tammyyaoarardn716

[tammyyaoarardn716]

I am planning a photography exhibition that explores the relationship between human presence and the environment. To better convey an immersive experience, I added virtual characters to the rendered space to simulate a "real viewing experience." This approach helps demonstrate how the exhibition might be perceived in a physical gallery setting.

The layout follows a deliberate sequence—from an initial series of photographs taken by the sea to the final edited images depicting environmental degradation. Through this contrast, I aim to evoke emotional responses and guide the audience through a gradual visual narrative, highlighting the shift from natural beauty to ecological crisis.

[tammyyaoarardn716]

Week 11 | Prepare exhibition of photographs

Understanding “visual language” and “presentation methods” in different contexts

I set up an interactive area with a themed photo wall and a motivational message area.

The introduction (“What changes are you willing to make?”) guides viewers into the image area. Different walls display different themed content (images/charts/reflective quotes), showcasing a variety of presentation methods.

[tammyyaoarardn716]

exhibition test

My preliminary design for the exhibition layout features grey concrete flooring to evoke an “unstable ecological field.” At the center, a transparent Earth symbolizes a planet ensnared by a fishing-net carpet, gradually disappearing like a fish.

I plan to set up four zones, each representing a different theme and addressing a specific marine issue.

[tammyyaoarardn716]

Strategic adjustment

I experimented with shooting different scenes and used props and body language to construct ecological metaphors and symbolic visual language.

In terms of technical practice, I completed lighting setup, underwater composition, prop experimentation and testing, and began using Photoshop to experiment with surrealist-style composites. Although the images are preliminarily complete, further refinement is needed in post-production to enhance visual consistency and detail expression.

The focus moving forward will be on unifying image editing, writing work descriptions, and finalizing the exhibition layout.

[tammyyaoarardn716]

Research

This website provides key recommendations related to photography exhibition planning and proposals.

Pitch the Work: Highlight the core issues of the project: What is it exploring? Why is it important? Write in a concise, visually clear manner, avoiding overly theoretical language. Include the following: project title, concept overview, technical methods, proposed exhibition format, anticipated audience impact, etc.

Exhibit the Photography: Propose a clear exhibition format: wall-mounted displays? Projections? Sequential photo series? Installations?

I hope my photography is not merely composed of “beautiful images” but conveys deeper metaphors about ecological crises, freedom, and control.

Video Emphasis: The exhibition should not be just about “hanging pictures” but about telling a story through spatial structure. This means I need to consider

The emotional progression of each image series (e.g., from purity to pollution, from freedom to crisis)

The positioning of each work (central? corner? transitional?)

The viewing sequence experienced by the audience

Whether to incorporate guiding text, title cards, props, or sound elements

The ultimate goal is to make the images “speak,” allowing viewers to read the work as they move through the space.

[tammyyaoarardn716]

research

Indissoluble focuses primarily on creating innovative exhibition spaces for museums, art galleries, science museums, cultural exhibitions, and brand exhibitions. Their work combines spatial design, lighting, multimedia, and interactive technology, emphasizing an “immersive audience experience.”

Inspiration for my exhibition project:

Set up a large installation at the entrance to create a sense of immersion. I plan to use transparent spheres, symbolizing the global ecosystem, seemingly complete and transparent, yet surrounded.

[tammyyaoarardn716]

Try to make exhibition in an appropriate gallery space

The video discusses placing all photos that can resonate with each other together to tell the story you want to tell.

I organised my photos and plan to place

Beach ↔ Railing Natural vs. artificial ‘boundaries’ The walls on both sides are placed opposite each other to create a dialogue between spaces

White dress ↔ Black dress Ideal body ↔ Polluted body Contrasting colours are used to create emotional contrast

Fishing net ↔ Warning tape Natural predicament ↔ Social structure

It also mentioned framing + glass = authentic experience

[tammyyaoarardn716]

Week 10 | In-Class feedback

This Week’s Feedback from Lecturers and Peers

Peers:

Make the concept more powerful and establish stronger visual and emotional connections between each section of photos.

Some photos taken by the poolside could be edited more thoroughly to enhance the audience's sense of immersion and engagement.

Lecturers:

Start arranging the photos and review the entire series to identify which images work well together.

Look for any gaps in the narrative; this will help determine whether additional photos are needed.

Decide on the story you want to convey and consider what text might be necessary to support it.

If more photos are needed, I can contact the Mermaid Agency. They can provide guidance at the beginning of the photo shoot—for example, tips on how to approach mermaid-themed photography.

[tammyyaoarardn716]

More editing in Photoshop

[tammyyaoarardn716]

Week 9 | feedback

This week, Ashleigh and I paired up to conduct a peer review of our work and images.

- The current images cover multiple scenes, such as underwater, waterside, and seaside, but more in-depth image editing and visual unification are still needed.

- Viewers may not immediately understand the metaphors and concepts conveyed by props such as fishing nets, plastic bags, and red lights, which may weaken the depth of the images.

Next steps (based on feedback)

Props Description Diagram:

Fishing nets: Represent institutionalised control and overfishing

Transparent plastic: Symbolises pollution and suffocation

Red lights: Environmental warnings

Black/white dress contrast: The transformation between ecological purity and pollution

- Conduct more editing

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 Week 9 | Project Shortcomings and Reflections

The original plan was to shoot by the sea, but due to cold weather and model safety concerns, we switched to an indoor pool. While this provided greater visual control, it partially weakened the natural feel and authentic ecological backdrop. We may explore combining post-production compositing or custom scene setups in the future.

I used props such as fishing nets, plastic, and red lights, but the narrative coherence was slightly fragmented, and some symbols were not fully integrated into the visual logic. I plan to address this by establishing clearer ‘role functions’ and ‘situational motivations’ for each group of photos or phase and by using text to supplement the narrative.

[tammyyaoarardn716]

photoshop edit experiment

To blend the model into the scene, I added soft shadows below using a soft brush and the layer blending mode ‘Multiply.’ I used the ‘Smudge Tool’ and a mask to fine-tune the areas where the model meets the background, making the edges less harsh. I used the ‘Dodge Tool’ to enhance the interplay of light and shadow between the character and the surrounding debris. The goal was to integrate the character into the scene.

[tammyyaoarardn716]

Context, content and concept

Originated from my observations at an aquarium. Fish appear to swim freely and gracefully behind clear glass, yet they cannot escape the confines of their captive environment. Meanwhile, real-world ecological issues such as marine pollution, plastic waste, and overfishing are growing increasingly severe—human domination of the sea reflects our misunderstanding and desire to control freedom.

The work uses photography as a medium, constructing a relationship between the model and a series of marine issues through a series of symbolic scenes, props, and actions.

A white dress, a coastline—the model approaches freedom but cannot enter the true sea.

The floating sensation on a boat symbolizes the illusion of freedom and a state of rootlessness.

Entangled in fishing nets, with plastic covering her face, she conveys a sense of suffocation.

This project aims to remind the audience that we are not only consuming the ocean but also our agency. As we gaze at the fish, we also expose our predicament.

[tammyyaoarardn716]

Week 8 – 3 main challenges and action plan

1. Due to weather restrictions and model safety considerations, I was unable to complete the original shoot on the natural coastline and had to move to artificial spaces such as swimming pools. However, artificial environments struggle to directly convey the authentic texture of ‘nature being destroyed,’ so post-production editing may be considered.

2. The shooting process is easily disrupted by spatial constraints, time limitations, and foot traffic. Shooting in public spaces often faces issues such as restricted use of equipment and interruptions to the creative process caused by foot traffic, especially when attempting to express abstract themes, which may attract unnecessary attention or lead to misunderstandings.

3. My photographs have a certain degree of abstraction, and I am concerned that viewers may struggle to understand the metaphors within the abstract themes, instead interpreting them solely as fashion photography or aesthetic imagery. Consider adding real-world background data to the explanation as supplementary information.

[tammyyaoarardn716]

Research

WWF (World Wide Fund for Nature) has partnered with Grey Malaysia to launch “Your Plastic Diet,” a globally influential environmental communication project. The initiative transforms abstract scientific data into an easily understandable visual metaphor by illustrating microplastic intake as “the weight of a credit card per week” sparking public awareness and action on plastic pollution.

I plan to incorporate visual data associations into the exhibition. For example, when was the last time you used plastic? This prompts viewers to reflect on their own habits.

[tammyyaoarardn716]

Contact Sheet

Originally, I had planned to complete this series of works by the sea. However, during the shooting period, the weather turned cold. Although the sun was still shining, the cold wind was still biting. Out of consideration for the model's physical condition and shooting safety, I decided to abandon the original coastal plan and instead seek a more controllable and milder alternative environment.

Initially, I tried contacting public swimming pools within the city, but the high foot traffic on-site, combined with the fact that my current shoot leaned toward emotional abstraction in its expression, made me feel uneasy about potential onlookers or disruptions, leading me to ultimately abandon that option. Finally, I reached out to a classmate and learned that the indoor pool in his apartment complex was virtually unused on weekdays. The temperature was suitable, and the environment was quiet, allowing me to complete this experimental shoot without disturbing others.

This process also made me realise that photography is not only an art of aesthetics and composition but also involves judging and balancing real-world conditions, interpersonal relationships, and creative ethics.

[tammyyaoarardn716]

Preparation before shooting

For the next shoot, I communicated with the model in advance and asked her to prepare a set of black clothes and a set of white clothes to create a contrast between the visual effects on land and in the water. At the same time, I will also experiment with the props I prepare.