Planning final photography ideas

Themes in which I would like to explore for final projects are listed, along with initial ideas on any specific moods I am trying to create. As part of progressing in photography, I have brainstormed ideas around themes that are different to my preference, along with ideas labelled under themes I partake in so far and would like to develop in with some self and web examples.

Landscape - the world through an object -

• Landscape themed images but a smaller focused object in the frame
• Experimentation with composition 
• Objects such as focusing on a text in a book, using a lensball, prism, smaller phone, etc
• Collide landscape with human aspect - capture a human's hand in the frame - ( Connor Franta inspired photography )
• Person whos facial expressions trigger the audience. 
• Continue adding a small human part of the body, such as hands, just eyes, half of face. never show the full model. Intentions of this - difference and power of human subjects vs the physical world. 



My photography

• Object and landscape relevant to each other. 

Creative intention:

The genre of photography I would like to explore is landscape, with an interrupting subject always in the frame. The theme will include some portraiture or objects as part of interrupting the landscape, for example by using a lensball to flip an environment or a small quote within a book, along with human hands as inspired by Connor Franta's photography. I have chosen to do this as I enjoy the stories that are capable of being told behind landscape photos and making thes even more meaningful by adding human subjects, such as a model or their hands, eyes etc - a small part of them. The concept of human vs nature is introduced here.

Target audience and intentions:
The target audience for my exhibited work would be young adults, as I feel there are many people in this audience who are creatively active and enjoy viewing art forms that may have stories. I have chosen this idea for that specific reason, as I am passionate about telling somewhat of a story behind a collection of photos to give meaning to my photography and not only intreguie the audience, but take time out of their day to think and consider something they've seen in a deeper manner.

Output and layout:
Initial ideas I have on the layout of the collection includes using a mix of A2 and A3, as I feel the horizontal and vertical composition creates some creative vibe and composition wise may be frustratingly aesthetic, the vertical/horizontal compositions contrasting each other yet also fitting in neatly with another.  One thing I would like to experiment with is continuing one photo on one print onto the next print, then having these close together when exhibited on the poly boards and other photos far in equal length from each other. The separation could have the human subject onto some parts of the first print and continued onto the next properly, this could indicate the separation that both humans and physical subjects have.

Constraints: 
As the project is on location, there may be ethical issues in terms of who or what may get in the shot, for example, an ethical issue of a person in the background who may have personal constraints of getting in photographs, or using a location in which photography is prohibited. There may be issues and careful consideration required when moving the camera around, along with other equipment such as lens' , a possible tripod, etc.


Visual language:
My project will consist of various aesthetical and technical qualities, ranging from lighting techniques and experimentation between camera settings allowing things such as shallow depth of field to be created or grainy / noise photos. Lighting will be an important aspect as I am using natural light, and the time of day can affect things such as compositions of shadows & highlights, the difference in a few minutes at a sunrise or sunset, etc.

Practises and influences:
As part of developing my idea and understand professionally how it can be done, I have researched some photographers. The photographers listed have had an impact on the aesthetical qualities of my work and have helped me visualise more ways in which my work can be taken. (examples below)

Inspired photographers for my idea:

Connor Franta hand photography

Connor franta:
Connor Franta is an online influencer apart of various art forms including own clothing merch, creating videos on youtube as a vlogger and photography. The lighting in which Franta takes his photographs intrigues me the most, as the time mostly involves sunrise or sunset. His photographs catch my attention due to the angles they're taken at, capturing a sight of nature in the fore/background and a human hand or man made building in the back/foreground etc.
The sections of work and images I am focusing on are the photographs including his hand. As researched from his book, Franta's intentions behind doing this is to capture a glimpse of his body in the moment. " I just take a photo of my hand pointing at the scene I wish to remember" His hand intertwines with the environment. However, there are some critics I have behind the concepts - Franta's reasoning contradicts the intentions behind my reasoning of choosing a theme of human vs nature - my idea includes the power that nature or human aspects can have and the difference between these rather than actually combining the both.
Areas of his work intertwine both a human aspect and landscape, from photographs of the sun setting at ' golden hour 'intertwining the sunset and half of the top of buildings. I therefore enjoy viewing the aesthetical light settings of the photographs.


Karl Shakur:

Karl Shakur photography

As researched previously, Karl Shakur is an adventure photographer who mostly includes subjects in his landscapes photos and portrays the idea of the smaller character and human traces being insignificant to the outside wider world by framing the human aspect smaller to the physical surrounding. The intentions and messages behind his work is one thing I am also aiming to show, following a similar human vs nature conflict. The suggested audiences of this photographer may include young to middle aged adults with desires to travel or those already travelling, along with audiences including storytellers or writers, possibly searching for a source of inspiration, using the photographs as a beginning of a story or by setting a scene. His work is mostly captured in natural light, as shown in the example. Researching his work will benefit me as I aim to have the same audience with the overall intentions of telling a story.




Chris Bukard:

Chris Bukard photography

Chris Bukard is a creative figure involving being an author, photographer, explorer and creative director. His work focuses on stories that allow humans to connect or build a relationship with the physical features of the world & appreciating this. The angle in which Bukard takes his photographs makes the natural features look more intriguing. Visual aesthetics are created in photos where the horizon line rule is used (example)
One thing that has influenced my trail of thinking is the idea that adding a human aspect to the landscape photography allows a space for audiences to relate - the audience could view the landscape as extravagant, but further imagining more when viewing a similar subject - this being a piece of the body (human subject in general) - the audience subconsciously relates to seeing a human subject, it involves them as part of who they physically are. The idea of making sure that the audience viewing the photograph feel captivated to visit the landscape or think deeper into messages behind the collection of photos is something I aspire to show in my work, considering all research.

Jim Zuckerman:

Jim zuckerman explained example.

Jim zuckerman is a photographer and author who has a different approach to the mainstream view of using a human subject -  the human subject in a small composition is seen as making the landscape  look bigger and overall holding more significance to the wider world, overall including the concept of size. Zuckerman's approach on this is different, his idea goes against size, e.g in a photographed example of a person in front of sunlight. (example) His words - " the truth is it doesn’t matter how big they are. What matters in fine art landscape work is the composition, the light, and the graphic design. That’s why I asked him to stand in such a way to make a strong and bold silhouette with a graphically pleasing form. This is how the human element can work well in a landscape photograph. "
The audiences of Zuckerman may include those who enjoy travelling and constantly seek for new places to go or more to explore. The desired audience of my photography links to this, with the whole idea of captivating someone as to where the photo was taken- landscape / place wise etc.


Bibliography:
Connor Franta: Book - A work in progress
Chris Bukard: 
https://fstoppers.com/originals/human-element-landscape-photography-151841
https://visualwilderness.com/composition-creativity/human-element-landscape-photography
Jim Zuckerman: 
https://www.photovideoedu.com/Learn/Articles/jim-zuckerman-on-landscape-photography-the-human-element.aspx

Further ideas - 

Night photography, creating a distractive different world - 

Brandon Woelfel photography.

• Bright colours
• Portraiture and landscape 
• Bokeh
• Intentions of an overall uplifting and distractive mood when viewed as a collection
• Experiment with long exposure photography
• Possible collaboration between the world through an object theme with this theme.
• Inspired by Rob - rbrgss photography. 

Web image

Landscape places or potratruitre photos, aesthetic pastel theme - editorial

Web image

• Based around colours
• Filters and grain
• Visually pleasing places /  clothing / lighting
• Photoshop 

Documentary evaluation

Evaluation
Learning about documentaries has been insightful yet challenging at times. Personally, I have found studying the idea of ethics in documentaries intriguing. There are many views /  stories explaining the lengths filmmakers can morally go to before it bothers and becomes an issue for the subject, this being a person or topic, some in which  I have found shocking, such as the documentation photographer Kevin Carter and the story ' The vulture and the little girl. ' The photographer captured an image of a struggling, hungered girl in South Africa with a vulture behind her. Instead of scaring or helping the girl, he captured an image and won a Pulitzer Prize award for feature photography - a journalism photography award. Months later, had committed suicide due to the guilt of not scaring the vulture or helping the girl. Ethically, I think there were issues when the photographer captured the photo and the balance between work and being emotional / human was challenged. This striked questions, such as "What is the ethically appropriate response of a documentarian faced with human misery?, What is the documenterians commitment to the truth of a situation?" all according to filmmaker professor, Linda Williams. Examples of other / further opinions include filmmaker Steve James' view, said in an interview with Filmbase - "I think you have to be willing to not film things that you really desperately want, if it helps build a connection and trust, just like you have to be willing to take things out of your movie sometimes if you feel the subjects want it out. In the best films you want to get to a place where you’re not making a documentary about your subjects but you’re making it with them."
Researching ethical issues has provided me with many filmmaker views and has provoked the thoughts and interests I hold in photography documentation. The knowledge provided has allowed me to realise ethical issues in documentation can be controversial, along with challenging the question as to what documentary truth is, and the difference between whats caught on camera and reality. 

Expository documentary
Personally, one of the most challenging topics has been expository. I have understood the concept of trying to tell a story to an audience, however I feel as though I need to practise filming myself to fully understand the style.
Our practical expository documentary is based around women's basketball and how it has changed over time, with similar themes to Ward Sirrills ' The heart of the game.'
Within the practical, there were many advantages and disadvantages. The advantages included successfully including an interview with a participant from the college in the women's basketball team along with a student in the team. The framing of the shots was successful, as the use of rule of thirds made the final footage cinematic and professional. The message itself within our theme about women's basketball changing over time was executed well through the use of voiced-over facts, along with the historical footage added in the edit. This developed and supported the story line, and is parallel to the voice over. For example, when the voice over states facts about Nancy Lieberman, a professional player, the footage is of her shooting in games, etc, adding overall clarity to the story.
However, aspects that could be improved include the sound at times. As the music in the background may be distracting at times for audiences, mostly in the main interview at the end of the documentary, where sound levels for the participant speaking could be heightened. I have
learnt, for future projects, to be sure to film in a location where not much background noise is evident / if outside, film at a particular time where students have a lesson and there are not many people surrounding in cars, etc. Other aspects such as adding another participant or footage of modern professional basketball players could be added at the end of the doc instead of the whole interview, to keep the audience interested more throughout the crucial answers of the participant.
Whilst filming, our group faced some organisational issues. This included scheduling to be able to film when the basketball court was free whilst getting our participant, the captain of the team, to also be free from her timetable. To overcome this, we decided to film the cinematic dribbling shots of the student in the team in the morning, when the court was quiet, then, film the other participant shots at lunch when they had no lessons. As this had background sound issues, I have learnt for future projects in these situations to have other locations if the desired location has a problem, or is unavailable. As we filmed in the morning, we had thoughts that the lighting would be an issue in pre - production, however during filming it proved to make the shot more visually pleasing and was not a major concern. However, if the lighting was an issue for future filming projects depending on the availability on time of day, we could fix the issue by colour correcting in post production or changing the location to a room (for example) that has windows with an outdoor view. This would therefore overall give our desired end product, by making the shots look as polished as possible.
Our documentary did not have major ethical issues, there were no shots reenacted, etc however there may have been sensitive subjects in the footage of the captain of the team being filmed. where there were people in the background of the shot playing football. Our team did not warn them about being in shot, which may have bothered them if they knew. For my final documentary, I would overall attempt to have minor ethical issues with surrounding people, along with being careful on the recording and use of sound. From this style, aspects I would use in my final documentary include a factual voice over.

Participatory documentary
The participatory documentary was an interesting learning experience through filming and editing independently. The theme of the documentary was art, and my message-  how art tells stories and creates meaning in the world, is one aspect in which I felt went well.
As the style of documentary was an interview, permission for the participant had been asked beforehand along with the only people within then documentary being me and the interviewee, meaning no unauthorised filming of anyone else. However, when filming the answers to my questions there were a few retakes to allow the participant to search up a fact about an artist. In the interview, this is perceived as the fact being from previous memory, therefore making that section of asking the question problematic. To resolve this issue for any future filming processes, I could style or change the question so it's purely based on the participants previous knowledge and nothing affecting that once hearing the question.
What went well cinematically was the location, which was in the TV studio of the college. I had placed the props so that there were a few colours evident in the background, from a green and white curtain, pink sofa and black wall. Cons in the documentary including the framing, which is a mistake I had realised when editing. I had attempted to use the rule of thirds however placed the subject too far out of the grid, which also proved to be an issue when scaling and positioning in Premiere Pro. I have learnt, for future projects, to consider the rule more and be sure that the subject has some space on both the left and right side of them, to edit and make the footage as professional as possible.
Independent editing  however allowed me to experiment and apply knowledge I had learnt outside the course, through a masterclass with a professional Ben, teaching BFI academy students on the 3rd of November, 2018. For example, being able to cut quickly between videos due to shortcuts learnt such as  'Q' to cut the start of a video along with deleting the gap, & 'W' for the end of videos and a sequence.
The video itself is clear and has issues which have been resolved in editing for example using the flip effect in Premiere Pro. I had also learnt this in the academy, with a professional editor, named Kate. This has helped me develop my knowledge within the software and has resolved issues with continuity. However, though the continuity issue with the footage of myself was resolved, there were issues on trying to cut when I am looking at the participant answering her questions, as I spoke too soon before and after each question. From this, I have learnt to always give two to three seconds between speech to allow time for cutting. I also learnt this when helping other groups film, along with filming outside the course - giving a few seconds for each action and cut to help in the edit. Also, in editing, to trim on action and cut from the director when possible / if appropriate. ( not appropropriate in times where the cut must start mid way during a characters action, etc)
I will take forward all skills learnt in the editing for my final documentary along with using cinematic rules like the thirds if an interview is included within my final footage. Other factors I may experiment with and consider in an interview situation is to allow the participant to answer freely without being concluded by another question, and allowing the idea of this to flow in the edit. To prepare for this, I could make the participant start the beginning of their sentences with a response to the question, so that the audience have clarity on what the person is answering without the actual question, for example, " who is your favourite artist " cut out to the answer" my favourite artist is..." I had also learnt this skill when helping a filmmaker ask teachers within the college various questions.
Other issues I faced in pre production of the participatory documentary included organisational, scheduling issues. The initial locations to film were the photography studio with a student studying photography, with the questions based around creative subjects sometimes being not as supported as core subjects would be, whether the participant agreed with the idea of that or not, etc. However, due to scheduling issues the participant was not free to film at times I was, along with the availability of the studio. This therefore meant I had to ask another student, however the delay meant I had less time for editing. From my last reflection about time management and backups, I had a few students in backup for unreliability. My questions and theme therefore changed to art, also because I wanted to stay in the same path as creative subjects and platforms, and concluding a message from within an art form.

Observational documentary-
I found this style of documentary most appealing to experiment with & found the concept of attempting to show a message or story interestingly challenging when the filmmaker traditionally has no input. Our example was based around a member from our class and their photography process - behind the scenes of the photos, etc. What went well was the cinematography for some shots, ranging from using shallow depth of field, close ups & hand held shots, following the photographer from a lesson to their habitat of the photography studio. The idea of having aesthetic shots and practising some of this within our documentary is a skill I would like to continue for my final documentary and in future projects. A cinematographer who I have therefore researched and aspire to follow in the industry is Darius Khondji, with examples of stunning shots in 'The beach,' directed by Danny Boyle. Viewing more of his work in the lead up to our final documentaries will give me insight / inspiration on viewing a location through the lens for final cinematic footage. Unlike the filming schedule for the other two styles of documentary, our crew finished and edited the final footage in time, though the process was elongated by some shots and attitudes.
There were also issues that were evident in editing where footage that made the observant not seem as professional or serious had been added in, along with an ethical issue of footage that the group did not know was being recorded, added into the final cut of the video. One of the filmmakers, the editor of the group, therefore did not consider a subjects desires by asking permission. To avoid this in future situations, we must make sure the whole group is certain on a final edit &  has viewed all footage and the subjected person is exceptional on what is being shown before it's finally exported. 
Issues I may face when filming an observational documentary may include what happened within our group where there may be filming when the subject is unaware. As my views on ethical issues agree with statements such as " You owe your audience to tell the truth, to get to the bottom of the story, to be accurate in what you’re presenting.” said by Gordon Quinn, a documentary director. I would be considerate as to what the subject would like to be finally shown. If the observant theme requires the subject to not know they are being filmed, I may, instead of releasing footage that they are unaware of, plan the scenes to portray the same messages without the subject being hurt in the end. Although, some may disagree with the concept of this as the question of documentation being real is raised as stated earlier from Linda Williams. Overall learning about observational documentaries has intrigued me and I have set goals to challenge myself if I chose this style of documentary finally. 

Conclusion - 
Learning about all 3 documentary styles has proven to be challenging, but also insightful as I have learnt much more about this side of filmmaking and aspects behind it. Researching into ethical issues has provided me with knowledge that I will consider in all future projects, along with now being more skillful at things such as editing in Premiere Pro by having the opportunity to develop and express what i've learnt. In my final documentary, I would definitely attempt to film in a way that allows a message and story to come across for the audience.

Bibliography -
Ethical research: 
https://cricketnthebrain.wordpress.com/2010/05/29/the-ethics-of-documentary-intervention-dennis-orourkes-the-good-woman-of-bangkok-linda-williams-documentary-ethics-lecture/
https://pursuit.unimelb.edu.au/articles/the-wolfpack-and-the-ethics-of-documentary-filmmaking
http://www.columbia.edu/itc/film/gaines/documentary_tradition/Williams_EthicsofIntervention.pdf
http://filmbase.ie/an-interview-with-documentary-filmmaker-steve-james/#.XBkv0mj7RPY
http://www.tasteofcinema.com/2014/20-directors-who-are-good-at-making-visually-stunning-films/


Expository documentary:
https://www.imdb.com/name/nm2024238/

Observational documentary:
https://en.wikipedia.org/wiki/Darius_Khondji
https://www.indiewire.com/2014/10/the-ethics-of-documentary-filmmaking-69007/

Participatory documentary practical

As part of initially learning about documentaries, I filmed a participatory documentary using someone who studies art within sixth from. The footage includes me as the filmmaker gathering information using my own knowledge, as a typical style of participatory documentary would, though there are improvements to be made. For example, framing the participant more into the grid of rule of thirds.
I have, to my fullest, attempted to get a clear message in which I wanted the audience to know - how art tells stories and creates meaning in the world.

Link to video:

Photographers

Karl Shakur - Landscape photographer 

Karl Shakur is an adventure / travel photographer who goes around worldwide capturing photographs. Themes within the photography include nature and astrology, and overall have the main aim of capturing the natural world.  

His work also includes working as an ' influencer with a growing audience of over 180,000 ' helping small and big brands tell their creative stories through their own creations and content.

His photography can be interpreted as intriguing as to where the photograph has been taken and when etc, along with his point of view of using the camera. The angles are original and unique, adding depth to the landscape.

To give more strength to his work, there are character and human traces e.g a person them-self or a car somewhere within the frame, which is insignificant in the presence of the wider world. 

Recreation of Karl Shakur's work -
To further explore and understand the photographers work, I have taken a photo in the style of Shakur's, exploring a similar forest setting and colour. The angle at which Shakur's photograph has been taken at is interesting and creates somewhat of unevenness, as to where the road may lead to, along with the photo being straight yet the road having a turn. There is also an interesting aspect added to the photography, the small car which may be a symbol for something deeper that the photographer would like to show. This theme is added throughout the photographers portfolio, for example in the astrology photos where person is sitting at the edge of a cliff in a landscape environment. This gives an important to insignificant ratio, symbolising a natural monumental to a human aspect.

My photo-

Pre production - participatory documentary

Person to interview: Currently studying art
Filming location: A room in my house with lights and art related ornaments
Subject: Art tells stories and allows people to express themselves.

Questions:
Do you enjoy art & why?

What is your go to / preferred type of art technique?

Who is your favourite artist - have they done something impact that's stuck in your head -

Are there stories behind their art pieces?

What is the one thing you wish you knew when you started in this creative platform?

When you practise art, do you usually have a message or something you want to say behind it?

Do you think people in your class and yourself do art to express something, this being an emotion or something you would like to say?

and finally -  Do you think art plays a big role in creating meaning and telling stories in the world?

Photography studio practise - Gel lights.

Experimenting in the studio has allowed me to explore more effects and professional looks, along with initial use of gel lights. The use of these lights have given an interesting and different effect along with adding depth to the shadow left side of the photo, with no light reflecting to the vibrant yellow side, highlighting the clothing and upper parts of the face.

The setup of these photos included a black backdrop and all 3 setup lights switched off. One main focus gel light had been placed at a 45 degree angle on one side of the model to give a light to dark contrasted effect. The render on the models face from a dark to light colour creates some sort of mystery, along with the yellow giving creating uncertainess as to the colours the model may be wearing, skin tones, etc.
One thing that came out well within this photograph was the use of the gel light and the effect it has created from one side to the other, however I could experiment with the positioning of the main subject, for example attempting the rule of thirds by placing the model to the left of the photo using the grid template and taking the photo horizontally, allowing the subject to blend into the backdrop from the right, then a shine on the right side of the subjects clothing then faded into black again. The shine of light onto the piece of clothing without any initial light reflecting into it could create unease or uncertainess, further indicating a way in which these photographs can have deeper meanings. This would require many experimental shots with the settings of the cam

The orange / yellow lighting acts as a warm filter, and the use of shadows within this photograph is interesting & intriguing. The two shot brightens the right side of the frame and model, with the left side shadowed out, as if the subject is fading into the backdrop. The shadow in a particular shape covering everything but the eye creates a sense of  ambiguity as to why the subject is covered.
As the photography is low-key with dark contrasts and shadows, the camera settings included a low ISO and a high F stop, meaning less light into the lens. In the beginning, we adjusted these settings various times to fit the lighting setup and be sure that the backdrop was completely black, but with clear subjects still being visible in the foreground.

Participatory documentaries

Participatory documentaries involve the filmmaker and is a collaborative process, engaging audiences to hear someones story by the filmmaker asking questions to someone /people about a story they are carrying out. This could be as minor as the filmmaker’s voice being heard behind the camera, prodding subjects with questions or cues — all the way to the filmmaker directly influencing the major actions of the narrative
The process involves designing a storytelling process which may reflect the voices and leadership of people impacted by an event or ongoing situation. Some communities / people may wish to ' expose ' a certain story, therefore are in a unique position to offer expert documentation, analysis and research. 
These documentaries are one sided and come from the directors point of view. They strive to show a story or message that the filmmaker wants the audience to see.