S.Horton

[samhortonlocationpractise]

Appraisal

For the Location Practise module, I chose my subject matter due to my visual experiences whilst being alone in Leeds walking to and from college. Moving away from home into a city removing friends and family left me feeling lonely in a way, however, the sudden surprise of a reflection gave me a visual ecstasy of freedom for a short period of time. Escaping the intimidation for a moment and forming a pathway deceiving me into believing I have a chance to escape. I wanted to develop this concept, so I began researching artists that had experimented with this idea. It was hard to find an artist that followed a similar concept, however, visually I was able to identify images that connected with my visionaries. Lisette Model’s ‘NYC Fifth Avenue’ and David Bailey’s ‘‘Shrimpton and Bailey’ influenced the images I'd taken, not only through the subject matter but also the composition of the images displayed split or multiple perspectives fused together into an abstract reality. Technically the photographs taught me how/what to focus on to maintain the abstract fusions when multiple reflections appear. I struggled with the darkroom procedures, unloading the film and using the enlarger, although after a while I began to understand the uses of the equipment, for example filters, exposure times, white light, filtered light. As this was my first experience in the dark room, I did fear I may struggle so I read articles online that helped me understand the uses of the equipment and how these creatively effect the final print. I believe that I did really well shooting the Medium Format, I shot three rolls of film, one as a test strip and two for the project. The results gained from the shoots were exactly how I had hoped, the images portrayed and communicated the concept easily to for the viewer to interpret. I did get a few images underexposed for forgetting to change the ISO on the light meter, but I apart from this I believe I had strong contact sheets to work with, that made it difficult to select images to enlarge. From the start to the end of this project I was learning a field that was all completely new to me; how to load/use medium format, how to load the film into developing tanks, how to process film and how to use enlargers to print images from negatives. I really enjoyed the trial and error developing process, as I wasn’t too good it connected aesthetically with the concept of my abstract documentary images that rebelled against perfection and commercial capitalism in order to symbolise my current lonesome existence controlled by the system. If I was to do this project again, I would research into the darkroom and printing/enlarging techniques beforehand, as I would have gained more time to develop work individually without help. The same applies for unloading the film, I found this incredibly hard with it being dark, but overall I am happy with the results of this project and believe it ‘reviews my surroundings’ effectively.

[samhortonlocationpractise]

Final Prints

Flux by [retreat] https://soundcloud.com/retreat_music/flux

Today I spent the full day in the darkroom printing out the two contact sheets aligning the negatives in a correct order to analyse the series of images much easier. Printing the 10x8 image of the shop window used a lot of test strips to achieve the correct results and the 16x12 reprint of the puddle image. Before entering the darkroom, I knew the amount of work I had to produce and wanted to avoid missing anything, to help me with this, I made a plan of what I had to do and noted down everything that happened whilst in the darkroom, see the image below. I found this extremely helpful enabling me to reference each move I’d made, sometimes I would forget how long I’d exposed a test strip for which made the notes significant in recording each move allowing me to stay on track. 

Photograph of Plan and Contact Sheet notes from notepad.

Photograph of 10x8 print notes.

Photograph of 16x12 notes.

To begin with, I wanted to print both of the contact sheets off again due to the uneven alignment seen on the originals, having to turn the sheet multiple times to view the images. It wasn’t just annoying, but it is also unprofessional to display the images in an unconventional order. I started by inserting the negatives into the contact printer while using filter 3.5 and the general exposure times of 2, 4, 8, 16, 32 and 64 using the test strips to calculate the correct exposure time for the print. After developing and examining the strip, I decided that the correct exposure time was around 6 seconds, as 4 seconds held strong whites but the rest of the tones remained flat and the print looked slightly underexposed at 8 seconds. So, I used the white light and the enlarger to amend this at 6 seconds, however, the bottom part of the frame wasn’t aligned properly into the projection of light resulting the appearance of a light patch. I quickly amended this by covering the rest of the image to allow the small area to catch up on the exposure by exposing it for another 2 more seconds that fixed the issue and created a strong contact strip. I followed the same procedures as done with the first contact sheet to produce the second, using a filter of 3.5 and standard exposure times. The correct exposure was again 6 seconds, for the same reason, 4 seconds held a flat density to the images losing detail but at 8 seconds the image began to underexpose slightly with the increase of darkness. I successfully printed the second contact sheet at 6 seconds exposure.

Photograph of contact sheets.

With the 10x8 print, I made a test strip on filter 2.5 but quickly realised the lack of contrast in the image so I adjusted the filter to 3.5 which would increase the contrast in the image but also meant I would have to create another original test strip. In this test strip, I noticed the correct exposure time was between 8-16 seconds, therefore, to find the exposure between 8 and 16 seconds I made another test strip where I exposed the whole strip at 8 seconds instead of 2 and progressed the exposure of the image to 2 seconds each time. After developing I examined the results from the strip and realised that I needed to change the aperture on the lens from f/4 to f/8 that made the projection darker but would add a greater depth into the image. Also, I changed from making square test strips to using the opaque board landscape to cover more tones in the image, I found that when using squares, one exposure would only cover a small segment of the image but using it landscape helped pan other elements in the image. The new test strip with the lens adjusted to f/8 gave me a correct exposure time of around 16 seconds displaying the best tonal ranges, but 32 seconds didn’t look too bad either just slightly flat in density. To accompany this, I used another test strip starting with an overall exposure time of 27 seconds, due to the fact that 16 seconds and 32 seconds looked similar but one slightly less dense, I progressed with exposures of 3 seconds allowing slight adjustments. Finally, I chose 45 seconds accumulated from the test strip that displayed the density in the image but also allowing clean whites, resulting in a good contrast between the tones in the image. 

Photograph of the 10x8 test strips.

Photograph of the third 10x8 print.

The 16x12 print actually took the shortest amount of time in comparison to the rest of the images. I rented a 16x12 masking frame and made a test strip covering the centre of the projection with a filter 4. After developing and analysing the print, I noticed the correct exposure was between 8-16 seconds, therefore, I exposed another test strip at 8 seconds and progressed with 5 seconds each time. I wanted to progress with 5 seconds each time to understand and examine the difference between each even exposure. I liked the result displayed at 18 seconds but they were flat compared to how I wanted the image to be displayed, instead, I used another test strip to clarify the exposure time and exposed the strip at an overall of 20 seconds and progress with 5 seconds each exposure. I discovered the best exposure time was around 35 seconds, that displayed a strong contrast, not too overexposed or underexposed and achieved a high tonal range. Once I returned the print home, I compared both of the original and the reprint to one another but quickly realised that I preferred the original due to the increase of contrast on, as the reprint looked more flat in comparison to the depth of the original. So, I have decided to use my original image of the puddle as my exhibition 16x12 print.

Photograph of the 16x12 test strips

Photograph of both original (top) and reprinted (bottom) prints.

Photograph of the 16x12 print.

Overall, I am really happy with my results from this project to say I’d never used a darkroom or a medium format camera before, I believe they communicate the brief effectively from my own individual interpretation upon the brief and how it connects with myself personally as well. I will definitely like to return to the darkroom again to experiment further with print and analog photograph. 

Please note the photographs/scans are not the best quality due to my scanner.

[samhortonlocationpractise]

Final Image Selections

““For your final submission, you will make a minimum of two contact sheets these will be presented in your work file and discussed both in terms of technical decisions and process, as well as conceptually how these decisions reflect your response to the brief. From these contact sheets, four images should be selected (Supported by full explanations as to how ‘critically’ and ‘technically’ these were selected) and printed to 10X8 ins and then the final ‘exhibition image’ printed at 16X12 ins” states the brief.

The photographs that I choose to print as my final images from the contact sheets must represent and communicate the concept of the shoot effectively. In a reminder, here is earlier text from ‘Idea 1: Reflections’. 

“Reflections are common, and yes I’ve seen them before in Barnsley, but they allow me to see myself from another perspective. In puddles, windows, mirrors, they all allow me to visually slip away from reality through an alternate dimension for a split second. Escaping the intimidation for a moment. A visual pleasure through a natural segment. I liked the idea of using reflections to reflect my inner state, allowing the viewer to analyse an insight to not only my individual visions but the doorways to natural perceptions. They make me feel like I have a chance to escape, however, I realise that this is only a mirrored perception of reality, recording my moves. Developing and interrupting, taking the viewer in and out of depth, emphasising unnatural qualities but constructed by nature - the photographs will feature an abstraction, for example, unlike the typical depth in the Renaissance paintings, which begins at the picture plane and ends at the vanishing point, the reflection images will warp the viewer to question the photograph. I would capture this from my perspective, no staged images, using only natural elements in specific environments that would reflect the atmosphere of the city centre, again linking back to the concept of revealing my feelings by reviewing my surroundings. As I will be using black and white Medium Format, I believe the removal of vibrancy and saturation will naturally convey the mood I wish to display. I must consider the equipment that I’ll use; a tripod may come in handy to avoid motion shakes and to remain focus on the subjects. Another advantage of a tripod is that it will allow me to use slower shutter speeds without motion blur, so in darker situations shooting will become possible. The light meter will be one of the most important tools, granting me an aperture depending on the subject reading. To capture a correct exposure of puddles, mirrors and reflections, in general, I would account to say it is better to use an Incident light meter reading. Whether the photographs will need post-productions I cannot say yet, until I have seen the final results. My only considerations for this idea may be the weather, but I will be able to quickly wrap up and vacate inside if it rains. I will take test shots before the final shoot allowing me to overcome any issues that may have a raised whilst on location - time to experiment.”

“ I am still going to be focusing on capitalism through the reflection idea, but in a more subtle format, instead of showing the viewer what it is that is making me feel like I am, I will hide it and attempt my escape attracting through the reflections.”

The negatives that I have printed so far, as test prints, were selected due to their visual qualities and also the effectiveness of the concept portrayed. All the prints I have enlarged so far display a reflection(s) as the subject within the image, they’re displayed below.

Above are all the printed photographs from the second and third shoots. As the submission requires two contact sheets, X1 16x12 print and X3 10x8 prints.

I am really pleased with the results of the two 10x8 prints, located at the top in the image. I think they work well as small prints, as they aren’t triumphantly powerful images, more so expressing and portraying the concept. Not all images in a series should be extremely powerful standing images, especially not with the concept of this shoot. I earlier explained that the concept portrays an abstract documentary result, linking closely with existentialism and ones mental and physical journey in life. If all the images were perfect the conceptual aesthetics would be removed, I am not embracing commercialized capitalism, I am leaving it. By applying the rough aesthetics that break fundamental or orthodox dogmas in photography, help emphasises my individual rebellion against systematic conventions moulded by the capitalist system. I don’t want to just take images that display my subject, I want every aspect of the physicality of the print to be symbolic towards the way in which I see the world. Even so, if all the images were ‘good’ strong photographs (formally understood as more technically than conceptually), the story behind the images would be removed and replaced by a biased selection of images chosen by the photographer that warp into the creation of a fake story. Yet again, this would defy their concepts by removing naturality from my urban explorations with the camera, also which the audio file ‘Flux’ is emphasising. I don’t want to display a series of powerful images as I never see powerful triumphant consistent sights, it’s usually the smaller reflections that I enjoy more as they relate closer to me and symbolise my minute existence in my surroundings and on the planet.

The two 10x8 images hold a strong correlation with the display of Daisuke Yokota's ‘Site/Cloud’ series that I visited in the Foam Gallery in Amsterdam and took the influence, not just from the links in the conceptual ideas but also how the requirements for the brief relate to his small gridded systemised exhibition images. I really loved how the images had been displayed and think it communicates effectively with the viewer, not just on one image, but collaborate as a whole.

I believe that I shall use the two 10x8 prints as finals as they both relate with the brief, the concept and also technically they don’t need any adjustments or to be altered, so they would work fine. With the 16x12 print, I am unsure as I like the actual image but in my opinion. In a sense, disregarding the technical aspects again links to my individual rebellion against the ‘perfect image’ but I do also want my print to be effective to the viewer, even if they don’t understand the context. Although, it holds a high tonal range from black-grey-white, which is all seen in the image, however, I believe the contrast in the image is slightly too high and the exposure time should be increased slightly to accompany this. I do like the image, it creates a sense of an unearthly hyper-real recording from these implications and I would use it as a final print, I need to change the exposure of the image first by using a test strip and starting from the beginning again. 

As for the contact sheets, I would like to start again and make two more due to the fact that I didn’t consider the positionings of negatives in the contact printer, so I need to make sure they’re all aligned so they can be visible from one angle. Technically, I don’t believe anything should be changed from the contact sheets, the exposure is perfect and as seen as helped me print two of my final images. 

I will start to progress further with printing the contact sheets another 10x8 print and another attempt at printing the puddle photograph at 16x12. I have decided that I would like to print the image of the suits in the shop window as I believe this works well in symbolising my individual exploration in the new city and the rare sightings of the reflections which can even be seen in manmade structures like shop windows. I wanted to use at least one photograph that displayed a reflection that wasn’t a puddle, if not this could have confused the viewer to interpret the project being about puddles. We have the darkroom booked out all day for our use so I will make sure I am able to print out the 10x8 and the 16x12 also the contact sheets.

[samhortonlocationpractise]

Artist Research

After visiting the Foam Gallery in Amsterdam, I discovered a photographer also focusing his practise upon visually abstract reflections, analysing the world influenced by his mental interpretations ‘Daisuke Yokota’. Rather than applying implications of reality into the images to clarify the illusion, like practised in my work, Yokota removes all elements of reality and merges layers of visual and also technical methods to emphasise the dream-like concept seen only by Yokota. Transferring and emphasising thoughts into sights, Yokota explains ‘Site/Cloud’ is about the lack of perception of time, instead he collaborates images through manipulation/layering to compile images that refer to memories, dreams or mindscapes that allow the viewer to make a mental journey through time. “Yokota shows a haunting, indefinable world with shadowy, anonymous apparitions and nondescript places, contrasted with sublime, colourful representations of skies and clouds which evoke feelings of timelessness” (Outset, http://www.outset.org.uk/) In this case, ‘Site/Cloud’ links not only with the black and white decision but also with the mental strive of my images, but they also link visually as Yokota uses layering methods to apply the abstraction in the images whilst I use reflections (pathways) to external destinations but we both relate through emphasising another place from reality. From a technical perspective, the way that Yokota individually develops his images with manipulation which could essentially be classed as fine-art photography, not only from the concept but how the images are made. “Yokota’s process is quite convoluted. Imagine you take a digital file, and you save it using jpeg compression at a low quality setting (resulting in a smaller file). As a consequence you’ll get compression artefacts: the resulting image will contain all kinds of digital patterns produced by the algorithm that writes the file. If you reload this file and repeat the process, the compression artefacts will be amplified. The image gets more and more degraded with each iteration. You can think of Yokota’s process as a much more complex version of this process, with various analogue parts.” (http://cphmag.com/daisukeyokota/) This solidifies Yokota’s originality of producing the images to emphasise the conceptual subject. Whereas, in comparison, the photographs I am producing I believe are more abstract documentary orientated (in my opinion), because of the sense of reality but also the mental fantasy of the pathways, it is important to maintain the pathways as the main focus but also the deceive the viewer.

The [retreat] music will help me guide the viewer into the images and begin to understand this method of analysing the surroundings eventually leaving the viewer to analyse areas with this method. Site/Cloud guides the viewer into the images just through the digital/analogue manipulation and layering techniques, distorting the subject and encouraging the viewer to relate to the images by their individual interpretation of the objects/subjects seen. 

The Site/Cloud exhibition was displayed all on one wall with A3 printed grid system, 6x6 I think the grid resulted (some images shown at the bottom). The grid worked effectively with the images as there isn’t a great similarity subjectively and visually with the series of images. Yokota has understood this aspect and accompanied the photographs together making the similarities of the images work effectively together into a greater overall. By grouping all the images together into a grid allows you to analyse the whole series at once, reflecting a much larger image and manipulating, even more, images together into a sea of black and white abstraction. Yokota’s methods play a significant part in his photography “Japanese photographer Daisuke Yokota is known for pushing the developing process and the potential of analogue image-making to the extreme, thereby introducing imperfections and visual noise in the striking images he creates. He often re-photographs prints up to 10 times, injecting layer upon layer of distortion and, in the process, emphasising the medium’s inability to represent past events accurately or truthfully. This series of haunting, distorted and otherworldly images epitomises his distinctive approach.” 

“Japanese photographer Daisuke Yokota is known for pushing the developing process and the potential of analogue image-making to the extreme, thereby introducing imperfections and visual noise in the striking images he creates. He often re-photographs prints up to 10 times, injecting layer upon layer of distortion and, in the process, emphasising the medium’s inability to represent past events accurately or truthfully. This series of haunting, distorted and otherworldly images epitomises his distinctive approach.” 

I really enjoyed the Site/Cloud series by Daisuke Yokota and it as allowed me to understand that you can emphasise the concept of an image or series with the development of a photograph, not just through the subject. The manipulation method link individually to Yokota’s dreams and also the timeless layers within each photograph assisted in compiling the abstractions of the series, making the series visually and conceptually but also aesthetically pleasing. By analysing the work of Yokota it has allowed me to find my ground, guiding me, but at the same time breaking the guides to develop my own response to the concept. I like the fact that you are unable to distinguish anything in Yokota’s photographs, it is all down to the individual, but within the layers beauty revealed. I love this aspect, that within the layers, illusions, myths etc, you can find beauty, something that attracts you and pleases you. In my work, I have taken influence from this which is shown through the pathway reflections, in Yokota’s work he has shown this through the tangent layers of the unknown, but they both display beauty once it has been unveiled by the viewer once understood the context. The main reason I wanted to analyse the Site/Cloud series is because of the correlation between these two elements, searching for beauty, the strive to find hope... Like stated in the plan blog post “They make me feel like I have a chance to escape, however, I realise that this is only a mirrored perception of reality, recording my moves. Developing and interrupting, taking the viewer in and out of depth, emphasising unnatural qualities but constructed by nature”. Both myself and Yokota display this beauty differently, however, I have found it useful to find another photographer who has the similar mindset and perspective on life, reflected through his images. 

All images displayed below from Daisuke Yokota’s ‘Site/Cloud’ 2014 series.

* Photographs from ‘Site/Cloud’ exhibition at FOAM Gallery, Amsterdam.

* Photographs from ‘Site/Cloud’ by Daisuke Yokota, 2014.

Photographs from ‘Site/Cloud’ exhibition at FOAM Gallery, Amsterdam.

Video of the ‘Site/Cloud’ book https://vimeo.com/78618476

[samhortonlocationpractise]

After taking the series of images relating to reflections and their pathways, I noticed a very close relation with my music project [retreat]. I have been making music with a friend Lyndon, sampling natural sounds recorded onto my mobile, then transformed into deep translucent soundscapes impaling on the avant-garde label. No instruments are used, just sounds that all of us hear on a daily basis what we wouldn’t particularly class as music - but it is, it’s the soundtrack to your life. Even when you are listening to music, when the music stops there is acoustic audio all around you; whether it’s from passing traffic or if it’s the street light ticking, these sounds have been compiled into an EP ‘A Public Witness Program’ by [retreat]. 

I believe the music correlates with the series of images conceptually, from the urban spontaneous exploration, as with my images I’m searching for visual pathways leading away, whilst the music guides me on an individual experience, isolating the reality by listening to sampled reality. The aesthetics of the music, the drones and ambience relating closely to the lonely atmospheric journey of abstract visionaries allowing me to leave what is around me for a short while - peacefully. I specifically chose the track Flux to work around the series, due to the mental journey aligned from the audio, emphasising an existential self-encounters whilst isolating reality, allowing me to distinctively review my surroundings. So, by linking this track with the series of images, it doesn’t just relate to the quest of finding these scenes and pathways, it actually allows the viewer to understand my individual mental exploration of tactically reviewing my surroundings. Transferring this detail into other people's experiences, teaching them how to see the world from different perspectives, to turn away from the infiltrated capitalist high streets and to appreciate everything else. The photographs will only show the scenes visually, but when the music is included, it will enhance the observers interpretation on the photographs, allowing them to step into my shoes, see the images how I see them by tweaking their state of mind. The viewer will be able to analyse the images for the whole duration of the song, allowing them to delve into the multiple perceptions and realities - a visual ecstasy, and to most importantly to analyse every single aspect of the photographs. Once they learn to do this, the world will open and perceptions will form to see beneath the objects and their prejudgments, not just to look at a puddle but to see beneath it, to understand it and to relate it with other external elements or subjects. In avoidance of capitalism, head out of digital devices, head out of high streets and money, but to exclude that for a second and to review everything around you. 

I would like to use Flux as an MP3 file or a URL to Soundcloud (like done above), whatever will work easier with the submission. It might work better to use a URL as the MP3, as will be an incredibly huge file at 17:58 minutes long. I could include the URL with the submission on the blog, but to make sure that I state the audio is included with the images.

[samhortonlocationpractise]

Contact Sheet and Prints

After my recent encounters with visual pathways to reflecting angles, warped in perspective, and the constant everyday recordings reflected back to my vision only when passing these reflections. I bought two rolls of HP5 400 ISO Medium Format and began exploring Leeds, analysing my surroundings in a depth of detail, focusing each individual elements stripping them back to their foundations, removing pre-judgments from objects and items in a divergent mentality. I chose the specific day to shoot around Leeds as the weather had been bad, creating a rise of floor reflections from puddles and also considering the  400 ISO film I was using. By planning the concept of the shoot in the last blog post, this assured me of what to capture in order to create successful photographs relating to the context of reflections and the pathways into different dimensions into the images. Leaving me to analyse my surroundings but specific reflections in a greater detail, I was constantly on the lookout for the subliminal routes out of this place - visually allowing me to slide away. Once found or spotted one, I'd take an Incident Light metre reading to understand the aperture of the subject and then to transfer the metre's results onto the camera, assisting me to achieve a good overall exposure of each shot. I did notice a slight repetition that I was repeatedly using an aperture ranging from f/4 to f/8, clarifying that light was needed in the scenes, applying by changing to a wider aperture. As when focusing around different reflections, it is easier for human eye to see than the camera, so considering these issues to replicate the human vision through the mechanical object (the camera) in order to create a well-exposed image with an abstract interpretation set for the viewer; ultimately reflecting my view and state of mind into the image for the observer to understand and interpret successfully.

After I developed the two rolls of medium format latent image’s in the developing tank, doubling the time on all the procedures from what I’d generally use for a single roll, I used a contact printer to develop both strips into a contact sheet allowing me to analyse the results in an easier fashion. Same as last time, to make the contact sheets, I used contact strips enabling me to discover the right exposure time for the whole contact sheet, both 8 seconds exposure times with a filter of 3.5 for the contact sheets. I have displayed both contact sheets below, as you will notice on some of the images I have marked down by using a ‘star’ shape with a pen on the images I believe work the most effectively to present the brief. Linking with the context of the shoot, emphasising my encounters on a day-to-day routine and also relating to my preconception of the images, the ones marked are how I wanted the images to look. Personally, I thought each of the images from the series were extremely strong and that I had many to choose from, however, I made it clear that it’s about choosing the specific images that relate conceptually, not just the ones that may seem pretty or unique because if they don’t relate to the concept you are allowing the viewer to perceive the images that portray multiple meanings and to gather different interpretations. Correcting (my) the perception of these beautiful abstract overlays that go unnoticed by the corporate high streets and the rush of the atmosphere around - you focus more on what’s happening than reviewing your surroundings completely. After this, I began to start enlarging images that I had selected on the contact sheets, the first image was on the fence and the puddle, taken at f/5.6 and 125th of a second, seen below the contact sheets. By making a test strip, I could gather the correct exposure time of the image, although, I had used an opaque board that was too thin and shaped incorrectly for the dimensions of the test strip - not covering parts that had already been exposed to their specific times and underexposing the earlier times done first. I have displayed this example to avoid encountering this problem next time, I must always use a board that covers the test strip fully and if it doesn’t fit use another board to assist. In an another attempt, I tried it again, on a smaller test strip exposing equal sections into different exposure times, I then finally chose to expose at 4 seconds. Choosing 4 seconds exposure time applied a nice thin density to the image, it was clean and sharp, applying a graphical aesthetic into the image - keeping a contrast between the main focus (the fence) positioning against the top frame and the rest of the image. The fence’s black equal alignment conveyed a sharp structured graphical sense which I wanted to replicate into a contemporary print. I do like the look of this print, it works well in creating a futurist utopian visionary, keeping stylish in a new photographic characteristic linking with the visual pathways and physical leading lines that I wanted to represent this series.

The next photograph I chose to enlarge was the image featuring the corner of the window with the dark silhouette of the tree. The photograph was taken with an aperture of f/4 and a shutter speed of 60. I really liked this image, the creative use of the composition to block reality into a reflection and how to perceptions of the subjects twisted forming multiple viewpoints enhancing the deep abstract experience when viewing this window. The image is framed with the bricks around the window, clarifying that this is only a reflection and is deceiving the viewer that on the window when analysed properly more of life can be unveiled. I made a test strip, with a larger opaque board to avoid the exposure problems again. After creating the test strip with multiple exposures from 2 seconds to 32 seconds, as the image was a dark, I decided that from the test strip the best exposure would be in between 16-32 seconds. So, I made another test strip ranging from 16 to 32 seconds, a more specific calculation better than estimating it roughly. After developing the test sheet, I noticed the photograph at it’s best exposure was at 25 seconds with a filter of 3. Filter 3 to keep a medium contrast but to keep it reasonably dense as well, I wanted to achieve a high tonal range and by increasing the contrast, I feared I would loose the grey scale. After developing the film in the trays, I was extremely happy with the result of this print, I loved how the image had been composed and the way it leads you through the pane of glass into a different reality as I’ve seen when exploring Leeds - this represents exactly my confronts with the pathways, is it like a mirror maze or are these just windows without reflections at all, that these events are actually unfolding through and on the other side of the glass. I did, however, accidently expose this image on White Light instead of filtered light, but I liked the print so much I didn’t want to change it so I left it. I must remember that when I’m using White Light for the focus finder, I must change back to filtered light to print with - I don’t want to be getting into bad habits!

The Final image I chose to enlarge was the Puddle photograph composed symmetrically aligning the lamppost as the central main focus. I wanted to enlarge this on 16x12 paper, as it is one of the required submissions for the project; so by practising it can help me achieve correct results for when I come to print my final image. I had to use a 16x12 masking frame, which was simple to use as the border was already set up and once the paper was beneath the small ridge, you can move manually to adjust depending on the size of the border wanted. Once the masking frame is ready and the image is enlarged to 16x12 focuses, it is the exact same procedure as the 10x8 prints. So I made a test strip for the image, spanning fully across the image also on 16x12 paper, allowing me to achieve a range of exposures and to show their detailed differences. On the contact sheet, I had two images of this puddle one was extremely underexposed and one was slightly overexposed without any depth, I chose to work with the flat image and to start the overall exposure time at 30 seconds with a filter of 4.5. I increased the Filter to increase the contrast and also depth in the image. A high tonal range was expected in each of our images to so by using an overexposed photograph and to print it with a high amount of whites would remove necessary detail that founded the puddle. I exposed each section of the test card to 9 seconds, from the original 30 seconds exposure, multiplying in 9′s from 30, 39, 48, 57 and 66 second exposures. After examining the test card, I noticed the best exposure time for the correct exposure was around 48 seconds, showing a good tonal range and overall exposure. Finally, I printed the image at 48 seconds, decided from the test strip, on the 16x12 masking frame. I was extremely happy with the results, as the negative was flat and overexposed, the final print showed a high tonal range from the deep blacks to high white highlights on the pebbles around the puddle. A total transition! The lamppost is emphasised more from the colour contrast, the delicate post stands in absence whilst the puddle ambiently ripples across the reflection portraying abstract impressions; that are almost surreal. It symbolises the isolation of a subject, like the composition in David Bailey’s ‘Shrimpton and Bailey’ photograph. But the ripple reminds us that this is only a puddle and the pathway isn't real, I find adding components that symbolise reality into the images allows the viewer to analyse the images in a depth but then realise this is only a reflection, a quiet reminder. 

In conclusion, I am really happy with the three prints made from this session. They work extremely well with the concept of portraying my emotional state into the image in an attempt to escape mentally through the tangible pathways allocated around the city, that appear naturally or man made. They twist, form and shape the world we live in today and remind us that even beneath the glass and below the water, there is no escape. I will continue to print the negatives from this shoot in the next session as I believe they feature strong results that would make nice prints.

Photograph of Contact Sheet 1. 

Photograph of Contact Sheet 2.

Photograph of the test strip with wrong size/shaped opaque board underexposing the first exposure. 

Photograph of the 10X8 print. Exposure time 4 seconds. 

Photograph of notes taken on the back of the print.

Photograph of the 10X8 print. Exposure time 25 seconds.

Photograph of the test strip for the 16x12 print. 

Photograph of the 16x12 print. 

[samhortonlocationpractise]

Visual Research

Here, I have gathered a range of black and white photographs displaying the main subject focus to be a reflection - relating back to my idea “In puddles, windows, mirrors, they all allow me to visually slip away from reality through an alternate dimension for a split second. Escaping the intimidation for a moment. A visual pleasure through a natural segment. I liked the idea of using reflections to reflect my inner state, allowing the viewer to analyse an insight to not only my individual visions but the doorways to perceptions. They make me feel like I have a chance to escape, however, I realise that this is only a mirrored perception of reality, recording my moves.” applying implications of capitalism in the images as well - the main dominant factor leaving me in the current emotional state. The selected photographs below all display reflections, I noticed the most popular Reflections were either puddles and mirrors, possibly because they’re the most common. You can walk down a high-street and every shop you see holds a glass window that will reflect yourself (depending on the time of day and the lighting - these may be issues to consider). Puddles are everywhere, especially this time of year, so there is many brilliant opportunities to capture the reflections in puddles. 

The photographs I have selected don’t only have the subject of a reflection, but they relate to the module through their black and white film formats - all of these images have been produced in the darkroom (apart from the photographs I took). All the images also relate together through the overall emotion being displayed from the photographer to the viewer, emphasised with the black and white to create lonely, bewildered, atmosphere photographs; and even almost an existentialist approaches to the subject. One of my favourite images that I have chosen, which relates deeply to my concept is the photograph by Lisette Model ‘NYC Fifth Avenue’, the mangled perspectives make the viewer question their first interpretation to what the image is communicating and what she is focusing on. It’s only until you notice the manakins heads and the price tags that you begin to establish each layer, understanding it is a reflection of a shop window. It creates an abstraction from your perspectives of perspectives, re-routed and mashed into an almost natural manipulation/collage of images. It reflects the daunting atmosphere of the capitalist machine influencing the life and the living, showing buses, large buildings and indistinguishable layers of the atmosphere - connecting closely to my experiences in the streets of Leeds. Another photograph I really like is David Bailey’s image of Shrimpton in the streets of New York. New York, one of the busiest places on earth ‘the city that never sleeps’ displays a huge amount of capitalistic values, probably more than anywhere else. However, in this photograph David Bailey has captured a photograph of Shrimpton’s persona posing in the streets of New York, by the capitalist reality in between huge infrastructures, positioning her in the top of the frame and splitting the composition to focus on a puddle of the floor. The clean puddle reflects her as a black silhouette, framed by the top of two buildings running alongside the edge of the puddle, displaying Shrimpton’s other side, reflecting her mentally and in her own individual state. Inside the puddle, she is at peace, away from the busy streets of New York into a natural ambient independence framed with innocence, slipping into an alternate perspective capturing nature's reality but conveying a different interpretation. The heavy black silhouette emphasises a mysterious aspect, knowing that we as humans will (never) physically be able to see our mental states as another human being, adding to Baileys own creative decision for the lack of detail in the silhouette. It also assists visually, due to the grey scale of the puddle and the composition; the high contrasted silhouette helps create significance - in collaboration to achieve the main focus in the image. I believe, Bailey will have used a medium-sized focal aperture of around f/11 maybe for this image, as the background is out of focus that blurs the pedestrians as Shrimpton is the main subject focus. 

I can portray these influences into my own practise, through analysing my surroundings correctly, identifying every single aspect; when seeing a reflection, take quick consideration of the ISO/Aperture - keeping Shutter Speed on 60 (or maybe higher/lower depending on the subject), do a light meter reading, transfer this information to the camera, consider the composition and how the viewer will interpret the image, then capture the moment. I will put this into practise by renting out another Medium Format camera from the store and begin delving further into this idea - considering these factors in order to keep relation with the concept. 

Marlo Broekmans - The Mirror, 1980.

Lisette Model, NYC Fifth Avenue, 1945.

Walker Evans, ‘Crystal Ball on Sill’, 1930-31.

David Bailey, 'Shrimpton and Bailey' 1962.

Henri Cartier-Bresson, Man Jumping Over Puddle, 1932.

Henri Cartier-Bresson (unable to find date or title).

Jean-Paul Sartre’s novel ‘Nausea’ book cover photograph. 

Here are some photographs displaying reflections from my trip to Amsterdam in 2015.

[samhortonlocationpractise]

Test Prints & Contact Sheet

After learning the Darkroom procedures in order to produce a print from a negative, I decided to delve further to make some of my own test prints by renting out a medium format camera and a light meter from the college store. I wanted to get to grips with the camera before jumping straight to it, allowing me to experiment with it further and to understand the possible considerations and issues that may block my progress. Whilst on location, I did examine my ideas and explored them from a broad perspective, rather than specific reflections, I wanted to mainly experiment with printing different images off and gaining a complete knowledge of how to manage and how to print medium format. I travelled back to Barnsley and took photographs of the demolition taking place on Barnsley Market, which can be seen on the contact sheet, in a documentation of its history, reflecting back from the medium, but the subject is contemporary. The photographs also display a documentation of Leeds, early one Monday morning around 8am. 

First we made the contact sheets, by using a contact strip holder and cutting the negatives into a row of 4 we were able to slot them into the negative carrier. Whilst working under the Enlarger switched off, we then applied a fresh sheet of photo paper emulsion side up on the baseboard under the Enlarger and placed the negatives on top of the photo paper (emulsion down), laying the glass down on top. Depending on the height of the Enlarger, depends on the time of the exposure, however, this is a test strip so the whole idea of it is to find out the correct exposure time to develop a correct print. We used an exposure time of 32 seconds, this allowed us to get a huge range of different exposures on the contact sheets. To gather a range of different exposures, use an opaque board whilst the timer is set, expose the image on white light with a filter of 2.5 for two mins, then cover a small area in the corner with the board for another two seconds. Once the light goes out after the two seconds, move the board up about 2mm up and expose for four seconds. Repeat this procedure, continuing doubling each time and move, until reaching the edge of the page or calculating to a total of 32 seconds exposure time - that is when the contact sheet is done and ready for developing. To develop the image at the sink, you use the three separate trays and the designated tounges for each the separate trays. The first tray is the developer and the photograph stays in for one and a half minutes, constant agitation with the alkaline designated tounges. After the time is up, the photograph is then placed face down in the second tray, a stop bath for 30 seconds, and then in the third tray (the Fix) agitating it intermittently for four minutes. Finally, soon as the four minutes are up, grab the photograph with the tounges and insert it into the slide to the cold bath. Here, when the image is in the cold bath you are able to analyse the print and examine which exposure time works the best for your image, like the second example shown below. The images aim to have a maximum tonal range; strong black, grey and white areas in the print, so taking this into consideration choose the exposure time that displays the best example of this. Now, to the develop this into a print, you take the exposure time you believe works the best on the test print sheet with the chosen negative, for example, 8 seconds with a filter of 3.5 (remember the Filter on the Enlarger increases or decreases the contrast of the image, so this is a creative decision by the photographer, but if changing you must also consider the effect it may cause to the overall exposure of the image). So, if my photograph had the correct exposure at 8 seconds with a filter of 3.5, I would insert the selected negative into the negative carrier of the switched off Enlarger, once in, then project the image onto the board. After this, use a pen/pencil with a piece of card in the Masking Frame to set the dimensions to 10x8, with White Light. You set the Masking Frame depending on the size of the photographic paper and the size of the print you wish to make, in this case, we’re printing at photographic paper size 10x8. The image should be projected onto the board at the specific dimensions, this is where you use a Focus Finder over the projection in order to maintain maximum focus in the final image. Correct the small black line seen in the finder to your eye, then use the focus knob on the side of the Enlarger to adjust it until the Silver Halides are seen (small grain). Once these are seen, it clarifies the maximum overall focus for the image. Next, adjust the lens so the aperture is wide open around f4, then changed to Bright Light, set the Filter to what the creative decision was decided after the test strip, in my case, I used the filter 3.5. I set my exposure time onto the timer, and exposed the photographic paper, finalising the image by developing using the same procedures in the three trays. If the image still doesn’t appeal to you or if the exposure/contrast is wrong, use this print as a test for the next one in order to create the perfect photographic print. 

With my print, I struggled to gain the correct exposure of the image, as seen on the example below. I originally chose a fifteen second exposure time from the result of my test strip, with a filter of 4, and then a fourteen-second exposure with a filter of 3.5 and still was unable to gain correct exposure and a maximum range of tonal values. So, I asked for assistance and Eddie explained to me the ‘Dodging and Burning’ techniques, in an attempt to reveal colour in the overexposed white sky. Dodging and Burning is an essential aspect in the Darkroom process, it is exactly the same as D&B on Photoshop. Dodging reduces the exposure of the specific area and Burning increases the exposure of the specific area. For my case, I had to use the Burning technique as the sky is overexposed because additional exposure would make it too dark. The cure is to add additional light only to the white area. This will be adding additional exposure to an area that looks dark on the enlarger image as you view it in the paper. To do this, you cut a hole in cardboard or use your hand in a cup shape to project a beam of light back onto the paper after the main exposure. All of the photographs produced in the darkroom, unless they are ultimate perfect exposure (very unlikely) will most definitely need to use the Dodging and Burning methods - I am glad I have already explored it so if any more issues a raise with overexposed/underexposed areas of the print I can easily amend.

I am happy with my first ever darkroom prints and contact sheet, I have understood the process well and feel like I could step into the darkroom by myself and develop film independently. I know how to fix and correct exposures, manually on the camera and in the darkroom, so in the next shoot, I will focus more on the ‘Reflections’ idea - exploring it further with the medium format.

Photograph of Test Strip in Contact Sheet, showing the multiple exposures and times for my personal decision based on the creative outcome. I chose exposure time of 16 seconds.

Photograph of Test Strip in Contact Sheet, showing the multiple exposures and times for my personal decision based on the creative outcome.

Photograph of Contact Sheet

Photograph of the print enlarged, with the wrong exposure of 13 seconds. 

Photograph of print on the wrong side of the photographic paper (by Jack).

Photograph of the print at 15/16 seconds.

Photograph of Image from Contact Sheet, not enlarged.

Here is another print that I made during this session.

Photograph of Test Strip, ranging from 2 seconds to 32 exposure time. I chose to use 16 seconds exposure but to reduce the exposure time slightly to 12 seconds with the filter still at 3.5.

Photograph of print enlarged at 12-second exposure with filter 3.5. The print looked flat, so I wanted to add more depth in the image, I increased the filter to 4 (increasing the contrast) and increased the exposure time to a second more at 13 seconds.

Photograph of the print at 13 seconds exposure and filter 4, I can’t detect much of a difference, however, the contrast has slightly increased. I really like this print, I believe it a great documentation to the destruction of the Barnsley Market - soon to be historical. 

[samhortonlocationpractise]

Idea Selection & the Plan

In the Location Photography module, we have been assigned to ‘Review Our Surroundings’ in reflection to our home town/city, questioning what are our individual perceptive changes we have encountered, but also mentally. I have moved from Barnsley to Leeds, which isn’t far, however visually I have noticed a huge difference from the general infrastructure and busy atmosphere around Leeds. A high rise of Capitalist poison has contaminated the city, through advertisements, shops, buildings and the people; daunting people like me, trapped under the black cloud. For myself, this is the first time living alone and I’ve hadn't enjoyed it as much as what I’d hoped to. Constant intimidated feeling by the city and the people; inside college and outside. I’m from a small ex-mining village on the edge of Barnsley, Hoyland Common, where I know a lot of people in the community and I feel welcomed by this, so however, stepping into Leeds has made me anxious from the huge contrast. In the brief, it states, “This brief requires you to really look at your immediate and local surroundings and think how you can visually reflect/convey your response to them. As G Winogrand suggests, it’s about looking through a lens and seeing how your surroundings appear as ‘photographs’. You are asked to visually explore your ‘new’ surroundings, taking the time to consider what makes them ‘different’ and how you can visualize your response to this.”

How can I transfer my mental impressions and feelings, into a frame for the viewer to interpret my subject and successfully connect the concept of the image? With using Medium Format, I will have more time to explore this due to the lack of exposures in the film and also the price of the film. The advantage to Digital Photography is you don’t have to consider these aspects, however, it is an advantage as it allows the photographer to think carefully; reflecting the concept behind the image, how the observer will interpret it and if the image will be visually appealing. My emotions of first moving to Leeds must be portrayed in the images, depending on the approach and style these could either be subtle implications or expressive. For example, if I was to explore my feelings I could show a portrait photograph of myself representing these emotions or I could express an artistic approach by linking visual emotions; light, aesthetics, subjects in order to also replicate these feelings. Below, I have mind mapped some ideas that I have generated.

Photograph of Mindmap of ideas in Sketchbook

Below, I have selected two of my own concepts that display my feelings and emotions to the viewer through these approaches. I will compare and contrast each individual ideas, to finally making my selection of which idea I shall choose to develop further. 

- Idea 1: Reflections

Reflections are common, and yes I’ve seen them before in Barnsley, but they allow me to see myself from another perspective. In puddles, windows, mirrors, they all allow me to visually slip away from reality through an alternate dimension for a split second. Escaping the intimidation for a moment. A visual pleasure through a natural segment. I liked the idea of using reflections to reflect my inner state, allowing the viewer to analyse an insight to not only my individual visions but the doorways to natural perceptions. They make me feel like I have a chance to escape, however, I realise that this is only a mirrored perception of reality, recording my moves. Developing and interrupting, taking the viewer in and out of depth, emphasising unnatural qualities but constructed by nature - the photographs will feature an abstraction, for example, the unlike the typical depth in the Renaissance paintings, which begins at the picture plane and ends at the vanishing point, the reflection images will warp the viewer to question the photograph. I would capture this from my perspective, no staged images, using natural elements in specific environments that would reflect the atmosphere of the city centre, again linking back to the concept of revealing my feelings by reviewing my surroundings. As I will be using black and white Medium Format, I believe the removal of vibrancy and saturation will naturally convey the mood I wish to display. I must consider the equipment that I’ll use; a tripod may come in handy to avoid motion shakes and to remain focus on the subjects. Another advantage of a tripod is that it will allow me to use slower shutter speeds without motion blur, so in darker situations shooting will become possible. The light meter will be one of the most important tools, granting me an aperture depending on the subject reading. To capture a correct exposure of puddles, mirrors and reflections, in general, I would account to say it is better to use an Incident light meter reading. Whether the photographs will need post-productions I cannot say yet, until I have seen the final results. My only considerations for this idea may be the weather, but I will be able to quickly wrap up and vacate inside if it rains. I will take test shots before the final shoot allowing me to overcome any issues that may have a raised whilst on location - time to experiment. 

- Idea 2: The Trap Of High Capitalism 

From moving to Leeds, I have noticed a typical western civilisation - huge amounts of capitalism and wealth. Walking to college, I have to tackle high-end businessmen carrying their Starbucks whilst talking through their hands-free earphones. The high infrastructure reserving areas in the sky, and the man-made lakes - the underground ring road, that cycles traffic every minute. Makes it physically and mentally un-separable. How do I escape, without imagining a utopian city? Integral architecture moulds the division of capitalist values, in and around the city, forming it from it’s very foundations. Leaving me feeling trapped into pedestrian paths tangling around the city, leading me through the chaos. It will not only allow the viewer to reflect on the atmosphere in the city but to also develop the viewer to see the place from my perspective and through my feelings upon the area - opposing capitalism peacefully. Authorizing the viewer to interpret their own assumptions of the concept of the image and their own opinions. By considering the composition and the size differences, I can use angles in order to emphasise the size of the subject. For example, if the concept of the image was to focus on tall infrastructure, I could position the camera looking up to the building that exaggerates its height but also it’s prominence and the status of the buildings significance. It shrinks the viewer into a the same feelings as me, and as what I am portraying by deceiving the viewer - similar to using propaganda. Same again, I could use a tripod in order to capture long exposures, low shutter speeds, and in avoidance of motion shakes and unfocused final results. The long exposures and also maybe motion shake would work effectively to show a busy stressful atmosphere, I will experiment with these ideas further in the test shoot. Again, a Light Meter must be used, as I only have minimal exposures on the film; so each one must be considered and not wasted. My only considerations to this idea are due to the fact I will be on location in the city, I must be careful with the equipment I use and stay alert for thieves. Also, the weather again, if it starts raining I will vacate to the closest indoors.

Both of these ideas relate closely to me, as I have experienced both perceptions in and around Leeds, in relation to my emotions. I like both concepts and think they work individually with the brief, through a subtle and expressive forms connecting directly the visual qualities to the concept, allowing the viewer to generate an understanding of the meaning. Although, I like how the reflections would create ambience and the capitalist idea would create chaos, I believe that there would be more opportunities to create visually more appealing images with reflections than the capitalist idea. I believe it is a good idea to focus upon this aspect, as this is creating my emotional state, however, it may reflect different interpretations to different people and it is not possible to only portray one interpretation in the image - the viewer compiles this themselves whilst analysing. I am still going to be focusing on capitalism through the reflection idea, but in a more subtle format, instead of showing the viewer what it is that is making me feel like I am, I will hide it and attempt my escape attracting through the reflections. In conclusion, I will choose idea 1 ‘Reflections’ as my concept in reviewing my surroundings.

- The Plan: arrange and plan when I will capture and how I will do it

Now I have a concept to focus the images around, I can start experimenting with this by getting used to the Medium Format camera and beginning to create test shots. I will loan a camera and explore Leeds, testing out the medium.

[samhortonlocationpractise]

Darkroom and Technical Understanding

In this session, we began to use the film that we had taken in the last session and begin to process it, so we could analyse it on a much larger scale. We used the Darkroom to load up the film onto the spiral, then apply the spiral to the column and finally into the developing tank which is light tight, so we can come out of the darkroom and take the tank ready for the pre-wash. To produce one roll of Medium Format film, we added 600ml of water 20°C into the top of the developing tank, slightly tapping the bottom to release any trapped air bubbles. Agitate it, for about 2 seconds and release the water again. Next, we added 300ml of water and 300ml of developer (located in the square barrel) - once every thirty seconds the chemicals must be agitated for thirty seconds (only for the first time) and after that just once every thirty seconds. The chemical then can be released after 14 minutes, rinsed and agitated with cold water three times. After that, add 600ml of Fix (no dialuted), agitate every 30 seconds for 6 minutes then rinse the fix back into the container. Once done, pour water into the tank and then agitate for a further 30 seconds and refill water with two drops of wetting agent into the tank and agitate for two minutes and rinse. Finally, Open the tank, pull out the processed film and then leave the film to dry. When the negatives are dry, cut a row of 4 and insert them into negative bags to avoid any dust or scratches.

The Latent Image: “An image on an exposed film or print that has not yet been made visible by developing” (Google). On the Negative, there is a ‘Latent Image’. You can’t see it, but to see it you do a process. The light first travels through the Anti-Scratch layer, then the Adhesive layer traps the image and compressors all the other layers, keeping the light in and stop it from bouncing out. When the Silver Halides are hit by light, they turn into metallic silver that stays on the negative (seen with the magnify glass, if unsure whether any density has been produced). Those not affected by light are removed during the fixing process.

Positive and Negative’s: Negative prints are used to make positive prints. The negative prints are inverted, the brightest areas are the darkest and the darkest are the brightest. The whole idea of the darkroom is to transform the negatives  into positive prints.

The Enlarger: The first step in printing black and white photography is determining the aperture of the enlarger. First, to use the Enlarger you will need a negative carrier to hold the film. When inserting this, always make sure the Enlarger is switched off to prevent any exposure damage. Before using the Enlarger, I would recommend turning lights off or using a safelight in order to analyse the visual aperture of the image more effectively. The filter allows you to change the contrast of the image; 0 = Yellow Light (no bright white/blacks), 2.5 = Orange Light mid-contrast, 5 = Magenta High Contrast. The lower the filter, the lower the contrast. On the right-hand side of the Enlarger, there is a switch that controls either (up) White Light or (down) Coloured Light, they both have different uses. The White Light is used to focus the image, where the Coloured Light is used to manage the contrast through the filters.

Photograph of notes gathered from the session. 

Photographs of the Enlarger Diagram

[samhortonlocationpractise]

Homework Task

Contemporary Darkroom Photographers:

Susan Derge ‘Observer 12’, 1992. (Interior)

Observer 12 by Susan Derge, is visible yet out of focus in the background, a faded portraiture face sits behind a sequence of liquid droplets. Derge’s image is captured in the droplets of water that have been shot into the air, bounding these two elements together in order to contrast and relate with one another, not just visually but conceptually. Symbolising her self-portrait with the implication of her practice overlayed, allowing the viewer to perceive her identity and the style of work being produced in one singular image. Observer 12 is created by vibrating minute droplets of water and photographing this with a strobe light. The jet of water is recorded as droplets, each acting as a lens, capturing a distorted image of Derges' face, positioned behind the water jet. Gelatin-silver print: ‘The gelatin-silver process, developed in the 1870s, is the most common methods of making black and white prints from negatives in the Darkroom. The prints are made on papers coated with a layer of gelatin containing light-sensitive silver salts. A dreamy sensation is communicated from the image of nature and relaxation is visual, it conveys a quiet and ambient emotion to the viewer when analysing the image. The use of the full-framed subject composition and the graphical positioning - allows the natural elements to become unnatural - the water droplets fills the frame and dodges any key facial features, resulting in the image to be slightly intense in this sense. However, the subject conveys a more relaxed emotion due to the shallow depth of field developing a smooth contrast among the face - forming blurred shapes whilst the droplets stay in focus, inviting the observer to perceive Derge’s in an alternate perspective through the material.

Hengki Koentjoro ‘Day at the Beach’, 2014 (Exterior)

Hengki Konetjoro is an accomplished photographer, specialising in black and white darkroom photography and exploring along the borderlines of light and shadow, yin and yang. Celebrating complexity in the minimalist. Diving into his personal culture and studying the spiritual in the physical. Day at the Beach conveys a mysterious ethereal visual appearance by small f.stop minimising the perspective, developing a main focus of the beach and framing the rest in a blur - a flashback into Koentjoro’s subconscious expressing personal memories. The dream-like qualities are emphasised with the dark silhouettes positioned freely part taking in different multiple activities - linking back to visions of reality, but the mystery figures transform the identity of a standard perception upon the beach. A wide spectrum of tonal ranges is seen in the black and white image, Konetjoro relies strongly on the 'Zone System': “This system teaches that the perfect photograph should expose all tones ranging from the blackest black to the whitest white. This awareness of an image’s contrast is an element I consider in every photograph I take.” (http://www.imaging-resource.com/news/2013/05/16/hengki-koentjoros-dreamy-black-and-white-underwater-photos-capture-the-myst) The photography by Koentjoro is not just a way of expressing his most inner soul but to create a window to the world where through his pictures the unseen and the unspoken can be grasped. Desire has driven him to explore the mystical beauty of nature.

Historical Darkroom Photographers:

Ansel Adams ‘Monolith Face of Half Dome’, 1927 (Exterior) 

‘Monolith Face of Half Dome’ by Ansel Adams is one of the most critically acclaimed photographs in the history of image making. It was during a day spent climbing with friends, about noon, they finally reached a view of the Half Dome when it was in full shadow. Adams explained in Element “wondrous place… a great shelf of granite, slightly overhanging, and nearly 4000 feet above its base…the most exciting subject awaiting me." What he saw before and after the photograph when he approached it was different; before taking the photograph he noticed the majesty of the sculptural shape of the Dome in the visual effect of half sunlight and half shadow. However, after taking the photograph he realized that to transform his mental conceptual approach would not properly be conveyed with the yellow filter he used. On this day in the early part of his career, Adams began to develop the theory of "visualization" that led to the Zone System: “This photograph represents my first conscious visualization; in my mind's eye I saw (with reasonable completeness) the final image as made with the red filter…The red filter did what I expected it to do." His knowledge of filters allowed him to produce a negative in which the sky is dark, creating the dramatic effect that corresponded with his feeling about the scene.” The most striking element of this image is the composition - future straight photography, in correlation with black and white, and how the tonal range differentiates whilst abiding the zone system it flows down the granite; filling the composition and extracting the detail through the high contrast. Ansel Adams was known for working with large apertures, and also the founding member of 'Group f/64' that focuses mainly on sharp characterisations and carefully framed images, like seen in ‘Monolith Face of Half Dome’. The photograph conveys an intimidating emphasized scale of size, daunting to the viewer these many years on.

George Brassai ‘Woman Playing Snooker’, 1932 (Interior)

George Brassai became famous for focusing his subjects around the opera, social events and mainly the people - he famed Paris by Night photographs, he would gain notoriety for also shooting photos of prostitutes, vagrants and other pillars of the Parisian underbelly. In the early thirties, he set about photographing the night-life of Paris, especially at its more colorful and more disreputable levels. The results this project - a collection of prostitutes, pimps, madams, transvestites, apaches, and assorted cold-eyed pleasure-seekers, revealing a true documentation of Paris at the night. Paris de Nuit photographic series was published in 1933 and to this day one of the most remarkable photography books. ‘Woman Playing Snooker’ effectively communicates the slight disorientation of Paris night-life, encouraging the viewer to embark on this journey through his photographic series. Towards the left-hand side of the image, a light shade/highlight is seen - the woman's slightly lowered head with direct eye contact applies a sense of mystery, and can be argued a sexual confrontation or a day-dream; emphasising with the visual correlation between the highlight/shade on the left. Or is she inviting me for a game of pool? I noticed how Brassai has intentionally included the balls in the frame, not only revealing the snooker table or creating an invitation but suggesting the viewer to analyse the image from the bottom to the top. The White balls are distinctively highlighted from the highly contrasted black background allowing the strong colour contrast creating noticeable attention to the observer keeping a consistent cycle for the eye to analyse. The visual cycle Brassai has developed in the composition, dark contrast on the bottom of the image, but in contrast lighter at the top of the image. Leaves endless analyzation, surveying the image may lead the viewer to personalise the image; in opinion, may see the image as imposing - or even a sexual fantasy. The photograph is a gelatin silver print, exhibited in the photographic series ‘Eyewitness: Hungarian Photography in the 20th Century’ collaborated with Brassaï, Capa, Kertész, Moholy-Nagy and Munkácsi. “It presents nothing less than the dark and convulsive story of Hungary during the 20th century as experienced by its citizens, and viewed by its artists, who happen to include five of the world’s greatest photographers” The Guardian. (http://www.theguardian.com/artanddesign/2011/jul/03/eyewitness-hungarian-photography-20th-review).

http://www.susanderges.com/

http://www.anseladams.com/

https://500px.com/photo/121786213/day-at-the-beach-by-hengki-koentjoro

http://www.theguardian.com/artanddesign/2011/jul/03/eyewitness-hungarian-photography-20th-review