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DPP: Part 1 – Workflow: Assignment 1 – Workflow: Conclusions and reflection

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This post concludes assignment one, and collects my thoughts on the workflow I carried out, compared to what others may follow, along with reflections in the context of the assessment criteria for the course.

Workflow Comparison

The assignment brief asks how my workflow might differ from that of other photographers.  I’ve taken a look around a few sites found through search on Google and found that the “ideas” stage is very much a part of a still-life photographer’s workflow.

Peter at Prosophos (I’m unsure if that’s his surname) details what he keeps in mind at this stage as follows:

  1. Inspiration
  2. Infusion of self
  3. Illumination
  4. Inclusion/Exclusion
  5. Intelligence/Iteration

Some parts of that I went through anyway, prior to starting my published workflow, but I didn’t include it (which I have noted previously in my workflow write-up post).  Certainly I was “inspired” by a theme and at some level there was an “infusion of self” in terms of my sense of humour being reflected in the original idea and “story” I created.  I couldn’t claim that was on a wholly conscious level, however.  Thinking back on feedback from my tutor for The Art of Photography, on putting more of “Phil” in my images, perhaps an inclusion of that concept in my workflow and planning may be a good way to practice at that.

On “Illumination” and “Inclusion/Exclusion” I’ve no real idea what Peter is talking about – and his post isn’t, ironically, particularly illuminating on what he means there.  ”Intelligence/Iteration” is fairly clear though – and while I made small changes, I didn’t really go through much of an iterative process.

At the start of this video by Julieanne Kost on Adobe TV, she shows the iterative process as part of her workflow; experimenting with different ideas and – even having found an image she was happy with – continuing with further ideas.  That wasn’t something I did – though perhaps the fact I had a reasonably clear idea of the result I wanted made that kind of iteration less applicable.

Comparing my actual “practice” workflow, I’ve seen a few examples where photographers backup images prior to processing.  This workflow posted by Thomas Hawk is an example.  I’m not convinced that’s a good option as – prior to the technical edit – it represents a lot of storage (for RAW files) being used for images that I already know should never see the light of day.

Thomas’ processing step is more rigid than mine – with images flagged first and processed later.  However, his work is generally travel photography – where images are taken more “in the field”, whereas in my assignment I was performing basic processing to determine whether to revisit a particular image idea before moving on to the next – I had full control over what I was shooting, and was making a decision based on a better idea of the final result.

Key-wording is also completed later in Thomas’ workflow – though I noted in my write-up that, on reflection, I should probably have done this later.

Conclusions and Reflection

I will look to include my preparation and “ideas’ stages in my future workflow as I think I am missing an opportunity to think about what I’m doing and why – as well as risking some forgetfulness - e.g. not having enough batteries!

A flexible approach was needed to the workflow – particularly around processing – but that was more specific to the type of subject I chose, which is why this element differed from other workflows I’ve researched.

A new element of this course is the reflection in relation to the assessment criteria; so hopefully I do it (and myself) justice here:

Demonstration of Technical and Visual Skills

  • I’ve set up a high-key “studio” set up and feel I’ve got my desired result from this.
  • As the subjects are close-up I’ve made appropriate choices to maximise depth-of-field (except when I haven’t wanted to, for deliberate effect).
  • I’ve improvised with the lens choices available where necessary – aware that I’d get what I needed through processing.
  • I’ve “designed” the images in terms of object placement and composition to create a sense of relationship between them, and “action”

Quality of Outcome

  • Overall I’m satisfied with this – though presentation hasn’t been something I’ve thought about.
  • The images to, in my mind, clearly communicate an idea and the “story” I had in mind at conception.

Demonstration of Creativity

  • While the images fit with my sense of humour I wouldn’t claim they are especially imaginative or innovative.  I couldn’t find images on an identical/similar theme, but the photographic style – and even the “quirkiness” – is far from unique.

Context

  • I’ve researched other workflows in the context of what I chose to do for this assignment, as well as looking for information on high-key photography.  Iv’e also looked at images of others for additional inspiration.
  • With this assignment I have reflected critically on my work far more than previously – both in my  methods and conclusions – within the workflow write-up and in this post; and particularly when comparing my workflow to others.

References

  • Peter Prosophos. (2013). My Photography Workflow, Part 2. Available: http://prosophos.com/2013/01/07/my-photography-workflow-part-2/. Last accessed 18th February 2013.
  • Kost, J. (2013). Cyclical – The Creative Process. Available: http://adobe.ly/V4Cram. Last accessed 18th February 2013.
  • Hawk, T. (2011). My Photography Workflow 2011. Available: http://thomashawk.com/2011/08/my-photography-workflow-2011.html. Last accessed 18th February 2013.
  • Johnson, J. (2010). The Complete Beginner’s Guide to Shooting High Key. Available: http://photo.tutsplus.com/tutorials/lighting/beginners-guide-to-shooting-high-key/. Last accessed 18th February 2013.

TAOP: Assignment 5 – Applying the techniques of Narrative and Illustration: Summary

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I’ve enjoyed this assignment and created some images I really love – although in some ways it’s felt rushed as I’ve needed to do everything before my extension finished. With a bit more time I might have shot a couple more images and replaced the ‘Sober’ image with something that fits better.

Through this section and assignment I’ve definitely understood more on the power of photography to tell a story. My reading (particularly a couple of useful articles in The British Journal of Photography) has helped add to the course text too – and ultimately led me to think more on the images telling a narrative between them that’s enhanced by the words – rather than just simply illustrating the words.

As with previous assignments I have tended to use studio and portable flash gear for this – mainly with two light setups. However I’ve also combined flash with natural light too – where it’s suited the images. The use of coloured gels obviously meant artificial lighting was a necessity for the images I’ve created.

I feel the assignment does successfully demonstrate what I’ve learnt across the course – without ‘forcing’ anything through the images. There is contrast in terms of colour on the first page, and in a more abstract sense of tone and meaning between the cover and final page image. I’ve arranged items and composition to illustrate relationships between them, and to lead the eye around images. I’ve also used a combination of lighting techniques, as noted above.

TAOP: Part 5 – Narrative and Illustration: Exercise – Juxtaposition

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The aim of this exercise was to produce either a still-life, or a larger scale shot, to demonstrate juxtaposition.  I’ve chosen to do a still-life illustration for a book cover – which should use two or three relevant elements.

I selected a few books and thought of one or two ideas for each:

Douglas Coupland – Girlfriend in a Coma

  • A bouquet of wilted and dead flowers in a vase, next to a sun-bleached valentines card on a hospital-esque beside table.

Iain Banks – Complicity

  • A folder, stamped ‘classified’ beneath of of those green desk lamps; bloody fingerprints on the sides of the folder.
  • The same folder, a used needle on top, and the palm of a hand facing up – spread next to it.

Michael Marshall Smith – Spares

  • A smashed bulb, with a set of intact bulbs behind them.

Practicality meant I opted for ‘Spares’ as propers were much easier to come by!

Click to see large on Flickr

I think this works reasonably well to show a relationship between the smashed bulb and the intact bulbs.  When the title is included I think it’s clear what is meant – but I’m not sure the meaning would be fully understood without it.  I think as a book cover that’s acceptable – but as a standalone image it’s open to interpretation as to what the relationship between broken and intact is communicating.

I do like this as an overall image though – and I enjoyed the exercise of choosing appropriate symbols; that may be an area for me to work on though.  I’ve demonstrated that in the past at work when I’ve used a black cab in a presentation to illustrate ‘knowledge’; it was a reference that only a few got.  Lets see how I do on the next exercise: rain.

TAOP: Part 5 – Narrative and Illustration: Illustration – Project Introduction

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It’s essentially a luxury to use several images to tell a story – and a single image can also have more impact and be more memorable.  Illustration is largely a matter of telling a story in a single image.

Examples of stories that can be put across in a single image include relationships between things in the photograph, or a hint of something happening.

The course material demonstrates this with a still-life arrangement showing materials used by da Vinci, as though he had just been using them (albeit, stylised), as well as images showing people posed to show social issues (Lewis Hine – Boys working in Cannery) and fear and suffering (David Seymour – Air Raid over Barcelona).

The exercise for this first part calls for an illustration of ‘evidence of action’ – showing something has happened.  It suggests including something that has either been broken or emptied.  I shall put my thinking cap on (Phil takes another sip of wine).

TAOP: Assignment 3 – Colour: Tutor Feedback, Learnings and Ideas for Improvement

This post provides a summary of my tutor’s feedback on Assignment 3: Colour, to help me look at what I can improve on in the future.

General Learnings

  • Once more, a positive summary form my tutor which has followed some in-depth constructive feedback: “Overall a good assignment, a good grasp of the material and the colour theory.  You have already started to hint at and develop things beyond the level of the course and started to find your own ideas, thoughts, views and approach so please keep this up.”
  • For my final assignment (5: Narrative) I should be cautious of choosing to focus on a single day or tight time-frame, as it puts pressure on me and tends not to do justice to the wide range of work done as part of the module.
  • My tutor’s suggested I experiment using theories and going against them to look at using that to illustrate a point within a series of photos.
  • I should look to present a balance panel – though not limit myself in assignment 4 – aiming for it for assignment 5.
  • For assignment 4 I should research advanced lighting techniques and and investigate how to use light creatively.

My Learning Log

  • I was pleased with the feedback on this as it had come in for some criticism previously and I’d worked both prior to the previous feedback on improving my write-ups and after it on the assignment and on personal shots.  I’d also created an index page to make it easier to navigate, and added a menu to the left.  Navigation wasn’t an issue this time around either.
  • My tutor said it included some “excellent extra details” and “well put together notes and a good representation of the all-round level of work put into the assignment.”  He added “Please keep this up.”

Suggested Reading/Viewing

  • Read more about the technical balance of light – both natural and artificial; and how to combine the two for the next assignment.
  • Read beyond the next assignment to using light as both a subject and how to change the appearance of the subject.
  • I should push my knowledge of artificial lighting setups forward with multiple lights and also on comments (below) about sync speeds, overall exposure and post-processing.

The Photographs

This section looks at the feedback on each of the colour themes in the assignment; highlighting specific shots, when mentioned.

In the email from my tutor he said “I’ve been overly critical in a number of areas but the level of work is such that I can be as some of the work produced for this assignment is what I would normally see for assignments 4 and 5 so I’m expecting more in those!”

Colour Harmony – Complementary

  • I should expand on details of processing as some shots appear over processed – in the case of the oranges in water shot, my tutor suggests this is due to the lighting not being enough to give a thoroughly finished image.
    • Do some research on high-speed synching and the relationships between shutter firing and flash duration.  I should also check for ambient light interaction as well.
  • The pavilion image brings the rest of the images down – but this kind of image is necessary as part of the process.  My tutor suggested using the people as colours to blend with the surroundings.
    • Any weak images will detract from strong ones.

Colour Harmony – Similar

  • To quote “I’m going to be really picky now with the balloons shot.  It’s a good example of when not to include a photo.”
    • Under-exposed image of something on a dull, flat, day.
    • White-balance and metering need to be explained.
    • Could have shot it on another day and said it was “inspired by”, or talked to the balloon seller to set something up.
    • The level of setup and preparation I’ve shown in this assignment is high for this stage in the course, so I should take it further and apply that across all preparation and delivery.
  • The lantern photo is really crying out for the flame as it’s a great idea that needs the boost – alternatively I could have tried using a burst of flash.
  • The lion is good experimentation, but under-exposed.  Not ideal for a colour assignment.

Colour Contrast

  • The T’ai Chi image suffers greatly for being an ultra-crop.  I should do the same level of preparation and iterative cycles as for my other shots; introduce myself and explain what I”m doing and ask for a pose – though there is a risk they might start over ‘acting’ to camera.
  • The envelope photo is one the tells the story from the thumbnail.  Artificial lighting might have been use dot avoid the necessity to post process to enhance the colour, though.
  • On the orange numbers photo the colours appear flat and on the next assignment I should highlight a couple of images (natural and artificial light) and go over the metering and processing.
  • On the moon shot: “let’s just leave the digital processing to the digital photography module.”
    • He asked why I’ve diffused light on the moon, as we expect harsh light on it (due to the big firey ball that shines on it).  My reason had been to avoid shadows that might have made the Photoshop work difficult, rather than for any creative reasons.
    • Light should be used for a purpose – not just because it’s dark outside.  I should take th next step with the lighting assignment and use light creatively – not to just illustrate the assignment headings.

Colour Accent

  • The hanging lamps shot is a questionable inclusion – it doesn’t reflect the hard work, effort and planning put into my other photos.
    • I should revisit my work as a ‘panel’ and throw out those that let the set down – the inconsistent shots.