Assignment 3 - Colour

Objective

This assignment shows my command of colour in photography, finding and using colours in deliberate relationships.

I have identified the 4 colour relationships:

Harmony through Complementary colours

·         Red and Green in proportion of 1 to 1

Harmony through Similar colours

·         Blue and Green in proportion of 4 to 6,

·         Green and Yellow in proportion of 9 to 6

·         Red and Orange in proportions of 6 to 8

Contrast through Contrasting colours

·         Blue and Yellow in proportion of 9 to 4

·         Green and Violet in proportion 6 to 3

·         Orange and Green in proportion 8 to 6

·         Red and Blue in proportion 6 to 4

·         Violet and Yellow in proportion 3 to 1

Accented

·         Red on Green background

·         Colour on Grey background

For this assessment I have demonstrated the technical and visual skills needed to create the images with the desired colour relationships. I have identified the colour combinations in a number of locations and have taken great care in creating images with colours in the appropriate proportions to achieve the effects required. With careful composition and the use of judicious cropping (only where absolutely required) I have managed to create images that create harmony via Complementary or Similar colours. I have also created Contrast through the use of colours two thirds of the way around the colour wheel.

I approached the project by identifying the images that I required to show the desired combinations then plotted these against potential subject matter . Using this matrix I was able to ensure that no combinations were overlooked. I chose for my categories Street Scenes, Flora, and The Supermarket. These would give me a range of subject matter, together with natural and man-made colours.

The photographs were taken on the streets and railways of London, at Kirkstall Abbey in Leeds, and at the fruit and vegetable section of Morrisons supermarket. With the exception of the Supermarket images, the images were created from ‘found’ subject matter. The Supermarket images were modified arrangements of the food displays creating semi ‘Still Life’ images.

Finding some combinations proved to be a challenge and I didn’t always have the correct equipment with me when they were found. I have been reminded that “the best camera you have is the one you have with you”, so two of the images were taken with a Smart-phone. It’s easy to identify one due to the equipment’s poor low-light capability which has resulted in an image of poor quality, but to my mind it still effectively demonstrates the found colour relationship sought.

Harmony through Complimentary colours

Complementary Red and Green in proportions 1:1

In this image of radishes taken in the supermarket I was able to arrange the product in a way to give the balance of approximately equal amounts of Red and Green.

Complementary Red and Green in proportions 1:1

 

In this image taken in China Town there is an approximate 50:50 mix of Green and Red. This was created by careful composition when the exposure was made. Movement was achieved by waiting for a shopper to stop in the frame at a position ‘pointed’ at by the dislodged bollard.

Complementary Red and Green in proportions 1:1

 

In this image of shops in Carnaby Street the balance of Green and Red was again created through composition. In this case a great deal more of the Green façade was included to balance out the proximity of the Red store front. The diminishing perspective adds interest and movement down the street. 

Harmony through Similar colours

Similar Green and Yellow in proportions of 9:6

 

The ‘stronger’ colour Yellow appears in smaller proportions to the Green to achieve the harmonious effect required. This was done by the moving the vegetables to generate the balance required.

Similar Blue and Green in proportions 4 to 6

 

More Blue was required in this found subject to ensure harmony was achieved. The amount of Green seen was moderated by the inclusion of an appropriate amount of the dark Green foliage to the right of the image.

Similar Green and Yellow in proportions of 9:6

 

The ‘stronger’ Yellow sign was controlled during exposure by varying the amount Green frontage in the viewfinder. The eye is led to the sign and movement is created through the angle of the frontage.

Similar Blue and Green in proportions 4 to 6

 

This image was taken outside the Liberty store in London in evening light.

A greater degree of Blue was included in this image through the careful placement of the camera above the subject. Taken from the side, the Blue flowers would have been dwarfed against a wheelbarrow full of Green.

Similar Yellow and Green in proportions 9:6

 

Again, in this image, the relative mix of the stronger Yellow was controlled by the degree of inclusion of the Green foliage. The lower the camera angle the more Green was included.

Similar Red and Orange in proportions 6:8

 

Contrast through Contrasting colours

Contrasting Blue and Yellow in proportions 9:4

 

There is significantly greater more of the ‘weaker’ Blue  colour in this image than Yellow. Movement is created along the platform by the use of perspective leading to the departing train.

Contrasting Orange and Green in proportions 8:6

 

Contrasting Red and Blue in proportions 6:4

 

This image of newspaper stands in China Town was cropped to obtain the correct proportions of the ‘stronger’ Red and ‘weaker’ Blue.

Contrasting Violet and Yellow in proportions 3:1

 

Careful composure was required to ensure the correct balance of Violet to Yellow.

Contracting Violet and Yellow in proportions 3:1

 

Contrasting Blue and Yellow in proportions 9:4

 

The correct balance of colours for effective contrast were controlled by the amount Yellow shop front included in the image. This was done partly during exposure and fine tuned by cropping.

Movement in this photograph taken inside Covent Garden market was created by the shop frontage pointing at the steel building structure and by the offset vertical.

Contrasting Green and Violet in proportions 6 to 3

 

Careful composition ensured the correct balance of Green to Violet.

Colour accent

Accent of Pink flowers against a background of Green

 

There is more than one accent point in this image but the sea of Green is sufficiently broad to create the desired effect.

Accent of window flowers against building

 

The accent in this case works on 2 levels. The first is colour where the flowers provide a significant contrast to the predominantly grey building. The second is of a natural element in a strongly man made environment.

Tutor comms

Yup. We can't keep the physical object so I keep videos of examplars. It will make sense when you see it.

cheers

dave

On Tue, Aug 14, 2012 at 5:07 PM, Mike Harris <mikekharris@googlemail.com> wrote:

Video Dave?

On Aug 14, 2012 2:34 PM, "David Kinney" <davidkinney-tutor@oca-uk.com> wrote:

Hi Mike

This is to confirm that the deadline for the next assignment is

31.08.12

I will need to edit the video to save identity so it won't be any time soon.

Regards

Dave

Tutor comms

Hi Mike

You are at the earliest stage in the course so I have no concerns about your abilities to progress and get to grips with it all. Don't worry about the sketchbook if you find it difficult. Others like you have found this but ended up as prolific users. The term sketchbook is a generic one and only applies to the empty page book which can be used for a range of purposes. You might learn from looking at Artist books though. If you don't want to give it a try thats fine with me. If you think you might, I can send you a sketch book from a 2nd year student from a previous institution if you think that would help.


I have been watching your colour project progress and you really are getting a lot out of this one. Keep up the good work.

Regards

Dave

Tutor comms

Hi Dave,

Thanks for constructive feedback of my second assignment.

·         For ‘guidance’ I have used a similar form to that used in the study material. I find that undertaking these help me to clarify exactly what I was trying to achieve in the exposures. It’s also true that during the creation of these, elements previously unseen do become apparent. Sometimes I surprise myself when I have, without thought, created a perspective that came ‘naturally’ in my composition. In the past I have created images that I have found appealing without really understanding why. Undertaking the analysis, looking for shapes, lines, and now colour, have revealed to me why these images ‘work’.

For my next assignment, where colour is involved I am experimenting with an alternate style of demonstrating the achievement of the aims of my image making.

·         For the next assignment I will check the size of the prints to 10x8 as suggested.

·         I apologise for the confusion regarding ‘unused’ images on the CDROM. These were included in the book version of the submission to give the book a ‘complete’ feeling. The images for assessment were printed one to a page with the ‘guidance’ image opposite. Unfortunately the printer of the book doesn’t allow pages without images so I used other pictures taken to fill the pages where required. I thought it made for a structured and appealing way of viewing the project. I didn’t include the book in the end as my good lady said it would be inappropriate given your clear guidance to avoid books. I should have remembered to remove the additional images from the CDROM. I will in future use naming conventions that clearly identify the images.

·         I understand your point about foreground shade and strongly lit background. The railing scroll interestingly was added on a subsequent visit because I didn’t think I had found an adequate ‘curve’ image. Choosing the scroll as the focal point confuses the entire image. Would it have worked better with the focal point shifted to the graveyard? On the this second visit I also sought a better ‘single point’ composition. This I didn’t use. It was interesting that the first visit ‘flowed’ easily. On the second visit I felt I was trying too hard to find things that didn’t exist in the images created.

I understand the same concern with ‘two kinds of implied triangle’ but I love that picture. I loved the site when I came across it, and in addition to finding the triangles I was seeking, I really wanted to record the image of what I saw. Creating a balanced image given the extremes of lighting between foreground and background was difficult. It required careful exposure to optimise (without artificial means), the foreground without burning out completely the background. It was the contracts that were appealing and what I set out to capture. Do you think I would have had a very different photograph if I had returned when the lighting was more even? I will return and take a number of images at different times to see.

·         I’ll take a look again at the material and see how better it can meet the assessment criteria.

·         I am struggling with the Sketchbook concept for this course. I understand its purpose for drawing or painting but haven’t really grasped how it should be used for photography. Believe it or not I work completely paper free as I have no permanent office and work entirely from a briefcase. I use a laptop, tablet and smartphone all of which have access to the same data. I always have my smartphone on me and it’s here that I jot down any thoughts or reminders (be they work, personal or photographic). I can carry paper if the contents of the sketchbook really are sketches, but to be frank I really don’t know what I should be recording. Do you have an example that you could share with me?

·         I said early on in the course that my engineering background would prove a challenge. The reason my observations are matter of fact and rather like a report is that there is no room for emotions, or opinion for that matter, when commenting on technical issues. An experiment has to have demonstrable, repeatable outcomes and reports have to reflect this. Aside from the technical skills, photography as an art form is clearly very subjective and I currently doubt the value of my opinion when a great deal of what I read is currently beyond me. I became very frustrated when I read Cotton’s clear and unambiguous statement of the meaning of Bolande’s ‘Globe’. Her view of the authors intent is so strong that it doesn’t seem allow for any other interpretation. My objective in canvassing the views of friends was to show there was either room for interpretation, or that the declared intent was only understood by those with superior insight, or indeed it was all bunkum.  In my ultimate paragraph on the post I challenge the supposed thought processes behind the creation of the images.

“This says that Jennifer Bolande thought “I want to explore human understanding from micro to macro-cosmic proportions”. “Through simple and subtle observation, I’m going to convey a sense of constrained human understanding”. Having seen the globe in someone’s window, Jennifer then goes on to think “capturing a photograph of that will draw attention to the way in which we receive knowledge about the world. That globe will show that we use dwarfed, simplified models.” “And the window will show that our views are only partial”.

If these preposition is true I feel confident to comment only on the technical aspects of the image. My opinion of the art I feel holds little value.

Personally, I am happier with the feedback from my friends on the subject. They take from the image what is resonant with them. To me they are all equally valid and demonstrates to me the value of art. One of provoking thought and emotions, and stimulating debate. My personal view on the image?  The globe I don’t think is in an unusual location. Having raised 3 children, I am unsurprised about where anything is stored! I also doubt that the owner of the globe placed it on the window ledge with any significant meaning. Perhaps it was unwanted gift so its hidden behind the curtains. Perhaps it’s a child’s bedroom and putting it in the toy box would scratch its surface. Perhaps someone does use it as their principle means of understanding the geography of the world. Whilst this would indeed “show that we use dwarfed, simplified models”, but given that we all now use the internet, Google Earth and other less superficial tools, I doubt it. The globe today is primarily ornamental.

So. I am reserved about expressing my opinion on the art element until my grasp of its concepts improves!

·         Degas Andre Kertez are now on my reading list!

·         I shall order the recommended print boxes. Should I send my work to you in these or just when I prepare the final assessments?

Finally, I’ll try not to read into the assignments what isn’t there and prepare the Colour assessment with that in mind.

Regards,

Mike

From: David Kinney [mailto:davidkinney-tutor@oca-uk.com]
Sent: 09 August 2012 14:11
To: Mike Harris
Subject: Assignment 2 feedback

Hi Mike

Please find attached your feedback for the 2nd assignment. Again please read through carefully. If there is anything which is not clear please let me know. Apologies for the slight delay in getting this to you. Staff holidays have impacted on the process. 

I will send back the images this week

regards

dave

Assessment 2 Tutor Report

	Open College of the Arts
	Tutor report

Student name	Michael Keith Harris	Student number	510286
Course/Module	Photography 1: Art of Photography	Assignment number	two

Overall Comments

This is a significant improvement on the 1^st assignment. There is a uniformity of approach, exposure and subject matter; you haven’t been tempted to go off in a tangent. There are some fine shots here and the project hangs together well. Strong composition is a feature of many of the images and the aims of the assignment are clearly met in most cases. Perhaps a weakness to the submission is that some of the images seem to meet the criteria on reflection and examination of the final results rather than at shooting stage (hence the careful guidance you provide in the diagrams attached).

I appreciate seeing prints this time as it is easier to lay out and see the submission as a whole. It allows me to gauge almost instantly the quality and relevance of the assignment and how you have responded. The size is a little small for a submission though, (see my comments below).

Assessment potential

I understand your aim is to go for the Photography Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to succeed at assessment.  In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.   

Feedback on assignment (Demonstration of Technical and Visual Skills, Quality of Outcome, Demonstration of Creativity)

The subject matter (cemetery) was a good choice for this assignment, helped by the quality of light and how it plays on the elements of the image. You have exploited this to great effect in many places, but have also missed some great opportunities too (is this editing again?) You submit additional images on CD, which might suggest this is the case. Editing skills come with time, and without a defined narrative it is often difficult to undertake, so there is nothing to be concerned about at this stage.

It is important for your submission to be clear which images are part of the portfolio. Number and Title the submission images and keep extraneous shots within the supporting documentation or blog, possibly commenting on why they were not part of the final cut. The assessor has to be clear which images contribute to the assessment and shouldn’t have to try and work this out. Do check Jose’s video on presentation methods for submission. You will find this useful. The book could be useful as a quick reference here, (it was not in the package which I received so I assume you still have it).

In general terms you have to be very careful when the foreground is in the shade and the background is lit strongly. This draws the eye away from the main subject and attention of the viewer. Overall this creates an pleasant “impression” but makes the eye float away from the important part of the image. Compare the success of the ‘curves’ image with tree and headstone, which is an excellent example of the advantage of exploiting the light in this fashion, compared with the ‘curve’ image of the railing scroll and the  ‘two kinds of implied triangle’. You can’t move the sun at will, but you can change the time of day you take images to create the best effect.

Elsewhere (as in the more close up shots of the stones) the warm hues and the stronger composition provides impact, and are for me the best images in the portfolio.

Overall you have achieved the aims of the assignment, but I wonder if there are stronger images which may have improved the submission overall. It is important not to forget the lesson learned from the previous projects as you focus on new visual challenges. There are 2 examples where this seems to be the case. The scroll image is weekened as the subject is pushed to the extremes of the composition losing its emphasis and powerful shape is diminished. A large are of out of focus background dominates the image and suffers from the light dark feature mentioned above.

The gothic gravestone is begging for more space as it seems cropped in a claustrophobic manner. Also, a slight position change would allow the truncated pillar to be differentiated from the memorial in the background.

In many of your submitted images you are pointing out the elements in the negative spaces created by the subject/s and scene whereas the object of the assignment is to use the subject/scene to create shape through position and framing. Again, I think you are perhaps making things difficult for yourself by reading too much into the assignment. As mentioned above, there are images, which display all of the requirements of the assignment. SQ10 is a prime example of triangle for instance whereas you label it as irregular shapes- again in the negative spaces, which is less convincing.

For submission for assessment, I suggest you re-visit this project after looking again at the examples in the handbook and focus on the positive rather than negative shapes during the editing process. I feel confident that the assignment is within the project, but just needs some careful consideration and care during the selection process.

Sketchbooks Demonstration of Technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

You don’t seem to have a sketchbook at present. You might want to consider this. You can jot down ideas and re-visit them at a later date. It works in  a very different way to the blog and having both methods for idea development and reflection can be beneficial.

Learning Logs/Critical essays Context

You have acted on my suggestion of making better use of the resources around you and this is a positive start. You are commenting on what you have experienced, but in a rather matter of fact manner. Comments sometimes have a feeling of a report rather than expressing what you are seeing, feeling, reacting to. Don’t be afraid to express your own thoughts and reactions.

This is going in the right direction though and I think you will develop your own style naturally over time.

Suggested reading/viewing Context

You have started reading Cotton’s book which is a good start. You have used this to stimulate debate among colleagues but you don’t seem to wish to offer your own views. Challenge yourself to think aloud. There are no wrong answers!

For implied line and shape I always recommend looking at Degas work especially the ballerinas paintings and the Photographer Andre Kertez.

Pointers for the next assignment

So key points to take forward

Create the image in camera and not rely too much on post production editing.

Consider presentation for assessment. You might check out inexpensive print boxes at Seawhite of Brighton:

http://www.pullingers.com/P~PRABA3~Seawhite-A3-Archival-Box

The industry standard for viewing prints at a comfortable arms length is 8x10 inches or A4. This fills the field of view and reveals enough detail to appreciate the quality and content of the imagery.

The assignments have no hidden agendas; respond to them in a straightforward and logical manner.

Tutor name:	DAVID KINNEY
Date	12th July 2012
Next assignment due	31 August 2012

Leeds

Its been a month since my last post reflecting just how busy I have been over the past few weeks. Work has been very busy with dealing quality and cost issues together with preparing bids for a number of clients. What with that and searching for a new home I have had little time to pick up a camera.

Of to Russia on business for a couple of days in September so I will try to record my impressions of Moscow. As I won't have time to do the tourist thing I will undertake this (if I am able) from a visiting businessman perspective. Given the difficulty in obtaining a visa, I wonder whether photography will be frowned upon.

I have received feedback from my second assessment which isn't all bad so I now feel able to complete the third assessment regarding colour.