Category: Objects of Desire

Final Images and Printing Process

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These are the images that I have chosen for my final images.

  • Row 1: Objects of Desire
  • Row 2: The Enigma of Time
  • Row 3: The Constructed Image

I chose these images because I feel that they are the four most successful images from each category, and that they all have high impact. I decided to stay away from strict themes this semester to allow myself to experiment widely with different photographic processes and techniques, and avoid repeating images from the same shoot. I think that I have a wide variety of commercial photography, location shooting, studio shooting, night time photography, and two photographic processes (multiple exposure and photomontage) that I have discovered and expanded my skills with during this module. I had never shot multiple exposures before and found this really fun to experiment with. I also found creating digital collages was fun as it takes me back to my studies in Graphic Design, and it felt great to incorporate both my interests into my projects. If I could change one thing it would be that all the images in a set were in the same orientation (e.g all landscape, portrait or square) rather than mixing within a set, however this was beneficial for my images to remove unwanted distractions or white space.

The printing process was quite straightforward as I had remembered what to do from last time. The papers I used were A4 FB Royal Gloss 310gsm which I used for most of my images, as I really liked the glossy appearance and the way it makes the colours really bold and punchy. I also used A4 FB Matt 285gsm for a couple of images; the Blackpool multiple exposure and the long exposure of the river; because the matte finish gave a calm feel to the images and colours, which is already expressed in each image. I tried printing the image of the stars and the ageing flowers onto matte paper, but the results were terrible and unflattering as the colour gamut wasn’t as broad and the blacks were very dark and didn’t mix well with brighter colours. I then printed them onto glossy paper and they were much more effective and closer represented what was on the screen. I was unsure whether to use the image of the stars with a warmer or cooler colour temperate, so I printed both to see how they turned out. The one with warmer, orange tones was full of noise and of low quality, whereas the one with cooler, darker, blue tones was sharper, the stars were more visible and overall looked more impactful. I was advised by Dave that this is because orange is part of the red colour channel, which holds much more noise than the blue colour channel, which is why the level of noise and quality of the image varied so massively. Therefore, I kept the cooler toned image as my final print.

Commercial Photography – VISUAL DEVELOPMENT – Objects of Desire

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IMG_2204 

The commercial photography and shoots for the Objects of Desire assignment have all been taken in my home studio/tent, pictured above. It has two LED lighting bars at the top that can be moved around as desired to light up the subjects, with reflectors on the inside to bounce the light around effectively. I have found this really effective when taking high quality photographs with simple, non-distracting backgrounds.

After being inspired by Wilson Hennessy and Richard Maxted, as well as the advertising material seen in our everyday lives such as on TV and on billboards, I set my studio up and considered what desirable objects I had to photograph. The first item I wanted to shoot was my watch, as this is a classy accessory that is often shot for commercials with high impact images, high quality lighting showcasing all the details and materials, and striking backgrounds and colour themes. I tried to recreate this by using a subtle grey backdrop, which complimented the rose gold colour well. I varied the lighting throughout the shoot to illuminate the watch effectively without any reflections in the glass, and experimented with a variety of angles. To get the straight on view of the watch, I hung it from the lighting with a piece of thread to hang it vertically so it was easier to photograph and it gives the appearance of the watch floating in mid air, without any visible props in the frame.

Next, I used an eyeshadow palette as my next subject; it was brand new and in pristine condition, so I thought it would be ideal for a commercial shoot, as I have been advised before the objects in these shoots have to perfect, with no imperfections, to make the images effective. I also varied the angles and lighting with this shoot, to illuminate the colours of the makeup, while also effectively lighting up the case so the wording was visible, but without getting any unwanted reflections in the window. I began by using a zoom lens that I purchased at the recent Photography Show event, but because it was new and I haven’t yet had much time to use it, I found it difficult to focus the image and so went back to my standard kit lens, which proved very effective at capturing all the details. I also experimented with placing the eyeshadow brush in some of the images to see if this added to the image; I thought this looked successful but annoyingly the background was imperfect in some of these images.

Lastly, I photographed another makeup item, some lipstick. The idea of using makeup was that it is highly desirable for many women, and even some men these days, and is also a popular item to be shot for commercial purposes in a studio. The colours that I had were quite bright and gave interesting colour schemes in my images. I chose a white background for the makeup because the bright colours and black packaging contrasted strongly against the background, making the subject stand out. I used my tripod and shutter release cable for all three of the subjects to ensure crisp and sharp images with minimal camera shake; having the images in focus is critical for commercial photography. I really enjoyed photographing in the studio and seeing firsthand how professional lighting can really enhance an image.

Richard Maxted – RESEARCH – Objects of Desire

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Richard Maxted specialises in still life commercial and advertising photography; his controlled use of studio lighting is an art form in itself. He graduated with a degree in Photography from Blackpool College in 1995, before opening his own east London studio in 2000. He quickly established himself within the industry, and his eye for detail and obsession with ‘getting it right’ earned him respect and admiration from his peers. He has worked for clients such as BA, RBS, V&A, Jim Beam, Campbells and Mandarin Oriental. His images mostly feature solid, single colour backgrounds that compliment the subject while still keeping the focus of the image on the product being advertised. The studio lighting illuminates the items beautifully while creating the occasional shadow or reflection, all artistically placed and well thought out. His subject matter varies widely from technology such as watches and cameras, to flowers and books which are both composed of organic matter. Strong studio lighting and plain, simple backgrounds seem to be common themes within still life photography, and I will carry this across into my images. I aim to create something similar to Maxted and Oprisco.

“Your personal work identifies who you are as a photographer. The ads and commercial work are the proof you can do the job, but personal work shows your eye, shows what you see and what makes you tick…”

– Richard Maxted

Valentine’s Day – VISUAL DEVELOPMENT – Objects of Desire

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The first idea I began to experiment with for Objects of Desire was photographing flowers. I enjoy receiving flowers as a token of appreciation; it is a small gesture that is greatly appreciated by many. It could be said that many women in particular enjoy receiving flowers and they are a popular gift for the special women in people’s lives, often sold and advertised around special occasions such as Valentine’s Day and Mother’s Day. Of course this is a stereotype and flowers can be purchased by or as a gift for anyone, for any occasion.

03/03/19 – First, I made a trip to the local supermarket to purchase a large, beautiful bouquet of roses. Although cliche, I was drawn to the romantic and desirable nature of roses, but wanted more than just the standard bouquet of red roses, and therefore bought a mixture of yellow, orange and red flowers with additional foliage. When I got home, I placed the roses in a clear glass vase, so not to distract from the main subject. I wanted to see how the images would look if I kept the flowers in their additional wrapping, as I think flowers often look their best when they are fastened together in a tight, organised bouquet, and this is why they are sold and displayed this way, to evoke desire from customers. Although this gave a sense of order, it also gave the flowers that “freshly bought from the shop” feel, which may indicate a rushed and unplanned photo opportunity, and the paper also covered up much of the subject which wasn’t ideal.

After photographing from a variety of angles, I had the idea to incorporate other items into the shoot that were similarly romantic and desirable objects, such as chocolates and teddy bears. Both of these items are frequently sold within stores to advertise Valentine’s Day, and having personally been in a relationship for the past 6 years, I have received many of these gifts in the past, and so I added these items as a personal touch to the photographs, and to add a sense of “me” within the images. Other props I had ordered specifically to incorporate into this set of images were two pieces of fabric with a velvet look/feel, in the colours red and gold; this material and the chosen colours are often associated with desire, lust, romance and wealth, therefore this seemed like a perfectly fitting background for the main subjects, to carry the theme throughout and keep the images consistent. I realised that I could lay this material over a cushion, which would act as a base/platform for the flowers to sit on and allow me to get a straight on view of the flowers themselves, without anything obstructing them. I continued to experiment with the lighting within my photography studio/tent throughout the entire shoot, altering the angles of the light and subjects to gain the most successful results; this included the dilemma of trying to get the background as black as possible, while keeping sufficient lighting on the flowers themselves. I photographed the subjects from different angles, varying lighting and composition until I was happy with the results I had.

The contact sheets are below:

And the contact sheet of the most successful, edited images:

After presenting the images to my peers during a tutorial, I received feedback saying that the teddy bears in my shoot gave a juvenile and childish feel to the images, therefore I decided to steer clear of this subject to avoid unnecessary associations from my images. I was also advised that the subject was quite cliche and that I should seek a more creative approach to the assignment. Although this was only ever intended as a starting point, I will take this feedback on board and build from this. One of the more successful comments I received said that one of my images, “DSC_0728.jpg” would stick in the person’s mind for days because it was beautiful, in focus and detailed, and romantic with the red velvet base. Therefore I would like to experiment and see if I can still use or further improve this image somehow.

 

Further development and re-shoot: 12/03/19 – Responding to feedback, I initially wanted to try using a similar romantic theme to portray “the desirable” and so I experimented with other subjects, such as my mum’s necklace gifted by my brother and I, to show love through family relationships; and my Pandora bracelet and charms, each one gifted to me with love and with a personal reason behind them all. I continued using the red velvet fabric to continue the theme, as this seemed well received by my peers and tutor alike when presenting. I used my Macro lens for the first time to try and get some close-up detailed shots of the necklace, however the results weren’t quite as sharp as I would’ve liked, and I think this partly was due to my underestimation of how important a tripod would be to keep the camera completely still when pressing the shutter, and also slight trouble with focusing. I also liked the contrast between the gold, red and silver tones of the necklace with the black PVC background roll in my studio; black can also resemble elegance and sophistication, both words associated with jewellery. Similarly, the white background offers a clear contrast between background and subject to fully show off the details and colours of the subject.

While doing this, I also thought back to my previous research about Wilson Hennessy who specialises in still life photography, and took the chance to experiment with commercial photography in the studio. I found a brand new pair of trainers; Nike to be exact, a very popular and worldwide brand that many people, especially the youth of today, like to consume and purchase as expensive brands give the illusion of “relevancy and importance.” I tried to recreate, as well as create my own, compositions and poses for the subject to showcase the best angles and evoke desire from the viewer. Using the black background ensured a consistent, monochrome colour scheme that creates harmony within the image. I really enjoyed my attempt at still life photography and would like to experiment further with this approach for the assignment.

The Photographer’s Eye: Lecture Notes

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This module is focused on the book titled The Photographer’s Eye by John Surkowski. The book outlines the 5 key characteristics that produce a successful photograph:

  • The thing itself
  • The detail
  • The frame
  • The time
  • The vantage point

The thing itself (photographs) are different from reality – reality can be filtered, clarified or exaggerated and allows for the creation of fantasy.

‘The detail’ refers to the use of photography to capture things that are too ‘ordinary’ to paint; details can’t narrate but they are symbolic and evocative for the viewer.

‘The frame’ encourages the photographer to choose and eliminate the frame to focus on particular subjects. New relationships can be formed by isolating subjects from the background.

‘The time’ explains how photographs can only describe the present, at the exact moment of the ‘click’ of the shutter. Therefore, photographs will always be in the past when viewed.

Cameras allow for different vantage points to painting as they are more portable and a variety of angles can be taken by handholding a camera, rather than painting with an easel.

Project 1: Objects of Desire

Transform an everyday object into an ‘Object of Desire.’ This could be achieved by taking the route towards studio still life photography. A bigger light source will remove any unwanted shadows in these images.

Photographers:

  • Richard Maxted
  • Association of Photography (AOP)
  • Simon Larbalestier
  • Carol Sharpe
  • Adrian Lyon
  • Wilson Hennessy
  • Tal Silverman

Project 2: The Enigma of Time

Use ‘time’ somehow in your images.

Photographers:

  • Francesca Woodman
  • Catriona Grant
  • David Scheinmann
  • Alexey Titarenko
  • Michael Wesely
  • Duane Michals
  • Gina Glover
  • Bill Brandt

Project 3: Constructed Images

Construct images using any of the following:

  • Multiple Exposure
  • Multiple Printing
  • Montage
  • Image and Text
  • Mirrors
  • Layers

Photographers:

  • Hannah Hoch
  • Man Ray & Dora Marr
  • Herbert Bayer
  • John Stezaker
  • Barbara Kruger
  • Paul Hill
  • Abelardo Morell
  • Mindo Cikanavicius
  • Zander Olsen
  • Robin Maddocks
  • Oleg Oprisco
  • Gillian Wearing
  • Loretta Lux

The History of Photography

There are various dates that contribute to the birth of photography. According to history books, photography began in 1839. However, it is said that Joseph Nicephore Niepce took the first photo that still exists back in 1827. Then, Hercules Florence first used the word ‘photography’ in 1832.

Prehistories

Among the first photographic processes were Paleoloithic cave paintings dating all the way back to 10,000BCE.

There are early written records of experiments with light and the Camera Obscura from 1,000BCE. Photographers such as Johannes Vermeer began using the Camera Obscura within their practice from 1,500BC.

70CE – Roman chemistry experiments.

1,100CE – The Alchemists used light to darken silver salts.

1,717 – Johann Schulze experimented with “fleeting sun pictures.”

1790 – Thomas Wedgwood experimented with the Camera Obscura and silver nitrate sun prints.

The Camera Lucida was invented by Dr William Hyde Wollaston in 1807.

The first photograph of a person was taken by Louis Daguerre in Paris in 1838, where a man is pictured having his shoes shined on the pavement next to the road.

William Henry Fox Talbot took his first image titled “The Oriel Window” in 1835, and created the world’s first photo book called “The Pencil of Nature.”

In 1847 the law in France considered photography as a ‘mechanical process’ and not art.

Up to 1851, the Daguerreotype was “the technology.”

Frederick Scott Archer provided the breakthrough in 1851: the Collodion glass negative, with the advantage of detail and speed.

Roger Fenton used the wet Collodion process and a portable darkroom in 1855.

In 1871, Richard Leach Maddox invented lightweight gelatine dry plates which were a revolution at the time!

Further research then lead to snapshot photography and the Kodak camera with roll film.

The Portrait

The literal definition of a portrait is: a drawing, painting or photograph of a person. A more accurate definition, however, would be: a representation of a person. Ask yourself: Does it simply record the outer surface, or provide insight into their character?

Cindy Sherman dresses up in various costumes and poses for her photos, frequently portraying female stereotypes found in film, television, and advertising. However she does not label these as “self portraits” because in that moment she is interpreting another person, not her genuine self.

Robert Cornelius produced the world’s first deliberate portrait in 1839.

David Bailey is another huge name in portrait and fashion photography, and is best known for his iconic portraits of artists, musicians and actors of the 1960s and 1970s, such as Andy Warhol and the Rolling Stones.

Other Portrait photographers include:

  • Diane Arbus
  • Garry Winogrand
  • W. Eugene Smith
  • Richard Avedon
  • Philip Lorca DiCorcia
  • Adrienne Norman
  • Astrid Schulz
  • Steve McCurry
  • William Wegman

The Self Portrait

David Slater is a British wildlife photographer; he is most famous for his image of “the monkey that took its own photograph.” On a trip to Indonesia, he was following a group of Sulawesi macaques in the forest, in an attempt to connect with them and co-exist peacefully with them, while of course photographing them along the way. After a long day, Slater sat down close by to the group of monkeys for a rest, while they were having a group grooming session. Soon enough, the monkeys came closer and become grooming him too! They also took a liking to his camera and so the photographer placed the camera on his tripod with a very wide angle lens, predictive autofocus and a flashgun set, in the hopes of capturing a facial close up. His efforts were worthwhile as the monkeys began grinning and pulling faces in the lens of the camera, pressing all of the buttons and inevitably some photographs and “self portraits” were taken, including the iconic photo we now recognise today! However, his photo has caused Slater a lot of financial difficulty as he has been frequently dragged through the courts over the debate of copyright of the image; is Slater right to claim ownership of the image, or does the copyright belong to the monkey itself as he was the one who pressed the shutter?! This debate has opened up an interesting conversation about copyright and what is technically defined as a “self portrait.”

Screen Shot 2019-04-06 at 19.40.42

Francesca Woodman photographed herself in empty interiors, often nude or semi-nude, to portray her suffering with mental illness such as anxiety and depression. However, her pictures are not traditional self-portraits. In her images, she is usually half hidden by objects or furniture, or she appears as a ghostly blur. She plays with distorting reality into a surreal fantasy by squeezing herself into small cupboards or wrapping herself under wallpaper like a blanket; she often seems to be retreating and hiding within the materials of the building. The images create an underlying sense of human fragility, vulnerability and isolation, which is further exaggerated by the fact that the photographs are printed on a very small scale, making them seem personal and intimate. These images connect with me personally as I know how it feels to battle your own demons and I completely understand and am inspired by how Woodman can capture her inner feelings within a physical image.

Space?, Providence, Rhode Island, 1975-1978 1975-8 Francesca Woodman 1958-1981 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 http://www.tate.org.uk/art/work/AR00350
Untitled 1975-80 Francesca Woodman 1958-1981 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 http://www.tate.org.uk/art/work/AR00351
From Angel Series, Roma, September 1977 1977 Francesca Woodman 1958-1981 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 http://www.tate.org.uk/art/work/AR00354
Untitled 1975-80 Francesca Woodman 1958-1981 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 http://www.tate.org.uk/art/work/AR00357

Other Self Portrait photographers include:

  • Peter Kennard and Cat Picton
  • Hippolyte Bayard – took the first known self portrait
  • Nan Goldin
  • Claude Cahun – inspired by Cindy Sherman
  • Dorothy Wilding – first female photographer for a royal household
  • Marta Hoepffner
  • Vivian Maier
  • Wanda Wulz
  • Arno Rafael Minkkinen
  • Yves Klein
  • Lee Friedlander
  • Duane Michals
  • Phillip Toledano

The Place

“Place” refers to vast open spaces and landscapes. It includes mainly nature photography but it can also include man-made structures and urban areas; it has a very broad and flexible definition. When photographing a landscape, cutting out the sky can change it from simple being “a view” to a landscape photograph – framing is important!

There are four main types of landscape:

  • Natural landscape
  • Urban landscape
  • Social landscape (e.g street photography)
  • Psychological or Emotional landscapes (inner landscapes)

Robert Adams, a landscape photographer, said that there are three main elements to photographing places: Geography, Autobiography and Metaphor. Taken together, they strengthen and reinforce each other and create a successful and powerful photograph.

Pre-17th Century, landscape was confined only to the backgrounds of other genres. But after the 18th Century, there were three types of landscape photography:

  • The Sublime – awesome sights, nature at its most fearsome.
  • The Beautiful/Pastoral – inhabited landscape, smooth and ordered.
  • The Picturesque – ruins and incomplete buildings, gives an edgy feel.

Edward Burtynsky photographs manufactured and industrial landscapes, such as factories. He documents people and their place in relation to the world, and their impact on the environment. He photographs quarries and mines which document extraction in the landscape – begging the question “how long will our oils and fuels last if we continue?” He also photographs pollution, rubbish, recycling materials and landfill sites. Large factories are placed in our environment due to our consumer lifestyle; as humans, we use and dispose of things all the time. Man-made structures include roads, houses and cars which are also mass-produced and take a toll on the environment. However, Burtynsky wants to show that even industrial, urban or conventionally unattractive places can appear beautiful through a lens and the power of photography; landscapes don’t always have to be “beautiful” and “perfect.” His work is Post-New Topographics, the book of photographers that also photograph urban landscapes and focus on how humans are affecting and damaging the planet. He uses large format prints to capture every detail and make sure it’s visible.

Landscape photographers include:

  • Ansel Adams
  • Jitka Hanzlova
  • Liza Dracup
  • Albert Bierstadt
  • Noemie Goudal
  • Eugene Atget
  • Bill Brandt
  • Lewis Baltz
  • Stephen Shore
  • Bernd and Hilla Becher
  • Joel Sternfeld
  • Simon Roberts
  • Rut Blees Luxemburg
  • Edward Burtynsky
  • Richard Mosse
  • Ed Rusha

 

Wilson Hennessy – RESEARCH – Objects of Desire

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Wilson Hennessy grew up on a farm in rural Australia; later in life he took a photography degree and assisted a number of top photographers until he began working on his own in 2008. He now shoots for editorial clients, including recent campaigns for companies such as Audi, Barclays, Vodafone and Shell. A particular focus of his work is automotives and cars, reflecting his recurring interest in motor vehicles and their mechanics from a young age to adult life.

He specialises in bright, colourful, graphic still life photography. His product photography has a very commercial feel and is professionally shot in the studio with immaculate lighting to showcase the products to their full potential and evoke feelings of desire from the viewer. His choice of subjects range from technical appliances like laptops, watches and cameras, to alcohol, shoes and food products; all items that are very commonly consumed within today’s society. His backgrounds are often bright, block colours that compliment the subject while still making the product the main focus of the image. The mixture of his eye-catching colour schemes, variety of interesting compositions, and bold graphic components all draw the viewer’s attention and encourage feelings of desire for the products he is promoting; these features also showcase his unique style and make his work easily recognisable and distinguishable from other artists.

Below are some examples of his work that have inspired me:

Watch feature, Bremont Americas Cup watch

PHOT40151: The Photographers Eye: Introduction and Initial Thoughts

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This module is based on the publication “The Photographer’s Eye” by John Szarkowski. I have been asked to implement his ideas into my own photographic work, by developing my creative image processes. I must produce four prints for each of the following themes: Objects of Desire, The Enigma of Time, and The Constructed Image.

As the brief says, Objects of Desire requires me to evoke the feeling of desire within my images, with my own choice of subject, studio or location shooting, flash or ambient lighting, etc. With the popularity of online shopping and social media, we see many images everyday of items that evoke these feelings of desire within us, such as food, cars and fashion; however we often don’t stop to consider how these images were constructed, and how they provoke a response such as persuading us to purchase or use something, or otherwise affect us in some way.

My initial thoughts on this theme are that I will begin to experiment with studio lighting and produce images with a commercial style/theme. I like how the images in this genre of photography have a great emphasis on lighting and create a huge impact on the viewer; I would like to explore this avenue to further develop my understanding of lighting within photography and how this can affect the way an image and the subject looks. I have purchased a portable photography studio complete with lighting which will enable me to experiment with this idea from home. Initial ideas for subjects include flowers such as roses; these are very romantic which play on the theme of Desire, and I have also purchased some fabrics with a velvet feel to further evoke desire and to compose more unique photographs than the stereotypical flower shots you would usually see. There are many variations of flowers which will enable me to expand on this idea further as I go along.

The Enigma of Time relates to one of the key elements that Szarkowski states in his book “define the medium of photography:” Time. Therefore, I am asked to produce four images that simply use Time in some way to affect how they look. Again, I am given free reign over the choice of location and lighting, as long as my images evoke a response from the viewer.

Initial ideas for this theme include using motion blur in some of my images to depict the idea of movement and time; I will be attending the university trip to New York where I hope to use this technique to show how busy the city is and how it “never sleeps.” This technique can also be experimented with anywhere local that is busy with plenty of movement such as busy roads and city centres, shooting anything from vehicles to people. Another idea for this theme that I recently had was to recreate some of my first photographs with my boyfriend from 6 years ago, therefore showing how our appearances have changed with time but if I can take them in exactly the same places then I can also show how our surroundings have changed, too. I feel that this would evoke a response from the viewer to start wondering how our emotions, thoughts and our lives in general have changed too; prompting them to think further and deeper than just the outward appearance.

The Constructed Image encourages us to think more about the construction of our photographs, by using techniques such as montage, collage, multiple exposure, multiple printing and the combination of image and text, to create complex and dynamic images beyond “the straight frame” or the ordinary. Again, I must produce four images that somehow use the techniques above by making creative and unique decisions, without emulating others’ work.

This theme, I feel, is the most broad out of the three. This has both positive and negative aspects, as it allows me to be completely free with my subject choice and the techniques that I undertake; however, this can make it very tricky to know where to begin with my experiments. My previously mentioned idea about reconstructing past images could also be used here for this theme, as it could prove effective to montage the old and new images together to create something entirely unique; I will consider which theme this idea suits best. After some consideration and research, I have also had the idea to photograph the local area and countryside where I have grown up, and take many shots of one scene to later arrange and piece together into a photomontage, similar to a jigsaw and creating a new dynamic to the photograph, rather than a normal, straight, rectangular image. I will play with this idea and see where it takes me.