Unit 3 - Learning Outcomes 3.0 + 4.0

Unit 3 Evaluation

On reflection, I do feel that I made the right decision to change my plan for unit 3. My original plan to continue with my urban trees project would have taken far more time than is available to complete to any satisfaction. My current brief to experiment with techniques to create abstract imagery has proved to be both engaging and challenging. Following my research and experimentation for this unit, I have evaluated my progress and success or failure with the techniques and processes I examined. Although I do have access to film cameras, I am comfortable with my decision to utilise my digital SLR for this unit. It has allowed me the greatest freedom to experiment and make the best use of Photoshop features.

Three different techniques were chosen to explore, which, I feel, given the time frame for the unit, was a little too adventurous. I have found that each technique needs quite a lot of time devoting to honing skills and I still have a lot to learn about each area. However, the positive outcome in regard to my research and experimentation has taught me that I need to concentrate on one technique in order to truly understand and be at one with it. I did also experiment with combining the techniques, which, resulted in very confusing and visually challenging images.

My intention is to continue experimenting with intentional camera movement (ICM) and produce results that I am satisfied with. It is fortunate enough my love of trees and landscapes can will be incorporated into this technique as I feel this acts as an excellent subject for ICM due to its colour variation and textures. Seascapes also appear to be well suited to abstract images, this is something I will be attempting in the immediate future. With regard to the other two techniques experimented with, I found multiple exposures the most challenging and fully realise this needs far more time devoted to it and close-up work, although visually appealing, didn’t create the right form of abstraction I am trying to achieve. I didn’t include my results with multiple exposures in my sketchbook research due to being completely unsatisfied with my attempts. What I have discovered through research and my own work, is the deep appreciation of representational images. I found this difficult to achieve through both close-up and multiple exposure techniques. This is perhaps down to my inexperience and subject selection, which, came much more naturally with ICM. Part of my research relates to Chris Friel and Valda Bailey's work, which, I have tried to re-create with my abstract images of rapeseed fields. Although both photographers utilise multiple exposures a great deal, ICM is also a favoured technique and the painterly effect they both present in their images is something I am trying to achieve.

One of the aspects of ICM imagery that I find appealing is the ability to create an image that you struggle to replicate, meaning each image is quite unique. The outcome is dependent on available light, which, changes all the time, the direction the camera is moved, how fast or slow the movement is and even whether it is myself or the camera that changes position. I also discovered that manual focussing is very important to use for ICM and whether in or out of focus is chosen, will greatly affect the outcome. Too soft or out completely out of focus can actually make the image too vague and very difficult viewing. All of these variables contribute to the resulting image captured, this is evident in my work and a feature of ICM that is challenging but satisfying to work with. 

The necessary use of ND filters to enable selecting a slower shutter speed in daylight has also been a learning curve. In some of my images, a three second exposure was used but this resulted in a very strong magenta cast that was difficult to rectify in Photoshop. Until I purchase better quality filters, I have realised that I need to keep my exposures to around 2-2.5 seconds to minimise this problem.

My research, which, is presented in my sketchbook for unit 3, highlighted the use of Photoshop post shoot. This is an area I need to improve as I do use Photoshop but unfortunately, I do not possess advanced skills, which, would be an advantage making this an important area for development.

Using Studio Materials and Equipment Safely and Correctly

• Make sure all work surfaces are clean and free of debris, litter etc.
• Put any bags or belongings away from these work areas.
• Remember the darkroom is a low light, and even no light, working environment. So store coats, bags etc. where they cannot be tripped over.
• Make sure that the equipment you intend to use are clean, dry and to hand.
• Check that the enlarger bulb is working.
• Check that the chemicals you wish to use are fresh.
• Mix any chemicals you need and place them in the correct apparatus, for example printing trays, before turning off the main white light.
• Do not take food or drink into the darkroom.

 Correct Use of Chemicals in the Darkroom.

• Always keep chemicals away from the dry benches and electricity.
• Water based chemicals and electricity do not mix and can be lethal.
• Do not touch electrical equipment, enlargers, timers etc. with wet or damp hands.
• This is one of the reasons darkrooms are built with a dry bench area, for enlargers etc., and a wet bench area, for chemicals, printing trays, developing tanks etc.
• Do not walk around carrying chemicals in printing trays, developing tanks etc. You can spill them and cause the floor to become slippery.
• Wear protective gloves if possible, if not, avoid prolonged contact with photographic chemicals. If you have sensitive skin take special care. When printing use printing tongs.
• When you have finished wash your hands.
• Take care not to put fingers in or near your mouth and do not rub your eyes
• If you get chemicals in your eyes, via a splash or rubbing your eyes, use an eyewash and seek medical attention. Take the chemical bottle, showing label, with you when you visit Doctors.
• If you have a cut or a graze on your hand protect it with a waterproof plaster. After you have finished working in the darkroom remove the plaster as it may have chemicals on it.
• When pouring chemicals take care not to splash.
• Always wipe up any spillage right away.

Using Photographic Lighting Equipment Safely

• Always uncoil all electricity cables, do not leave them wound on any storage spool. If you do this the coiled cable gets hot and there is a serious risk of fire.
• Tape down, using strong ' gaffer ' tape. This prevents people tripping up on loose cabling.
• Always use the correct lighting stand for the photographic lighting you are using.
• Do not over reach/raise the lighting stand, this can cause the stand to tip over.
• Photographic lights, particularly tungsten, can get very hot. Do not over balance them. If they fall onto a model, for example, they can cause horrific burns to skin.
• If they fall whilst unattended there is serious risk of fire.
• If adjusting ' barn-doors ' etc. on tungsten lighting use protective gloves.
• After you have finished, allow the lighting equipment to cool down before moving.
• Always use the correct fuse specified for the equipment you are using.
• Do not over load electricity supply/circuit.