So, this is the image for my FMP first exhibition that I decided to display. I found it so difficult to choose just one image as I have taken many pictures so far and haven’t yet had any feedback or reviews, so I still don’t really know what direction my project is going in. However I decided on this image of Chan spinning at Bakewell show back in August. I had a few similar shots like this but chose this has I wanted to show her surrounding, but also as I knew it was being printed at A2 size I wanted to pick the more crisp image.
The session after the exhibition we all went round and got some technical feedback on our image. After seeing my image up on the wall I already decided that I should have used a wider lense. To not have the crop so sharp near the spinning wheel but also to show more of the surrounding. Liam recommended I used a 50 mm prime lense which I will be exploring. However due to this being over summer I only had access to my Kit so I shot this on a 24-70 mm which was not wide enough.
However I was very pleased with the image quality after Id printed it A2.
Liam also questioned lighting techniques, and asked if i had considered using lighting, however I made the point to him that I didn’t want the images looking at all staged or ‘pre planned’ I want to keep them as straight and natural as I possibly can. To which he agreed with.
He then showed me a photographer that used light beautifully, w eugene smith nurse midwife..
I love the way he captures light. Despite its power, it is not the largest on the spread—all shots are subordinate to the needs of the narrative, and the relationship between the carefully planned images was crucial. Smith, who often clashed with editors by insisting on full visual control, would make layouts every night, slowly building the story. Because the cabin was small and dark, he paid a visit before the birth, and put white cards on the wall to act as light reflectors. Later, in the darkroom, he manipulated the image’s tonal balance to create the frame of darkness that encloses Callen and the other midwife. The miner’s lantern in the corner, perfectly placed between their heads, irradiates the scene with a supernal light.