Tag Archives: Design Elements

Assignment 2 Tutor Feedback and Reflection

I have received my tutor’s feedback on assignment 2. It is included below along with my comments, reactions and reflections. The assignment was submitted on 14th February and the feedback was received back on the 2nd April. I have quite obviously covered a lot of ground in the intervening 6 weeks so a number of feedback comments have been overtaken by events.

” Overall Comments

Again this was another strong submission Steve, including a diverse range of imagery from the Turks and Caicos Islands.

 The issues raised in the previous report are as follows:

  • Further consider the Monochrome versus Colour debate
  • Look at the work of Josef Koudelka in particular relation to image composition.

I can see you have responded very well to this feedback and enjoyed reading about your thoughts on Koudelka (and here and here and here) posted on the blog.

Feedback on assignment

This was a strong series of images Steve, which took the opportunity to develop a themed body of work via a place already full of visual interest.  From a technical perspective I couldn’t really see much wrong with the way in which you construct an image IE: Composition / focus / exposure etc. I do think some worked better than others in my opinion … I’d guess others would have a different opinion though. ”

A Combination of Vertical and Horizontal Lines

Fig. 01 – A Combination of Vertical and Horizontal Lines (Fig. 4 from submission)

” The imagery that stood out for me was as follows: Fig. 4 – Ruined Mansion at Emerald Point. ”

Distinct Shapes

Fig. 02 – Distinct Shapes (Fig. 10 from submission)

” Fig. 10 – Cruise Ship Through Ruin ”

Rhythm

Fig. 03 – Rhythm (Fig. 13 from submission)

” Fig. 13 – Bottles.  This was not to say the other imagery didn’t answer the brief, but just these images stood out for me with the beer bottle on the left of the first step of fig. 04 being the ‘Punctum’ for me personally. “

Response

The “cruise ship through ruin” always felt like one of the strongest images because it had so many graphic design elements to go with the colour and the juxtaposition of the cruise liner on a perfect sea with the ruined building.

I can see why the bottles in fig 13 attracted particular attention as the subject was odd, I felt that this image was the nearest I came to capturing the unusual hidden in full view and, as I said in my submission, it made me feel that I could have created a more interesting set if I had “found” William Eggleston and Stephen Shore before, rather than after the trip. I believe that my subsequent study of Eggleston, Shore, Ray-Jones and Parr have helped me improve my observation skills and become more alert to potential subjects.

It is interesting that “The Ruined Mansion at Emerald Point” appealed and why it appealed. The beer bottle was the special feature for me as well and the sense of something very normal having happened here in the recent past made the ruin more intriguing as it has moved from a millionaire’s holiday retreat to a ruin and appeared to now have a role as a place for someone to sit and drink beer but instead of throwing the bottle onto the piles of rubbish they had carefully placed it on the step.. 

” I thought the idea of exploring this island was already ahead of the game in terms of visual interest. Many of these assignment submissions come in and do not really leave any kind of comfort zone. That is not to say that a series of images must be shot in an exotic location to be of interest … probably the opposite actually, once you scrape the surface.  I did find that the images that intrigued me the most made reference to an area of abandonment or former glory IE: Fig 04 or Fig 10. I think this might have been the theme to explore as many of these relatively new tourist locations have a hidden or unseen past to explore, with deep significance. “

Response

I am in total agreement and the idea that developed on location was exactly that. I initially wanted to bring together a combination of ruins, abandonment, new developments,  the degeneration of new and old and the restored and unrestored historic colonial buildings to paint a picture of flawed progress. However, and I see this as the fundamental challenge of these assignments, instead of selecting 15 images that told this story I had to find 15 images that told this story and “ticked off” the various design elements. In editing I had to choose between the story, the strongest images and exhibiting the design elements and these objectives were often mutually exclusive.

To satisfy my own need for the story I pursued three themes in parallel. I looked for the design elements, I worked towards a study of degeneration  and looked for ways to document the islands without producing a cliché ridden travel guide. (here and here)

In a few cases the three objectives intersected and where that happened I captured the strongest images in the submission. I didn’t want to shoehorn in an image that fitted the theme of the series when it was a weak answer to the design criteria but I also felt uncomfortable broadening the series to include images that fitted the criteria but were not as strong in terms of the theme.

I do not intend to use this as an excuse to ignore the assignment or to argue that my work would have reached great heights if only I had not been constrained of the assignment. The test is to present strong images, tell the story and meet the criteria. However, I am close to completing my shoots for assignment 3 and know that the images collected so far are tending to place theme above the perfect completion of the assignment criteria so only time will tell whether that is a step in the right direction in terms of feedback and assessment.

Implied Triangle

Fig 04 – Implied Triangle The Conch Fisherman

” I also liked the action portrait of the Conch fisherman, but felt this might have worked better if it had been shot deliberately, with collaboration, in a setting where the background gave significance or context to the image. “

Response

Point taken and accepted. I took half a dozen pictures of this chap and whilst he was willing to chat about his trade and was quite friendly I’m not sure whether I could have tempted him to collaborate. The resident population, or “belongers” as they call themselves, are not especially comfortable with tourists who presumably might be called  “unbelongers”. I recently watched the excellent Bill Nighy drama “Turks and Caicos” and the point was made there that the locals just clean up after rich tourists. 

But, back to the point. I could have used one of the following shots of the same man as these contain far more context but de-power the design element but this does raise another issue which I struggled with when editing the series. In his feedback to assignment 1 my tutor suggested that I should not mix the aspect of my prints, i.e. do not mix horizontal aspect and vertical aspect prints in the same submission. I subsequently used the OCA forum to ask whether this was the general view. The tutors on the forum did express the same view so all of assignment 2 was presented as horizontal aspect prints.

I am still struggling with this inferred rule. Whilst I recognise that the majority of photo books have a consistent format there are many examples where the occasional vertical or square aspect is included in a book of horizontal aspect prints. I also noted that David Bailey did not feel constrained in his Stardust Exhibition where he mixed vertical and horizontal on the same wall or where he created photo montages of related prints in single frames that included square, vertical and horizontal.

If I had not felt bound by this inferred rule I would have used 2 or 3 vertical prints including fig. 05 below.

Fig. 05 Conch Fisherman - 1/500 at f/8, ISO 100. 50mm prime lens

Fig. 05 Conch Fisherman – 1/500 at f/8, ISO 100. 50mm prime lens

Fig. 06 Conch Fishermen - 1/500 at f/8, ISO 100. 50mm prime lens

Fig. 06 Conch Fishermen – 1/500 at f/8, ISO 100. 50mm prime lens

” When you look at a series of images and one makes you stop, this can be referred to in terms of what Roland Barthes would call ‘Studium’ or a general enthusiasm or interest assigned to an image. This is as opposed to something that might be classed as a rare detail or piercing moment of either pain or delight, which Barthes would term ‘Punctum’.  I have listed a publication below by Barthes entitled Camera Lucida, which I urge you to read in relation to developing your photographic critical position.

Learning Logs or Blogs/Critical essays

The Blog is working very well for you and you appear to be updating it regularly, which is excellent. It is very easy to navigate and contains some really strong and diverse research, which is excellent at this stage of the degree. Just check the spelling of the ‘Bibliography’ link.

Suggested reading/viewing

Parr, M.2004:Think of England. London. Phaidon Press Ltd.  (see follow up work here)

ISBN-13:978 – 0714844541

Eggleston, W.2002: William Eggleston’s Guide. New York. MOMA Press  (see follow up work here)

ISBN-13: 978-0870703782

Shore, S.2004: Uncommon Places. London. Thames & Hudson  (see follow up work here and here)

ISBN-13: 978-0500542873

Barthes, Roland.1993: Camera Lucida. Vintage Classics. London. (see follow up work here)

ISBN 13: 978-0099225416

Response

I also felt that leading into assignment 3 was the right time to explore Martin Parr. I have seen extracts from “Think of England” in Val William’s book on Martin Parr and have ordered “Think of England” but it is currently out of stock at Amazon. I have completed a review of “The Last Resort” (here) and although my choice of subject for assignment 3 is quite a long way from Parr’s style his approach has helped me understand the key role that observational skills play in photography.

 In his feedback on assignment 1 my tutor suggested that I start to research the banal and this of course quickly led me to William Eggleston and the new colour movement. I have already completed my shoots for assignment 2 when I received this advice but I have spent a lot of time researching Eggelston (here and here) and that led me to Stephen Shore and Uncommon Places (here) and ultimately to Tony Ray-Jones (here) and Martin Parr (here)

” Pointers for the next assignment

Apologies about the late response regarding this feedback, as I note you already have looked at some of these practitioners in relation to assignment 3. Anyway ….. please use the following to inform assignment 03 – Martin Parr, William Eggleston and Stephen Shore. Parr is a well known Magnum Photographer, so it may also serve you well to try and become acquainted with what the Magnum Photo Agency [http://www.magnumphotos.com] is all about. The other two [Eggleston & Shore] are very important American photographers especially in relation to the use of ‘Colour Photography’.

Eggleston in particular is cited as being the photographer who introduced the art world to Colour Photography, with his ground breaking exhibition at MOMA in New York in 1976.  Prior to this, most serious photography had been monochrome.

Lastly, regarding work already conducted on assignment 3 – in relation to reflections / portraits, please see the work Tom Wood conducted from Merseyside buses in the 1980’s called ‘All Zones Off Peak’.

I hope this is of help to you Steve and I look forward to your next assignment.

Response

Very helpful pointers and I sense that Parr, Eggleston and Shore are ideal influences at this stage. I have used the Magnum site extensively as it bypasses the frustrations of general image searches on the internet where separating the wheat from the chaff is laborious and frustrating.  Magnum has two massive advantages, they are all photographers at the top of their profession and the site has a powerful search engine so it is very easy to focus in on a single topic across many practitioners. They also provide a historical and contemporary cross section of styles so it is possible to find very different approaches to the same subject.

I will certainly look into Tom Wood, I did see some of his work when I helped take a school party to London last year but I will now search out images from “All Zones Off Peak”. It is too expensive to buy a copy as it is currently showing on Amazon at £165.

Overall Reflective Comments

I would obviously have been happier if more of the submission images had made the “short list”, 4 out of 15 seems a poor hit rate, but looking back on the submission six weeks down the track I fully accept that they were not all strong enough and, if I was to assess them now I would have only added 1 or 2 more to the “short list”. As mentioned above, I feel the key is to ensure the theme and what I want to say is given priority over ticking off the assignment criteria and I need to push further out to test where this takes me. 

There are a lot of lessons to be learnt from my tutor’s remarks and whilst I have collected plenty of test shots and have some potential final images for assignment 3 there is still plenty of time to use his guidance to good effect. 

Eggleston, Shore, Ray-Jones and Parr are influencing the way I observe but I am not seeing a clear influence coming through in my photos. There are fleeting glimpses of the way they see and capture the world in a some very isolated examples of the pictures I have taken in the last month so hope still springs eternal. I would have given myself a better chance of showing their influence more directly if I had chosen a different subject for assignment 3 as I have not come across many reflections or mannequins in their work.

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Stephen Shore Uncommon Places

DSC_7282Uncommon Places by Stephen Shore *(1), considered to be one of the most important American photo books, is a diary. The pages of the diary have fallen out and been put back together out of sequence but it is still a diary, a journal in the tradition of the Victorians like Edward Lear who wrote, sketched and painted as he travelled through Italy, Albania and Greece in the 1850’s or of Shore’s fellow American Robert Frank who toured America one hundred years later camera in hand. Each of these men documented a place in time with a forensic eye for detail and no little skill and in the perfect medium for their time.

Lear worked in watercolours which Wilcox and Newall * (2), in Victorian Landscape Watercolours, tell us was considered in the 1800’s to be “a new art” and one that rose to its zenith in the middle of that century when Lear was complaining about poor roads and dirty villages in Southern Italy whilst creating a collection of landscapes that documented the region.

Robert Frank’s work is black and white photographs, considered in the 1950s, and for many years before and after, to be the only possible medium for art photography, and then we have Shore who was one of a small group of American photographers who worked in colour and who made that medium acceptable and then acclaimed.

I believe that this link is key to understanding the work of these documentarists. Each wanted to communicate something they saw as important about the places they visited and the people they found there. If you wish to communicate something it is only sensible to use a language that can describe your subject and that be heard and understood. Each man selected the medium of his time that best allowed them to describe their subject. The difference is that Lear and Frank rode the crest of the wave of their chosen art form whereas Shore was part of the formation of the wave of “New Colour”.

Uncommon Places has been published twice, an original in 1982 which comprised 49 plates and an updated version in 2004 which included around 100 more photographs. This has now been reprinted many times, my copy being the 2013 reprint. Uncommon Places is seen as one of the most important photograph books of modern times and my own research shows that this book and William Eggleston’s The Guide are two of the most quoted and reviewed books in the world of photography. Given its status I wanted to understand, as far as possible, what Shore was trying to achieve when he embarked on his road-trips between 1973 and 1979 so I have spent time finding interviews with the artist in both written and video form so that I started to look closely at Shore’s work with his own thoughts and statements as my guide.

DSC_7284There is, of course, a technical aspect to Uncommon Places which is much discussed and much copied. Shore’s choice of camera was a 8×10 view camera which can been seen in a number of films of him at work *(3). This camera can only be used with a tripod and focussing is carried out on a ground glass backplate. Once the film is inserted the image can not longer be seen so Shore stands to one side of his camera, cable release in hand and waits.

Having worked for a number of years with a medium format Bronica, which could be used hand-held but was far more effective on a tripod, I know that a large camera guides you towards a slow, measured and thoughtful approach to subject selection and composition and, because the tripod enables long shutter speeds, there is the opportunity to use deep depths of field. Shore realised all these things before he started using the 8 x 10 but more importantly he recognised that this allowed him a greater level of compositional freedom than he had known with a handheld camera. In his interviews he repeatedly uses the word “detail” and this is part of the key to his work. He saw that, by having such a wide DoF, he could compose his images with great depth and include detail right to the horizon, as an analytical man he became intrigued with the structure of his images and “how deep space in a picture relates to a picture plane”. * (4)

This depth is one of the first things that stands out in his landscapes and it is not just about DoF and sharp focus from near to far, it is more to do with the fact that the images are often full of detail deep into the picture and that he is composing the background right into the depths of the frame. The huge 8 x 10 negative means that he has precise clarity for this detail when he prints and this means the comparatively small prints that he often displayed overflow with information.

There are many examples in Uncommon Places of these trademarks of his style, the depth of the image in the frame, the immense amount of information that draws us in, and the careful, precise, positioning of every element; in U.S 97, South of Klamath Falls, Oregon, 1973  the telegraph poles disappear so far away from the viewer it is difficult to say precisely when they are still there and when they have gone, the clouds lead us to a vanishing point somewhere behind the billboard and the horizon is fringed with mountains upon which the trees might be counted. Main Street, Gull Lake, Saskatchewan, 1974 is a very different type of photograph, a small urban scene, but like South of Klamath even the more distant objects are carefully positioned and you can sense that he took a step to his right to position the blue building so precisely between the telegraph poles, Gull Lake is also an example of the type of detail that connects with viewer and calls for a second, third and forth look to see the cowboy boot on the Coca Cola sign which in itself is missing several letters, the two street lamps with red shades outside the little white store at the end of the street and is “Wal Wal” really “Wall to Wall” and is it a carpet shop?

This extreme level of detail and Shore’s tendency to exhibit his work with comparatively small prints reveals yet more of his analytical nature. He knew that the 8 x 10 negatives, even when masked in camera to allow him to take two 4 x 10 pictures on one negative, would allow him to produce large prints without any significant loss of quality but he also saw that a large print allowed a viewer to casually look and move on, thereby missing whole tranches of information * (5).  A smaller print, however, demanded close inspection and once we start to look closely at a Shore print we look even more closely and then we reach for our reading glasses and look again. I found myself using a magnifying loupe to investigate the depths of his compositions.

DSC_7264

There is another aspect of detail that makes Shore unusual today and made him stand-out from all but a tiny few in the 70s. His all-in-focus pictures using all the available detail of the 8 x 10 negative allowed him to offer everything and nothing as the subject. In American Beauty * (3) he says ” recording in extraordinary detail allows me to see things but not make them the whole point of the picture.” This idea, of what he calls a “state of hyperawareness” make his pictures a more complete view of a scene than we could have had by being there. He captures everything in a split second but it takes us far, far longer to explore the scene via his image and often, there is no one subject, no item sitting at a “rule of thirds” intersection that explains the composition and I do not believe that he wants us to ask what is the subject? of say “Speedway Boulevard, Tuscan, Arizona, 1976” is it the cars? is it the Mazda sign? is it the road? because it is all of these and the lamp posts and the palm trees and the road signs and … The point is made; he presents a complete and complex view, left to right, top to bottom, front to back that in totality describes Speedway Boulevard.

Stephen Shore embraced colour in much the same way as William Eggleston, he saw the world in colour and documents places that might be described as “dull” using a technicolor palette. He rejects the idea that the colours in his photographs are nostalgic * (4) and the re-print of Uncommon Places supports this position. Plate after plate glows with saturated colours. He choses to photograph people in bright clothes against muted backgrounds so the subject leaps out such as in “Main Street, Fort Worth, Texas, June 17, 1976”, or in “Ginger Shore, Miami, Florida, November 12, 1977”. He revels in the colours of vehicles whether in close- up or as part of his landscapes and when there is little colour contrast he offers beautiful tonal variations as in his photo of the Yankees at West Palm Beach, Florida, March 14, 1978. Colour is never incidental it is front and centre in his compositions.

Having highlighted the depth of his pictures, the detail and the colour there is one further element that  brings everything together and that element is structure. Shore is a scholar, a thinker, an analyst and as much a scientist in temperament as he is an artist. His photographs therefore have many levels, some apparent to the casual viewer and some that are less obvious and this is where I found his words an important guide to his work. Shore tells us that he spent a lot of time exploring the structures of photography and how to organise space in a picture * (3) and it is clear that Uncommon Places, a celebration of colour, a documentary journey across America and a detailed record of what he saw is also part of this exploration of structure. The organisation of space, the careful balance of large blocks of tone and the lines that he uses to direct our view are examples of his desire to show that “structure is not a visual nicety simply over laid on the world but is way of understanding the world.”

Because compositional structure is so important in his images one can select nearly any of the plates in Uncommon Places as an example to prove this point but I am selecting “Miami Beach, Florida, November 13, 1977” as my example because, at first glance, it does not conform to Shore’s other landscapes. This is a picture of a woman sunbathing under a tree on a quiet, nearly empty beach; it is constructed around four large shapes, the road and wall being one, the beach, the sea and, lastly, the pale, blue sky. Each of the four is nearly an empty space but each space is broken by small but relevant points of interest, the rocks in the wall, the trees, two people, huts and shadows on the beach, the ship and the waves and a band of clouds on the horizon. Overall the frame is divided with restful horizontals that match the relaxing scene and diagonals that run both left to right and front to back to create some tension. The position of the huts and trees are balanced and carefully related to each other and the ship sits perfectly both on the horizon and between two trees. The woman is off centre and could be the natural starting point but the lines move us left, then right and at each pass we see a little more, now there are waste bins on the beach, there is another set of tyre tracks we didn’t see the first time until eventually he has led us around this scene and we have seen everything and feel we have an understanding of that afternoon in Florida.

DSC_7297

Shore compositions are painstakingly precise, many are symmetrical with buildings carefully centralised and related to parallel horizontals and verticals. Roads, which are a recurring theme, often cross from bottom left to top right or visa versa, human subjects are mostly centred, and diagonals regularly link with other diagonals at 45 or 90 degrees. His high structure is in stark contrast with his mundane subjects. Shore wanted to photograph the parts of America that were not news, document the heart of his country with forensic accuracy, record the backdrop, the ordinary scenery of the nation whilst most eyes were on New York or Washington, Vietnam or the cold war that was all in the centre of the stage.

Not being an American my emotions are not those of nostalgia when I look through Uncommon Places but my responses are emotional, I love the saturated colours in the sunshine, the voyeuristic insight into a place I can never visit, the ugly middle American architecture of gas stations and car dealerships set against the distant majesty of mountains and arid desserts, the gas guzzling pick up trucks and flat, wallowing, limos stuck in traffic jams.

At its heart Uncommon Places is a dairy but it is a diary about everything that is ordinary and unremarkable about middle America, it is about ordinary people and ordinary places captured in an extraordinary way.

Sources

Books

* (1) Shore, Stephen. (2004) Uncommon Places: The Complete Works: 2013 reprint, London, Thames and Hudson.

* (2) Wilcox, Scott & Newall, Christopher, (1992) Victorian Landscape Watercolours, New York, Hudson Hills.

Internet

Kimmelman, Michael, (2007) Biographical Landscape: Passing Mile Markers, Snapping Pictures, New York, The New York Times. www.metmuseum.org/toah/works-of-art/2005.100.498

Hodgson, Francis, (2013) Stephen Shore: Something and Nothing, Sprüth Magers, London – Review, London, The Financial Times. www.ft.com/cms/s/2/42423636-5b42-11e3-848e-00144feabdc0.html#axzz2tKC0Qo47

* (4) Jiang, Rong. (2007) The Apparent is the Bridge to the Real: Interview with Stephen Shore, New York, ICP. www.americansuburbx.com/2012/01/interview-stephen-shore-the-apparent-is-the-bridge-to-the-real-2007.html

National Gallery of Art, (2009) Looking In: Robert Frank’s The Americans, the National Gallery if Art. www.nga.gov/exhibitions/frankinfo.shtm

Welling, James, (2010) James Welling puts five questions to Stephen Shore, Blouin Art Info International. www.blouinartinfo.com/news/story/33591/james-welling-puts-five-questions-to-stephen-shore/

Edvardsen, Simen, (2012) Uncommon Places, on the Road, The Photobook Club. photobookclub.org/index.php/2012/02/10/simen-edvardsen-uncommon-places-on-the-road/

The Metropolitan Museum of Art Collections www.metmuseum.org/Collections/search-the-collections

Films

* (5) Stephen Shore Uncommon Places, (2012?) Spike Productions interview with Stephen Shore. vimeo.com/32562146

* (3) Stephen Shore American Beauty, (2009) Joy of Giving Something Inc. Directed by Donna Golden. www.youtube.com/watch?v=FRM2X1GnNSQ#t=318

Assignment 2 Self Assessment

Marleys 1/250 at f/8, ISO 100

Marleys 1/250 at f/8, ISO 100

Self Assessment

Quality of Outcome – My  concept was to provide an insight to the islands in no more than 15 images based on a cross section of subjects held together by a common style that represents me and the type of images I want to create.

The collection is no better than half way to achieving this objective. The positive is that all 15 images are very personal and reflect my sense of the place. I believe there is a common style but it doesn’t flow through all the images in a consistent enough manner to give me the sought after cohesiveness.

I now question whether a more narrow perspective of the place might have resulted in a stronger and more coherent collection.

Technical and Visual Skills – I am reasonably satisfied with the technical and visual skills I have employed in assignment 2.

Having made the decision to use the trip to Turks and Caicos as a shoot location for the assignment it was important to observe and photograph what was there rather than what I wanted to be there. I wanted images that went beyond the obvious and to do this I had to be visually aware. The first two months of TAoP has made me more aware of potential subjects and viewpoints and I know that I approached this location quite differently than I would have done before starting this course. My only regret is that I found the work of William Eggleston and Stephen Shore after completing the shoot as I believe I would have been better prepared to find the mundane and everyday things that would have more uniquely described the islands.

I believe that my compositional skills are evolving as I research the work of more photographers and Josef Koudelka has influenced my photographs of people in terms of how I thought about what to include and exclude and where to position my subjects. I generally continued to crop fairly tight and only took a wider view when that added to the image. I would criticise a lot of my pre-TAoP work as being too conformist and over reliant on the rule of thirds so I believe I have made a step forward by being more willing to break the rules to achieve the right emotional effect.

Technically I believe my images are generally competent although I struggled, as I always have struggled, with getting the right overall exposure when photographing black skin tones if there is strong light and shadows.

I have not introduced any new techniques in post processing the assignment collection but, in my testing and preparation, I processed a black and white series using NIK Silver Effects Pro after reading Michael Freeman’s description of its features. (see Black and White Caribbean).

Demonstration of Creativity – Perhaps as a result of 30 years of Kodachrome slide photography before completely switching to digital in 2000 I respond to saturated colours and strong contrasts. My challenge is to create images that use my love of colour positively without producing clichéd travel photographs. My subject selection and composition endeavours to counter-balance the use of strong colour and I feel that I have achieved the result I wanted in most of the collection.

Judging my own creativity is very challenging. My studies of openings and degeneration are progressional and built on ideas developed photographing rural Italian villages but on this shoot I was searching for and testing how to bring a common thread to these fairly narrow subjects. A little of this work has found its way through to my final selection and I am pleased by that. I would say that I have approached nearly all these images in a “new” way and that half of the final collection are of subjects that I would not have photographed prior to starting TAoP. In those terms I see this set as being developmental.

In thinking about whether I am developing a personal voice my main conclusion is that it is too early to tell so I will talk a little about my current creative thinking as I begin to build a clearer picture of my next steps based on the images captured as part of TAoP that interest me the most.

The first idea that crystallised by being focussed on the TCI shoot and that is influenced by Koudelka’s “Czechoslavakia, Slovakia. Bardejov. 1967. Gypsies” and William Henry Fox Talbot’s “The Open Door” is to start looking at openings, windows and doors, as an insight into a community, sometimes with the occupants included and sometimes using everyday objects to suggest occupancy.

I continue to be interested in degeneration by the forces of nature but need to significantly develop my ideas to avoid becoming over focussed on “pretty” colours and patterns.

Context – I am enjoying the research and reflection aspect of this course much more that I had expected. My tutor suggested that I looked at the compositional skills of Josef Koudelka (see Josef Koudelka and Composition) and to investigate “The Banal” (see Banal and the Topographical Movement  and  William Eggleston – One Picture of One Thing).

It is quite clear that this type of research is an essential part of the course and key to my personal development. I want to delve more deeply into Eggleston and Stephen Shore’s work in particular as I am particularly interested in their ability to capture a sense of place by documenting the ordinary. I see no particular link between their work and mine but I find their images of America compelling and want to understand them better as an enabler to being influenced.

I have booked to see David Bailey’s Stardust exhibition at the National Portrait Gallery, it has had mixed reviews but I am keen to see his work close up. He was a man who helped change photography in Britain by invading a world that had hitherto been the preserve of the “right sort of chap”.

Assignment 2 Elements of Design

Introduction

Assignment 2 asks for the elements of design to be incorporated in a set of photographs directed towards one type of subject. My subject is a personal view of a single place based on a week of taking photographs in the Turks and Caicos Islands (TCI) in December 2013. In the context of the groups of subjects suggested in the course notes my “type of subject” is a mixture of landscape and intimate landscape with a touch of human interest. I recognise that, in doing this, I have strayed from the path but to have stayed within a single “type” would have limited my ability to express my personal view.

When I first returned from Turks and Caicos I posted a blog article describing my impressions of the islands and how I set out to capture a personal view. The Caribbean in my View.

For the assignment submission my aim was to select a series of photographs that captured my overall impressions which meant I needed to:

  • Convey the strong colours, bright sunlight and deep shadows of a typical day in the islands.
  • Capture a sense of the constantly changing light as rain clouds rushed across the sea and land.
  • Show how these tiny specks of coral are exposed to dramatic weather events that seek to destroy anything but the strongest structures and, even without the storms, that nature is relentlessly degenerating anything left in its path.
  • Provide a glimpse of the people who came unwillingly to these islands from the other side of the Atlantic and who can trace their ancestors to the ship wreck of a slave trader off these islands in 1841.
  • But, in doing this keep the view wide enough to feature the larger beauty of the place and explain why we escaped here in mid-winter.

Because this submission is a intended to be a collection I would like them to be viewed in sequence before each image is considered individually as included below.

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In preparation for finalising my chosen images for the assignment I worked on some specific themes. These are studies of particular visual elements that captured my imagination and seemed representative of the place. Four collections are included in this blog at:

Each collection could have formed the basis of this assignment but I wanted to document my personal view in no more than 15 images  and within that view to express my overall feelings about TCI. To tell this story I needed to select images that represented the whole. “Openings” and “Metamorphic” are both important as part of the picture but are too narrow in subject.

Single Point Dominating the Composition

Man on Beach at Grace Bay 1/250 at f/8, ISO 100. 24mm - 70mm lens at 32mm

Fig. 1 Man on Beach at Grace Bay 1/250 at f/8, ISO 100. 24mm – 70mm lens at 32mm

Man on Beach, my choice for “a single point dominating the composition” represents the visitor experience. Emerald sea, blue sky, “white” beach under strong sunlight, a perfect day. I have place the central subject dead centre beneath the largest cloud to create a sense of tranquility but there is touch of tension introduced by the white boat leaving the scene to the left. Colour is an important element of this image with the contrast of the man’s red shorts lifting an otherwise blue image. His body shape, the slight movement blur on his raised foot and the long leading shadow give a sense of movement.

My tutors suggestion to look at the work of Josef Koudelka *(4) arrived after completing this shoot but I think my initial study into his compositional skills (see Josef Koudelka and Composition) has had some influence on the my editing. I realised that he is not adverse to placing his subject in the centre of the frame such as in France 1973 (man and hovercraft) or Slovakia 1973 (man in handcuffs) and this was in my mind when editing my Man on Beach.

I took several shots where the sand, sea and sky dominated the image, some with one or two boats or people in the composition and some without anything other than the landscape in the frame. I was drawn to these simple three tone images and had Richard Misrach’s “On The Beach” * (1) series in mind.

“On The Beach” is a collection of photographs taken from a high-rise hotel room in Hawaii so I could not follow his style on a flat, low rise island but I like his simplicity of composition and the way he often offers us a large empty space with a single small subject. I tried several shots from different angles to try and capture the scale of the TCI beaches, especially Grace Bay which is 12 miles long, and how people are often tiny specks within a landscape of limited colours and textures albeit often with a wide variety of tones. Misrach wants to show how insignificant and vulnerable we are within the landscape and I see this is an important idea at a time when climate change is threatening our complacent view of where it is safe to live.

None of my images following these ideas made it to my final selection partly because the most effective were vertical aspects and did not fit into the collection. Some are included in the contact sheet below.

Contact sheet of other images considered

Two Points

Fig.02 Two Boys at Wheeland - 1/124 at f/16, ISO 720. 24mm - 70mm lens at 24mm

Fig.02 Two Boys at Wheeland – 1/124 at f/16, ISO 720. 24mm – 70mm lens at 24mm

Two boys at Wheeland introduces two local residents at a bar well away from the tourist areas. Colour is important to this composition with the bright woodwork providing a strong contrast to the shadows and skin colours. The image is given structure by framing the two boys with the yellow doors and the way they are looking into the space created to the right of the frame. These two young men were gambling on fruit machines in a room adjoining a local bar and I caught them enjoying the moment after sharing a joke.

This image as presented is a compromise because it was captured in a vertical aspect and worked well with the doors as strong verticals framing the length of the boys’ bodies but I am mindful of the advice provided by my tutor on assignment 1 and by other tutors on the OCA forum not to mix formats so I re-cropped to a horizontal aspect. I am satisfied that it still works.

The alternative crops and some other possibilities for two points can be seen here.

Several Points in a Deliberate Shape

Fig.03 Three Men on Grand Turk - 1/125 at f/16, ISO 560. 24mm - 70mm lens at 26mm

Fig.03 Three Men on Grand Turk – 1/125 at f/16, ISO 560. 24mm – 70mm lens at 26mm

The three men outside the general store in Grand Turk tell another part of the island story. The two men sitting down and the one standing form an implied triangle or perhaps more accurately a trapezium. The photograph was taken in quite deep shade and was challenging to process but the three differing poses and how differently each man relates to the camera make this a strong image. The man to the right was willing to talk to me and this is reflected in his direct connection with the camera. The man in the middle covered his face as soon as I rasied the camera and the man to the left seemed oblivious to me being there yet seems to be standing to attention. I think there is a story here, note the empty spirit bottle at the base of the post and the second one under the plastic tumbler.

The image is given structure by the verticals and horizontals that frame and link the men and the implied diagonal formed from the man with a blue hat to the man with sun glasses. In hindsight I can see a link back to Josef Koudelka who I have noticed often works with three subjects to give his images balance.

Grand Turk is visited by cruise ships most days but the ships dock in the southeast corner of the island and few of the passengers trouble to visit the old town where the, now abandoned, salt industry was centred. Apart from a run-down hotel and two dive shops there seems to be little industry in the town and these three men are representative of  the male population that appeared to just sit in the shade.

A Combination of Horizontal and Vertical Lines

A Combination of Vertical and Horozontal Lines

Fig. 04 Ruined Mansion at Emerald Point – 1/125 at f/8, ISO 125. 24mm – 70mm lens at 24mm

Moving away from people the Ruined Mansion at Emerald Point is a combination of horizontal and vertical lines. This image has a logical place in the collection but is different to most of the other images not least because it was captured during a short cloudy period. Colour is less important and the lack of saturation allows this image to offer a contrasting sense of place. The composition is consciously central as I want to lead the viewer through the arches, up the steps and across the bridge to the remains of this huge beach house with the symmetrical composition helping to make the steps and bridge the dominant subject.

The building is slowly being overgrown as it collapses and combined with the lack of saturation this makes the photograph quite melancholy. The image asks several questions about who the owners are and why it has not been repaired given its beach front location but I also wonder who neatly placed the empty beer bottle on the steps.

This house was in a small group of other houses that were all equally badly damaged so I presume that Emerald Point, which is on the northest tip of the island, was exposed to a major storm or hurricane at some point in the recent past. This image documents the power of the weather and is therefore an important part of the story and part of a theme of degeneration.

Contact sheet of other images considered.

Diagonals

Fig. 05 Ladder on Blue Wall - 1/500 at f/8, ISO 100. 24mm - 70mm lens at 36mm

Fig. 05 Ladder on Blue Wall – 1/500 at f/8, ISO 100. 24mm – 70mm lens at 36mm

The first of two images using diagonals is Ladder on a Blue Wall. The harsh shadow and dry texture of the ladder and the wall communicate the heat of the sun in a simple graphic design that has become a geometric abstraction. The quirky design of the weathered ladder hints of a make-do-and mend economy.

I have cropped this tight to allow the ladder to break the frame at the top and the bottom, I think that this lifts the image from being purely graphic to “offering evidence”, as Michael Freeman *(3) would put it, that there is more to the ladder and more to the wall than we can see and therefore asks the viewer to imagine where it is coming from and leading to.

Fig. 06 Stairs - 1/250 at f/8, ISO 100. 24mm-70mm lens at 24mm

Fig. 06 Stairs – 1/250 at f/8, ISO 100. 24mm-70mm lens at 24mm

My second diagonal returns to the theme of degeneration, the relentless weathering by sun and rain of all materials. This derelict house on Grand Turk is slowly decaying but in the meantime the stairs provided a strong diagonal across the image whilst throwing an interesting shadow that prevents the concrete wall from being dead space. I like the partly open door to the bottom left of the frame and the overall sense of neglect.

Diagonals are the easiest elements of design to find as they can often be achieved merely by changing the angle of view. The two I have chosen are strong diagonals that bring structure and balance to the images and the subjects fit well into the island story.

Contact sheet of other images considered.

Curves

Fig. 07 Small Boats at Chalk Sound - 1/125 at f/11, ISO 100. 24mm - 70mm lens at 24mm

Fig. 07 Small Boats at Chalk Sound – 1/125 at f/11, ISO 100. 24mm – 70mm lens at 24mm

Small boats at Chalk Sound interests me as a composition, whilst there is an obvious curve in the rainbow there is also an implied curve created by the angle of the boats’ masts and the shape of the clouds.

This is a photograph of the weather, sunlight in the foreground and a large raincloud in the distance with sheets of rain falling on the horizon. The sky and the weather is a dominant feature of these island landscapes and I wanted to include a composition where most of the frame is filled with dramatic cloud patterns but the two boats add just enough interest  to the foreground to lift the image above being just a cloud picture.

Contact sheet of other images considered.

Distinct, Even if Irregular, Shapes

Fig. 08 Weathered Timber - 1/125 at F/22, ISO 200. 105mm prime lens

Fig. 08 Weathered Timber – 1/125 at F/22, ISO 200. 105mm prime lens

The first of my three images featuring distinct shapes is of Weathered Timber. This continues the theme of degeneration and is another very graphic composition with three major blocks, rusty red, black and faded blue. This image and fig. 05 probably fit into John Szarkowski’s second category of “failure in colour photography” where the image is of beautiful colours in pleasing relationships* (2). Despite recognising that weakness I continue to like simple graphic combinations of colour as long as there is some context.

Fig. 09 Front Street Grand Turk - 1/125 at f/16, ISO180.  24mm - 70mm at 24mm

Fig. 09 Front Street Grand Turk – 1/125 at f/16, ISO180. 24mm – 70mm at 24mm

Front Street Grand Turk brings together a number of strong shapes including the large triangular block of the stairs and their supports, the rectangular yellow wall of the hut, the red roof and the blocks of shadow, sea and street. This image features several elements of place to give a sense of the elegant, if now weathered, old building contrasting with the more modern, but well maintained, tin hut on the other side of the street. I like the multitude of lines and shapes and the strong colours that together have a mid-day sun feel about them.

Fig. 10 Cruise Ship through Ruin - 1/125 at f/16, ISO 360. 24mm - 70mm lens at 24mm

Fig. 10 Cruise Ship Through Ruin – 1/125 at f/16, ISO 360. 24mm – 70mm lens at 24mm

The final choice for distinct shapes is Cruise Ship Through Ruin. I think this could have been included as a composition of verticals or diagonals but I see the square openings as the most dominant shapes even though the shadows cast by the remains of the roof are the most interesting feature.

Each day the residents of Grand Turk’s only town watch one or two cruise ships head to the custom built port at the tip of the island. There the passengers disembark to a groomed beach, a duty free shopping mall and the type of Caribbean bar you might find in a theme park, a few hours later they board ship and sail off through the night to another island with more duty free shops to drink cocktails from coconut shells.

Contact sheet of other images considered.

Implied Triangles

Implied Triangle

Fig. 11 Kite at The Bight – 1/250 at f/8, ISO 100. 24mm – 70mm lens at 56mm

The first of two implied triangles returns to the beach and is a simple composition of a man flying a colourful kite against the darkening sky. I have enhanced the grey of the clouds with a graduated ND filter and then deleted the filter over the kite. I took this shot through the grasses at the back of the beach to suggest the location is a little off the beaten track.

I was drawn back time and time again to the different tones of the shallow water inside the barrier reef and the way this divided the frame into horizontal blocks. I think that it is interesting to have alternative implied triangles, the people and the kite might be the more obvious but the triangle between the white sails and the kite are equally strong. I like the calm symmetric composition with the kite at the centre which fits with the calm sea and empty beach.

Implied Triangle

Fig. 12 Conch Fisherman – 1/500 at f/8, ISO 100. 50mm prime lens

The conch fisherman is my favourite photograph in the collection. The implied triangle formed by his body and arms as he reaches into his tub to take another conch to clean is a very strong shape. I have cropped tight to focus all attention on the subject but the sea and the specks of sand on his body give the photograph a context. I considered whether to dodge his face to reduce the shadow but because one side of his face is so well lit I think the shadows show the strength of his features and add more texture to the image.

It is fortuitous to be able to include a conch fisherman in the collection as this large shell fish is the staple protein in the islands and appears on every menu. TCI is the only place in the world to have a commercial conch farm and conch shells are to be found washed up on every beach.

Contact sheet of other images considered.

Rhythm and Pattern

Rhythm

Fig. 13 Bottles – 1/250 at f/8, ISO 100. 50mm prime lens

Bottles is the first of two rhythm images. This photograph of the wall of the local Coca Cola importer appealed at many levels. The ubiquitous nature of Coke is an obvious story but the huge, out of scale bottles were so out of place I wanted to capture them. I have cropped in tight to the bottles to emphasise the rhythm as the eye moves across the row and, in some ways, this tight crop makes the viewer work a little harder to realise that the roof line gives the photo scale.

I have included a wider crop in the contact sheet below. I think that I would have captured this image quite differently if I had studied William Eggleston or Stephen Shore before I left rather than after I got back. I say this because they are so incongruous and out of place but are also such recognisable items that they are, at the same time, everyday and mundane.

Rhythm

Fig. 14 Conch Shells – 1/125 at f/16, ISO 125. 105mm prime lens

Conch shells as mentioned above are emblematic of these islands and in that regard made the perfect subject for the second example of rhythm. It does not have the regular rhythm of the bottles but after several test shots and crops I liked the inclusion of  a small area of background and the diagonal lines formed by the edges of the shells.

Pattern

Fig 15 Metal Lizards – 1/125 at f/8, ISO 110. 105mm prime lens

Metal lizards completes my collection and is included to represent pattern. The lizards are on sale in a local craft market so are destined to leave TCI behind them. Until then they are tacked to boards in their thousands and create striking macro and micro patterns.

Contact sheet of other images considered.

All contact sheets collected together in one post.

Sources

Books

* (1) Higgins, Jackie. (2013) Why it Does Not have to be in Focus: Modern Photography Explained, Thames and Hudson

* (2) Eggleston, Wiliam. (2002) William Eggleston’s Guide, 2nd Edition, 2013 reprint, The Museum of Modern Art, New York.

* (3) Freeman, Michael (2010), the Photographer’s Mind. Lewes, The Ilex Press.

* (4) Koudelka, Josef. (2007) Josef Koudelka: Thames & Hudson Photofile with an introduction by Bernard Cuau. London: Thanks and Hudson.

Internet

* (1) National Gallery or Art (2008) Misrach Exhibition www.nga.gov/exhibitions/2008/misrach/

Contact Sheets to Support Assignment 2

This post supports my assignment 2 submission. For each element of design I collected a number of alternative images as part of my selection process. These contact sheets which are the unused photographs.

Single Point Dominating the Composition

Single Point Dominating the Composition

As discussed in my submission I was interested in the simple combination of sky, sea and sand which reminded me of Richard Misrach’s “On The Beach” series and tried many compositions with and without a human subject. On the bottom row I have included two wildlife images which I liked but were too weak and generic to use. Also on the bottom row are two examples of the many photos I took of small items washed up on the beach in interesting patterns or in isolation.

Two Points

Two Points

Included within two points are the vertical crops of Two Boys which I used in the assignment in a horizontal format. I was very intrigued with the stool and the concrete block top right and bottom right and might have made more of this subject if I had researched William Eggleston before rather than after visiting TCI.

Verticals and Horizontals

Verticals and Horizontals

Because I became interested in collecting images of openings I had a lot of choices for this category. The first photo in row 3 is a particular favourite with the beach viewed through a broken door and torn fly screen.

Diagonals

Diagonals

The unused images collected above show the wide variety of diagonals that caught my eye. The first two images are part of a study of degeneration in close up that eventually became a central theme along with a wider view of degeneration when looking at damaged buildings as included in the last two images.

Curves

Curves

It was difficult to avoid curved beaches in my short list of curves but a few other opportunities also presented themselves. I particularly like the “triangular” photographer taking pictures of the local wedding set under an arch.

Distinct Shapes

Distinct Shapes

There were a wide variety of distinct shapes ranging from towering clouds to strange little huts and it would have been easy to break my self imposed limit of 15 images and to have included either of the yellow bar (centre row 2) or the green bar to its right. The soft chair outside the green bar was especially appealing.

Implied Triangles

Implied Triangles

There were plenty of opportunities to capture implied triangles but very few dominated the composition or went beyond photographing three things. I am happy with my final choice which was a horizontal crop of the fisherman in the second image on the bottom row.

Pattern and Rhythm

Pattern and Rhythm

As can be seen above I tried a number of different approaches to pattern and Rhythm but eventually focussed in on the items on sale in the tourist markets because they seemed more specific to TCI than the leaves in the intimate landscapes. I was very tempted to use the first image on the forth row, the wavy metal, for rhythm but a variation of the conch shells appealed more because of their unique shapes and colours.

Metamorphic Elements of Design

1/125 at f/22, ISO 200

1/125 at f/22, ISO 200

Continuing to work towards assignment 2 “Elements of Design” based on a photo shoot in the Turks and Caicos Islands.

In seven days I wanted to capture a personal view by developing and following simple themes that flowed through the whole shoot. One such theme was the effect of the climate on structures. Living in the north of our hemisphere we think of places like the Caribbean as having an idyllic climate but the reality is that a mixture of strong sunlight, rain, salt laden wind from the ocean and autumn storms create a harsh climate that will alter all but the toughest materials.

Time and nature relentlessly break everything down; wood becomes soft and weathered , iron rusts and crumbles, paint cracks and flakes, walls crumble and fall, glass clouds and breaks. Eventually an object becomes a collection of simple elements that can be scattered by the wind or tide.

This relentless process degenerates the original, desirable properties of every material and in so doing creates new textures, colours and forms  and in these we can find great beauty. Many of the elements of design are here and there was a temptation to build assignment 2 around these collections.

Degeneration Collection 1 focuses closely on the textures, colour and forms.

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Degeneration Collection 2 takes a wider perspective.

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Black and White Caribbean

I set myself the objective at the end of assignment 1 to improve my black and white processing skills. Whilst in Turks and Caicos I endeavoured to “see” in black and white which, as might be expected, is challenging in a place where colours are typically strong. There are a few obvious characteristics of a landscape that impact whether a black and white shot will work, the most obvious being the sky. A single coloured flat sky is even less dramatic, if dramatic is the aim, in black and white than in colour, this is even more true of pale skies. My single Ansel Adams reference book is a collection of his portfolios *(1) that I purchased in the Philippines over twenty years ago and has moved around with me ever since. It is noticeable that most of his skies are either deep blue, rendered as nearly black, or, when cloudy, often rendered in more subtle tones of grey.

The second characteristic is that the shot needs strong contrasts to work. I have found that I can’t force this contrast. It is either there and can be used to good effect or it isn’t and I achieve a flat looking image. I am not suggesting that this is rule for black and white photography just that I do not achieve a result that is satisfactory to my eyes unless I start with a contrasting scene. Using Adams as a benchmark tends to push me towards seeking a high contrast result and I think it is fair to say that Koudelka’s *(2) and Cartier-Bresson’s *(4) images, whilst very different in subject matter, also lean towards high contrast. I also find Koudelka’s images dark in tone (and content) and so far I have not been brave enough to process towards such dark tones but this may change if I start to shoot grittier subjects.

On my trip to Turks and Caicos I took very few books but one that did travel was Michael Freeman’s Black and White Photography Field Guide *(3) which I referred to frequently when trying to think in black and white. I have generally found this little book helpful as it is a very practical guide and quite appropriate reading for a beginner.

I had considered using a small number of black and white prints as part of assignment 2 but having asked about mixing media on the OCA forum the advice was to not mix black and white and colour in the same assignment. In the same vein I have been advised by both my tutor and some answers on the same forum to avoid mixing vertical and horizontal frames. I understand and accept the reasoning but this leaves me slightly disappointed as I feel I have made some progress in black and white processing and using some in an assignment would have given me the chance to hear my tutors views. I did consider submitting a complete black and white assignment but I felt that, whilst this might help me focus on the elements of design, it would be a perverse decision when attempting to document a place with so much colour.

This post is therefore an opportunity to record that progress and the thought processes I have gone through so I can refer back here when I next attempt a collection of monochrome images.

Sky at Chalk Sound - 1/125 at F/11, ISO 100

Fig 1 Stormy Sky at Chalk Sound – 1/125 at F/11, ISO 100

Fig 1 was taken on a perfect day when there were rain clouds blowing across the islands at some speed. I have an emotional attachment to this view as it is a familiar sight for any sailor sailing in bright sunshine whilst watching squalls only a short distance away. I have processed to maximise the contrast between the white boat on the right and the dark landmass in the distance. It was important to leave some sense of the rainbow in the image as this is an important curve linking the two boats. The sky is the real subject so I have framed it to dominate the composition.

Fig 2 Beach Bar - 1/125 at f/16, ISO 100

Fig 2 Beach Bar – 1/125 at f/16, ISO 100

In complete contrast to fig. 1 The Beach Bar in fig. 2  is an interior to exterior shot and as such quite challenging to process. I have used HDR Toning in photoshop to get detail into the shadows and to preserve the definition of the woman on the veranda. I am pleased with this shot which was taken in a locals’ bar well away from the tourist areas. The women was very interested in something that was happening out of my view and I was taken by her pose and the fact that she continued to eat whilst looking out of shot. The old-fashoned wall paper and the advertising on the drinks cooler seem at odds with one another and add some tension to the scene.

Fig 3 - Sapodilla Bay - 1/125 at f/11, ISO 100.

Fig 3 Sapodilla Bay – 1/125 at f/11, ISO 100.

Fig 4 Sapodilla Bay - 1/125 at f/16, ISO 160

Fig 4 Sapodilla Bay – 1/125 at f/16, ISO 160

Fig 5 Sapodilla Bay - 1/250 at f/8, ISO 100

Fig 5 Sapodilla Bay – 1/250 at f/8, ISO 100

With the three images of Sapodilla Bay I wanted to test whether I could create strong images from sea, sky and beach scenes. Before starting TAoP I would not have looked for a black and white answer to the question of how to make a beach scene more interesting but I reached a point that I was comfortable with after quite a lot of experimentation with the multitude of variables offered by Silver Efex Pro 2, which I purchased after reading about its possibilities in Michael Freeman’s Black and White Field Guide *(3). It appears to offer more creative control that the black and white layer in Photoshop but it is tempting to go too far and drift towards a HDR look which is not what I wanted.

It was quite hard to find a benchmark for this type of shot, I wanted to make the sky the dominant feature because it is the shape of the clouds and the varied tones within them that lift the image beyond “yet another” beach photo. I looked at the sky in Ansel Adams’ “Pinnacles”, Alabama Hills, Owens valley, California 1945 and the sea in “Dunes”, Oceano California and used his processing as a loose guide. I recognise that he would have looked for greater contrast between the foreground objects and the sky and I might have made more of the beaches in Fig. 4 and 5.

Old Timber Taylor Bay - 1/125 at f/16, ISO 160

Fig 6 Old Timber Taylor Bay – 1/125 at f/16, ISO 160

Broken Screen Taylor Bay - 1/125 at f/16, ISO 720

Fig 7 Broken Screen Taylor Bay – 1/125 at f/16, ISO 720

Post and Rope - 1/125 at f/f11, ISO 100

fig 8 Post and Rope – 1/125 at f/f11, ISO 100

Old Timber Taylor Bay - 1/125 at f/16, ISO 100

Fig 9 Old Timber Taylor Bay – 1/125 at f/16, ISO 100

Ruined Roof Emerald Point - 1/500 at f/8, ISO 100

Fig 10 Ruined Roof Emerald Point – 1/500 at f/8, ISO 100

The last images, figs. 6 to 10 are all part of a study of decay. Turks and Caicos is in the hurricane zone and even when the weather is more peaceful it is still an environment of harsh sunlight, frequent rain and strong winds. Ruined houses, weathered timbers, washed up wreckage and a few sunken boats were evidence of nature’s fight-back.

Fig 6 and fig 9 are the remains of a washed-up door and frame from something large, I am not sure whether it is from a ship or something like a barn door. It was weathered and sea rolled before ending up at the back of the beach at Taylor Bay.

Fig 7 and fig 8 are details from a large, abandoned house overlooking an idyllic beach. It appeared to have been deserted quite recently as the main fabric of the building was still sound but I was intrigued by the weathering on the details such as the fly screen and the posts that lined the path to the beach. These might be the first signs of the eventual demise of the whole structure.

Fig 10 is more dramatic showing the sky through the roof of another large abandoned house at the other end of the island. I think this was probably first damaged in a hurricane and is now well on the way to collapse so, in some ways is a natural progression from 7 & 8.

Overall I have found these exercises in black and white useful. I feel that I have learnt a little about what works in black and white and I am more confident in using this medium. My tutor suggested that I needed to have a position on the black and white versus colour debate but I am not ready in my own mind to take a position. I have enjoyed my forays into black and white processing and am very interested in the work of the many masters of the art, I see it as a valid medium in the 21st century and would respect anyone who chose to work entirely in this way. If I had to choose I would stay with colour but I would prefer not to choose and to use both. I am increasingly finding situations where I find black and white works best but the majority of the time I want to capture the colour of both the natural and the man-made world.

Sources

Books

* (1) Adams, Ansel, with an Introduction by John Szarkowski. (1981) The Portfolios of Ansel Adams, New York, New York Graphic Society, Little, Brown and Company.

* (4) Cartier-Bresson, Henri (1999), The Mind’s Eye, Writings on Photography and Photographers. Aperture Foundation, New York

* (3) Freeman, Michael. (2013) Black and White Photography Field Guide, The art of creating digital monochrome, Lewes, The Ilex Press Limited.

* (2) Koudelka, Josef. (2007) Josef Koudelka: Thames & Hudson Photofile with an introduction by Bernard Cuau. London: Thanks and Hudson.

* (5) Eggleston, William, (1976) The Guide with an introduction by John Szarkowski, New York, The Museum of Modern Art