Initial Location Shoot
Although I have decided against using the idea of locations within the photographs, I have decided to experiment with the subject placement and positioning to test the idea in practice to understand whether the location benefits or distracts the dominating focus of the subject. On Wednesday, I spontaneously explored Woodhouse with my Fuji X-Pro in an attempt to generate a series of documentary-styled photographs where I pre-conceived the subject placement in the composition and considered the general aesthetic of the locations chosen, to appear visually pleasing as a documentary photograph and suitable for the placement of the dysfunctional subjects. I aimed to capture a wide variety of locations stretching from urban to environmental sites to emphasise the naturality and realism of the event being portrayed, increasing the reportage influences to the story and the photography. The weather of Wednesday successfully assisted with the shoot, I decided to go out photographing just after mid-day to utilise the brightness to reveal the detail within the locations, and to create a prominent contrast between the nature of presented subjects (dysfunctional bodies) and the warmth summers environment they would be depicted in. I preserved a shutter speed of around 125th of a second throughout the shoot to obtain a steady motionless photograph while utilising a wide aperture on the 1.2 lens to retain a deep depth of field with all elements in the frame focused.
In order to test whether the location photographs will work successfully as backgrounds for the superimposed dysfunctional unconventional bodies, I have asked a friend to quickly model her arms and legs so I can begin to start collecting photographs for the post-processing procedure. In the shoot, I positioned the model in front of a white wall to assist later with the post-production and the easy accessibility for the subtraction of the subject from the original content, to be transformed and superimposed into the location photograph. During the shoot, I wanted to apply a textural study on the legs, revealing more information on the surface and using something to increase the unconventional features; emphasising the un-normality of the subjects depicted. I then asked the model to wear fish-net tights to highlight the legs, creating a spotlight on the fluency of their motion, centralising the main focus in the composition for the viewer while studying the textures and the banality of the normal to later transform unconventionally. I asked the model to begin naturally moving her arms and legs together in a slow ambient motion, while I found interesting, thought-provoking, obscure compositions that I believe would work in a composite. The model began cautiously moving her arms in an expressive nature while I used the singular external light positioned in front of the subject to assist the exposure, although I had used the singular light, it contrasted shadows on the subject but this would be irrelevant as the intention of the shoot was to photograph limbs to be superimposed over another image, so the shadows would be unseen from the crop. I began photographing the model, creating 3-dimeonsial typologies of her limbs; captured from all perspectives to enable further experimentation in the perspectives to create abstract illusions from the banal subjects. I followed the same procedure when I began photographing the arms of the model and once I had finished, I made sure the model was alright with the use of the photographs due to issues with self-confidence, but she agreed to the use of the photographs.
After the shoot, I uploaded the photographs to Adobe Photoshop to remove the irrelevant information (negative space) within the frame, to subtract the limbs individually for their own individual use. I simply opened the file in Photoshop, duplicated the layers, and began utilising the ‘Magentic Lasso Tool’ and ‘Eraser Tool’ to isolate the subjects from the original context. Once the limbs on the selected photograph had been successfully dissected, I combined the post-produced images with others that had been isolated to combine and collaborate perspective with angels, intentionally creating unorthodox bodies to reference how photography as a medium objectifies the subjects depicted and with the indexicality of photography, the subjects appear truthful. When creating the post-processed abstractions, I carefully considered the movement before and after the photograph; the decisive moment, while regarding the subject placement and the composition, in order to understand what possible further structures can be created with the post-production. In the shoot, I struggled to isolate the subjects from their original context with the ‘Magic Wand Tool’ as the texture of the fishnets interrupted automatic selection process; I should utilise the Eraser/ Magnetic Lasso/ Clone Stamp tools. I must consider this next time I crop the subjects to preserve the realistic features to deceive the viewers more effectively. While the photographs were presented in Photoshop, I began to experiment with post-production to modify the reality from the photograph, utilising post-production to expose the impact and alterations it causes on the original. I have displayed the post-produced photographs below, experimenting with perspectives and scale, plus the overall aesthetics of how the viewer would depict the photograph, although I don’t believe they work successfully as the photographs appear modified with implements of hyperreal from the modifications, the photographs appear more as decorative items.
In my personal opinion, I believe the location photographs appear more visually appealing that what I expected, although I’m not sure how I could construct a consisting theme throughout the series of images; unless I maintain the size of the subjects (like the large depiction). In order to gather a greater understanding of what style of photograph communicates the context of the essay more effectively, whether it be on location or in studio. Next, I will need to experiment with the studio locations to analyse the effect of the subjects when positioned in front of white backgrounds; will the blank background help emphasise the highlight of the subject or will it appear uncharacterized, in comparison to the location photographs? Or do the location photographs portray too much characteristics disabling the realism in the photograph due to the superimposition? I will continue experimenting how I can communicate the context of the essay through the visual representations.
In the next shoot, I will include the feet into the composition to help achieve the realism of the subject depicted, utilising the camera to document the subject to portray the event (deceiving the subjects. Due to the last shoot, I have had to crop and amend the missing feet from within the photograph restricting my overall freedom with the experimentation.
Screenshot of the post-produced photographs
Below, Original Location Photographs for the background, unedited:
