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Folio 3: Finals and Evaluations

Editorial Fashion: ( in place of GU collab )

This was my favourite brief in this Folio, because I was able to create something more true to my interests and style. I was able to work with two close friends who are experienced with modelling and creative projects such as this one. Therefore I was able to still work with the collaborative element as pitched to us with the collaboration earlier in the year, while doing it on my own terms. I had wanted to create a project like this for a few years and so when the opportunity arose for Editorial fashion work, it was a seamless process. Planning happened over the course of a few weeks, with different meetings to cover things like outfit or makeup stying, locations or model posing. As a result I feel my strengths lay with communication and cooperation. I made the effort to keep everyone in the loop, from the inspiration stage right through to the final selection process. However weakness came through when posing, although it had been thought through and discussed prior, my model was more experienced in this area and I was quite indecisive when giving direction.

I chose to include this image because I chose it for the exhibition

Urban Landscape:

For this brief struggled, my creativity felt brunt out and I was uninspired. But I was excited to create another zine, like the first one I had made for Folio 2. I definitely tried a few different words, trialing out different things both in Glasgow and Edinburgh before settling on the ‘Old and New’ of Glasgow architecture and street scene. I wanted to create my first black and white zine so shot with this in mind, but my downfall was with the editing, I don't feel as experienced with this style and although that’s exactly why I chose to do it, I don't feel the final images are aesthetically cohesive as they could be.

Landscapes:

For this brief, I created a series of images, trying to follow their footsteps with my own twist. This resulted in a lot of experimental work, shooting and editing, I stepped out of my comfort zone with this type of photography in another effort to push myself another step further once more. On the side of weaknesses, I don't feel the images are particularly interesting, and so I feel this would be an important project for me to continue with in my personal practice to work on this. On the other side of this, I again was able to stay true to the images I wanted to recreate or reference.

Man Interrupted:

I really enjoyed this brief, it encouraged me to think outside the box in a different way, looking around my environment for things I wouldn't normally. it gave me a different perspective. Initially I wanted to document one of each, a creatively interrupted and something left by man but I feel this image could fall under either.  I feel my weakness was maybe not exploring it enough, I came out with two clear images pretty quickly and knew they were what I was looking for. Whereas I think my strength was composition, I intentionally lined up the black of the trees with the white of the post and the black of the post and white of the beach. I feel this creates a bold aesthetic. 

Graded Unit:

And the end of it, I didn't want to see my images again, 127 hours drained me of feeling towards my work. But I know I can say I pushed myself as hard as I could, perhaps too hard. But I stayed true to my self and my ideas, I didn't want to a concept or topic for ease or because it’s what everyone else was doing. I feel my strengths also llay with my determination and work ethic. Whereas one of my weaknesses was my final selection, I felt a lot of pressure because of the higher quality that was required and played it safer than I needed to. 

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Folio 2: Final Images and Evaluation

Glassware:

Overall this was one of my favourite briefs, the research was challenging but I focused on finding something a way to do this project in a way that excited me. I found research to reference and work from but the plan changed as i experimented. This was a project where I could really see my idea development. I feel my strength was having a clear idea and then being able to go with the progression and creativity as it came to me. I found pretty quickly that I wanted to create something quite different to the typical style of shot I had seen with typical product imagery. whereas I feel my weakness was composition, I feel this image would be stronger if more of the refection was in shot.

Something Told: 

This was another of my favourite briefs. I found the research on Vanitas fascinating and really enjoyed trying to piece together something inspired with things I already had in my possession. With lemons to represent the bittersweetness of life, skulls for death, flowers for a sense of time and impermanence and a photography book to link to my work, I combined traditional symbolism with my own journey to an extent. Aside from the lemons and strawberries, everything was important to me. I feel my weakness was during the selection process. I took over 300 images in total, experimenting with specific objects and placement, even the curtain backdrop which I had to abandon when I couldn't quite get it right. Whereas I feel my strength was staying true to my research and inspiration throughout the process. 

Lighting Up The Dark:

Overall I really struggled with this brief, things in my personal life made the idea of going out to shoot in the dark really challenging. Additionally I misinterpreted the brief and created images using a different technique with the light facing the camera instead of away from it. Therefore my weakness lay there. Additionally by the time I had realised my mistake, I didn't really feel safe to work on this project and stuck to something far more simple. Consequently I feel my strength was staying focused and working hard to still create something on brief. 

Creative Carbon: 

I had mixed feelings about this brief, again personal issues made the idea of collaborating with external companies really overwhelming and so I knew I would be opting for a more landscape focused approach that I could research and handle myself. I’m glad I did this because I heard a lot of people having difficulty hearing back from the people they wanted to work with. I tried one route with a set of community built bike trials and then was fortunate enough to come acids a tree thinning project when shooting for another brief. Again I feel my strength lay with utilising opportunity and 

Zine 1: 

Again this brief I had a lot of mixed feelings about, I didn’t feel very experienced with making zines and I found it difficult to decide on a theme or cohesive subject. It came easier with the decision to pair a set of images with some poetry I had written in the past. I was grateful to shoot all that I needed first time around, but with men shouting at me in the street and following me home, my emotional investment with this brief fluctuated. And so I was able to pair images, feelings and words. 

Saikou ( on location )

Saikou on location

I really struggled with the studio portion of this brief so was excited for the chance to try again with the merchandise. I knew that my friends would be keen to help me and as a bonus the clothes were inkeeping with their personal styles. I had experimented with a location shot or two while waiting my turn in studio and decided to built on the image I got from that. I used the lift at my flat, trying out different sitters and numbers, using the lighting and design of the lift to create a more industrial atmosphere, contrasting to my prior studio work. In terms of weakness, I feel some of my compositions could have been stronger and the final edits could be tidied up more if had time.

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Landscape: Contextual

What's your definition of landscape photography?

Name three good quality publications that use landscape photography.

1) National Geographic:

For more than 130 years, the National Geographic Society has funded the best and brightest individuals dedicated to scientific discovery and understanding of our world.

Our historic commitment to dauntless exploration dates back to our founding in 1888 when 33 prominent scholars and scientists established an organization dedicated to the “increase and diffusion of knowledge.”

Today, National Geographic Explorers are continuing to push the boundaries of knowledge, uncovering new insights about the natural and cultural worlds, and strengthening our connection to them and one another.

They feature other collectives like culture and education but one of their main focuses is Envrionment, pairing stories of things like conservation from around the world with stunning photographs where they take place. 

https://www.nationalgeographic.org/society/our-story/

2) Green (Magazine)

“green magazine is published bimonthly by Green Press P/L and distributed nationally by Ovato and as a subscription service.green is a leading architecture, design, travel and landscape design publication. The magazine shares stories about sustainable design featuring local and international houses, gardens and profiles.green wishes to acknowledge the Traditional Custodians of Country throughout Australia and pay our respects to the Elders past, present and emerging.We extend that respect to all Aboriginal and Torres Strait Islander people and recognise their rich cultures and continuing connection to land and waters.”

https://greenmagazine.com.au/designbook/articles/landscape/

3)

Name three companies that use landscape photography in their promotional material. Why do they use it?

1) Innocent Smoothies 

“We took our smoothies along to a music festival, where we put up a big sign asking people if they thought we should give up our jobs to make drinks out of crushed fruit instead. Underneath the sign, we put a bin saying 'yes' and another one saying 'no', then asked people to vote with their empties. At the end of the weekend the 'yes' bin was full, so we resigned from our jobs the next day and got cracking.

Since then, our dreams have got bigger and bigger (while our drinks have stayed about the same size). Now we're on a mission to keep people healthy, help out the communities who need us most and make sure our planet becomes healthier too. That's why we pack our little drinks full of good stuff, give 10% of profits to charity and have pledged to be carbon neutral by 2025.”

https://www.innocentdrinks.co.uk/a-bit-about-us

Their advertising artistic landscape designs while their product material features a lot of different natural landscapes. As they say, it’s about showcasing their products “in a more appealing way”, but it remains in keeping with what they are promoting. Their smoothies and juices are vibrant, healthy and refreshing, landscape backdrops are a good way to emphasise this. 

2) Ford 

 Ford is another company that features photographic landscape backgrounds in their promotional imagery. They are a car company and utilise the possibilities that come with location shots rather than plain white studio for example. 

 In doing so, it opens up the opportunity of their products, allowing their customers to expand their thinking with the car taking them further in sort of a pre-visualised sense and physically when its theirs. 

“We believe in the power of creating a world with fewer obstacles and limits, where people have the freedom to build a better life and pursue their dreams.To shorten the distance between where you are and where you want to go.To connect people down the road and over the horizon — to discover possibilities, and enjoy the thrill, adventure and pride of moving freely.”

3) Doc Martens 

Doc Martens are a shoe company that cater to everyone and quality landscape photography is important to their marketing and advertising. They are a brand that say:

“In the era of the global village and social media, every aspect of youth culture and subcultural style has changed. Yet diverse individuals, fans and subcultures still champion Dr. Martens, attracted by its unique alternative appeal and authenticity in a world of homogeny.

In 2010 a revitalised Dr. Martens celebrated its fiftieth anniversary: five decades that have witnessed the brand’s adoption by a diverse range of tribes, celebrities, musicians and free-thinking individuals – each subverting and twisting the boots and shoes to their own personal needs, attitudes and identity.”

Combining studio and location product shots, Doc Martens consider their styling, pairing the items with a complimentary or contrasting landscape background. This is important to showcase their products. 

I also feel it important to note that there are Universal crossovers with products and brands and their need for Landscape Photography. It is not specific to who I have mention, I wanted to cover a few different areas instead. 

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Landscape: Interrupted

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Landscape: Contact Sheets

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Urban Environment: Contact Sheets

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Editorial Fashion: Final Images

Exhibition Image:

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Landscape: Inspired Images

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Landscape: Research and Inspiration

Tell The Story 

Justin Minns; https://www.justinminns.co.uk/gallery

http://www.beyondgroup.info/justin-minns.html

https://www.instagram.com/justinminns/

I came across the work of Justin Minns when researching Landscape photographers and after looking at his work, I decided to see what I could learn about him. The main thing that stood out to me is that he is a “I’m a proud member of Nature First: The Alliance for Responsible Nature Photography and I’m dedicated to following the Nature First Principles”. This includes things like having respect for nature and your chosen landscapes and environments accompanied by leaving no trace, consideration for rules that are a part of these places and putting the well-being of nature above the photographs. These are all things I believe in and so I found to refreshing to find a more mainstream and regimented or laid out approach to these principles. Minns has been working as a landscape photographer for a number of years but also teaches 1 to 1 workshops which allows him to pass on his knowledge and experiences. 

“ The joy of landscape photograph for me is the being there. Being a part of nature and witnessing its wonders. Those wonderfully unpredictable conditions and fleeting moments of light that make the heart beat a little faster. The thrill of watching the first light of the day creep over the frozen stillness of a wintry landscape, while the air and my fingers tingle with the cold, and the challenge of capturing the atmosphere of moments like this is what it is all about.”

Another reason I decided to look closer at his work because he has a wide variety of sub genres within the Landscape field. 

The first one I looked at was his panorama work:

1) 

I feel this is a strong example of his work and landscape panoramas because he has successfully included the entire scene rather than a small segment while keeping the separate elements vibrant and sharp. The lighting looks soft and natural, complimenting the environment while enhancing the different forest tones and textures. 

The second I decided to look at was his black and white work, titled Mono

2)

This image stood out to me because of the atmosphere Minn has both created and captured. There is a very ominous presence to this landscape, which I feel is enhanced by the black and white edit. The balance between the dark, dynamic shadows contrasts the softer, wispier sky and water surfaces that are much brighter. Additionally the shape of the man made structures look juxtaposed and add to the mysterious nature of the environment, as though they have appeared from the mist. 

For the third I chose his Close Ups work

3) 

Immediately this photograph caught my eye, because I haven't seen this type of landscape image before. With a vulnerable and delicate feel, I feel this is a strong image because it has been captured in a way that allows the flowers and natural flora to fill up the space. We can’t see any typical horizon or sky lines. The focus is instead on what usually might be seen in the foreground of a landscape image and the content that builds many natural landscapes. The use of long exposure means that the movement of the flowers and the particular environment is what has been documented. This compliments the more delicate nature of the flowers and overall colour palette. 

https://www.amateurphotographer.co.uk/technique/landscape_photography-technique/intimate-spring-landscape-photography-with-a-difference-163520

2) Kristin Hart 

https://www.instagram.com/krissihart/

https://www.kristinhartstudios.com/about

I could’nt really find any other information about her but currently based in Florida, Kristen Hart is a landscape photographer who uses pastel tones to tell the story by capturing perhaps a typical environmental scene and then introducing and creating an ethereal atmosphere.  I decided to use Kristina Hart because I like to support and learn about more undiscovered or lesser known photographers and artists. I also don’t have any experience with her style and I appreciate how she wants her audience to observe her work as she says below: 

“What do you want people to do or feel when they encounter your creations?

When looking at my pieces, I want viewers to blur the lines between where they are and where they want to be” 

https://www.wescover.com/blog/2020/08/28/kristin-hart-studios-ethereal-landscape-photography/

I feel these two photographers’ style is quite modern or contemporary. Whereas if you look back further at Landscape photography, it is more traditional. Ansel Adams is one of the world’s most famous landscape photographers, known for his illustrations of some of America’s National Parks and mountain ranges. He was dedicated to his work that balanced the presence of man in nature in an artistic way, rather than documentary. Although experimenting with colour, he predominantly worked in Black and White.  

I chose to look closer at this image, it’s not one of his I have seen before. With a composition that highlights the natural layout of the landscape, there is a considered placement of shadows and contrasting elements. It is a good example of some of his other work, illustrating more of a smaller scale environment and how his skills are transferable.

https://www.anseladams.com

Edward Steichen was another famous, more traditional landscape photographer. He was a photographer and artist, working in portraiture and still life as well as landscapes. This image of his immediately caught my eye, with a gloomy atmosphere and soft feel, I feel it is a strong example of urban landscape imagery. There is an interesting perspective that reminds me of a reflection with the composition framing the tower blocks with the bare trees.

http://www.artnet.com/artists/edward-steichen/

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Landscape: Man Interrupted Final Images

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Urban Environment Zine : The Old and New

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Editorial Fashion: Research and Inspiration

1) Portraits of Girls by Lachlan Bailey for Vogue

https://www.instagram.com/lachlanbailey/

Lachlan Bailey is a well known and established photographer, famous for his work with Vogue and Portrait pieces. Based in New York, Bailey specialises in fashion and portraits, working with many big names such as DKNY, Harper’s Bazar and Louis Vuitton.

I feel this is a strong image because of the composition and darker atmosphere. The green and black colours compliment each other while the darker shadows help to create a more mysterious atmosphere. The styling of the subject is very dramatic and works well with the natural environment she is in while the more glamourus element of her appearance adds contrast. Her stance and posing allows her to fade in more with the lower foreground of the image. It stood out to me because although there is a darker aesthetic, there is still a good quality of light which highlights the fashion element and  the more wild choice of location. 

https://www.portraitsofgirls.com/andreea-diaconu-photographed-lachlan-bailey-vogue-paris-september-2016/

2) Agata Pospieszynska, Harper's Bazar Russia October 2016

Agata Pospieszynska is a portrait photographer based in London. Originally born in Warsaw, she began her photographic journey following a reportage style then transitioning to fashion. I came across her work through this project she did for Harper’s Bazar in October of 2016. 

Similar to the series above, I feel these are strong images because of the overall mood and quality of light. The dark styling compliments the less vibrant or saturated forest scene,  with a more moody and solemn atmosphere. Her posing reinforces this while she looks like she could be both at home or trying to find her way.  

https://www.harpersbazaar.com/uk/culture/culture-news/a38054233/agata-pospieszynska-photographer/

https://www.instagram.com/agatapospieszynska/

https://www.patriciamcmahon.com/person/agata-pospieszynska/

3) Someone familiar 

When thinking about this brief and the route I wanted to take, Morgan Riley was one of the photographers I knew would be of influence. Living in the mountains, Riley utilises her natural surroundings, creating wild and ethereal portraits of the self and her clients. 

I chose to look closer at this photograph that takes on a more of an editorial style approach, with soft lighting and dark tonality. The strong composition and sitter placement frame her body in a flattering way while leaving space for the ‘fashion’ detailing. Again there is a good quality of light that helps create a more refined editorial portrait. I feel this is also a strong example because there is a sense of feeling and I don’t feel this is typical of editorial fashion work. 

I feel these pieces best reflect what I am aiming to create for my editorial fashion project. I feel more drawn to the idea pf creating something utilising the natural environment rather than the typical street or studio style set. I feel these images are more interesting because the more dressed up styling or appearance of the subject can be put on show more, rather than seeing how it might typically be worn by everyday people in the real world. 

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Editorial Fashion

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Editorial Fashion: Test Shoot

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Lighting Up The Dark: Evaluation

Overall I am happy with my final image. It has been a long time since I have worked on an outdoor project focused on light painting. And so I experimented with a few different ideas, playing around until I found what worked within the brief best whilst working with content I still found exciting or could engage with.

I really struggled with this project, because I do not have that many people I can rely on to accompany me at night time and this is when I am typically most anxious or on edge. Therefore while experimenting around the brief, I had to push my own boundaries and find the balance between taking myself one step further with my light painting but also staying safe and responsible. 

I could improve this image by lighting more parts of the leaves but I am happy with the selectively lit parts creates. 

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Tree Thinning: Still Life

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Zine Brief: Melancholy in Solitude