Assignment 5. Response to tutor feedback
INTRODUCTION: I started brainstorming with a selection of books & magazines for inspiration. The books/images that I found myself being drawn to were all based on human stories and emotions. This led me to reflecting upon my own experiences. Using the core idea of ‘Breaking up’, I was able to think of many supporting ideas that would bring colour and patina through the use of a cast, inanimate objects and allusions.
I knew that lighting could augment both positive and negative feelings within the image, and therefore had to be given a lot of consideration. I tried to use natural and ‘in place’ lighting as much as possible to reduce the amount of ‘faff’ in Photoshop. Artificial lighting was necessary though, which necessitated time removing the origins of the light source in Photoshop.
The whole process was organic, with ideas coming as I went along. An example of this being the plant on the table, which was the last thing to be added, and was a master stroke, given it’s name.
Other ideas included; 1) Stitching photographs of the other houses I have lived in through stages of my life, with various scenes going on that represent me (child on trike, man fixing a car, boy with ball, person walking to work). 2) Something loosely based on Oscar Rejlander – Two ways of life, how I feel now, and what I aspire to. 3) What we are missing by rushing – Blurred images of me surrounded by weird things, snails on bikes etc. 4) Re-enact Klimt’s ‘The Kiss’ and replace panels within the cloak with photos (thought in progress!).
EVALUATION OF THE FINAL PIECE: This piece is an homage to Gregory Crewdson, who’s work I have admired for a number of years. The fundamental difference being, my composition is intended to encapsulate not just the moment, but also the before and after, perhaps more akin to Jeff Wall, whereas Crewdson is only interested in the moment, and specifically avoids any suggestion of the past or future.
LOCATION: I needed a space that was airy enough to give the subjects the space required to convey the emotional distance between them, yet small enough to contain the detail, and impart the intensity required to augment the circumstance. I looked at two large houses full of state-of-the–art gadgetry which I initially wanted to use. On inspection, they were both too airy, and new. They felt sterile, taking away the intensity and tension that is the core value of what I have produced. Other venues were too small. I ended up using my own dining room, which when re-arranged, worked perfectly.
MAIN SUBJECTS: The only requirement was that they looked old enough to have young children, as one of my ideas was to have an overlay of two children running around (taken with a very slow shutter speed). I tried this out, but it made the image too busy. Another idea was to have the two children behind the couple arm wrestling, a paradox of the situation, but again giving the same result.
As they were to be the focal point, it was important that my models were dressed in a certain way, and posed in a certain way. She had to wear dark/austere clothing and specifically a high necked jumper. Combined with her posture, this would convey the fact that she was not coming back, and that the whole meeting was a waste of time.
His look was more demanding; To strike a balance that said he’d made an effort, yet his ‘effort’ spoke volumes about his lack of understanding. He’d put on a shirt, but hadn’t thought it necessary to put on a pair of shoes.
Their posture was the clearest thing in my head. Hers was easy, back straight and pushing into the the chair which was away from the table. Her head raised, face emotionless and staring out of the window, the whole ensemble clear and unambiguous. Yet getting him into position proved harder than imagined. For him almost the opposite, his chair pulled close to the table (closer to her), his posture exuding despair, defeat and regret. I wanted him hunched forward, signifying the emotional weight and feelings of regret weighing heavy on him. His hand casually, almost unconsciously reaching out to her. His other hand holding a glass of consoling alcohol, alluding to a weakness of character, whereas she has a cup of coffee on the table which is away from her. She doesn’t need anything to comfort her.
MISE EN SCENE: I have replaced the actual view through the windows with fields and a dead tree, which the woman is staring at (guiding the viewers eye to). I have also added a pair of dying roses (immersed in boiling water). The roses were put in a coloured but transparent vase, to draw attention to them when the sun shone on the bottle. Behind him is the ironing board and a red bag (strongly lit to represent his heart) stuffed with un-ironed clothes, illustrating how he is struggling. Behind her is the plant stand which has a dead/dying plant in it with dead leaves around its base. On the table is a plant which appears to be reaching out to him, a Dicentra, BLEEDING HEART! Behind this is a chair which faces the camera directly. It signifies the possible existence of a third party. Above the chair there is a picture of Gustav Klimt’s ‘The kiss’. It presents itself in juxtaposition to the situation being played out. A dichotomy of what was, and what is. Finally, I wanted to add light to his position to give a feeling of hope (religious connotations). Having done this with a photographer’s lamp (which was removed by Photoshop post lighting), I then felt that it added the suggestion of a false hope.
SUMMARY: Overall, I am pleased with the result and feel that the understanding and placement of my ‘mises en scene’ have made this a powerful image which I would have struggled to convey prior to the learning of it’s significance.
REFERENCES
- https://www.youtube.com/watch?v=XNPwVLU38pc There But Not There: Gregory Crewdson Documentary. Minutes 14 onward.
2. https://www.youtube.com/watch?v=gqYNGJlA6Z4&t=1s Epson Print Your Legacy | Photographer Gregory Crewdson.
3. https://www.youtube.com/watch?v=ZB5XqQFVTE0 Gregory Crewdson: Brief Encounters Official Trailer #1 (2012) – Documentary Movie HD
I see! 