Category Archives: Notes

General rough notes.

Assignment 4 – Languages of Light


Concluding notes on Assignment 4

Brief – Conclude your notes with a personal reflection on how you’ve developed the exercise in order to meet the descriptors of the Creativity criteria.

Creativity assessment criteria – Imagination, experimentation, invention.

Within the assessment statements this relates to development of analytical and creative thinking, using independent judgement and presenting a developing personal voice.


I tend to work from instinct when approaching new areas, rather than through inspiration. I find this allows me to apply my own imaginative ideas, rather than apply those of others. At the same time, in my head, I am being influenced in a passive way by artists that have struck a chord with me. In exploring studio photography for the first time I found myself initially wanting to create a similar candid look that my experience of street photography had drawn me to. This is why I directed the models to look away from the lens and to adopt naturalistic poses. Experience and research then taught me that this was not the best approach. I thought carefully about how to apply this to my final sitting. I wanted to create something with more drama, as well as developing a more intimate relationship between the model and the lens.


This was the biggest area for me to take on board for this project. I haven’t shot in a studio before, or used flash photography in a formal shoot. I did have to research technical requirements and took a while to set up the studio and equipment in my living space. Playing around with an onion in still life form initially helped me prepare in terms of settings etc. The first sitting with the three models taught me a lot about positioning of the model, avoiding shadows and finding the right focal point. In the second sitting with Zack we had a lot of fun playing with different props and outfits. It was also interesting to see the difference that the background colour/tone makes to the feel of the shot. I also found that being more direct with the model allowed me to experiment with different moods in the models facial expressions.


A difficult area to apply in terms of my approach. I did have to be quite inventive in terms of setting up a home studio and organising the space for the shoots. I also spent some time exploring props to use in the shots and looking at ways to add interesting dimensions to the images. These included using fairy wings, hats and a variety of musical instruments in the shots. I also played a little with having more than one model in the shots and they played off each other. These were fun to do but not as successful in terms of creating a satisfying image. This is an area for development as I would enjoy being more playful in setting up studio shots.

So am I developing a personal voice in my photography? I always shy away a little from becoming too involved in emulating other photographers as I want my creativity to come from within. If this project, and in fact this course, has taught me anything it is to be more open to considering the work of others. It was in studying others’ portraiture during this project that really helped me to develop my own style, whilst applying the skills of others. It also showed me how important it is to consider the connection between the lens and the subject matter, and this can be reliant on many things. It could be connected to the relationship between the model and photographer, it could be related to the photographer’s direction or perhaps the context and set up. But in all these areas there is always the element of chance that steps in.




Heads – Philip-Lorca diCorcia

A different approach to street photography

The focus for my work in assignment 2 was ‘Crowds’. Living in London this worked really well within the Street Photography genre. I have long been a fan of street photography in terms of aesthetics and conveying a captured moment. This project allowed me the opportunity to explore the genre in a more personal way, as well as opening my eyes to the variety of forms it can take and the practical and moral issues surrounding it. As the photographer I do feel a little uncomfortable taking candid shots of strangers in open places and I pick my subjects and context with care. I therefore read articles on the series ‘Heads’ by Philip-Lorca diCorca with great interest.

The series of 17 images were selected from 4000 shots taken over a period of 2 years. Each image was taken without the subject knowing and the final choices were then exhibited in Moma. The collection then became part of a court battle when one of the individual’s recognised his photo. The court eventually found in favour of the artist – citing advocates of free speech and the exceptions to privacy rules that art can be exempt from. The MOMA site details the case here.

Putting the controversy of the case aside, these images are notable in how individual they are as pieces of art. The ultra realism within each face, the dark background in broad daylight, and the complete openness of the individuals’ expressions. The hidden nature of the camera has allowed the photographer to create something individually candid that would be impossible to achieve if the subject were aware of the shooter.

Project 2 – Photography as Information

‘Photographers…are in pursuit of possibilities that are still unexplored in the camera’s programme, in pursuit of informative, improbable images that have not been seen before.’ (Flusser, 2000, p37)

In considering the camera as a tool for recording information as well as exposing information that is not always seen with the naked eye or in a single, fleeting moment.


Rinko Kawauchi – Illuminance (2001)

So in considering the effect for accurate exposure when recording an image with a photo, we would usually want to ensure that we weren’t under or over exposing to ensure the optimum amount of detail is included to when wanting to convey information about the captured moment effectively. So what information is being conveyed in the image used on the front cover of Kawauchi’s Illuminance. Here light and exposure to it is being used in a way that makes to viewer use its previous image knowledge to interpret the picture. Our perception here tells us this is a rose with a moon in the background and various foliage in the midground. The use of over exposure also adds a painterly aspect to the frame. This image underlines the relevance of considering what the viewer is bringing to the table in terms of placing an image in the context of their previous knowledge.

Part 2 Imaginative Spaces

Project 2 – Lens Work

‘Look back at your personal archive of photography and try to find a photograph that could be used to illustrate one of the aesthetic codes discussed in project 2. Whether or not you had a similar idea when you took the photograph isn’t important; find a photo with a depth of field that ‘fits’ the code you’ve selected. 

Add the shot to your learning log and include a short caption describing how you’ve re-imagined your photograph.

In exploring the effects on altering the depth of field, focal length, width of lens and viewpoint a variety of visual choices are presented to the photographer.

The exercises in Project 1 helped in developing my understanding of the technical requirements when shooting different subjects, or for different creative interpretations.

I think the Wim Wenders quote cited in the coursework folder is particularly prevalent here.

The most political decision you make is where you direct people’s eyes

(Wim Wenders (1997) quoted in Bromberg and Chanarin, 2008)

In my exploration I found myself drawn to the use  with shallow depth of field with a narrower angle of view when working on portraiture to draw the eye to the focus of the image. The background blur discourages attention from the viewer and the sharpness of the face leads the eye.

Focal length 85mm, f-stop 1.8,

Deep focus gives the eye autonomy to roam over the picture space so that the viewer is at least given the opportunity to edit the scene himself, to select the aspects of it to which he will attend.

(Bazin(1948) quoted in Thompson and Bordwell)

To explore this viewpoint I worked with a wider angle of view – allowing me to incorporate more details in the image. The deep depth of field also brings a sharper focus on more of the details within the frame. So rather than the eye being drawn to one particular point of the frame, in this instance it could have been one of the fountains, the viewer is able to consider the buildings, the splashes and puddles, the half hidden member of public, and even the spot of light bleed in the centre.

focal length 33mm, f-stop 22

This approach to the technical settings results in a closer representation of the whole subject matter incorporated in the frame. Examples of this approach can be seen most famously in the work of Ansel Adams. Along with Willard Van Dyke and Edward Weston formed club f/64.


In choosing a photograph to fit with the ‘codes’ described in the nots in project 2 I selected one of the live music shots that I felt portrayed ‘intimacy’

Shallow depth of field – intimacy


The shot was taken in an instance where I saw the two performers interacting with each other and their close proximity to the other means that the eye is drawn to both equally. There is some movement and a slight soft focus on the subjects – although technically this isn’t ideal, I do enjoy the sense of a live experience that this creates. It terms of this fitting in with the aesthetic code of intimacy, using the f1.8 has helped to create this by blurring the background. I also feel that the fixed prime 85mm lens has added to this feeling by creating an illusion of the viewer almost being in the frame.