Tag: Black and White Photography

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AGM62 Photography Research Project Stage 1 Posts

AGM62 Bushy Park Hawthorns 25 October 2020

After my shoot on 22 October, I was starting to get a better idea of the patch of hawthorn trees next to the eponymous lodge. As I had only focused on four of the trees, I wanted to take a closer look at some of the others.

Another issue that influenced my photographic decisions during this particular shoot was the presence of the deer within the ferns. Bushy Park is currently home to approximately 320 of these animals and their grazing is essential to maintaining the park’s grasslands. This activity creates more variation in structure and plant diversity and does not damage the anthills, which add further diversity and character to the grassland, unlike cutting the vegetation.

At this time of year during the rutting season, the deer can potentially attack humans and it is recommended that people stay at least 50 meters away from them while in the park. This is something I always adhere while in the park regardless of what I’m doing. As such, I couldn’t go near the other trees that I had photographed three days’ previously, so I focused on the following specimens.

Tree One

This is an initial Black & White conversion of the whole hawthorn.

The following image also stood out for me. Unfortunately, my camera had only recorded a low-res jpg and not the accompanying RAW file of the image. Annoying, as I particularly liked the composition. I also created a Black & White version of this image. The original one is on the left, the conversion on the right.

Tree Two

This was a very interesting subject – when looking at the resulting images they look as if they’ve been manipulated, giving the illusion of the background being part of the tree.

Tree Three

Tree Four

Tree Five

Tree Six

Tree Seven

This tree really made an impression on me. On approach, this hawthorn looks initially like this.

However, seen at other angles, something quite magical happens.

I also tried photographing from a lower angle, crouching down rather than standing to take a shot.

I then took some more close ups at a different angle.

The following is one of the shots of this tree on the left and the Black & White conversion with a slight crop in the middle and a version using my digital infra red recipe on the right.

Tree Eight

Tree Nine

The final individual hawthorn I focused on is the one I nicknamed ‘Hawthorn Harlot’. I had to admit, it took a while to remember where it was as it looked completely different approached from an alternative angle. When I eventually did re-discover this individual, I took the following shots.

Hawthorn Copse

By now, I was quite tired so my last two shots were of the copse of which the harlot is part.

What did come out of this session was that I needed record the co-ordinates of each tree so I could start mapping them. Unfortunately, my camera doesn’t have a GPS option, so I need to take a photo of each one using my smartphone to capture these details. I have done a bit of research and there is an app called Nikon SnapBridge that can potentially add the co-ordinates of each image. Otherwise, I will have to manually add the co-ordinates to the metadata of each file so I can keep track of which image relates to each tree.

Another consideration is the use of filters to enhance the image before converting to Black & White. The camera itself has various white balance settings, which could also influence the conversion outcome.

The third and final consideration is the ferns. I know that these will totally disappear in approximately a month’s time. This means the trees will look different again, especially as they will have lost their by then.

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AGM62 Photography Research Project Stage 1 Posts

AGM62 Bushy Park Hawthorns 22 October 2020

On Thursday 22 October, I visited Bushy Park with the intention of taking a closer look at hawthorns. My plan was to enter via Teddington Gate and take another look at the trees I had shot on 5 October.

When I came into the park, I was distracted by three trees that I thought could be hornbeams – they look similar to the ones in the avenue in the Waterhouse Plantation in Woodland Gardens.

These three ‘sisters’ have always got my attention when coming into the park through Teddington Gate or walking through the park from Hampton Wick Gate. As I approached the trees, I realised that I could see a hawthorn branches coming out of the ferns between the two trees on the left. I took the above image with the smartphone and walked towards them.

As I gradually got closer, it was interesting to see how my perspective of the hawthorn changed as I got closer to it, especially in relation the much-taller trees.

When I arrived at the edge of the ferns and walked beyond the two tall trees, this was the perspective.

Note to self – the perception of a tree can change drastically depending on its surroundings.

At this stage, I started using the digital camera, as shown in the images below. Please note these have not been edited, unless stated.

When I looked closer at this tree, I realised that the tree above has a fenced surround (to protect it from the deer). As I wanted to focus on hawthorns in their ‘naked’ form I looked for another example nearby. I could just about make out this one among the ferns. The image on the left is the original, the one on the right, a cropped version.

The ferns are one of the features of Bushy Park, which contributes to how the environment changes during the seasons. The above was taken during autumn, when the verdant green ferns of the summer start turning orange. Very soon, with the onset of winter, they will turn into a dark brown mulch then disappear from the landscape. When this happens, the hidden features (and swamped hawthorns) are fully revealed. The whole process starts again in spring, when small fronds start to appear, gradually turning into a bracken forest by July. Each time this happens, it always amazes me how different the park looks and feels depending on the season.

I also took the following shots when I walked to other side of the two hawthorns and into the copse where I had previously taken photos on 16 October. When I looked behind me, both hawthorns disappeared into the ferns once more.

I then walked to the other side of this copse as I had spotted these two hawthorns.

As I got closer, I took a shot of the hawthorn on the left.

I then focused on the hawthorn on right, taking shots around the tree and focusing on some details.

I then walked towards a house that is situated nearby, tellingly called Hawthorn Lodge. Next to the surrounding fence was another protected hawthorn. I took photos of this particular specimen, as it featured mistletoe within its branches. I know that this is the sign of an Ancient tree, but it seemed to contradict the full definition. This is something that I may need to revisit.

While continuing around the perimeter fence of Hawthorn Lodge, I then realised why this building got it’s name.

There was a whole grove of hawthorn trees. While taking this in, I thought the best approach was to focus on just four trees.

Tree One

Before I started taking photos, I measured the trunk of the tree. It was 125cms. In theory, it fitted the criteria of an Ancient tree as it also featured other aspects connected to a tree of this age (before completing this post, I had looked up signs of an Ancient hawthorn tree utilising this criteria in relation to this project, but not sure exactly how at this stage!).

This last image is how this tree looks like in relation to Hawthorn Lodge.

Tree Two

Tree Three

Tree Four

By this stage, I realised that I would need to process the shots I had taken, both on the PC and mentally. I was also curious as to why these trees were planted in this particular – these were just four of the ones I could see in proximity of Hawthorn Lodge. As they were no where near any oak trees, it wouldn’t be to protect them. Also, they were not in lines, so couldn’t be part of a barrier or hedging system. This, and the history of Hawthorn Lodge would require further investigation.

Later that day, I created a Black & White shot I had took of Tree Two with the smartphone.

I then tried a Black & White conversion of one of this example.

What I learned by taking these images is that there is lots more work to be done. Also, I’ve really appreciated how it’s made me slow down in my methodology. As with the photos, there is detail and depth to be discovered in all aspects of this project.

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AGM62 Photography Research Project Stage 1 Posts

AGM62 1 to 1 Tutorial Feedback and Actions 21 October 2020

The focus of this one-to-one tutorial was to discuss with Åsa my initial concept and potential process. This was part of the concept-process-form paradigm that Åsa presented and the class talked about during the last group tutorial on 7 October 2020.

After two weeks of thinking about a potential concept and carrying out various research and taking images, it was a relief to be able to vocalise my thoughts, discuss my results so far then work out a focal point for this project.

The tutorial had to be via Microsoft Teams, but as most of my work so far had been via digital means I was able to present it to Åsa online. To start, I went through the blog posts that I had written. I was hoping this would give my tutor the opportunity to understand my line of thinking (which can be challenging sometimes, for both myself and others!).

What did prove very useful was showing the map of Bushy Park to Åsa. I don’t think that both my tutor and classmates actually realised the size of the park when I’ve talked about it previously. At 1,099 acres, it is also the second largest one in London after Richmond Park. Also that it is a Special Site of Scientific Interest (SSSI) and has a rich history and heritage.

Feedback & Thoughts

I have to admit that I can’t recall exactly every details of our conversation, but these are the most pertinent points that struck a note with me.

When I went through the Bushy Park images from 5, 9 and 16 October 2020, Åsa remarked that were different from my previous project’s images (AGM61 Moments of Eternity). The photos I had taken during the two research sessions were just ‘straight’ shots with no real specific intention and to be led by my instincts. This tends to be my method of working at the start of a project. One of my major influences is Minor White and I subscribe to his ‘hunter/gatherer’ approach to get the creative juices flowing. I also wanted to take a different approach to the previous work.

Åsa also highlighted the differing point-of-view on how I took the images:

  • Objective: the tree as an object in the landscape, but in a portrait style
  • Subjective: close ups of details, looking up at the branches

The main image that Åsa picked up on was that one of the hawthorns that I had converted to Black & White:

For Åsa, there was a very subtle approach to this image that was traditionally composed with the Black & White conversion bringing out textures and details. It also slowed down the reading of the image.

When I mentioned about the Ancient Tree Inventory and potentially mapping the hawthorn trees, Åsa brought up the work of Bernd and Hilla Becher and their objective images of water towers.

Water Towers 1972-2009 Bernd Becher and Hilla Becher 1931-2007, 1934-2015 Purchased with funds provided by Tate International Council, the Photography Acquisitions Committee, Tate Members and Tate Patrons 2015 http://www.tate.org.uk/art/work/P81238

On reflection, this is in contrast to Minor White’s subjective focus on details.

Åsa also picked up on the hole within the image. This is a particular feature of the hawthorns in Bushy Park and one that I personally find fascinating.

In relation to the concept of tree portraits, we both discussed how a tree doesn’t have a ‘front’ or ‘back’. This is something that came out of my AGM61 project, which resulted me in taking photos of trees on a 360 degree trajectory, with a shot at each 90 degree point.

Åsa also brought my attention to a Finnish photographer, Riitta Päiväläinen.

There is a very eerie aspect to her work involving trees and clothing props. I get a similar reaction when I look at the image of the hawthorn above.

Actions

The outcome of this tutorial and the result of me processing the feedback is as follows at this stage:

  • Focus on hawthorns in Bushy Park
  • Image shoots:
    • Objective shots of each tree (360)
    • Subjective shots of each tree (close ups)
    • Black & White conversion process – refine
    • What works – what doesn’t
  • Mapping the trees
  • Historical research
  • Photographer research
    • Bernd & Hilla Becher
    • Minor White
    • Riitta Päiväläinen

References

Atgetphotography.com. 2020. Minor White / Biography & Images – Atget Photography.Com / Videos Books & Quotes. [online] Available at: <https://www.atgetphotography.com/The-Photographers/Minor-White.html&gt; [Accessed 26 October 2020].

Riittapaivalainen.com. 2020. Riitta Päiväläinen. [online] Available at: <https://riittapaivalainen.com/htdocs/&gt; [Accessed 26 October 2020].

Tate. 2020. ‘Water Towers’, Bernd Becher And Hilla Becher, 1972–2009 | Tate. [online] Available at: <https://www.tate.org.uk/art/artworks/bernd-becher-and-hilla-becher-water-towers-p81238&gt; [Accessed 26 October 2020].

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AGM62 Photography Research Project Stage 1 Posts

AGM62 Bushy Park 16 October 2020

With the words ‘take more photographs’ ringing in my ears, it was back to the park. My intention was to take shots of the trees with the sunlight shining through the Autumn colours. However, I was thwarted by the clouds and a grey sky. As a result, I resorted to focusing on observations and sub-conscious feelings.

My first stop was Chestnut Avenue.

I then stopped to take some further images through the Split tree:

Instead of heading to Woodland Gardens, I then took a detour to a copse that I only explored recently.

This is how it looks from the inside (smartphone shot).

I was using my 24mm-70mm lens at this stage and took some initial shots at 53mm.

I then set the lens at 70mm.

I then had an idea. What would it look it if I stood in the middle of the copse and took a series of images on the ’round’. I took two sets of these in two different locations using the 70mm lens setting.

Set 1

Set 2

I then walked towards Woodland Gardens, but before entering I took a couple of shots of these trees

According to the Royal Parks’ website, Bushy Park is one of the best sites in London for mistletoe. This parasitic plant is rare or absent in the the other Royal Parks and it grows very well on Limes and Hawthorns.

Woodland Gardens – Pheasantry Plantation

After a flask of hot tea and some ginger biscuits, I contemplated the park while sitting in this location.

I made some notes:

Bushy Park:

  • Logical, but not logical
  • Boundary – straight lines and curves
  • Lines of trees
  • Circles of trees
  • Plantations – SSSI (Special Sites of Scientific Interest)
  • Taking shots ‘in the round’ – what happens when images are in line?
  • B&W vs. Colour
  • Leaves vs. Branches
  • Space in between

After this meditation, I continued my walk through the gardens.

Nothing particularly exciting, but nice to capture the Autumn colours.

Woodland Gardens – The Waterhouse Plantation

I then visited The Waterhouse Plantation. On entering, I took shot of the map, which gives further details of the different areas of the plantation.

This is a smartphone shot of the area I focused on. I changed the lens to the 85mm as I wanted to try a different perspective.

While looking up, I noticed one tree that stood out from the surrounding ones.

I then captured some of the Autumn leaves close up on a lower tree.

The next two captures that caught my eye.

My next stop was the Hornbeam Avenue, another of my favourite spots. I then took three sequences ‘on the round’.

Hornbeam ‘On The Round’ Set 1

Hornbeam ‘On The Round’ Set 2

Hornbeam ‘On The Round’ Set 3

After processing the images, I created a few Black & White conversions. The originals are on the left, B&W on the right:

Chestnut Avenue

Split Tree

Autumn Leaves – The Waterhouse Plantation

References:

Rhs.org.uk. 2020. Mistletoe. [online] Available at: <https://www.rhs.org.uk/advice/profile?pid=134&gt; [Accessed 18 October 2020].

The Royal Parks. 2020. Trees. [online] Available at: <https://www.royalparks.org.uk/parks/bushy-park/things-to-see-and-do/flora-and-fauna/trees&gt; [Accessed 18 October 2020].

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AGM60 Research & Development Posts

AGM60 Words of Eternity

Moments VI

During one of the tutorials, I remember Xavier suggesting writing down my thoughts and feelings while working on this project.

While contemplating the final images, I composed the following poem:

 

Moments of Eternity

Uncertainty, anxiety, lost horizons;

Dis-location, isolation, reconnection;

Strange screens and familiar faces;

Same times and same places;

Slow down, tune in;

Reduce the din;

Together, but apart;

A part in time;

With a beginning and, yet, no end.

 

This could either be used in accompanying the work and/or the Artist Statement. I also thought of using each line next to each image (nine images, nine lines). This poem was also included in the submitted presentation of my final images.

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AGM60 Research & Development Posts

AGM60 Final Body of Photographic Work 9 June 2020

Moments V

For Assessment Task 1 of this module, I had to produce a Body of Photographic Work submitted in an appropriate form. For example, a portfolio of prints, an installation, a projection or otherwise. This had to be accompanied by an Artist Statement of 200 words.

The purpose of this Body of Photographic work was to fulfil Learning Outcomes 1 & 2. This was to:

  • Plan, develop, research, and document an extended body of experimental work.
  • Acquire and apply appropriate technical skills as defined by my photographic practice.

 

This is a PDF of the document that I submitted on 9 June 2020:

AGM60 Research and Experimentation Final Images Jennie Meadows 19821184 9 June 2020

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AGM60 Research & Experimentation Posts

AGM60 Artist Statement 9 June 2020

Moments IX

A requirement of Assessment Task 1 was to write an Artist Statement of 200 words. This was to accompany the Body of Photographic Work.

The following is the submitted Artist Statement:

In a time of self-isolation and social distancing, Moments of Eternity encapsulates the disconnected connections between individuals. As with trees, there is an invisible network of communication that enables society to continue working together. These ethereal and surreal images also signify how the ‘normal’ has shifted and viewed in a different way. They also convey the uncertainty of what the new ‘normal’ will be.

Captured between 29 April and 21 May 2020, the series was created from photographs of trees during my walks in Bushy Park. This was inspired by carrying out the government’s instruction of taking outdoor exercise by myself each day. I could combine my daily stroll with photography. I also realised the importance the park played in relation to my mental and physical health. Bushy Park had been my place of refuge several times over the past five years. I had rediscovered this beautiful and ever-changing location and able to reconnect with nature.

Unable to access and use analogue photographic equipment and facilities, I made use of the digital technology available to me. By emulating and combining two analogue printing techniques, I created images that could not be reproduced in a darkroom.

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AGM60 Research & Development Posts

AGM60 Final Research Dossier 9 June 2020

Moments IV

For Assessment Task 2 of this module, I had to produce a formal and critically reflective Research Dossier of 3-4,000 words that supports my Body of Photographic Work.

This was to include:

    • Documentation and reflective critical evaluation of the creative process undertaken during the module.
    • A critical analysis of a set of visual references that demonstrate an appropriate context for the Body of Photographic Work.
    • A critical analysis of a set of historical and theoretical references that support the development of the Body of Photographic Work.
    • A bibliography and list of research resources.

 

The purpose of the document was to fulfil Learning Outcomes 3 & 4 and that I could demonstrate:

  • a clear understanding of the ideas, issues, and different visual contexts underpinning my own photographic practice.
  • a critical awareness of historical and contemporary debates around research-based photographic practice.

 

This is a PDF of the document that I submitted on 9 June 2020:

AGM60 Research and Experimentation Research Dossier Jennie Meadows 19821184 9 June 2020

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AGM60 Final Review Feedback 2 June 2020

With the deadline looming, it was time for the class to share their final images for review. This was the opportunity to see each other’s work plus give and receive feedback on what was presented.

While looking at and listening to the presentations, it gave me the space to think about my own work. Two aspects came to mind:

  • My final images are a ‘whisper’, not a shout’

When looking at each piece, I realised that they drew the viewer in. The details of these images are very delicate and reminiscent of early photographic prints. The size of each final image I’d prepared when printed would be 9″ x 15.2″ without a frame. If I chose to have these framed, the method I would choose would make each final piece 10.5″ x 16.2″.

  • Stuck in a moment

The images were a representation of the current lock-down situation. The repetition between images is like the passing of days – there is no real delineation between the days of the week.

 

When it came to my turn to present my images, I was unsettled about what I wanted to convey. I realised that I was still processing the concepts and essence of the images and the creative process behind them.

My classmates and tutor, Fergus, gave some very constructive points regarding both images and the processes involved.

Firstly, was the process of construction – there is a clear delineation between the three images comprising each final image. There is no attempt to blend or disguise this aspect. This is the effect I wanted to achieve.

Secondly, there is a clear difference between some of the images. For example, there are ones that are like a tree portrait (Moments I), one that highlights the absence of trees (Moments II) – as mentioned by Abi – and ones where the light source becomes part of the image (Moments VIII).

A third, and major, observation was the differences between three sets of images.

There was a strong preference for the final three. Interesting, as these were three images in the later stages of this project. There was more intention rather than chance involved in their creation.

In addition to these reflective observations, a relevant and pertinent image that Fergus mentioned was The Hunt in the Forest (c. 1470) by Paolo Uccello (1397-1475).

Uccello, Paolo, 1397-1475; The Hunt in the Forest

Fergus pointed out its relevance as a pictorial representation of woodland in that it highlights the construction of an image. Pertinent as Bushy Park was a favourite hunting ground of Henry VIII. Also, Bushy Park and the trees within are not ‘accidental’. It is a highly constructed and maintained environment where little is left to chance and the ravages of nature are worked with and not fought.

With regards to technique, one of my classmates, Ola, suggested using a tilt-and-shift lens for future experimentation. I wasn’t sure how this could be relevant at the time, but after a bit of research, I came across this art lens that could be both suitable and affordable:

 

lensbaby-composer-pro-ii-with-edge-50-optic-nikon-z-fit

 

 

According to the description, the Composer Pro II with Edge 50 Optic is a high-quality, 50mm, f/3.2 upgraded metal-bodіеd tilt lеnѕ that allows the control of the depth of field in-camera. Тhе lеnѕ attaches to the саmеrа bоdу, allowing the creation of іmаgеѕ with а ѕhаrр ѕlісе оf fосuѕ bоrdеrеd bу silky, smooth blur.

Тhе lеnѕ bоdу ѕwіvеlѕ аnd tіltѕ оn а ѕmооth mеtаl bаll-аnd-ѕосkеt dеѕіgn. This provides а fаѕt аnd іntuіtіvе wау tо ѕwіtсh bеtwееn trаdіtіоnаl ѕtrаіght lеnѕ рhоtоѕ аnd tіlt рhоtоgrарhу.

The lens is fully manual and, by uѕіng ѕеlесtіvе fосuѕ, enables the photographer to lead vіеwеrѕ’ еуеѕ оn а unіquе јоurnеу thrоugh lаndѕсареѕ, сlоѕе-uрѕ, mіnіаturе еffесtѕ, ѕtrееt рhоtоgrарhу аnd fооd рhоtоѕ. One to be investigated further.

Later that day, I revisited the Woodland Gardens to clear my mind and to help in processing the review session.

IMG_20200602_185257_098

 

It was nice visiting my location without any pressure of taking further photographs for this particular project. The image above was taken with my smartphone. A reminder of how the light plays in this particular place.

While walking through the gardens, I came across this very cheeky chap who just couldn’t (or wouldn’t) sit still long enough to take a clear shot.

IMG_20200603_213218_421

 

When I was editing it on my smartphone before posting on Instagram, I made use of the tilt-and-shift filter. Interesting effect.

With the above in mind, the next two and final tasks were to produce the Research Dossier and Artist Statement. These, along with a presentation of the final images, had to be submitted via Turnitin by 1pm on Tuesday 9 June 2020.

 

References

Ashmolean Museum. 2020. The Hunt In The Forest, Paolo Uccello. [online] Available at: <https://www.ashmoleanprints.com/image/221364/paolo-uccello-the-hunt-in-the-forest&gt; [Accessed 4 June 2020].

Wexphotovideo.com. 2020. Lensbaby Composer Pro II With Edge 50 Optic – Nikon Z Fit | Wex Photo Video. [online] Available at: <https://www.wexphotovideo.com/lensbaby-composer-pro-ii-with-edge-50-optic-nikon-z-fit-1709295/&gt; [Accessed 4 June 2020].

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AGM60 Research & Experimentation Posts

AGM60 Final Images Review 2 June 2020

Moments VIII

After a busy day of selecting and editing images, these are the final nine I submitted as part of Assessment Task 1 of this module.

 

I also created a PowerPoint presentation that was shown to the class during the review.

AGM60 Jennie Meadows 19821184 Final Images

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