Today in this week’s workshop, we covered aspects of lighting and different lenses. Beginning by introducing us to the concept of “Full Frame” and “Cropped” Sensors.
Unlike ‘Full Frame’ sensors, which contain a larger amount of pixels captured in a single shot. ‘Cropped’ sensors are cheaper to make and are widely used in fashion, paparazzi and sports photography because they create a sense of spatial intimacy between photographer and subject (things look closer than they actually are). ‘Full Frame’ sensors are useful because they allow more flexibility when editing in post-production due to the wider composition and frame, there are more available pixels to crop and manipulate. We were also trained on a wider set of equipment and lenses, including flash guns, and radio transmitters.
Following our training, we were able to get some time in the studio as part of our learning we also looked at studio lighting and reflectors…
Earlier in the week I was able to take some more images. After looking at my initial images, I reached the conclusion that they weren’t working as well as I had hoped so I decided to experiment with different camera angles. In particular, using part of the vehicle as a framing device that provides contexts to the content off screen; indicating, location, time of day etc. I was very influenced by Lee Friedlander and Rebecca Evans. It is interesting to mention that most of the commercial images of cars are presented in a black and white format that appeared highly aesthetic. I have shot and edited these images in a way that made them appear vibrant and stylised by utilising a high contrast and oversaturation.
I feel that I am still having issues with making the cars appear more ‘human’, I may be able to combat this by approaching my photographs in a similar way to portraits by incorporating techniques such as soft lighting. I plan on doing another set of shoots to experiment further this theme. After doing more in-depth research into photographs of cars that look like faces, it appears that composition and cropping is a fundamental element that makes these images work best. Most images of cars also are shot in similar ways, most shots are frontal to the vehicle but from a lower angle; similar to the characteristics of a portrait.
I had the idea of adopting a similar approach to Friedlander by creating a temporal study using a set of images that were framed in the exterior mirror of the car; tracing our journey to university every day. I took a small time lapse to document a segment of our journey down the M4 from Swindon to Bristol.
Time Lapse Video:
Here is a selection of images from my most up to date shoot, here I have taken a variety of shots from different angles; utilised from other artists that photograph cars. After this shoot I have established that I want to base my project around the concept of fetishism, objectification and consumerism by exploring how particular cars are photographed and analysing patterns of consumption. I am interested in cars because they are an object that often has fundamental ties within daily life, social status and transportation. I personally have an interest in vehicles because they represent many private objectives and themes such as freedom, status and escape.