Inside, Outside, In Between
Entrapment: experiment with surrealism
In these photographic observations, I have experimented with surrealism. I was partially inspired by the works of Arno Rafael Minkkinen and the way in which he uses fragmented limbs and distortion. I created the illusion of body part coming out of a space by blending multiple pictures together using Photoshop; I think the result is extremely eerie and strange.
Example editing of process:
Using photoshop I blended these three images together to create the final version shown above. I used the first picture for the legs and then, using parts of the second and third photographs, edited the rest of my body out to create the illusion that the limbs were emerging from the box. To do this I used layers, painting on a layer mask in black with the paint brush tool to expose parts of the image below and using white to reveal parts of the imposed photograph I wanted visible. Any parts that I couldn't construct using this technique I instead used the clone and healing brush tools, copying and blending parts of the image that looked wrong. (For example I had to construct the left corner of the box lid and the other images didn't correspond to the right shape).
Interruption between camera and subject
Glass: 'Trapped within'
Originals:
Edits:
As a development from my previous surreal, black and white 'entrapment' experiment, I decided to use glass to further explore the concept of being 'trapped within'. I used a shower cubicle to interrupt the space between the subject and the camera; I felt that the small enclosed space would convey a feeling of claustrophobia and entrapment. The combination of steam and water on the surface of the window creates a sense of distance between the figure and the glass. This adds an etherial quality to the photographs and also obscures the subjects features, thus removing their identity, which connotes isolation; a loss of the self. The reflections and water make intricate patterns that break up the figure that further add to the sense of fragmentation. I put the majority of the photographs in black and white to draw attention to the tones and textures apparent and I think that the monochrome makes the pictures more dramatic as the shadows are highlighted. The above image I decided to leave in colour as I felt that the cool blue hues worked well and really highlighted the melancholic mood that I wanted to convey.
As a development, I intend to further explore the concept of 'entrapment' (or, being inside, out and in between) by using glass in different ways, such as through mirrors or frosted glass.
As a development, I intend to further explore the concept of 'entrapment' (or, being inside, out and in between) by using glass in different ways, such as through mirrors or frosted glass.
Scanned faces
As a development from my shower reflections pictures I have used a scanner to further explore the idea of being 'trapped within'. Instead of using glass to create a sense of entrapment I used a printer scanner, placing the subjects face against or next to the machine. I like how the minute details of the skin are highlighted, such as freckles and stubble. In the image on the left, the face was about 3 centimetres from the scanner, creating a strange, almost ghost like face that is gradually emerging from the blackness. I think that the detail of the hair adds a distinctive aesthetic element; the strands form lines and patterns that are intriguingly beautiful, which is further enhanced by the images soft pastel hue. This also lends an etherial aura to the pictures.
Development: Mirrors
Film
Research: Gregory Crewdson
Above, photographs from 'Twilight series'. Below, photographs from 'Beneath the roses'
Gregory Crewdson was born on September 26th, 1962 in Brooklyn, New York. When he was 10 years old his father took him to a Diane Arbus exhibition, which he refers to as ‘an early aesthetic memory’ that informed his decision to become a photographer. Today Crewdson has become renowned as an accomplished and original photographer and won the Skowhegan medal for photography in 2004.
Crewdson is perhaps best known for his elaborately staged scenes depicting American suburbia. He creates surreal situations in American neighbourhoods and homes that have a cinematic, dreamlike quality but also an air of a documentary; viewers feel as if they are observers of something true and bizarre. His most famous works are the collections, ‘twilight’ and ‘beneath the roses’. In these series he engineers seemingly banal, everyday scenes but adds bizarre, surreal twists which transform the scenes into something very different; they can end up being sinister and foreboding, or absurd and comical. The pictures are like freeze frames in a film, incomplete sentences with little hint of the preceding events or of events yet to happen. Crewdson is quoted saying ‘the limitation of a photograph in terms of narrative capacity... is to have an image that is frozen in time, where there is no before or after’, hinting that a lack of information is not a restriction but an advantage.
There are cinematic parallels, with David Lynch’s Blue Velvet being a good example, where underneath the surface of a seemingly idyllic small town lies another story, where nastiness and violence can erupt. The gruesome discovery of a severed human ear that he found in a field leads a young man on a dark and dangerous journey into a dark and sinister underworld that exists in his hometown. Another example is American beauty, where the American dream, of real estate sales and suburbia is disturbed by infidelity, breakdown, drugs and murder. On the outside, and Carolyn Burnham are a perfect husband and wife, in a perfect house, in a perfect neighbourhood. But inside, Lester is slipping into a hopeless depression, which perhaps symbolises the breakdown of society. He finally snaps when he becomes infatuated his daughter's friend. His daughter Jane develops a friendship with a shy boy-next-door named Ricky, who lives with a homophobic father, who is Lester’s bête noire and who kills Lester. Seemingly idyllic neighbourhoods can hide dark secrets; people don’t know much about their neighbours or what happens behind closed doors or curtains.
The ‘twilight’ series is a good example of how Crewdson works. He turns American suburbia into a stage, where there are inexplicable goings on at ‘twilight’, creating what he refers to as ‘frozen moments’. The process of constructing these elaborate images takes on a movie production like scale: he uses large cranes and sets, or dresses up real neighbourhoods, frequently using the actual residents as models, adding an atmosphere of authenticity. Crewdson pays great attention to detail, using artificial lights to create a false impression of twilight, or using extra lighting and effects such as dry ice to enhance a naturally occurring twilight. These settings, with their surreal suburban comfort and security, are the backdrop to the mysterious and aberrant people that inhabit his pictures; the pictures become events, which twist and distort the exterior world. His pictures show that there are things beneath the surface of the ‘American dream’.
‘I have always been fascinated by the poetic condition of twilight and by its transformative quality; its power of turning the ordinary into something magical and otherworldly. My wish is for the narrative in the pictures to work with that circumstance. It is that sense of the in-between that fascinates me’.
-Gregory Crewdson
Crewdson is perhaps best known for his elaborately staged scenes depicting American suburbia. He creates surreal situations in American neighbourhoods and homes that have a cinematic, dreamlike quality but also an air of a documentary; viewers feel as if they are observers of something true and bizarre. His most famous works are the collections, ‘twilight’ and ‘beneath the roses’. In these series he engineers seemingly banal, everyday scenes but adds bizarre, surreal twists which transform the scenes into something very different; they can end up being sinister and foreboding, or absurd and comical. The pictures are like freeze frames in a film, incomplete sentences with little hint of the preceding events or of events yet to happen. Crewdson is quoted saying ‘the limitation of a photograph in terms of narrative capacity... is to have an image that is frozen in time, where there is no before or after’, hinting that a lack of information is not a restriction but an advantage.
There are cinematic parallels, with David Lynch’s Blue Velvet being a good example, where underneath the surface of a seemingly idyllic small town lies another story, where nastiness and violence can erupt. The gruesome discovery of a severed human ear that he found in a field leads a young man on a dark and dangerous journey into a dark and sinister underworld that exists in his hometown. Another example is American beauty, where the American dream, of real estate sales and suburbia is disturbed by infidelity, breakdown, drugs and murder. On the outside, and Carolyn Burnham are a perfect husband and wife, in a perfect house, in a perfect neighbourhood. But inside, Lester is slipping into a hopeless depression, which perhaps symbolises the breakdown of society. He finally snaps when he becomes infatuated his daughter's friend. His daughter Jane develops a friendship with a shy boy-next-door named Ricky, who lives with a homophobic father, who is Lester’s bête noire and who kills Lester. Seemingly idyllic neighbourhoods can hide dark secrets; people don’t know much about their neighbours or what happens behind closed doors or curtains.
The ‘twilight’ series is a good example of how Crewdson works. He turns American suburbia into a stage, where there are inexplicable goings on at ‘twilight’, creating what he refers to as ‘frozen moments’. The process of constructing these elaborate images takes on a movie production like scale: he uses large cranes and sets, or dresses up real neighbourhoods, frequently using the actual residents as models, adding an atmosphere of authenticity. Crewdson pays great attention to detail, using artificial lights to create a false impression of twilight, or using extra lighting and effects such as dry ice to enhance a naturally occurring twilight. These settings, with their surreal suburban comfort and security, are the backdrop to the mysterious and aberrant people that inhabit his pictures; the pictures become events, which twist and distort the exterior world. His pictures show that there are things beneath the surface of the ‘American dream’.
‘I have always been fascinated by the poetic condition of twilight and by its transformative quality; its power of turning the ordinary into something magical and otherworldly. My wish is for the narrative in the pictures to work with that circumstance. It is that sense of the in-between that fascinates me’.
-Gregory Crewdson
Image analysis: Gregory Crewdson
What makes this photograph particularly powerful is that, at first glance, the depicted scene seems to be fairly ordinary. The picture portrays a banal living room with a white clad figure lying in the middle of the floor. With closer inspection, the viewer will notice the bizarre texture of the floor, which appears to be a deep lacquered emerald that is reflecting the surrounding everyday objects with an amazing clarity. With a third glance, it becomes apparent that the floor is ersatz; it is water, enveloping the room and reaching halfway up the lime clad stairs. One may also notice that in the midst of this mysteriously submerged space, the woman floating on the surface of the dark water has alabaster pale skin and wears a flimsy, insubstantial white gown, which gives her an almost spirit like appearance. Despite her surroundings, the woman appears serene; she is beautiful, remote, seemingly unaffected by her curious surroundings. This draws parallels with literature and art, for instance Shakespeare’s ‘Ophelia’, who drowns in a river, and the ‘Lady of Shallot’ character in Tennyson’s poem (based on a woman from Arthurian legend), who dies in despair whilst floating in a boat down a river. A famous painting by John Everett Millais depicting Ophelia floating in the water just before her death has a striking resemblance to the composition of this image. Crewdson may have drawn on these romantic influences when composing this photograph. This conflation of the traditionally romantic and the woman’s simultaneously romantic and spectral appearance creates a chilling atmosphere; is she dead or floating and alive in her serene world. There is a surreal quality created by the juxtaposition between the ordinary and the strange. The rustic looking furniture and decor look as though they were undisturbed before the water materialized, which poses the question: how did the room flood? These elements of normality mixed with the dreamlike aspects make this a visually haunting image.
The composition in this image is particularly strong as the woman is situated in the centre, with the objects in the background, thus making her the main focus of the picture. This is heightened by the blank expanse of liquid in the foreground and the lady’s incandescent glow against the dull, muted colours of the room. The colour tones and lighting have an aqua tint, adding to the underwater feel of the picture. This green hue is reflected in the decor as the furniture, walls and water are shades of olive, blue and moss, creating an aura of decay. The depth of field is relatively wide, so everything is in sharp focus, which highlights all of the intricate details of the scene. This photograph is indicative of Crewdson’s work: he generally tries to make his settings as authentic as possible, so he probably did flood a room to create this image, rather than using digital manipulation, which adds a distinctly cinematic quality.
In this photograph Gregory Crewdson has cleverly managed to create an eerie, and ethereal and dreamlike mood, with a sinister undercurrent. This is done with the juxtaposition of the corpse like woman and the inauspicious conventional surroundings. The fact that there is no clue to the preceding scene gives an air of mystery, as it is not clear why the room is flooded or if the woman is actually dead. Many questions hang in the air: Was there an accident? Did she die accidentally or was she murdered? Did she kill herself? Is she even dead? The details, and the unanswered questions and the ambivalence conjoin to make this photograph haunting and astonishing. It takes the ordinary and conventional and flips it on its head, generating a visual mystery.
The composition in this image is particularly strong as the woman is situated in the centre, with the objects in the background, thus making her the main focus of the picture. This is heightened by the blank expanse of liquid in the foreground and the lady’s incandescent glow against the dull, muted colours of the room. The colour tones and lighting have an aqua tint, adding to the underwater feel of the picture. This green hue is reflected in the decor as the furniture, walls and water are shades of olive, blue and moss, creating an aura of decay. The depth of field is relatively wide, so everything is in sharp focus, which highlights all of the intricate details of the scene. This photograph is indicative of Crewdson’s work: he generally tries to make his settings as authentic as possible, so he probably did flood a room to create this image, rather than using digital manipulation, which adds a distinctly cinematic quality.
In this photograph Gregory Crewdson has cleverly managed to create an eerie, and ethereal and dreamlike mood, with a sinister undercurrent. This is done with the juxtaposition of the corpse like woman and the inauspicious conventional surroundings. The fact that there is no clue to the preceding scene gives an air of mystery, as it is not clear why the room is flooded or if the woman is actually dead. Many questions hang in the air: Was there an accident? Did she die accidentally or was she murdered? Did she kill herself? Is she even dead? The details, and the unanswered questions and the ambivalence conjoin to make this photograph haunting and astonishing. It takes the ordinary and conventional and flips it on its head, generating a visual mystery.
Photograph and film demonstrating Crewson's photographic process
Response: Environment
As a preliminary response to Gregory Crewdson's work I have experimented with the concept of environment by bringing the 'outside' 'inside' and vice versa. The main element I drew on from Crewdson's images was his use of light, which is mainly apparent in the top two pictures. In these I used doorways (which also feature heavily in Crewdson's work; the idea of openings and spaces and of something unnatural inhabiting something else) and positioned foliage as if it were growing from within the door, creating the impression of a space that has been invaded and taken over. This idea of growth and intrusion is interesting as it can be interpreted literally (incongruous compositions where something 'exterior' in brought into an interior space) or conceptually (for instance, someones personal space being invaded, generating a feeling of claustrophobia, or abstract form that represent inside/outside being brought together). In the top two photos, the light spilling from the space beyond the doorway illuminates the shapes of the foliage and makes interesting dappled shadows; this creates a surreal effect, as if the place behind the door is a greenhouse or some kind of portal or conduit. In the very top image I actually used a greenhouse, filling it with candlelight to construct a kind of room. The soft light from within contrasts with the dark shadows of the trees surrounding the building, which is very aesthetic. The over all effect is quite etherial; almost fairy tale-esque. This magical quality of a 'house in the woods' relates to many classical tales such as Hansel and Gretel, Snow White and Little Red Riding Hood.
Development: with people,something more surreal or sinister, situations that have been twisted in some way.
Development: with people,something more surreal or sinister, situations that have been twisted in some way.
Journey: Tube fragments
Double Exposures: Industrialism and the human form combined
Whilst taking my tube observations, I found that it was very interesting to observe the lines and shapes apparent in the underground. I started to wonder how these precise, linear compositions would correspond to the human form: would they blend harmoniously or would there be a stark contrast between man and machine? In response to this, I created double exposures using photoshop, combining some of the tube fragment pictures with photographs of the human form. Using opacity and layers I tried to match the position of the figure with the lines of the tube.
Class task: Zoom Blur Experiments
For a class task we were asked to experiment with the photographic technique of 'zoom blurring', to create images with a sense of movement.To create the zoom blur, I changed my camera settings to manual, using a small aperture (f.22) and thus a slow shutter speed, to allow the 'zooming' motion to be captured. I shot indoors, so used an ISO of 200, to avoid a grain. I focused on the subject of the photograph, with my lens at 50mm and after pressing the shutter zoomed out to 25mm. I lingered on the 50mm frame for about 1.5 seconds before zooming out, which made an interesting impression of the closer exposure which can be seen through the further away exposure. The vertical lines create an intriguing effect of movement and distortion and I think that the portraits work particularly well.
In contrast to my zoom blur portraits, the above image was made in photoshop, by adding a radial zoom blur filter to a normal image. Although I like the lines and composition of this photograph, I prefer the manual zoom blur pictures as they have a feel of authenticity to them that isn't apparent here.
Class task: Arial Photography
Originals:
Edits:
As part of a class task, we were asked to create a series of pictures that used perspective to make fantastical or interesting scenes. In my observations, I experimented with the ordinary and extraordinary, attempting to juxtapose the two. The to two scenes appear 'ordinary', (a girl sitting on a bench and a boy atop a ladder) but there is something askew about them, such as the strange shadows and flat background (actually a carpet). In the above three images, I created photographs that appear to defy gravity, using props and costume to construct a dream-like ambience. I used materials to generate movement and texture, which are particularly apparent in the dress, clouds and water. This gives the images an intriguing, aesthetic quality that is exacerbated by the vivid red/orange dress.
Method: To create the top three pictures I first spread a sheet on the ground to make a neutral background. I positioned the model in the centre of this sheet and proceeded to photograph from the balcony above. To the left is an un cropped image that illustrates how I altered perspective. |
Double exposures development
As development from my double exposures of bodies and the tube, I have created more images that juxtapose the industrial, precise lines of man made places with the human form. Here I concentrated on fragments of the underground and the body (an eye, a wall, a staircase, feet) to draw the attention to the small corresponding details of the two things in the images. I made the individual images used to make the double exposures dramatic in themselves by creating strong, central compositions, so the shapes and textures would be easier to match up. The individual pictures of the tube I found to be quite interesting as I photographed rather decrepit, industrial looking places with flaking paint, stained tiles and rust patches on the walls. This lends a dystopian quality to the photos, which I think is particularly apparent in the eye and face portraits. There is something almost Orwellian about the eye; the disconcerting metal pupil and iris has a flavour of the idea of surveillance and control apparent in 1984, and the way that people are manipulated to become part of the machine of society. The face is reminiscent of films such as Ridley Scott's 'Blade Runner', as the metal and the face merge into one, much like the concept of the cyborg 'replicants'.
Research
Florian Imgurd
Christoffer Relander
As I have been experimenting with double exposures and layering using the body and machines, I have decided to extend this by exploring the body and nature. I find the work of Christoffer Relander and Florian Imgurd very inspiring and fascinating. I really like Imgurd's manual double exposures which are created by taking two pictures on the same film exposure. In some of his images, part of the photograph has been removed (the background) to highlight the outlines of the body and to create a silhouette effect, which is very bold and effective. A similar technique is employed by Relander in his series of portraits titled 'We are Nature'. In these photographs the people and natural forms blend together seamlessly, the textures of the skin being echoed by the organic patterns. This bringing together of forms is fascinating and highly relevant to the exam theme of 'inside, outside, in between', as these images combine the the external (nature) with the human form, brining these things inside the lines of the body, thus creating something that is in between.
Further development and response: the body and nature
Tryptic
Exposures inspired by Christoffer Relander:
As a response to Chrisoffer Relander's work I have developed my previous nature/body double exposures by using techniques inspired by techniques apparent in his pictures. I really like how he combines people and nature and has the outline of the person visible so that the two elements seem to merge seamlessly into each other. In my photographs I used layer masks and the paint tool on Photoshop to remove part of the background so that the 'nature' seems to emerge from the person like they are one and the same. I really like the outcome, especially the above image, where the branches correspond with the mans face and the lines of the twigs cut his face into planes. To develop this I intend to use bodies like my previous tryptic, but employ the method used above to weave the nature onto the body and to extend the lines beyond the human outline.
Development
Process:
Base images
Photoshop production
Gregory Crewdson development
Originals:
Final Edit:
Here I have developed my previous responses to Gregory Crewdson's work. In my last response I created a sense of juxtaposition by brining plants indoors and using light and spaces to make a surreal scene. I decided that I wasn't completely happy with the photographs and that in order to improve them I needed to add an element of narrative. I did this by adding a person and creating a more elaborate scene to make a more intriguing composition. My initial idea for this picture was to create an 'indoor garden', with a faceless 'gardener' that tends to this strange place. To make this scene an actuality I began by moving all of the pots from my garden (some of which are covered in frost) into my hallway and positioned them around and on the stairs. I wanted to make use of the stairs to create levels in my photograph, which I think look more interesting than if the plants were on a flat surface. I also twined ivy around the bannister and scattered soil around the pots to make an earth base. I then addd small details like a ceramic hedgehog in the right hand part of the picture and a trowel; these little touches add depth as the viewer can find them by looking long enough at the scene. I used the 'gardener' to establish a classic aesthetic, so used plain, old-fashioned yet timeless attire when dressing the model (which was me- I had to use a tripod to take this).
I wanted this to look cinematic, almost like a film still, so I altered the colours in photoshop so there was a dominant purple/blue hue. To do this I brought down the reds and the blues up in colour balance. I also added a black vignette to draw attention to the central point of the image.
I wanted this to look cinematic, almost like a film still, so I altered the colours in photoshop so there was a dominant purple/blue hue. To do this I brought down the reds and the blues up in colour balance. I also added a black vignette to draw attention to the central point of the image.
Dollhouse: emerging limbs developed
This image is a progression of my second strand: 'emerging limbs'. I have drawn on surrealist photographic influences such as Arno Rafael Mikien's work using limbs to create strange unconventional perspectives. This image depicts a dollhouse with arms merging from a window and door, reaching out towards the camera. The hands are contorted which adds a creepy and almost monstrous appearance to the dollhouse, as if a person is about to crawl out or, perhaps more disturbing, like the dollhouse itself is dragging itself towards the viewer. The way that this childhood toy has been subverted creates a sense of innocence corrupted; the idea of toys or objects coming to life is typically the stuff of nightmares. This is reflective of Lewis Caroll's 'Alice in Wonderland', specifically where the protagonist if trapped within a dollhouse: a giant girl trapped within a miniature house. Although, this photograph is more similar to Jan Svankmajer's eerie animation of the classical tale, 'Alice'. I am especially reminded of the scene where twisted creatures constructed from bones and doll parts drag themselves towards a china doll version of Alice, who is imprisoned within a huge, decrepit dollhouse.
Process
Originals:
I have further developed the emerging limbs strand here, again using everyday objects and using photoshop to make it seem as if body parts are appearing from within. I used old fashioned objects and plain backgrounds to create a sense of timelessness, as if the photos could have been taken at any time; either present day or in the early 21st century. I think that the there are strong creepy and surreal elements apparent here, particularly in the teapot image. I think that the small fragments of fingers lifting the teapot lid are somehow more sinister than when a larger amount of limb is showing. For instance, a large part of the lower calf is showing in the hat photograph, but it is quite grotesque and almost comical, instead of subtly disturbing, so proves to be less intriguing.
Outline of three strands
By exploring my three strands I have decided that I wish to pursue my 'narrative' strand. I feel that this is the richest and has the most opportunity for development, whereas the others are more limited. For example, I feel that I have done as many 'emerging limbs' as I can think of and am pleased with the resulting observations. If I continue with this idea I think that the photographs could risk becoming repetitive and I feel the same about the digital double exposures. The concept of the exposures strand, as are the visuals, showing how people and the natural/man made converge and blend, how the similar forms and textures are illuminated. Despite this, I feel more inspired by the narrative idea and more inclined to develop it. Preliminary inspired by Gregory Crewdson's strange 'frozen moments', I intend to imagine and create surreal scenarios using props, costume and setting. I want to make something that is askew and out of the ordinary but woven into a narrative, leaving something unsaid to be guessed by the viewer. Instead of using digital manipulation as with my other strands, I will physically construct the scene, as I did with the indoor garden picture. Hopefully this will add a sense of tangibility, as if the viewer could step into the world I have created. I am also fascinated by the cinematic and wish to capture this element in my photographs, so they almost resemble film stills. as I did with the garden picture (above) I would probably achieve this by lighting and colour correction.
Narrative development:
Curious Incidents
Bathroom
Originals:
Edits:
Final photograph:
To develop my narrative strand (which I have titled 'Curious Incidents', partly as an allusion to Mark Haddon's novel, partly to suggest a series of strange events that will be illustrated in my pictures) I have created the above images. I first had the idea of having someone fully clothed in a bath or shower quite a while ago, as I have always thought that bathrooms are interesting places in themselves. In a way, they are the only truly private places in a house, where we are, and have the space to be vulnerable. After seeing a few of Crewdon's images set in bathrooms where the viewer feels as if they are invading someone's private space whilst also suggesting a narrative, I started to think how I could channel these feelings into my own photograph. I wanted to create something where the viewer is made to guess what is going on and where they feel as if they are witnessing something that maybe they weren't meant to see.
I dressed the man in the bath in a suit as the general connotations of a suit are order and refinement; to take that association with structure and to flip in on it's head by adding the incongruous setting of the shower creates an intriguing sense of juxtaposition. I used a bath with a shower setting to create the angle used above where the bath edge divides the image and adds a sense of depth and perspective. I wanted the room to be very steamy to create an element of concealment and mystery and to give a soft, diffused light to the picture. To make the steam I turned the hot tap on for about five minutes allowing the room to fill with steam before photographing.
I dressed the man in the bath in a suit as the general connotations of a suit are order and refinement; to take that association with structure and to flip in on it's head by adding the incongruous setting of the shower creates an intriguing sense of juxtaposition. I used a bath with a shower setting to create the angle used above where the bath edge divides the image and adds a sense of depth and perspective. I wanted the room to be very steamy to create an element of concealment and mystery and to give a soft, diffused light to the picture. To make the steam I turned the hot tap on for about five minutes allowing the room to fill with steam before photographing.
Curious Incident No.II
Originals:
Final Photograph
Here I have continued to explore the idea of narrative and surreal scenarios in my work. After my bathroom shoot, I wanted to use water again but in a way where it would be incongruous to the setting, so I used a kitchen floor. After my 'indoor garden' picture, I wanted to create something else where only part of the model is seen, so as to add a further sense of mystery to the image; the viewer is made to question the identity of the fragmented figure. I wanted my narrative to be quite ambiguous, leaving the viewer to wonder what bizarre fate has befallen the person on the floor. My initial idea behind this picture was that someone had been spilled out of a giant fish tank along with its contents, but I think the resulting picture is quite open to interpretation. This strong aquatic theme links to Gregory Crewdon's image of a woman floating in her living room. There are the same juxtapositional elements here, such as bringing external things into an internal space.
To create this image I lay my model on the floor and poured bowls of water over her and the surrounding floor. I actually only used three fish (rainbow trout) in this picture and took many photos, positioning the fish in different ways each time then using photoshop to composite them all together. I think the colours work very well in this picture. I deliberately chose a plain white floor and matched the dress to it, to create a bland, non distracting base. The sheer, delicate fabrics of the dress add a an etherial quality to the scene, which I like because I didn't want there to be an obvious time period apparent. These simple colours and textures draw attention to the fish, whose colours range from steel grey to metallic green and the scales have an intriguing translucent look that is very aesthetic.
To create this image I lay my model on the floor and poured bowls of water over her and the surrounding floor. I actually only used three fish (rainbow trout) in this picture and took many photos, positioning the fish in different ways each time then using photoshop to composite them all together. I think the colours work very well in this picture. I deliberately chose a plain white floor and matched the dress to it, to create a bland, non distracting base. The sheer, delicate fabrics of the dress add a an etherial quality to the scene, which I like because I didn't want there to be an obvious time period apparent. These simple colours and textures draw attention to the fish, whose colours range from steel grey to metallic green and the scales have an intriguing translucent look that is very aesthetic.
Doorstep Surprise
Originals
Edits
Final Image
In this picture I wanted to continue having only part of the figure showing (like in the fish and garden photographs). My idea was to crate another 'frozen moment' but with a more dynamic sense of action. my concept was someone coming up their path holding mil bottles and, upon reaching the doorstep they notice something strange which causes them to drop the bottles. I decided to have a hand emerging from the slightly open door, creating questions in the viewers mind: 'who is this person?' 'are they dead or have they collapsed?', 'is there a whole body behind the hand'?. The way that I composed the image adds another layer of intrigue; The eye of the viewer will first be drawn to the rivers of milk dribbling down the path into the foreground, then up to the smashed glass and bright scarlet shoes then, finally, to the hand at the door. In this way the narrative s quite subtle.
To create a cinematic aesthetic as in my previous pictures, I used colour correction, bringing up the blue and purple hues which makes the red shoes stand out against the cool background, making them a focal point of the image. I used the classic dress of the model and the monochrome tiles of the path to give a timeless feel to the picture; I think that the patterns and colours look very effective together. There is a sinister undertone to this picture that suggests at a subverted suburbia, similar to the feel of Gregory Crewdon's images. The fish picture also has this atmosphere, whereas the indoor garden photo is more etherial and surreal. I think that I prefer the former tone, as it has an element of black humour and normality slightly askew and twisted.
Development: To develop my 'Curious Incidents' series, I intend to experiment with light, taking pictures at times of the day with interesting light such as twilight, sunset and sunrise. Also, I will make the image wider, so there is more visible and perhaps use more exterior settings, such as motorways or bus stops.
To create a cinematic aesthetic as in my previous pictures, I used colour correction, bringing up the blue and purple hues which makes the red shoes stand out against the cool background, making them a focal point of the image. I used the classic dress of the model and the monochrome tiles of the path to give a timeless feel to the picture; I think that the patterns and colours look very effective together. There is a sinister undertone to this picture that suggests at a subverted suburbia, similar to the feel of Gregory Crewdon's images. The fish picture also has this atmosphere, whereas the indoor garden photo is more etherial and surreal. I think that I prefer the former tone, as it has an element of black humour and normality slightly askew and twisted.
Development: To develop my 'Curious Incidents' series, I intend to experiment with light, taking pictures at times of the day with interesting light such as twilight, sunset and sunrise. Also, I will make the image wider, so there is more visible and perhaps use more exterior settings, such as motorways or bus stops.
Midnight Phone Call
Contact Sheet
Editing Process
Final Image
Here I have developed my making my scene wider and taking into consideration light and atmosphere. As the whole scene would be visible instead of a fragment like some of my previous images, I tried to construct an intriguing narrative and setting. In this image, a man stands in an old fashioned phone box at night- a perfectly plausible scenario- except there is a dead christmas tree crammed into the booth with him. The street is dark but the phone boxes and surrounding pavement are illuminated by the yellow glow of unseen street lamps, creating purple shadows on the ground. I think the colours (which are mainly achieved by editing) work well here, specifically how the bright red of the phone box contrasts with the inky blue sky and the tungsten hued ground. I also like the light (which is partially constructed by using photoshop) as it is very atmospheric: The 'moon' filters from the top right corner and the phone boxes (especially the the partially in view) are lit up.
I shot this picture at about 8:30 in the evening, when the sky was not quite dark yet. I found that the lightness of the sky offset the dramatic atmosphere I wanted to create so I decided to completely re-construct the background. The original image was quite busy, with cars and a large tree dominating the background. using layers I added a new sky and cloned the houses to extend the street. I used two different skies from different images and used levels, curves and colour balance to match them and to give the impression that they were night skies. I think the elements brought together are effective and altogether create a dramatic and intriguing photograph.
I shot this picture at about 8:30 in the evening, when the sky was not quite dark yet. I found that the lightness of the sky offset the dramatic atmosphere I wanted to create so I decided to completely re-construct the background. The original image was quite busy, with cars and a large tree dominating the background. using layers I added a new sky and cloned the houses to extend the street. I used two different skies from different images and used levels, curves and colour balance to match them and to give the impression that they were night skies. I think the elements brought together are effective and altogether create a dramatic and intriguing photograph.
'Breakfast'
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Final Image
Here I have created another 'curious incident' photograph. It is another indoor shot, similar to my fish and garden pictures, although I do still intend to further develop my 'outdoor atmosphere' ideas. In this image there is a sinister edge; the girl is slumped in a pool of orange juice and cornflakes as if dead or unconcious. Again I wanted to create a relativley ambiguos narrative: How did the breakfast end up on the table? Why is the person covered in it? Was it an accident? As well as posing these questions to the viewer, I wanted to capture that feeling of utter exhaustion and debilitation that is sometimes felt in the morning. I wanted to construct a dramatic illustration of the desire to just collapse onto the breakfast table and sleep.
For this perticular image, I didn't have to do that much editing, mainly just colour correction levels and curves. There was a printer in the top right corner of the original image which I felt detracted from the main scene and also added an unwanted element of modernism, so I used the clone tool to remove it.
For this perticular image, I didn't have to do that much editing, mainly just colour correction levels and curves. There was a printer in the top right corner of the original image which I felt detracted from the main scene and also added an unwanted element of modernism, so I used the clone tool to remove it.
Waiting
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In this photo I have developed my idea of using light and atmosphere to enhance my constructed scenes. After creating most of my photos in an internal setting at midday, I wanted to begin doing pictures outdoors at interesting times of day. I began to do this with my 'midnight phone call' image, although I didn't get the light I originally wanted so I had to digitally construct a new background.
Here my idea was originally to have a boy without a shirt or shoes hitchhiking outside a diner. However, when I got to the location (a kitsch mock American diner by the side of a motorway) I decided that It would look more effective for the boy to be sitting outside the diner as if waiting; why and what for is for the viewer to decide. I wanted to shoot at dusk to capture that strange, almost dark atmosphere, so I began shooting at about 8:45 pm. I am very happy with the light here (which is mainly natural, I just enhanced the colours and levels in editing) as the dusky sky creates a midnight blue hue which is offset by the neon lights of the diner, which casts a violet glow over the ground and boy. The florescent yellows leak in too, and makes a beam on the ground of the bottom left hand corner. Another interesting aspect is that this photograph doesn't look as if it's taken in England, but rather Middle America. The diner and the boy create a slight nostalgic feel; I am reminded of the 1970s era.
Here my idea was originally to have a boy without a shirt or shoes hitchhiking outside a diner. However, when I got to the location (a kitsch mock American diner by the side of a motorway) I decided that It would look more effective for the boy to be sitting outside the diner as if waiting; why and what for is for the viewer to decide. I wanted to shoot at dusk to capture that strange, almost dark atmosphere, so I began shooting at about 8:45 pm. I am very happy with the light here (which is mainly natural, I just enhanced the colours and levels in editing) as the dusky sky creates a midnight blue hue which is offset by the neon lights of the diner, which casts a violet glow over the ground and boy. The florescent yellows leak in too, and makes a beam on the ground of the bottom left hand corner. Another interesting aspect is that this photograph doesn't look as if it's taken in England, but rather Middle America. The diner and the boy create a slight nostalgic feel; I am reminded of the 1970s era.
Cigarette Break
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After creating the image with a man in a bath wearing a suit I wanted to use the concept of bathrooms and subverting privacy to make another narrative. Here I used a bath in a hallway which immediately establishes a strong sense of incongruity; the bath, an objected generally associated with retreat and privacy, is in the middle of a hallway, perhaps the most public part of a house. In order to construct a story within my photograph I decided to have a person sitting in this out of place bath.
Upon looking at the finished picture the viewer will see this: a man sits in a strangely placed tub wearing a shirt saturated with water. He is smoking and a cloud of opaque smoke hangs in suspension around his face. There are drops of water on the bare, rustic floorboards and a black and white kitten by the stairs looks at the man with what seems to be an expression of puzzlement. All of these elements come together to make a strange and surreal scene that will pose questions in the viewers mind: how did the bath get into the hallway? Why is this impassive man sitting in it, nonchalantly smoking? I wish to leave the answers to these questions ambiguous as the aim of my series of 'curious incidents' is to make scenes that are simultaneously intriguing and peculiar and open to interpriation. I want the viewer to almost create the main body of the narrative in their own heads.
Upon looking at the finished picture the viewer will see this: a man sits in a strangely placed tub wearing a shirt saturated with water. He is smoking and a cloud of opaque smoke hangs in suspension around his face. There are drops of water on the bare, rustic floorboards and a black and white kitten by the stairs looks at the man with what seems to be an expression of puzzlement. All of these elements come together to make a strange and surreal scene that will pose questions in the viewers mind: how did the bath get into the hallway? Why is this impassive man sitting in it, nonchalantly smoking? I wish to leave the answers to these questions ambiguous as the aim of my series of 'curious incidents' is to make scenes that are simultaneously intriguing and peculiar and open to interpriation. I want the viewer to almost create the main body of the narrative in their own heads.
Afternoon Nap
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For this photograph I drew on influences that are apparent in earlier photographs, primarily the 'outside coming in' images, which is best demonstrated in the 'indoor garden' picture. I wanted to create a scene of incongruity by juxtaposing nature and the internal, whilst maintaing a narrative. I think that this image has a distinct ethereal quality that perhaps isn't as strong in the other 'curious incident' photographs. There is a fairy tale-esque feel, which is partially down to the serene appearance of the figure and the soft, diffused light shining on the figure; it almost looks as if she is in a clearing in a forest. The pastel colours also add to this ethereal atmosphere.
To create this image I gathered up bamboo shoots from my garden (I was putting a large bamboo plant and got the idea for this picture by seeing the shoots scattered on the ground) and transported them into my living room which I had cleared of furniture. I then arranged them on the floor so it covered a large area. Then, using a tripod and self timer I lay in the middle and took the picture. To fit with the classic aesthetic of my other images I dressed in white lace slip to suggest that the figure could be sleeping. In post production I constructed the filtered light by adding 3 lens flares in 105mm prime then blending the light into the rest of the picture to create an impression of a shaft of light in a forest. I also adjusted the colours, bringing up the blues for a violet undertone and then adding a sepia filter for a warming effect.
To create this image I gathered up bamboo shoots from my garden (I was putting a large bamboo plant and got the idea for this picture by seeing the shoots scattered on the ground) and transported them into my living room which I had cleared of furniture. I then arranged them on the floor so it covered a large area. Then, using a tripod and self timer I lay in the middle and took the picture. To fit with the classic aesthetic of my other images I dressed in white lace slip to suggest that the figure could be sleeping. In post production I constructed the filtered light by adding 3 lens flares in 105mm prime then blending the light into the rest of the picture to create an impression of a shaft of light in a forest. I also adjusted the colours, bringing up the blues for a violet undertone and then adding a sepia filter for a warming effect.
Delivery
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Final Image
Here I wanted to compose a more subtle picture, where the normality of the scene almost-but not quite- outweighs the strangeness apparent. I wanted something that, upon first glance looks seemingly familiar and typical (i.e someone knocking on a door) but with closer inspection the abnormality is revealed (the woman is wearing a dressing gown and slippers and holding a parcel. What is she doing? What parcel is so important that it needs to be delivered at night in bed clothes?)
Like my 'waiting' and 'phone call' pictures, I set this photograph at night to get that deep blue not quite dark lighting, which is so intriguing. I think that the light works well, especially how the porch lamps cast a yellow glow over the woman's head and hand, illuminating her. The tungsten light provides contrast to the predominant blue hues of the picture, making a beautiful duo colour scheme. I like the stillness apparent in this picture and how the woman seems to be frozen in time, poised to knock on the door. I almost seems like the calm before the storm; this moment of peace could be shattered when the door is opened. Although, it is fairly ambiguous and anything could be about to happen, it is up to the viewer to decide on a story to go with the image.
Like my 'waiting' and 'phone call' pictures, I set this photograph at night to get that deep blue not quite dark lighting, which is so intriguing. I think that the light works well, especially how the porch lamps cast a yellow glow over the woman's head and hand, illuminating her. The tungsten light provides contrast to the predominant blue hues of the picture, making a beautiful duo colour scheme. I like the stillness apparent in this picture and how the woman seems to be frozen in time, poised to knock on the door. I almost seems like the calm before the storm; this moment of peace could be shattered when the door is opened. Although, it is fairly ambiguous and anything could be about to happen, it is up to the viewer to decide on a story to go with the image.
Final Outcome: Format
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Curious Incidents
For my final outcome I have decided to display all of my Curious Incident photographs as I think they need to be together in a set to demonstrate my concept. I also originally intended for the photos to be a group so that the viewer can see all the strange scenes at once. Instead of grouping as one large set I have split them up according to the aesthetic properties of the individual pictures to ensure that they look as aesthetically pleasing as possible.
1. The first of these sets is the fragmented figure images, where only a part of the person is showing and the face is always obscured adding an i interesting element of anonymity. As well as conceptually, these images also fit together visually as they share a similar colour scheme. I have also displayed them so that the patterns in the pictures correspond, e.g. the horizontal lines of the 1st and 3rd picture and the checked textures apparent in the 2nd and 4th.
2. These pictures all share the obvious night/dusk theme and are set outdoors with external lights creating an intriguing atmosphere. The colours are all highly saturated with a dominant blue hue. I think that there is a subtlety to these photographs, perhaps as the banal settings are more relatable to the viewer and this element of normality makes the things happening seem more bizarre and portentous.
3. I grouped these picture together as they share a soft pastel colour scheme and diffused lighting and wanted to put the bath pictures together due to the privacy subverted connotation that they both share. All of the images share a sense of incongruity; of something out of place, creating a juxtaposition e.g. a forest in a living room and a bath in a hallway.
1. The first of these sets is the fragmented figure images, where only a part of the person is showing and the face is always obscured adding an i interesting element of anonymity. As well as conceptually, these images also fit together visually as they share a similar colour scheme. I have also displayed them so that the patterns in the pictures correspond, e.g. the horizontal lines of the 1st and 3rd picture and the checked textures apparent in the 2nd and 4th.
2. These pictures all share the obvious night/dusk theme and are set outdoors with external lights creating an intriguing atmosphere. The colours are all highly saturated with a dominant blue hue. I think that there is a subtlety to these photographs, perhaps as the banal settings are more relatable to the viewer and this element of normality makes the things happening seem more bizarre and portentous.
3. I grouped these picture together as they share a soft pastel colour scheme and diffused lighting and wanted to put the bath pictures together due to the privacy subverted connotation that they both share. All of the images share a sense of incongruity; of something out of place, creating a juxtaposition e.g. a forest in a living room and a bath in a hallway.
Strand outcomes
For my other two strands I have decided to display a mini outcome from each as I was happy with the work I created before deciding to continue with my narrative strand. These pictures wont be my final peiece but I intend to display them next to my final outcome to demonstrate my journey during this exam project.
For my other two strands I have decided to display a mini outcome from each as I was happy with the work I created before deciding to continue with my narrative strand. These pictures wont be my final peiece but I intend to display them next to my final outcome to demonstrate my journey during this exam project.
Display of double exposure strand outcome
For my mini outcome for the double exposures/ nature bodies strand I have chosen this tryptic which was the last thing I created for the strand. I used pictures from nature (fields and mountains from an aeroplane and frost covered branches) and pictures of bodies I had taken and used Photoshop to blend them together. I used images that corresponded to create seamless merged images .e.g. in the left photo, the lines blend into the spine and neck and in the centre picture the mountains and the muscles in the back combine. By extending the lines of the nature photo onto the background of the body photo the bodies become surreal, beautiful creatures that are a combination of human and landscape. The external conflating with the internal lines of the figure brings the outside inside and creates a sort of in between.
Emerging limbs strand outcome
For my emerging limbs display I have chosen the four photographs that I thought demonstrated my idea the most effectively. I like the creepy and surreal aspects here; there is a feeling of childhood innocence subverted, like a gothic 'Alice in Wonderland' .(I am personally reminded and was partially inspired by Jan Svankmajer's surreal adaptational animation of Lewis Carol's famous novel called 'Alice') There is a rustic feel to the images, as if they were taken at the end of the 18th century or with an old fashioned film camera. There is the obvious visual connection to the exam theme; the body parts are inside strange places,emerging outwards, although there is a more subtle idea here: that childish nightmares and fears are still inside us and still retain the power to scare or disturb us, even if we choose to believe otherwise.