able to create an atmosphere that is darker and gives a dispiriting and comfortless image. The wires being captured around her wrists and face suggests this or of technological forms managing us and controlling us. I wanted to capture the model in the mode of technological aspects, her playing a part of being surrounded and captured in the online world.
Thinking about technology as a form, if it is making our lives happier or deluding ourselves in an enriching way. With photo sharing society and users, I wanted to communicate the discomfort within this. And in a way the reality of what behind the screen looks like. How we act behind the screen and how this plays a role to what we present of ourselves. A representation of the girl behind the screen in comparison to my last series exploring the girl in the screen.
Do you ‘like me? Series 6/6 The makeup artist created subtle social media references on the models face, including double tick, which means read, the Instagram hearts which represent likes etc. In this series of images, the model wiped away the makeup, looking distressed this created a dystopian feel. Reflecting on the idea of escaping social media, the act of wiping the makeup off allowing the model to express this idea.
Do you ‘Like’ me? Distorted series 2/2 These are some edited images from this series, exploring the airs of the images to give an illusion of the process and the act of wiping the makeup off. Thinking about how we perceive ourselves online, the likes represent a form of agreement and improvement of what has been posted. The act of wiping off these likes and forms of social media platforms is a way of disapproving of these in a distressing way.
Plan for shoot Inspired by Hamish Stephenson series on controlled technology, I wanted to create a shoot inspired by this. I liked the use of wires paying a part a feeling of being trapped, reflecting on the control technology and social media has on a society. I valued creating a conceptual image inspired by the wires, thinking about lighting to create a dystopian atmosphere. The lighting in this image gives a feel of vaporwave, with the use of gas Stephenson has created a digitally nostalgic image. Reflecting on my previous work, I think the use of wires work well communicating my ideas, after looking at the screen, this is another form that I can take to create conceptual images. For this next shoot, I am collaborating with a makeup artists, therefore I am going to create a photography series based on the aesthetic of vaporwave, but looking at it in a more dystopian way, connecting the wires to the model through the face writs, and body I can create a form of mentally enchantment focusing on confined atmosphere. These images give off an intergalactic feeling, which look futuristic, this is a factor I am going to consider for my shoot, thinking about lighting and factors to make the image look modern and high-tech.
Plan for shoot Inspired by photographer Anton Budek, I wanted to create this sense of feeling trapped with fabric. I feel fabric is a good medium to bring colour and texture into my portraits, but also, I can use it in a unique way to create emotions and atmospheres, using the fabric as a form of being trapped works well for a controlled situation. This image was presented in Vogue Italy. I liked the use of string to represent this form of confined. The way the model is tied up gives a restrained feeling. I think it would be interesting to use this form of string with wires, Incorporating technological aspects as a form of a blocked and obstructed format. The wires playing a part of trapped in technological aspects. Inspired by this, I thought it would be interesting to use a combination of fabric and from inspiration from the string but in a form of wires.
Confined, The yellow series In this shoot, I looked at fabric as a form of being trapped, incorporating the wires I was able to express this idea of technology and being trapped. I wanted to create this sense of the model being trapped and looked at different ways the lighting can create atmosphere. I wanted to explore this form of modernity with futurism and refection on the world today, looking at social distortion and this form of captive atmosphere with the fabric and wires representing this.
Confined, The blue series I found I was able to create a more dystopian and negative feeling with the blue gels, whereas the yellow ones look more uplifting. I wanted to focus more on the dystopian aspect of technology, creating this more captive atmosphere and looking at a darker and embodying this ambience of technology in a negative way. I wanted to create this feeling of controlled technology in an uncontrolled way of being embedded into the wires and fabric gives this representation of being autocratic.
Confined, The pink series I became particularly interested in the use of fabric, the way that I could capture colour and texture in the photographs inspired by. Although I wanted to create a form of being trapped, these series of images did particularly not communicate this. However, I knew for my next shoot I wanted to work with fabric again. I like the way that I could create shadow or a form of essence through consistency and texture.
This is another photoshoot that I collaborated with Amina on. I was looking more closely at the blue gel to create this dystopian feeling, also looking at the composition of lighting and experimenting with fabric by creating light on onside of the face and looking at the reflection of the light in the fabric. These set of images worked well in term of aesthetic and the colour. However, did not communicate my ideas well. I enjoyed working with Amina on this shoot, we were able to combine ideas. I became interested in the use of fabric, Amina’s work explores fabric and set design therefore by exchanging ideas were able to create this set up. Working together allowed us to exchange skills, for example, Amina had never used the gels before therefore I was able to give her tips on how to use the gels, which was helpful for me to review on what I have learnt about them. Azure thoughts series 7/7
I looked at the idea of masked imperfections and the fabric creates a sense of consolidate and masked identity. I was particularly interested in the way that the fabric contributes to the lighting, for example, the shadows created on the models face, bringing in a sense of colour and diremption from the blue light.
Mass Material Series 3/3 These images were created again by looking at fabric more looking at the movement of fabric and a form of prop for the model to interact with. I experimented with similar lighting to my previous work looking at blue and pink lighting that reflects the aesthetic movement By including a lighter mesh this allows the model to be visible but have masked layer. I wanted to start thinking more about fabric and the involvement of it within my work, the fabric plays a part of sense of colour and a masked layer that allows the model to become distant from the camera, allowing a form of disforming and a concealed layer.
David Ligare David Ligare is an oil painter who paints landscapes and still life. I was drawn to this piece of his ‘Thrown Drapery’ I like the sense of storytelling in this image, He started to experiment with white draperies in his landscape paintings. These images show a sense of freedom but also distortion, with the position of the sea and the titled background. I was interested in the way that fabric moved in these images, I like the way of showing movement in a still image, for example, we know that the fabric falls to the ground from this image, but I like the sense of freezing the image in time and capturing the movement in a still shot. I am inspired to create a fabric project based on David Ligare. I am wanting to capture the movement of fabric using a model too to capture the movement of a figure with the fabric. I am wanting to communicate this through series of still images.
Plan for Shoot I am interested in conveying the movement of fabric, looking at the perception of the body and the motion of the fabric. Throughout this project I have been interested in expressing the body, looking at movement. From my previous shoots I have become interested in the use of fabric, I particularly like the way that it adds texture and dimension to the images, but also a sense of colour. Inspired by Ligare, I am wanting to show the movement of fabric and the model through a series of images, taken outside the studio. This way I can experiment with the lighting outside of the studio, bringing in a sense of colour through the fabric. This series of photographs will represent a still movement in the form of moving images, for example, something that we would not typically see as a still image.
With this, I become interested in the use of fabric and the movement of it. Inspired by artists I looked at creating the shoot outside which I was able to reflect more on the movement of fabric through the wind. The images look very free and represent freedom which is the opposite of what I have previously been communicating. Although through the representation of freedom within the images, I was able to express my idea of fabric and the movement of it. I looked at capturing the fabric whilst the model moved with it in the wind, I thought about different compositions mainly focusing on the fabric. Emancipation, The white series 6/6
Emancipation, The pink series 6/6 With the combination of two fabrics I was able to bring in a sense of colour and add more dimension to the images with the mixture of the two fabrics. I focused more on the movement and the way that it blew in the wind, Taking into consideration compositional factors such as the way the model is holding the fabric, the direction and the wind and the combination of both the fabrics and how they intertwine with each other. The fabric pays a part of a hidden layer, the model is being covered, revelling the model becoming lost in the space around her. With the existence of the relationship between the space and the fabric.
Emancipation, The Woods series 5/5 I looked at different locations and how this has an impact of the image. One thing I took into consideration was the trees within these images, I looked at the way the fabric moves and captured this in comparison to the still background. I used a fabric that was more sheer for this image as it allows the model to become more involved. The way that the fabric moves gives a soft feel and because it was thinner it allowed aspects behind become more visible, such as the image below, you can see the trees through the fabric. This gives a smoke effect of the fabric.
Emancipation The red series 6/6 Again, this are some more images from the fabric shoot, however these were shot through a coloured gel. These are contrasting to the other images that look free. It represents the importance of the gels in my work as it creates more dramatic expression. The red gives the image more energy, it appears to make the fabric look unknown, as a fire form, the model is also unclear and gives an uncertainty in comparison to the first images.
Reflecting on the ideas of projecting the model onto herself, I looked at artists who represent portrait mapping and how they use projection. Racheal Russel created these images with a projector. By reflecting on my previous work, I knew I wanted to carry on this form of projecting the model. I was inspired to project forms onto the body in a unique way. I was thinking about how Russel used the projector, with the dark background and the projector as a light source I was inspired to experiment with this myself. The use of colour has been important to my work, by using the gels I was able to create mood and enhance the portrait, I thought about this in a form of projection. Russel brings in a sense of colour in a unique way by projecting onto the body with a dark background. Racheal Russell I was inspired by Racheal resells work, I liked the use of projector. Refereeing back to my previous work of wanting to project the model onto herself I started to think more about the projector as a form of texture and colour. The projector gives opportunity to include colour, image and pattern to my portraits.
Maggie west is a photographer who mainly specialises in colour She has been featured in many magazine publications. I was particularly interested in these two pieces by her, reflecting on my previous work of using the coloured gels, I wanted to think about this in a form of projection. I thought I could achieve images featuring colour and texture through a projector. Like how Maggie west has created these, I wanted to think about highlighting certain areas and how the projector can be a form of light source not only for colour but also white light. I also liked the feature of the light appearing brighter because the background is dark, the features of the model is highlighted through the white light because the background is dark as well as the portrait herself, this a good way to key highlights the image. It made me think about what I plan to do next with the projector, wanting to bring in highlights of colour into my portraits is interesting to add dimension and texture as well as themes of mood and ambience. Maggie West
Projector photography These are some images that I took in the studio using the projector as a form of colour and texture. I used lines in these series of images to bring in a sense of monochrome colours in a unique way. From inspiration of the light and dark colours from Maggie west. I wanted to bring this sense of white colour and dark aspects to create shadows and texture.
Still looking at colour and how colour can enhance my portrait and give atmosphere I looked at using images that bring in a sense of colour as well as dimension and texture. I liked the use of colour, however thought about the use of gels too. The projector gives a light form in a way of colour, however, also creates pixels etc of the quality of the photograph, particularly degrading the essential quality of the photo.
Again, thinking about colour in a sense of atmosphere, I looked at how I can create moods and feelings using colour. I was able to add more emotion in more portraits, for example the ones on the left look more up lighting and the darker ones on the right are more mysterious.
These are some other examples of me using the projector, this is another photoshoot where I projected images that represented colour and texture at the same time. I created a darker atmosphere allowing the colours to become more vibrant and stand out. I looked at lines and forms of texture that fit around the model.
I wanted to carry on with this idea of projections but referring to the theme of social media and technology. I used images that were more current to this theme, including a keyboard pad, messaging platforms and my own collages. I created these collages early in the project and thought it would be interesting to project them onto the model, I looked at forms of projecting media onto the model referring to my theme of technology.
I also experimented with projecting images such as social media references, keypads and other forms of online platforms. I liked the use of colour referring to my use of the gels, the blue one represented a more dystopian atmosphere therefore these images worked well in that sense. I thought about the shadows and background and how I wanted to focus more on the projection of the image on the model rather than the background. Therefore, I had prepared for another shoot where the light reflected selectively on the model. Taking away a sense of chaos and more refined image.
My next steps were to work with a model on project mapping and selecting areas to project. As we are now isolated; I did this photoshoot at home with my sister. I used a dark background and projected social media and technological aspects onto the model. I used a darker background and selected areas to project onto which felt worked better than the brighter images previously shown. These images representant social media being projected onto people, it suggests people only see what they see on social media. For example, the like/love signs on the model’s face suggest a more dystopian way of looking at social media.
Again, looking at selecting certain areas I used lighter images. These represent a glow that you would receive from a phone, for example, if you were sat in the dark, the light would reflect on your face. These images present this in a form of technological aspects that you would normally see on your phone.
As of the unfortunate events of being self-isolated, I have been thinking of other ways I can communicate my ideas in the form of portrait photography. I listened to the thinking allowed podcast which talked about selfies, one thing that was mentioned was the self as a form of self-expression and artistic purposes, for example artist paintings. I was inspired by were Zigian Lui who uses mirrors as a form of self portrait photography, I thought this linked well to the idea of creating multiple selves. Lui is a self-portrait photographer, she uses a mirror as a form of presenting herself in an artistic way. As I can no longer communicate with models, I thought it would be interesting to use myself, thinking about the mirror as a multiplication of the self, but also referring to the idea of the selfie, which reflects on my pass work embodying technological aspects. Zigian Lui All her work embodies herself as a form of self- portrait, including the use of mirrors. She includes a femine side to this with the use of flowers and soft tones, I was interested in using her as inspiration for the self-portrait that is less flat, the mirror creates a form of direction in a unique way which creates a depth to the portrait in comparison to the flat images.
Plan for Shoot Inspired by Zigian Lui, I am wanting to create a shoot focusing on mirrors and the reflection of people. I have thought of some ways that I can communicate the portrait through a mirror, one being through a broken mirror, highlighting certain areas of the model to bring a sense of dimension into the portraits. I also thought about using the mirror outside to reflect from sunlight, which is a way that I can bring in a sense of DIY photography and working from home with the resources I have.
Charlotte white PIP sketchbook
Charlotte white PIP sketchbook
Charlotte white PIP sketchbook
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Charlotte white PIP sketchbook
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Charlotte white PIP sketchbook

  • 1. Professional Interactive Practice Charlotte White 17105131 27.04.2020 In my practice this year I have been focusing on photography, mainly portrait photography. Appropriating photography as an art, allowing the viewer to experience the concept, capturing atmosphere and using the camera as a statement of portrait photography with visual elements. Also looking at the basis of aesthetic and the modes of sensory with body perception.
  • 2. Fares Micue…………………………………………………………………………………………………………………………………………………………..pg 3 Endonia Series………………………………………………………………………………………………………………………………………………….…pg 4-6 At One series………………………………………………………………………………………………………………………………………………...…...pg 7-8 Myrtle series…………………………………………………………………………………………………………………………………………….……….pg 9-10 Portrait Photography tips………………………………………………………………………………………………………………………………….pg 11-12 Portrait photography experiments……………………………………………………………………………………………………………………pg 13-18 Vibrant Edits…………………………………………………………………………………………………………………………………………………….pg 19 Lindsey Adler………………………………………………………………………………………………………………………………………………….....pg 20 Derrick Freske…………………………………………………………………………………………………………………………………………….…..pg 21 Using the gel through the lenses……………………………………………………………………………………………………………………..pg 22-23 Concealed rose series………………………………………………………………………………………………………………………………….……pg 24 Ruby blossom series…………………………………………………………………………………………………………………………………….…pg 25-26 Rosy Radiance series………………………………………………………………………………………………………………………………….…..pg 27-28 Urban Infuse……………………………………………………………………………………………………………………………………………..……pg 29-30 Outdoor portraiture………………………………………………………………………………………………………………………….…………..pg 31-32 Portraits: Using the light gels……………………………………………………………………………………………………………….………..pg 33-41 Alternative ways using the gels……………………………………………………………………………………………………………….…….pg 42-45 Nick Francher……………………………………………………………………………………………………………………………………………..….pg 46 Creating shaddows………………………………………………………………………………………………………………………………….…….pg 47 Jiri Kylian………………………………………………………………………………………………………………………………………………………pg 48 Dancing in the shadows………………………………………………………………………………………………………………………..……pg 49-50 Expressions of a dancer…………………………………………………………………………………………………………………………..…..pg 51-55 Review of project…………………………………………………………………………………………………………………………………..…..pg 56-57 Vaporwave………………………………………………………………………………………………………………………………………….……..pg 58-59 Collages……………………………………………………………………………………………………………………………………………..………pg 60-61 Nam June Paik…………………………………………………………………………………………………………………………………….…..…pg 62 Mike Campu……………………………………………………………………………………………………………………………………….………pg 63 Contents page
  • 3. Sabato Visconti……………………………………………………………………………………………………………………………………..….pg 64 Plan for shoot……………………………………………………………………………………………………………………………………….…..pg 65 Future Nostalgia………………………………………………………………………………………………………………………………………pg 66-71 Synthetic Glaze………………………………………………………………………………………………………………………………………...pg 72-75 Bea Fitler…………………………………………………………………………………………………………………………………………………pg 76 Long exposure………………………………………………………………………………………………………………………………..……...pg 77-81 Plan for shoot……………………………………………………………………………………………………………………………..…………..pg 82 Be my eyes series………………………………………………………………………………………………………………………………….…pg 83-87 Signe Pierce…………………………………………………………………………………………………………………………………………....pg 88-89 The girl in a screen………………………………………………………………………………………………………………………………....pg 90-94 Makeup Mood board…………………………………………………………………………………………………………………………..…..pg 95-96 Dreaming in signals series………………………………………………………………………………………………………………….…..pg 97-101 Plan for shoot…………………………………………………………………………………………………………………………………..……..pg 102-103 Confined series……………………………………………………………………………………………………………………..………..………pg 104-106 Azure thoughts………………………………………………………………………………………………………………………………….……pg 107-108 Mass material……………………………………………………………………………………………………………………………………..…..pg 109 David Ligare……………………………………………………………………………………………………………………………….………..….pg 110 Plan for shoot………………………………………………………………………………………………………………………………………….pg 111 Emancipation shoot………………………………………………………………………………………………………………….…………….pg 112-115 Racheal Russell…………………………………………………………………………………………………………………………………….…pg 116 Maggie west…………………………………………………………………………………………………………………………….……………pg 117 Projector photography……………………………………………………………………………………………………………….……….…pg 118-125 Zigian Lui…………………………………………………………………………………………………………………………………..……….….pg 126 Plan for shoot………………………………………………………………………………………………………………………………………..pg 127 Natural reflection series…………………………………………………………………………………………………………..…………...pg 128-129 Meadow reflection………………………………………………………………………………………………………….…………………...pg 130-133 Lee Friendler…………………………………………………………………………………………………………………………………………pg 134 Facetime photoshoots……………………………………………………………………………………………………………………….…pg 135 Review of Project……………………………………………………………………………………………………………………………….…pg136 What next?.................................................................................................................................................pg 137
  • 4. Fares Micue Fares Micue is a self-portrait photographer, she uses photography to express her emotions and explore her perception of reality. She states her work is very symbolic, her elements, compositions, body language and colour are all elements that create a conceptual image as she wants her images to be told as a story. Micue started her photography projects as a hobby, however, grew to love the process of creating conceptual work and expressing herself through this. I think her use of colour is very captivating and experimental creating an image that solid and expresses texture. she shows bare skin in her models to show the natural aspects of humans and the flowers to reflect on this idea of connecting nature to humans. I inclined towards the abstract element with vibrant colours it brings in texture and colour into the photographs. I also like the idea that you can’t see her face which suggests to me a feeling of vulnerability. I particularly liked her use of flowers and colour to create a textured image. I would like to experiment with this myself, I desire the use of flowers to add contrast to images, also looking at natural aspects in comparison to the human body.
  • 5. Plan for Shoot I want to look at connecting humans to nature. I liked the contrast of the natural human body as a form and nature aspects such as flowers, I wanted to refer to the theme of beauty and the natural beauty of the model and flowers as a representation of this. I looked at aspects such as subtle makeup but with a bold colour such as red. I wanted to embody and embrace the body by showing some skin in the photographs, as they are going to be portrait images it could be an option to show the shoulders or have a form of natural clothing. The flowers will bring in a sense of texture and colour, referring to Micure, I wanted to bring in a form of colour in the pictures with the flowers. By combining different colour and types of flowers, this will allow the image to have more dimension. I knew I was interested in communicating the body through portrait photography, therefore I thought this was a good place to start thinking about portraiture and experimenting with my ideas in the studio. Makeup inspiration- Natural colours with bold statement lipstick, looking at natural aspects of the body by perceiving skin, for example shoulders.
  • 6. I experimented with using flowers to represent natural aspects. I wanted to create a serene mood by embodying and embracing the natural flowers with beauty, particularly looking at connecting humans with nature. For these images I used a dark background to help the model and colours of the flowers outstand the surroundings. I used the flowers as a prop embracing the model with the flowers, I was able to focus on the flowers and model as a whole rather than two septate aspects. I experimented with different compositions such as the model hiding behind the flowers, flowers in the models clothing, mouth and hair. Some compositions had better potentially which included the close-up portraits where the model is more cultivated in the flowers. Looking at a cohesive series I started to think about each element and how they can complement each other. I considered how the flowers played a part in the shoot. I acknowledged that the flowers can add colour and texture to the image. I desired creating visual images with elements of intermixture with the dark background and substance of the flowers with a degree of softness. Eunoia Series
  • 7. In the selection of images, I chose images that I thought complimented each other in terms composition and variety. I inclined towards the images where the model was engaged and immersed with the flowers. Looking more at the composition of the model, I selected images which looked similar in terms the model’s format but different arrangements of the flowers. The styling of the model was also considered before the shoot. Looking at hair and makeup I got inspiration of how I would like the shoot to aesthetically look. I asked the model to wear a bandu top, this creates a sense of showing skin and with inspiration from Fares Micue who shows a lot of bare skin in her photography to reflect on natural aspects of the human body. I also asked the model to wear simple makeup with a bold red lipstick. I wanted to create this idea of natural beauty but with the lipstick as a representation of beauty standards.
  • 8. Eunoia- The black and white series These are the images that I displayed in the first Link gallery exhibition, alongside a video. I wanted to create a more powerful image with the black and white images layered with the colourful flowers. I created these of photoshop by selecting areas to restore colour. I played attention to the colour scheme of the flowers. With mainly green and white flowers then one bold colour as a statement. Using contrast colours in the flowers allowed me to create a more overpowering image with the black and white portrait. I selected these images by thinking about the composition of the model. I looked at the figure and the different arrangement of flowers and selected my images from there. I was happy with the images, however I didn’t particularly think they worked well in the Link gallery because I felt the flat images were too contrasting to the TV screen my video was shown on which took away the experience of viewing the pictures as an audience.
  • 9. For this shoot I wanted to explore different areas of photography outside of the studio. I experimented with liquids and incorporated the flowers to communicate my idea of connecting humans to nature. I didn’t think this worked as well because the lighting outside of the studio was difficult to control. I would have experimented with better lighting, for example, turning the artificial lighting off and using smaller hand help lights to focus more on the model. The flowers also detirated in the water, so I had to work quickly. I enjoyed trying out my ideas outside of the studio. At One series 5/5
  • 10. I started to look more closely at the composition of the model. Following the lines and format of her body, for example, making sure the arms are in the portrait. The images on the left show certain areas cropped out therefore it is something that I can consider more in the future. I enjoyed using the flowers and representing humans connected to nature. I particularly liked bringing in texture and colour into the portrait with flowers and the use of water. I used dye in the water to create a contrasting image with the bright yellow flowers, the white background and the pink/purple colours the model is wearing. At this point I knew I was particularly interested in portrait photography and the connection between humans, society, nature etc. I wanted to peruse this throughout the rest of my project looking closely at my technical skills and communication of ideas and experiments.
  • 11. Myrtle Series 3/3 I collaborated with Amina on this shoot. Amina created the setup of the model and the plant, we used green colours and plants with a nude shirt to bring in a sense of colour by experimenting with one bold earthy colour which is more natural. I liked the colour scheme and the combination of merging the model with the plant. I thought more about the model and plant as one subject. For example, the model looking through the leaves and being merged with the plants itself allowed me to create a different image. I selected these three photographs for this series as I thought they worked well together, for example, the image in the middle works well with the one on the right as they are very similar composition, however different variations of the plant. The image on the left refers to the one on the right which represents the model looking through the plant. Although I selected these images for this series; one thing I would change is the composition of the first image on the left. As it is a little different to the other two images. Showing more of the model’s shoulders/body compared to the other images. I Thought that these worked well in terms of looking at subject and how I can incorporate other subjects/objects to photoshoots which will help me in the future.
  • 12. I also experimented with focusing on one areas of the plant, such as the leaf and stem. This got me thinking about composition and how the model would be merged with the plant. By shooting the plant as one subject this helped me think about composition of the plant in comparison to the model. I wanted the model and plant to become one subject to shoot rather than two separate subjects. Therefore, shooting the plant helped me think more about the compostion and subject.
  • 13. Portrait Photography I am interested in capturing the body and people through portrait photography, I researched into aspects which are desired within portrait photography. The points being, a background for the subject, looking at different colours and lighting adjustments to create shadows or a solid colour background. Preparing the model grounding to the type of shoot, looking at clothing and styling as well as aspects such as hair and makeup, thinking about other aspects of preparing for a shoot other than taking the photographs, being a stylist, lighting technician and set designer all come under this aspect. Looking at creating portraits that are also theories correct, for example, looking at the eye lever of the model, using a flattering focal length, mainly focusing on the eyes. Also ensuring the subject is lit through correct lighting, but also creating shadow to add dimension to the photograph so it doesn’t not look as flat. Through planning shoots through preparing, such as planning equipment, models, location, preparing settings for the camera and preparing the studio. These are all things to consider when working in the studio shooting portrait photography This book by photography Pail Wilken, it gives tips and advice for shooting portrait photography and has lots of technical information to refer to. I gathered some basic photography techniques; these will help me move forward with improving my photography and creating professional images.
  • 14. Portrait Photography poses I had gathered some information on models and portrait photography poises, I am interested in shooting portrait photography this year, therefore I thought it would be helpful to get a sense of posing tips. This enables me to experience the position of a model, finding what I comfortable, but also giving my models confidence in the studio. This way I will have suggestions for poses, if a pose isn’t working, I can refer to this and guide the model into a position that represents my ideas.
  • 15. Portrait Photography I continued with experimenting with portraiture in the studio. I wanted to work on my skills on capture the portrait as well as learning about the studio/camera along the way. I looked at certain things that I needed to focus on within the studio, one being the lighting, making sure my model is well lit, but not over exposed. Creating a focal length to capture the position of the model, for example, if capturing a shoulder to head shot or a full body image. Making sure all the subject is fit in the frame with proportions such as space in the background. The same amount of space between the head and the feet etc.
  • 16. After working on my proportions of capturing portrait photography I felt more confident in taking this forward into my project. Allowing me to think more about the composition of my models, I also looked at adding depth to make the image less flat, such as using shadows and different lighting set ups to enhance the portrait. Although, I thought that these images did not work as successfully, although I learnt a lot, I felt they were very monotoned and colourless.
  • 17. Portrait photography I realised I was stimulated in capturing portrait photography and counted on working on my technical skills in this area. In previous years; my ideas and stimulus had always been a key factor of my work. However, this year I wanted to focus more on my technical skills then build on my ideas. From this I experimented with portrait photography in the studio, allowing me to experiment with the lighting and work on my technical skills in the studio. I found the images a bit stark and felt they didn’t draw the viewer in. Therefore, I started to look more closely to ideas and the incentive behind my work. I experimented with portrait photography in the studio, allowing me to experiment with the lighting and work on my technical skills. I found the images a bit stark and felt they didn’t draw the viewer in. Therefore, I started to look more closely to ideas and the stimulus behind my work.
  • 18. Portrait photography Still experimenting with lighting in the studio and portrait photography. I created these images by using darker lights and a dark background. I wanted the model to wear dark clothes to highlight the light on her face. These did particularly not work very well as the model looked washed out and very light in comparison to the dark clothing and dark background. Although the images did not particularly work well. I felt I had gathered transferable skills. I had learnt how to use the lightings in a dark photoshoot setting. I was also happy with the background around the model as it was very dark which was what I wanted to achieve. I can refer to this shoot for the next shoot If I would like to use a dark background.
  • 19. Portrait Photography Again, looking at portrait photography, I added dimension, such as using this box to create a form of three-dimensional aspects in the image, so it doesn’t appear as flat. The images were still looking very colourless, this was due to the lighting set up that I had created as well as the models clothing. I had used white lights and a white background, with dimmer lights creating some grey tones. I started to think more about colour and how that can enlighten the image, therefore I started to look more closely to my stimulus and use of colour.
  • 20. Vibrant Edits After reviewing my previous work and the use of portrait photography, I decided I had become interested in the use of colour to enhance my portraits. I created these edits on photoshop by experimenting with layers and the hue. I was interested in creating this format through the camera using colour and coloured gels. I valued this idea of adding colour to the images, I edited these in photoshop, by experimenting with layers and colour. I wanted to create these in the studio rather than through an edit. Inspired by these artists, I was motivated to use coloured gels within my work.
  • 21. I was motivated to use coloured gels within my work. I particularly like Lindsey Adler’s work as she used them in a unique way to add drama to her portraits. Adler is a fashion photographer who has been featured in many fashion photography publications. Her work explores a clean, bold and graphic style. I like how I can add emotions through the lighting for example, the red gels create a more intensive portrait whereas the blue gels create a more eerie mood. Lindsey Adler I was interested in her use of colour to create a powerful image that draws the viewer in which communicated emotion. I was particularly interested in the way that she uses the gels. Focusing on certain areas to create colour and using the white light to add dimension. From this; I was motivated to using the coloured gels within my own work.
  • 22. Derrick Freske Derrick Freske is a commercial fashion and lifestyle photographer. I felt his work was a bit more personal to me as he is a DIY photographer. Although he is a recognised photographer, he still shoots at home often using friends as models alongside his commercial and fashion publication work. I liked his use of gels and the idea of focusing colour on certain areas of the model. The use of multiple colours and highlighting certain areas of the model adds dimension the portraits. I was stimulated in capturing these colours in my own portraits to give dimension to the model, but also create mood and atmosphere looking more closely to ideas and communicating these through lighting.
  • 23. After looking at inspiration, I decided to use some light gels. These were my first images with the gels. I used the gel by putting it over the lens of the camera. I used a red gel and liked the idea of creating contrast between the portrait and the colour background. However, felt these created a more orange and yellow effect and took away the clarity of the portrait. I started to think more about the technical side of using the gels to improve my proficiency on using them. Using the gels over the lens These images did not work that successfully. Using the gel over the camera took away the clarity of the portrait. I liked how the use of the gel can create contrast and dimension between the background and the model, however this did not work within this shoot. From this I started to think about how I could create this contrast using the gel over the lens of the camera. One idea was to create a darker background, so the colour does not project onto the background of the studio but more the model. I wanted to experiment with dark and colour shadows therefore I started to investigate experimenting with this in my next photoshoot.
  • 24. Using the gel through the lens This was my second try at using the gels over the lens of the camera. As I suggested to myself after the first shoot, I decided to use a darker background in hope it could create more shadow. I wanted to create more shadow with the darker aspects using dim lights. Carry on with using the red gel I created a more intensive mood. However, like the other shoot the clarity of the model and portrait did not work as successfully. The red gel created a yellow washed out look on the models face. Although the model herself did not have that much clarity. The background worked well with creating shadow and colour with the gels. I wanted to focus more on colour and shadows to create an intensive portrait that creates more mood. I started to think about using darker aspects as well as the gels so that it creates a darker atmosphere on the background to give more focus to the model. For this shoot I used a black background and the red gels to focus on the model. These did not work as successfully but I was still motivated to carry on experimenting with these ideas.
  • 25. These are some other images using the gels. Again, I used the red gels to create contrast between the model and the colour. I felt these worked better and worked a little differently to the previous images. I used the gel by still shooting through the lens but by allowing the model to hold the gel over herself it made the image to become a lot clearer as it was shot a distance away from the lens. I also used a darker background by using a black backdrop. This allowed the portrait to become clearer and make a separation between the background and the model. This brought more contrast to the image. However here were still little imperfections of the image such as reflections on the gels from my hands holding the camera, and the model herself. Therefore, I will start to think about other ways in which I can use the gels more successfully. Using the flowers again, I captured the model movements representing the flowers and model as one subject. I wanted to think about how the gels creates a mood. Looking at the contrast between the dark background and the model I felt my use of gel worked better on these set of images. I decided to select these 3 images for this series, and they show the models movements through the gel. I felt these images were the ones with the most contrast and suggested the movement of the model through the use of her arms. Concealed Rose Series 3/3
  • 26. Ruby Blossom Series 7/7 I used natural lighting and used soft tones with the use of fabric to bring in colour and light gels reflecting from the sun. Also looking at dark and light aspects to create shadow. The images represent a more creative use of colour. The flowers, fabric, sunlight and gels are all elements which enhance the portrait. I particularly liked the contrasting colours. The pink and reds clash well together with the form of light from the sun, also creating yellow and orange tones. The colour scheme particularly works well, looking at the use of fabric and the gels together, I liked the combination of the two.
  • 27. The model interacted with the fabric and the flowers in a calming and free way. She does not look at the camera suggesting a feeling of concealment. The colours give an atmosphere that is lustre and romantic in a glowing way. The flowers and colours give this theme of lustful and glamourous. I wanted to continue with adding colour and forms of dimension to my image to take away from the flat image, I liked the use of natural light as well as the studio lights. Therefore, within my next shoots I am planning on working outside looking at natural lights and their reflections.
  • 28. I wanted to experiment with some photography outside of the studio as a lot of my previous work was in the studio, I wanted to experiment with different atmospheres and lightings to work on my technical skills. I was still looking at ideas of how to incorporate lighting to enhance the portraits. I found a strip lighting in the city which I used to reflect light onto the model. I liked the idea of using flowers which have previously been featured in work against the urban background. I started by looking at different compositions. For example, being closer to the portrait to reflect more of the colour. Or incorporating more of the background of the city buildings to create contrast between the natural flowers and urban buildings alongside the natural colours of the buildings and the light reflection. Capturing the portrait outside inspired me as I have been previously been shooting in the studio. I wanted to experiment my ideas outside of the studio focusing on how I can incorporate artificial lighting in a different way from using the blank studio and white lights. Rosy Radiance Series 6/6
  • 29. I chose these images for the series by looking at composition. The images on the left look at the reflection of light more focussing on the portrait and close shots on the model. These images on the right, look more closely at the urban background behind her. Looking at the contrast of the model’s light reflection and the artificial lights of the city. I thought these 6 images complimented each other well as reflected on the light, contrast between the urban background and the use of flowers. This series represents all three of these factors. Previously looking at connecting humans with nature. I started to look more closely to this and the contrast of these ideas in the city. Including the use of using artificial lighting. I thought that these images worked well in term s of lighting. As I have previously been working with the gels. I was interested in continuing with this form of colour. I searched for aspects in the city that I felt could represent this form of colour. I saw a strip lighting which I saw being projected onto the road. I felt this was a good opportunity to create an aspect of lighting onto the model as a subject by having the model stand closer to the light. Also capturing the street behind her to show this representation of contrasting colours and the urban street.
  • 30. I created these images from another outdoor photoshoot. I was still looking at colour, but more using street art and coloured backgrounds from aspects from the urban street. I looked at areas of the city that could represent colour in a non- typical way. The images on the right looked more at colour in a form of street art. These images on the left looked at using a form of colour in a different way looking at more natural aspects such as a gate and the buildings behind. Urban Infuse Series 6/6
  • 31. I decided to select these 6 images for this series as they complimented each other. I liked the variations of the different locations, but I think they work well together as a series such as the blue and dark aspects complimenting the red and yellow tones in the left images. However, one reason I feel these images don’t work well is the composition. The red images, I have two portrait images and one landscape whereas the blue images are the opposite. I felt these would work better if they were the same proportions. Other than that, the series worked well together.
  • 32. These images are some more experiments with lighting outside of the studio. I still wanted to work with colour within my portraits, so I looked at artificial lighting outside such as led panels and streetlights. I liked the way they looked urban and testing my skills on using different ways to reflect lighting onto the portrait. However, found it was much easier to control the lighting in the studio for what I wanted to communicate. I felt from this experimentation outside I worked better in the studio and wanted to start looking more closely to my ideas. However, felt I learn transferable skills to my future shoots. Outdoor portraiture
  • 33. I wanted to carry on my ideas of looking at connecting humans to nature but in a form of urban street too as a contrasting element. I looked at certain aspects of the city which represented natural flowers and plants, as well as lighting. For example, these images above had a blue artificial lighting as well as hanging baskets with flowers and plants. The images on the left include flowers and bushes as well as a red led light. One aspect that I particularly payed attention to in this shoot was the location. I started by searching the city and experimenting with locations that I thought would look interesting. This was a longer process compared to working in the studio. However, benefited from finding locations and working closely with the model during this shoot. I found it was difficult to communicate my ideas outside of the studio however, I felt I benefited technically on using my camera outdoors and also finding locations to shoot from looking at aspects of which I can include in my shoot rather than a plain white background in the studio what I have been previously working with.
  • 34. I started working with the gels again in the studio. I looked at using more than one gel this time and instead of shooting through the gel I put the gel over the lights in the studio. These worked more successfully, they added dimention and shaddow to the portraits and well as vibrence. I took these portrait images using a red and blue light and experimented with different brighness and colour. I looked at how using more than one gel can create dimention such as the red shaddows formed by the gel and the blue gel creating a background. Portraits: Using the light gels
  • 35. Throughout this shoot I noticed that the red light was not taking well to the models face. It was creating a big shaddow and making her features unclear. Therefore I changed my lighting set up and decided to carry on using the blue gels but with one white light to create a lighter eerier mood and the lighting looked more succesful on the models complextion. I thought that these images worked succesfully in comparison to the red and blue light images, I focused the white light on the model with tones of blue and more of the blue gel focusing on the background of the studio. Creating a gradient between the model and the background. I thought this was an opportunity to bring in colour in my portraits through the lights creating more mood and atmosphere in my portraits. I wanted to carry on using the gels over the lights in the studio in my future work.
  • 36. For this shoot I wanted to experiment more with the vibrance of the gels. I used a red and blue gel to create these images. The red gel created a pink effect, I think the colours contrasted each other well and reflected more on the background of the studio. My technical proficiency with the gels worked well within this shoot. The colours blended well with each other creating a contrasting image mainly focusing on the background of the studio. I wanted to focus the light more on the background but creating shadows but also reflecting on the model slightly. I took into consideration colour theory thinking about what colours complement each other. Using the red and blue gel works as they blend well together, creating pink, blue and purple tones. Portraits: Using coloured gels
  • 37. I liked how the colour turned out on the background of the studio. I wanted the light to reflect slightly from the model, however some images did not particularly work well on the model herself. For example, some images have a strong hue on the model’s skin. Where other images suggest a form of dimension and shadows. The way that I used the gel resulted in the model being the centre and allowing the two colours to combine but not in a way that they meet. By doing this it allows the coloured background to blend together rather than looking like two separate colours.
  • 38. Portraits: Using the gels For these set of images, I used a yellow gel. Previously I had worked with blues and reds therefore wanted to experiment with a new colour. I think the use of colour worked well in these set of images. It created dimension and shadow in the background by using a dim white light too. The yellow projected well onto the model’s skin and didn’t look too solid or took clarity away from the model. The yellow gel created a more uplifting mood. I was interested in bringing colour, mood, and vibrance into my portraits. I reflected on previous work such as the red and blue gels and took into consideration of how the gels can create a feeling and mood for not just the viewer but also the model. For example, the model looks happy in these set of images. The atmosphere of the studio and the way I work also has a reflection of how the model communicates her mood and feelings in front of the camera, which is something to consider in my future shoots.
  • 39. Portraits: using the gels These are some more examples of using colour as a form of emotion and mood. In comparison to the yellow images. The blue gels create a despondent mood. I noticed how the model interacted with the lighting. For example, within the yellow portraits, the model looks happy and enlightened. These set of images present the model as passive and dispirited, creating a gloomier mood. This made me think more about the use of colour, and how not only the audience can experience the mood, but also me as a photographer and the models can experience the atmosphere.
  • 40. These are some other experiments with using the gels. I took inspiration from a previous artist Derrick Freshke. His use of gels focused on the model’s face. I wanted to experiment with this use of colour by using smaller handheld lights in the studio. These created multiple layers of colour and a suggestion of a ray of light. I used the blue gel on the big studio lights which reflected on the background. I then used red and yellow lights on small handheld panels to reflect on the models face. This is one way of highlighting certain areas of the model using colour. The background worked successfully on these, projecting a blue light, and I think the red and yellow lights worked successfully on the model. However, some images have a higher hue and a slight layer of solid colour reflecting on the model Portraits: Using coloured gels
  • 41. One thing that particularly did not work within this shoot was the model’s gasses, because of the use of light, especially smaller handheld lights. This created a reflection on the models’ glasses, reflecting the lights from the lenses, especially the yellow light. This was something that I had not considered before the shoot, therefore the only alternative I had was to direct the camera further away from where the model’s glasses and light hit.
  • 42. Alternative ways using the gels: Creating shadows Still looking at alternative ways to use the gels, I thought about how the gel can be used as a form of dimension. This was a use of creating shadows on the background. These images were created by putting a red gel over one studio light and the other light projecting white light. This created a form of one shadow of the model with the model herself still being visible. These images did not work very well, I think the use of shadow was something to think about in future shots. However, these were shot in the Box not the studio therefore I did not have the right light set up as well as a plain white background. Therefore, the images did not have that much dimension from the light source.
  • 43. Although I liked the sense of colour and the concealed effect, I particularly didn’t like the way the model and the background were portrayed. The model’s clothing was slightly duller, with the soft tones I thought this would uncover the colour more in the portrait, however the mode blends with the background too much. Due to the fact the flash was used on these set of images this made the background appear a different colour. The original colour of the background was white, however in combination with the flash on the camera, it created a grey background. This makes the model not stand out as much and blend into the background of the studio. The use of the gels and colour in these portraits are something to think about in the future. Maybe they would work better with a darker background rather than the white set up. I will also think about combining more than one colour over the flash of the camera to highlight certain areas of the model. Alternate ways using the gels: Over the flash These are some images that I created using the gel in a different way. I put the gel over the flash of the camera. When taking the picture, by moving the gel slightly it gives this eerie and slightly ghostly form of colour. I liked how these were subtle and selected certain areas of the image rather than one block colour. I think the images worked well in terms of colour and the way the gel projected onto the model, looking at the selected area of colour it creates a masked sense of colour in comparison to the other gel work previously shown.
  • 44. Alternative ways using the gels: Reflecting from sunlight To create these images, I experimented with using the gels outside, using the sunlight as a source of reflection and light source for the gels. I used a red and yellow gel to create these images. Using the grass as a form of colour for the background and the light gel reflecting on the models face, this was an ideas and consideration of using the gel in an alternative way. However, these images did not particularly work that well, as it was a windy day and the gels seemed to blow in the wind. A combination of making it difficult to focus on one area and having to shoot quickly was a reason why these images were not that successful. But was useful in terms of thinking about using the gels outside of the studio.
  • 45. Nick Francher Nick Francher is a photographer, I was interested in his use of colour and shaddows. Looking at alternative ways in which I used the gels I became interested in the use of shaddows. Francher specialises in dramatic lighting, and bold colours using experimental camera techniques. I particuaally liked his use of shaddows and using colour as a form of dimention. I wanted t experiment with this myself by taking inspiration from his use of multiple colours and building on the portrait with shaddows.
  • 46. Creating shadows Inspired by nick francher, these are my experimental images using the light gels as a form of shadows. Working with the blue and red gel. I created a purple background with the gels and then used the blue and red on smaller studio lights to reflect on the model, these lights were further away from the model, allowing the light to focus on the shadow of the model. I liked the use of shadows; however, I think the clarity of the model was unsuccessful, the hue on the model’s face created more red tones making it less clear.
  • 47. Jiri Kylian Jiri Kylian is a choreographer dancer and photographer. I took inspiration from his work as my next photoshoot was a collaboration with a dancer. I particularly liked this image above as I created a shadow of the dancer, reflecting on my previous work using the gels as a form of shadow I thought that this would work well for the photoshoot with a dancer. I liked his use of monochrome tones, such as the blacks, whites and grey. Although I had previously interested in working with colour within my photography. I thought it would be interesting to try out more natural colours for the next shoot I had lined up.
  • 48. Dancing in the shaddows Series 6/6 Looking at shaddows previously, I started to look at sillhoettes of a figure. I collaborated with a dancer for the photoshoot, this was a projector that refelected a white background. The model was dancing in front of the white light and by photographing the background rather than the model I was able to create these sihohoette shots. They show deep definition of the figure, it is bold and dramatic which reflects her dancing style.
  • 49. I liked the use of shaddows within this series. The white background and the dark definition of the subject worked well in contrast of each other. Hoewever I started to think more about composition for my next shoot. For example, some images have certain areas cut out, such as hands, legs and fingers. This series would have worked better if the full figure was included within the shot.
  • 50. Expressions of a dancer Series 10/10 I liked the idea of capturing the body and looking at movement. This an additional photoshoot where I collaborated with another dancer, the model performed, and I captured her movements. I used the gels for this shoot rather than the silhouette as the images had more clarity of the model and her movements.
  • 51. I started to think more about the colour for this photoshoot, this was more of a commission shoot, the model was using the images for her dancing portfolio, I wanted to experiment with capturing the body and the movement therefore I was keen to take this images for her. The model wanting to incorporate the blue gel as it created an atmosphere for her performance, I also added a hint of pink to some images that created shadow, for example, when she was on the floor, it created shadows of her legs, arms etc.
  • 52.
  • 53. In comparison to the previous shoot with a dancer, I started to think more about composition and including the whole body of the dancer in the shot. I looked at the rule of thirds and the position of the model whilst capturing her movements. This meant the model being centralised in the shot. Looking at the position of her hands and feet and how this creates an atmosphere that is compositional. For example, the image above, the hands are presented at either side of the shot, there is a space from the feet and the head. This creates a more energetic image.
  • 54. Looking at artists and inspiration, I took a direction turn. Reflecting on my previous work looking at humans and nature, opposing this, I became interested in looking at connecting people with technology. I felt this was a closer subject for me to connect to. I felt I had gathered enough technical skills to want to peruse my ideas and stimulus behind my work. I started looking at the modern phenomena and exploring our concept to the digital world looking at mass media and new technology. I started by researching into prepossession and preoccupation invoking the phenomena of prepossession and the human experience. I felt I had worked more on my technical work through this project and wanted to focus on an idea. I started by reflecting on my previous work, I had looked at colour and using the gels in different ways to create atmosphere, moods and feelings. I had also looked at nature and connecting humans to nature. I was interested in working with the human experience, the body and our connection to subjects as humans. Review of my project so far: I read an article from this book by Gerd Lenhard who discusses mankind’s urge to upgrade and automate everything. I started to think about our connection to technology and how relevant it is today.
  • 55. Photoshoot mood boards I wanted to create a photoshoot inspired by these ideas. I liked the idea of reflective clothing which represents a futuristic feel. Exploring hyper reality and consumerism in the form of pop culture and the power of technology. A critical look at human’s relationship with technology with technology and the millennial obsession with the neon aesthetic. With themes of nostalgia and passing of time. In preparation for my shoot, I created mood boards looking at colour, textures and technology. I wanted to explore this idea of dystopia which would be communicated through my photoshoot. I looked at old technology and how it is considered as aesthetic and nostalgic. I wanted to recreate these ideas with new technology and social media by creating a future nostalgic.
  • 56. Vaporwave Movement I looked at the vaporwave movement which I was inspired by colour and the futuristic feel. Vaporwave was inspired by early internet imagery, cyber culture and glitch art. Including Microsoft pop ups, Greek stone statues which create this idea of ascetically nostalgic images. My ideas were to create a modern vaporwave reflecting on this idea of nostalgic future with the perception of technology, phones and social media references.
  • 57. Vaporwave came from electronic music; it was an online movement with visual elements and music references. It includes early internet imagery, cyber culture and glitch art. It looks at surreal futuristic themes including 1980’s/90’s imagery. My ideas were to create a photoshoot inspired by the colours and ideas of technology from the vaporwave movement. I can achieve this through the light gels to project the pink/purple and blue colours as a representation of the vaporwave colours. I also would like to include technology such as phones and laptops as a modern representation of the vaporwave. Instead of the Microsoft pop ups, these could be messaging platforms, notifications etc.
  • 58. Collages inspired by vaporwave These are some collages that I created from inspiration of the vaporwave movement. I created these digitally and physically. I manipulated and experimented with imagery such as reflective, pop ups, statues, and grids. All which represent the vaporwave movement. These were created in hope that they would be featured in my next photoshoot/ Video. I thought they could be featured to create a contrast between the new feel to the imagery through technology aspects/ The pop ups and stone statues create this nostalgic image, and something that you would not see on a phone, with new media. Therefore, I thought about projecting the collages onto the model, through the phone and on laptop screens etc.
  • 59. The collages represent technological aspects in an aged way such as Microsoft pop ups but with a new feel to it such as the holographic/reflective backgrounds and certain aspects such as the Instagram heart. This creates a contrasting image between the old technological aspects and aesthetic imagery, which continues with my theme of looking at nostalgic images, combining new and old technological aspects to create a new aesthetic as such.
  • 60. Creating collages on photoshop I had never made digital collages before, previously I have been working with the physically. However now my work has been directed more digitally, I thought it would be useful to create my collages online through photoshop so I can combine them with my own imagery/videos. I particularly wanted to learn how to create visual text with images, I wanted to experiment with this so I can use my own photography to create graphic text images. To be featured in a collage. I learnt how to create these text images in photoshop., I created the image on the right which I created by using a picture of a tree, I then converted this into lettering by using layers and dimensions. I think this was a useful tool to learn to this time so I can bring it forward into my project, working on photography and combining visual elements.
  • 61. Nam June Paik Nam June Paik’s work is experimental and innovative. He is known for his innovative use of TV’s and video art. I particularly liked these two pieces of work my him; the first one being TV garden. I liked the use of media within this piece, one mainly being that you don’t typically see TV’s being combined with nature and natural aspects. Previously looking at connecting nature with humans in my own work and now looking at our connection with technology, I liked these two ideas combined. I am interested in the contrast between technology and natural aspects. The second piece I was interested in was a combination of multiple screens, I took inspiration from the use of screens and how the video is presented. I wanted to think about how I can incorporate screens within my own work, weather that is the image being presented on a screen or incorporating them within my work as a photoshoot prop.
  • 62. Mike Campu Mike Campu is a digital artist, he creates images to tell stories, weather that is a social cause or to promote a brand. He combines photography with CGI and graphic elements. These images were particularly made with CGI and photography. This series is called antisocial, it highlights activities performed on social media platforms. He states that each platform has its own problems and has an impact on society/ The large glowing signs take place in an empty parking lot which represents emptiness and a symbol of isolated posts; however, the glowing sign represent how it can be easily seen by many. These set of images express the flaws of social media incorporating logos from Facebook, twitter, snapchat etc with captions such as “I probably should have sent that, good thing it disappears right” and “look at me look at me, I need more followers” I was interested in his meanings behind the work, looking at social media as a dystopian and expressing pointless activities executed on these platforms. Exploring the dark side of social media and the effect on society, this is something that I am interested in incorporating within my own work, looking at technology as a dystopia. Running with the theme of societies desire to stay continually connected with what others are doing and highlighting themes such as fear of missing out and loneliness, exploring social media and how it has become an integral part of our lives, comparing ourselves to others based on social posts.
  • 63. Sabato Visconti creates glitch art photography, gifs and videos. He experiments with the glitch art as a process looking at digital media and technological aspects. I am interested in the finished images as well as the process, they reminded me of cyber culture art which is inspired by vaporwave. I thought about how glitching is a form of technology aspects, but more referred to older technology. It has a new feel to it and represents technology but also has and old aspect to it, including older technology glitching, E.g. old computers, creating coloured lines, multiple images of the subject and how old TV’s fuss. I thought I could incorporate these ideas into my own work, thinking about the technological aspect as an artefact and thinning about old technology and new technological aspects combined. These are a few things to consider for my next photoshoot. Sabato Visconti
  • 64. Plan for the shoot For this shoot I want to explore the form of the screen referring to technological aspects. I am planning on incorporating screens refer to the themes of nostalgia with references to vaporwave movement and glitch art. I want planning on creating a shot inspired by the future of technology, creating a digital nostalgic image to be consumed in the future. Presenting screens, social media references and using multiples of the model’s images. I also intend to create aesthetic imagery, for example, using reflective clothing, flowers, wires and technological aspects I am hoping to create a future nostalgia.
  • 65. These were my images from this shoot, using the coloured gels to reflect on colours inspired by vaporwave, looking at pinks, purples and blues. It gives a soft calming feel. I looked at reflection of the light on her clothing which gives a futuristic feel. I had worked on my skills in using the gels and took inspiration from the colours inspired by vaporwave. I incorporated wires and screens from inspiration of artists and vaporwave. I incorporated flowers embedded with flowers inspired by Nam June Paik as I liked the contrast between the technological aspects and natural forms. I also started to experiment with including the model’s images on a laptop screen, thinking about the online self and natural self. I captured her hiding behind the screen and covering herself with the laptop to represent her hiding behind her online self. Future nostalgia
  • 66. The set up included the model being on the floor, I included props such as a tv, laptop, phone screen, I added pink and purple tones with the gels, I also added a lava lamp which reflects on the idea of nostalgia. I styled the model in a reflective dress, I wanted to work on the idea that previously reflective silver clothing was futuristic, ‘Space suits’ were being a movement in fashion towards the futuristic look. I played on this idea by incorporating a contemporary reflective dress, I thought about how the light would reflect from this but also give a futuristic feel in contrast with the technology involved.
  • 67.
  • 68. Future nostalgia Still inspired by aesthetic imagery I felt these communicated the vapor wave inspiration well. These images give a closer interaction with media with a futuristic feel. I looked at the idea of screens and her being inside a screen by displaying her own image on the phone, laptop projecting the model onto herself. Recreating a mixture of distance past with technology. Creation or imagining the future. Articulating the aesthetic phenomena in an unchanging form that can be left as a digital nostalgic artefact.
  • 69. I edited some of the images within photoshop thinking about layers and the use of technology. I layered images with the model using her phone, incorporating wires with the model. The image above was created with layers I started to look at enlarging certain areas of the photograph. This suggests the apple logo being on her face and incorporated in technology.
  • 70. Synthetic Glaze I looked at the use of fabric and mesh to bring in a sense of consoling the model and bringing in texture and colour to the photographs. I used this pink mesh fabric; therefore, you can see the model through the fabric, but it brings in a sense of hidden consolatory. The model is embedded in the fabric, suggestive a veiled and obscure atmosphere. These images were created at the same time as the previous images. The model is still being involved in technological forms such as holding technology, the involvements of iPad etc, but in a less obvious way. The model looks glamorised however, looking Deeping into the photograph, you can see she is wonderous, she is involved in technological aspects and looking deeper into the image revels this sense of automated and programmed look. The fabric created a dusky and clouded image which I was trying to achieve through the camera. I used the light gels to bring in a sense of colour, but the fabric also helped do this with creating layers on the models face and a layer over the image itself.
  • 71. Again, these images incorporated the flowers and although they look glamorised and romanticised, the model herself is screen with an obscure look. The way she is being veiled under the fabric suggests a feeling of vulnerability, there are iPad in these images which are hidden behind the flowers and the model’s hands which suggests a disguise of technological and remote world.
  • 72. I wanted to create this glamorised look in a unique way, previously looking at technology, I was interested in this idea of presenting yourself online in this form of a romanticised way. For example, the colours that I used are desired, the use of flowers to create a serene mood, but with subtle references to social media and a form of being consoled. I felt the use of fabric creates a soft tone in the images creating a glow and form of gloss over the model. The way that the model is not looking at the camera creates a form is disconnect and refers to this dissociate form with online platforms and media.
  • 73. From the previous shoot I decided that I wanted to carry on with the idea of using multiple screens by projecting the model onto herself. Inspired by Bea fitlers work I researched into ways I could communicate using the same model and the previous shoot to project herself in multiple screens. Showing an online self, looking at the reflection of a blue screen and the model herself being present allows me to experiment with the idea of social communication and technology. Creating more than one format and version of the model within the same shot. Bea Fitler Bea Fitler is a graphic designer, photographer and art director. She is an editorial photographer known for being on many front covers of Bazaar. I was particularly interested in her using the projector as a form of creating multiple selves. This gave me inspiration for my next photoshoot where I was planning on projecting the model onto herself. Thinking about technological forms and media platforms. Images of oneself can be posted online, creating different versions of yourself, including an online version. I thought about projecting the model onto herself thinking about her online presence in a form of being presented on a screen, including and iPad, laptop, phone etc.
  • 74. I started to look at experimenting with the exposure to create edits through the camera. These are unedited images and were created through the camera, I used a projector and a long exposure to capture the movement and wave of the model. these reminded me of glitch art and referring to the vaporwave movement with the pink and purple colours I had never worked with the long exposure on the camera before therefore I thought these worked ok for an experiment. I liked the idea of creating a form of edit/glitch art through the camera itself. I started by thinking about projecting technological forms such as the loading signs below and the glitch art on the right. These images were not that successful to the clarity of the portrait, I wanted to carry on this idea of using long exposure as it was a way to produce the models face more than once. Therefore, for my next shoot I plan to create a long exposure of just the model and not the projections. Long exposure edits
  • 75.
  • 76. These are the next images that I created, I looked at long exposure as this is a way to produce the models face more than once in the same shot. These images did not work as well as the clarity was not that strong. However, the idea of creating more than one portrait in the same shot allowed me to develop my ideas. I asked the model to mover her face/fads over her face to create these layered images. I had previously worked with layering images on photoshop before therefore was pleased with how they turned out through the camera although they are not that clear. Long Exposure portraits
  • 77. The layering and the exposure of the model’s figure worked successfully, however the model herself seems to be washed out, her skin has gone a lighter colour and this reason is why these images did not work too well. I liked the colouring on these images though, the red gel helped me create a yellow/orange figure and the background being separated from the model. It allowed the exposure figure itself to become more highlighted from the figure and the background.
  • 78. Plan for shoot I have thought about bringing aspects of the model to life through a screen. Referring to previous shoots using screens, I think it will be interesting to experiment with certain aspects of the model by highlighting areas of the models face and body. Previously I have used images from other shoots to incorporate in the screen, however for this shoot I would like to experiment with bringing aspects of the model to life as she is in the shoot, including taking images on a phone. Screen to be featured and held by the model showing some features through the screen. I believe I can create a dystopian aspect with this by using darker lighting such as blue, reflecting on the atmosphere this project in the studio. Using screens such as iPad, phones and laptops, I can create this sense of self being online and inside the screen. Referring to the model physically being there for digitally being perceived through a screen.
  • 79. Be my Eyes After looking more closely to my stimulus, I wanted to create a more dystopian atmosphere. Again, looking at the gels, I decided to use the blue and red gel to create a darker and shadier atmosphere. Creating a monocratic image, where the model looks more controlled I started to think about the concept of online self and the differences between offline environments and the online settings, touching on self-presentations and the tenancy to create a different self-online image in comparison to the offline self. Looking at themes of confidence, self-worth, subjective and social anxiety.
  • 80. In this shoot, by using screens, I was able to bring certain aspects of the model to life through the screen. Looking at the idea of producing more than one image through a shot with references to platforms through media and online images. The phone is a representation of online platform and images online. I thought about including the real self through the presentation of the phone, for example, bringing certain features of the model to life and presenting herself in a dystopian way through the phone.
  • 81. The way the model looks away from the camera but is looking through the phone is a representation of online images and the self-presentation. Showing the boundaries between the embodying of self and the online self, through a photo sharing society. The everyday self’s and loves and the online self as a different format in the same setting. For example, the model looking away and the online version was taken in the same setting but involves a disregarded format by looking away from the online self. With the concept of society and looking at the relationship between the digital self and representation of self and how these affect different meanings. Looking at self- presentation and young people in the online environment. These images create a dystopian atmosphere using colour, the model herself being involved and playing a part in the disregarded sense of the real self and the online persona, thinking about bodies and our perception of the media. Creating a visual self that value aesthetic, emotional and self- reflecting imagery, the ideal self and the versions that are created online.
  • 82. These were my second try at bringing the model to life through the screen. I used an iPad for this shoot and a darker atmosphere with the blue light and shadows. The model held the iPad up to her face. The image on the iPad shows the model smiling, the model in real life has a different emotion. I wanted to represent the model in the screen and in real life in a different way. I think that these images did not work as well in terms of what I wanted to communicate. One idea for next time is to take the image on the iPad with a more uplifting colour and the real self in a more dystopian colour and atmosphere. I wanted the image to represent an uplifting version of the online self and the model in real life representing a darker atmosphere, therefore it is something to think about for the next shoots.
  • 83. Signe Piece I was particularly inspired by Signe Pierce as her work reflects the idea of screen consumption and inspired by the vaporwave movement. I took inspiration from her use of screens and started to think about screens and how these can be featured in my work. Her work looks at themes of femininity, identity, sexuality, I like her use of screens and looking at identity in a form of faux reality. Themes of the online world and inspired by the vaporwave movement I like her use of colour and the form of creating multiple self’s and the form of phones and technological forms. Inspired by hyper reality she exposes ways in the modern world, showing how women are socialised, especially looking at surrounding and the perception of reality in a digital world. The subject matter and the colour suggest this authentic and manipulated media.
  • 84. Pierce uses the world, her mind and her body as a medium, she uploads the work online which can be consumed by anyone who sees it. She wanted to create work that that is not ‘trapped’ inside a gallery, but more work that is accessible for anyone to see online. She describes herself as a reality artist, she suggests that online we are all the stars of our own reality show, this is where she coined the term reality artist.
  • 85. These are some stills that I took from my video. In these set of images, I was bringing layers from previous videos and shoots by creating layers on the iPad. From the video that is being help by the model, it incorporates layers including the model being on a screen in the previous video. Showing images of herself and hiding behind the screen represents the online version of herself. A reflection of social media life, looking at how we perceive reality in an increasingly digital world. That includes the subject matter, the screens with the model presented on them and the lighting. Particularly looking at the colour scheme that I used, which has been cohesive throughout my work, I wanted to look at colour and aesthetics that you often don’t see in ‘real life’ The pinks and purple colours reflect on this idea of vaporwave and Instagram aesthetics and comes away from the neutral colour pallet often seen in daily life. The girl in a screen. Film stills series 5/5
  • 86. I looked at how I could highlight certain areas of the images, for example, the image above I focused the area of the wrist through the screen, like the previous screen images that I took, looking at bringing certain areas to life through the screen. This image includes the wrist, which shows a sense of being trapped in the screen. I also used a projector to highlight certain areas of the model, for example, looking at different formats in which the model is being projected, on the iPad, laptop, phone and projector brings in this sense of dimension. I wanted to look at including multiple screens and formats which give this sense of screen consumption in a form of self-expression. Looking at how the model perceives herself and how others perceive her through the screen. I think that the images worked successfully alongside the video. The images represent a form of self-expression and media, I thought that I communicated these well. I particularly liked the images with the projector as they create a form of dimension and have a bigger impact. However, throughout the shoot, the projector had stopped working, the Tv could not upload my images therefore this resulted in just using the iPad. I think that these images still communicated my theme well; however next time I will think about adding a combination and screens to create a more screen led image.
  • 87. The girl in a screen This video was presented for the link exhibition, it shows the model incorporated with her own imagery and self. Looking at layering and multiple screens it has allowed me to look at this dystopian idea in a technological form. And the uncertainty of which figure is the model I wanted to experiment with layering the previous images to create this format. Exploring herself in touch with the outer social network, I wanted to present these on iPad to create this second layer of her being trapped inside the screen, She This creates a certain uncertainty of which layer is the model herself, being a on screen in the video, her images being presented on the pads and this form of creating multiple layers which reflects on this infinite aspect of media. Exploring how bodies and identities are consumed and perceived in relation to the digital evolution. Focusing on the individual’s connection with their own digital persona’s they create to be consumed by other people. The memorisation of technology and the camera-ready culture which is dehumanizing us in shone through this series of videos focusing on our connection with technology and society.
  • 88. Who is the girl in a screen? Series 4/4 These are some edits that I created from the film stills, I experimented with layers and combining images, I wanted to work with this idea of adding more layers, which I have been previously achieving through the camera. I thought by adding images I would able to achieve this infinite effect that I have been achieving my adding layers of videos and working with the same model. I wanted to think about the uncertainty of which figure is the model, by adding layers this has helped me achieve this. I thought about the way the model is presented on a screen and how I can create a mask of multiple layers to work on. Some of these images did not particularly work well, however communicated my ideas of multiple layers and the infinite screen. I worked with creating the model more than once to achieve this uncertainty, however some images can be obvious of which figure is the model. Therefore, I started to think about creating this again using the camera, working with the same model is allowing me to create these layers.
  • 89. Makeup Shoot Mood board I am planning on collaborating with a makeup artist for my next shoot. I want to communicate social media in a dystopian way by being presented on the face, embedded into the model’s skin. I took references and from influences I sent a mood board to the makeup artist to see if she would be interested in a collaboration. The makeup artist typically does glamour looks therefore she was keen to try something new, we worked together by discussing lighting set ups and compositions of the model. I wanted to create this dystopian effect with the makeup by referring to acts performed on social media platforms to represent social media being embedded into people, also reflecting on technological forms being projected on to us as a society, I wanted to communicate this through the makeup, therefore a collaboration would work well for this shoot.
  • 90. John Yiyi Inspired by John Yiyi, I am wanting to create this for my photoshoot through the form of makeup, inspired by his theme I wanted to project these social media and technological aspects onto the model. Using makeup this will be a different media to John Yiyi. However, I am more inspired by her themes and ideas. Creating this format of storytelling using makeup, I wanted to add more intense emotions to my portraits and thought this would work well during this collaboration. John Yiyi is a visual artist who explores social media, photography and the internet. She explores a combination of human connectivity within a hyper connected world as a reflection of herself and the world she is living in. Her art ferers to branding of the model, by incorporating tattoos that are layered on the skin, face, body and tongue. This represents a feeling on change, she suggests it is presented on the eyes, nose, mouth to ponder about if we think about the way that will change, for example, how we will use them in the future now our lives revolve around the digital world.
  • 91. Dreaming in signals Series 12/12 Using the blue gels, I was able to carry on this idea of dystopian technology by using the wires the model was incorporated in this by being trapped, over the wrists and face the wires played a representation of being trapped in social media and technological aspects. This series represents a form of being trapped with the wires, the model is looking distressed a way by looking at her phone and the wires playing a part in being trapped within the technological aspects. Using the blue gels, I was able to create an atmosphere that is darker and gives a dispiriting and comfortless image. The wires being captured around her wrists and face suggests this or of technological forms managing us and controlling us. I wanted to capture the model in the mode of technological aspects, her playing a part of being surrounded and captured in the online world.
  • 92. Thinking about technology as a form, if it is making our lives happier or deluding ourselves in an enriching way. With photo sharing society and users, I wanted to communicate the discomfort within this. And in a way the reality of what behind the screen looks like. How we act behind the screen and how this plays a role to what we present of ourselves. A representation of the girl behind the screen in comparison to my last series exploring the girl in the screen.
  • 93. Do you ‘like me? Series 6/6 The makeup artist created subtle social media references on the models face, including double tick, which means read, the Instagram hearts which represent likes etc. In this series of images, the model wiped away the makeup, looking distressed this created a dystopian feel. Reflecting on the idea of escaping social media, the act of wiping the makeup off allowing the model to express this idea.
  • 94. Do you ‘Like’ me? Distorted series 2/2 These are some edited images from this series, exploring the airs of the images to give an illusion of the process and the act of wiping the makeup off. Thinking about how we perceive ourselves online, the likes represent a form of agreement and improvement of what has been posted. The act of wiping off these likes and forms of social media platforms is a way of disapproving of these in a distressing way.
  • 95. Plan for shoot Inspired by Hamish Stephenson series on controlled technology, I wanted to create a shoot inspired by this. I liked the use of wires paying a part a feeling of being trapped, reflecting on the control technology and social media has on a society. I valued creating a conceptual image inspired by the wires, thinking about lighting to create a dystopian atmosphere. The lighting in this image gives a feel of vaporwave, with the use of gas Stephenson has created a digitally nostalgic image. Reflecting on my previous work, I think the use of wires work well communicating my ideas, after looking at the screen, this is another form that I can take to create conceptual images. For this next shoot, I am collaborating with a makeup artists, therefore I am going to create a photography series based on the aesthetic of vaporwave, but looking at it in a more dystopian way, connecting the wires to the model through the face writs, and body I can create a form of mentally enchantment focusing on confined atmosphere. These images give off an intergalactic feeling, which look futuristic, this is a factor I am going to consider for my shoot, thinking about lighting and factors to make the image look modern and high-tech.
  • 96. Plan for shoot Inspired by photographer Anton Budek, I wanted to create this sense of feeling trapped with fabric. I feel fabric is a good medium to bring colour and texture into my portraits, but also, I can use it in a unique way to create emotions and atmospheres, using the fabric as a form of being trapped works well for a controlled situation. This image was presented in Vogue Italy. I liked the use of string to represent this form of confined. The way the model is tied up gives a restrained feeling. I think it would be interesting to use this form of string with wires, Incorporating technological aspects as a form of a blocked and obstructed format. The wires playing a part of trapped in technological aspects. Inspired by this, I thought it would be interesting to use a combination of fabric and from inspiration from the string but in a form of wires.
  • 97. Confined, The yellow series In this shoot, I looked at fabric as a form of being trapped, incorporating the wires I was able to express this idea of technology and being trapped. I wanted to create this sense of the model being trapped and looked at different ways the lighting can create atmosphere. I wanted to explore this form of modernity with futurism and refection on the world today, looking at social distortion and this form of captive atmosphere with the fabric and wires representing this.
  • 98. Confined, The blue series I found I was able to create a more dystopian and negative feeling with the blue gels, whereas the yellow ones look more uplifting. I wanted to focus more on the dystopian aspect of technology, creating this more captive atmosphere and looking at a darker and embodying this ambience of technology in a negative way. I wanted to create this feeling of controlled technology in an uncontrolled way of being embedded into the wires and fabric gives this representation of being autocratic.
  • 99. Confined, The pink series I became particularly interested in the use of fabric, the way that I could capture colour and texture in the photographs inspired by. Although I wanted to create a form of being trapped, these series of images did particularly not communicate this. However, I knew for my next shoot I wanted to work with fabric again. I like the way that I could create shadow or a form of essence through consistency and texture.
  • 100. This is another photoshoot that I collaborated with Amina on. I was looking more closely at the blue gel to create this dystopian feeling, also looking at the composition of lighting and experimenting with fabric by creating light on onside of the face and looking at the reflection of the light in the fabric. These set of images worked well in term of aesthetic and the colour. However, did not communicate my ideas well. I enjoyed working with Amina on this shoot, we were able to combine ideas. I became interested in the use of fabric, Amina’s work explores fabric and set design therefore by exchanging ideas were able to create this set up. Working together allowed us to exchange skills, for example, Amina had never used the gels before therefore I was able to give her tips on how to use the gels, which was helpful for me to review on what I have learnt about them. Azure thoughts series 7/7
  • 101. I looked at the idea of masked imperfections and the fabric creates a sense of consolidate and masked identity. I was particularly interested in the way that the fabric contributes to the lighting, for example, the shadows created on the models face, bringing in a sense of colour and diremption from the blue light.
  • 102. Mass Material Series 3/3 These images were created again by looking at fabric more looking at the movement of fabric and a form of prop for the model to interact with. I experimented with similar lighting to my previous work looking at blue and pink lighting that reflects the aesthetic movement By including a lighter mesh this allows the model to be visible but have masked layer. I wanted to start thinking more about fabric and the involvement of it within my work, the fabric plays a part of sense of colour and a masked layer that allows the model to become distant from the camera, allowing a form of disforming and a concealed layer.
  • 103. David Ligare David Ligare is an oil painter who paints landscapes and still life. I was drawn to this piece of his ‘Thrown Drapery’ I like the sense of storytelling in this image, He started to experiment with white draperies in his landscape paintings. These images show a sense of freedom but also distortion, with the position of the sea and the titled background. I was interested in the way that fabric moved in these images, I like the way of showing movement in a still image, for example, we know that the fabric falls to the ground from this image, but I like the sense of freezing the image in time and capturing the movement in a still shot. I am inspired to create a fabric project based on David Ligare. I am wanting to capture the movement of fabric using a model too to capture the movement of a figure with the fabric. I am wanting to communicate this through series of still images.
  • 104. Plan for Shoot I am interested in conveying the movement of fabric, looking at the perception of the body and the motion of the fabric. Throughout this project I have been interested in expressing the body, looking at movement. From my previous shoots I have become interested in the use of fabric, I particularly like the way that it adds texture and dimension to the images, but also a sense of colour. Inspired by Ligare, I am wanting to show the movement of fabric and the model through a series of images, taken outside the studio. This way I can experiment with the lighting outside of the studio, bringing in a sense of colour through the fabric. This series of photographs will represent a still movement in the form of moving images, for example, something that we would not typically see as a still image.
  • 105. With this, I become interested in the use of fabric and the movement of it. Inspired by artists I looked at creating the shoot outside which I was able to reflect more on the movement of fabric through the wind. The images look very free and represent freedom which is the opposite of what I have previously been communicating. Although through the representation of freedom within the images, I was able to express my idea of fabric and the movement of it. I looked at capturing the fabric whilst the model moved with it in the wind, I thought about different compositions mainly focusing on the fabric. Emancipation, The white series 6/6
  • 106. Emancipation, The pink series 6/6 With the combination of two fabrics I was able to bring in a sense of colour and add more dimension to the images with the mixture of the two fabrics. I focused more on the movement and the way that it blew in the wind, Taking into consideration compositional factors such as the way the model is holding the fabric, the direction and the wind and the combination of both the fabrics and how they intertwine with each other. The fabric pays a part of a hidden layer, the model is being covered, revelling the model becoming lost in the space around her. With the existence of the relationship between the space and the fabric.
  • 107. Emancipation, The Woods series 5/5 I looked at different locations and how this has an impact of the image. One thing I took into consideration was the trees within these images, I looked at the way the fabric moves and captured this in comparison to the still background. I used a fabric that was more sheer for this image as it allows the model to become more involved. The way that the fabric moves gives a soft feel and because it was thinner it allowed aspects behind become more visible, such as the image below, you can see the trees through the fabric. This gives a smoke effect of the fabric.
  • 108. Emancipation The red series 6/6 Again, this are some more images from the fabric shoot, however these were shot through a coloured gel. These are contrasting to the other images that look free. It represents the importance of the gels in my work as it creates more dramatic expression. The red gives the image more energy, it appears to make the fabric look unknown, as a fire form, the model is also unclear and gives an uncertainty in comparison to the first images.
  • 109. Reflecting on the ideas of projecting the model onto herself, I looked at artists who represent portrait mapping and how they use projection. Racheal Russel created these images with a projector. By reflecting on my previous work, I knew I wanted to carry on this form of projecting the model. I was inspired to project forms onto the body in a unique way. I was thinking about how Russel used the projector, with the dark background and the projector as a light source I was inspired to experiment with this myself. The use of colour has been important to my work, by using the gels I was able to create mood and enhance the portrait, I thought about this in a form of projection. Russel brings in a sense of colour in a unique way by projecting onto the body with a dark background. Racheal Russell I was inspired by Racheal resells work, I liked the use of projector. Refereeing back to my previous work of wanting to project the model onto herself I started to think more about the projector as a form of texture and colour. The projector gives opportunity to include colour, image and pattern to my portraits.
  • 110. Maggie west is a photographer who mainly specialises in colour She has been featured in many magazine publications. I was particularly interested in these two pieces by her, reflecting on my previous work of using the coloured gels, I wanted to think about this in a form of projection. I thought I could achieve images featuring colour and texture through a projector. Like how Maggie west has created these, I wanted to think about highlighting certain areas and how the projector can be a form of light source not only for colour but also white light. I also liked the feature of the light appearing brighter because the background is dark, the features of the model is highlighted through the white light because the background is dark as well as the portrait herself, this a good way to key highlights the image. It made me think about what I plan to do next with the projector, wanting to bring in highlights of colour into my portraits is interesting to add dimension and texture as well as themes of mood and ambience. Maggie West
  • 111. Projector photography These are some images that I took in the studio using the projector as a form of colour and texture. I used lines in these series of images to bring in a sense of monochrome colours in a unique way. From inspiration of the light and dark colours from Maggie west. I wanted to bring this sense of white colour and dark aspects to create shadows and texture.
  • 112. Still looking at colour and how colour can enhance my portrait and give atmosphere I looked at using images that bring in a sense of colour as well as dimension and texture. I liked the use of colour, however thought about the use of gels too. The projector gives a light form in a way of colour, however, also creates pixels etc of the quality of the photograph, particularly degrading the essential quality of the photo.
  • 113. Again, thinking about colour in a sense of atmosphere, I looked at how I can create moods and feelings using colour. I was able to add more emotion in more portraits, for example the ones on the left look more up lighting and the darker ones on the right are more mysterious.
  • 114. These are some other examples of me using the projector, this is another photoshoot where I projected images that represented colour and texture at the same time. I created a darker atmosphere allowing the colours to become more vibrant and stand out. I looked at lines and forms of texture that fit around the model.
  • 115. I wanted to carry on with this idea of projections but referring to the theme of social media and technology. I used images that were more current to this theme, including a keyboard pad, messaging platforms and my own collages. I created these collages early in the project and thought it would be interesting to project them onto the model, I looked at forms of projecting media onto the model referring to my theme of technology.
  • 116. I also experimented with projecting images such as social media references, keypads and other forms of online platforms. I liked the use of colour referring to my use of the gels, the blue one represented a more dystopian atmosphere therefore these images worked well in that sense. I thought about the shadows and background and how I wanted to focus more on the projection of the image on the model rather than the background. Therefore, I had prepared for another shoot where the light reflected selectively on the model. Taking away a sense of chaos and more refined image.
  • 117. My next steps were to work with a model on project mapping and selecting areas to project. As we are now isolated; I did this photoshoot at home with my sister. I used a dark background and projected social media and technological aspects onto the model. I used a darker background and selected areas to project onto which felt worked better than the brighter images previously shown. These images representant social media being projected onto people, it suggests people only see what they see on social media. For example, the like/love signs on the model’s face suggest a more dystopian way of looking at social media.
  • 118. Again, looking at selecting certain areas I used lighter images. These represent a glow that you would receive from a phone, for example, if you were sat in the dark, the light would reflect on your face. These images present this in a form of technological aspects that you would normally see on your phone.
  • 119. As of the unfortunate events of being self-isolated, I have been thinking of other ways I can communicate my ideas in the form of portrait photography. I listened to the thinking allowed podcast which talked about selfies, one thing that was mentioned was the self as a form of self-expression and artistic purposes, for example artist paintings. I was inspired by were Zigian Lui who uses mirrors as a form of self portrait photography, I thought this linked well to the idea of creating multiple selves. Lui is a self-portrait photographer, she uses a mirror as a form of presenting herself in an artistic way. As I can no longer communicate with models, I thought it would be interesting to use myself, thinking about the mirror as a multiplication of the self, but also referring to the idea of the selfie, which reflects on my pass work embodying technological aspects. Zigian Lui All her work embodies herself as a form of self- portrait, including the use of mirrors. She includes a femine side to this with the use of flowers and soft tones, I was interested in using her as inspiration for the self-portrait that is less flat, the mirror creates a form of direction in a unique way which creates a depth to the portrait in comparison to the flat images.
  • 120. Plan for Shoot Inspired by Zigian Lui, I am wanting to create a shoot focusing on mirrors and the reflection of people. I have thought of some ways that I can communicate the portrait through a mirror, one being through a broken mirror, highlighting certain areas of the model to bring a sense of dimension into the portraits. I also thought about using the mirror outside to reflect from sunlight, which is a way that I can bring in a sense of DIY photography and working from home with the resources I have.