Tag Archives: Farnham

Assignment 5 Illustration and Narrative

Change in the Village is the story of two families who lived, at different times, in the same valley on the Surrey and Hampshire borders and the story of the village that grew up there. The narrative starts when an itinerant farm labourer and veteran of the Crimean War marries a local girl and settles in the valley and ends, over a hundred years later, when my childhood in the village finishes and I begin to attend the Grammar School in the nearest town.

It is an exploration of shared memories and common values, of lifestyles that have all but been forgotten, of how the Surrey peasant and rural working class lost their land and their dignity, and how the people that displaced them lost their innocence in war and found peace in this insignificant place. It is a journey through a shared landscape that can still be found and that has shaped the history of the valley and of the settlers who drifted here. For a thousand years this waste land, the common land upon which the village is built, held no value nor offered wealth to the the great landowners but in 1861 it was enclosed and everything changed in the village.

A full description of the development of this narrative can be found in the post Researching and Completing Assignment 5.

A selection of PDFs of the complete narrative are available to download:

Change in the Village 1 low res – Page by page PDF designed to be printed double sided

Change in the Village 1 spreads low res – The spreads

The photographs that make up this narrative can be found in Assignment 5 Images

The Spreads

Change-in-the-Village-1-spreads-1

Change-in-the-Village-1-spreads-2

Change-in-the-Village-1-spreads-3

Change-in-the-Village-1-spreads-4

Change-in-the-Village-1-spreads-5

Change-in-the-Village-1-spreads-6

Change-in-the-Village-1-spreads-7

Change-in-the-Village-1-spreads-8

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Assignment 5 Images

The following photographs were used in assignment 5. I have not included the individual images that make up Shared Landscapes as these were conceived as a typology and not relevant as individual images.

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Fig. 01 The Village Green 1/125 at f/10, ISO 800

Fig. 01 The Village Green 1/125 at f/10, ISO 800

Fig. 02 Squatter's Cottage - 1/160 at f/9, ISO 200

Fig. 02 Squatter’s Cottage – 1/160 at f/9, ISO 200

Fig. 03 The Common - 1/200 at f/16, ISO 200

Fig. 03 The Common – 1/200 at f/16, ISO 200

Fig. 04 Dene Lane - 1/100 at f/8, ISO 160

Fig. 04 Dene Lane – 1/100 at f/8, ISO 160

Fig. 05 The Boathouse Frensham Little Pond - 1/125 at f/14, ISO 200

Fig. 05 The Boathouse Frensham Little Pond – 1/125 at f/14, ISO 200

Fig. 06 2 Old Frensham Road - 1/60 at f/20, ISO 1000

Fig. 06 2 Old Frensham Road – 1/60 at f/20, ISO 1000

Fig. 07 2 Old Frensham Road 1/400 at f/8, ISO 400

Fig. 07 2 Old Frensham Road 1/400 at f/8, ISO 400

Fig. 08 2 Old Frensham Road - 1/500 at f/6.3, ISO 200

Fig. 08 2 Old Frensham Road – 1/500 at f/6.3, ISO 200

Fig. 09 Fred Grover's Cottage - 1/100 at f/9, ISO 1000

Fig. 09 Fred Grover’s Cottage – 1/100 at f/9, ISO 1000

Fig. 10 Steam Lane - 1/60 at f/10, ISO 1100

Fig. 10 Steam Lane – 1/60 at f/10, ISO 1100

Fig. 11 The Clumps - 1/160 at f/14, ISO 200

Fig. 11 The Clumps – 1/160 at f/14, ISO 200

Fig. 12 The Enclosed Common - 1/60 at f/13, ISO 800

Fig. 12 The Enclosed Common – 1/60 at f/13, ISO 800

Fig. 13 Camps in the Woods - 1/60 at F5.6, ISO 800

Fig. 13 Camps in the Woods – 1/60 at F5.6, ISO 800

Fig. 14 Hops - 1/250 at f/2.8, ISO100

Fig. 14 Hops – 1/250 at f/2.8, ISO100

Fig. 15 Vine Cottage - 1/100 at f/9, ISO 140

Fig. 15 Vine Cottage – 1/100 at f/9, ISO 140

Fig. 16 The Bourne School - 1/60 at f/22, ISO 200

Fig. 16 The Bourne School – 1/60 at f/22, ISO 200

Fig. 17 The Bourne School Gates - 1/640 at f/3.2, ISO 200

Fig. 17 The Bourne School Gates – 1/640 at f/3.2, ISO 200

Fig. 18 Old Lawnmower in Graveyard - 1/80 at f/10, ISO 400

Fig. 18 Old Lawnmower in Graveyard – 1/80 at f/10, ISO 400

Fig. 19 Farnham Grammar School - 1/20 at f/3.6, ISO 800

Fig. 19 Farnham Grammar School – 1/20 at f/3.6, ISO 800

Fig. 20 The Bourne Graveyard - 1/60 at f/11, ISO 900

Fig. 20 The Bourne Graveyard – 1/60 at f/11, ISO 900

Fig. 21 The Family Grave - 1/30 at f/14, ISO 800

Fig. 21 The Family Grave – 1/30 at f/14, ISO 800

Fig. 22 The Bourne Graveyard - 1/100 at f/16, ISO 560

Fig. 22 The Bourne Graveyard – 1/100 at f/16, ISO 560

Fig. 23 Cattle on The Common - 1/160 at f/16, ISO 200

Fig. 23 Cattle on The Common – 1/160 at f/16, ISO 200

Fig. 24 Shared Landscape 1

Fig. 24 Shared Landscape 1

Fig. 25 Shared Landscape 2

Fig. 25 Shared Landscape 2

 

Researching and Completing Assignment 5

Fig. 01 Cattle on The Common - 1/60 at f/16, ISO 100

Fig. 01 Cattle on The Common – 1/60 at f/16, ISO 100

Introduction

Assignment 5 has a straight forward brief, the essence of which is to create a magazine story in the form of a picture essay and to design the cover of the magazine that will run the story. The final result should ideally incorporate both illustrative and narrative techniques.

As this assignment comes at the end of TAoP it is an opportunity to bring together elements of the whole course and it was always my intent to allocate a disproportionate amount of time to researching, planing and undertaking this assignment. TAoP naturally led me to researching a wide selection of established photographs, many of whom have very directly influenced my thinking even when their style or chosen field is not directly relevant to my own work but more than this influence they have collectively taught me a set of basic principles that I wanted to take forward into assignment 5 and beyond.

Working in a Series

The first principle, which is especially relevant to narrative, is that work is more effective when presented as part of a series. Nearly every photo book that I have studied and reviewed is greater, more powerful, than the sum of the individual photos within in. Sometimes this is because of the story line but often it is simply the effect of developing and building a conversation with the audience,  exponentially drawing the viewer deeper into a subject as each image is revealed.

See – Planning Assignment 3 with Tony Ray-Jones and Martin Parr

Quality of Research and Understanding

The second principle relates to the ethics of documentary photography. Respected photo journalists such as Stuart Freeman (1), and Phillip Jones Griffiths (2) both point out the importance of the photographer immersing themselves in their subject so that their work respects and honestly represents it. Freeman states that “storytelling in photography must be as vigorous in thought and research as it is beautiful in construction and execution” and this aide has directed my whole approach to assignment 5.

This ideal is best summarised by a quote from Tod Papageorge (13).

“If your pictures aren’t good enough, you aren’t reading enough.”

See – Philip Jones Griffiths – An Engaged Observer

Contextualisation

The third principle flows from the second. Jones Griffiths points out that documentary images must be properly contextualised. His example is that a picture of a starving child is just that, it doesn’t mean anything. The photographer must provide the context, why is this child starving? what events led to this point? who is depriving him of food? Jones Griffiths believes that this can only be done by combining photographs with text, he argues that we live in a literal society so words are an essential element of photographic story telling.

See – Captions and Other Words in Photo Narrative and Phillip Jones Griffiths and the Use of Captions, Cutlines and Other text in Vietnam Inc.

Respecting the Subject Through the Quality of the Image

For the final principle I will refer back to the second part of the Freedman quotation. Understanding the subject is not enough, we must use whatever skills we possess to bring beauty to the construction and execution of the photographs. Exhibit one to support the case for this principle can be found in the work of Josef Koudelka (4) who has championed isolated and suppressed communities for much of his career and who makes these marginalised people important, human and valuable by the art and technical excellence that he brings to every one of his pictures.

See – Josef Koudelka – Wall and The Role of Olive Trees in Koudelka’s Wall

The Concept

Choice of Subject

It was always going to be important to select a subject that I already, at least in part understood, I felt that my classmate, Adam Newsome, had been so successful with his assignment 4 on IEDs (Adam’s Assignment) (5) because he had based it on a subject with which he was already intimate. This intimacy allowed him to explore and document the subject in real depth and to offer the audience an unique viewpoint.

I chose to look at my own childhood and the village in which I grew up.

Parallel Timelines

Having looked at a wide range of narratives and photo stories I wanted to develop a story line that had multiple strands. I had connected with Julian Germain’s For Every Minute You Are Angry You lose Sixty Seconds of Happiness (3) for many reasons but I especially responded to the idea of combining his “current” photographs with the subject’s own photographic memories, this gave the audience two timelines to follow and the opportunity for juxtaposing past and present. This worked well because Germain gave both sets of pictures equal prominence and therefore equal value, there was no suggestion that because the subject’s photos were amateur ‘snaps” that they should be treated with any less respect.

To enable me to introduce multiple timelines to my narrative I decided to base part of the story on the writings of George Sturt who lived in “my” village between 1891 and his death in 1927. Sturt was not a typical man of his times, a self confessed socialist who was also a business owner and employer and who saw his employees as people and friends. A number of his books are heralded as classics but his most moving works are a trilogy of books (6), (7), (8), based on conversations with his gardener whom he calls Bettesworth. Bettesworth, or Fred Grover, was an old man when Sturt first employed him and the stories of his life in a tiny Surrey hamlet tell the story of that village from the 1840s until his death in 1905. Sturt’s other book, Change in the Village (10) and his Journals continue to map the evolution of the area until Sturt’s own death.

The concept was to trace the spirit of Fred Grover and to document his path through this landscape and to overlay that with own childhood in the same place. I hoped to find places where Fred and I could meet and ideas upon which we might have agreed or even argued. I aslo wanted to draw on any similarities that I could find between my family history as it related the the village and Grover’s.

From the outset I wanted to use a small number of photographs from Grover’s time and from my family album. This would enable me to not only juxtapose past and present but to also provide visual variety.

Text and Captions

Whilst recognising and accepting that this assignment was about photography it was also clearly set as a magazine article and for that reason alone it needed text to complement the images. My study of the early photo stories had been informative but it was also obvious that this approach is now historic, Life and its competitors have long gone and the Sunday magazines, National Geographic and specialist magazines that are image heavy such as travel magazines have a high proportion of text to image. I am sure that there are examples of pure photo stories in magazines but I would more see this to be the province of the photo book or internet slide show.

More importantly I considered whose work had influenced me the most when researching narrative and quickly concluded it was Kodelka’s WallJones Griffiths’ Vientnam Inc and Lam’s Abandoned Futures. Each of these books are heavily reliant on the written word to contextualise the photographs.

It also seemed relevant that as I would be researching the subject matter in some depth part of the story would only be told effectively by combining words with the photographs. I made the decision to format the story as if it was to be published in a magazine but to adopt a text / picture mix similar to Jones Griffiths.

Appropriation

The use of old photographs would already introduce an element of appropriation to the project but I was also keen to try and link the modern photographs with the past by using quotes from George Sturt’s books as captions. This approach also linked this assignment back to assignment 3 and my research into Anna Fox and Victor Burgin.

Other Influences

Different photographers and writers influenced different parts of the assignment.

Joachim Brohm and the Bechers influenced the way I approached a double page spread typology of cottages and other buildings that I knew as a child and that Grover would have known.

I researched a number of different views on how a photo story should be created and took forward ideas from Harold Evans’ Pictures on Page (11) regarding layouts and the relationship between pots and text although there was, of course the need, to translate the ideas from broadsheet to a smaller format. His ideas on how to build a story are invaluable an, being a newspaper man, he likes words so further justified my essay writing. Equally useful was Derek Birdsall’s Notes on Book Design (12), his ideas on how to layout a page were inspiration even though I know that I fell way short of his high standards.

My general background research is summarised in my post Narrative andI endeavoured to carry forward that research into this assignment.

Overall my strongest influences were the photo journalists such as Jones Griffiths, who I have already mentioned, Stuart Freedman, Chris Steele-Perkins, and Eugene W. Smith (for Minamata rather than his work for Life Magazine). In each case these men talk about and follow the principles I have discussed above. Quite clearly they are usually documenting subjects of world importance and I had no such subject in leafy Surrey and their technical excellence is way beyond my limited skills but their real influence on me was to set a pace for the assignment that allowed me to become absorbed in my subject and think through the photographs I wanted and how I wanted to use them.

The Process

Developing the Concept

The concept was developed in parallel with the research described in Narrative but, even before I started with OCA, I was planning a project to look at the journeys of William Cobbett or the writings of George Sturt. Partly because they were both local men and partly because they wrote about the countryside  I love and rural issues which are important to me and that always take a back seat in our urban dominated political landscape. However, I realised that the scale of the research required to deal with Cobbett was inappropriate for a single assignment and I also wanted to bring a personal element to the work and that would have been harder to achieve with Cobbett.

I felt that I already had a number of personal connections with George Sturt. My father had collected his books and as another passionate socialist shared many of Sturt’s views about the treatment of the rural poor. I had walked past his house everyday on my way to school and knew all of the places he wrote about but, more to the point, I knew these places not as a visiting student but as someone who had grown up in the lanes, fields and commons that he describes. His countryside was my countryside and it was this shared landscape that I mots wanted to explore.

Research

The first step was to re-read Sturt’s books and as I did this I formed a strong affinity with Fred Grover who had lived in a tiny cottage a few hundred yards from where I grew up, moving there around a hundred years before I was born. Sturt’s conversations with his old gardener revealed a complex life hidden behind the simple and stereotypical facade of the Surrey labourer and my copious notes centred around the important moments in Gover’s and, his wife, Lucy’s lives. His war service in the Crimea,  the enclosure of the common, the birth and death of their children, Lucy’s decline as her epilepsy worsened, the shadow of the workhouse and destitution that was the end of the road for so many of the rural poor.

Each strand opened up new avenues of research including:

  • Roger Fenton and his Crimean War photography, specifically searching on-line libraries for a photograph of the men of Grover’s regiment. I had looked at Fenton’s still life work during assignment 4 so it was interesting to look at a different aspect of his career.
  • Farnham Museum, who were most helpful with searching their photographic archives for pictures of the 19th century village, Sturt’s house, Grover’s cottage and, after much searching, a single photo of Fred Grover himself talked by George Sturt.
  • Simon Fairlie’s “A Short History of Enclosure in Britain” (15) was invaluable and provided much needed historic context and that helped explain Sturt’s thoughts on the matter.
  • I met and talked to Wendy Maddox, who co-incedentially had been taught by my Father at The Bourne School in the late 1940’s, and who is an amateur but dedicated historical researcher who has carried out extensive work on the history of the village and specifically on the old graveyard. She was part of the team who identified Fred and Lucy Grover’s unmarked graves. The results of some of this research can be found on The Bourne Conservation Society website (16)

Photography

It is not really appropriate to describe my photography trips as shoots. Over a period of nearly three months I kept visiting the village, walking through different areas, talking to the people I met and taking photographs that seemed to capture the village I remembered. My aim was to find Grover’s spirit or part of my own history so other than starting my walks from obvious landmarks such as his cottage, Sturt’s house, the houses where I had lived, the school or the pub I did not plan shoots.

Over time I began to find themes and that invested my work with a little more purpose. I began to form an idea of wanting an element of typology in the final piece and a lot of my walks were in search of cottages that had been the homes of the original squatters who inhabited the village.

A number of my walks were on, what had been the common land, and is now either part of Frensham Common which is managed by the National Trust or The Bourne Woods which are owned by the RSPB and has become quite well know for its staring role in films such as Gladiator and Robin Hood.

My photographic technique changed significantly during this time as a heavy DSLR and camera bag became too restrictive and, given I was often photographing people’s home from the lane in front of their house, it also felt too invasive. Instead I started carrying a mirror-less Fuji XT-1 and this liberated my approach and led to, what seemed, simpler and more appropriate compositions.

Sources

 Books

(3) Germain, Julian (2005) For Every Minute You Are Angry You lose Sixty Seconds of Happiness. Gottingen: Steidl MACK (Reviewed o line via a combination of Julian Germain’s web site – http://www.juliangermain.com/projects/foreveryminute.php and the MACK web site – http://www.mackbooks.co.uk/books/16-For-every-minute-you-are-angry-you-lose-sixty-seconds-of-happiness.html

(4) Koudelka, Josef. (2013) Wall: Israeli and Palestinian Landscapes 2008 – 2012. New York: Aperture

(6) Sturt, George. (1902) The Bettesworth Book: 1978 Edition, a facsimile of the second edition published in 1902. Firle: Caliban Books.

(7) Sturt, George. (1907) Memoirs of a Surrey Labourer: 1978 Edition, a facsimile of the second edition published in 1907. Firle: Caliban Books.

(8) Sturt,George (1913) Lucy Bettesworth. London: Duckworth & Co. Sturt, George (1907) Memoirs of a Surrey Labourer. 1978 facsimile of the 1st Edition. Firle, Sussex: Caliban Books

(9) Sturt, George (1912) Change in the Village. 1955 edition. London: Gerald Duckworth & Co.

(10) Sturt, George (1923) The Wheelwright’s Shop. First paperback edition 1963. Cambridge: Cambridge University Press.

(11) Evans, Harold. (1979) Pictures on a Page: Photo-journalism, Graphics and Picture Editing. London: Book Club Associates.

(12) Birdsall, Derek. (2004) Notes on Book Design. New Haven and London: Yale University Press.

Internet

(1) Freedman, Stuart. (2010) Ethics and Photojournalism – http://www.epuk.org/The-Curve/952/ethics-and-photojournalism

(2)  Photo Histories (August 2014) – Philip Jones Griffiths – http://www.photohistories.com/interviews/23/philip-jones-griffiths

(5) Newsome, Adam. (2014) IEDs – https://adamnewsome.wordpress.com/2014/08/31/level-1-art-of-photography-assignment-4/

(13) Foto8. Mark Durden Interview with Tod Papageorge – http://www.foto8.com/live/tod-papageorge-interview/

(14) Smith, W. Eugene and Smith, Aileen M (1971) Minamata vs. Chisso Corporation – Magnum Photography site – http://www.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2TYRYDDWZXTR

(15) Fairlie, Simon (2009) A Short History of Enclosure in Britain. First Published in The Land Magazine – http://www.thelandmagazine.org.uk/articles/short-history-enclosure-britain

(16) The Bourne Conservation Society – http://www.bourneconservation.org.uk/index.htm

Photography as Archeology

Fig. 01 The Old Dairy Weydon - 1/100 at F/18, ISO 1,000

Fig. 01 The Old Dairy Weydon – 1/100 at F/18, ISO 1,000

For 6,000 years we have built structures, places to live, to keep us safe, to work, to store the product of our labours, to preserve our ideas or to give structure to our beliefs, to remember our ancestors and commemorate our successes. For much of that time we have made durable things, weapons for hunting, attack or defence, tools to ease our labours, vehicles to transport goods and people, and for a myriad of other purposes. Since the first farmers stopped following the game herds and selected a place to settle in the landscape humans have changed that landscape by collecting raw materials, by farming, by building and by scattering the things we made.

The things we build start with clear structures and purposes but as civilisations evolve our creations lose their purpose and their structure. Nature is always waiting to reclaim every element of every thing we make. We might stave her off for a few years, a few generations or a millennium but eventually she degrades and degenerates everything. Some objects settle into the landscape over time and we come to terms with their demise to such an extent that, as ruins, they define or are thought to beautify the greater place in which they stand but others sit defiantly ugly, never able to gracefully decay, remaining as eyesores, a blot on the landscape. Some temporarily find new life but time will tell and the greatest of our achievements eventually become dust.

Archeologists seek out these abandoned structures and objects to document their existence and to study their context before nature removes their trace. We mostly associated this science with the distant past, the discovery of something that is lost, the process of putting flesh onto the bones of history but all around us there are structures and things in the early stages of their demise, the abandoned buildings and discarded objects of the recent past that might become the archeology of the future but more often are cleared to make way for the next great idea. The documentation of these recent relics can be as compelling as an episode of Time Team, in each building or discarded object there is the history of people, of failed dreams and social change, of seismic shifts in our politics, habits and desires.

Assignment 5 has taken me back to the houses, villages, heaths and woodlands of my childhood and in searching for the past I have found shadows of my generation and the generations that preceded me. I have captured some of these with my camera.

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Photographically these objects offer interesting subjects but I find myself torn between using the saturated colours that I love, black and white graphic representations that remove the distraction of colour or desaturated and muted colours that might offer the best of both worlds. I was mildly critical of Tong Lam’s Abandoned Futures because I felt there were too many inconsistencies in his style and that this made his narratives slightly disjointed and I envy the certainty of style that can been seen in the work of Stephen Shore or Josef Koudelka who, I assume, never question whether to change their colour palette or, in Koudelka’s case, lack of colour.

There are examples of colour and monochrome being used together in a single presentation, David Bailey worked in both mediums and his Stardust exhibition showed his colour and black and white work, if not side by side, at least in close proximity. Irving Penn’s Still life includes examples of both and there is the sense that he moved freely between them. Most recently I visited Russell Squires’ Landings Exhibition where panoramic landscape photos in colour alternate with square format, black and white, intimate landscapes. These examples don’t necessarily set any precedents and the reasons that each artist mixed media in this way might need to be more carefully considered at some later date. At this stage and for these photos from around Farnham, I am switching between desaturated colour and black and white based on the approach that best suited each specific subject. A few months ago I conducted a similar study in Turks and Caicos and selected saturated colour as the approach that best suited the subjects and the warm Caribbean light. I may subsequently review this work and criticise myself for the lack of a consistent style.

Exercise 43 Illustration by Juxtaposition

Fig. 1 the Wheelwright's Shop Front Cover

Fig. 1 the Wheelwright’s Shop Front Cover

This exercise offer two options, either to design a book cover using a still life or to juxtapose a person with the result of their labour. As can be seen in fig. 1 my choice is the book cover.

The Book

The Wheelwright’s Shop (1) is linked, although not central, to my research for assignment 5 which is partly based on the writings of George Sturt. Sturt lived in the village where I grew up and was writing in the late 19th and early 20th century about life in rural Surrey at a time of great and rapid change. He had inherited The Wheelwright’s Shop from his father but his real love was writing and he handed over the business in 1891 to his foreman, whom he made a partner, and retired to his cottage in Lower Bourne to write a series of books and journals and to contribute to magazines such as Country Life.

The Wheelwright’s Shop, which he wrote in the period between 1884 and 1891 is widely regarded as his finest and most important work describing, in great detail, the complex processes involved in building wheels, carts, wagons and carriages. Sturt’s importance as a historical documentarian lies in his respect and admiration for the tradesmen employed in his business whom he describes as his friends. This elevates this book beyond being a technical journal through his descriptions of attitudes and life styles that bring the reader into close contact with the working man of the late 19th century.

The Cover

For my subject I chose two exhibits from Farnham Museum, the first is one of Sturt’s wheels and the other is from the collection of his tools that are currently on display. I wanted to design a cover that created an impression of a wheel being manufactured, creating a sense of past-times and suggestive of a craftsman’s bench. The juxtaposition is the completed wheel on one hand and the tools that might have made it on the other with the wood shavings acting as a link between the two.

The Process

Fig. 2 The Wheel - Original Photograph - 1/60 at f/20 with flash

Fig. 2 The Wheel – Original Photograph – 1/60 at f/20 with flash

Fig. 3 The Tools - Original Photograph - 1/60 at f/20 with flash

Fig. 3 The Tools – Original Photograph – 1/60 at f/20 with flash

  1. I started with two images, the wheel (fig. 2) and the tools (fig.3)
  2. They were both taken with the same exposure settings and a small on-camera flash gun, I used the same 24 to 70mm lens using my distance from the subject to achieve the difference in scale.
  3. I introduced the two photographs into photoshop as separate layers.
  4. My initial idea was to have the tools on top at about 80% opacity so that the wheel shoed through the tools but the result lacked any real punch.
  5. I then removed all the background from the wheel photo to give me a clean cut out and laid that over the tools.
  6. I adjusted the size of the wheel and moved the layer to create a compositional relationship between the tool handles and the wheel rim.
  7. Because it was a book cover the whole canvas had to be orientated vertically.
  8. For the text I wanted to use a font that reflected the time of the original book’s publication in 1923 and although Times New Roman, my final choice, wasn’t invented until 1932 it felt right.
  9. I added the text and created a mild 3D effect by copying the text layers, expanding the copies by 5% and changing the text colour to black. This gives a fine black line around the original white text which helps the text stand out without using any too modern techniques.

Sources

Books

(1) Sturt, George (1923) The Wheelwright’s Shop, 1963 edition. Cambridge: Cambridge University Press.

Exercise 32 Cloudy Weather and Rain

This is a multi part exercise. In part one we are asked to look at how exposure changes between sunlight and shadow caused by cloud. the following series of photographs show this change in a landscape.

Fig 01 Clouded Over - 1/125 at f14, - .67 stops, ISO 100

Fig 01 Cloud – 1/125 at f14, – .67 stops, ISO 100

Fig.02 Sun Breaking Through - 1/160 at f/14, -.67 stops, ISO 100

Fig.02 Sun Breaking Through – 1/160 at f/14, -.67 stops, ISO 100

Fig. 03 Sun - 1/200 at f14, -.67 stops, ISO 100

Fig. 03 Sun – 1/200 at f14, -.67 stops, ISO 100

Fig. 04 Shade 5 hours later - 1/60 at f/16, -.67 stops, ISO 110

Fig. 04 Shade 5 hours later – 1/60 at f/16, -.67 stops, ISO 110

This part of the exercise shows that cloud cover, even on a sunny day, significantly impacts exposure. There is a 2 stop difference between the same scene lit with full sun and when the sun is covered by cloud. There is a further 3 stop difference between shade at 11 am and shade at 5 pm. The dark marks in the sky in fig. 04 are swallows.

The third part of the exercise asks us to take photographs in the rain.

DSC_7627

Fig. 06 Rain in the Distance  1/125 at f/16, ISO 160

DSC_7636

Fig. 07 Rain in the Distance 1/1600 at f/5.6, ISO 100

Fig. 08 Raining 1/1000 at f/5.6, ISO 1600

Fig. 08 Raining 1/1000 at f/5.6, ISO 1600

Fig. 09 Raining 1/1000 at f/5.6, ISO 4000

Fig. 09 Raining 1/1000 at f/5.6, ISO 4000

Fig. 09 Raining 1/1000 at f/4.5, ISO 900

Fig. 10 Raining 1/1000 at f/4.5, ISO 900

Fig. 05 1/125 at f/8, ISO 720

Fig. 11 Puddles After Rain 1/125 at f/8, ISO 720

Fig. 05 1/125 at f/8, ISO 400

Fig. 12 Puddles After Rain 1/125 at f/8, ISO 400

Fig. 13 Umbrellas 1/125 at f/9, ISO 450

Fig. 13 Umbrellas 1/125 at f/9, ISO 450

The second part of the exercise is pending a dull day.

 

Exercise 26 Measuring Exposure

Fig. 01 1/125 at f/9.5, ISO 140, with daylight flash

Fig. 01 1/125 at f/9.5, ISO 140, with daylight flash

Part  1 – Four to Six Phoptographs Which are Deliberately Lighter or Darker than Average

Fig. 01 is deliberately lighter. I have used a small flashgun on camera to fill in the shadows and to make the subject stand out from the background. The subject has his back to fairly early morning sun so his face would have been in shadow without the flash. To achieve this with artificial light I would have needed to expose for his face and this would have blown out the highlights in his hair. I have been experimenting with this technique after studying Martin Parr’s work (here). I am still a long way from finding the right background and foreground balance but overall I like the technique.

Fig. 02 Lion and Lamb Yard - 1/180 at f/8, -0.1 stop adjustment, ISO 100

Fig. 02 Lion and Lamb Yard – 1/180 at f/8, -0.1 stop adjustment, ISO 100

Fig. 02 is deliberately darker. I have underexposed by 1 stop to increase the colour saturation and to leave as much as detail as possible in the lighter areas of the pavement. I have sacrificed detail in the climbing plant on the right back wall but this could easily be brought back in Photoshop. The picture was taken in bright afternoon sun and, in my opinion, the automatic settings on the camera would have over-exposed the shot. When conditions are bright I will often, maybe even usually, under-expose by 1/3 or 1/2 a stop to increase saturation. This also has the benefit of capturing detail in the highlights so, if I want to adjust back to an average or over-exposed shot I have plenty of data to work with.

Fig. 03 Field in Crondall - 1/125 at f/16, ISO 100

Fig. 03 Field in Crondall – 1/125 at f/16, ISO 100

Fig. 03 is deliberately darker. I wanted the detail in the clouds to be retained and for the young crop to be spring green. I prefer a picture like this to be saturated and on the darker side of “average”. This highlights the fundamental problem with this exercise as there is obviously no possible definition of “average” in this context. There is a strong element of personal preference involved.

Fig. 04 Green Box - 1/125 at f11, ISO 1,100

Fig. 04 Green Box – 1/125 at f11, ISO 1,100

Different type of subject but fig. 04 is the same approach as fig. 03. It is deliberately darker with the intent of increasing saturation and to get the effect I was looking for with the strong colour of the red bricks and the green box.

Fig. 05 Fish Supper - 1/60 at f/16, ISO 100

Fig. 05 Fish Supper – 1/60 at f/16, ISO 100

Fig. 05 is deliberately lighter than average. It was taken using a flashgun in a cold-shoe soft box to the top left and two sets of small LEd light to the right to fill in some shadow. I have set out to blow out the plate to the left but to leave the food strongly coloured. It is in effect over lit and over exposed to get this effect.

Part 2 – Five Different Subjects x Five Exposures at 1/2 Stop Intervals

Fig. 06 Differing Exposures

Fig. 06 Differing Exposures

The above five subjects have all been bracketed at 1/2 stop intervals starting with -1 and ending with +1. There are no significant surprises. In full size I would prefer the -1/5 a stop to the +1/5 a stop and the “average” is generally acceptable. I have noticed that images prepared for the web are often better when slightly over exposed and I think this is the case with the flower and the letter box above although +1/3 of a stop would probably have been about right.