Talking Pictures (7) – Image and Genre

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Goff James, Lily, 2017, FL 50 mm, Exp 1/4sec, f/13, ISO 3200

All images used here are the copyright of:

© goffjamesart/photography/poetry

Welcome followers and visitors to my blog and one more update in my photography diary. The task is to create and select six personal images across six different genres and then present them for discussion within an open forum. This is my fifth image in the series entitled “Lily“.

Macro Photography – Definition

Macro photography can be defined as;

  • close-up  photography; Macro photography (or photomacrography[1] or macrography,[2] and sometimes macrophotography[3]),
  • in which the subject of the photograph is usually very small or is a very small detail of a larger object resulting in a larger than life size image,
  • an image taken from close-up or extreme close-up range allowing it to appear on the sensor plane equal to life size or greater,
  • photographing small animate or inanimate subjects in close detail,
  • photographing everyday objects and making them appear extraordinary,
  • producing photographs of small items larger than life size.
  • referring to the art of making very large photographs).[2][4]
  • as one in which the size of the subject on the negative or image sensor is life size or greater.[5]
  • to a finished photograph of a subject at greater than life size.[6]

 

  1. Thomas Clark (2011). Digital Macro and Close-Up Photography For Dummies. John Wiley & Sons. p. 29. ISBN 9781118089200.
  2. Graham Saxby (2010). The Science of Imaging: An Introduction (2nd ed.). CRC Press. p. 269. ISBN 9781439812860.
  3. Webster, Merriam (1996). Collegiate Dictionary, 10th Ed. Merriam-Webster, Inc. p. 698. ISBN 0-87779-711-0.
  4. Michael Freeman (2010). The DSLR Field Guide: The Essential Handbook to Getting the Most from Your Camera. Focal Press. p. 30. ISBN 9780240817200.
  5. 
Marom, Erez. “Macro photography: Understanding magnification”. Retrieved 20 May 2012.
  6. Photography.com. “Macro Photography”. Archived from the original on 2008-11-06. Retrieved 20 May 2012.

    Reference List

    https://en.oxforddictionaries.com/definition/macrophotography

    https://en.wikipedia.org/wiki/Macro_photography

    http://www.photokonnexion.com/definition-macro-photography-close-up-photography-photomacrography-macrography/

    http://www.shawacademy.com/blog/what-is-macro-photography/

 

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Goff James, Lily, 2017, FL 50 mm, Exp 1/4sec, f/13, ISO 3200

 

All images used here are the copyright of:

© goffjamesart/photography/poetry

The image is a studio close-up macro photograph of a single lily head. The camera was laid on the same static base which supported the flower head and directly in front of it. The studio lighting was moderately high key and was positioned above and to the left of frame as well as from behind the camera position.

Within the image the depth of field is very shallow due to focussing so close. Consequently only the central anthers are in the sharp zone of the image ensuring that the foreground image remains clearly defined whilst the background is softened through blurring. A  small aperture of f/13 was selected to maintain as much sharpness as possible. As the subject was static I used a long exposure time of 1/4. A very fast film speed of ISO 3200 was utilised.

From a compositional perspective the single flower head, on the plain velvet background, fills the frame and is located centrally but off set obliquely avoiding a direct frontal image. The vibrant colours of the blossom have been accentuated during the photo-editing process and set against a monochrome background. The image is imbued with sheer audacity and boldness.

The editorial modifications that have occurred have accentuated the strong outlines of the petals. However utilising a cut bloom and photographing it in the studio under the artificial light sources has impacted upon the blooms naturalness but it still possesses a remarkable sense of elegance.

The magnification of the lily is so detailed that the background is eliminated. Enlarging the petals far beyond life size proportions forces the viewer to observe the small details and the relationships between the various structures that might otherwise be overlooked.

‘The subject matter … should never obscure its form and colour, which are its real thematic contents.’

Georgia O’Keeffe

By doing this the lily head is transformed into an iconic representation of flowers through integrating the intimate and the grandiose within a single form. A symbol of beauty, sensuality, feminism, contemplation, and inspiration. O’Keeffe always insisted that there was no hidden symbolism, just the essence of the flower.

However the very nature of the flower invites the viewer to imagine its luscious sensuality but to question the relevance of its symbolism within the context of the composition.

The image conveys a monumentality of presence which is further accentuated by its very minimalist nature. Though the image is a reflection of a perfectly formed flower there is a sense of an emerging abstraction form from within.

The lily head is bathed in a crisp ambient light, every element quietly asserts its essential properties and presence.The composition is uniformly vibrantly coloured with its fluorescent pinks, greens and oranges integrated within and counterpointed by the monochrome tones the background.

The image not only possess a pleasing geometric symmetry, a broad spectrum of shade and texture, a sense of blowsy lusciousness but also a provocative sensuality with its apparently  implied erotic imagery.

The staging of the composition very much reflects the influence of 20th Century American artist Georgia O’keeffe,1887–1986.

However, O’Keeffe insisted that her works were simply depictions of the beauty of flowers. O’Keeffe may have been emphasising the androgyny of the reproductive parts in order to counter the idea that her subject matter was connected to her gender.

“You hung all your own associations with flowers on my flower. You write about my flower as if I think and see what you think and see of the flower—and I don’t.”

Georgia O’Keeffe (1939)

The focal point of the image are the lily’s anthers located directly centre stage that are the central pivot to the precise outlines of the petals and accentuate the imposing monumentality of the lily.

A pleasing counterpoint is created through the use of contrasting light and dark areas as well as the varied reflective qualities of the light off the various morphological parts of the flower head.

The single lily not only creates shapes, patterns and textures but stands as static monumental structure within the composition providing a sense of cohesion. A strong sense of rhythm and movement is created through the manner in which the folds in the velvet cloth are echoed in the petals of the lily.  The convergence of the invading diagonal central lines of the petals, the dot patterning, sepals, stamens and carpel accentuate this sense of flow.

Reference List

https://gardencollage.com/inspire/art-design/women-artists-legacy-floral-paintings/

http://uk.phaidon.com/agenda/art/articles/2014/february/05/what-do-you-see-in-georgia-okeeffes-flowers/

https://www.metmuseum.org/toah/works-of-art/69.278.1/

http://www.outdooreyes.com/photo118.php3

http://www.theartstory.org/artist-okeeffe-georgia.htm

http://www.theartgorgeous.com/5-facts-on-georgia-okeeffe/

https://www.widewalls.ch/georgia-o-keeffe-flowers/

All images used here are the copyright of:

© goffjamesart/photography/poetry

Thank you for sharing your time with me.

Have a great day.

 

Image and Message (4)

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Goff James, Untitled, 2017 (FL 18.00mm, Exp. 1/15sec, f/4.0, ISO) 3200)

Welcome followers and visitors to my blog and another update in my diary. Here are some more images from my last photoshoot. I continue to develop ideas with regard to symbolism, narratives and still life.

(FL 18.00mm, Exp. 1/15sec, f/4.0, ISO) 3200)

(FL 18.00mm, Exp. 1/13sec, f/4.0, ISO) 3200)

In this series of still life images I have introduced some new objects to see how this might change the narrative. I also wanted to see the effect that the light  might have on different surfaces.

(FL 23.00mm, Exp. 1/13sec, f/4.0, ISO) 3200)

I also experimented with the orientation of the compositional structure, the use of solid and transparent materials as well as the concept of magnification of certain areas by other objects within each still life set up.

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Goff James, Untitled, 2017 (FL 28.00mm, Exp. 1/20sec, f/4.5, ISO) 3200)

Low Key lighting was once again adopted. I find this kind of ambient lighting adds subtlety and a sense of heightened drama to the final outcome. I particularly like the juxtaposition of light and dark, the flow of light through and around objects and use of varying textures.

(FL 28.00mm, Exp. 1/20sec, f/4.5, ISO) 3200)

As the photo shoot progressed many different ideas were developed. I have also toyed with the use of monochrome and the effect and impact that it might have or not have on narrative creation.

These images are the products of the second part of the photo shoot. On this occasion each image is untitled.

All images used here are the copyright of:

© goffjamesart/poetry

Thank you for sharing your time with me.

Have a great day.

Image and Message (3)

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Goff James, Self Portrait 1, 2017 (FL 18.00mm, Exp. 1/5 sec, f/5.6, ISO 3200)

Welcome, yet again, followers and visitors to my blog and the latest update in my diary. On this occasion working in my own studio developing more ideas with regard to developing narratives through the medium of still life and the use of symbolism.

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Goff James, Self Portrait 2, 2017, (FL 18.00mm, Exp.1/5sec, f/8, ISO 3200)

This time I have selected alternative objects to experiment with in the studio. Again I  selected the Manual Mode on the camera as it gives me greater flexibility working with different lighting and the development of narratives.

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Goff James, Self Portrait 3, 2017, (FL 18.00mm, Exp.1/5sec, f/8, ISO 3200)

In this series of still life images I have included six objects in an attempt to create a narrative related to a particular individual. In a sense it is biographical.

Apart from the lighting the only other variable is the candle. I wanted to to see if by changing the significance of whether the candle was lit or unlit changed the impact upon the interpretation of the image upon the viewer.

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Goff James, Self Portrait 4, 2017, (FL 32.00mm, Exp. 1/5 sec, f/4.5, ISO 3200)

Low Key lighting was once again adopted. I find this kind of ambient lighting adds subtlety and a sense of heightened drama to the final outcome.

This was a much more difficult task to achieve in my studio not having a wealth of willing helpers easily at hand to assist in the set up process or a gantry with lights, light modifiers, soft-boxes, snoots, barn doors and backdrops. Shows I have been listening. Improvisation and thinking on the hoof was the name of the game as the shoot progressed.

These four images are the first products of that photo shoot.

All images used here are the copyright of:

© goffjamesart/poetry

Have a great day.

Image and Message (2)

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Goff James, Beauty, 2017 (FL 50.00mm, Exp. 1/4, f/13, ISO 3200)

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Goff James, Beauty 2, 2017, (FL 50.00mm, Exp. 1/4, f/13, ISO 3200)

Welcome followers and visitors to my blog and the latest update in my diary. Back in the studio once again developing ideas with regard to attempting to develop narratives within the context of Still Life and symbolism.

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Goff James, Mimicry, 2017 (FL 50.00mm, Exp. 1/4 sec, f/10, ISO 3200)

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Goff James, Waiting, 2017, (FL50.00mm, Exp. 1/4sec, f/10, ISO 3200)

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Goff James, Blush, 2017, (FL50.00mm, Exp. 1/4sec, f/10, ISO 3200)

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Goff James, Moonlight, 2017, (FL50.00mm, Exp. 1/4sec, f/10, ISO 3200)

New objects to experiment with this week. I decided to continue to work in Manual Mode which provided me with greater flexibility and a much steeper learning curve. Experimentation continues in the studio with Still Life and development of narratives. Hoped to have lit the candle but health and safety issues intervened. Gaining in confidence! Mistakes more readily recognised. Each error is a step forwards.

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Goff James, Stranger, 2017, (FL 50.00mm, Exp. 1/4, f/13, ISO 3200)

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Goff James, Stranger 2, 2017, (FL 50.00mm, Exp. 1/4, f/13, ISO 3200)

Low Key lighting was once again adopted. This remained to some extent a variable factor but I had more control over the lighting conditions within the studio. I particularly like the ambient atmosphere created by low light levels. There is a softness and subtlety to the end results.

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Goff James, Embrace, 2017, (FL 39.00mm, Exp. 1/5sec, f/10, ISO 3200)

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Goff James, Embrace 2, 2017, (FL 39.00mm, Exp. 1/5sec, f/10, ISO 3200)

I continue to be drawn to working with man made and organic objects. I find that their  juxtapositions within Still Life composition completely absorbing at present. Working with the different objects permits me to create and develop new ideas with regards to narratives  that I may wish to pursue further.

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Goff James, Break Up, 2017, (FL 39.00mm, Exp. 1/5sec, f/10, ISO 3200)

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Goff James, Break Up 2, 2017, (FL 39.00mm, Exp. 1/5sec, f/10, ISO 3200)

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Goff James, Seduction, 2017 (FL 39.00mm, Exp. 1/5sec, f/7.1, ISO3200)

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Goff James, Seduction 2, 2017 (FL 39.00mm, Exp. 1/5sec, f/7.1, ISO3200)

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Goff James, Violation, 2017 (FL 39.00mm, Exp. 1/5sec, f/7.1, ISO 3200)

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Goff James, Violation 2, 2017 (FL 39.00mm, Exp. 1/5sec, f/7.1, ISO 3200)

I have deliberately given each image a title. I have also attempted to experiment with the possible varying tensions created either covertly or overtly within a narrative that maybe or maybe not be present in an image whether it is coloured or in monochrome.

Image and Message (1)

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FL50.00mm, Exposure 1/10sec, F.32, ISO 3200

 

Welcome followers and visitors to my blog and the latest update in my diary. Truly this is a journey of discovery and a process of learning by trial and error. It’s remembering that is the problem.

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FL 50.00mm, Exposure 1/1000sec, f/6.3, ISO 3200

 

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Goff James, Flux, 2017, (FL 50.00mm, Exp. 1/1000sec, f/6.3, ISO 3200)

My latest venture has taken me into a new dimension – DSLR Manual Mode use of. Now there’s another great leap, literally, into the dark – pardon the pun. Experimenting in the studio with Still Life and creating a narrative.

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FL 50.00, Exposure 1/13sec, f/8, ISO 3200

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Low Key lighting was adopted. This was a variable factor which was dependent upon the requirements of others in their photoshoots and consequently over which I had no control.

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This was, on my part, a conscious decision to work within this parameter. For me this added increased tension knowing that I did not have full control over the final outcome. However it permitted me to experiment with the required adjustments needed whilst in Manual Mode.

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FL 50.00, Exposure 1/13sec, f/13, ISO 3200

 

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FL 50.00mm, Exposure 1/8sec, f/7.1, ISO 3200

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Goff James, Tryst, 2017 – FL 50.00mm, Exp.1/13sec, f/13, ISO 3200

I have developed an interest in working with objects and Still Life that allows me to create narratives with specific overt or covert meanings. I am drawn to the juxtaposition of organic and man made objects within an image and how they relate to one another.

Have a great day.

Light and Focus

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Goff James, Memories, 2017

Welcome followers and visitors to my blog and the latest update report in my diary. As I have indicated in recent diary blogs I have been trying to master some of the basic skills required in using my DSLR camera.

I am now trying to apply the theory in and out of the the studio in attempt to create successful images. I have been experimenting with high key lighting, low key lighting, daylight, depth of field, colour versus monochrome, symbolism, composition and developing narratives.

It’s still early days and through my ramblings in the diary and fumbling with the camera I have at least completed a basic portfolio of images.

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Goff James, LT 1, 2017

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Goff James, LT 2, 2017

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Goff James, LT 3, 2017

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Goff James, LT 4, 2017

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Goff James, LT 5, 2017

The images presented here are some that I have put forward for in house discussion.

Have a great day.