Assignment 4: Languages of light 1

Brief

“Revisit one of the exercises on daylight, artificial light or controlled light from Part Four (Ex 4.1, Ex 4.2 or Ex 4.3) and develop it into a formal assignment submission. The submission requirement for this assignment is a set of between six and ten high-quality photographic prints.”

The brief also requires I include an analysis of the work outlining:

• how you have developed the assignment from the original exercise in Part 4
• which practitioners you’ve looked at for inspiration and how their work has influenced you
• your technical approach and any particular techniques you incorporated
• the strengths and weaknesses of particular photographs and your project as a whole (self-assessment)

In this post I will address the first two points (how I have developed the assignment from the original exercise and which practitioners I have looked at for inspiration and how their work has influenced my submission).

I will address the other points in later posts describing the methods used and the images submitted.

Prior to starting this element of the course I posted some initial thoughts about this assignment.

“My initial thoughts on this are that I will probably choose to do the “Daylight” or “Artificial Light” exercises as my Assignment submission as I have already developed a studio-lit sequence for my submission for Assignment 2. This is a learning experience and I think I will learn more if I use a different technique for this assignment.”

Having now completed the exercises in this part of the course I have decided to revise the “Exercise 4.2: Artificial Light” as my assignment. This is largely because I have found that exercise the most challenging of the three.

I have previously completed an assignment using studio lighting, and developed the exercise 4.3 into a submission for Exercise 5.2: Homage. I am most familiar with working in daylight, but found the technical challenges of working by ambient artificial light more challenging. Also, I found it more difficult to predict what the image would look like after a long exposure, as it did not always resemble my perception of the scene. I have discussed this more later with reference to the methods and technical aspects of the project.

In myaccount of my work for Exercise 4.2, I refer to a number of themes which have influenced my and my approach to the exercise and assignment. I will summarise these and refer back to my earlier accounts.

My Interpretation of Beauty in Relation to Artificial Light

While it is the case that “beauty” is, as the course notes suggest, a subjective term, I have considered this in the light of the statement by Mary Richardson, following her attack on the Rokeby Venus (From the Rokeby Venus to Fascism Pt 1: Why did suffragettes attack artworks?, s.d.)

Richardson is quoted as saying “I have tried to destroy the picture of the most beautiful woman in mythological history as a protest against the Government destroying Mrs Pankhurst, who is the most beautiful character in modern history. Justice is an element of beauty as much as colour and outline on canvas”

I have extended this argument to concerns in contemporary society, where environmental issues should be prominent. Thus I have suggested “an artificial light source could only be considered to demonstrate “beauty” if it does not harm the environment”, either by using excessive and unnecessary energy, and/or contributing to light pollution. I have found this a difficult concept to incorporate into my images, but will attempt to do so.

Artists and Photographers as Influences

In my initial account of my approach to the Exercise 4.2, I described the work of the artists referred to in the course notes.

Of these the influences I have consciously tried to incorporate into my work include those of Sally Mann and Rut Blees Luxemburg.

Sally Mann refers to “the refulgence or the reflection when light and water interact” (Rong and Mann, 2013), albeit with respect of images made in daylight. However this is also the case also the case with artificial light.

I was unfamiliar with the term “refulgence”, however the Shorter Oxford English Dictionary (Little et al., 1973) defines this

Refulgence “The quality of being refulgent, splendour, brightness, radiance…”

Refulgent “Shining with or reflecting, a brilliant light; radiant, resplendent, gleaming…”

It is this quality of the light in Rut Blees Luxemburg’s series,”Liebeslied: My Suicides”(Luxemberg and Duttman, 2000) which I hoped to emulate.

In addition, Rut Blees Luxemburg’s images of night-time London, have a distinctive colour palette, with a very marked orange overtone to many of the images. This is illustrated by images such as these

One of the consequences of this is that the final image has a colour range which is different from how I perceive night-time scenes illuminated by street lighting. I set out to try and establish the reason for this and to incorporate it into my images.

In addition, my tutor referred me to the work of Duncan Hill, in particular his series “Night Topographics”, such as this

 

This image has a similar colour palette to those of Rut Blees Luxemburg. However, it also adds a distinctive feeling of unease, as large parts of the scene are hidden in darkness. It also appears very empty of the day to day life as might be expected of a road junction during the day. This encapsulates to me a feeling of what it is like to be out late at night/early morning before the town gets going.

Duncan Hill also has images of trees illuminated by street lighting; these show the foliage in a different aspect.

 

They remind me of the images I saw made by Matthew Murray from his series, “Saddleworth” made by lighting “the landscape with artificial lighting, external lights, torches, car headlights” (Murray, 2017).

I hoped to capture the unusual appearance of foliage when lit from unexpected directions.

 

Development from the original exercise in Part 4

I have already suggested ways in which I would like to develop the exercise. These include:

“I do not think I have addressed “the beauty of artificial light” in these images”

I find it hard to work out how to address this – in the event I found that LED street lights with many light sources in the array, gave a very distinctive pattern of shadows. I will discuss how I think I address this in my analysis.

“I would like to try and capture more of the interaction between the light and water”

“the reflection of lights from different surfaces creates interesting patterns, unique to the night time”

These elements all relate to the idea of refulgence of the lights, which I would like to capture more.

“The pools of different types of light on the ground here make patterns which could be the subject for further exploration”

This relates to this part of one of my images..

Overall, when I reviewed my exercise I realised many of the images were of artificial lights, not images made by artificial light. In many if not most of the images made by those photographers I cite, the actual light source is not seen… My overall aim is to make images using the artificial light to illuminate the scene.

References

References to the works cited in this post are found in my separate post “References”

 

 

The Decisive Moment – Assignment Notes

“Submit assignment notes of between 500 and 1,000 words with your series. Introduce your subject and describe your ‘process’ – your way of working. Then briefly state how you think each image relates to the concept of the decisive moment.”

These notes should be read in conjunction with my learning log at
https://ap231photography.com/
where I have expanded much more on the background to my approach to the assignment and the other subjects covered here. I have also included there the references to my sources for my research and conclusions.

My Approach

Having researched the subject I have concluded that an image which might be considered to show a Decisive Moment (DM) shows the following characteristics:

A: The compositional elements of the image produce balance, harmony, simplicity, and unity with meaningful figure/ground relationship and may incorporate a visual gap, interval, or suspension of some kind. Overall the effect of this composition is to create an element of ambiguity, uncertainty, and even contradiction.

B. The image is captured at a unique, fleeting, and meaningful moment in a precisely timed, unrepeatable, one-chance shot using an unobtrusive, candid, photorealistic image of people in real life situations

C: The final image arouses meaning and emotion about the human condition
This last criterion refers to a narrative aspect to the DM such that each picture is a whole story in itself and the past present and future of the story can be read, summed up at a ‘glance’.

 

Methodologically I chose to complete this assignment using film cameras and developing and printing my own images. I did this in part as a learning exercise to better understand how Cartier-Bresson and contemporaries worked and to improve my skills of observation and timing. I have sought locations with strong geometric features against which I could capture the “unique, fleeting, and meaningful moment”.

My images
2019-07-30 #01-14
A. In terms of the compositional elements of the image there are strong framing elements of the rear wall, road, railway arch to the side and the railings in the foreground. The girl is positioned in this frame and the blurring shows the urgency of her walking. Her foot is about to strike the ground – she is clearly in motion.
B. Because of her movement, the image is certainly captured at a unique moment in time, and the setting shows an unobtrusive location – she seems unaware of the photographer.
C. Whether the image arouses meaning and emotion about the human condition is debatable, however it does capture the tendency to rush from appointment to appointment characteristic of modern society.
Is this a story in itself? It raises more questions than it answers – where is she going? Why is she in a hurry?…

2019-09-17 #01-13
A. Compositionally there are strong lines across the frame – the beach and the lines of the waves, against these two people watch two dogs in the breaking waves; The people are stationary, huddled against the wind while the dogs run and jump on the beach – clearly in motion.
B. As the people are moving and the pattern of the waves changing, this scene is constantly changing, and the image is one moment in that change. Like the previous the subjects are unaware, and the flattening of perspective suggests a telephoto lens has been used to observe at a distance.
C. This image shows two people indulging in a typical British pastime of enjoying the beach in inclement weather and indulging their dogs who clearly ignore the weather.

2019-09-17 #01-28
A. There are compositional elements here with the path and the overhanging trees framing the cyclists. They are in motion and the front right cyclist is slightly tilted to the left in an unstable position.
B. They are in motion – not only coming towards the photographer, but also moving relative to each other – evidenced by the tilt of the front cyclist. The left-hand cyclist is looking at something off the frame to the left unaware of the photographer.
C. It looks a sunny day with fairly strong shadows, and they are dressed in tee shirts fitting with this – they look like they are out and having an enjoyable ride.

2019-09-17 #02-12
A. The figures in this image are positioned against a background with strong lines – the vertical lines of the architecture and the horizontal lines of the shadows. There is an unseen line – the line of sight of the two women to the left, watching the child run to the person we assume is its mother.
B. The child is running – any further and we could not see its face; the image has been captured at a moment to show that.
C. It is a sunny day, their postures are relaxed – they all look like they are enjoying themselves on a day out…

2019-09-17 #02-13
A. Here the subjects are set against strong architectural features, in the middle of an arch. The ambiguity appears to be that they may be a couple, visiting a historical site but they sit apart – each preoccupied with their own mobile phones.
B. There is less motion obvious in this image, but the subjects’ heads are down, and they have been captured at a time when they are engrossed in their phones.
C. Does this reflect on the human condition in what it suggests about the distance in their relationship – apart physically and emotionally, a stronger relationship with their phones than each other…

2019-07-30 #01-22
A. The subjects here are the vehicles on the road, the courier and the delivery van – they are positioned against the strong lines of the railway viaduct. These move relative to each other and to the photographer.
B. Meanwhile the train moves across the frame independent of the vehicles below. Overall the relative positions of the train and vehicles remain a unique instant in time.
C. To what extent this reflects the human condition is less clear and strong, however the best evidence of this is the comparison with the image from nearly 100 years earlier by Kertesz of Meudon. The urban environment is markedly different – roads busier and less pedestrians.

The Decisive Moment – Reflection

“Check your work against the assessment criteria for this course before you send it to your tutor.”
Assessment criteria:

• Demonstration of technical and visual skills – Materials, techniques, observational skills, visual awareness, design and compositional skills. (40%)
• Quality of outcome – Content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas. (20%)
• Demonstration of creativity – Imagination, experimentation, invention. (20%)
• Context – Reflection, research, critical thinking. (20%)

 

Demonstration of technical and visual skills

Materials, techniques

I have chosen to use film and make my own prints for this assignment for reasons I have explained previously. The technical quality of the final images is rather variable. In particular the images I made with HP5+ film and telephoto lenses (such as 2019-09-17 #01-13) are not as high a standard as others. The contact sheets show there are many images which were not of a usable standard. However some of these have worked well and the prints are of a satisfactory standard.

Observational skills, visual awareness, design and compositional skills

These elements are crucial to my interpretation of the brief and I have described these in more detail in my description of the final images. However I think that the choice to use film for this was challenging to my observational skills and visual awareness and has helped me to develop this.

Quality of outcome

Content

Because of my reservations about the technical quality of the prints, I think the overall work is weak in this element.

Application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas

I think that I have read and researched this topic and come up with a coherent approach to it. I also believe that my description of this communicates my ideas well.

Demonstration of creativity

Imagination, experimentation, invention

My approach has been to try an emulate the work of HCB and his contemporaries although I have examined the work of modern artists in this respect. As such therefore the work might be considered derivative rather than original. I have found going back to film has been very experimental for me – particularly to have to produce very specific output.

Context

Reflection, research, critical thinking

My account of my approach is based on research – although I am uncertain as to how much depth I need to go into about this.

I also believe I can reflect on my work – as evidenced by this post!

Subsequently I have taken more images which are in the same style as the earlier ones, (“locations with strong geometric features against which I could capture the ‘unique, fleeting, and meaningful moment’”).

The contact sheets for these are below.

I have printed a selection which I believe reflect the “Decisive Moment” (DM) as I have interpreted it. I have scanned these and the scans are included here. However these are large prints and the scan does not always fully reflect the printed image.

I selected these on the basis that they might demonstrate the concept of the DM as I have interpreted it (Decisive Moment – my conclusions).

To recap:
I suggested that the 10 characteristics of an image of a Decisive Moment proposed by Suler, fell into three groups:

A: The compositional elements of the image produce “balance, harmony, simplicity, and unity” (1) with “meaningful figure/ground relationship” (2) and may incorporate “a visual gap, interval, or suspension of some kind” (3). Overall the effect of this composition is to create “an element of ambiguity, uncertainty, and even contradiction”.

B. The image is captured at a “unique, fleeting, and meaningful moment” (5) in “a precisely timed, unrepeatable, one-chance shot” (6) using “an unobtrusive, candid, photorealistic image of people in real life situations” (7)

C: The final image “arouses meaning and emotion about the human condition” (8)

I stated my aim as to produce a series of images “whose composition possesses such vigour and richness and whose content so radiates outward from it that (each) single picture is a whole story in itself” and that I would test the effectiveness of my submission against the ten criteria of Suler and the principle of Bate, that “the past present and future of the story can be read, summed up at a ‘glance’”.

My Images

2019-07-30 #01-14

A. Unintended cropping during the scan has cut off the sides of this image. However in terms of the compositional elements of the image there are strong framing elements of the rear wall, road, railway arch to the side and the railings in the foreground. The girl is positioned in this frame and the blurring shows the urgency of her walking. Her foot is about to strike the ground – she is clearly in motion.
B. Because of her movement, the image is certainly captured at a unique moment in time, and the setting shows an unobtrusive location – she seems unaware of the photographer.
C. Whether the image arouses meaning and emotion about the human condition is debatable, however it does capture the tendency to rush from appointment to appointment characteristic of modern society.
Is this a story in itself? It raises more questions than it answers – where is she going? Why is she in a hurry?…

2019-09-17 #01-13

A. Compositionally there are strong lines across the frame – the beach and the lines of the waves, against these two people watch two dogs in the breaking waves; The people are stationary, huddled against the wind while the dogs run and jump on the beach – clearly in motion.
B. As the people are moving and the pattern of the waves changing, this scene is constantly changing, and the image is one moment in that change. Like the previous the subjects are unaware, and the flattening of perspective suggests a telephoto lens has been used to observe at a distance.
C. This image shows two people indulging in a typical British pastime of enjoying the beach in inclement weather and indulging their dogs who clearly ignore the weather.

2019-09-17 #01-28

A. There are compositional elements here with the path and the overhanging trees framing the cyclists. They are in motion and the front right cyclist is slightly tilted to the left in an unstable position.
B. They are in motion – not only coming towards the photographer, but also moving relative to each other – evidenced by the tilt of the front cyclist. The left-hand cyclist is looking at something off the frame to the left unaware of the photographer.
C. It looks a sunny day with fairly strong shadows and they are dressed in tee shirts fitting with this – they look like they are out and having an enjoyable ride.

2019-09-17 #02-12

A. The figures in this image are positioned against a background with strong lines – the vertical lines of the architecture and the horizontal lines of the shadows. There is an unseen line – the line of sight of the two women to the left, watching the child run to the person we assume is its mother.
B. The child is running – any further and we could not see its face; the image has been captured at a moment to show that.
C. It is a sunny day, their postures are relaxed – they all look like they are enjoying themselves on a day out…

2019-09-17 #02-13

A. Here the subjects are set against strong architectural features, in the middle of an arch. The ambiguity appears to be that they may be a couple, visiting a historical site but they sit apart – each preoccupied with their own mobile phones.
B. There is less motion obvious in this image, but the subjects’ heads are down and they have been captured at a time when they are engrossed in their phones.
C. Does this reflect on the human condition in what it suggests about the distance in their relationship – apart physically and emotionally, a stronger relationship with their phones than each other…

2019-07-30 #01-22

A. The subjects here are the vehicles on the road, the courier and the delivery van – they are positioned against the strong lines of the railway viaduct. These move relative to each other and to the photographer.
B. Meanwhile the train moves across the frame independent of the vehicles below. Overall the relative positions of the train and vehicles remain a unique instant in time.
C. To what extent this reflects the human condition is less clear and strong, however the best evidence of this is the comparison with the image from nearly 100 years earlier by Kertesz of Meudon. The urban environment is markedly different – roads busier and less pedestrians.

The Decisive Moment: My Approach to this assignment

Brief

Send a set of between six and eight high-quality photographic prints on the theme of the ‘decisive moment’ to your tutor. 

You may choose to create imagery that supports the tradition of the ‘decisive moment’, or you may choose to question or invert the concept. Your aim isn’t to tell a story, but in order to work naturally as a series there should be a linking theme, whether it’s a location, an event or a particular period of time.

Submit assignment notes of between 500 and 1,000 words with your series. Introduce your subject and describe your ‘process’ – your way of working. Then briefly state how you think each image relates to the concept of the decisive moment.

Check your work against the assessment criteria for this course before you send it to your tutor.

 

In my previous post I indicated my view that the “Decisive Moment” relies on a compositional style and reflects a particular moment describing the human condition; and my aim for this assignment is to produce a series of images “whose composition possesses such vigour and richness and whose content so radiates outward from it that (each) single picture is a whole story in itself”.

The work of Cartier-Bresson and his contemporaries was made using film. For an exercise like this where the aim is to capture a particular moment and composition, this presents certain challenges over the use of digital cameras. With the latter, it is easy to use a fast continuous shooting mode and subsequently choose an image where the compositional elements and subject meet the photographer’s aim. While the setting and overall timing is determined by the photographer, there is an element of randomness and chance (or luck) involved in this. This is similar to the work of Jon Rathman, Nine Eyes of Google Street View, (https://9-eyes.com/ accessed 11/09/2019), which has been described as a “conceptual meditation on the state of photography in a time of automated imagemaking” (https://anthology.rhizome.org/9-eyes accessed 11/09/2019). There is an element of automated image making involved in the use of continuous shooting.

Thus as this assignment is primarily a learning exercise for me, I have decided to use film for this. In this way I hope to gain an insight into the work of Cartier-Bresson, and the significance of the timing of releasing the shutter in the creation of this image.

 

Technical Information

I have made most of the images using 35mm film with Olympus OM-1 and OM-2 cameras, although for some I have used a Hasselblad 503CXi medium format  I used Ilford FP4+ and Ilford HP5+ film, the former rated at 125 ISO, and the latter at 800 ISO. This allows both films to be developed with the same development times and gives a slightly wider range of ISO than would the standard rating for HP5+.

Film has been developed in Ilford Ilfotec DD-X, and Ilfostop and Rapid Fixer. Prints have been made on Ilford Multigrade RC paper, developed with Multigrade developer (and Ilfostop and Rapid Fixer).

I have scanned these images for inclusion in this learning log, but will submit the prints to my tutor and for final assessment.

 

Initial Approach

As an important element of the final image is the compositional elements of the image to produce “balance, harmony, simplicity, and unity”, I have sought locations with strong geometric features against which I could capture the “unique, fleeting, and meaningful moment”.

My contact sheets for the first shoots, aimed at identifying suitable locations are shown here.

 

Larger prints of some of these show that I should be able to capture people against these backgrounds and in a way that provides a compositionally attractive way, incorporating the meaningful moment. This dam wall and other sites near my home have strong lines against which subjects can be photographed.

 

However first attempts at capturing subjects in these settings have not been particularly successful technically, mainly due to not having suitable telephoto lens for the location.

However I have some images which appear promising and I will discuss later in my final submission.

I particularly like this in which I try to emulate Kertesz’s image, Meudon and bring it to a contemporary setting with the man and parcel replaced by the motor cycle courier and Amazon delivery van, and steam train by electric suburban train.