... that there are Six colour language building blocks? No? Well, now you do! This week we looked at 'colour theory basics'. The six elements (colour and mood, shape and form, line, texture, space and pattern) are instrumental in making the images you take interesting and unique. Good use of one, two or all of them can dramatically alter the impact of your work - especially if you enhance them in post-production. As part of our homework, we have to shoot examples of these and then select three to take in for review by the rest of the class. Now I don't know the class that well, so this will be an interesting experience for us all I'm sure! I think I know what to shoot and where, it's just getting out there and making it happen, then sitting down at the PC and working out what to do with them the enhance the aspect I'm trying to show. So, not much really! I have one I have already taken and know what to use it for. It is below for your enjoyment and delectation. This one is for the 'pattern' element and it's one I made earlier when I happened to see these slates end on when out on a shoot. I called it 'Theatre of Tiles' as there is so much going on, so many 'stories' contained within each tile, that it just seems to fit.
Before this course, I would usually focus on areas of a scene to photograph, but I find that this course - along with others - has honed my photographic 'eye' a little. I now see things I didn't before and whilst I don't hope to see every possible shot, I am happy that what I do see is a progression of my work and will, I'm sure, add to the book covers that I still have to create. So, until the next time, stay safe and keep snapping. ARC
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This week we had to hand in our various documents for the end of part one; I mean of course Unit One. As you might expect, this meant that we started Unit Two. This is less onerous than perhaps Unit One - at least I am finding this to be the case.
Unit Two is about Visual Language, a Field Trip, Compositional techniques and other Photoshop related elements to post-production. It is also a chance to review three other photographers and assess their work. I'm thinking of Cartier-Bresson, Ansell Adams and Robert Mapplethorpe. An eclectic mix but one I can identify with. I think this review of others work is to stimulate our own creativity; to ensure we look outward and aren't too insular in our thought processes. As such, it's a good idea - I know that I can be a little too focused on those areas and influences that I habitually inhabit. Looking outwards is likely to be very good for me. I enjoyed handing in my Unit One documents; there is something very satisfying in knowing you have completed a specific set of tasks and, almost irrespective of the marks gained; that portion of your studies is now over and you can move on to something new and (hopefully) exciting. So, if you'll excuse me, I must get on with looking over the work we have to do for Unit Two... Stay safe and keep taking the photos all. Alan Well this week has been interesting. I don't know about you but, for me, the use of the flash gun has never been high on my agenda. I've always found it to be distracting and often a wash-out on the photos it is used for. As you'd no doubt expect, I have more than one flashgun. But I don't tend to use them and the 6D I have has no built-in flash at all. It's not that I'm against the use of flash; it can be used to great effect and can be creative and enhancing. But the sort of photography I've always done limits the effects flash can have and, most of the time, it actually detracts from the images taken. This week was all about the use of flashguns, hi-speed sync, bounce and the like. How it can be used to freeze an image and create effects that might be pleasing. There were areas in parts of the session that were new to me, and I came away with a new interest and respect for this piece of utility hardware. I'll still basically try to alter ISO and Shutter Speed to get the image I want without using it, but if I do happen to want too, I feel I'm closer to making the best use of it than I was before. Often flash is not appropriate in certain settings - at a gig for example you often see people holding up phones or cameras with flash activated. They are often too far away from their subject, or the flash is too bright, and you know that the result will be appalling. Also, it can be distracting for the artist and audience alike. I therefore never use flash in such settings. As for the 'fun' in the title? Well, next week is the 8th week of the course, and we have to hand in our Workbooks! We will have completed Unit One and will be moving onto Unit Two (it's logical Captain). But that means working my way through the notes, handouts and photographs I've taken and collate it all into a comprehensive and cohesive piece of work suitable to be handed in for review! Now I know what Richard (our Tutor) will think - this is way too much! And I know that he'll be correct. The issue is that I try, I really do, to limit the work I do. But I have to rest on my nature and creative enthusiasm. I'm with E.M. Forster where he spoke about trying to 'only connect' with your audience, and “Expansion. That is the idea the novelist must cling to. Not completion. Not rounding off, but opening out.” ― E.M. Forster, Aspects of the Novel [GoodReads Quotes] As an author and writer I utilise my tendency toward verbosity to (hopefully) good effect. My academic training over many years (from School to college and then two different Universities) has created in me the ability to review and consider what is before me, and then engage my innate desire to comprehensively explain it. Add this to my fiction output - where I am not able to merely thumbnail sketch episodes and still convey the story - and you will see I am not built to only write a couple of lines on the subject. What couple of lines? What do I leave out? What is irrelevant? What is necessary? So I take the easier way out and put all I can down in the best way I know how and trust that there'll be something of worth in it somewhere. So, I have created two pieces of work to hand in. One is an 'Interim' Portfolio from the photographs I took of Laura and Judith in Kent, and the second one - by far the heaviest - my work on Unit One. [If they mark on weight alone I shall be fine.] I chose to do an 'interim' portfolio because I like the way the images turned out, I spent a lot of time on them for just a minute or two in the session, and I found I was using skills learnt from this course (and previous ones) in both Photoshop and Lightroom. This new ability with Lightroom made my exploration of the theme of 'Age' somewhat easier than it might have been otherwise. I am happy with the Triptych I created for the task - 'Tell a Story with an Image'. I created a set of studies leading to the final image, plus three supporting images before the main event; the final one itself. I kept within defined boundaries for this piece of work, concentrating on the figures of the images and less on the surroundings as I wanted them to almost fade into the background and leave the four main characters fully in the foreground (even though one never appears in 'person'). Here's a monochrome version of one of the images in the series: Now I'm quite pleased with the overall look and feel of the series. The monochrome versions are deeper and a little more 'moody' than the the colour versions; which tend to draw attention to various places in the images which is both a good, and a not-so-good, thing. I already can see where I would change things were I to continue to work on them:
I'd alter the temperature of the colour versions, and adjust the look of the walls, toning them down somewhat. I'd also 'play' about with the shadows more, either making them less imposing or removing them altogether. I'd also try to find a way to anchor the figures a little more firmly to the ground as I'm not sure that the methods I used are the best and do not want them floating free from the ground! If I were to re-shoot it, then I'd be more specific with the body language of the two figures. I'm close to where I want to be, but maybe not close enough. Yet, for a first attempt at such a 'staged' shoot; I'm more than content with the outcome and I hope you can at least see the work that has gone into them even if the image above doesn't chime with you! As always, stay safe and keep taking the photos... ARC Well this was a treat! After several weeks hidden away in the Bishops Hill campus; we were set loose onto the general public for a day shoot. Richard, the Tutor, arranged for us to go to the East Anglian Steam Railway Museum in Wakes Colne, Essex. This is a large museum with many steam related artefacts of the steam age. Spread over a fairly wide area (inside of which is the current British Rail station of Chappel and Wakes Colne), I found the place fascinating and captivating. It had a lot of history of the recent past and was a stark reminder of how relatively quickly our technology and travel habits have changed. I enjoyed looking around the Heritage Centre and quickly centred in on a few shots that immediately came to mind. I knew that, due to my back condition; I would not be able to last the entire day. I therefore had to ensure that my time was spent as wisely as possible; exploiting the time and movement I had available to me before I would have to stop and return to the heated seat in my car (which is very good for an aching back). l therefore looked closely at the buildings and 'exhibits' and started taking photos even before I entered the museum itself. Once inside, I quickly found inspiration and honed in on a few shots that I just had to take, the main staircase, a solo carriage with the sun behind, a goods wagon rich in colour and texture; and a layer shot [BELOW] of one of my classmates cut from one photo and 'ghosted' onto another to create a image I'd call 'Ghostly Travellers' if I were to be so pretentious (and I am)! Once the day's shoot was over, we were advised by our Tutor Richard to visit the nearby viaduct, just a short drive away. This was a very interesting area and had a myriad options for photography almost everywhere you turn. The image (Below) is one of the initial images I took when I arrived at the shoot site. I was struck by how imposing the brick built viaduct was when next to the nature that was growing in and around it. The sun was highlighted a little, the sky darkened just a 'tad' and the smaller wooden bridge helped to stand out by dodging the top handrail and the small amount of walkway itself. This image is not in the 'rule of thirds' or 'golden ratio' framework; it is divided into quarters to better show off the four main elements within the image. Below: The final image for this post is a different angle, but in the same sort of area; as the preceding image. Here I cropped the original to better bring the stanchions of the viaduct into the shot as important elements. Next I kept the footbridge well lit and then I utilised the tree trunks and shadows to create textures on the ground, mixing the different elements of the image into an overall haunting and moody piece. The bridges, one huge and imposing, the second small and almost insignificant, make this image one that I am proud of and, were I to give it a title, it would have to be 'Two Bridges'. I enjoyed the shoot and the various places within each location that inspired me and helped me to look at that part of the world that was under scrutiny immensely.
Cartier Bresson spoke often about the 'decisive moment' and I found that perceiving the shot in my mind, framing the shot through the viewfinder and then some in-camera editing to ensure I took what I had in my mind to start with; helped me to achieve the sort of results that I was looking for when I returned home to further edit the images. Waiting for the sun to shift a little, adjusting my position in relation to my subject, seeing the right shadows in the right places at the right time; many elements of the physical side of taking an image all combined to make the shot the one I wanted. Knowing that I then had the advantage of 'easy' editing in post-production all gave me the confidence to take the photos I wanted at the right time. An interesting set of images and some that I am very proud of. Next week we have to present three of our chosen images and take in a couple of others to work on in the morning session. I've already chosen my three to take in and a further three to edit in Lightroom when we get the chance. I hope you've enjoyed looking at these photos and that at least one of them chimes with you. If not, be assured that I'll keep trying to take the best image I can. Until the next time, stay safe and keep taking the images guys... Alan This last week we had a session-based task to complete. We had to take in a light source and some items to create shadows on a wall or piece of cloth or paper. A tripod was also required and an idea of what we wanted to achieve would also be useful. My idea was around a ceramic figure of three intertwined dragons that I had painted in Devon earlier in the year. It's a very colourful figure but I liked the shape of it and hoped that with a bright light source, it would create some nice shadows on the wall. Sadly, this did not prove to be the case. The others had a great selection of figures and were creating some lovely images full of colour and shadows; but mine looked boring and without life. A flexibility of thought and approach is always useful in creative endeavours (and life itself) and thus I spent a little while re-evaluating my idea and what I could do to recover the situation and produce something that might have a little quality. I remembered a poem I had written in the 1970's for a Short Story. (Pretty good going for someone with my memory issues!) It was called 'A Dragon Dancing' and takes place in a semi-mythical past. It might fit with this set of images and I thought I could get my musical collaborator Keith Melhuish to perhaps come up with some music to put as a background to the photos. Thus, the first step was to take some images in a stop-go type way. These would be of a variety of poses set in an interesting way and with a focus on the shadows and not on the figure itself. I was hoping that this might result ins something usable. Once the session was over and I got the camera home I imported the images into Lightroom and did some basic editing. I then worked out a sequence for how the images might look and sent an email to Keith to see if he had any short piece of music that he could donate to my task. I also sent him a copy of the poem and a version of me reading it how I 'hear' it in my mind. I often prefer Keith's voice to mine in regards to my own poetry, and this was no exception. His reading of this poem is different to mine, doesn't put the emphasis in the same way that I would, but that is what makes poetry a joy. Each reader 'hears' a different poem, and each listener takes something different from what they hear. When it was mixed in with the lovely (but disturbing) piece of music Keith added to the piece; it brought another dimension to the overall tone and feel of it. I then had to create the film using the Lightroom 'Slideshow' Module. This requires a different method of creating a video and also takes some getting used to in regards to workflow. The result of this means that it looks a bit different from my previous works, but I am pleased with it nevertheless. Keith thoughtfully provided me with two versions of the music; one with his reading and one without. Therefore I took the one without the poem in to the Tutor for his review (as I don't have one or two great images of what I created as the others will, but I can take a screenshot or two of it playing for my Workbook) but have uploaded the one with the narration to YouTube. If you feel moved to watch the result, then please have a look on my YouTube Channel. The direct link to my creation is here: https://youtu.be/nP5uh1hDj6g I hope that, if you take the time to have a look at it; you won't feel it time wasted. It took a lot of time to create, refine and complete and the talents of Keith 'The Voice' Melhuish. Perhaps if I'd considered the task a bit more I would have known that my plans were unlikely to result in what I wanted the too, but we live and learn. Take Care all, keep taking the photos... |
Alan MitchellI'm always trying to capture that fleeting 'moment' in time -whether by taking a photo or writing a poem. My attempts to capture that illusive feeling, sight, sensation or sound in some way is, to me, magical. Archives
March 2023
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