Photography 1: People and Place Assignment 2

Assignment 2: People and Activity

For this exercise I planned to photograph a play performed outdoors as part of the St Albans Festival.  I chose the comedy "The Importance of Being Ernest" by Oscar Wilde.  The play was performed in the grounds of St Albans Cathedral.

I have tried to create a visual variety between the images to make the whole set more interesting to look at.  The ten photographs were selected on their ability to show the telling moments of the play and to convey to the viewer the relationships between the performers.  By providing a narrative it is more likely that the viewer will "read" the images as a set.

When taking these images it would have been better to be able to move around in front of the performers to get a variety of angles.  However, this was not possible as I would have obscured the view of the audience who were seated on the ground close to the performers.

The photographs submitted for this assignment are critically assessed below:

2403

In this photograph there is an implied triangle, with the vertical formed by Lady Bracknell and the apex at Gwendolen.  The triangle encompasses all of the cast and the diagonals create a sensation of activity and dynamism in the image.  I made sure that the butler was holding a tray as a symbol of his position within the group.

The image could be improved by the use of a fill light on the two characters on the left as their faces are in shadow.  Unfortunately it was not appropriate to use a flash.  This long range shot is useful as an opening shot as it includes most of the main characters.

2411

Here there is a good implied line between the eyes of Gwendolen and Jack.  This helps to bind the two characters together.  This is one of the key moments in the play and the photograph gives the viewer a sense of Jack's devotion to Gwendolen.

The image is a little unbalanced and the inclusion of the white table and chairs in the background are a little distracting.

2427

The diagonal positions of the legs of the two ladies echo each other.  The two subjects form two points in the image and this has resulted in a well balanced image.  The photograph was taken in bright sunlight and this has caused the face of the subject on the left to be slightly shaded.  There is an implied line between the two ladies formed by the line of sight from the woman on the right towards the other woman.  The photograph communicates successfully the intimate relationship between the tutor and student.

2432

I wanted this photograph to convey the relationship between the tutor, Miss Prism and the vicar.  Miss Prism's closeness, body language and gesture communicate this relationship.  There is an element of rhythm in the image with the two female heads leading to the vicar who is turned toward them.

All three subjects are placed centrally in the frame, which gives the composition a slightly static feel.

2438

In this image I intended to communicate how much the young inexperienced Cecily is taken by the more worldly Algernon.  Her body language conveys this well.  There is an implied line formed between the two players formed by the line of sight between Cecily and Algernon.

I wanted to show the two people full length but this has meant that some "clutter" is visible in the immediate background.  The shot could have been taken from a slightly different angle so as to include some of Algernon's face.  Unfortunately this would have obscured the scene from most of the audience.

2454

In this photograph I wanted to show the intimacy of the performance, with only a few feet between the performers and the audience.  The image conveys the audience's concentration on the performers and their enjoyment of the play.

2460

The body language of the two performers communicates the intensity of feeling felt by Jack when warning Algernon off his young ward, Cecily.  Jack, by invading Algernon's personal space means that the viewer is very aware of the strength of his passion.  I wanted the image to convey the extent of Jack's protective feelings towards his ward.  Again it would have been slightly better if the shot had been taken directly in front of the two performers so as to show more of Algernon's face.

2468

In this photograph, Algernon is proposing marriage to Cecily.  I wanted to convey to the viewer her acceptance of his proposal.  The lighting on Cecily's face works well due to the sun shining from above and to the left of the frame.  There is good eye contact between the two performers providing an implied line.

2477

The emotion that I wanted to convey in this image is that of mutual distrust within the formal bounds of society.  Each is sure of their own position as fiancée of Ernest but each is unsure of the other's intentions.

The relative positions of the two performers, one seated and the other standing is indicative of their social standings.  Gwendolen, standing has the higher social rank.  The bright sunlight has provided good lighting of the scene with a fair amount of detail in the shadow areas.  The plain background of the wall of the cathedral allows the viewer to concentrate on the two performers.

2494

This photograph is of the final scene in the play where Jack discovers that his real name is Ernest and that he is Lady Bracknell's nephew.  I wanted to convey the shock on the face of Miss Prism when she is presented with the fact that she is largely responsible for much of the lack of knowledge of Jack's origins.

The implied triangle between Jack, the Gladstone bag and his aunt, Lady Bracknell encompasses both the new found kinship between Jack and his aunt, and the cause of his estrangement from his family.


A revised version can be found at: 03/07/2012

Study Visit to Burtynsky: Oil

In May this year I joined a study visit to the Burtynsky: Oil exhibition at The Photographers' Gallery in London.  The exhibition showed 3 sections from Burtynsky's series Oil: Extraction and Refinement, Transportation and Motor Culture and The End of Oil.

The work depicts landscapes scarred by the extraction of oil, and the cities and suburban sprawl defined by its use.  It also addresses the coming of the end of oil.

Some of my favourite images from the exhibition are shown below:

"SOCAR Oil Fields #6, Baku, Azerbaijan" by Edward Burtynsky

This image shows a large oil extraction platform.  The lighting of the image is attractive and helps to make the platform look more interesting and less intrusive on the landscape.  The platform is placed centrally in the frame, giving the image quite a static feel.  The vertical pillars provide rhythm to the image leading to the tower at the right hand side.

"Oil Fields #22, Cold Lake, Alberta, Canada 2003" by Edward Burtynsky

In this image an oil pipeline snakes through a pine forest in the wide open spaces of Alberta.  The modern, high tech pipeline jars with the natural landscape.  This is due both to its colour and its man made finish.  The contrast is of man-made environment with nature.  The pipeline forms a strong graphic element in the photograph.  It forms a strong leading line, drawing the eye into the image.  The diagonals of the pipeline impart movement in the image.

"Highway #1, Intersection 105 & 110, Los Angeles, California, USA, 2003" by Edward Burtynsky

This photograph is of a major highway intersection in the USA.  This is a strong example of a man-altered landscape.  The people in the vehicles are reduced to a minor part in the composition.  Many of Edward Burtynsky's images are devoid of humans, although the results of their work is clearly obvious.  This image has a strong graphic feel.  The road layout is reduced almost to an art form, (people, cars and homes are dwarfed by the massive structure).  The intersection is placed centrally in the frame but the curves provide movement in the image.

"Oil Fields #19b Belridge, California, USA, 2003" by Edward Burtynsky

This image of oil fields in California is presented in the form of a diptych.  The effect is to give a good impression of the vastness of the oil fields.  The presentation echoes the religious diptychs often seen in church.  Often the Madonna and Child have a leaf each.  The two images are not actually connected but intended to be hung close together as a pair.  This form of presentation has also been used elsewhere in modern art.  A fairly recent example is Andy Worhol's "Marilyn Diptych" from 1962.  This image is shown below:

"Marilyn Diptych" by Andy Worhol.

"Oxford Tire Pile, #4, Westley, California, USA 1999" by Edward Burtynsky

This photograph shows a massive pile of used tyres awaiting recycling.  The impression is of a sustainable future.  Fears of the end of oil pushes man to see recycling of oil based products as a possible way of extending the life of remaining stocks.  The circular nature of the tyre pile with a contrasting hole in the centre reminds the viewer of a huge whirlpool or "black hole".

Visit to Patrick Lichfield: Nudes

I visited an exhibition in London of Patrick Lichfield's nude photographs.  Patrick Lichfield is not well known for his nude work, which was being exhibited for the first time.  It shows that his photographic prowess stretched far beyond the royal household and glamorous celebrities.

I have shown below some of my favourite images from the exhibition:

"Girl on Snow" by Patrick Lichfield

The photograph shows a girl, naked except for a fur hat lying on snow.  The overall feeling of the image is of extreme cold.  The coldness of the snow has caused mist to form under the trees.  The avenue of trees leads the eye to the large building beyond.  The inclusion of the girl is arresting, making it difficult to pass over her on to the building.  The subject is placed at the bottom of the picture and not on a third.  This causes the image to have a slightly unbalanced feel to it.  The girl is lying on a luxurious fur that gives a feeling of warmth, although she is exposed to the very cold air.  The trees provide rhythm to the image.

"Moscow Underground" by Patrick Lichfield

This photograph shows a long escalator leading up from the underground.  The scene is empty except for a naked girl who is climbing the escalator having discarded her clothing.  There is a strong graphic element to the image with the rows of lights imparting rhythm and strong leading lines.  The diagonal lines of the converging escalators add movement to the image.  This helps to offset the static feel due to the subject being placed centrally in the frame.  The smoothness of the subject's skin matches the smooth surfaces between the escalators.

"Zilat, Moscow University" by Patrick Lichfield

In this photograph a naked girl is occupying the back seat area of the Russian Zil limousine.  These very exclusive cars are primarily for the use of Russian government officials.  This placement of a nude model in such a car is in direct contrast to the stern looking government officials usually seen in this type of vehicle.  The nakedness of the model in back of the car contrasts with the girl driving the car, who is clothed.

The car is placed on a "third", forming a traditional composition.  The large building in the background draws the eye into the image.  The overall feeling of the photograph is of extreme cold.  This is emphasised by the snow on the ground and trees and the mist in the air.

"Vintage" by Patrick Lichfield

Here a semi naked girl lies across a table covered with empty bottles of vintage French wine and glasses.  The photograph is slightly unsettling as the girl looks out of place on the table amongst the fine glassware and china.  The subject is placed on the bottom "third" of the frame making the composition traditional.  The expensive looking fabric of the model's clothing blends well with the luxury of the surroundings.  The diagonals formed by the models legs, close to the edge of the frame creates some movement in the image.  I feel that the photographer intended to create a feeling of disruption caused by the model.

Visit to Sony World Photography Awards 2012

Favourite Images From the Competition

I recently visited the Sony World Photography Awards at Somerset House in London.  The standard of entries was very high.  I have shown below some of my favourite images from the competition this year:

"Indifest" by SanKetk

This photograph, submitted by an art student from Mumbai, India portrays very well the press of humanity in India.  It gives the viewer a sense of the claustrophobic feeling of living among the billion plus population.

"In Between" by Ana Gregoric

This image was submitted by a Slovenian freelance photographer.  It portrays the generation gap between the older and younger generations.  The old lady in the middle is regarded as irrelevant by the young girls and is ignored .  The photograph highlights the loneliness of the older generation in modern society.

"San Francisco" by FilO

This image although shot in colour is almost monochromatic.  The pattern of garage doors raised one above the other on the steep street gives a sense of the adaptations man has had to make to live in this geologically unstable city.

"Confusion" by Ellie Victoria Gale

This interesting photograph was submitted to the Action section of the competition and received a commendation. 

"Antonia + Simone, Barbershop, New York 1961 (Vogue)" by William Klein

 This photograph was part of the Outstanding Contribution to Photography Exhibition.  William Kline is quoted as saying about the image: "This was an abandoned barber shop.  I painted the background rose.  The guy worked in a fast food joint next door.  When it was published in Vogue, they cropped him out of the picture".