COURSEWORK: PROJECT 2 A DURATIONAL SPACE

Exercise 3.2

Using slow shutter speeds, the multiple exposure function, or another technique inspired by the research, try to record the trace of movement within the frame. You can be as experimental as you like. Add a selection of shots together with relevant shooting data and a description of your process to your learning log.

I fancied trying to emulate the long exposures of Michael Wesely but need to capture subjects moving quickly to do so instead of using his technique of exposing over several years. It was a really windy day so I went into the garden to capture plants moving in the wind with long exposures. I set the camera to bulb and used exposures of over 1024 seconds, I tried to time them initially but this proved unsuccessful so I attempted to get the longest exposures as I could by using a small aperture. These were handheld to add to the movement. These two I find quite aesthetically effective.

_MG_9694     _MG_9702.JPG1/1240; f/22; ISO 100; 87mm                             1/1240; f/22; ISO 100; 66mm

With these daffodils I hoped to emulate in a short space of time Michael’s “The life and death of a bouquet of flowers” but in a rooted aspect!_MG_9745.JPG1/1240; f/22; ISO 100; 66mm

Next in a coastal location, I then slowed the shutter on bulb setting further by using an ND 8 stop Filter. Although I used a tripod, it was freezing, my fingers were numb and for some unexplained reason my remote shutter release wouldn’t fire and I therefore may have added some movement to the exposure with my finger on the shutter.  With the sun rising behind me the slow exposure made the image far too dark however I really like the effect and intend using this technique in the future when shooting water in motion. I like the ghostly water set against a backdrop of a dark eerie background.

_MG_06401/1.6; f/40; ISO 100; 200mm

Next I moved indoors with a tripod to capture the movement of a flickering flame; I did add to the natural movement by blowing the flame during the exposure. The remote release worked this time so the only movement was the flame. I don’t find these very effective, probably as only 1 point in the image is showing movement, I feel that they lack rhythm.

_MG_9854        _MG_9855

1/1240; f/5.6; ISO 100; 83mm             1/1240; f/5.6; ISO 100; 83mm

Finally I attempted to shoot some seascapes in the style of Hiroshi Sugimoto.The longer exposure of the first image I find quite effective.

_MG_0709    _MG_9381

1/+1024; f/40; ISO 400; 300mm             1/100; f/13; ISO 400; 300mm

These exercises have certainly expanded my toolkit with additional ways to use long exposures for creative effect, some of which I will pursue later.

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RESEARCH FOR PART THREE: TRACES OF TIME

Project 2 A durational space

Michael Wesely

Michael Wesely is a German art photographer who is best known for his photos of cities, buildings, landscapes, and still lives of flowers taken with a special ultra-long exposure technique, sometimes of two to three years.(http://petapixel.com/2012/03/16/photographs-captured-over-years-with-an-open-camera-shutter/ accessed 28.1.16).weselyThe life and death of a bouquet of flowers. http://www.slideshare.net/Alanevans25364/in-depth-photographer-wesley

His response to “The decisive Moment” was to turn it around and say “okay, I cannot collect the best moments, or cannot find them in the contact sheets, so I’d better collect millions of moments in one picture” (Open Shutter, Michael Wesley Museum of Modern Art 2004).

In the 1990s, he began using the technique to document urban development over time, he used filters and extremely small apertures to reduce the amount of light entering the film, producing images that capture both space and time. In 2001 he began photographing the Museum of Modern Art’s renovation project, exposing for 34 months, using 8 cameras at various sites around the construction site.

wesley 2

Between 2001 and 2004 over a 13 month period he recorded the rebuilding of Leipziger Platz and Potsdamer Platz in Berlin.

wesley 3He claims that he could take exposures for up to 40 years. http://www.unfinishedman.com/the-long-exposures-of-michael-wesely/, accessed 28.1.16.), although his method is of course secret. Wesely has made exposure the essential concept for his photography and less of a technical matter, whilst most photographers expose for a long enough time to register the image and a short enough time to halt the motion.

 

I find that his images have a ghostly nature as the long exposure eliminates any evidence of humans being in the shots and yet we know that they must have been in the shots. The transparency of the building also adds to their visual eeriness. In fact whilst a camera would usually record reality of a situation, though possible represented in a variety of ways in many ways the reality in these urban images is partially hidden. Certainly the camera here is creating a psychological dram to me.

 

Hiroshi Sugimoto

Japanese New York based photographer is known for his minimalistic contemporary series projects, often with blurred out images creating surreal haunting images. One series is minimal stylised seascapes shot with long exposures with blurred horizons down the middle.

sugimotohttp://www.sugimotohiroshi.com/seascape.html

His theatre series used different timed exposures, taken with the shutter open for length of the movie, this leads to just white light being captured on the screen and the people do not appear to have been there due to the radiant white light from the screen (www.youtube.com/watch?v=rY3nGoZqw9U accessed 22.1.16.).This is very different to the effects of the long exposures by Michael Wesley, although the reality of the situation is also misrepresented as the time lapse essentially wipes the theatre screen to white space; these images also have a haunted image just as Wesley’s do to me.

sugimoto 2

http://www.sugimotohiroshi.com/theater.html

He also photographed dioramas of stuffed animals and waxworks in museum displays in an illusionist manner. Sugimoto believes that photography is the best medium to make people think about time and period but that it is also young medium, for instance when he uses it to imitate paintings by photographing wax models (https://www.youtube.com/watch?v=nluiGJ4opt0, Autobiography Hiroshi Sugimoto Part 1, accessed 22.1.15).

Maartin Vanvolsem

He uses a moving camera to capture frames sequentially to build an image up over time, instead of a subject being captured and frozen in a split second. This however produces images that are the result of technology rather than the human eye. These images gain their meaning as the lines change over time because of the moving film and camera, causing sharpness and blurr. In these images the subject is important rather than how it is depicted.vanvolsem

http://kusseneerscom.webhosting.be/portfolio_page/maarten-vanvolsem/ accessed 5.2.16.

Christopher Doyle

Is the Cinematographer who shot the opening scene to Wong Kar-Wais Chungking Express (1994) at 1/8 second employing a “stutter-step effect, most likely by removing every second frame-or even every second or third frame- and duplicating others” (http://thedissolve.com/features/movie-of-the-week/221-how-wong-kar-wai-turned-22-seconds-into-an-eternit/ accessed 5.2.16). This gives usually gives blurred movement and interestingly it is effectively neither slow or fast-motion. Having watched the sequence it is fascinating how the eye does naturally read a sequence of frames as movement.

 

Francesca Woodman

She took her first self-portrait at 14 and from then until her death at the age of 22 took some 800 photographs using innovative techniques. She frequently used time exposure, which blurred and diffused her figure. She was both presenting and dissembling herself and “she clearly sought to escape the strictures of the single image and still, frozen photographic stasis” (http://www.gerrybadger.com/francesca-woodman/ accessed 5.2.16). Apparently her work derives partially from the seventies American tendency to combine “personalised psychodramas with temporal and spatial displacements of long exposures and blurred movement”. (http://www.gerrybadger.com/francesca-woodman/ accessed 5.2.16), but in simpler terms, yes the shutter is creating psychological drama.

Woodman

Robert Frank

His work in the book The Americans (1959) is said to have changed the direction of photography and changed many of the rules set out by Henri Cartier-Bresson. Travelling round parts of America he shot 27,000 images and reduced these to 83 for the book. He used a handheld camera with movement and tilt producing grainy blurred images. Many reviews were disparaging, such as Practical Photography who dismissed the book’s “meaningless blur, grain, muddy exposures, drunken horizons and general sloppiness”. (http://www.theguardian.com/artanddesign/2014/nov/07/robert-frank-americans-photography-influence-shadows  accessed 8.2.16) He preferred to present things as they were rather than romantically and therefore at the time was even accused of being anti-American.

frank

 

I find some of the photos that he took inside Ford’s River Rouge plant in Dearborn the most interesting, photographs with a grainy blur and this one “ two lines of men at work, blacks and whites side-by-side and facing each other across the assembly line that runs up the middle of the picture” (http://www.npr.org/2009/02/13/100688154/americans-the-book-that-changed-photography accessed 8.2.16).

Frank 2

Of these photographers I have a strong preference for the work of Robert Frank, I intend to research him further and in time would like to try photographing using his technique.