Tag Archives: Guildford

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.

 

 

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Assignment 3 Self Assessment

Fig. 01 Pescara - 1/125 at f/11, ISO 720

Fig. 01 Pescara – 1/125 at f/11, ISO 720

Demonstration of Technical and Visual Skills

The choice of subject created a number of technical challenges. Firstly, the project became an exercise in low light photography; it was essential to have as deep DoF as possible to have both the mannequins and the reflections of the street in focus but because I was photographing from the street into shop interiors and through glass covered with reflections, light levels were usually low.

In any situation where low light is an issue there is the option of using a tripod and longer exposures but this has to be weighed against loss of spontaneity and introducing movement blur. Movement blur would not have been a problem in this instance but it was not practical to use a tripod on, often crowded, pavements and spontaneity was essential.

The end result is that a lot of the photographs were taken with a high ISO. I am not particularly concerned about this, many of the set are quite moody and melancholy and any noticeable noise has only added to that.

In summary, at a technical level I feel that I generally rose to these challenges with a few of the images having the desired mix of saturated colours and acceptable noise levels.

The second challenge was compositional. There was a limited choice in viewpoints that enabled me to frame the mannequins, capture reflections and avoid including myself in the frame. This meant that I ran the risk of capturing 16 similar images. There are too many right to left shots and, in this regard, a lack of variety.

Since looking at William Eggelston I have been focussed on improving my observational skills and I believe that a number of these images are based on having seen and captured small details that strengthen the photographs. There is clearly a lot more work needed to refine those skills but I believe assignment 3 is a step forward in this area.

Quality of Outcome

This submission was the end result of, what felt like, a long process. I started looking at the change in the high street being brought about by the opening of large indoor shopping centres resulting in the high street of many towns comprising of small, often immigrant, businesses, charity shops and betting shops. However, when I moved from Basingstoke and Aldershot to look at Guildford the model didn’t hold up because the town is comparatively wealthy and the high street is still full of mainstream fashion names. In effect Guildford High Street is more akin to a large shopping centre than to a high street. This started me thinking about mannequins and how they are created as body shape role models and about fashion in general with its endless new lines that promote cheap “disposable” clothing and waste.

I found the compositional opportunities of the mannequins and reflections and the multiple layers of light visually exciting but wanted a way to set these, hopefully attractive, images against the excesses of a hedonistic and self obsessed industry. Anna Fox’s idea of using relevant quotations from the industry she was critiquing to put her photos in context in Workstations was the perfect answer so, quite late in the day, I adopted that approach.

It is for others to judge whether this has come together to achieve the assessment criteria points but I feel that it has for most of the images. There are still one or two that I am not convinced about and I may yet make some changes. I was interested in Anna Fox’s point that one has to allow enough time between capture, edit and presentation but on the other hand every time I look at the set there is another image that I am not convinced about but I need to move on from this project. She also made a strong point about the role of the curator and I can see how having an independent but skilled review by another person would improve selection.

Demonstration of Creativity

This is the hardest area to self access, I’m not even sure what creativity really is and certainly find it hard to measure. I know that I have had to think deeply on how to complete this assignment, I had to work through several processes and the project demanded experimentation, testing, re-evaluation and re-positioning several times. I believe that it is a step forward for me and a move away from anything I have tried before. My main concern is that a lot of images rely on other people’s creativity such as mannequin artists, photographers and window dressers so how much of me is in there is hard to judge.

Context

The research and reflection required by this course is one of its great benefits. I have enjoyed looking for inspiration, reading to gain understanding, following leads and cross references and writing up my thoughts. Having spent many years in my commercial career writing for specific audiences it is satisfying to be writing for myself both in terms of the pleasure of writing and in building  a record of my thoughts.

 

 

Assignment 3 The Reality and Illusion of Mannequins

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Background and Influences

The aim of Assignment 3 is to show a command of colour in photography. To show this command we are asked to take a series of pictures that exhibit:

  • harmony through complimentary colours;
  • harmony through similar colours;
  • colour contrast;
  • colour accent.

In addition to this brief I wanted to build a series of pictures that challenged me at a creative and technical level and that felt progressional. It is nearly five months since I finished assignment 2 and, in that time, the main focus has been to start studying the evolution of colour photography from William Eggleston in the USA through to Martin Parr in Britain. I have discussed these influences in a separate post (here) and each of the studied artists is separately discussed elsewhere in this blog. (EgglestonShoreParr – Ray-Jones and Parr). I also researched a group of Magnum photographers to understand how they dealt with reflections and, in some cases mannequins (here).

The study of contemporary colour photography is ongoing with many other paths to explore but I have established a simple list of attributes that stand out for me in the work of Eggleston, Shore, Vergara, Parr, Fox and others and that I want to bring to my work:

  • photography is communication, say something;
  • explore strong, saturated colours;
  • have the freedom to use colour in a bold & uninhibited way;
  • work in sets or series and don’t chase single spectacular images;
  • recognise the photographic potential in the banal and in everyday life;
  • remember that every part of the frame has a part to play in composition;
  • create layers of detail that ask the viewer to pause and look more closely;
  • use depth of field to fill the frame in terms of depth as well as vertically and horizontally.

Beyond these general points I am interested in the specific technique of daylight flash or artificial lighting that are notable features of Martin Parr’s and Anna Fox’s work. It brings an additional layer of depth to an image by creating a distinction of light between foreground and background. My choice of subject matter in assignment 3 did not lend itself to this idea so I am exploring it as a personal project (here) with the view to devleoping it in a later assignment.

Tutor feedback on assignment 2 suggested that I could have focussed on developing the theme of abandonment and decay and I have noted several tutor’s comments on the OCA forum about using assignments to create cohesive sets of photographs. In assignment 2 I put achieving the list of design elements ahead of developing a cohesive series of images and feel the submission was weakened by that decision. In this assignment I have come nearer to putting the images and the cohesion of the set first.

Finally I like the idea that Anna Fox used in Workstations of collecting text and images about a single subject and (only) bringing them together in the final edit. Workstations is a collection of photographs taken in offices in the post industrial era of the Margret Thatcher premiership. Fox is quite clear that the photos are a critique of the Thatcher-influenced society but by using quotations from various sources she simultaneously underlines the message of the picture and adds an element of satire and humour. I have chosen to use this idea in assignment 3 and, without any specific pictures in mind, have collected quotations about fashion and by fashionistas which I have only paired with the photos as I placed them into the final presentation.

Mannequins

The mannequin, in its modern form,  started to appear on the high streets of Paris, London and New York in the 1870s and quickly became an essential part of any window display. They have always been much more than an elaborate coat hanger parading the fashionable clothes of the day, but also mimicking the fashionable body shape of their era and appearing in displays that reflect the en-trend topics of the times.

In their day they have been modelled on royalty, film stars, musicians and fashion models; they have been the target of the same campaigners who helped push the American Government into passing the alcohol prohibition laws; there are museums dedicated to them; they star in novels and films; they are an ever present feature of every high street and shopping centre in the developed world.

The Ultimate Role Model

I became intrigued by mannequins when working on my first test shots for assignment 3; shop windows present us with an illusion based on idealised human forms standing behind distorted reflections of the real world so the reality and illusion become interwoven in complex patterns.

From the street we see layer upon layer with varying intensities of lightthe interior of the shop, the mannequins in the window display, the reflections of the street, the shop fronts opposite, and in this mix of interior and exterior, of reflection and reality, of mannequins and people we have the sharp end of a fashion world that uses fibre glass role models to sell clothing designed for super models.

The high street is the public face of an industry employing nearly 1 million people in Britain and contributing more than £21 billion a year to the UK economy and, at the other end of the supply chain, a trade that represents 80% of Bangladesh’s exports? But, behind beautiful mask there is an ugliness.

  • It is an industry built on waste with this season’s lines inevitably destined for next year’s landfill; sustainability and durability are its enemies; fad, whim, self indulgence and disposability its allies.
  • Fast fashion, the rush to bring cheap copies of catwalk designs to the high street, generates a scramble for ever more cost effective supply chains so the rich buying world exploits the poor supply world driving down costs and consuming depleted resources.
  • Sweat shops abound from Asia to the Americas; children, prized for their nibble needlework, make up a substantial part of a workforce housed in unhealthy, dangerous and often deadly factories.
  • Wages in many parts of the world are so low NGOs talk of slave labour.
  • Badly managed farms, being paid the bare minimum for their crop, consume 2,000 litres of water to produce enough cotton to make one t-shirt. A t-shirt that quite probably will be dyed in a factory that blends toxic chemicals with scarce water supplies before discharging poisonous waste, untreated, and often running denim blue, into rivers and oceans.

Closer to home young people are offered abnormal body shapes as desirable, perhaps even essential, so they pursue the “thigh gaps” and “concave stomachs” of unhealthy fashion models who themselves can be suffering from eating disorders such as anorexia nervosa and bulimia or from substance abuse and alcoholism.

This is the background to my short study of mannequins. In layers of direct and reflected light I set out to capture the cocktail of illusion, fantasy, reality, truth and untruth found in shop windows in every high street. Mannequins mindlessly promote a self obsessed, egotistical and hedonistic industry in denial; a global industry under increasing pressure to address fundamental issues of environment, sustainability, ethics and fair trade on one side of the equation and the physical and mental health of consumers on the other.

The Photographs

Layers are the common thread that link the mannequin series . These can be seen as layers of space or layers of light. For example in fig. 01 there is a “real” layer that includes the mannequins and the shop’s lighting, a two dimensional layer comprised of the photograph of the two models and a reflected layer which appears to be behind the photograph but is, in fact, the nearest layer to the camera. The three layers are presented as a photograph “flattened” into a single two dimensional image.

The three spacial layers often have differing intensities of light within them so there are more layers of light than of space and the relationships and interplay between the layers becomes more complex with similar levels of brightness or tone linking across the spacial layers. The reflections often appear as a backdrop as we sub-consciously decode the layers and place them in logical positions; the mannequins and the photograph are placed in front of the building.

The shop window display presents a world that we know to be an illusion but by consistently associating particular brands or styles with a specific fantasy the fashion industry adds data to, what Walter Benjamin called, our “optical unconscious”. We learn these links between brands and social categories so we know that Ralph Lauren represents the polo set, that gentleman farmers wear brown and green checked shirts, that “Twickenham man” wears a Barbour jacket. Having learnt this code we can dress to tell people how we want them to see us and we can de-code the way a stranger dresses so we know how they wish to be viewed. We don’t assume a person in a Ralph Lauren shirt plays polo with Prince William but we know they want us to see them as a person of style and taste who aspires to drink Pimms at Cowdray Park.

These photographs try to express the complex relationship between society and fashion and between reality and illusion by exploring the layers of space and light in shop windows.

"body attitudes bespeak a visual language that is an integral part of visual merchandising" Marsha Bentley Hale Fig. 1 Pescara - 1/125 @ f/11, ISO 1,600

“body attitudes bespeak a visual language that is an integral part of visual merchandising”
Marsha Bentley Hale

Fig. 01 Pescara – 1/125 at f/11, ISO 1,600 – Colour Accent 

Headless mannequins are often combined with photographs of models to deliver the marketing message. The classic Italian architecture acts as a projection screen for the models and the yellow jacket stands out as an accent in the foreground. The models and the mannequins form a tight central group whose lack of faces allows the ethereal faces of he models to dominate. The tattoo on his right hand looks suspiciously like Margret Thatcher who would be an unlikely, but intriguing, role model for an Italian model.

"we try to use organic fabrics and low impact dyes but we won't do so unless we can achieve a high quality product" Stella McCartney
“we try to use organic fabrics and low impact dyes but we won’t do so unless we can achieve a high quality product”
Stella McCartney

Fig 02 Guildford – 1/125 at f/11, ISO 220 – Colour Accent

The faceless mannequins and the plaques on the wall of the white shop front create wide-mouthed silent screams while the the crossed highlights suggest a more angelic interpretation.  The beams of light are the accent. The seemingly broken mirror might offer a punctum. This is one example of a number of this series where I have looked for very subtle tonal variations rather than dramatic, bright colour variations.

"the shop mannequin sees endless activity that passes for human existence" British Film Council
“the shop mannequin sees endless activity that passes for human existence”
British Film Council

Fig. 03 Pescara – 1/125 at f/11, ISO 10,000 – Colour Accent

A summer clad mannequin watches shoppers huddled under a bright umbrella to escape the rain. The translucent turquoise blouse adds to the mysterious layers in this low light photograph. The bright shop’s lights contrast with the darkening street which is lifted by the splash of colour accent from the umbrella.

"there is a sense of movement, a feeling that someone is there" Tanya Ragir - Mannequin Artist
“there is a sense of movement, a feeling that someone is there”
Tanya Ragir – Mannequin Artist

Fig 04 Guildford – 1/125 at f/11, ISO 450 – Colour Accent

All of the photographs are about mixing reality and fashion but it was difficult to capture real people in a way that worked with the shop displays. In this picture the two photographs and the young women are neatly positioned so each face looks towards the camera. The photographs provide a ghostly presence over the women. The till to the right might be a punctum.

"at each of the six stages to make a garment the negative impacts on the environment are as numerous as they are varied" Bangalore University
“at each of the six stages to make a garment the negative impacts on the environment are as numerous as they are varied”
Bangalore University

Fig.05 Godalming – 1/125 at f/13, ISO 640 – Colour Contrast

Colour contrast between the blue sky, signs and dresses with the red brick buildings on a perfect spring day, in a perfect Surrey dormitory town where the mannequins and models project the classic Surrey “yummy mummy” look onto the quaint, old, town centre shop fronts. The target market for these type of clothes are almost certainly blissfully oblivious of how cotton dresses are produced. As a photograph this is one of a few where the angles, lines and perspective create a sense of movement so we could be passing Godalming on a train. The small figure top right seems to be perched on a window sill looking down on us.

"black is modest and arrogant at the same time, it says I don't bother you - don't bother me" Yohiji Yamamoto
“black is modest and arrogant at the same time, it says I don’t bother you – don’t bother me”
Yohiji Yamamoto

Fig. 06 Pescara – 1/125 at f/11, ISO 6,400 – Colour Contrast

Contrast is between the muted greys, greens and blacks with the bright strip of yellow light from the shop’s interior on a wet day in Pescara. Warm colours dominate the centre and contrast with the many cool colours and tones in the rest of the image. . The perfect mannequins dressed with elegant style in summer dresses contrast the woman wrapped up against the unseasonal spring rain. In addition to the contrasts there is a strong sense of left to right movement created by the perspective and the lines and the women’s direction of travel.

"you know she has been touched by human hand and interpreted by human feelings" Cyril Peck - Mannequin Artist
“you know she has been touched by human hand and interpreted by human feelings”
Cyril Peck – Mannequin Artist

Fig. 07 Guildford – 1/125 at f/8, ISO 1,100 – Colour Contrast

One of the simplest pictures with only a hint of reflection. Blue, pick and yellows are all strongly contrasting. The psychology  of window displays is complex and could be a study in its own right. There are complete mannequins, headless mannequins limbless mannequins, mannequins set in the context of photographs of models, faces with personality, featureless faces and everything in between. Most designers seem to be de-personlising their models yet every now and again there are “human” touches like these two mannequins holding each other’s stylised hands.

"a cosmos of heavenly bodies set in a complex orbit" Prada
“a cosmos of heavenly bodies set in a complex orbit”
Prada

Fig . 08 Citta S’Angelo – 1/125 at f/11, ISO 560 – Colour Contrast

The very bright sunlight has helped create an ethereal scene where it is difficult to distinguish between mannequins and humans and to de-cipher the various layers. The main contrast is between blue and orange but the violet/purple is so strong it creates tension with all the other colours. I think this adds to the other-world feeling. The punctum for me is the silhouette of the boy on his scooter under the eye of the taller silhouette who might be human or mannequin.

"only in an imaginary world can the unexpected and irrational intertwine with spontaneity and naturalness" Dolce and Gabbana
“only in an imaginary world can the unexpected and irrational intertwine with spontaneity and naturalness”
Dolce and Gabbana

Fig. 09 Guildford – 1/125 at f/11, ISO 800 – Complimentary Colours

The greens to the left blend into the reds on the right in a gentle way so the combination of the elderly couple, the empty road, the angle of the photographed model and the two mannequins create a relaxed, Sunday morning (it wasn’t) feel to the composition. This particular shop had large plate glass windows providing sharp reflections and I picked this one partly because of the human couple and partly because everything seems to fit so perfectly together. A “comfort food” sort of photograph.

"avoid the masculinity problem by producing mannequins that are abstract or even completely headless" The Mannequin Mystique
“avoid the masculinity problem by producing mannequins that are abstract or even completely headless”
The Mannequin Mystique

Fig. 10 Pescara – 1/125 at f/11, ISO 10,000 – Complimentary Colours

It was important to me to explore less obvious colours and this is one of a small number of my selected images that are predominantly monochrome. I was looking for tonal relationships away from yellow/blue or green/red and this shot is about these subtleties. The harmony is between the greys and brown/oranges. The composition has a lot of the features I was seeking; the bicycle, the people with umbrellas and the suited mannequin are all in stark contrast with the seemingly incongruous matching bag and shoes.

"they must convey idealised images of ourselves, what we aspire to rather than what we are" Fashion Institute of Technology
“they must convey idealised images of ourselves, what we aspire to rather than what we are”
Fashion Institute of Technology

Fig. 11 Guildford – 1/125 at f/11, ISO 450 – Complimentary Colours

For many years the fashion industry has identified minority sports that few shoppers can or even want to engage in but the private school exclusivity of polo, sailing, rugby and rowing make them attractive as statements of good taste or breeding or manliness. The pale greens and pinks work well together and the interior and exterior combine to create lines of movement from the background into the foreground which seems to work especially well with the sporting theme. The punctum for me is “oars 21% off” – who wants oars and, if they did why would they buy them from a fashion boutique? why 21% not 20% ?.

"able to claim a unique duality in its brand positioning pairing modernity and heritage" Gucci
“able to claim a unique duality in its brand positioning pairing modernity and heritage”
Gucci

Fig. 12 Guildford – 1/125 at f/11, ISO 500 – Complimentary Colours

One of my favourites. with the Modigliani head positioned between the gold clock and the Body Shop sign staring, with no little attitude, into the far distance. The complimentary colours are the red/orange bricks and the blue sky but they are really just a background to the white model in the black dress which are equally complimentary. After all the headless mannequins and the ones with featureless faces this one is creatively sculptured. As often is the case there is also a sense of movement created by the camera angle and the receding perspective.

"androgyny and ethnic diversity rule the creative landscape" Rootstien - Mannequin Manufacturer
“androgyny and ethnic diversity rule the creative landscape”
Rootstien – Mannequin Manufacturer

Fig. 13 Guildford –  1/125 at f/11, ISO 1,100 – Similar Colours

This photographs is in yellow to brown tones and is representative of a common window display where the monochrome and severe lines of thin mannequin are softened by the warm colours of the photographed models. The yellow tape on the scaffolding creates interesting highlights.

"unique mix of innovative audacity and legendary Italian quailty" Gucci
“unique mix of innovative audacity and legendary Italian quailty”
Gucci

Fig. 14 Pescara – 1/125 at f/11, ISO 450 – Similar Colours

I used shop mirrors in a lot of photographs but this was the one that worked the best. The reflection of the piazza is mysterious to the right and left but with window-like clarity in the mirror which also increases our view of the mannequin. The position of the head, just on the skyline, was important to allow her lips to become a focal point. I like the way the street lamp on the right seems large enough to be a large tower. I find a lot of the interest in many of these images is the way in which the reflections can distort scale and shapes which helps my objective of asking viewers to linger and study the image.

"available in male, female or child sizes and any skin colour" Red Beau Mannequins
“available in male, female or child sizes and any skin colour”
Red Beau Mannequins

Fig. 15 Guildford – 1/125 at f/11, ISO 320 – Similar Colours

All the colours are from the quadrant of pink through to yellow and are therefore harmonious. I wanted the photo of the child to tower over the two mannequins which might have been selected to offer ethnic diversity. The old houses opposite create a neutral backdrop.

"models are there to look like mannequins not real people" Grace Jones
“models are there to look like mannequins not real people”
Grace Jones

Fig. 16 Pescara – 1/125 at f/11, ISO 11,000 – Similar Colours

This nearly monochrome image works very well for me. If it is possible to have multiple punctums  there could be two here with the group sitting at the street cafe to the left and the ice cream tricycle to the right and the way that both are framed by the model. I very consciously framed the model to exclude her face as I wanted to reduce her human presence to reflect the idea that a large black and white photograph is probably the cheapest mannequin you can buy so her role is as a mannequin not a woman.

Photography Notes

The subject matter and my approach posed a number of technical challenges. It was essential to use deep DoF to bring out the detail in all the available layers and typically I was photographing from a light place into a dark place through glass and reflections. On the rare occasions when there was a little more light, I under-exposed by 1/3 of a stop to help saturate the colours. The combined result was an exercise in low light photography and I was regularly using high ISOs to get the result I wanted. This doesn’t over-concern me as the images still work at 10 x 8 and whilst a few are grainy this might increase the mystery of the layers. I have post processed to maximise contrast and saturation either by using curves in Photoshop or pro-contrast in Color Efex Pro 4, but I didn’t want the images to look “over-processed” and hope my changes were within the realms of a “light touch”.

I looked at photos of reflections taken by Magnum photographers (here) and this taught me a lot about angles and on how to photograph through glass. I had no wish to include myself in any pictures so straight on (90 degrees) was usually a poor option, 45 degrees or less worked well but very few shots were successful when the “real” street as opposed to the “reflected” street came into the frame. Framing was often quite time consuming as I had to train my eyes to see all the layers at once and frame to combine the shop interiors and the exteriors effectively.

The best results were on days when it was bright enough to have a reasonable difference in the strength of light between the sunnier and shadier sides of the street. The best reflections were obviously achieved looking at the reflections of the sunny side in windows of the shady side. However, on one shoot in Italy the sun was so bright the contrast became too great and very few of the pictures worked (fig. 08 above is one of the few that I think did). Some of best layering effects came when the day was dull and the shop lights started to play a role. I undertook one shoot in an indoor shopping centre in Pescara Nord but there tended to be brighter lights in the shop windows than in the aisles and the reflections were minimal.

I have strayed some distance from the brief both in terms of not varying the subject matter, not creating movement diagrams and not using filters. In my opinion none of these ideas would have added value to what I was trying to achieve but I look forward to hearing my tutor’s views on the matter.

Links to Blog Posts for the Development of Assignment 3

Planning Assignment 3 with Tony Ray-Jones & Martin Parr

Developing Assignment 3

Evolving Assignment 3 – Mannequins

Researching Assignment 3 – Practitioners

Test Shots and More Thoughts for Assignment 3

Steal Like an Artist

Assignment 3 Contact Sheets

Sources

Photographer sources are detailed under each of the blog posts listed above. The following are a list of internet sources that I researched to provide background to the text.

Academia.edu – Fashion Industry and Media Today: The Negative Impact on Society by Ali Malik Al-Azzawi – www.academia.edu/1172572/Fashion_Industry_and_Media_Today_The_Negative_Impact_on_Society

The Daily Record – Damaging effect catwalk models are having on young women – www.dailyrecord.co.uk/lifestyle/fashion-beauty/damaging-effect-catwalk-models-having-1729385

Greenpeace International – Dirty Laundry: Unravelling the corporate connections to toxic water pollution in China – www.greenpeace.org/international/en/publications/reports/dirty-laundry/

Ecologist – Fashion’s Impact on the Earth by Safia Minney – www.theecologist.org/green_green_living/clothing/1055961/safia_minney_fashions_impact_on_the_earth.html

Mannequin Madness – The Mannequin Mystique by Emily and Per Ola dAulaire – mannequinmadness.wordpress.com/the-history-of-mannequin/

Not Just a Label – The Slow Fashion Movement: reversing environmental damage by Maureen Dickson, Carlotta Cataldi & Crystal Grover – www.notjustalabel.com/editorial/the_slow_fashion_movement

The Guardian – Britain’s rag trade revival – www.theguardian.com/fashion/2014/feb/15/britains-rag-trade-revival-marks-and-spencer

The Guardian – Britain’s fashion industry now worth nearly £21bn a year, report reveals by Imogen Fox – www.theguardian.com/lifeandstyle/2010/sep/15/british-fashion-industry-report-business

The Guardian – To Die For: Is fashion wearing out the World? by Lucy Siegle – book review – www.theguardian.com/books/2011/jun/12/to-die-for-lucy-siegle-review

Unicef – Child protection from violence, exploitation and abuse – www.unicef.org/protection/57929_55452.html

Experimenting with Truth and Stitching

 

Fig. 1 Austin Reed Stitched - 1/125 at f/11, ISO 360. 24 to 70mm lens at 62mm

Fig. 1 Austin Reed Stitched – 1/125 at f/11, ISO 360. 24 to 70mm lens at 62mm

Anna Fox * (1) shared a number of her techniques with the OCA students who attended the Audience with Anna Fox last week. I was interested in the idea of stitching together a number of pictures of the same place to create what Anna called a “memory of a place over time”. She is using this technique in a current project about a town in France and I came away from the talk keen to experiment with it.

The technique is to use a static camera and lighting set up to capture a series of photos over a period of time in exactly the same place and in the same lighting conditions. She then selects parts of individual pictures and stitches them together to form a single image. This technique enables the photographer to select a number of cameos that, when fitted together, describe events that occurred over time in the chosen location.

Whilst working on editing pictures for my assignment 3 about mannequins I recognised that I had a sequence of photos that might be interesting to experiment with. I was not using a tripod and was not controlling the lighting conditions so this is not the idea set to work with but I was standing in the same place for a few minutes taking a series of pictures of people walling in front of Austin Reed in Guildford.

Emboldened by Steal Like an Artist * (2) I created Fig. 1 from four images of three individuals and one pair who walked past the shop at different times. None of the pictures were interesting in their own right but taking the five people and putting them together creates a balanced composition of what happened in the course of about 2 minutes. A sort of single shot elapsed time photograph. I like the way this technique enabled me to fill the spaces with subject matter. It would obviously be better to work over a longer period of time to have more variety in the subject matter.

The other major difference here, apart from the skill of the photographer, is that I spent an hour putting this together, Anna’s team can take up to week to create a single stitched image.

Fig. 1 is not the perfect example of the technique and I want to repeat the exercise using a tripod in a place where I can control the lighting and in a location where people naturally do different things. 

There was a debate at Anna Fox’s talk about where the line fell between truth and untruth in documentary photography. Her view was that all photographs are untruths because of the selective nature of composition but that documentary photography is still based on truth. The idea of capturing multiple moments in time from one place and combining them to form a single image could be argued as moving further from the truth because the combined picture represents something that never happened. On the other hand it could be argued that it brings us nearer to the truth because the photograph is not limited to an isolated moment that mis-represents the time the photographer was present and is therefore nearer to being what the photographer experienced.

It is true that these five people walked passed Austin Reed between 13:07 and 13:09 on May 5th, I saw them and photographed them and haven’t airbrushed any of their normal human imperfections or cleaned up the pavement. Being there is true; being there together is not but I’m telling the truth that they weren’t.

The four unedited originals:

NK1_0135 NK1_0132 NK1_0129 NK1_0128

 

Sources

Books

* (2) Kleon, Austin. (2012) Steal Like an Artist. New York: Workman Publishing Inc.

Internet

* (1) Fox, Anna. Anna Fox Website (First accessed 2014) www.annafox.co.uk

Test Shots and More Thoughts for Assignment 3

Contact-sheet-culled-01

Over the course of the last few weeks I have visited several towns testing ideas for assignment 3. As previously discussed (here and here) I have evolved the idea from reflecting change in shop windows through to looking at the high street using reflections in the physical sense and mannequins in a more metaphysical sense.

To help me consider how best to approach this subject I have looked at the work of a number of practitioners (here) and have seen how they use reflections as a compositional tool rather than setting out to photograph reflections.

I have been looking through the best of the images I have captured in Guildford, Aldershot, Farnham and Godalming and culled a few that will not make the final cut. The above contact sheet contains 20 of the culled images. My process has been to work through the raw images editing those that seem to work and then re-visiting that collection of edited images on several occasions to cull the weakest. I find that I have to create some distance between capture and editing and between editing and selecting to allow me to be as objective as possible in my choices.

For various reasons none of the above will make the final selection although they all had some promise at some stage in the process. A number of them take me away from my main theme (Figs. 10, 11, 13, 18 & 20), they all work as images but I feel and I sense my tutor felt that my series on Turks and Caicos (assignment 2) was not as coherent series as I wanted it to be. This group of pictures are directly about people or objects and, whilst reflections play a part, mannequins and retail marketing does not.

Of the others many have been culled because they are vertically framed. I have considered producing the series as verticals but although this works well when I focus in on a mannequin I often need the horizontal format to provide an appropriate context.

A small number of the culled pictures stand out for me at this point because they are close to what I am trying to achieve.

Fig 01 - Shoulder - 1/125 at f/11, ISO 800

Fig 01 – Shoulder – 1/125 at f/11, ISO 800

NK0_5812-shoulder-2-coloursThis image works well for me. In the context of assignment 3 the main colour relationship is between shades of blue and brown/orange with these colours both appearing in a range of shades. The image gains a lift from the small group of red accents to the right of the mannequins head and the golden backlight on the photograph of the model. I particularly like the cross relationships such as the necklace on the mannequin being similar to shades in the model’s hair and how the faded denim is close matched with the tarmac road.

My selected subject matter for this assignment dictates that colours will often be muted as there are, by definition, layers of glass and reflections obscuring the subjects and current fashion colours appear to be quite subdued.

Whilst working on this assignment I have become interested in the relationships between us, mannequins that in some way are intended to represent us and photographs of models that often appear with mannequins in shop window designs. This is a good example where the mannequin has body form but the head only hints at having any features. By removing the eyes and mouth the designer has removed all personality but then a large photograph of a real person forms a backdrop to the mannequin. Often, as in this case, the model’s clothing is the not the same, either specifically or generally, to those on the mannequin.

This is close to the end result I am seeking. The colours are harmonious, the layers are complex enough to demand attention if the viewer is to decipher the image and it asks questions about why we want to buy clothes modelled on a being with a body but no personality, is the model aspirational and is that message about her looks or the beautiful summer’s afternoon she is photographed in.

Whilst these complex layers play out on and behind the window life goes on in the street with an uninteresting white van heading into the distance.

Fig. 08 Holding Hands - 1/125 at f/8, ISO 1,100

Fig. 08 Holding Hands – 1/125 at f/8, ISO 1,100

NK0_6232-holding-hands-2-coloursFig. 08 is a very different image. It is far simpler, the reflections are faint and not important to the composition and the focus is far more clearly on the hands of these two mannequins.

There are four main colours, blue, red and yellow and brown. The blues of the nearest shirt are linked to the pink trousers by  the strong turquoise of a belt and the left hand mannequin is linked to the right hand mannequin by their brown wooden arms. The colours compliment each other both left to right and up to  down with some tension created in the pick to yellow diagonal.

From a subject point of view I was interested in the mannequins holding hands. The designer has gone to some lengths to de-humanise these artefacts, they are obviously made of wood, their joints are puppet-like, they have no heads. However, they have been positioned to hold hands so we have two, presumably “male” mannequins holding hands in a very conservative (in every sense of the word) town centre.

This opens another avenue  about how shop displays ask questions and, especially in big brand chains, they tell us something about the physiology of marketing and what is perceived to influence us but at a micro level they might reflect something about the window dresser, their humour, or their reaction to the street outside or their sentimentality.

Fig. xx Perspective 1/125 at f/13, ISO 640

Fig. 14 Perspective 1/125 at f/13, ISO 640

NK0_6995-perspective-coloursAfter a fairly fruitless couple of hours in Godalming I came across this combination of reflections and interiors that appealed immensely. For me, the image is made by the perspective of the five mannequins receding into the distance to the child mannequin in the window at the right.

The colours are the blues in the clothes and sky and the reds and browns in the third mannequin’s trousers, the street and the roofs.

This composition lends a lot to my study of practitioners and the way they often use the reflected sky as a frame for the interiors and other reflections. I began to look for this far more after seeing the work of some of the Magnum photographers. It is a very effective device and in this example forms a tunnel of blue that leads the viewer into the picture.

The nearest mannequins have some personality both in their subtle features and their jaunty styling. They are in an independent shop where the budgets are presumably tighter so they have to work in isolation, no expensive model shoots here, and this might require them to be more than a clothes rail, their fibre glass features have to be aspirational and become our role model in terms of style and dress sense.

This photograph is complex enough to hold my interest without asking me to decode it but the diminishing sizes of the models, the ornate window frame in the centre and the blue sky mixed with the shop interior make a strong combination.

Fig. 06 Clock Face - 1/125 at f/11, ISO 900

Fig. 06 Clock Face – 1/125 at f/11, ISO 900

Fig. 06 approaches colour differently and, whilst red/orange is prevalent as a background, the most active colours are the accents of green, in two passerby’s clothes, the red dress bottom right and the gold on the clock. My interest in this composition is in the two squares of the clock and the reversed Body Shop sign and their relationship with the mannequin’s head. The mannequin is another hybrid with a human body but a stylised human head that is rather alien in the Doctor Who sense of the word.

As a composition this has a number of the elements I am looking for. The shape of the mannequin, the two squares, the strip of sky acting as a frame or ceiling and a clear picture of the street with two people reflected within the mannequin’s black dress.

At this stage I feel the theme is taking on some shape and that the ideas I have explored are leading me towards a conclussion. The main decision is whether to edit a series based on what I have done so far or whether to look for more variety. I am conscious that trying to tick off the design elements in assignment 2 led me further and further away from the series that I wanted to produce so I am hoping that I can get near enough to the assignment 3 criteria with the images I now have. I feel that, if I start searching for specific colour combinations, I will start to compromise the theme.

Evolving Assignment 3 – Mannequins

Fig 1 Clock Face - complex multi-layered reflections - 1/125 at f/11, ISO 900

Fig 1 Clock Face – complex multi-layered reflections – 1/125 at f/11, ISO 900

The theme for assignment 3 is evolving. The initial idea was to focus on the changing face of small southern towns as viewed through the reflections in high street windows but, whilst this offered some interesting results on test shoots, it began to feel too premeditated and potentially exploitive. The most interesting “reflection” test shots feature mannequins and these shots are further lifted when the same window displays include photographs. This gives at least three layers of image – the reflection of the street, the mannequins and the photographs and this complexity is often multiplied when the opposite side of the street or the tops of buildings are included in the reflections. In terms of composition and design I am exploring how these these layers relate to each other.

This exploration has been done by visiting several towns, often just for an hour, to capture pictures at different times of day and in different high streets. To some degree it is easier to think more clearly with a camera in hand and I can test DoF, angles, subjects, and lighting far better on location than by trying to create pre-meditated story boards. The nature of the subject makes planned shots especially difficult as the images are often complex with, by intent, crowded frames containing lots of detail and the multiple layers of subject bringing an equal number of layers of light with differing intensities. The reflections are the common thread that hold the physical aspect of the theme together. In parallel , I am developing  a theme of these displays as reflections in a more metaphysical sense.  The mannequin represents an ideal, an aspiration, a style model for us to mimic and over the centuries mannequins have gone beyond being glorified coat hangers displaying current fashions and styles. These shop window dummies have followed their own fashion trends and thereby reflected society in both an obvious and sometimes quite subtle way.

Fig. 2 Holding Hands - mannequins being given human emotions - 1/125 at f/8, ISO 1,100.

Fig. 2 Holding Hands – mannequins being given human emotions – 1/125 at f/8, ISO 1,100.

In their article for the Smithsonian Magazine in 1991 Emily and Per Ola d’Aulaire * (1) describe how fashion dolls in the 14th century evolved to become today’s mannequins and how their shape changes to reflect how society wants to see itself. In the 1890’s they were big bosomed with impossibly narrow waists, during the great depression the trend was to appear affluent and well-fed, during the two great wars they were patriotic, in the 1950’s demure, in the 1960’s they became as skinny as Twiggy with short hair and slender thighs (here) * (2).

In the United States the Women’s Christian Temperance Movement, one of the driving forces behind prohibition in the 20s, declared mannequins as vulgar and campaigned for their destruction and today the debate still appears to phase in and out of the headlines. The normal female mannequin is a size 8 or 10 and as the average women in Britain is a size 14 it is often argued that these skinny mannequins damage self-esteem by promoting an unrealistic body shape. On the other hand, when the Swedish equivalent of John Lewis used size 12 mannequins it came under fire for promoting obesity * (3). In early 2014 mannequins again made the headlines when American Apparel, a large clothing chain with stores world wide, featured a display of  mannequins with pubic hair, an action that kept this particular retailer front and centre of the debate about whether ever more realistic mannequins court controversy or are a empowering statement of the female body. * (4)

Without intending to take or promote any position in this debate it is an interesting to wonder why the mannequin is the only shop fitting that has the ability to stir such strong emotions. This inanimate model has variously been the subject of films, possibly even the inspiration behind the Wizard of Oz *(1), love stories and, in December 2013, even a music video to promote Daft Punk’s latest release “Instant Crush”, a video that dramatises the love affair between two museum mannequins. The obvious conclusion is that we identify with a paper mache or fibre glass object to such an extent that it doesn’t just reflect our aspirations but has an assumed personality and assumed values. Not all models of people have these attributes so it is not simply the human form that creates this relationship between human and dummy it must also be the setting and the context in which we see them.

Fig. 3 Over My Shoulder - example of photographs being used with a mannequin - 1/125 at f/11, ISO 800

Fig. 3 Over My Shoulder – example of photographs being used with a mannequin – 1/125 at f/11, ISO 800

In my current project I can see that the trend, at least in this corner of England, is to de-humanise the mannequin with many shops using headless torsos or wire frame heads but then to display these models with photographs of models wearing the same clothing lines.  The body shape is on display but with no personality but a large backing image shows how attractive or happy we will become if we dress this way. This relationship between dummy and photograph is yet another sub-plot. It is not clear to me whether this fashion for headless mannequins is for aesthetic, marketing or economic reasons. The manager of Reebok Guildford was not sure why his mannequins seemed to have the most personality in town but he did suggest that “personality costs money”.

Fig X Face Lift - mannequins with personality at Reebok - 1/125 at f/11, ISO 2,800

Fig 4 Face Lift – mannequin with personality at Reebok – 1/125 at f/11, ISO 2,800

Sources

Internet

* (1) D’Aulaire, Ola and Emily. (1991) – The Mannequin Mystique, originally published in the Smithsonian Magazine April 1992 and reprinted with the author’s permission on the Manequine Madness Blog – http://mannequinmadness.wordpress.com/the-history-of-mannequin/

* (2) Voices of East Anglia. Mannequins – Brochures for Dummies. http://www.voicesofeastanglia.com/2012/06/mannequins-brochures-for-dummies.html

* (3) Mail Online – Department Store Uses Normal Mannequins – http://www.dailymail.co.uk/femail/article-2299498/Swedish-department-store-hl-ns-reignites-body-image-debate-photo-normal-sized-mannequins-goes-global.html

* (4) Huffington Post – American Apparel Pubic Hair mannequins Stop Pedestrians In Their Tracks – http://www.huffingtonpost.com/2014/01/16/american-apparel-pubic-hair-mannequins_n_4610688.html

* (5) Daft Punk – Instant Crush Video – http://www.mtv.co.uk/daft-punk/news/daft-punk-debut-new-video-for-instant-crush