Evaluation of Component 1

Evaluation

Component 1

Formal Elements & Photogenres

Formal Elements

Formal elements is where my journey started in component 1. September 2018, I began with line, colour, texture & pattern, etc. In this interval and for a momentary spell in photogenres there was a lot of procrastination for the write-ups, which is an instant disadvantage on my point and therefore one of the weaknesses. However, this could be remedied by the amount of detail put into some of the posts, both in photo final pieces and in the detailed analysis/description. Two which particularly stand out are Tone, and Texture & Pattern. Texture & Pattern definitely stood out for the sheer quality of the photos, as shown from the two photos. They really describe what the surfaces might feel like. For example, it is so clear what the plank of wood must feel like, and its almost easy just to imagine it. It's quite interesting, as it explores how vividly the human mind can imagine things. In addition, photographically the photo of the building gives me pride in my work because of how it checks every mark. The tonal scale, rigid pattern, diagonal facing lines. It gives a plethora of detail for the viewer to look into. In truth, its one of my favourite photos throughout the entirety of component 1, with only a few getting as close as such.

Photogenres

When regarding this unit, I believe I improved from the previous unit in a variety of ways, by focusing more directly on the artist, and taking constructive criticism from my peers on how better to shoot my photos. In the unit I would always start by more heavily researching into the artist I was given. Analysing their photos on anything that I could replicate and transform in my own work, using the artists as a guide for where I should be heading. As well as this, artist research sometimes led me to find brand new techniques to use. For example, Victoria Siemer's photo-manipulation has given me insight into ways to change the composition of a photo to give a brand new atmosphere to it. Another artist I focused on was Annie Leibovitz. She is a portraiture photographer and has used low-key lighting to put focus onto the details of a face or person. Moreover, it creates the feeling of negative space which is very successfully captured in many other photographer's shoots.

Photography isn't just about the influence and post-production, though. While also improving in that sector, I also have taken more time concentrating on the camera settings, composition of my photos and the lighting around the scene. Instead of just putting it to recommended settings and pressing 2 or-so buttons, I've been trying to take my time with each scene, picturing how I want it to look in the final image. For example, if it's in the studio I want to know where the lighting should be facing, and how much to use. Or if it's outside, is the sun in the right place, or if I intend to have sun-rays or just pure cloud. Then there is composition; is there a way to get a natural border? Or is there a significant centrepiece or not. Obviously there are still exceptions where I'm in a rush and need the photo as soon as possible, but that's one of the reasons those settings are on the camera. Either way, as I've progressed I've improved technically at a modest pace. 

Portfolio

Regarding the portfolios, I believe it could've went a lot better, while also could've been a lot worse. The photos I got for it definitely reflected the skill I've had throughout the component, however the photos I could have got and didn't is quite disappointing. The main issue with this is most likely the fact I am not putting enough time into the craft and preventing myself from truly reaching my full potential in the course. However, with the photos I did get I definitely excelled the passing grade. During my time analysing artists for the portfolio groups, I learned