TAMARA LICHTENSTEIN
Tamara Lichtenstein is a contemporary artist based in Houston, who frequently writes about her inability to be "feminine enough", projecting femininity onto her work as a result. Her hippie-esque motto is "femininity, light, and love". However most of her work explores other facets of feminine identity, such as the position of the female photographer in photographing men. Perhaps they're about intimacy-or maybe they're about retraction. Although Lichtenstein's work has a migratory air to it - figures can be seen swimming in the water, trekking the desert, inhabiting interiors, or looking out over cityscapes - Houston is her home and a constant fuel of inspiration.
Her passion for photography began with a disposable camera her mother would frequently buy her, she believed that capturing a moment with film was a moment that would last forever. It is a document that has been developed into the material world, a tangible memory. Lichtenstein had taken part in a photojournalism class in her sophomore year, activities such as developing film further compounded her interests. Her admiration of architecture has played a large role in her photography, in a majority of her images, buildings in Houston are seen to be the main component. With the rapidly adapting cultures around the world, the changes and evolution to scenery, she has a multitude of access to different sources of inspiration. Visual communication plays a key role in her life and photography, Lichtenstein is able to express her words through her camera, creating an ambiguity with her work and leaving it open to interpretation. I am eager to begin capturing imagery in the style of Tamara Lichtenstein, primarily due to the openness and the ability to include aspects of previous photographers I have studied. Her work bodes well with the work done on Fischli and Weis with the flowers, and Pipilotti Rist with the use of distortion, and finally Petra Collins who experiments with emotion.
PHOTOSHOOT PLAN
CONTACT SHEET
These are the images that I captured in my Tamara Lichtenstein inspired photoshoot. I was skeptical as to whether the images would turn out well and clear, however I am very pleased with the outcome. I used white, sheer piece of fabric to lay behind the models head while she lay on it. I had external help from someone who held a sheet of glass with some clear sanitizer spread across, to give it a distorted and wet appearance. I spread a bouquet of flowers around the sheet of glass that was held a couple of inches away from her face. Using a camera, I ensured to keep a constant flow of movement and to include as many different compositions to create a diverse contact sheet. This would prove to be very useful when editing the photos. I directed that the model should
also keep her poses consistent and experiment with different angles as this would change up the general course of the photos. The location that the photographs were taken in was quite bright; Lichtenstein usually takes her images outside, however I felt that the location I had chosen worked really well. Every detail that I desired to be displayed is clearly evident and I believe I captured a really well executed set of images. One thing that I would like to work on is using smaller flowers as it would match more accurately with Tamara Lichtenstein and would allow more of the face to shine through without losing it through the bigger flowers. I'd also like to experiment with the location, I would like to try and capture a set of images images in a wider shot and make it into more of a landscape form. Then I could capture a separate set of images of flowers in a field and use double exposure. I am overall pleased with the outcome and believe that they will become even more accentuated through the editing process.
DEVELOPMENTS
For my developments I used the images taken in my photoshoot and used double exposure to create my edits. I opened up two images that I wanted to double expose on Photoshop. I adjusted the lighting and contrast of both images before copying and pasting one image onto the other. I used the Marquee tool to select the whole image and then copied it onto the second image that I had opened alongside the first image. I reduced the opacity significantly to ensure the image beneath is visible creating a transparent effect. I then browsed through the colour lookup to experiment with different colour palettes, warm and cold. Once I had selected the desired option, pressed the normal tool and tried out different options, I selected the ones that I felt suited the atmosphere of the image the best. For each image, I wanted to create a primarily dark atmosphere, one that was quite solemn and bleak yet still captivated that sense of beauty that is found in dark moments through the use of nature. The last step when editing was to adjust the the brightness via the curve, using the curve gives me more control over the lighting as I can adjust it in specific ways that looks better for the photograph.
The order of the images is important due to the meaning behind it. The series of photos almost seems as if the person if underneath frozen ice that seems to momentarily melt as time goes on, revealing more clearly the facial features. It is as if the pictures portray a person trying to find the light, hence the brief flashes of warmth throughout the series. However, it is eventually forgiven as a coat of darkness takes over, accepting the fate, the person seems as if regaining consciousness. The final picture displays the flowers as the brightest they have ever been throughout the series of images. The emotions in this reminds me of my work and photography that I did on Petra Collins, as she expresses emotions similar to the ones I have captured above, in her work. I am really pleased with how this set of images have turned out, especially the elements that I was able to highlight through them. What I'd like to do next is experiment with distorting my images further with things such as double exposure or mirroring to really incorporate the styles of my previous artists.
PROCESS LOG
This is a process log that showcases a more specific and closer look at the steps taken to achieve the various edits. As shown above, I began with the brightness and contrast as it adjusts the primary insufficiencies of the images and creates a solid base for the rest of the editing steps. By adjusting the brightness and contrast it also allows me to see which aspects of the image need more attention and what next steps would be best. I then went onto the selective colour tool to enhance the original underlying colours of the photograph, this not only amplifies the colours that may have been dulled out but I am also able to make any colours that appear to be distracting, less of a focus. This step for me is important as it does create the overall tone and atmosphere throughout the series. I then used the colour lookup tool, I used the winter option for the cooler atmospheric photos and the war autumn option for softer and more orange photos. I ensured for the next step, that I experimented with the different variables. Same went for the normal tool, I made sure to look at all the options available as one may work better than the other. I also adjusted the lighting through the curve tool as it hands me more control over it in comparison to the previous brightness tool.
HIGHLIGHTING SUCCESS
For highlighting success, I believe that these images stand out the most for me and showcase the elements I wished to depict. The contrast between the focal points in both images also stands out to me, one has eyes open whilst the other has its eyes closed, I enjoy the juxtaposition between the two. Due to the cold like colours in the photographs, it portrays an ice like theme to it. The first image is almost like the ice is melting whilst the flowers are freezing over. The flowers are sparse and the face is not as visible in the first image, whilst the second image illustrates a full amount of flowers and the face is much more noticeable, the flowers also seem to have more colour.
EXPERIMENTING WITH COMPOSITIONS
For this series of images, I have put beside pictures that I believe relate the best with one another. Primarily due to the colour palette of the images and the similar elements. They radiate an ice like atmosphere and quite a sad feeling, what's best is that the flowers surrounding the face also have a frozen look to them which complements the rest of the image very nicely. Overtime, it seems as if the ice is melting and it blends seamlessly from one photograph to the other, portraying a time element to the series. The images simultaneously connect.
For this set of compositions, I have put together a series of images that are similar primarily in the sense of warm colours. These photographs are much more bright and warm toned in comparison to the colder ones, depicting another side to the storyline. Both the flowers and the faces in the photographs seem more alive and lively in comparison to the rest. This set of images are also the main ones that the photographs that are double exposed, are most visible.
FURTHER DEVELOPMENTS: EXPERIMENTING WITH IMAGE BLENDING/MIRRORING
For my second set of developments I used the same method from earlier, however, I experimented with mirroring and image blending. I opened up an image on Photoshop and then adjusted the brightness and contrast. I used the Square Marquee tool to select the whole image and used the corners to flip the image and mirror it onto itself. I then reduced the opacity to create the same transparent appearance as my previous developments. Once this was done, I went onto the normal tool and experimented with the numerous options to see the best fit. I am pleased with the outcome of these images as they demonstrate my extensive ability to further develop my images into one similar in style to Tamara Lichtenstein. What I'd like to do next is bring in qualities from Petra Collins and experiment with the use of colours more visibly, I feel that this would elevate the photographs.
HIGHLIGHTING SUCCESS
For highlighting success, I chose these images as I believe that they are the most successful. The image on the right is one I am very proud of due to the way the colours tie together and create an artic look to it. The colours from the flowers are still vibrant and visible underneath the layers creating a sense of never ending look. The image on the right is also one of the more successful images due to the sheer vibrancy of the flowers in comparison to the dull and cold nature of the image. The fact that the eye is covered by a single flower is also something that I really enjoy about the photograph, it is striking yet seamless.
REDRAFT CONTACT SHEET
For my redraft photoshoot, I decided to print out my images from the previous photoshoot and pour water onto them. I liked this idea as the images already looked as if they were taken under water, so the water poured onto it created a certain depth to the photos that I was not expecting. I did struggle with ensuring the timing of the camera was perfect, if I took the photo too early then the water would be visible as I was pouring it, and if I was too late, the water would have already dispersed. It is evident in the contact sheet which images have these aspects in them. However, I managed to capture some really nice phots and the effect that I wanted to impose is clear.
REDRAFT DEVELOPMENTS:
EXPERIMENTING WTH COLOURS
This series of images displays my redraft developments of my work in the style of Tamara Lichtenstein. I used Photoshop as my editing software. I opened up an image on Photoshop and adjusted the brightness and contrast of the image. This is a recurring step that is consistent throughout all of my work as it brightens and sharpens the image. The next step was to slightly raise the curve to add a final touch of light to the photograph. I then went onto the colour lookup tool and browsed through the different options an chose one that I felt matched with the theme and atmosphere of that specific image. My aim was to experiment with colours throughout this photoshoot, so I ensured that I was alternating between the different options. This created a good, extensive set of developments that I am then able to use for any further developments or experimentations. Due to the nature of my photoshoot, the images were printed out and placed in water, resulting in white parts from the paper also making an appearance in the photos. To get rid of this, I used the quick healing brush tool to draw around the edges and cover the inadequacies. I found that drawing with the quick healing tool worked very well as I was able to fix any errors that may have diminished the overall quality of the picture. To end, I went back to the curve tool and just slightly raised it to bring back some light to the image that may have been lost during the editing process. What I would like to do next is experiment with image blending to blend the images.
PROCESS LOG
This is a log that gives a more specific and closer look at the steps taken to achieve my set of developments. The first step, as I discussed earlier, was to begin by adjusting the brightness and contrast. This step for me is imperative as it allows me to see which next steps need to be taken to best suit the nature of the image. I then went on to the curve tool, this is a great tool as it pulls together all aspects of the photograph and sharpens the subjects of the images. The next step was to us the colour lookup tool. This step I find exciting as I have bot got a definite option that I am going to use. So when it comes to this step I am able to look through the different steps and see in the moment which option I know looks best with the image style. Whether it be the pose or the composition of the flowers. One of the final steps was to use the quick healing brush tool to hide any edges of the white paper that was visible in the photograph. I feel that if it was not removed, it may become distracting as it is a stark contrast in comparison to the rets of the image. The final step to bring together the whole image is to touch up on the lighting and brightness of the image. Due to the extensive editing process and steps, the former lighting may have decreased making the image unclear and too dark to view, so doing this step, I feel, brings the image back to life.
EXPERIMENTING WITH COMPOSITION
To further compound my understanding and knowledge of using colour, I have compiled images that I believe match best with each other. These two images match perfectly in all aspects: the colour, the face and the composition of the flowers. When looking at these two images, they look very aquamarine an the person in the images look deeply submerged in water which I really like. I am pleased with the story line of these tow images. In the left image, the flowers is the main component and shining factor of the image while the face is turned away from the camera and out of frame. the flowers are what the viewer is drawn to. However, the other image has the face and eyes more centered and in the middle, and the flower is now almost drifting out of focus. I am highly pleased with the almost seamless transition from one image to the next.
For these set of compositions, I have paired these two images together as I feel that they correlate with each other the best. In both images, the face is the central focus and the main aspect that the viewer is drawn to. Both images are also much warmer in tone and overall nature of the photograph. In this set of images, the faces and flowers seem to be in cooperating and compromising, They are both almost the main component of both images, they are similar in style and colour which I believe makes them a great pair.
FURTHER DEVELOPMENTS: EXPERIMENTING WITH IMAGE BLENDING
For this set of images, I have experimented with layering images and using image blending to create a whole new photograph. I used Photoshop to edit my images. I began by opening the first two images I had edited from my previous developments onto Photoshop. I pressed Ctrl + T to rotate my image and make it upside down, I then pressed Ctrl + C to copy the image and paste it onto the second one I also had open. I adjusted the image to ensure it matched up with the one underneath. Once I was pleased with how it looked, I reduced the opacity to create a sense of transparency to the image, so both photos were visible. I used the normal tool and browsed through the different options to see which one looked the best, it was imperative to check before committing to a specific one as some options completely ruined the image while others made it. Once this was chosen I went onto the curve tool to bring back some brightness to the image as it had darkened through the editing process. I am really pleased with the outcome of these developments as they have exceeded what I had initially imagined for them.
PROCESS LOG
This process log gives closer insight into the steps and process to create the set of developments. I ensured that I had two images to experiment with and layer on top. I selected the image using the rectangle marquee tool to rotate the image upside down and copy it onto the second photograph that I had opened. Once I had copied it onto the other image, I reduced the opacity to create a sheer look and a sense of transparency, once I was satisfied with the opacity. I went onto the normal tool and browsed through the different options. I fee that it is imperative to look through the different possibilities before committing to the first few that I had seen. This would ensure that I had seen which ones would best suit the images. I then went onto the brightness and contrast tool to bring back some attention to detail, through the tedious process of layering, the lighting had diminished significantly than it was at the start. This final step seals and brings the whole image together.
HIGHLIGHTING SUCCESS
I have chosen this image to highlight success with as it contains all the qualities and aspects that I desired to achieve throughout the editing process. The face looks perfectly submerged into the water and the drops almost replicate that of air bubbles. The flower seems to be the most striking element of the photograph and holds the central focus of colour. It is also the most clear and concise aspect of the image. At the bottom of the image, the flowers seem to disappear and blend seamlessly with the layered image of the flowers.