Assignment 4 further reading

Helen suggested I look at the works of Edgar Martin, in particular, the image series ‘When Light Casts No Shadow 2008‘[1].  This particular series was created at night on various airports around the world with special airside access.  The long exposures have been used to create a very abstract very lonely and series of images.  Image 122.jpg is a 3 hour exposure and appears to be a light trail, there is no indication of what created the light trail but it is very symmetrical and if the image was taken out of series I would not know what it was or how it had been created.

The other identifying point to this series is that the runways/taxiways are all of black tarmac and which allow the painted lines to stand out, as mentioned in the series description this is quite unique as most runways tend to be a grey concrete colour.  The black also adds an eeriness and soace to the images. The negative space allows the eye to focus on the positive space such as the lines and light trails, the sense of the scale of the lines also makes the vehicle and aircraft in the following images appear to be toys,   023.jpg[3] 033.jpg[4] . On reviewing the series I do feel the first image of the lady standing by the wall of the terminal building is a little out of place, although I think its a well lit and balanced image it stands apart from the abstract lines of the rest of the images.

I’m praticularly drawn to the series of ‘This is not a house 2008’[5].  I like empty vistas and dereliction, the absence of man and what he’s left behind.   Not quite like the images of Keith Arnatt [6] but of those similar to Rebecca Bathory[7] and Lady Schnapps [8]. Relating to empty new buyild houses following the subprime mortgage market collapse in 2007 that triggered the current financial crisis.  The images (but 1) show empty and sometimes vandalised new homes or rooms, housing estates and co mmercial developments that simply were not completed and stand derelict across the US.  The images lead the viewer into a snapshot of an era of depression, the empty homes ask questions as to whether they will be ever completed or occupied,  piles of rubbish, broken windows, unused building materials and furniture show some form human presence since the builders left. Image 34 [8]is a yellow and purple house with rubbish piled in front of it, there is a darkness to this image, perhaps the financial cloud itself, due to the vignette that draws the eye straight to the house and the rubbish then tells the story.  Comparing this to a similar house in image 33 [9]but with a nice sunny perspective tells a completely different story.

[1], [2], [3] & [4] ‘When Light Casts no Shadow’, 2008 Edgar Martin.  http://www.edgarmartins.com/work/225/ – Accessed 21 January 2018

[5], [8] & [9]’This is not a house’, 2008 Edgar Martin. http://www.edgarmartins.com/work/this-is-not-a-house/ – Accessed 21 January 2018

[6] Keith Arnatt ‘Pictures from a rubbish tip’ 1988-89. http://www.tate.org.uk/art/artworks/arnatt-pictures-from-a-rubbish-tip-t13171 accessed 21 January 2018

[7] Rebecca Bathory ‘Orphans of time’. http://www.rebeccabathory.com/orphansoftime accessed 21 January 2018

[8] Lady Schnapps ‘Asile des Alienes (FR)’ https://www.ladyschnaps.fr/asile-des-alienes/ – accessed 21 January 2018.

Back to Assignment 4

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Assignment 4 response to feedback

Very pleased that Helen turned around my feedback to this assignment really quickly, the feedback is better than I expected overall so I’m pleased here.

Things to attend to and reflect on:

  • I submitted the assignment digitally.  My tutor would like to see the prints from this particularly as they are dark to ensure the shadows are captured.  In addition, Helen has asked me to consider a good quality lustre or fine are baryta.  Not to forget the borders as fingerprints on dark prints show up.  The suggestion is to speak to my lab and to then write this up.

I’ve printed all of the images onto Baryta and also on a satin paper, these have been included with assignment 5 for review. All of the images have a 2cm white border and on the reverse, all of the images are labelled with:

  • my name,
  • student number,
  • image name (number in this instance)
  • paper used.

This was also a suggestion in feedback from assignment 3.  The label has been affixed to the bottom right of the image to aid in orientation and identification.

I’ve taken on board comments from Helen regarding inspecting the actual prints and comparing the 2 types of paper used.   The Baryta paper is a little brighter in the whites and has more definition in the darker tones of black, in particular as most of these images are quite dark anyway.  I do feel however the pearl paper has certain colours (yellow) that are far brighter but also some of the highlights are just a little too bright but the paper suits the spinning propeller discs.  I reviewed the individual prints and decided to select the Baryta paper as my paper of choice for this assignment.

Helen would like to see my brainstorming of ideas in response to this brief

Image 1 Helen asked to see the original unedited image – Image is below and I’ve also uploaded with my assignment 5 images.

ASS4 Image 1 Original-1

  • Image 2 and 3 – feels that these are the least fit within the series

I can see why these don’t necessarily fit within the series, they are darker than most of the others and the subject is darker in the frame overall.

  • Image 6 Ties in with Edgar Martin – photographer to research
  • Images 8 & 9 Images have echoes of James Goggin.  Suggestion to use a smaller aperture and experiment with f11 or f16 is suggested to get more in focus
  • reflection on how to approach next section and write this up.

Coursework

Write up of exercises 4.1, 4.2 and 4.3 are missing.

Write-ups of exercises for part 2 & 3

The exercise write-ups are in progress and should be finally completed mid-late January.

Learning Log

Research for A4 needs to be written up in greater detail and referenced as it’s thinner than A3

Suggested reading

I think you’d enjoy looking at the work of Dan Holdsworth, and reading as much material as you can find on his approach and intentions. http://www.saatchigallery.com/artists/artpages/dan_holdsworth_gregorian_3.htm http://www.danholdsworth.com/texts/ https://www.apollo-magazine.com/dan-holdsworths-dizzyingly-beautiful-photographs-on-show- in-southampton/

Also the technically ambitious works of Edgar Martins… http://www.edgarmartins.com/work/225/?show=photographs http://www.photizm7.co.uk/edgarmartins/wp-content/uploads/2013/06/Gerry-Badger-How- Do-I-Know-what-I-Know….pdf

The cinematic quality in some of your images and those of say James Goggin, also reminds me of the work of Julia Fullerton Batten, whose staged imagery relies upon artificial lighting in outdoor locations… https://www.juliafullerton-batten.com/

 

Assignment 4 – Contact sheets

All of the images shown on the attached contact sheets are the intellectual property and copyright of Carl Goodwin.  They cannot be copied without express written permission from the owner, i.e. me.

Instructions on how I’ve compiled the contact sheets can be read here.

Due to a large number of images, there are numerous contact sheets attached.  To return to the assignment write up please click here.

Assignment 4 Contact Sheet marked up

 

Assignment 4 Light

Brief

This extract has been taken from the OCA handbook. Revisit one of the exercises on daylight, artificial light or studio light from Part Four (4.2, 4.3 or 4.4) and prepare it for formal assignment submission:

• Create a set of between six and ten finished images. For the images to work naturally as a series there should be a linking theme, for instance, a subject, or a particular period of time.

• Include annotated contact sheets of all of the photographs that you’ve shot for the exercise (see notes on the contact sheet in Part Three).

• Assignment notes are an important part of every assignment. Begin your notes with an introduction outlining why you selected this particular exercise for the assignment, followed by a description of your ‘process’ (the series of steps you took to make the photographs). Reference at least one of the photographers mentioned in Part Four in your assignment notes, showing how their approach to light might link into your own work. Conclude your notes with a personal reflection on how you’ve developed the exercise in order to meet the descriptors of the Creativity criteria. Write 500–1,000 words.

Include a link (or scanned pages) to Exercise 4.5 in your learning log for your tutor’s comments.

Exercise 4.5

My Final image below from exercise 4.5 leads into this assignment and the early evening, night images, the theme of aircraft is well represented although they are all static aircraft elements such as the natural lit skies, constant artificial lighting, moving wings, propellers and light trails add movement to the images to set them apart from a static airframe represented in the Google searches.

Exercise 4.5 final

 

Contact sheets

A4 mindmapMy image selection for this assignment spanned 5 separate events, I have not selected the entire set of images for each event but those that covered the evening elements of those events.  The Contact sheets have been added to a separate blog post here rather than bulk out this post.

All of the images shown on the attached contact sheets are the intellectual property and copyright of Carl Goodwin.  They cannot be copied without express written permission from the owner, i.e. me.

How I’ve compiled the contact sheets can be read here.

 

The final image set was printed onto plain A4 paper and trimmed, following this I’ve experimented with final layouts of the images, this will be useful when compiling the assessment images.  I think this works best with the subjects and type of shot, top row are moving light, 2nd row modern jets, 3rd row Avro Lancaster and bootm rown are blue hour images.

img_0532.jpg

Images for assignment

Assignment 4 contact sheet final(1) marked up with camera settings and file numbers.

Research

I struggled very much with this one as far as aircraft imagery was concerned, very few available images were shown as the blue hour and with a google search they turned out to be not actually of the blue hour but contained blue skies or sunset images.  There are a huge number of aviation photographers out there and typically the imagery represents aircraft in daylight.

Andy Rouse a renowned wildlife and aviation photographer https://www.andyrouse.co.uk accessed 19/11/2017.  In preparation for the air to air session, I attended a talk at Park Cameras in London on 24th June 2017.  Andy spoke for around 1 hour on aviation imagery, his images and I asked some questions on what to expect for an A2A with Peter and his Mustang.  Suggested camera settings and preparation were also discussed.

Andy tends to look at aviation imagery differently to some of the normal images you see that enthusiasts and professionals tend to create at airshows.  He looks for the drama in the image, fast jets with afterburner and exhaust gas heat trails and wing vapour.  The plane does not need to be easily discernable.  I’m drawn to the following images of his:

cover.jpg This is a current Typhoon fighter (same type as in my image 9 above).  The jet is seen here pulling up and has good light on the upper wing surfaces detailing the world war 2 colour scheme for that display season.  The engines are glowing red from the afterburner and the heat distortion looks like jelly coming out of the back.

cover.jpg The second image is a Sea Vixen, the setting sun is reflecting of a calm sea but that also casts a lovely surface pattern.  There is still enough light so the plane is not in full silhouette and the upper surfaces have a nice highlight to them.  The exhaust heat is creating a nice distortion effect to the sea surface below.

James Goggin Some very beautiful aircraft images on this website, unfortunately, the web design doesn’t allow a capture of the actual images.  There are 2 that I really like, the first is the header image.   This world war one biplane is nicely lit long exposure image at the blue hour with the engine running.  Although the aircraft is static the spinning propellor adds movement so it’s not a dead aircraft.   The second image I really like is  JG-17-90768.CR2 of 2 Mk1 Spitfires from Flying Legends series, the symmetry of the 2 aircraft with their early war paint schemes is a nicely timed image.  Although the blue sky is a little plain as a backdrop the image is very well lit, and as an aviation photographer, you don’t have any control over when the clouds do or don’t put in an appearance.  https://www.jamesgoggin.com accessed 19/11/2017

Mark Jayne http://www.mjaviation.co.uk This particular image is taken as the jets perform low-level training exercises.  There are places around the UK that planes will fly at high speed through the mountain passes and quite often lower than the photographers themselves.  In this image MJA_7096.jpg the F15 is on its starboard wing and vapour trails are forming from the wingtips.  Nice highlights to the upper surfaces with a nicely lit underside gives a good contrast to the upper part of the aircraft which is in the shade.  accessed 19/11/2017

Centre of aviation Photography http://www.centreofaviationphotography.com/showcase I’ve been on a couple of events with them this year, they allow great access/sites aircraft that you would not normally be able to get to view up a close. I must credit them with my access to the Typhoon, Tornado and A400M at RAF Coningsby used in my final image set. accessed 19/11/2017

Timeline Events https://www.timelineevents.org accessed 19/11/2017 provided access so that I could create the images supplied for the Mustang and Just Jane events.