Narrative
Narrative is the telling of a story through a single image or through a series of images. When telling a story through a single image, you can consider having more than one person in the shot as this introduces a 'relationship'. Sometimes it can add to the story if the second person is not within the frame. There might be evidence in the shot of a second unseen person. For example, a person sitting alone at a table with two cups of coffee in front of them, or someone appearing to be talking to an unseen person. Unseen elements can add a lot to a photo and get the viewer asking questions about what it means.
It is important that you maintain links between images when telling a story. Ways to create these links include;
- Balancing out the density and contrast so there is a greater flow from image to image.
- The use of colour or isolated colour within the frame.
- The development of the story line - the beginning, the middle and the end/conclusion.
For a series of images you need an introductory image so that those that follow are put into context. The introductory shot can serve to introduce any important characters or give information about the place where the story is happening.
A good way to present you story is with the use of a photographic book. The advantages of using a book is that in turning the pages you can intimately view and review the imagery, sequences and rhythms of a photographer's work. Some photographers are not happy to produce single images and prefer instead to express their vision in sequences of pictures. This can enable a more intense view and show the development of ideas, creating a greater impact than individual photographs.
Elliot Erwitt
Duane Michals
Elliot Erwitt creates humorous sequences of pictures often with surprising endings. Sequences are a recurring theme in the work of Duane Michals. He regularly explores emotion and philosophy, life, death and homosexuality. He also manipulated his imagery in the darkroom. Michals is known for his use of image/s and text.
This lecture got me thinking about the story I hope to tell in my images and helped me to come up with both how I am going to design and present them. I believe that because I am doing the dreams of historical landmarks it would work well if I researched into the history of the places I plan on shooting at and then incorporate some of that history into my photographs. In doing this I hope to create a story of a time past in an attempt to both, evoke emotion and educate the viewers. Nevertheless, making sure that I keep the images as dream like as possible.
This is the narrative that my group and I were asked to create from a series of random images that was given to us. Our story starts with a girl who is upset because she has recently broken up with her boyfriend. He works in the city center, so she gets a bomb takes it to were he works jumps into someone and blows herself up.
This is the narrative that my group and I were asked to create from a series of random images that was given to us. Our story starts with a girl who is upset because she has recently broken up with her boyfriend. He works in the city center, so she gets a bomb takes it to were he works jumps into someone and blows herself up.
Hockney's Joiners
David Hockney is an English painter based primarily in London and is considered one of the most influential British artists of the 20th century. Hockney is also a photographer and made a quite for himself with his images he called joiners.
Hockney's joiners were inspired by Cubism. Cubism was invented by Pablo Picasso & George Braque invented cubism in 1907 and ushered in the beginning of Abstract Art. Cubism is paintings depicting objects/scenes from multiple points of perspective on a two dimensional surface.
This quote from a website designed for art enthusiasts describes the use of cubism:
"When you look at an object your eye scans it, stopping to register on a certain detail before moving on to the next point of interest and so on. You can also change your viewpoint in relation to the object allowing you to look at it from above, below or from the side. Therefore, the Cubists proposed that your sight of an object is the sum of many different views and your memory of an object is not constructed from one angle, as in perspective, but from many angles selected by your sight and movement. Cubist painting, paradoxically abstract in form, was an attempt at a more realistic way of
seeing."
http://www.artyfactory.com/art_appreciation/art_movements/cubism.htm
Hockney's Joiners were mostly created in the early 1980's. Shared similar traits with Cubism by incorporating multiple perspectives, also adding a description of the passage of time on a single 'canvas'. He began this work in the 1970's with Polaroids arranged in grids. Hockney's work was mostly printed on a grand scale so the viewer can explore it from corner to corner. For example, his most famous pieces of work, 'Pearblossom Highway, 11th to 18th April 1986 No.2', was made out of thousands of photographs and is almost two meters high by three meters wide.
Creating a Joiner In Photoshop
This is essentially a very simple task. Begin by opening Photoshop
and importing all the digital files (images) that you wish to join.
Importing the files can be done by;
• Go to File > Open. You then have the option to browse for
your files. Select all the ones you want to join
• Then select > Open
You are then ready to create joiner:
1) Go to File > New. You then have the option of sizing and
naming your file. The file is for pasting your joiner images
into, rather like the piece of paper that you would stick your
prints on if doing by hand.
2) Think of the total area size of your final joiner image and
select the sizes appropriate. I would suggest working to 10
inches by 15 in order to be able to print on the Frontier
machine. For the final print you would want to select a
Resolution of 300 dpi on the frontier machine, but just for
doing on screen experimentations I would select 72 dpi for
the speed of working that this would enable.
3) Select the image size, resolution and name the file.
4) You then have a file on to which you can drag your other
image files; but before you can drag the images on to this file,
you must size these images to fit into your joiner file. To do
this you must select the image file, go to Image > Image size.
You then are given the option of selecting the image size and
resolution. Select the same resolution as you have selected
for the joiner file. The image size depends on how many you
wish to fit into your joiner.
5) Once you have sized your image, click on the move tool (top
right hand icon in tool bar.
6) Click on the image you wish to paste and drag it into your
joiner file.
7) If you need to rotate/angle the image then go to Edit > Free
Transform. You can then click just outside the corner of the
image, which will make a curved arrow come up. Click and
drag this to rotate the image. You must then save the
transformation to be able to move on to another image. You
can also resize the image using ‘Scale’ in Free Transform.
8) Paste all your other images in the same manner.
9) To go back and move a previous image, go to the layer box
and click on the image desired. This will then select that
image and enable you to move it.
Once you have pasted all your images, you may merge layers to
create a smaller file. To do this; Go to Layers > either select Merge
Down (Layer above to one below), Merge Visible or Flatten Image
(merges all layers).
Creating a Joiner In Photoshop
This is essentially a very simple task. Begin by opening Photoshop
and importing all the digital files (images) that you wish to join.
Importing the files can be done by;
• Go to File > Open. You then have the option to browse for
your files. Select all the ones you want to join
• Then select > Open
You are then ready to create joiner:
1) Go to File > New. You then have the option of sizing and
naming your file. The file is for pasting your joiner images
into, rather like the piece of paper that you would stick your
prints on if doing by hand.
2) Think of the total area size of your final joiner image and
select the sizes appropriate. I would suggest working to 10
inches by 15 in order to be able to print on the Frontier
machine. For the final print you would want to select a
Resolution of 300 dpi on the frontier machine, but just for
doing on screen experimentations I would select 72 dpi for
the speed of working that this would enable.
3) Select the image size, resolution and name the file.
4) You then have a file on to which you can drag your other
image files; but before you can drag the images on to this file,
you must size these images to fit into your joiner file. To do
this you must select the image file, go to Image > Image size.
You then are given the option of selecting the image size and
resolution. Select the same resolution as you have selected
for the joiner file. The image size depends on how many you
wish to fit into your joiner.
5) Once you have sized your image, click on the move tool (top
right hand icon in tool bar.
6) Click on the image you wish to paste and drag it into your
joiner file.
7) If you need to rotate/angle the image then go to Edit > Free
Transform. You can then click just outside the corner of the
image, which will make a curved arrow come up. Click and
drag this to rotate the image. You must then save the
transformation to be able to move on to another image. You
can also resize the image using ‘Scale’ in Free Transform.
8) Paste all your other images in the same manner.
9) To go back and move a previous image, go to the layer box
and click on the image desired. This will then select that
image and enable you to move it.
Once you have pasted all your images, you may merge layers to
create a smaller file. To do this; Go to Layers > either select Merge
Down (Layer above to one below), Merge Visible or Flatten Image
(merges all layers).
Scanner Art
Scanners can be a top tool in an artist's arsenal, it can be used to: create patterns & textures, overlay textures to images, scratch & scan acetate, modify prints, scan 3D and even create an entire piece of work.
For this project we were shown how to create our own textures using paint, paper and a scanner. First we had to paint a couple of coats of black paint onto an A4 sheet of paper. Then, once it had dried we scanned the paper, uploaded it to Photoshop and blended an image into it to create the effect shown by my example here.
I quite like the concept of scanner art, however, I do not intend on using it for my project because it does not fully fit in with my idea. Nevertheless, I may use a scanner in order to scan in a texture for blending in to some of my final images.
Panoramic Photography
Panoramic photography is a technique using specialist equipment or software to create/capture an image with an extremely wide field of view. This can be achieved in a number of ways like, having a specialist camera or, the way we learnt, taking a series of images of the same area each a little further across the area as the last. These are then merged in Photoshop using 'Photomerge' and it creates a panoramic for you.
Lomography
Lomography is an analogue camera movement formed in the 1990's after a group of people stumbled upon the cheap Russian LOMO LC-A camera. These cameras gave weird and blurry effects that captured the attention of experimental photographers. The name 'Lomography' comes from the Russian manufacturer LOMO PLC who created the LOMO LC-A, the first Lomography camera. The Lomography community advocate creative and experimental film photography. The cameras themselves offer a wide range of effects, such as, over saturated colours, extreme optical distortions, rainbow colour subjects, off-kilter exposure, blurring and alternative film processing.Since the very first Lomography camera there have been hundreds more. We were introduced to a large selection for this project and were inducted on the different effects each provided. For example, there was a 360 spinner which took an image whilst spinning around allowing you to have a whole 360 degrees in your field of view. There was the Horizon camera that took a 180 degree image, the panoramic that had a wider field of view so it can take a whole panoramic in one shot.
We went out for a shoot after being inducted into this type of photography and I decided to take the Horizon camera along with me. However, unfortunately I was not able to use any of my images because the Horizon camera jammed and actually tore my film in half. Since then I have done my own shoot in my spare time using my personal Lomography camera.
Darkroom Lectures
Lith Printing
Within this project we have been taught a few darkroom techniques to expand our knowledge on experimental photography, so we can try out different things and figure out for ourselves what works and what does not.
Lith printing is a darkroom process that uses an effect called 'infectious' development, where compounds are used in the developer to produce a self-catalysing effect, and once the process is started it proceeds increasingly rapidly. The end result is an extremely high contrast print.
However, if you arrest the image just as it is forming, you will stop the development stage when the silver grains are very small and finely divided. This will tend to give yellow/brown/peach colour in the highest tones and a solid black in the shadows where t he infectious development process has proceeded to finality. Getting these half tones is only possible by 'snatching' the print out of the developer at the critical point, and getting it straight into the stop bath.
As the final image is un-toned silver, it can, of course be modified by toning. Various papers will work to produce these effects but you would be advised to regularly check on the Internet for the latest bulletins.
The developer used is called "Fotospeed LD20 Lith Developer" and it consists as two bottles, A and B. Each bottle is mixed separately with the same ratio of developer to water, 15ml of developer to 485ml of water. Before mixing make sure you have washed out two measuring cylinders, in order to avoid contamination. Once Part A has been mixed with water, and Part B mixed with water - pour the both into a tray and are sure they are mixed thoroughly before use.
As you are developing to finality, some of the controls are contradictory to normal practice. Contrast is increased by reducing exposure, which means development time will be longer. Contrast is decreased by increasing exposure, which will be compensated for by pulling it from the developer earlier.
Grades
The contrast grade differs from each enlarger, such as;
- De Vere 504 - set grade to 2.5
- De Vere 400 - set grade to 2
- De Vere 203 - insufficient light emission
- Durst M805 - no filter below the lens
- Modular 70 - insufficient light emission
The Process
Using the standard PQ Universal paper developer (mixed 1:9 with water), produce a test strip for the image you wish to lith print. Make sure you also use the paper you intend for lith printing. Having gauged the time from you test strip, for the aperture you have selected, increase the exposure by two stops and change over to the lifh developer. Increase the exposure by time, rather than aperture. For instance, your test strip processed in PQ Universal indicated a time of 20 seconds at f8. By increasing the exposure two stops, you will have a time of 80 seconds. Now expose your paper for 80 seconds at f8 and process in the lith developer.
Tonal Shift
One of the creative joys of lifh printing is the tonal shift that can be achieved, depending on the choice of paper used. With a tray of fresh chemicals, you may not notice this tonal shift until a few prints have passed through the developer.
At the end of a printing session, it is recommended that you safely store the exhausted lith developer in an appropriate container. By this time, the developer will be dark brown in colour. This exhausted developer is called "Old Brown".
At the next printing session, take the total amount of fresh developer you are mixing up, (part A [1:9] plus park B [1:9]) and add 25% of the exhausted lith developer from your previous printing session. This will speed up the shift in tonal change.
Dilution of the developer substantially alters the lith effect. As the developer decreases in strength, the pink tones achieved as a result will be greater. Conversely, as the developer strength increases, pink tones will be minimised and possibly eliminated.
These are the two that I produced for this lecture. The one on top was my second attempt but by the time I had exposed it and began to develop it the developer was exhausted, hence the harsh sepia tone.
The first one I did (bottom) came out rather well, however, I was not happy about the sky being completely bleached out so I decided to burn in the sky for the second one. I had exposed the first image for 95 seconds at f8, so for the burning in of the sky I just repeated this process but covered up the church with a piece of card cut to size, attached to a piece of wire by a piece of Blu-Tack.
Unfortunately the developer was exhausted so the image did not come out as I would have hoped.
Double Exposure
With a little patience, you can achieve interesting double exposure effects in the darkroom. You can sandwich two negatives together in the enlarger's negative carrier. Align both negatives with their emulsion (dull side) facing down toward the easel.This technique does not work well if the negatives are not of the same density. You will need to use test strips to determine the exposure.
To make the most of this technique, use a little thought when you make the exposure and then try and pre-visualise the final result.
- Having a blank area on one negative allows you to put a strong subject from another into that space (presuming that the positioning works so they overlap).
- You could sandwich a negative of rippling water with another that has a human figure or just a face. Or you could do this with sun reflections, with rough textured rock or wood and with grasses.
- Select 2-3 negatives that provide an interesting background and then go through negative of figures of faces, etc) that might work. Then look at these negatives of figures or faces, etc) that might work. The look at these negatives on a light box and overlap them in various combinations to see what looks good. You will find that sandwiching thin (low contrast and slightly underdeveloped) negatives works better, or at least are easier to work with.
It is paramount to pay attention to areas where the dense part of one negative overlaps the dense part of the other since that will be difficult to print through. At this point your sense of aesthetics comes in what combination works best.
This is my attempt at creating a double exposure by sandwiching two negatives together in the darkroom. I quite like the effect given, however I do feel that if I had more time I would have been able to have created something a lot better.
I would like to go back into the darkroom once I have got the majority of my final images finished to experiment with this technique using different negatives that possibly will work better together.
The two negatives I sandwiched together were two landscape shots, one of a staircase on the moors and the other of a church on top of the moors.
Pinhole Photography
Pinhole photography is an extremely experimental element of photograph, as the possibilities of what you can do are almost endless. For example, pinhole cameras can be made out of absolutely anything, from tin cans to fridges, mouths to crackers and so on. Because of this the room for experimenting is huge, there are so many different effects you can create using simple household items.
Pinhole photography in essence is lensless photography. For instance, instead of using a lens you use a tiny hole (pinhole), meaning that you have long exposures and almost an infinite depth of field. You can use either film or photographic paper to record the images. There are a few downsides to using pinhole. For example, pinhole images are not as sharp compared to the detail you can get using a conventional camera, you also get greater chromatic aberration with pinhole photograph's and they will tolerate little enlargement.
To create a pinhole camera you need to find something like a box, tin can etc. On this project we created one out of a tin can. Firstly, we cut the circular part at the top of the can out and cut off the bottom quarter of another can. We then proceeded to create the pinhole, by using a pin and some sandpaper. We found the middle of the can and began to lightly push the pin through the can, slowly twisting it from side to side. Once the pin has gone through the can we gently sanded down both sides of the hole and blew through it to get rid of any excess metal.
Because of the size of the aperture on the makeshift camera the difference in exposure time seriously differed. The one taken outside was a 30 second exposure, whereas, the shot inside was 20 minutes.
Researching Experimental and Surreal Imagery
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