PERSONAL INVESTIGATION
PERSONAL INVESTIGATION
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Year 1 Content
This project revolves around the premise of taking a box for a walk, adventuring around an area a capturing the box in it's path, ensuring that various different elements are photographed within it.
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The main focus of this project keeps the consistent presence of a singular box taken in different environments.
The primary concept within this project is to explore the world through the eyes of a pinhole camera, reflecting light through a miniature hole and expanding the image.
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An additional section to the Obscura project, is the darkroom element which introduces an older form of photography, developing photographs i a similar manner to pinhole photography, yet in a natural black & white scale.
Within this project, the main focus is on composing photographs, incorporating various methods and techniques to uniquely compose images; for example, leading lines, corners, perspective, repetition, depth of field.
The Architecture Project aimed to focus on discovering the presence of buildings; using previously developed compositional skills to the highlight certain structure and key elements within them, such as leading lines, framing, corners, repetition and depth of field.
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In post, Photoshop would prove useful and transforming images into black and white, as well as manually contrasting some of the lighter and darker tiles on appropriate buildings.
This project primarily worked around the concept of fast and slow shutters speeds on the camera; experimenting with light painting, frozen images and impossible movement. I was able to experiment with shutter speeds as slow as 15 seconds and as fast as 2000ths of seconds.
When photographing the art and nature of street and the people who live by it, it was interesting to capture the various emotions and locations; points of interest for people to relax, shop and take a break at.
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This project had 4 primary categories, photographs of crowds, the local market areas, skateboarding, and images from a more hidden perspective (either macro, unusual angles, without detection).
This project allowed me to build on compositional concepts while manipulating my own ideas. Selecting an unusual object and pairing it a completely unrelated background allows the viewer to clearly appreciate the power of the object.
A project based on isolating an individual subject in an uninterrupted environment, allowing for clear photographs, manipulation of light and inclusion of key compositional features. Additionally, the was a further focus on the concept of photograms, using darkrooms to take camera less shots using purely photographic paper exposed to light with various depths of included objects.
With this shoot, I used an atypical environment of a non-urban, more natural/rural landscape and attempted to find elements of the alphabet there above contemporary environments.
Year One
Year 2 Content
A complete display of my personal study, focusing on 'miniatures' and street art, combing the work of Tatsuya Tanaka and Banksy to form the concept Slinkachu revolves around, 'abandoning miniatures' as street-side artwork.
This area acts a re-evaluation of the Camera Obscura shoot, re-developing and practicing new techniques and skills. I worked here on analysing various pinhole artists' works and incorporating my own perspective onto it.
An initial experiment of the idea of miniatures. Aimed to imply the idea that the miniatures are 'human size' beings exploring the world of a giant, twisting the perspective which usually places the miniatures as beneath in size; here was to display them as exploring a new world.
​This stage was to develop the idea of miniatures appearing as life-size but in a different manner; displaying them as almost 'humans' within a normal world of traffic and tourist sites. Creating a completely artificial makeshift diorama with roads, attractions, and scenery and placing them within this world naturally.
Moving onto stage three emphasises a significant jump from placing miniatures into the 'real-world' or a representative world of humans, and instead looking at them as miniatures in a noir setting, focusing on a theme to change the image overall with the table-turning technique being clever use of lighting and camera management; keeping the shutter speed to high values to naturally vignette the subject while darkening the background.
Stage four primarily works around building on the miniature-noir concept developed in stage three and transforming it into a digital format by taking photographs within the virtual world of video-games and using both in-game and post-edit photographic effects, primarily 'tilt-shift'. Creating miniature pieces from them; enabling video game characters to act as noir miniatures, similar to the work in stage three.
The emphasis throughout this stage was to merge mainly aspects of Stage 2 and Stage 3 together; while incorporating new lighting elements. Using an screen to display a fake 'narrow-street' background and clever use of orange lighting to convey the idea of the background slipping into the real world with the illusion of the sun shining on the miniature cars creating this dynamic of a slip of reality.
