Evaluation

For this project I have photographed the female form in the nude. However I have done it in a way so that I don't sexualise it. I wanted to keep is as desexualized as possible because social media, music videos, movies etc use the female form as an object, making women viewed as just things to enjoy. I have created this work so that the curves, lines and textures of the female form can be admired and viewed for what it really is and who these women actually are. The multiple exposures and movement distorts the image and shows how the light effects the lines in the image. This also effects how the audience views the image because they would make more effort to determine and understand the different areas in the image.

At first I simply considered developing my techniques and methods that I started to understand last time I studied this subject. I didn't find this very stimulating, the images were too similar to what I produced last time and struggled to find new angles and subjects that I hadn't already photographed. However I did consider them just in case I couldn't produce new strong work. During a shoot I accidentally shot a multiple exposure which led me experiment more with multiple exposures and bold experimental techniques.

I have used only film cameras like the Olympus OM10 and the Bronica ETRS. I have also used location and studio ceiling mounted lighting to create my images. I have used a lot of different film to experiment with different grains. I have used Fuji Acros 100 (120), Ilford Delta 400 and 3200 (35mm), Ilford HP5+ and FP4+ (120). I have also used the darkroom equipment like a large enlarger and large developing trays. The paper I have used is Ilford Multigrade Fibre Based Classic Matt 16x20 Inch 50 Sheets.

I found that I had two challenges. The first was the size of the paper that I wanted to use, it was very large and awkward to handle delicately between the development trays; especially since as I was washing my hands a lot to get rid of possible chemicals that might have been on my hands. The paper was also new to me so I had to get used to using the paper as well as trying to create my final prints. The other problem I had was that a lot of the film had hairs and dust on it which meant that I would have to learn the new skill of spotting. Spotting is a dying skill since the creation of Photoshop and the people who practised it took many years to perfect their technique; I only had a week.

One photographer I researched that was very inspirational was Frances Bruguiere for his multiple exposures. His images consist of a wide range of contrast and many positions of the model which all intertwine with each other to make new shapes. Another was Adrian Carmody who has experimented with movement using a very clean white background and uses deep contrasting tones to distinguish the model and her movement.

I am very pleased with my final pieces and the display. I was able to display it exactly how I wanted it to be displayed even though I ended up in a different place to what I was originally told. I personally think that the new location was a much better spot due to the fact that I would have only been able to fit two images on the original wall. I think if I was to do it again I would like to create enough images so that I could possibly make a book.