This idea had a rather ambiguous meaning when I imagine its aspects despite the methodologies or construction, it consisted in my chosen subject of Architecture. Initially, I had thought of Light and Shadow as the Architecture’s key context but things had changed time to time. I researched a variety of architecture as well as their visual features, I never observed the authentic functionality of such an ambiguous yet beautiful piece of objectivity which then in my research I came up to a point that a photographer’s perspective was rather different than an architect’s.
The majority of buildings are structural tools for their users within them, they are one of the most repeated features in the Earth’s space which brings a little investment, but it can depend on the whereabouts of the spaces the buildings are essentially part of. A working space itself can be just as incredible as their users that define the world essentially, the open doors of a building along with the open power of modern art.
I live in a technologically creative society consisting in multiple forms, its like if people could take a subject of their choosing and turn it into art, Its something I have been doing in my imagination with many life inspirations as there were some within the art world. My iPhone as well as some other digital cameras I’ve used has purely influenced me to express myself creativity by manipulating the everyday life.
A QUICK LOOK AT SURFACES & MATERIALS
After a discussion about my idea of the styles of editing images, I looked at some materials in my university shop that were actually quite interesting and worth photographing. These materials are visually elegant as well as what they were authentically made or used for, I imagined a comparison between these materials and architectural structures and thought about what could possibly turn a subject that was commonly underestimated on its outsides presence by civilians into something much stronger. Overall this shoot was theoretical in a sense of comparing colours and materials often used for decoration as well as the surfaces of a structure with elegant forms, however I believe that the structural forms for a shape mostly hold true comforts in their insides rather than outsides.
MY PHOTO SHOOT AROUND ASHFORD
After looking at the examples of materials and colours, I visited the town of Ashford for an architectural photo shoot, the original shots of the buildings still had their artificial effects in regards to my photographic approach. This approach was consisted in a variety of camera angles which had slightly manipulated the visuals of the structural shapes by developing my position as a photographer, buildings often have their key presences higher than ground which purely influenced me to capture those identities like so. The shoot overall wasn’t very long as the whole town didn’t quite have a majority of buildings I found photogenic in regards of their materials as well as forms, plus I could of tried to go round the buildings I did photograph for extra development instead of focusing on one side.
My Personal Favourites
My Edited Versions
THE EDITING PROCESS
Image 1 with highlighted and recoloured particular pieces by using the hue/saturation tool
Image 2 with the use of auto quick edit before uploading the RAW file for a better exposed image along with the development of saturation on coloured glass (aside changing colours of other materials much like the first image)
Image 3 being edited on reflections since the pink building needed to look realistic in tone as it naturally reflects itself against the curved red building. The windows of the pink building were also experimented as the frames were inspiring to fill, by doing this, I made sure they correlated with the all-new green structure aside its realistic shades in relationship towards the natural light of the photograph. The clone stamp tool was put to use to clean up overflowing colours and inaccurate tiled lines.
The editing process of the images was the true establishment to this development, as my plans was to create something new out of the authenticity of the structures which introduced a different yet interestingly ambiguous functionality.
The first image was a simple start of experimenting with colours, this consisted a methodology of selecting particular areas to adequately change those colour tones inside of them.
The next two images (two and three) were having those elements repeated, however with an extra development of reflections or enhanced saturation since there were areas of coloured glass as well as reflections of structures against one another which naturally created a mirror effect of the structural shapes, this was the key strengths as well as the differences in those images in comparison to the first image.
Lastly, the fourth image took the development a step further, this was by not only having the elements of colour but also a humorous collage effect which gave the structure of what may be argued as some sort of parody, but my intent was to express my imaginative prejudice of the structure as its materials was beneficial for allowing a new perspective to be shown much like the previous coloured images.
GRID LAYOUT DEVELOPMENT
Once the edited images were organised, I then used a layout effect by using the Layout application on my iPhone to create mirrored versions of the images which were being duplicated to support the effect with a professional looking balance. The images combined to each other formed into one whole new image which brought a new speculation yet satisfying addition into the series. The layout app was an experimentation I had enjoyed using for a long time as I used it for a majority of photos I took on my iPhone.
Layout/grid images I had created in my spare time
MY PHOTOSHOOT AROUND CANTERBURY
My second photoshoot was an experimentation with a few old fashioned structures as well as the Marlowe Theatre, after the shoot I looked at my images and narrowed them down towards two vintage materials aside two modern materials. The historic structures I thought was possibly a good move to the project as it would look more like a pattern. However the differences was not something to despite as it was difficult to inspect the photographs of the old buildings in terms of the editing which caused me to contemplate on whenever I could change the colours since the original patterns defined the structures dominantly which changed my strategy in technique using reflection.
For this photograph of the Marlowe Theatre, I change a variety of different areas much like the process of the previous images from the Ashford shoot. I manipulated the building as well as its sheltered walls and ceilings along with the sky by simply changing the levels of lightness and exposure levels which made the sky looked erringly stormy which I thought suited the colours than the grey sky (as the original weather was rather damp). The image in the end had an interesting mix of light and shade on the walls and ceilings while the rest of the body had its brighter tones of colour within a dark stormy space which gave the image a haunting presence.
The first vintage building photograph I chose to edit, had a number of copies being placed in certain compositions with the two bigger images being reflected off each other in the centre. The reflections worked very well as changing the colours felt rather unnecessary since the Marlowe Theatre images had bland tones of black and white on their elegant aspects forming their powerful shapes. The shapes on the older designs looked stronger once formed together in my eyes as the artist, the authenticity had its bondings with the weather (which eventually got brighter during the late afternoon). Overall this was a good addition towards the grid images I also made out of the images from the previous shoot with more consistent flow out of the classic materials.
For this third image, I used the pink building beside the B&W (black and white cottage) and cut it out before stretching and placing it over the black and white cottage which then at that point, I merged the images together much like the process I developed with the swimming pool with the slight difference of two copied images used to cover over another image to create a funky image instead of something tidy. The images being merged in combination of hue and saturation being increased, the image overall completely changed the appearance of the vintage styled structures, the image was like a combination of silk screen prints which this retouch had a modern resemblance to the historic working processes of Robert Rauschenberg.
MY PHOTOSHOOT AROUND LONDON
The photoshoot around London was much better than Canterbury as the city was packed with materials in varieties of shapes forming many photogenic designs. Although I looked at historic buildings in Canterbury, the flow of this development was stronger with the modern shapes as they seemed the most questionable which created images just as beautiful as the first image I took in Ashford despite its colours, from here, I of course thought about colouring the structures of London also. The sky in some of the images had the same tones of weather that were in Ashford gave the subjects the correct and matching light which created a more consistent series.
Examples of Light and Tone
When colour editing, I turned up to mu uni as a tutor suggested I tried developing myself in the printing facilities. The room’s technician John explained software that would be beneficial for my retouching for the work by mentioning XRD Manager and i1Profiler which were made for compensating tones on my images so they would appear correctly in brightness on my laptops monitor which was essential if I wanted to print an image which I was aware of since I was developing towards that stage as a photographer.
The room had grey walls which John explained them being the colour for a reason, the reason was rather scientific but in basic terms, the colour was there to prevent monitor and human eye digressional detections which can sometimes negativity effect the printing process. The scanner in the image above shows an example of detecting colour in the correct space, by doing this process my monitor changed its brightness to the correct level so I would know what my images realistically looked like before being printed (if I was at that stage).
An image from the London shoot having minor selections being changed and coloured to enhance the pattern
Screenshots of the editing process involving colour balance much like the Marlow Theatre’s process
For this image development, I had a different methodology as suggested by John the technician, he mentioned about the varieties of adjustments being located on the right side of the image which unlike the tool bar above was more carefully accurate retouch, as the selected areas which I had before accessing this area would automatically create layers in the “Layer” section which had a fairly better effect than the tool bar as the bar was more of literal edit without giving the software the professional time to think about the key details before changing them untidily.
These images had two version, the first version was enhanced saturation on the windows while the second version was having particular changes which visually correlated towards the blue and orange image. The editing process of this photograph was rather longer than the others since the windows had some reflecting smudged areas which I had to clean up with the healing brush tool. The healing brush tool in some cases was stressful to use as it wouldn’t clean up particular tiny details, so then I used the clone stamp tool for a more stronger retouch.
Blue Image development
Purple Image Development (purple colour balanced areas)
“Healing Brush Tool” Layers made for smudged aspects
More images I found and later and edited in my London shoot
By this stage, I had a coherent series of images with mixed colours with a plain white background allowing the colours to show as clear as the subjects they fulfilled. In the editing part, some buildings were not quite an enhancement since they still looked recognisable which so happened to have different colours in different areas which didn’t fit the abstract concept as the form of the structures didn’t have an illusional style to them. The structures that did work had rather unusual shapes which made the compositions more abstractly believable as the colours on them gave the forms a similar eye drawing experience that previous images had accomplished.
Another feature I noticed when looking at the series of favourite images I had was that the forms seemed to look like other objects such as a piano or a book. This change of objectivity wasn’t a barrier to me as the artist creating these unpredictable forms as I honestly thought it would be easier to show these to an audience and let them review these mysterious objects themselves rather than just the artist trying to make its spectators see one arguable meaning.
One of the images I had was of a curved building which I in the editing process carefully picked particular areas/tones to fill in with colour since the grey (with shades of blue) colour of the building reminded me of the backgrounds of Piet Mondrian’s abstract pieces.
My Preferred Images After Experimenting
After this interesting similarity during my editing process/development, I searched Google Maps for an initial plan of future shoots by accessing the 3D POV which revealed the buildings in certain areas around the city of London since London was a successful space for me in the last photoshoot, the 3D effect revealed not only the locations of buildings but the details of buildings that gave me a bigger clue to where abouts I would visit and develop myself as a photographer in his essential space for this project to develop well.
Google Earth screenshots of London and Westminster
MY SHOOT IN WESTMINSTER/VICTORIA
MY EDITED VERSIONS
OBSERVING MY STYLES
After having a consistent shoot in the space of contemporary architecture based in the city of London, I had been doing a variety of editing styles/development to push my work much further, I had a total of 5 styles including black and white which if theoretically worked then I would add it to the coloured photos to fit the everyday life expressionism I show in the series. At this point I needed to choose styles that worked ready for establishing my strongest images of the chosen styles and how I present them at the exhibition.
Hue and Saturated Images
Colour Balanced Images
Channel Mixer Images
Black & White mixed with Colour Images
Black & White Images
DEVELOPING FINAL IMAGES AND DISPLAY
With my variety of styles and forms, I needed to think what would fit my creative genre. I came across some prints in the university that were very interesting to me since the prints were rather abstract looking boarders which fitted the works style. The formality of content had a relationship with the boarders which I found a good starting point for my architecture.
When looking at my images, I noticed that the structures needed to have composition similarities to each other as the mixtures wouldn’t work in terms of visual consistency. So by having similar compositions as well as shapes despite the mixtures of editing techniques I wanted to show an installation of architecture by expressing the multiple perspectives as well as their own forms.
PowerPoint series of image display within a gallery template
Foamex and ACM material
MY FINAL IMAGES AND MATERIAL EXPERIMENTATION
These four images were the chosen finals as I found them consistent as a group of images, the presentation template showed the images in a layout from largest to smallest which eventually I planned the largest image to be A0 since it was the suggested size after informing my camera image sensor size. In the end, I had sizes from A0 to A3 which would present a style correlating to the thought provoking experience of the works presence. The recommended print materials were either MDF or ACM (Dibond), MDF was a cheaper development while ACM was the most expensive, after testing the materials I stuck with ACM as it supported the architectural genre along with a saturation boost for the coloured images.
Presentation Template of final images in exhibition
Testing the A3 image with MDF printing (before sticking the print with glue I coloured the edges of the wood with a black biro pen.
The ACM (Dibond) prints were mounted at print spaces in Kent, my choice was Omicron as there was one locally which developed their process very well.