Assignment 5 - People and Place on Assignment

Now updated with my tutors feedback. As always I'll add my tutors feedback in red and my responses in green.

My tutor suggested he give me my feedback on Assignment 5 via Google Hangout. This is the first time I did this and I would recommend others do this. I'm not sure what the standard feedback time for hangout is but I must thank my tutor who spent an hour with me discussing Assignment 5, my previous assignments and suggestions for submitting for formal assessment. The conversation was very interactive which works really well and you wont get this from written feedback.

Overall Comments

Overall a big improvement to the previous assignment and there was an ongoing improvement with all assignments during the course.

The exposures and compositions are very good. The portrait format images are excellent. Certain adjustments on a few images are necessary which I noted in the next section.

The most important thing that we discussed is your need to slow down your shooting process. You have already slowed it down and it had already had a significant impact on the quality of your images.

We discussed the merits of this and it had been highlighted as potential issue in Assignments 3 and 4. I think part of this is my approach and also part of it is very slight un-comfortableness in taking the images in public. However I've easily overcome the latter simply by doing this more. The former I slowed down my processes and looked at multiple angles and lighting. In the 2nd visit I returned with a tripod which again slows the process down and forces you to assess the location and best angles

As part of the introduction to this assignment the course notes refers to the great distinction between professional and amateur is that the professional works to a brief producing images for a client that they have specifically requested.

Of course whilst still an amateur I would suggest that as I near the completion of my third module as part of year 1 that much of my work has been produced to a specific brief but perhaps with some artistic licence and most certainly to varying degrees of success.

For this assignment I have been able to select my own assignment. I considered this and proposed a subject to my tutor who agreed this was a good choice:

My Self Imposed Brief
My brief is that I am an advance photographer assisting a Film Director. 

Location - Gloucester Cathedral

Client Brief - Identify a number of potential camera positions / scenes for future filming allowing the film director to get a feel of the location for potential film scenes. Produce 8-12 images for the film director to review and consider for camera positions / actor positions / film scenes


Research

In doing my research for this assignment I looked at a number of photographers and their work and was particularly interested in the images Adam J Long produced for Kenwood Avenue

http://warrenjonesphotography.blogspot.co.uk/2015/08/seesaw-magazine-kenwood-avenue-by-adam.html

There is a simplicity yet hidden complexity within his set of images.

I've looked with little success for the evidence of professional photographers taking on work like this. I've no doubt that this is done, its just perhaps not publicised much.

The following link details the filming locations for famous Hollywood movies covering the 1930's to the current 2000's. In some of the film stills you can see how an advance photographer could benefit the film director by producing location images to help him picture potential film scenes:

http://www.seeing-stars.com/Locations/index.shtml

Taking the Transformers film as an example I can see that the camera position for a number of the film stills varies from low, head height to higher camera positions.


40 famous films and their locations are detailed in the link below:
http://www.roughguides.com/gallery/40-film-locations-around-the-world/#/40

No doubt these would have been visited by an advance party with images taken for the Film Director.

Gloucester Cathedral is likely Gloucestershire's top film location with the following films made there:

 - Harry Potter and The Philospher's Stone
 - Harry Potter and the Chamber of Secrets
 - Harry Potter and the Half Blood Prince
 - 2008 Dr Who Christmas Special - The Next Dr
 - Hollow Crown
 - Wolf Hall
 - Sherlock (this year)

In fact Gloucester has many locations used for films including:

Gloucester Docks: Amazing Grace, Through The Looking Glass
Puzzlewood: Atlantis, Merlin, Hidden Kingdoms, and others including the new Star Wars film to be published shortly.

Some constructive critique I've been given by my tutor is that I could push myself more creating excellent images instead of good and that I should take my time and not rush my work .I've attempted to be more prepared, take my time, take more images and vary composition, look for different levels of light on different days and see how / if this can enhance the images

Preparation

For Assignment 5 I have visited the Cathedral 3 times to take images including the timing of one set of images with a bright sunny day to take advantage of light through windows. I've used my camera hand held and at times with high ISO and also on a tripod. I've also arranged a personal solo visit to the catacombs below the ground floor of the Cathedral with accompanied by a knowledgeable guide.

My interpretation of the brief is to include in my set images a "sense of place", a feel for the atmosphere, a sense of scale and so at times this may require individuals in the image and allow the film director the ability to immerse himself in the image and picture his film scenes and angles being played out in the images.

All the images have been taken with a special purpose Nikon 14-24mm ultra wide angle lens. The wide angle will result in some architectural distortion but the goal of the images is to create a sense of being there for the film director.

For every image selected as part of this assignment there varies between 3-10 image of the subject where angle and camera position have been varied. In addition some locations and images have been shot across multiple days so that light within the images can be varied and end examined for final selection.

Feedback on assignment and supporting work

• The Portrait format images are the strongest images in this series and they are work very well together as a coherent series.
• Especially the last two images (11 and 12) are outstanding due to the composition, lighting and the positioning of the people in the image. The monumentality of the structure is also represented very well.
• Two images need Lens corrections. (WDJ_8622_GlosCath_Large_PP_Ass5, WDJ_8591_GlosCath_Large_PP_Ass5).
• Catacombs images should be shot with longer exposures and with a tripod in order to capture the details very well while maintaining the sense of darkness in the image.

Yes thats true however this a personal tour which I arranged and the tripod would not have be welcome though perhaps in the future I could specifically make a request. The images were shot with a fast UWA lens and with high ISO. The images such as 11 and 12 were shot on a tripod and I can see exactly what you mean with this advantage by capturing the details with longer exposures than would be possible hand held

• For short technical courses I would recommend www.lynda.com.

They always have very good online workshops. There are several on the subject of: 'Lens correction' in Photoshop. 

http://www.lynda.com/search?q=lens%20correction

Image 1

This image was taken within the crypt underneath the Cathedral where I was given a personal and solo tour. The steps from the southern transept lead down into the foundations of the building. The foundations had been strengthened over the century's as the Cathedral was added. It was pretty dark with some light but fortunately with a fast lens and and ISO set to 8000 I'm able to get a hand held image. The shadows and variations in light give depth to the image. My eyes are drawn to the arches. This image sets a very different view from that one may expect an image to look like when taken within a Cathedral.



Image 2

This set contains a number of images of the cloisters and in this image I've wanted to convey the length and the lighting through the stained glass windows. In assignment 4 my tutor suggested revisiting a location several times with varying light. On this occasion it was a bright sunny day and the bright light coming through the glass can be seen on the floor. The figure at the end was a female member of the clergy. In this image the figure is light by the light coming through the glass and highlighted against the dark entrance at the end of the passage. The fan vaulting is very clear and this is believed to be the earliest example of its kind in England.



Image 3

This image was taken at ISO 12800 and at 14mm and giving at shutter speed of 1/10s is really just below the normal rule of thumb of 1/14s at this focal length. I've selected this position as its the light and the shadow it creates that leads the viewer through the image and its interesting how well the low almost sunset / sunrise type of light achieves this. Of course the multiple arches contribute toward the good sense of depth in this image




Image 4

The choir is sited between the Naive, accessed at the front of the image, and the Lady Chapel behind the camera. The 17th Century organ can be seen in its elevated position above the archway. It is the only complete 17th Century Organ in the country and its pipes are still working


Image 5

This is a statue of Abbot Malvern on his tomb in which he was never buried at Gloucester Cathedral. I've taken the image at an angle and have emphasised the grill like elements of the stone windows which could be interpreted as prison-like.


Image 6

This is the Cathedral's nave accessed from the entrance to the Cathedral. The archway in from leads to the Choir with the Cathedrals organ sitting above the archway. A low position of the camera has been taken to help the view get a feel for the height of the ceiling. Some adjustments were made in post processing to the vertical perspective of the pillars; no doubt a tilt and shift lens would have been helpful in this instance. This is something the film director needs to be aware of.


Image 7

An element of the former Deanery of the Cathedral and the black door allows an exit from the building avoiding the main entrance.The elevated position of the camera gives a different perspective to the room and the orange lit steps contrast with the blue stone on the flow. The 3 archways in the ceiling help give depth to the image.



Image 8

Another image from within the Choir element of the Cathedral but a different perspective is given with the camera, and tripod, sited within the Choir pews. You'll note the uniform presentation of the blue hymn books and how the red cushioning on the pews is matched with the red material at the foot of the organ.


Image 9

The pulpit in this image is positioned interestingly with the congregation to the right of the pulpit when standing in it. This image contrasts the heavy, cold and light coloured stone against the darker and warmer wood of the pulpit.The Choir would be accessed from the left of the pulpit, ahead from the camera position


Image 10

Another image taken in the crypt of the Cathedral. The curves of the blocks lead the viewer to the archway and through giving a sense of tremendous depth to the image. The captured light on the ceiling and floor gives and indication of its texture, and the floor a damp feel. This image was taken hand held at ISO 10,000 and its captured the variations in light within the scene, something film directors look for to give depth to films.

Image 11

The blue stained windows in the south ambulatory chapel give a very surreal feel to the image. One of the guides in a previous visit suggested I revisit on a brighter, sunny day and coupled with my tutors advice to do this the difference in the feel and look of the images is significant and worth the revisit alone for this image

Image 12

One of the four cloisters or passageways around the courtyard. I waited for the walker to reach the point just before the light so that the figure is silhouetted against the lit area just before the large wooden door. The detail of the ceiling is very detailed and its height is accentuated and a scale calculated when matched with figure toward the end of the passageway. An interesting perspective is gained from this position almost narrowing the width of the cloister and gives it a darker possibly sinister feel to the image.

How well did I succeed / difficulties & opportunities encountered

I've attempted in this set of image to include images that are traditionally those you may expect within a Cathedral but also images that might not normally be associated with a cathedral. For instance the crypt and cloisters give a surreal atmosphere if one wants to create it. the fan vaulting in the ceilings of the cloisters reminded me, albeit a different colour, of the passageways in the films Prometheus, and also Aliens as the marines travel to the bottom of the colony structure looking for the missing inhabitants. Of course the film director may further enhance the lighting and use of special effects can enhance scenes as is common in many blockbuster films.

Light was a major issue, equipment and lenses needed refinement. Of course an experienced photographer may have taken a car load of equipment and with an assistant varied the combinations based on the location within the setting. Additionally through tutor prompting I've also made use of different types of sunlight; images 2, 11 and 12 demonstrate how much this was a good lesson for me to learn in visiting the location multiple times.

What I did find that the ISO I used with my camera in the low light conditions in the Crypt have been very successful. Those I took in the Cathedral less so. Again a subsequent visit on a brighter day but with a tripod allowed longer shutter speeds of 0.8 second image 11 and and 1 second Image 12 when using an aperture of f/8. Of course TAOP and my own research means using a remote shutter when using the camera on a tripod second nature.

I've invested more time in the shooting of this images across multiple visits and varied positioning and decisions around the which image among several potential images to select. I'm hoping this has paid off and from my own perspective I do feel much happier with this set of images. I've no doubt there are elements I could do better, the hire of a tilt and shift lens would have been interesting to understand how certain images could have been improved, a common issue for architecture photography.

I also note that all my images are internal, none are external and its now that I really thought about this. I look forward to the Film Director (Tutor) reviewing these images and whether this set gives him a sufficient sense of place to consider this location for his film. Perhaps I may earn a further commission focusing on specific aspects of the location he is interested in.

What would I have done differently?

I suppose more visits would have enabled an increasing learning experience. Use of more height, perhaps a ladder / step ladder etc could have been arranged with more planning to enable the film director to get better views. Of course I would also need to justify my investment of time and effort in balance with the financial elements of my contract and the expectations of the film director. Balance making a profit with maintain a professional standard and the opportunities to win more work. Sometimes this may start as a loss leader

Contact Sheets
One of the important aspects of photography is the discernment in choice of images to submit. I've detailed below my contacts sheet. Some images across the different days will appear similar. This is as a result of visiting the Cathedral on days that had different light, e.g. one day was sunny, use of tripod and remote, hand held with high ISO etc. As mentioned above I found hand held with ISO in the dark locations under the crypt very successful but less successful in the cathedral where the light was dim but varying between light and dark across the scene. For this instances the tripod and remote combination was much more successful.

As an aside I did make a small donation to the Cathedral. There were neither pushy or needy. I was made to feel very welcome as I entered, at one time a vicar even apologised for what he thought was photo-bombing one of my images. They were very understanding of me using a tripod and in addition the solo tour to the crypt was a fabulous experience which enabled some of my best images in my set above.

Prints

As part of this Assignment I am also submitting to my Tutor some sample prints for him to perform a quality assessment of ahead of me printing submitting a set of prints as part of my People and Place formal Assessment submission

Printing recommendations

• Blacks could be ‘blacker’ – (Levels adjustments – www.Lynda.com)
• White borders need to be consistent since they only run on one side – Same width necessary on longer sides and correspondingly on the shorter sides.

Suggested reading/viewing

• Fabrice Fouillett – Corpus Christi

• David Sphero – Churches

• Hiroshi Sugimoto – Cinema series (Note how he used very long exposures and although his images are dark due to the low lighting, every detail is visible and beautifully represented).

Pointers for the next assignment

• Make a good edit for each assignment and send in around 30 - 40 printed images (the amended versions) for the final assessment
• Keep in mind that when editing that ‘less is more’ so choose only the individually strongest images (taking in to account the feedback forms that I wrote).
• Make sure the print quality is the best possible

Good luck with your assessment and with your further studies!

Thank you very much. I've really enjoyed this module and very slowly have started to discover how to influence my images with something personal, Image 11 above certainly was one of these in assignment 5 and there have been others in earlier assignments. Of course consistency in application and approach will help and my tutors persistently around slowing down has certainly proved good advice as I am pleased with Assignment 5 and the feedback is great as it shows how I could have done better.

I've enjoyed the street photography side of this and now feel much more comfortable shooting images in public and have learnt how to blend in better and therefore capture better images. Again, slowing down and remaining patient will give me better chance of capturing the moment, and in some cases also the light.

My tutor has also given me ideas for pursuing my own work, a series perhaps, alongside my studies and I think this is important

I feel I have progressed in leaps and bounds from the start of Level 1 and have a better understanding of what I want to produce and how to do this. I have now just started Landscape and I can see what a step up this will be but a great challenge and one that I will be interested to see how my work improves and how I can relate it to photography as a whole

I believe I am now starting to understand how to develop my personal voice and this will be an interesting journey and I can see how the advice I have been receiving is helping me progress my photography and my practice across many levels

Conversations in Sunset

One of the key elements I've learning about photography is to be opportunistic. Planning is always involved in some, at its basic its a camera body, lens, memory card, camera strap, bag etc.

However if you don't have a camera with you then you wont capture images at all. By camera I mean even phone with the ability to take and store images.

Light is another, understanding how this changes and how you can use it to your advantage. Its a thing of beauty and when used creatively it can create interesting images,

The image below is taken on a rooftop restaurant in Zia, Kos. Whilst sunsets were the prime purpose of the location opportunity often presents self and creative use of a camera in low light can help in the creation of interesting images.

With scenes of high contrast, unless indenting to create a HDR image the photographer is left with a decision of what to meter for. Spot metering for the sun ensures the lovely tones of the sun setting in the sky are exposed correctly and this will creatively create images of the diners in almost silhouette.

Creating an image for a stock library submission then this may work well and avoids potential requirements for model releases as the diners are not recognisable as individuals. However there is enough detail retained in the foreground to appreciate what they are doing. The reverse in exposing for the diners may result in a blown out sky and the appreciation of the setting sun lost.

So again, whilst opportunistic planning on the spot is still required in how to expose and frame the image. I've attempted to put the sun on a top third "zing" point and the image framing chosen to avoid some of the wooden structures. 

I think the art is making these decisions almost sub consciously and of course the clever photographer would have taken multiple images covering both exposure choices. I didn't do this and so even in the simplest of event activities I can in hindsight find a learning opportunity.

SEESAW Magazine - Kenwood Avenue by Adam J Long

Adam Long talks about the people within his mid-town community and how he has just set off from his front door taking images of people without a preset plan.

This is very interesting approach to capture images that you see rather than images you may want to create. Of course I'm sure there is much more to it than that.

http://www.seesawmagazine.com/longpages/longintro.html

His images are in black and white film.

My first impression is that whilst they are not perhaps framed well, and anybody doing street photography will know how difficult this can be, he captures simple elements and themes within his images that reveal small elements about the people he has capture and/or the place in which they live.

Unfortunately I'm not allowed to reproduce any of the images so will describe a few of them in my terms and let you find them within the website above:

The first image of the chap in long trousers, polished shoes and shirt tucked in with slick here looks a little bewildered by what he sees. He himself in the shade watching and capturing memories in his mind opposed to Adam Long who is capturing them on film.

What appears to be a door-to-door salesman taking a break with his suitcase progressing down the pathway leading to house front doors. Such a a simple image and of course I may mis-interpret what the man is doing but the inclusion of the main pathway, and short pathway to multiple houses I feel is a subtle purposeful inclusion in the image to let the viewer know what the man is doing.

The glamorous pose of the tattoo'd lady who appears to be a the shop assistant in the store. There is just enough information here to tell us what she does, the "pinny" and shop background. The tattoos suggest a different life in her past, on the doorstep a paint tub and coffee mug, in the doorway a large collection of balloons.Does she dream of a new life or is she reflective of a past life.....

There is a pairing of images and I wonder what Long whats us to take from them

The man I describe in the first image next to the is presented again along side an image of a cut-down tree. Does he stand then protective over his?

The images each of a car, a discarded fast food drink outside one and a large hat in the other. Both suggest heat and thirst and the cars look dated.

The pair of images with one with a car dented at the front and the other of what appears a tatoo'd father with protective arms around his young daughter. Though perhaps not attached, together they create a narrative. So, narratives can be created powerfully by a pair of images creating a narrative that the photographer wants you to discover...very interesting.

In a similar approach the tattoo'd man smoking barefoot with a coffee alongside the image of a mother / grandmother. I wonder if the narrative here from Adam Long is to suggest the man has gone off the tracks following the loss of a person constructive and meaningful within the subjects life. Again, a narrative is created by this pairing.

There are some additional images on his website for Kenwood Avenue and looking at his commercial work he again has some pairing of images, before and after

http://www.adamjlong.com/

This has been very helpful in that I've discovered how an unplanned approach taking your time capturing what seem to be simple images can be very powerful. Joining of images in a pair can create an interesting narrative, whether real or manufactured can be visually engaging.

Photography (Routledge Introductions to Media and Communications)

I've bought this book which can be found here on Amazon:

http://www.amazon.co.uk/Photography-Routledge-Introductions-Media-Communications/dp/0415428947Photography (Routledge Introductions to Media and Communications)


I'm not sure what to make of this book; there is very little in the way of images and I think it needs to be read with access to a PC for further research and identification of images. Of the few images in there I think only 1 or 2 captivated me, the rest seemed almost observational but with strange composition or at least they did not speak to me in any way. They did contribute to the point being made.

However where this book excels is in its academic information and the way its conveyed in written format. It appears aimed at people who want to gain and increase their knowledge and written in a very accessible way. I think at times there is a danger in art that some elements are kept aloft, aloof and away from the majority, descriptive use of words and theories that become baffling associated with images that are produced. The interpretation often over done. I wonder if the original authors themselves feel that is what their image represents and what they wanted to capture and express within their image. Sometimes for me its a case of the "Kings New Clothes".

This book however seems to remove this almost aloofness which is very refreshing. Whilst it is academic, the language is accessible, it involves and makes learning and understanding much easier. In addition the breadth of the book it what it looks at is far ranging and it gets in to the heart of photography, not just the image but the public's perception of themes.

There are many items which caught my attention, small snippets; whilst the Vietnam War is not comparable to the Falklands War in duration, or the numbers involved it was interesting reading that how photography of the Vietnam war and its reporting turned an American public against those involved and how the reporting with photography for the Falklands War was extremely restricted, not even McCullin could get involved. No one of course knew how long the Falklands War would last but history and public opinion driven by imagery was something the English Government wanted to avoid and a lesson learnt from the Vietnam War.

This is a book I will return to a lot, elements it picks up on are captivating, topical and interest. For me it opens up academia to those not part of either social or artistry elite. This is very important where digital photography and social media has increased beyond belief the numbers who know participate in photography. For this reason alone understanding and knowledge extension should be more available to all. This book for me does this and its a book I know I will return to again and again

Simon Roberts

Simon Roberts is a well travelled British photographer and is noted for his work travelling to many locations across Russia and has one several awards for his published work.Much of his images have been taken using a large format camera and interestingly he took a series of images using an old plate camera fixed on the top of a motor home he travelled in to enable a higher perspective for his images,

Simon's work can be found here:

Simon Roberts

An interesting set of images he has taken are those from the Philippines typhoon in 2014. He has combined portrait images of affected people and mixed these in with people dealing with the devastation from the typhoon. This approach is very clever as the portraits I felt brought me closer to the fact these are people like you and me, rather than distant figures. My research suggested that Typhoon Haiyan killed more than 7,300 people and that 1.2 million people were evacuated.

After the Typhoon 

When death tolls are announced there is I think a number that once reached and surpassed make it difficult for the human mind to process. The images of people up closer to the lens in contrast to some of the wide angle images  me allowed me to better feel the human cost and impact to their lives. He also mixed a few locations taking images at the same location separated by 9 months allowing the viewer to see the change

Another interesting set was:

The Social Landscape of Leisure

Here he captured almost landscape images of people pursuing leisure activities.

Michael Donald

Michael Donald

Not a mainstream photographer but successful in his own right. He has produced a set of images which I summarise below but need to be viewed on his website individually to fully appreciate how he has captured people and their interaction with place:

Michael Donald - People and Places

His images spoke a lot to me about the locations but also the people within them. When he wanted to, he creates a strong connection between the subject and the viewer. I found this aspirational.

Assignment 4 - A Sense of Place

Assignment Brief

As I always do, I'll add my tutors feedback in red within this post and and my comments in relation to them in green

The aim is to draw from the exercises explored earlier to produce 6 images for a specific location demonstrating an appreciation of what spaces and buildings mean for the people who live in and among them

We are tasked with producing an initial strong selection of 12 images then reduce this to a final 6 "publishable" images with a brief to fill around 6 pages of travel publication. There is emphasis on travel and not tourism. The images should have variety of subject matter and scale. In terms of scale I interpret this to not be the size of the published image, though in a publication this would matter, but of the scale of the scene contained within the image.

I'm not sure what size the 6 pages should be. Of course final publication space, format, expected amount of text might vary and these would be things I'd question when given the brief. Always clarify the brief, this may be by listening and questioning during the brief process or a discussion to determine more details about the expectation of the final brief. Important activities if you want to produce a set of images that meets the brief and to also get paid.

Assignment Ideas and Research

The brief points to a set of travel and not tourism style images. I could clarify this with my tutor but at this level we are expected to interpret and stylise with our own creativity.

Paul Theroux is a well known American travel writer and novelist. He is quoted as saying:

“Tourists don’t know where they’ve been, travellers don’t know where they’re going.”

Its an interesting quote and suggests to me that he feels the tourist is perhaps ticking boxes of places to visit for the sake of it and the traveller is a bit more adventurous with an aim of exploration and discovery.

I wondered what images would be selected for the covers of his books:

Looking at the book covers I noted they appeared distant, and though appealing, they were not intimate. Of course no doubt produced to a different brief that I am to follow. A key element missing from the pictures were people and their interactions with the locations.

I decided to investigate some covers of well known traveller magazines:

The Lonely Planet Traveller

The National Geographic Traveller

There seemed to be a common theme, great images but no sense of people interacting with place. This made me wonder if the brief was correctly described as requirement of images "for an intelligent, thoughtful travel publication (not tourism promotion)".

This pause for thought and consideration had me puzzled for some time. I then realised that perhaps the answer lay in what Theroux said and my view of what he meant. I interpreted his quote to mean "the traveller is a bit more adventurous with an aim of exploration and discovery" and there lay the answer to my approach. Find a location that is known but photograph elements of it that not only reveal its beauty but how people have discovered and explored elements around the pond and how they have interacted with them.

I decided on selecting one of Cannop ponds as the location for Assignment 4. The location is a short drive from me an the following Wiki page gives me detail to the location:

Cannop Ponds

To help me generate an improved sense of capturing images of people interacting with places I studied a few photographers and their work:

Michael Donald

Not a mainstream photographer but successful in his own right. He has produced a set of images which I summarise below but need to be viewed on his website individually to fully appreciate how he has captured people and their interaction with place:

Michael Donald - People and Places

His images spoke a lot to me about the locations but also the people within them. When he wanted to, he creates a strong connection between the subject and the viewer. I found this aspirational.

Simon Roberts

Simon Roberts is a well travelled British photographer and is noted for his work travelling to many locations across Russia and has one several awards for his published work.Much of his images have been taken using a large format camera and interestingly he took a series of images using an old plate camera fixed on the top of a motor home he travelled in to enable a higher perspective for his images,

Simon's work can be found here:

Simon Roberts

An interesting set of images he has taken are those from the Philippines typhoon in 2014. He has combined portrait images of affected people and mixed these in with people dealing with the devastation from the typhoon. This approach is very clever as the portraits I felt brought me closer to the fact these are people like you and me, rather than distant figures. My research suggested that Typhoon Haiyan killed more than 7,300 people and that 1.2 million people were evacuated.

After the Typhoon 

When death tolls are announced there is I think a number that once reached and surpassed make it difficult for the human mind to process. The images of people up closer to the lens in contrast to some of the wide angle images  me allowed me to better feel the human cost and impact to their lives. He also mixed a few locations taking images at the same location separated by 9 months allowing the viewer to see the change

Another interesting set was:

The Social Landscape of Leisure

Here he captured almost landscape images of people pursuing leisure activities.

This is an approach that I will aspirationally partly align to as part of Assignment 4

National Geographic - How to take Photos of People in Places

The National Geographic have produced a gallery of images with tips of how to take images of people in places. It contains some good help and very interesting photos:

National Geographic - How to take photos of people in places

Assignment 4 - My Aims

My aim was the following:

1. Capture engaging images of the location

2. Capture people interacting with their location

3. Create within my images "a sense of place"

I made 2 visits to the location capturing images in slightly different light. However a lesson I learnt from from the initial shoot was that taking a single camera body with an ultra wide angle lens meant I was not close enough to the people to capture them within my images so that their interaction with the location could be observed. My subsequent visit I took two bodies, one with a UWA lens and one with a more traditional 85mm focal length.

I needed to be seen to be observational and not interfering with people, not appear as a threat in anyway and simply enjoying myself as much as everyone else. I've learnt 2 techniques as part of People and Place:

1. Shoot and Scoot - Don't appear to obvious, take a few images pointing the lens elsewhere all the time focusing the mind on what you want, taking it and moving on

2. Blend into the Background - See someone with a camera and you yourself will look at them, not aggressively but out of interest. As the photographer people will do the same so accept what they are doing and why. If you go about your business people get bored and accept you. You can then observe and wait for that moment.

I recall Cartier-Bresson's words: “A photograph is neither taken or seized by force. It offers itself up. It is the photo that takes you. One must not take photos.”

I expect I am not alone in recognising a missed opportunity through carelessness, being too slow, or in the wrong place at the right time. I believe I may be starting to recognise this. An opportunity missed is just that but finding the right place, patience and anticipation are a combination of luck and skill. Do something to increase your opportunity, quite often this is simply moving from the well worn path

Tutors Overall Comments

Just like for the previous assignment, you could have taken more time to slowly explore your chose subject and also explore the various techniques that you have learnt for this section. You have done the exercises but they seem rushed and so does the assignment since you could have re-visited it several times.

Every time that you do a shoot you have the opportunity to analyse your work, see what was good about the images and what not and think about how you can improve them. This was definitely possible for this assignment since you have shown that you are capable of making good images but you have not used the opportunity to make excellent images.

You did create a good sense of the place but since the brief was to shoot for a ‘thoughtful travel publication that demanding a considered, in depth treatment’ a more profound approach was needed.

This required that you find the right time of the day, perhaps a sunnier day during the golden hour and experiment more with various angles and shot images with more variety for example experiment with different angles, shoot wildlife, and more people during some kind of activity.

In order to make excellent images even very experienced photographers need to re-visit a location several times and shoot a lot more that the amount that you shot for this assignment.

The images 1, 2 and 5 are the most successful in terms of the travel publication although there are several things that could be improved in them, which I will point out in the feedback.

My first reading of this feedback left me rather disappointed. I have not knowingly rushed my work actually making 2 visits, the second with a separate camera body following my review after shoot one.

Spending some time later and rereading this I think my work may require additional thought before during and after the shoot and a much more critical review of my images.  The words of my tutor "you have shown that you are capable of making good images but you have not used the opportunity to make excellent images." I think is the key and I do appreciate that he is very much trying to encourage me to up my game. Its consistency of images I need and/or recognition that when the the high standard is not met that I should consider and perform a reshoot perhaps rather than be accepting of images that may not be meeting the standard I should be aiming for.

Since receiving this feedback I have exchanged several emails with my tutor who has given me some additional help and suggestion of improvements

Assignment Images

I performed 2 shoots at Cannop ponds, the second shoot bringing a 2nd body allowing me to switch between a UAW lens and portrait focal length length lens. I found having 2 lenses gave me better freedom of image composition. I took a total of 92 images (pairs of jpeg / RAW) in the first shoot and 80 in the second shoot.

Following a review of my images I lower this to an initial 23 images, the contact sheet for these is below:

The brief asked for an initial selection of 12 publishable images. I selected the following giving a mix of people and landscape images but all 12 giving what I feel was a true sense of the place, Cannop Ponds

This now left a very tricky selection of 6 from this list. Having reduced this provisionally on paper to 8 I canvassed the views of 2 other people who new the location and asked them to select 6 images that they felt gave them as a set a good example of the feel of Cannop Ponds. Interestingly we had selected a consistent 4.I then chose an additional 2 images which continued the set. I left this for an afternoon then revisited the set of 12 and reduced set of 6 and was happy with this selection. This was 4 images of people interacting with the location and 2 image of the location without people to give a sense of the location and express how peaceful it is,

The Final Set

Image 1

For this image I waited around so that people stopped wondering what I was doing and I could wait for something to happen created by them. The central man in the water is in an almost contemplative mood with the people watching from each side of the frame and the small child in the middle. The dynamic here is the triangle created by them all, with all eyes leading to the man in the water

Image 1 – This image is very composed and you captured the scene in the right moment since there is a very good balance between the people and the place. You captured and described the ‘triangle’ of all people’s eyes leading to the man in the middle very well and that seems to create the balance between the people and the place.

The colours seem to be slightly off since there it has a ‘magenta touch’ in it. This would need to be balanced out if you where to send the image for printing or publishing.

Also for that purpose you would probably want to shoot this image in a sunnier day in order to enhance the colours and contrast. To shoot a scene as this one in the early morning or late afternoon could significantly improve the image.

Yes I did wonder why this image appeared duller than some other images taken at the same time, I think the dry mud areas and quality of light have not allowed me to capture the colours of the scene, certainly as I saw them. I had recognised this and attempted to correct this but it would appear it may need some further work. I have attempted to correct this moving away from potential magenta colours:

Image 2

I wanted to include a few landscape images amongst this small set of 6 so that the viewers could get a sense of the place. Why would you want to go here, what feeling does this location give you, why would you want to return? With this image I wanted to express the feeling of peacefulness and separation from the world. There were areas for people to enjoy as groups and areas to enjoy by yourself. In this location I could lose myself for a while and this is what I hope the viewer can also feel. Including the bank in the foreground gave better balance to the image and I was able to include the 2 trees, it could have been wasteful to have it filled only with water.

Image 2 – This image is very good since you did convey the feeling of peacefulness with this image although some interaction between people and nature would probably be make the image more engaging. 

Its a difficult decision balancing which images should have people and which should not when creating an image. I think what I should do is actually create multiple images of the same scene with and without people, with variations of angle and light. This then gives a greater choice rather than going with just a few shots of the scene I wanted

Image 3

This particular location is not easy to get for a sure footed person yet this lady has found her way to enjoy her solace. You can tell from her hair this is a lady enjoying her later years and if the image is enlarged you will see her walking stick on the seat. I moved quietly not wanting spoil this lady's thoughts and I can only wonder at what they are. I positioned the lens so that the lady and her light coloured clothes and hair are in contrast to the dark tree trunk. Everybody has different needs and each can seek different enjoyment from a location. Interestingly, and a sign of the older generation, is that she sits to one end of the seat keeping the rest available for anyone else to also sit down. Though not young these days I suspect I would have been unthoughtful and sat in the middle.

Image 3 – The image is well composed and overall a good image but not individually striking enough for a travel publication.

I think I have to agree here. However at the time of taking and working on the assignment I felt quite attracted and moved by this scene and the image I captured. Looking at it now perhaps some of that feeling has gone and I'm left with the image thats not creating the feeling I originally had. Perhaps this image would have been the better choice as it was the one I selected Image 3 over

Image 4

I took several images of this scene as the girl moved down and there is a connection in colour between the red of the discarded bike and the red of the little girl's hoody. I have deliberately keep the right hand corner in the frame to give an understanding of the width of the stream. There is an element of controlled or perhaps implied danger which i felt as a parent but also as a photographer.... what if she lost her footing? The image is slightly cropped and I have tried to include a sense of flow of the water from left to right and some tension as the girl moves toward and down the slope

Image 4 – This image is very good due to the composition and the interaction of the girl with its surrounding.  Also there is consistency with the colours (repetition of the red colour of the girl’s top and her discarded bike) and there is a tension in the image, which makes it overall very good.

However it seems to me that the location is not dramatic enough to represent it as a place of physical activity and excitement like a skiing or kayaking holiday so I am not convinced that this type of photograph fits in to the brief of representing this specific place.

Ah OK. My thoughts here was that I was  trying to create an image where people were interacting with their location

Image 5

This is an almost voyeuristic image taken through the branches of trees. Not all people take the time to stop halfway across a bridge to enjoy a view as this couple are. The bright colours of the couple in an interesting "pink for girls" and "blue for boys" seemed unusual for an older couple. The symmetry of the reflection in the water is what initially caught my eye. There is a bit more to discover as the man under the bridge is travelling down the stream and the young girl to the right waits for her Mum before she steps onto the bridge

Image 5 – This image is beautiful and it is very well composed. I like how the people create a balance and how their reflections are seen in the water except for the man in the pond. I think that he significantly disrupts the sense of peacefulness and harmony that this image was supposed to convey. Just as for image 1, this image would have been better if it was shot on a sunny day or in the early morning or afternoon light (golden hour) since the golden glow of the sunlight would add to beautiful colours and enhanced the texture and given the image the necessary depth in order to be outstanding.

I think then this image with its feedback is a good example of how to turn a good image into an excellent image. Its this change by setting my own bar of excellence higher than it currently is. The course work is about learning and improving skills and this is clearly one that I need to work on more

Image 6

This final image for me sums up the location in terms of obtaining a sense of place. This is later in the afternoon toward the end of my second shoot. I've attempted to create an image with a larger depth of field to give the viewer an insight of the location at a larger scale.  Often the issue with images like this is foreground interest. I picked up a small stone ready to gently drop into the water to break up the water causing ripples and already framing to include some of the grasses / reeds bottom left. However if you look closely I disturbed 2 small birds and their escape created the water ripples. I have slightly altered the contrast to create a bit more drama in the sky and also to help reduce the lighter area with the sun behind the clouds.

Image 6 –This image is very good in regards to getting a sense of the place but due to the dark dramatic clouds and the enhanced contrast it gives the viewer a sense of a place of danger. Also the splash in the water and the waves that it created without the source of it being visible and without any people in the image, gives it an unsettling and uncanny feeling. Individually I like the image because of the slight sense of mystery but for a tourist publication it might not be suitable.

I thought the contrast gave the image a sense of mystery and therefore opportunity for exploration for any potential tourist. I had not recognised its possibility for creating an image of a place with danger. I expect there is a potential fine dividing line between danger and mystery which as an explorer / traveller are interesting I feel. I've stripped most of the changes I've made, and wonder which is better:

Personal Reflection

What did I set out to achieve?

The brief asked for a final set of 6 images with a variety of subject matter and a variety of scale. I find this location to be very peaceful and it offers areas for groups of people to enjoy their space and also elements to interact with. I'm not sure at what size a pond becomes a lake but it is a fairly large body of water. The images need to be a set with the location or "place" as the central theme. In addition to the areas shared by people; for those willing to explore and walk around there are other areas and spaces where more solitude can be enjoyed. This interaction of the location with people or people with location and the feel of the location itself is what I have tried to convey in my images. In addition my goal is to create a set of images based for a travel and not tourist publication. In addition I reminded my self of my interpretation of Theroux's quote. Repeating my statement earlier " I interpreted his quote to mean "the traveller is a bit more adventurous with an aim of exploration and discovery" and there lay the answer to my approach. Find a location that is known but photograph elements of it that not only reveal its beauty but how people have discovered and explored elements around the pond and how they have interacted with them." 

How well did I succeed in my goals?

On my first visit I felt I was missing the reach of a longer lens that I was not getting with UWA lens. I was able to capture the sense of the place but not people's interaction with it. This first shoot also enable me to judge what images worked well and what didn't. On my second visit I had 2 camera bodies allowing me to quickly switch between focal lengths and in a few instances this speed allowed my to capture several moments that could have been lost. My tutor recommended more patience from my photography and I also interpreted this to be anticipation of activities, especially where people were involved. Interestingly no images from my first shoot made the final 6 though a few did make the interim 12. Whilst I have no problem in returning, had a been a professional this could have meant wasted time but I do have this knowledge and people say the best mistakes to learn from are often mistakes you have made yourself. However an excuse to visit this location again was very enjoyable. For this location I did not envisage any time of access problems, simply that I need to be mindful of pointing a camera at people. Earlier exercises with People and Place have helped my start to develop skills of being able to blend in and become unnoticeable and non-threatening. That said I always carry my student card and small mini-moo website publicity card just in case. How well did I succeed? I think I need to understand my current skill set and ability to see to determine how well I did. I've no doubt I could do better as its a constant learning process, "move-in, change the angle, change the height, wait longer" etc however I do feel I have captured an element of the feel of location in my images and that includes the serenity of the location and how it can be used by people, My final 6 images are all in landscape, the targeted publication would have resulted in specific format and layout but as this wasn't a feature of the brief I've interpreted to be the in this format. I enjoy this location and I hope an element of what I feel is included in my images

How might I have approached the assignment with no end result in mind?

Creating a final set of 6 images was of course very restrictive and perhaps  akin to explaining to someone a location description in just 6 words. However what this means in practice is that I felt I needed to have a very clear goal in mind and try to use the whole frame to capture my visualisation. This is of course the key; A set of 50 images may capture it all, but to do this in a very small number is the challenge and the art of photography. It made me slow down, be more patient and think more and I hope this can be seen in my final set. I've no doubt the keen eye of my tutor and his experience will find ways for to improve and to get better. I think this set of 6 images far better explains a sense of place than what 6 words could and this restriction enables me to give better clarity

Learning Logs or Blogs/Critical essays

Your blog is very good and have been sharing your thoughts on your work but also on your research very well so it is on track right now and doesn’t need any specific improvement.

Suggested reading/viewing

I would recommend you to continue your online research as well as visit some exhibitions. The OCA blog always keeps you updated on the recent shows and publications.

Here are also a few websites focused on photography such as:

http://www.1000wordsmag.com/

http://www.photomonitor.co.uk/

http://www.seesawmagazine.com/

http://photocaptionist.com/

Also there is a great book called: ‘Street & Studio’ where there are various photographers published who worked in the studio as well as on the streets.

Select the photographers that you find interesting or intriguing and research them and document your reflections on how they inspire or help you in your practice.

Thank you very much for your suggestions for research

Pointers for the next assignment

Think about a subject that you would like to work on and choose an imaginary client that gives you an assignment to work on.

Take your time making the choice since it is important that you choose a subject that you are interested in and therefore can engage with it entirely. If you are not happy with it feel free to start again since it is important that you are excited about it since it the last one for this course module.

Try and incorporate everything you learnt form the previous assignments and from this feedback.

Feel free to e-mail me when you have decided on the subject or if you are having trouble deciding and we can have an informal chat about it.

Also please send me some printed images from this or the next assignment so I can give you some feedback on the quality of the print before you send you work for formal assessment.

I have discussed printing and also my plans for Assignment 5 with my tutor across several emails following receipt of my Tutor Feedback for Assignment 5