A web gallery

Having reached this far along the course, I know what I would like from a web gallery. I had a web gallery under an email address which stopped when the service provider changed. This worked OK for my needs at the time and now it is time to look seriously at creating and maintaining one. 

I found a stand at The Photography Show (2014) advertising Web Sites which I had a look at. However, I felt they they were very professional, expensive  and for photographers running a business. At the moment, I need an arena to display my best images which I can add to. I have subsequently looked at various online companies and I think that Clikpic has the best layouts and templates for my needs at this point. I could start with a basic layout and cost price and and add to it as my collection and needs grow. Once I am established I would then look at a custom built site that I could edit as my portfolio and business grows.

I learned from a seminar I attended at The Photography Show (2014) given by Catherine Connor of Aspire Training that the site should be eye catching and say more than just my name. If I want the website to help attract people to it, I have to have the type of photographs that people are interested in on it as well as it being unique to me. I think it will take more planning and forethought than I originally envisaged and in the meantime, I shall record what I like about other photographers sites.

Ideas:

Gallery - portraits, landscapes - click on to expand

Slide show on carousel

Bio

Contact details
Expand later - Photography training - package details, previous clients, recommendations, 

Reference
https://alexiasinclair.com/

Sharpening for print

I started off by taking a portrait image which had been processed but not sharpened.

Using Photoshop and unsharp mask, I created 3 versions one close to the onscreen version, one fairly aggressive, and more aggressive. On screen, I thought I could tell a difference in the amount of noise visible in the background but this didn't transfer itself to the print. Using a magnifying glass and torch, there were a few areas such as the zip and pupils where I could tell that that sharpness had been applied.  I was not convinced that this had done the job I intended.

base

amount 90%

amount 150%

oversharp

I checked my camera, wondering perhaps if the settings in my camera were oversharp and maybe this was why my image had not sharpened visibly.

I took another image with more contrast and cropped to A4 using about a quarter of the photo. This time the exercise worked. 

base

amount 90%

amount 350% 

amount 250%

Summary of lily sharpening

Using a radius of 0.5 and a threshold of 1, I altered the amount of sharpening from the unsharpened image to 90%. There appeared very little difference on the monitor when viewed at 100%. In print and using a bright light and a magnifying glass, the difference is highlighted in red above. A few odd pixels had been brightened and in the middle there was a brighter edge along two of the stamens.

The effect of this surprised me. I hadn't really understood how unsharp mask worked and had been cautious in sharpening. The suggested starting threshold value is 90-120%. Gulbins and Steinmueller (2011) 

I kept the radius and threshold the same and altered the value to 250% to see the effect, illustrated by the blue line above. I could tell on the monitor that this was oversharp. A dark line was starting to become visible along the bottom stamen and the white petals had a darker patch on them (I wouldn't have called it a halo). 

I had still not seen the effects of noise, so kept the radius and threshold the same and increased the value to 350. On screen there was noise on the petals. This transferred to the print. The difference between 250 and 350 was alot more oversharpening and an increase in noise.

radius = "number of neighbouring pixels that are altered by the sharpening process" threshold = amount "of pixels to consider as an edge" 
amount = "how strongly edge contrast is increased" 
Gulbins and Steinmueller (2011) 

The exercise confirmed to me that at a threshold of 90%, radius 0.5 pixels and I would still have to be careful with areas which were too sharp, so continue to be cautious. There is an argument for only sharpening where it is needed. I felt it was a very beneficial exercise.

References
Gulbins and Steinmueller (2011) The digital Photography Workflow Handbook, Rockynook, C.A p112

Response to Tutor Feedback Assignment 4

Assignment 3 Reshoot

My tutor had suggested that I revisit Sutton Scarsdale Hall and retake some of the images. This I did, and resubmitted .She thought my images were much stronger. I learnt from this that it is worth reviewing my images and retaking if I am not entirely happy with them. She advised it would be useful to bear this in mind for assignment 5.

Assignment 4 Feedback

•  "What is pleasing is that you have worked through (and documented) your work process.  Seeing the process of moving the shoot from outdoors to indoors allow for the challenges to be explained that you faced on this shoot.

• You have also realized from the outset the considerations of the layout for the cover – and then explored various options on how to place the text.

• The final composite image shows a realistic attempt at merging the images 

• In addition this assignment has allowed you to explore Photoshop further.  It is very easy to look at an image and say ‘that has been Photoshopped’ however often the skill taken to undertaken realistic composite images is not realized.

• You have made considerations of the ethics of image manipulation.  What is perhaps missing in your write up is an artistic appreciation of your image.  Although the artistic considerations are not made a key part of the course, an appreciation of the aesthetics of images is implicit throughout all the photography unit

• Your log is continuing to develop well.  Exercises are well documented and explained.     The DPP course can lead you to be quite technical about your own work in the write-ups.  Don’t forget the artistic considerations as well – this is particularly important for assignment 5 as the final assignment.

• The research on photographers section is starting to expand – do keep adding to this as you complete the final assignment.

• For this assignment you have referred to research into existing publications throughout.  It could be worth making up a sheet of images to show some of this research visually.  One of the best methods of interacting with this type of research is then to annotate the images – just arrows with bullet points are perfectly fine.  This can be a very quick and effective method of pulling out the key technical and artistic considerations of research images and can help you to identify key themes (for examples cars placed on the diagonal).

I was pleased with this feedback. To me this was the one assignment when reading through the folder initially that I thought would be the hardest to do because I had to learn Photoshop skills and be able to use them creatively. I found that once I had added the skills to my repertoire, it became easier to look at an image and think about how I could enhance it. 

Having re-read my assignment, I now realise that an  artistic appreciation of my final image is missing.

So, what I like about my final image is that it looks realistic. I deliberately positioned the car so that there was some space around it, and the sandy track I placed the car on kept the car grounded. By positioning the car on a diagonal it adds drama and impact to the image. The car has somewhere to go by leaving track visible. By blending in a little shadow and using natural lighting, it gave the appearance of being taken as a single image. The green and red colours are harmonious and work with the autumnal leaves and slightly misty weather. The aerial on the car links the image to the title of radio control cars. In my opinion, the scale of the car is reasonable - it doesn't look out of place.

I had kept a record of research and development but hadn't included them because they were untidy. 

The initial hand drawn images were my ideas on how I would position a car for a magazine before I researched what was on the market.I find it easier to write notes because my drawing is very rough. 

To do

• Photograph pages of hand drawn images from my jottings book (Done march 2014 see above)
• Continue with Assignment 5 - personal project (Done)
• Take note of comments re aesthetics and make sure I include in assignment 5 (Done March 2014)

Assignment 5 Personal Project Reflection

Reflection on Personal Project for Assignment 5 Digital Photographic Practice 1

Bridges of the Navigable River Trent (Nottingham to the Humber Estuary)

Is the navigable River Trent recognisable from its bridges beyond Nottingham?

How well does your completed project match your original intentions?

My brief changed slightly as I explored the bridges because accessibility due to the river in flood made “postcard” images unachievable. As I learnt the heritage surrounding each bridge, I found they had unique characters and I needed to highlight individual aspects of the bridge. I discovered it is not necessarily the whole bridge but the detail that makes them recognisable.

Choice – was it a good theme?

Yes, and on rediscovering the bridges it became more about their form and beauty rather than whether I could tell which one is which, as each tells a story and no two are the same.

I explored my feelings towards manipulation as I knew how I wanted to represent the bridge and some did not live up to this. Images are displayed through Google maps, geocaching, geographical and historical sites. Watching Dan Snow journey along the Grand Canyon (Operation Grand Canyon, January 2014) to find old landmarks, I understood that recreating manipulated scenes posed questions. Although my image contains metadata with a date and place, one would have to consult other pictures taken at the time to find I had removed a pylon, streetlight or altered the perspective in the search of a balanced image.

This theme became topical. I noted BBC East Midlands News (12/2/14) reported George Stephenson’s Midland Mainline Railway bridges in Derbyshire were becoming Grade 2 listed because electrification of the line meant Network Rail must consider conservation before altering bridges.

What went well?

This project brought together elements looked at throughout DPP; from workflow, correct exposure, photograph enhancement, manipulation skills and developing my understanding of ethical issues. It was a good consolidation exercise.

What went badly?

• Water levels on the River Trent rose meaning difficult access. Time of year and weather conditions will always be challenging.
• Planned bridge works were not completed limiting certain photographs.
• Football match on a planned photography day meant bridges were very busy.
• Lack of industrial features around the rural bridges.

Did you stick to the original brief or did you depart from it?

I more or less stuck to the original brief but reading material changed due to availability.

Technical problems - how did you solve them?

I handheld the camera more than planned and increased ISO to achieve sharp images. With the train image to be in focus and where I wanted it, I took separate images and combined them in Photoshop. Gunthorpe Bridge (boats and railings) became a combined image giving the effect of the boats being closer.

Are you pleased with your final collection?

I enjoyed planning, research, pilot visits, shoots and reshoots and have a greater understanding and personal opinion regarding the manipulation of photographs to achieve my expectations. With a longer time frame, I would improve images such as the railway viaduct by waiting for overcast weather or develop the learning started at Newark (test shots).                          

I was interested to note that Debenhams’s coffee shop in Nottingham displayed two partial images of bridges similar to mine. I realised that mine were acceptable.

What could you have done differently?

I wouldn’t have done anything differently this time, but in future could use a different time of year or work over a longer period of time. 

Research proposal for Assignment 5 Personal Project for Assignment 5 DPP

Working Title

Bridges 

Subtitle

Bridges of the Navigable River Trent (Nottingham to the Humber Estuary)

Topic/Theme

Is the navigable River Trent recognisable from its bridges beyond Nottingham?

I was prompted to consider this question after glancing at a TV quiz show in which the presenter asked contestants to name rivers of capital cities by showing them an image of a landmark. Does one identify the river from the landmark (e.g. bridge) or is it the landmark which is identified with? In considering my local River Trent (one of the longest tidal rivers in England),which is steeped in ever changing history, I recalled that early Roman settlements along the Trent called for river crossings to be established, and due to natural and manmade changes in the river course, crossings had to be replaced. Decline in transportation of goods by train determined that some bridges fell out of use, and consequently the use changed. Bridges across the Trent were expensive to build and therefore to raise the revenue, tolls were charged. Recently, a toll bridge on the Trent was replaced and the toll increased. Local residents objected to the rise. Preservation by interested parties and listed building status keeps a bridge’s profile alive on the internet. Following an internet and library search, I concluded there is not much written or photographed on the River Trent despite its importance through history as an established trade route. So would people recognise the navigable River Trent by its landmarks once it has flowed through Nottingham?

Through research (internet) and visiting Nottingham Central Library (contains several books in the reference section on the navigable River Trent from a historical perspective) I will be able to source information and images to show the characteristics and importance of the bridges. Visiting the bridge and surrounding area will give me a firsthand perspective on how I could demonstrate the importance of the bridge. Reading books and or websites from architectural photographers will show me how to build on my existing knowledge and photograph the bridges creatively. 

I have selected 10 - 12 bridges from a possible 23 (24 including the Humber Bridge). By researching images on the internet I will know which are lit at night and will split the list into evening and daytime images. Bridges have different qualities – metal bridges could be photographed in sunlight or equally as effectively in mist. Some bridges may benefit from reflection so watching the weather forecast will enable me to plan journeys.

Audience

This is a personal study which will result in a collection of images. In time, it could be of interest to local history groups or museums alongside the accompanying research. It forms the basis of a project which could be further developed, such as social documentary on the impact of flooding, bridge repairs and change for example increased tolls.

Approach and methods

The bridges I have chosen are all different in age, design and usage. Some are lit at night, creating the possibility of using the existing lights for a night time image, some are metal so light reflects off this, and some are stone or brick with large arches. Some may benefit from monochrome. I hope to capture all or part of the bridge creatively. I will be reading around photographing architecture to help get the best out of this project.

Access

Reviewing the Ordnance Survey Maps used as part of the Trent walks, most bridges have access in the form of towpaths. The one bridge in question is Torksey Railway Bridge so I have chosen not to include this at the present time. Reading I undertook suggested that photographing bridges in America was a national security violation and considered a potential terrorism threat. I am not expecting to encounter any issues but will be prepared to leave if the situation is necessary.

Timetable and budget

I am expecting this project to last 4 months to correspond with my coursework. The bridges are accessible to me, and where I have to make a longer journey, I will be able to look at two bridges in a day (weather permitting). These structures should be accessible at all times of the day; it is only unforeseen circumstances such as accidents or extremely bad weather which will prevent access.

Proposed research references

(need to find architectural photographers books to read)

Taylor, Mike, Francis Frith's down the Trent (2001)

Physical Description: 119pLocal Studies Class: L90.3Subject Headings: River Trent – history Series: Francis Frith Collection Photographic memories ISBN: 9781859373118 Nottingham Central Library

Cement and Concrete Association ,Clifton Bridge, River Trent, Nottingham Publication Information: London Cement and Concrete Association {n.d.} Physical Description: Pbk Local Studies Class: L90.31 Nottingham Central Library

Tarbotton, M. O., History of the old Trent Bridge with a descriptive account of the New Bridge, Nottingham Publication Information: Nottingham Richard Allen and Son 1871Local Studies Class: L90.31Subject Headings: Trent River - description & travel Nottingham – architecture West Bridgford Library

Assignment 4 Real or fake?

Introduction

This assignment explores the issue of technique and ethical choices which are made in photography by designing and producing a photographic image illustrating an imaginary magazine. During the exercises and assignment work, I had the opportunity to clarify my thoughts and question my beliefs on whether alteration should take place and if so, what is acceptable and how tolerant are the viewers?

Context

During November, the Dukeries Rally passed though my local forest (Sherwood Pines) and I watched a couple of stages. Whilst there, I experimented with a few photographs. When considering a subject to study for this assignment, I recalled the event and dusted off my son’s radio controlled rally car. I planned to juxtapose it against the forest as a background to make it look like it was in the World Rally Car (WRC) series. We had other models of remote control cars which I could use to insert into the cover of my imaginary RC Car Monthly – a magazine for radio control car enthusiasts for a piece on restoration. I considered my plan a challenge to my manipulative Photoshop skills so decided to make the magazine cover something which would develop and enhance my skills.

Other themes I pondered were monster trucks, mountain biking, and food.  An internet search showed there were about four international radio control car magazines already on the market. By looking at magazines online and on sale in the newsagents, I had several ideas in my head.

Research on existing magazines

The entire collection of car, radio control, bike and food magazines I looked at had a front cover in portrait orientation. There were various designs for car and radio control covers; some used a bird’s eye view, some juxtaposition where a whole car or part of a car was set against a realistic background and a few had a plain background (shiny or dull). Magazines either had a large single picture, more than one car on the cover, or one car and an insert picture. Car(s) were positioned on the whole on the diagonal and one magazine had a couple of covers where the car was more of a triangle shape. Backgrounds either took up the whole of the page or were designed so that the writing was placed in the sky. Different types of cars had different characteristics of placement – for example most Porsche and race cars had four wheels on the ground, dirt buggies and monster trucks were on rocks and when one or more wheel was off the rock, a shadow was present. Most of the cars looked stationary with very little wheel motion and no spraying dirt.

Background Image

First of all I needed a background in which I could juxtapose my car. Considerations were orientation, scale, balance and colour. My original rally images were taken in landscape and I saw from this that I needed to take a background with portrait orientation.

I planned on paper how I thought the final image would look and decided to divide the frame into thirds. My idea was that the car, when positioned, would sit off centre on a diagonal and I would be able to alter the size of the car to fit.

I walked through Sherwood Forest looking for tracks and surroundings where an imaginary WRC rally may have taken place. Colours had to complement a red and white rally car, and trees in the background would add contrast to the final image. I wanted to leave space for positioning the title, subtitles and an insert picture.

I thought this was an acceptable background to place a rally car. No major changes were made at this stage – only checking colour temperature and a slight tweak in curves. I opened the image as a background in Photoshop CS3 and built up layers and vector masks on top of it.

The rally car image

Version 1

I thought (at the start of this assignment) that the car would have to be positioned in roughly the same angle that I wanted it to be in when cut out and pasted onto the background. In this image, the car was propped up on yoghurt pots. I cut and pasted this onto the background and realised that I could use the transform tool. I took the car outside to look at what the effect of natural lighting would be on the car.        

Version 2

The lighting outside reflected the trees onto the bodywork. Although my image contained trees, I felt that the reflection was unrealistic. I liked the yellow colour of the lights rather than silver to give a shining effect. After cutting and pasting this image into my background, I decided to change the direction of the car.

Version 3

With the car direction changed I decided to take the car indoors again as the paintwork showed too much reflection.

Version 4

Car now facing the correct direction, lit from a window rather than tungsten lighting. No reflection visible on bodywork. Black velvet used as a base because there was enough definition between wheels and material to enable polygonal lasso to work effectively.

Amalgamated image

Space left at the top for a title, space below right for insert, complementary colours (red / green), car positioned on track.

Exploration of areas of adjustment and manipulation to make a successful image

I cut around the car using the polygonal lasso tool and cut and pasted it into Photoshop CS3 as a new layer. Using the eraser, I removed the excess background. I cut and pasted the antennae across separately and attached to the car so that I could work at a different magnification. I cut and pasted the headlights across and fitted them using the transform tool to scale them in place. Using the transform tool again, I moved the car around, changed the scale and the perspective a little to make it look more natural on the page. I added a drop shadow gradient to this layer.

Tools used so far: cut and paste to combine two visual elements in one photograph, erase, transform scale, rotation and perspective, addition of drop shadow gradient.

Justification for using these tools was that they were necessary to make the car blend into the background and still look real. To have taken an image of an RC car in the forest would possibly involve a forced perspective to which one could still question the reality. By cutting and pasting an image and erasing the background to tidy it ensured the image fitted in to the background as I wanted it to.

I questioned the use of the eraser when my image would not quite fit in the white frame I created for the magazine title. I shaved off a little of the bumper and thought that it was acceptable because it was not a distinguishing feature. I could simply have resized the car without altering it.

Transform, rotate and change perspective were tools that I discovered which made manipulation so much easier. This cut down the work which I thought I was going to have to do by hand with re-positioning the car. So from this point of view, I thought it was acceptable because time taken to create an image must also be considered.

I applied a drop shadow layer style to the car which  I considered as acceptable because in reality the car had a shadow. Because I had used black velvet as a base, the shadow did not show up. The background was taken on an overcast day, but even then shadows are still visible.

Considered area of adjustment

I applied a gradient to the whole background image before starting to add titles to see if by toning down the brightness the image was more acceptable. I tried several types of gradients before removing it.

I debated whether to add a rectangle with a gradient behind where I was placing a title or subtitle. I did not think this looked effective either for my image, although some magazines appeared to use a technique similar to this.

At this point I was still considering the position of the title and whether to retake the background shot with more sky so that the title was not distracting. I recalled Kit Car magazine which I used to read had quite an expanse of white / pale page at the top. This was similar to a copy of a Canon EOS magazine I had.

Insert photograph

I used tungsten lighting to light the battered box and old model to illustrate a seasonal project for the winter. I adjusted the white balance in Photoshop and did a small amount of cloning and patching on the mini. I left some burnout and reflection visible as it was a “home project”. I cut around the shape and erased the rough edges after importing onto a rectangle shape layer on my Photoshop image. For the purposes of this document, I imported the cut out shape into a new blank page and changed the colour to one similar to that used on my original image.

Tools used: Cut and paste to combine two visual elements in one photograph, erase, transform scale, rotation and perspective, addition of drop shadow gradient, clone and patch. I felt there was too much burnout from the overexposed area on the roof and bonnet of the purple mini so replaced some of the pixels using clone and patch to enhance the image.  I changed the background to give more of a studio effect which I thought was acceptable as space was at a premium. I had taken an image with tools laid out too, but thought the image was too cluttered.

I opened the image in Photoshop Elements 5 and made some finishing touches such as a band across the bottom and changed the font styles. 

Finished cover

Ethical Justification

I like to produce realistic, acceptable photographs that inspire others and can be used for teaching or storytelling. I think surreal images are acceptable but they have to be believable. For instance, one of the collections that inspired me at Focus on Imaging Derby 2013 were  photographic images of plants by Putput which when viewed from a distance looked realistic but actually contained household objects such as spaghetti servers and body polishers. I was reminded of this work when researching photographs of Sian Bonnell. I felt that in keeping with the type of magazine I had chosen to illustrate I needed to keep my image real to attract the readership, although my final cover had combined images. I reconsidered my cover and whether I should have chosen a different type of genre, and the more I thought, the more ideas I came up with. I think that for where I was at the time with learning how powerful Photoshop is and what it can do, it was good to start with something quite realistic because I knew what I wanted to achieve and reached a point where I was satisfied. I think if I had created a surreal image, because it is not my type of image, I would still be left wondering if it was successful.

The ethical impact of the magazine on the environment is about encouraging recycling. I decided to include a photograph which could carry a restoration story in light of the fact that Christmas had just happened, children receive shiny new toys and old ones are sometimes put to the back of the cupboard. Perhaps their old, broken toys which need recycling or mending could become projects in the long winter evenings, so it seemed appropriate to include this on the cover. I used a natural environment to encourage people to go outside with their RC cars which could be seen as encouraging a healthy lifestyle.

The other consideration for my magazine cover was whether it would sell or just sit on the shelf.  I tried to pitch it in the middle of magazines; not elite and not a weekly edition. I imagined it being made of reasonable quality paper and being kept by the reader for some time as a reference magazine.

Conclusion

This assignment investigated the issue of adjusting and manipulating an image and still making ethical choices when producing a photographic image illustrating an imaginary magazine cover. During the exercises and assignment work, I was able to clarify my thoughts and question my beliefs on whether alteration should take place and how much was acceptable. I think my imaginary readers would find this magazine cover acceptable as it is not too far removed from the truth.

Key learning points from assignment

·   My initial point for using Photoshop for manipulation rather than enhancement at the beginning of the exercises and assignment work was virtually nonexistent. I took a logical approach to researching how to make things work and gradually built up skills which after some practice became second nature. I found some processes relied on trial and error to decide which methods worked for me. I was able to look at an image taken previously and decide which methods of manipulation would work.

•  I began to understand how layers and vector masks worked which is an area I knew needed development.
•  I felt a sense of achievement of being able to do more creative work in Photoshop.
• I was able to explore how I felt about altering images and question the reality of images in magazines and adverts I looked at.

Areas for further development

•  Use the available tools in Photoshop to become more creative. Now that I have completed this, it feels quite “safe”. However, at the beginning of the assignment, I found the task very challenging.
•  Improve (faster, more efficient) work flow with Photoshop.

Bibliography

Clarke, G (1997) The Photograph, Oxford University Press, UK

Fox, A, Caruana, N, (2012) Behind the image, research in photography, AWA publishing, USA

Gulbins, J, Steinmueller, U (2011) The digital photography workflow handbook, Rocky Nook, USA

Wells, L (2009) Photography, a critical introduction, Routledge, UK

http://www.adobe.com/support/documentation/archived_content/en/photoshop/cs3/photoshop_cs3_help.pdf  accessed 8/1/14

http://akvis.com/en/photoshop-tips/transform-object.php accessed 8/1/14

http://www.putput.dk accessed 16/1/14

http://www.sianbonnell.com/ accessed 16/1/14

Assignment 3 Reworked following Tutor Feedback

Assignment 3: Monochrome – Reworked full assignment following tutor feedback

Introduction

This assignment explores the creative process of monochrome; from deciding upon a suitable subject, photographing the subject taking account of the lighting / weather conditions and processing the image using software to bring out the form, tonal contrast, texture and if possible key of the image. To develop my understanding of the subject of monochrome, this assignment will investigate why I chose the particular subject, what I set out to achieve and how successful I think I was in my quest. Following feedback from my tutor, I have retaken some of the images and reworked the assignment so that it flows better.

Having revisited the work of Edward Weston and Henri Cartier Bresson to look at monochrome, I thought I would use the opportunity to look an historic building as an interesting subject area. Following recommendation from my tutor as a starting point, I looked at the work of Bernd and Hilla  Bercher. I remember seeing their work previously and being drawn to it from a straight forward, organised, representational and graphic style of photography. They showed the form of the  buildings they photographed. I liked the fact that their images did not include movement or people – personally I thought their photographs were about the building and not about how people related to or with the building. I decided to include this piece of their style in this assignment.

Another photographer I was encouraged to research  was Eugine Atget. I had heard of him but not studied his work. In my opinion  everything seemed balanced, even if it was asymmetrical. His photographs always had somewhere for the viewers eyes to go, and on closer viewing found something you didn’t know was there immediately.

Berenice Abbott, when photographing New York in the 1930’s demonstrated use of tone and form, simplicity and few people on the streets. I like Abbot’s photograph of ““El” second and third avenue lines” taken between 1935-9 which shows patterns, lines, shadows and curves. In my opinion this image is very high in contrast and works because of the graphic nature and patterns of the image. I looked at using this type of image with Sutton Scarsdale Hall, and did not include it because I felt it did not fit with the rest of my images.

Why I chose this subject?

Considerations for this assignment were varied. I thought about a working model, pit head winding mechanisms, sculptures, pumping stations, cooling towers and historic buildings. I dismissed the model because there was no tonal colour, the pit head winding mechanism on access grounds, sculptures on tonal colour, pumping station on opening times and cooling towers on the fact that I was too late because it was demolished last year. This left me with historic buildings which would challenge me as I don’t have a tilt and shift lens.

Having researched images on the web of local historic houses with access and examined web sites for photographic policies, I recalled visiting a derelict house in the hands of English Heritage with access during the day and very few visitors. I had a few images which had been taken with a wide angle lens stored on an external hard drive so was able to experiment with black and white conversions and altering the perspective of the vertical columns on the house before my visit.

Sutton Scarsdale Hall, Derbyshire served a long history and has been rebuilt a few times since the 12^th century. The last remodel was in 1724 when an architect named Smith incorporated his new Baroque style design into the existing 15^th century house for the 4^th Earl of Scarsdale.  The stonework was carved by Edward Paynton of Nottingham and Italian stucco plasterwork for which the house became well known was detailed by Arturi and Vasalli. By 1919, the house was bought and the interior sold to asset strippers who rebuilt it as a film set in America. In 1946, to save the house from demolition, it was bought and later given to the Department of the Environment for preservation. 

I decided that this would be a good subject to explore because I was excited by the classical columns and all three elements I needed for my assignment were present – form, texture and tones. There was a potential to experiment with key depending on the weather conditions.

What did I want to achieve?

I was hoping to show the grandeur and importance of the house in its previous life, but also how ethereal it looks now providing I could get it right. I considered revealing the remains of the inside decoration in high contrast so that the plaster detailing showed up brightly against the red bricks to portray the opulence that was once on show. The remains of the weathered classical columns and baroque style façade showed great texture, and the corridor style house revealed itself in skeleton with a series of archways providing volume. In all, I felt that this was a house waiting to be explored and offered potential especially with its melancholy feel and some of the images I found on the internet did not embody the atmosphere of the building. The limitation of this building was that some rooms were locked and images had to be taken through the railings.

The Rear Exterior

Image 1 Panorama

1/90 f8 ISO400 focal length 20 (x1.6=32mm)

Following tutor feedback, I revisited the hall and repositioned the camera in order to balance the image. The lighting was different as the day was overcast so there was not an area of extreme brightness in the frame.

I originally visited the property on a sunny day (which was great for raking light). However, it was not so good for the panorama which I wanted to include as an establishing shot. I decided to retake the image in more even light so I revisited the property on a dull day. My tutor commented that in my original, I had corrected the verticals in my image but not the horizon, and the image was unbalanced.  

original 1/45 F16 ISO200 Focal length 18mm (x1.6 crop factor) =28.8mm     

   

By changing my position and looking at the house straight on, I think I have balanced the image. As the tripod was placed on uneven ground, I took great care to ensure the camera was as level as possible by using live view before I took each image. When processing, I applied a grid so I could check that the ground was level and rulers to check that the house was placed with the same amount of space on each side. I think what remains is an optical illusion.

I cloned out the lights which were shining in the church; photo merged the images together in Photoshop and altered the vertical and horizontal perspectives. Using a new adjustment layer, I set the black and white points and increased the highlights and mid tones to increase the contrast on the building. I think the result is more balanced with better lighting and a better position although in my opinion it gives a more oppressive feel to the building.

In my opinion, this shows form and tonal contrast.

Image 2 Columns

1/90 f4.5 ISO400 New focal length = 112mm (70x1.6)

My tutor agreed that the texture of these columns was shown in the black and white image. Her advice was to include only part of the columns and use a longer lens to compress the subject.  Using my 70-200mm lens (x1.6=112-320mm), I experimented with only part of the columns. I originally took this at an angle but straightened it because I did not want the columns to look like they were falling down.         

original 1/350 F13 ISO200 32
(x1.6 crop factor)=51.2mm

In processing this image, I cloned and patched an area where the window was missing. (I did not have these skills when I did the original assignment. I developed them subsequently as part of the exercises in part 4.) I corrected the lens distortion and opened an adjustment layer to increase the contrast. The texture and pattern is still visible. I was pleased with the resulting effect.

I think the new image works because it shows all three qualities of texture, form and tonal contrast. It actually showed more texture and form than I expected it to.

Image 3 Single column

1/250 F11 ISO100 18mm (x1.6 crop factor)

By looking upwards I gained a different perspective on a singular column to show contrast in the weathered sandstone column and the smooth baroque exterior.

Using Photoshop, I straightened and cropped the image to ensure that maximum graphical impact was gained and converted the image to greyscale using a new adjustment layer. I adjusted the values of orange and yellow to give more contrast and decreased the blue slider to darken the blue sky.       

I considered this image successful because it showed:    

·         Texture of gritty sandstone column shown by using raking light

·         Form shown by selecting one column and picking out the detail.

·         Graphic image using converging lines

 I considered whether this image would look different without the shadows. I think they add interest. The texture would not show up as well on a cloudy day.

My tutor’s suggestion was that there needed to be more space to view this image.

Image 4 Low Key

Original assignment has now been altered to say low key instead of high key. I agree with the comments on the framing. I looked at the original image – I think it needs deleting as there is not enough space around it. Unfortunately the weather / lighting conditions during my revisit were not conducive to repeating this image.

1/45 F5.6 ISI400 Focal length 40x1.6=64mm

Original 1/10 F16 ISO100
10mm (x1.6 crop factor)

I looked at the graffiti which had been etched into the darker areas of the concrete. I set the black and white point in levels and altered the slider bar to increase the dark tones. By increasing the yellow and blue tones within the image I was able to bring out the white writing and the area of wall which had been lit naturally. This made the graffiti stand out. When the image is magnified, the weathering marks from the rain running down the concrete are noticeable. I think this is acceptable, although not my favourite image. As the lighting conditions were completely natural and the day was overcast, I had to rely on small changes in the light for this image. It shows texture and tone.

Image 5 Rear of house

1/90 f8 ISO400 18mmx1.6=28.8mm

Original 1/10 F16 ISO100 10mm 

(x1.6 crop factor)=16mm

My tutor had commented that the original image is taken at a rather odd angle.  “You have some fall off caused by the very wide lens.  A more straight on approach (if possible) would allow for the fall off happening evenly on either side of the building.  The image may be better suited to a less wide lens. There shadows on the left hand side are dark (although detail can be seen and this further adds to the unbalanced feel of the image).”

The original angle of view was odd because the drive extended around the back of the house and past the church and the church’s flying buttress also protruding into the frame. As I had retaken the panorama to give a more straight on view, and was deleting the high key image, I decided to work on balancing the view with a using a wider angle lens and looking specifically at the balance within the frame. I cloned out the yew tree branches in order to balance the image and allow the eyes to wander into the image along the drive.

  

To process the image, I increased the red and yellow sliders and decreased the blue and green which brightened the house and brought out the detail and colours in the stonework.      

                                 

I like this image which shows tone and volume.

Image 6 High Key

1/60 f4.5 ISO400 70x1.6=112mm

Original 1/30 F16 ISO200 

10mm (x1.6 crop factor)

This is one of the areas where I felt I had not succeeded, confirmed by my tutor. I revisited black and white images in the text books. Freeman (2009) states that “there usually needs to be some smaller, darker elements that are integral to the image.” This image has some dark elements that the eye is drawn towards up the column, and the darker grey lines also direct towards the top of the column.

As the histogram was mainly to the right, I set the black and white points and used levels to alter the slider bar to the left to keep the mid tones values fairly high.

I think this image works because it shows form. If anything, the crop is too tight around the top because I rotated the image by 3 degrees to square it up.

The remaining images required no further work. However, following my tutor’s advice, I have combined the image and description with how successful I thought it was.

The Interior

Image 7 Relief work through opening

1/350 F5.6 ISO400 70mm (x1.6 crop factor)

This piece of plasterwork was hidden inside a locked room and visible through a hole in the brickwork. I considered using the same method as above for bringing out the plasterwork but there was too much brick and my image was slightly underexposed. By increasing the exposure values in RAW by +0.5 and setting the black and white points I was able to slide the orange and yellow colours to enhance the brightness of the plasterwork and contrast the brickwork against it.

This image shows

• ·         form (three dimensional shape visible through two  dimensional shape)
• ·         Contrast between brickwork and plaster
• ·         No distracting shadows on relief work

I think this image works although I did consider creating more contrast between the bricks and plaster. Tutor feedback suggested that the area around the relief could be bigger; unfortunately access is limited and I was unable to improve on this.

Image 8 Plaster

1/60 F6.7 ISO400 70mm (x1.6 crop factor)

I deliberately left the plaster on this wall as bright as possible because I thought it should be reminiscent of its former glory. Once again the technical challenge was the optical illusion created by the corner and vertical columns of the plaster. I left the archways in this image to add depth and volume to the skeleton. I was unable to achieve my desired effect with the colour sliders so converted the image to JPEG and with a new adjustment layer for curves, I increased the contrast to make an “S” curve.

In my opinion, this image works because:

• ·         Rich tone of brickwork contrasts with bright plaster work
• ·         Volume shown with brickwork
• ·         Form (detail) of three dimensional plasterwork visible

     Image 9 Down the corridor     

1/45 F8 ISO400 70mm (x1.6 crop factor)                        

I aimed to show that this corridor ran through the house by distinguishing the different wall partitions as a series of arches. The concrete floor was different shades of green. After straightening and converting to black and white with a new adjustment layer I decreased the red and increased the yellow which lightened the path and added more highlights. I opened a new adjustment layer for curves and created an “S” curve.

• ·         Volume shown with a slight change in tone for each room
• ·         Lighting through windows and overhead enhanced brightness of corridor
• ·         Graphic image

I deliberated whether to remove the puddle but it adds interest and shows that the house is not watertight. I was pleased with this image and thought it successful.

Image 10 through the window

1/350 F16 ISO400 28mm (x1.6 crop factor)        

I poked my camera through the railings to enable me to take the view through the window. I considered lightening the brickwork but I thought it detracted from the image. Once cropped and straightened, I converted the image into greyscale using a new adjustment layer, then a new adjustment layer for levels and set the black and white points. By sliding the mid point to 0.85, the edge of the window became darker.         

In my opinion, this image works because it shows:

• ·         Volume shown in countryside
• ·         Tonal contrast in countryside contrasts with the window
• ·         Graphic image when window bars are used

 Conclusion

This assignment investigated my creative process of monochrome; from deciding upon a suitable subject, photographing the subject taking account of the lighting / weather conditions and processing the image using software to bring out the form, tonal contrast, texture and if possible key of the image. I explained why I chose to illustrate this particular subject, explored how I achieved what I had set out achieve and what how successful I think I was in my quest.

Key learning points from assignment

As a starting point for monochrome, I have learnt what makes a good subject and what methods I can use to creatively process an image. I feel that I learnt a great deal from this assignment and am glad that I had spent time viewing monochrome photographs at the exhibitions I visited in the summer. I know that the next time I view digital monochromatic photographs I will have an appreciation for the composition and creative processes used. As this was an area relatively new to me, I have been able to look at the workflow I used previously and understand where perhaps I could alter my workflow so that the image was preserved rather than destructed.

Areas for further development

·         Composition

 I visited on a bright sunny day which is what I wanted for the columns and working in a dark, shadowy area using only natural lighting. I could revisit on a cloudy day and take a similar image to image 5 (rear of the house) and compare without the shadow. I could too, return on a day with clouds to achieve a different effect for image 1 (panorama)

·         Continue working with monochrome to develop more of an intuition of what will work

·         Continue developing creative processing skills

·         Try out using 50mm lens for buildings

Reference

Freeman, M (2009) The complete guide to black and white digital photography, ilex Press, UK p162

Bibliography

http://www.english-heritage.org.uk/daysout/properties/sutton-scarsdale-hall/history-and-research/ accessed 11/11/13

http://www.nationalgallery.org.uk/paintings/glossary/raking-light accessed 6/11/13

http://www.masters-of-photography.com/A/atget/atget_articles3.html accessed 6/11/13

http://www.masters-of-photography.com/A/abbott/abbott_articles3.html  accessed 6/11/13

http://www.tate.org.uk/art/artists/bernd-becher-and-hilla-becher-718 accessed 6/11/13

http://www.photography-now.net/bernd_and_hilla_becher/portfolio1.html accessed 6/11/13

http://www.americanphotomag.com/article/2011/11/instant-expert-bernd-and-hilla-becher accessed 6/11/13

http://suncalc.net  (accessed 6/11/13)

Beardsworth, J (2012) Advanced digital black and white photography, Ilex Press, Lewes, UK

Cartier Bresson, H, (1996) The mind’s eye, Aperture foundation, New York

Freeman, M (2007) The photographer’s eye, Ilex Press, Lewes, UK

Freeman, M (2008) Mastering Digital Photography, Ilex Press, Lewes, UK

Freeman, M (2011) The digital SLR handbook, Ilex Press, Lewes, UK

Heiting, M (2001) Edward Weston, Taschen, Italy

Williams, V (2012) What makes great photography 80masterpieces explained, Quintessence Editions Ltd, London, UK

Black and White Photography Issue 156 November 2013 GMC Publications Lewes, UK

Reflection – assess against course criteria

Demonstration of Technical and Visual Skills – My research and analysis of my photos helped me develop visual awareness skills. By completing the exercises prior to the assignment, I developed an understanding of the technical skills required for creative processing in monochrome. There is much I can learn from this area and take forward to the next course.

 Quality of outcome - I have increased my knowledge, and related what I have learnt to past images I have taken. I have presented this as coherently as possible so that it fits the assignment and also is useful for me to revisit when necessary. I have asked myself questions, read around the subject and previously visited exhibitions knowing that monochrome would be an area I would be studying, and relating what I see to my own work.

 Demonstration of creativity – I thought about what I was going to take and how it may look once processed to enable me to use a variety of available methods. The photographs in my assignment include a variety of the methods learnt from the course exercises.

Context – I read widely around the subject of monochrome and what makes a good subject, looking at existing images to see if what I thought would work did work. I experimented with different creative techniques in processing and reflected on each photograph to see if I thought it worked.