ocamartynrainbird

Assessment Submission Statement

Submission Summary

Learning Log menu on the left for all coursework, assignments and research
Printed submission for Assignments 1, 2 and 5 contained in A3+ black print box
Assignment 3 eBook can be found at: http://online.pubhtml5.com/roqo/qfzt/
Assignment 4 essay, tutor reports and this summary statement on GDrive

Submission Statement

On reviewing my progress in this module I realised how much of myself is contained within it. I suppose all artistic work incorporates an unconscious bias in terms of the subjects conveyed and the presentation style. However, on commencing the course I thought the main challenge of photography was to capture something in a way not seen before. There is an element of that but I have realised, through the two modules I have studied to date, the creative possibilities of conveying feelings and narratives.

In Two Sides of the Story I gave away my political allegiance. In Photographing the Unseen I dug into my past presenting to the outside world aspects previously only known to close family. I wasn’t brave enough to be seen in Putting Yourself in the Picture but allowed the viewer in to my home and to see my pastimes. My childhood returned for Reading Photographs in the form of Abelardo Morell’s Toy Horse. My present self came to the fore in Making It Up where the lens captured a contemplative moment.

I surprised myself with the personal nature of the assignment submissions especially as the syllabus began with documentary, which I had initially seen as presenting someone else’s story. As I progressed through Photographing the Unseen I chose myself as the subject in Can You See Me Now as an alternative to choosing generic subjects such as the environment or capitalism. This was a difficult decision to bring my past in to the present but it felt like the right thing to do at this time in my life. This was an important and influential step in producing my final piece, Out of Time, for the Making it Up assignment.

Although rework was not applicable for my first assignment, tutor feedback emphasised the need to concentrate on delivering the intention. The second assignment was well received by my tutor. I removed the superfluous captions as my tutor felt the story was already contained within each image. Unfortunately I went to the other extreme on assignment three, resulting in what my tutor described as an unclear narrative. Adding a textual device and varying the layout of the eBook improved this aspect. The addition of a proper title, 21st Century Man, added further context to the submission. My critical essay The Colours of Childhood required a lot of research and the writing of many drafts. The reworked version was improved by removing a 19th century reference and instead expanding on a 1980s Paul Graham reference contemporaneous with the image being analysed.

Early on in the course I had discounted researching my tutor’s recommendations. I looked at them but none were inspiring me to the extent of putting in my time and energy. When my tutor recommended Peter Fraser, however, I started to see the value in researching work that I didn’t understand or like. This was most evident with Nigel Shafran’s Washing Up series. I was initially critical of this work but chose a similar mundane approach for assignment three. This helped me understand the decisions and difficulties in producing images of this type. Gregory Crewdson and Teun Hocks were major influences for my final assignment image where I combined a cinematic psychological scene with a self-portrait.

I feel my emergence in to view at the end of this module mirrors my progression as a photography student. Gaining the skills and confidence to direct models and actors will be my next challenge.

Assignment 5 – Reflection

Here are the notes I made regarding the assignment that are incorporated in the tutor feedback form.

•Tutor was “really impressed” about my assignment 5 image. This was a
very pleasing note to finish the course on. This has been the most
enjoyable and rewarding assignment that I have worked on to date.
• Confirmed that the image encompasses all the aspects I wanted to
address.
• Analysis of the image is strong.
• The research and development are demonstrated in the final image.
• Annotated contact sheets were useful in reaching the final edit.
• Self-evaluation captures the main points well.
• No re-work required.
• Good to see reference to Mark Wallinger’s ‘nativity’ image in research.
• Discussed Hay on the Highway book and marksofhonour.com.

I am very pleased with the outcome of this assignment. The research and planning paid dividends in the submitted image. It was my first foray into lighting a scene and self-portrait. The attention to detail required for just a single shot was enlightening and rewarding having previously only produced series.

Visiting a Gregory Crewdson exhibition last year and revisiting his work as part of research in the course notes had a huge influence on the style and feel of the image. I felt confident in my choices including the use of the blue spotlight, high viewpoint and inclusion of religious motifs.

I surprised myself how the creative ideas and choices developed. Before starting the module I wondered what other subjects I could take on and questioned my creative capabilities. Certainly the research and exhibition visits are beginning to have an effect on me.

The biggest challenge on this assignment was the lighting setup. I researched lighting types and evaluated what I required for my shoot not having been to the venue. Once again, I surprised myself with how well the choices I made worked out. Cost was a factor so I was always wary of cost/quality issues. The 3 metre heavy duty light stands were a good choice for holding the camera and LED panel. The smaller light stand was ideal for holding the spotlight on the window sill behind the curtain.

I will present the image as an A3+ print for assessment. There is no rework required.

Assignment 5 – Tutor Feedback

Telephone feedback over the phone was very good. No need for rework. Notes of the session are in the attached feedback form.

Assignment 5 Tutor Feedback

Assignment 5 – Student Evaluation

Demonstration of technical and visual skills

This was my first use of continuous lighting and staging with props. It was also my first self-portrait. I believe the image provides the viewer with a number of visual clues and references, but their eye will always be drawn back to me on the sofa.

My lighting equipment just about managed to meet my requirements but I was at the top end of light produced from the LED panel and spotlight. I had to raise the exposure in post-processing which did affect the final quality.

The use of a high viewpoint was a decision to give the impression of God looking down from above. Maybe the blue light should have also come from the same direction but the window seemed to be a more sensible option. If I’d had more control of the outside of the building I would have liked to have had the curtains open. Unfortunately this became too problematic as I had enough variables to cope with inside the cottage. An ‘inside looking out’ view would have improved the final image and opened it up a little as I feel the final image is still too tight and cramped.

Quality of outcome

There are a few problems with the resulting image which I would need to improve for future projects. The first is the use of multiple light sources which resulted in messy shadows. Over the 3 day shoot I was aware of some of the issues and fixed a number of the problems along the way.

A couple of problems exist in the final digital image with chromatic aberration which were partially resolved using Lightroom, including a pinkish glow on the right hand edge of the table lamp. However, it would be better to get it right in camera but this is limited by lens quality. Overall I do not think these issues impact the narrative of the image printed at A3 size.

I am happy with the overall image and the clarity from front to back which I have always struggled with in the past. I usually blame the technology but it is apparent that lighting makes a huge difference to the outcome (and the operator).

In terms of meeting the ‘Making it up’ criteria stated in the assignment brief I feel I have made appropriate use of props, location and lighting. The costume aspect was limited to my day to day work clothes, but I feel this is ok as the setting is contemporary. It captures me now, includes references to the past and is also a look to the future. The only criteria I have not achieved is the use of models (other than myself). I had considered using my wife as the model and to use a subject relating to her past. Ultimately I decided to use myself as the subject with the aim of creating something more meaningful and thoughtful.

Demonstration of creativity

Although it is only a single image there is a lot to consider. Certainly more than I had initially imagined. Up to now I have produced series of 8 to 12 images where the narrative and feelings are conveyed across the set. The challenge here was to produce a narrative in one shot but ensuring not to be too obvious with props and facial expressions.

I spent a lot of time researching a location and let that decision determine what subject I was going to cover. Obviously artists such as Gregory Crewdson have the idea and then construct a set or scene to meet their objective. However, once I had the location I spent a good amount of time to research my subject and study lighting.

The use of blue and orange light provides a pleasing aesthetic but the brightness and contrast of the blue adds to the psychological feel.

The title ‘Out of Time’ was taken from the 1991 REM album that contained the song ‘Losing My Religion’. I chose this title as it is a reference to getting old and mortality. It is also a reference to being overworked and not having enough time to complete your work satisfactorily. I decided not to choose ‘Losing My Religion’ as the title as this would have been too much direction for the viewer as I wanted the narrative to be open.

Context

My main inspiration was Gregory Crewdson but I also researched other artists who staged scenes using actors and props. Teun Hocks was an artist who also produced self-portraits but he combined painting with photography. I am still learning art photography, painting is not currently within my skillset.

I have also researched video and film content including Crewdson’s Brief Encounters and Philip-Lorca diCorcia interviews. I have made reference to previously acquired knowledge such as the Cathedral of the Pines exhibition and REM’s music album ‘Out of Time’.

I have written my submission as an essay. The opening three paragraphs describing what is in the frame is a style used by Sophie Howarth in her essay on Thomas Struth’s San Zaccaria, Venice 1995. Her opening paragraphs describe the characters in the scene, what they may be thinking. She is pointing the reader to the key motifs of the image. Each paragraph delves deeper in to the detail contained in the image.

Assignment 5 – Submission – ‘Out of Time’

The corner of the room is dark, a shaft of blue light shines in through the curtains. A table lamp illuminates a wooden table. On the back wall is an orange glow emanating from a manger.

We are looking down on someone laying on a sofa, staring up into the blue light. He has his back turned to a bible that is opened on the edge of the table. A tether hangs motionless over the top edge of the manger, a short distance from the ground. A bridle is hooked from a vertical beam on the back wall. A black and white photograph above the manger depicts a horse and plough.

The expression on his face is ambiguous. There is a glint of uncertainty in his eye. His shirt collar is unbuttoned and his tie is pulled down to one side. He is unshaven and looks troubled. He has turned his back on the bookmarked page containing ‘I will trust and not be afraid’ (Isaiah. 12:2). A number of hand made bookmarks are scattered across the brick floor. They are written in the hand of a child.

My image is a constructed self-portrait. It is only when writing here that I re-acquaint myself with the lyrics of Michael Stipe, “That’s me in the corner. That’s me in the spot-light, losing my religion.“, from the album Out of Time. (REM, 1991). Is this image recording the moment I lost my religion or had I already lost it? Had it lost me? Or am I searching for it again?

Although my idea originated from the manger as a religious motif the primary subject of the final image is not religion, believer or non-believer. It is demonstrating the human condition of getting older, nostalgic looks to the past and questioning the point of working just to acquire possessions. Opening the bible is just another step in trying to find an answer and make sense of life.

This ambiguity is the strength of images such as Gregory Crewdson’s Cathedral of the Pines (Crewdson, 2017) and Beneath the Roses (Gregory Crewdson: Brief Encounters, 2012). He has a feeling for locations and scenes. The situations are in his memory, an unconscious thought. It is a feeling he has inside which he wants to externalise. Like most artists, whether painters, photographers or musicians, very few want to give away the answer to their creations/questions.

My use of the blue spotlight and my ambiguous expression are my attempt at adding a psychological feel à la Gregory Crewdson. The bible, inscribed by my late Grandmother in 1975, is not only a religious motif but also a personal reminder of my childhood, and my early years at Sunday School. My aim is not to take a position on religion one way or the other. It is a reference to friends and family who have turned to religion for strength.

Although the immediate messages conveyed by the image relate to religion, another message I wanted to convey was of ‘work’. I am dressed in my office work clothes at the end of a long hard day. The heavy bridle hanging on the wall used by a workhorse ploughing the field. A photograph on the wall capturing the farmer and his horse working the soil. This is another nostalgic look in to the past but also conveys the never ending repetitive cycle of hard work. The farmer and horse have long since passed.

The tether is deliberately placed hanging above the ground. It would normally be firmly on the ground, keeping whatever is attached to the other end in place. Its use in my image not only represents a heavy weight bearing down, but also, by use of the shadow, connotes hanging.

The objective of this single image is to incorporate a story but have enough layers to not be obviously about one thing and open to a certain amount of interpretation. I also wanted it to be aesthetic so I used a cinematic device employed by Philip-Lorca diCorcia. He doesn’t look through the camera, it is not at his height. “It’s part of the reason people describe my work as cinematic. It’s a third-person point of view; not looking through the camera also makes me kind of disappear”. (DiCorcia, 2007: 94)

I have used these devices to create a narrative but there is no end or conclusion within it. I have combined a modernist ‘what is in the frame’ approach alongside an ‘external’, post-modernist element. Writers, theorists and critics have discussed and argued over these two styles for many years. In my view neither is right or wrong. Geoffrey Batchen has assessed this in great detail in his book ‘Burning with Desire’. (Batchen, 1997).

Batchen’s approach in his book is to look at the emergence of photography and the proto-photographers who all attempted to define what photography was. He then moves on to the various camps of modernism and post-modernism discussing ‘nature’ and ‘culture’. Does my image fall in to Nature or Culture? It is mainly ‘nature’ but there are ‘culture’ elements in the form of psychological and philosophical concepts.

Using Barthes’ attributes of studium and punctum (Barthes, 1980), my view is that the punctum is down to the viewer. What might be a striking anomaly or poignant item to one viewer will differ from another. Jacques Derrida (1981) felt that the two work together. They are not opposites. They co-exist. (Batchen, 1997:193). The hanging tether, for example, may be seen as being incorrectly placed to some but this was intentional as a sinister device.

The co-existence of opposites is an interesting observation in a world that is dominated by binary choices: vote to stay or leave; right and wrong; good or bad. No nuance or middle ground. Art images, however, do not necessarily have to be instantly liked or disliked, although they often are. Even if they initially are passed over as uninteresting, they are still available to be returned to once the viewer has broadened their knowledge and has more life experiences.

List of Illustrations:

Figure 1. Rainbird, M. (2018) ‘Out of Time’ [photograph] In: possession of: The author: Witham.

References:

Barthes. R (1980) Camera Lucida: Reflections on Photography, trans. Howard, R. New York: Hill and Wang.

Batchen. G (1997) Burning With Desire. Massachesettes: MIT Press.

Crewdson. G, (2017) Cathedral of the Pines. [exhibition]. London: Photographer’s Gallery. 23 June – 08 October 2017

DiCorcia. P-L. (2007) ‘Interview with Philip-Lorca DiCorcia’. Interviewed by Lynne Tillman. In: Simpson, B. (2007) Philip-Lorca diCorcia, Germany: Steidl

Gregory Crewdson: Brief Encounters (2012) Directed by Shapiro, B. [DVD] New York: Zeitgeist Films

Isaiah 12: 2. In: The Holy Bible. London: Collins. p. 609.

REM (1991) Losing My Religion. In: Out Of Time. New York: Warner Bros Inc.

Bibliography:

Howarth, S (2005) Singular Images: Essays on Remarkable Photographs. London: Tate.

Rainbird, M (2018) Gregory Crewdson. At: https://ocamartynrainbirdcan.wordpress.com/2018/03/17/gregory-crewdson/ (Accessed 05/04/2018)

Rainbird, M (2018) Teun Hocks. At: https://ocamartynrainbirdcan.wordpress.com/2018/03/23/teun-hocks/ (Accessed 05/04/2018)

Rainbird, M (2018) Religion and religious motifs in art photography. At: https://ocamartynrainbirdcan.wordpress.com/2018/04/02/religion-and-religious-motifs-in-art-photography/ (Accessed 05/04/2018)

Rainbird, M (2018) Assignment 5: On Location. At: https://ocamartynrainbirdcan.wordpress.com/2018/04/02/assignment-5-on-location/ (Accessed 05/04/2018)

Rainbird, M (2018) Assignment 5: Contact Sheets and Edit. At: https://ocamartynrainbirdcan.wordpress.com/2018/04/03/assignment-5-contact-sheets-and-edit/ (Accessed 05/04/2018)

Assignment 5 – Contact Sheets and Edit

The following annotated contact sheets show the progression and fine tuning of my three day shoot. My ‘On Location‘ post describes the process in more detail including lighting setups.

Although I had a description of what I wanted the image to convey there was still plenty of scope for additional ideas and props to come in to play. I reviewed my images regularly throughout with a more detailed analysis at the end of day 1 and 2 and half way through day 3. This allowed me to make changes for the next shoot. It also gave me time to reflect on what I had produced and how I was progressing in achieving an acceptable image in the remaining time.

DSC_7337 on Day 3 (Part 2) was my pick. This was selected because my expression offered an ambiguity in what I was thinking when looking in to the light. I ultimately favoured the poses where I had my back turned to the Bible. My gaze in to the light was a questioning look towards God. By staring up and away it extends the interest outside of the frame. Additional post processing to the image is detailed below.

Although my pose looking at the Bible was interesting it was too direct and also gave the image a closed feel. It also highlighted how small the space I was working in really was. My intention was to have a more open setting ‘a la’ Gregory Crewdson . Although this did not materialise it was improved by looking up and away

It wasn’t until around the 250th shot on Day 3 (part 2) that I had props in the right place and a lighting setup that I was happy with. Day 3 was also about getting my pose and facial expression right. I had spent very little time in advance on this aspect of the image. Although it was semi-autobiographical I was still acting out a part which I found very difficult. The lighting aspect was a technical challenge that I mostly enjoyed as I understood the basic principals. Posing, and capturing that on camera on the other hand was new to me. In fact it was made easier by having myself as the subject as I would not have been able to direct a model without getting frustrated which would have resulted in a poor final image.

My pose took the nearly the whole of the 300 images to get right. it was made more difficult as I had to have a slow shutter speed and I needed to keep as still as possible. As a result my poses were very stiff and unnatural. Of all the images I took I probably only had 6 that were in the running for my final pick and ultimately only 2 that were good enough to submit for a final assignment.

Admittedly I stopped shooting at the point I knew I had an acceptable shot but I was running the risk of finding an issue in the frame once I had left the rented cottage. I probably had another two hours left before I would have had to stop but I felt that I progressed well throughout the 3 days and never felt under time pressure.

All the work I had performed in advance certainly helped, especially as this was my first attempt at a studio lighting setup. Assignment 3 was my first indoor piece of work, but on that occasion I used available natural light. For this final assignment I had not only researched photographers but also lighting setups and equipment. Once I had decided on the combination of lighting I required, I purchased the equipment and then learnt how to use it prior to arriving at the location.

I took around 300 shots across the 3 days. Here are selection of those including the ones I have annotated above. I discuss problems and possible improvements in more detail in my ‘Student Evaluation‘ post.

Assignment 5 – On location

Day 1 of 3

Arrived at the cottage and everything was as I expected and plug sockets were in convenient places. The first evening I spent moving a couple of items around. One lamp removed from the scene. Sofa and table moved closer to the window. I positioned the spotlight and LED panel on their light stands. I mounted the camera on a light stand using the tripod ball head allowing me to angle it downwards. The main decision for this evening was the angle of the shot.

I tried straight on in landscape and portrait. Although the portrait shot included everything in the frame it did not have the same presence as the landscape orientation. I still needed to work on my angle of view and exposure settings.

Day 2 of 3

The next day I spent positioning the props: Bible, lamp, bookmarks etc. The high angle of the camera was a choice to convey being looked on by God from above. Unfortunately the height of the camera was going to make setting up the camera a huge problem.

The Nikon App that I had on my smartphone only allowed me to control the shutter, which was useful, but I wanted a liveview facility or else I could see myself running out of time to produce an acceptable image for submission. A 30 minute break to research other apps and I found my saviour in ‘Camera Connect & Control’. There was a 3 day free trial that included liveview and full control of exposure settings. In fact I spent so long setting up the scene in liveview I didn’t actually take many shots in camera.

The table, lamp and bible set up centred on an open bible. Having read the bookmark text I was immediately taken by ‘I will trust and not be afraid’ Isaiah 12.2. I chose to have the Bible open on this page with the bookmark on the edge with the remaining bookmarks scattered on the floor.

A bonus prop came in the form of a ‘tether’ that was attached to the manger on the other side of the room. This was a prop I wanted to use as it suggested being weighed down. Initially I had it resting on the floor but then I thought that having it hanging from the rope would be more sinister and unsettling. Lighting it to get a good shadow on the wall was another challenge.

I set the orange manger light up and the blue gel spotlight behind the curtains. The camera in position and LED panel set up I changed in to my work clothes (costume) and started taking shots mainly with ISO 400, 1/50s, f/8. Spent the evening editing in Lightroom and identified some areas that I wanted to improve on the final day. There were multiple shadows on the bridle and tether that I wanted to resolve. I also found the results to be too noisy and so I wanted to get as close to ISO 100 that I could.

Day 3 of 3

The final day was all about getting my posture and facial expression right. I adjusted some lighting positions to provide clarity to the shadows. I also added a foil snoot to the blue spotlight to produce a directed light on to my head. This also had the added bonus of producing a partial light on the bookmarks on the floor.

My final camera settings were 20mm, 1/8 sec, f/6.3, ISO 100. This worked well as long as I kept as still as possible. The depth of field was also ok to get everything from back to front in focus. I would still need to increase the exposure in post processing but all seemed to go ok.

My final set up and some final shots are shown below along with a lighting diagram of the set up I used for my selected image.

Final Lighting setup

Key light. 150W Spotlight. Blue gel. Foil snoot. Light stand on windowsill.
Fill light. LED Panel on 1.5m light stand. Barn doors directing light away from the left.
2 x Portable LED work light. Orange gel.
Table lamp.
LED Panel desk lamp. Standing on sofa.
LED torch attached to under side of table.
Camera. Sigma 18-35mm lens. 20mm, 1/8s, f/6.3, ISO 100. On 2.7m light stand.

Religion and religious motifs in art photography

Having decided to use a religious motif in my final assignment I felt it necessary to do some research around uses of religion in art photography. The main reason was to ensure I treated the subject with respect and be clear on what I was communicating and why. I did not want to leave the reading of my image to any misunderstanding. Obviously there is always a chance that this may happen, but I wanted to do my best at making sure I read around the subject first.

Religion and Christian iconography has been used in painting for centuries and was an early subject for photography during the time it was copying painting. As photography created its own place in the art world religion has been used in post-modernism as a message against religion. Others have used it to embrace religion and others to challenge it. (Sinclair, 2015).

It appears that incorporating religious motifs or incorporating the likeness of Jesus Christ in art is in itself controversial. It is regarded as blasphemous. A lot of artists are being controversial just to create scandal but others may be making a well researched point from a position of knowledge. The difficulty for the viewing public is to recognise one from the other.

David LaChapelle. American Jesus: Hold Me, Carry Me Boldly (2009) http://www.lachapellestudio.com

David LaChapelle is a photographer of pop culture and has used Jesus Christ in a number of his images. In one series, American Jesus: Hold Me, Carry Me Boldly, he produced Jesus Christ carrying the body of Michael Jackson in an attempt to highlight the way society treats celebrity and holds them in the same regard as others do religious figures. I can see why this would be controversial to a Christian but can also see that a Michael Jackson fan would be equally outraged.

Andres Serrano. Piss Christ, 1987. Photograph: Thames & Hudson

Andres Serrano, a Christian, also created controversy with his image ‘Piss Christ‘. I feel uncomfortable even including it here but the artist was making a serious point of how society has cheapened the image of Christ and the hypocrisy of followers who twist his words to fit their own purpose. When it was published in 1987 Conservative US senators were outraged. However, having followed US politics very closely over the last two years, I fully understand the artists accusation of hypocrisy amongst decision makers to benefit there own ends. Interestingly the image is conspicuous by its absence on Serrano official website. Maybe he feels it belongs in the past or maybe it has been banned. Certainly combining a likeness of Jesus on the cross submerged in the artists own bodily fluid is a risky decision and one not to be taken lightly.

Mark Wallinger. Beyond The Stable. Photograph: theguardian.co.uk

On a slightly less controversial research point I found an article in The Guardian where a number of contemporary photographers were asked to produce their version of the nativity. The article published in December 2009 (Barnett, 2009)would have been met without too much controversy even though the author of the article was challenging what the nativity meant in a modern, secular society. The image that captured my interest was Mark Wallinger’s Beyond The Stable. Three security guards stand around a cot with a temple like structure in the distant background. The use of light and depth was created an atmospheric feel which I thought I could use for my assignment.

The Glass Magazine produced an article that included an interesting statement;

‘Perhaps some photographers, despite their secular approach to photography, still have lingering doubts about God’s nonexistence. What emerges from the visual act of remembering the spiritual past is often very different from the figuration that emanates from religion’s institutions.‘ (Simpson, 2016)

Michelangelo, Sistine Chapel Ceiling, 1508-1512, fresco

Not all photographers have a strong position either way and include references that are understood by contemporary audiences. David Adams discusses the position of the agnostic artist being able to question both sides. (Adams, 2013). The use of a photograph to convey ‘truth’ has been a discussion in art photography since its inception. Its use therefore, in challenging the ‘truth’ of religion can meet with serious objections by both sides. An extreme use of art will have no impact on a believer or non-believer. However, a balanced thoughtful image may be better received. As Adams says in his piece that even an atheist can admire the artistic skill and talent of Michelangelo and his painting of the Sistine Chapel ceiling.

References:

Adams, D (2013) Perspectives on truth in art and religion. At: https://www.irishtimes.com/news/social-affairs/religion-and-beliefs/perspectives-on-truth-in-art-and-religion-1.1341178 (Accessed 31 Mar 2018)

Barnett. L (2009) Thoroughly modern mothers: artists reimagine the Christmas nativity scene At: https://www.theguardian.com/artanddesign/gallery/2009/dec/14/artists-christmas-nativity-scenes?picture=356878543

Simpson. C, (2016) From the Glass Archive: The mystic lens – the influence of religion on photography. At: http://www.theglassmagazine.com/the-mystic-lens/ (Accessed on 31 Mar 2018)

Sinclair. L (2015) The groundbreaking artists challenging religion through art. At: http://www.dazeddigital.com/artsandculture/article/28290/1/the-groundbreaking-artists-challenging-religion-through-art (Accessed 31 Mar 2018)

Assignment 5 – Story Development and Lighting

From the available images on the cottage website I drew up a layout of the living room to understand the window arrangement and identify possible angles. The manger I was going to use was on the end wall where a photograph of a plough hung and a bridle to one side.

My story had moved on from my wife as a stable hand. I was going to be the star of this show! I had produced a self absented portrait piece for assignment 3 so I felt it was a challenge to produce a self-portrait. I felt confident with this decision as I was presenting a single image for this assignment rather than a series.

The manger made me think of ‘The Nativity’ which I could light up to represent the baby Jesus. I also liked the idea of a burst of light from the sky representing being spoken to by God. I do not have a strong religious belief, it now borders on atheism, but I was brought up going to Sunday School and attended study groups during school holidays where I learnt all of the old and new testament stories.

As one of my props I would use the Bible that my Grandma bought me in 1975 (when I was 10 years old). Inside were the bookmarks I made at Sunday School which quoted sections of text and were placed at the appropriate chapters. Although I had only about half a dozen I thought I could show them scattered on the floor. Gregory Crewdson uses items scattered on the floor and I also thought of his image of the lady surrounded by flowers on her kitchen floor.

The idea progressed to being a scene where I am laying on the sofa in a troubled state, wondering about the meaning of life, having long since discarded religion but still wondering whether something spiritual exists that can help you through the tough times. I would dress in my work clothes with a scruffy unshaven look. The work aspect would tie in with the horse, plough and heavy bridle representing a hard slog.

My theological scene would contain symbolism using concepts that I studied in Visual Culture by Howells and Negreiros. The following aspects from my book review are relevant to my idea:

Iconology – The Arnolfini Wedding Portrait (1434) by Jan van Eyck (1395 -1441) communicates the purity and standing in society of a couple on the occasion of their wedding. The contentious aspect is the female figure appears to be pregnant – at least to the 21st century eye.

Form – Roger Fry’s (1866-1934) emotional elements of design – content secondary to form. Light and shade, colour.

Semiotics – Semiotics originated with Swiss linguistic analyst Ferdinand de Saussure. He showed that language was a system of signs or signals which enabled people to communicate with each other. The terms he used were: ‘signifier’-something that stands for something else; ‘signified’ – is the idea of the thing it stands for; ‘sign’ – is the union of the two. Where Saussure related semiotics to language, Roland Barthes (1915 – 1980) used it for images and published his thoughts in the book Mythologies (1957). One of his examples is a bunch of roses which he uses to signify passion. The roses are the signifier and the passion the signified. Each existed previously separately but when brought together the roses were ‘passionified’.

Images that inspired my thinking at this stage:

Jeff Wall, *After “Invisible Man” by Ralph Ellison, the Prologue* (1999)

Gregory Crewdson, Cathedral of the Pines (2016)

Mark Wallinger – Beyond The Stable (2009)

My story and scene necessitated the purchase of some lighting equipment. Research on YouTube detailed 3 point lighting: Key light, Fill light, Back Light. Most of them were using flash and strobes for studio portrait work. This wasn’t really what I wanted and I settled on researching ‘continuous’ lighting which meant I could see the shadows produced by my setup allowing me to make adjustments without worrying about flash synchronisation.

A couple of weeks of research and progressively adding Amazon orders and returning items I settled on the following equipment:

1 x 660 LED Panel 3360 Lux/m Dimmable 3200K – 5600K
1 x 150W LED Bulb
1 x 150W LED Spotlight
3 x heavy duty light stand
1 x lightweight light stand
2 x portable LED work light
2 x bulb holders with switch (1 with dimmer switch)
2 x colour gel set of 8 (including a blue and an orange)
2 x home made soft boxes
3 x extension leads

Items that I already owned that were packed for the shoot:

DSLR Nikon D7200 (Crop Sensor)
Various Lenses (35mm, 40mm, 18-35mm, 18-200mm)
Travel LED torch
Travel tripod ball head
Foil
Selloptape
4 way extension coil cable
Work shirt, tie, trousers and shoes
Bible and sunday school bookmarks
Talent, unshaven for 5 days, haircut 3 weeks overdue

I spent a few evenings at home prior to the shoot, trialling the new equipment and trying out different lighting combinations.

Assignment 5 – Ideas and location search

Planning – Phase one

The Brief for the final assignment is here.

Indoors or Outside? Indoors would allow more control of the environment and lighting. Time would not be as much of a pressure indoors either so indoors is my preference.

Gregory Crewdson – Cathedral Of The Pines exhibition @Photographer’s Gallery

Mood/Style? A period piece would require costumes. Maybe add in a murder mystery element to it. Or a psychological piece using dramatic hard lighting. I liked Gregory Crewdson’s staged scenes that have an element of intrigue and human angst. He produced work indoors and outside, some combined ie. inside looking out/ outside looking in.

Lighting? I owned a speedlight flash and an LED desk lamp but that was it. I definitely wanted to use artificial lighting as I had not used it for any of my assignment or coursework in EYV or CAN. I needed to learn more about lighting setups and kit. YouTube and Amazon will be my go to suppliers for this.

Actors? Yes, probably my wife. Maybe me. I had not used models before for any of my work. The only people I have taken are either passers by in the park or voters at polling stations. Only on a few occasions did I direct them and even then it was briefly to ask them to repeat a short walk and then I let them go on their way.

Story? I was comfortable for this to be directed by the choice of venue. Whatever my story I wanted the narrative to be communicated in a single image. All of my previous assignments used a series to convey a feeling and/or message so this was a new challenge. It would be completely staged and everything in the frame having a purpose.

Location/venue? Renting holiday cottage accommodation would be suitable for 3, 5 or 7 day rental depending on whether I was combining it with a family holiday. My initial idea was to find a small period folly or tower available through ‘The Landmark Trust’. I had stayed in a small tower in Kent a couple of years ago which would be ideal for an indoor or outdoor shoot. Other possibilities were quirky holiday venues such as barges or railway carriages which would offer an obvious theme. A beamed cottage would be ok but it would need a central feature to initiate an idea.

Planning – Phase two

Booking annual leave and finding a cottage available on those dates was the next step in creating an idea. All of my research was based on internet searches and estate agent style images. Prospect Tower in Kent was not available, damn!

Kent and Sussex were my initial search locations but timings meant that we would only be able to get to Suffolk (from Essex) due to family logistics. There are surprisingly a lot of holiday rentals in Suffolk, unfortunately not too many were available on my dates or didn’t have enough character to generate an idea for a story.

The short list was a couple of beamed cottages, a railway carriage and a barge. The theme for the latter two would be obvious although I could create an odd combination eg. operating theatre in a railway carriage, or a more obvious ‘Murder on the Orient Express’ theme. The cottages on my shortlist had features that I liked i.e. wide opening doors to outside, internal leaded light window on a narrow corridor, a manger and bridle. The cottages also had interesting flooring that would add character.

I decided the barge and railway carriage were too cramped and I hadn’t really had an idea that was gaining traction for either venue.

The cottage with the 2 mangers and horse paraphernalia was my choice. My wife used to work as a riding instructor and both her and my daughter have been riding regularly over the last few years. This meant I already had access to props and my wife, although a reluctant actress, would be more comfortable playing such a role.

The various beams and brick floor were the other stand out features. The size of the lounge offered a variety of options for setting up lights including a high sloping roof space along one side of the room. I needed to get a better idea of the room layout before deciding on booking the cottage but I felt it was a good choice with lots of options.