Locating Society Evaluation

You can view some of my final outcomes here

Introduction

The subject for these units is Locating Society. For my work for this brief I needed to produce images on location, using lens based recording with natural daylight, mixed lighting (natural, artificial and manually controllable portable flash), artificial lighting and manually controllable portable flash lighting. My starting point began with researching the work of photographers such as Hiroshi Sugimoto, Nan Goldin, Rut Blees Luxemburg, Minor White, Sally Mann, Stephen Gill, Jeffrey Shaw, Jeff Wall, Bill Henson, Edward Steichen, and Todd Hido.

 

I researched, took references and also collected various images from Internet research and books, such as ‘How to Read a Photograph – Understanding, Interpreting & enjoying the Great  Photographers’ by Ian Jeffrey, which I used as primary research.

 

The Locating Society concepts I decided on needed to be ones which I could develop a meaningful narrative for, and ideas where I could visually communicate a social commentary on the societal issues and reasons behind loneliness. My ideas needed to both showcase and develop my skills when working with the challenge of combining natural, artificial and flash lighting on location and at the same time give me the challenge of trying new techniques and approaches to my work.

 

From my initial and detailed research I generated a detailed proposal where I developed my ideas. I completed and shot test images which helped me develop my ideas and techniques for the final images for my proposal, and then I chose my final images.

 

Detailed Research, Essay and Artist Research

My Initial research into the work of photographers such as Hiroshi Sugimoto, Nan Goldin, Rut Blees Luxemburg, Minor White, Sally Mann, Stephen Gill, Jeffrey Shaw, Jeff Wall, Bill Henson, Edward Steichen, and Todd Hido, along with my research and references from the various images collected from Internet research and books, all provided me with a solid base for my sketchbook work.

 

I collated information about loneliness, for example from newspaper articles and I identified Rut Blees Luxemburg and Nan Goldin as key exponents who have created works exploring social isolation.

 

Idea Generation & Proposal

I intended to produce imagery that explored loneliness in Urban and Rural locations, using either a male or female model to contextualise loneliness by framing a solitary figure in my selected urban and rural locations to contrast the brutality of the city and the isolation provided by the countryside against the vulnerability of the human condition, to convey the the solitude of loneliness.

For both ideas whilst incorporating the main tenet of the brief, ‘Locating Society’, I intended to challenge viewers to reevaluate their view of loneliness by capturing isolated and detached figures in a variety of urban and non-urban locations to disseminate that loneliness is a ubiquitous condition that afflicts people whether they reside in a city or the countryside.

 

The detail of my two ideas:

 

• 1. ‘Urban Loneliness’ – a) Shoreditch (Graffiti – in particular around Old Street Tube Station)
  I want to depict an image that contextualises loneliness in the City and correlates to my research that London is the ‘loneliness capital of Europe’. I intend shooting in and around the Shoreditch area with the intent of capturing solitary figures/models near grungy graffiti covered urban walls or buildings utilising a combination of natural ambient lighting and tungsten/LED/flash lighting aimed directly at the figures to isolate them from the surroundings. I intend to attempt to capture the figures on the edges of the frames possibly placed on the edge of a third.

Connotation: By framing solitary figures/models near grungy graffiti covered urban walls or buildings it contrasts the brutality of the city against the isolation and vulnerability of the human condition.

Denotation: Solitary figures/models lit by natural ambient lighting and tungsten/LED/flash lighting by grungy graffiti covered urban walls or buildings.

Lighting Notes:

I will utilise a combination of natural ambient lighting and tungsten/LED/portable flash lighting aimed directly at the solitary figures to isolate them from the surroundings.

 

• 1. ‘Urban Loneliness’ – b) City of London/Central London (Nightscapes & solo walkers)
  I want to depict an image that contextualises loneliness in the City and correlates to my research that London is the ‘loneliness capital of Europe’. I intend shooting images where the lit Skyline nightscape highlights the presence of other people, yet the flash lighting on the model isolates them from the rest of the surroundings and the distance between the rest of society and the model is exaggerated by this. Harsh lighting, high contrast and shadows.

Connotation: By framing solitary figures/models against the background of the cityscape, it contrasts the brutality of the city against the isolation and vulnerability of the human condition.

Denotation: Solitary figures/models highlighted by natural ambient lighting and flash lighting set against a background of city buildings or the city skyline.

Lighting Notes:

Using the skyline nightscape to highlight the presence of other people, with the portable flash lighting aimed at the model to provide a harsh light to isolate them from the rest of the scene and exaggerate the distance between the rest of society and my model.

 

• 2. ‘Rural Loneliness’ – Rural Bedfordshire, Shocott Spring (Forest of Marston Vale)
  I want to depict loneliness in rural life – how communities these days don’t communicate or socialise with one another. I intend on using the location of Shocott Sprint (situated in Cotton End) which hosts open wide vistas with small scale forestry trees and paths which feature leading lines into the image. I want to place the model of the right third on the lower segments to lead the viewer into the image and the empty path and horizon. Bleak limited colour palette, preferably stormy cloudy weather. Flash illuminates model want a high contrast fill-in with bold shadows.

Connotation: By framing a solitary figure/model in a rural setting, it contrasts the isolation provided by the countryside against the vulnerability of the human condition.

Denotation: Solitary figures/models highlighted by portable flash lighting in the open countryside.

Lighting Notes:

A bleak limited colour palette with stormy/cloudy weather, using the portable flash lighting to provide high contrast fill-in lighting to create bold shadows.

 

Locations

I researched various possible locations where I could shoot my concept ideas, including:

 

Locations – Urban: Kings Cross St Pancras Underground station Chinatown (area around Gerrard Street) Tower of London, near A100 opposite Tower Hill underground station, looking towards The Shard Three Quays Walk, looking towards The Shard and South Bank City of London –  Great Tower Street, Mincing Lane, Fenchurch Street, Fenchurch Ave, Lime Street, Leadenhall Street, St Mary’s Axe etc. Shoreditch London Underground, ‘tube’ stations and trains

Locations – Rural: Shocott Spring Wrest Park

Models

I planned to use either/or:

• Female adult model
• Male adult model

 

Risk Assessment

I included a review and risk assessment of the Health and Safety risks on location, in particular the risks surrounding using models and assistants on location, as well as a general risk assessment, including the use of portable flash equipment.

 

Shoots

 

Idea 1 – ‘Urban Loneliness’

 

Equipment:

• Male or Female female model in dark casual clothing
• Olympus OM-D E-M5
• Olympus 45mm 1.8
• Panasonic Leica DG Summilux 25mm 1.4
• Olympus M.Zuiko Digital ED 12-50mm f/3.5-6.3
• tripod
• Vivitar 283 flash strobe, with Vivitar VP-1 manual adapter
• Vivitar 285 flash strobe, with vari-power manual adapter
• remote flash trigger+receiver+flash sync cable
• flash hot foot adapter with flash sync cable (to connect flash to remote receiver)
• Various Cokin filters, e.g. Star and similar special effects
• Cokin filter holders and adapter ring
• Spare batteries for portable flash strobes, wireless flash triggers
• related H&S equipment and PPE, e.g. gloves for cold weather

 

1. ‘Urban Loneliness’ – a) Shoreditch (Graffiti)

1. ‘Urban Loneliness’ – b) City of London/Central London (Nightscapes & solo walkers)

For ‘Urban Loneliness – a) Shoreditch (Graffiti)’, I used a wirelessly triggered portable strobe flash unit either positioned on the ground on a flash gun stand, or held and positioned by an assistant, aimed at my model to provide a focal highlight to dissociate the models from the available ambient background lighting to suggest isolation and loneliness, but whilst retaining the ambient lighting to provide a background context and social commentary. I shot my models in several poses and several variations of ‘Urban Loneliness – a) Shoreditch (Graffiti)’. Editing ‘Urban Loneliness – a) Shoreditch (Graffiti)’ only consisted of minor adjustments to levels etc.

 

For ‘Urban Loneliness – b) City of London/Central London (Nightscapes & solo walkers)’ I again used a wirelessly triggered portable strobe flash unit either positioned on the ground on a flash gun stand, or held and positioned by an assistant, aimed at my model to provide a focal highlight to dissociate the models from the available ambient background lighting to suggest isolation and loneliness, but whilst retaining the ambient lighting to provide a background context and social commentary. For ‘Nightscapes & solo walkers’ I shot my models in several poses and several variations of ‘Urban Loneliness’ – b) City of London/Central London (Nightscapes & solo walkers)’.

I also shot some candid images of random passersby using only the available ambient lighting, selecting viewpoints that utilized the available ambient lighting to highlight the passersby in my images and provide a background context and social commentary. I shot my models in several poses and several variations of ‘Urban Loneliness’ – b) City of London/Central London (Nightscapes & solo walkers)’.

Editing ‘Urban Loneliness’ – b) City of London/Central London (Nightscapes & solo walkers)’ only consisted of minor adjustments to levels etc.

 

While these images were technically successful I felt that due to a lack of movement in the rest of the image, the isolation they portrayed to the viewer depicts individuals who are not only isolated, but are vulnerable, perhaps suggesting that the figures in the images could be considering self harm such as committing suicide, which was not the message I wanted to communicate.

 

As a result I reconsidered what I wanted to communicate to my viewers and researched for locations where I could incorporate movement in my images. My research suggested that I would need to shoot in a busy retail area, so I reconnoitered Oxford Street and Regent Street. I discounted Oxford Street after completing a risk assessment as while it does have a central island paved area between the two lanes of traffic, the island is very narrow and not big enough to safely place a tripod or to have a model or assistant working, plus the vehicle and pedestrian traffic is too busy and I felt the risks in Oxford Street made the location was unsafe for both myself as photographer and my models or assistant.

 

The lower section of Regent Street leading from Piccadilly Circus to Oxford Circus provided a better location, and my completed risk assessment showed that there was more than sufficient space on the central island paved area between the two lanes of traffic for a tripod to be set up, and for myself and an assistant to stand side-by-side. The location I selected was also close to a set of traffic lights which also helped by slowing and regulating the vehicle traffic passing by on both sides.

 

Choosing Regent Street as a location also gave me the opportunity to showcase how I am able to successfully combine background ambient lighting from nearby retail shops streetlights and traffic lights, with lights from moving vehicles (cycles, motorbikes, cars, vans, buses, trucks) and fill-in flash to highlight model. It also allowed me to add the movement that I felt was missing from the original images I shot. Shooting in Regent Street allowed me to utilise slow shutter speeds to artistically capture the movement of the traffic which communicates the dissonance between the isolation of my model, the city buzzing around them and any other people.

 

Idea 2 – ‘Rural Loneliness’

 

Equipment:

• Male or Female female model in dark casual clothing
• Olympus OM-D E-M5
• Olympus 45mm 1.8
• Panasonic Leica DG Summilux 25mm 1.4
• Olympus M.Zuiko Digital ED 12-50mm f/3.5-6.3
• tripod
• Vivitar 283 flash strobe, with Vivitar VP-1 manual adapter
• remote flash trigger+receiver+flash sync cable
• flash hot foot adapter with flash sync cable (to connect flash to remote receiver)
• Spare batteries for portable flash strobes, wireless flash triggers
• related H&S equipment and PPE, e.g. gloves for cold weather

 

2. ‘Rural Loneliness’ – Rural Bedfordshire, Shocott Spring (Forest of Marston Vale)

For ‘Rural Loneliness – Rural Bedfordshire, Shocott Spring (Forest of Marston Vale)’, I used a wirelessly triggered portable strobe flash unit held and positioned by an assistant, aimed at my model to provide a focal highlight to dissociate my model from the available natural lighting to suggest isolation and loneliness, with the ambient lighting providing a background context and social commentary. I shot my model in effectively a single pose and editing ‘Rural Loneliness – Rural Bedfordshire, Shocott Spring (Forest of Marston Vale)’ only consisted of minor adjustments to levels etc.

 

While my ‘Rural Loneliness’ images were technically successful I felt that they were not successful outcomes in terms of communicating my intent. As countryside is open and isolated anyway, I felt that the narrative my images conveyed did not clearly illustrate the dissociation with society.

 

Model Release

For these Units I used a suitable formal Model Release form, which I used to provide a formal contract and terms between the photographer and the models I used in my shoots.

Conclusion

I felt that these units were technically successful in terms of my proposal concepts and I produced strong images, however their outcomes did not articulate or convey the impact I wanted. As my initial ideas did not work as I had intended, I decided I needed to reshoot and capture movement in my image. To achieve this I had to research alternative locations where I could safely set up my tripod, where my assistant could safely aim the portable flash gun without causing distractions to moving traffic and where I could safely pose my model.

 

My in-depth research into the use of photography to explore the relationship between the myth of society and the reality of loneliness, to gain an insight into the edges of our culture, assisted me in formulating my ideas and concepts. I wanted to challenge the viewer to examine the darkness of our world and the relationship between the omnipresent lingering of loneliness, so the viewer questions how life extends beyond its own subjective limits and act as an epitaph for the effects of loneliness.

 

My research helped me generate the ideas and concepts for my proposal, which then allowed me to successfully plan, prepare and complete my shoots. While I did not feel that my original images did not not articulate or convey the impact I wanted, my detailed planning technique assisted me to quickly research and identify alternative urban locations. This then helped me to successfully reshoot my urban concept incorporating movement, so I was able to achieve, accomplish and select my final image, which I feel fully actualises the brief of ‘locating Society’, and the image also accomplishes my personal objective to explore the relationship between the myth of society and the reality of loneliness and challenge the viewer to examine the darkness of our world and the relationship between the omnipresent lingering of loneliness.

 

I feel my final image visually expresses the reality of loneliness, and how we can be lonely or isolated even when enveloped by a busy, bustling and hectic city. I feel my image catapults the viewer’s senses into the isolation and depression that loneliness brings in an urban cityscape, how loneliness pervades society and how solitude has no boundaries.

 

Overall I found these units to be provocative. Shooting on location introduces random elements that the photographer cannot control, but has to work with, from natural and ambient light, through to the vagaries of weather conditions. Having to research and identify an alternative urban locations meant I had to quickly react to unforeseen circumstances, which motivated me to work with more challenging lighting and requiring me to develop my exposure techniques. I found this was very rewarding and by successfully creating my final image I was very satisfied with how I combined my portable flash lighting with the available ambient lighting on location. The skills I gained and the techniques I used to create my images can be utilised in the future for creating personal portfolio work or for clients as a professional photographer.

 

The feedback responses I received to my presentation were all very positive and constructive, endorsing that my detailed research, sketchbook work, ideas, experimentation using an older model and final images were all very successful. Generally the comments provided me with a few minor pointers as to where I could improve.

 

I feel that the image that I selected as my final image meets the brief and aligns with the ideas and concepts I generated in my proposal, which were supported by my detailed research and annotation. I am also pleased with my portable flash lighting techniques on location, and particularly the way I was able to incorporate it with background ambient lighting of many different colour temperatures. The image I produced I believe could easily be used as a fine art piece and successfully communicates the connotation of ‘loneliness in society’, in a thought provoking way.

 

These Units have reaffirmed my previous learning in terms of shooting on location, whilst also allowing me to refine my skills with exposure and with dealing with more challenging and problematic lighting situations, allowing me to gain very valuable experience which I can use when dealing with clients who require location-based shoots. Research provided me with a valuable insight into isolation and loneliness and it’s pervasiveness within society, which opens up various potential opportunities and niche markets for me to exploit in my forthcoming career. The objective of creating ‘Locating Society’ images presented me with valuable new prospects to enhance my expertise when working with models and assistants on location, along with developing and consolidating my lighting skills.