To compare outcomes with our digital images, we used old film cameras to experiment with capturing this sense of movement. We loaded each of the 3 different film cameras each from a different period of history with B/W photographic paper and took a series of portraits in the studio. I loved seeing how they all worked and how you balance different times depending on the lighting and camera. At first we needed to try out different timings and how long to capture the image as some of them were too overexposed or underexposed. After taking a range of images and developing to be negatives, we then had to produce some positives to go with them. Using the usual 'Sandwich Print' technique (placing your negative onto a piece of photographic paper, putting glass over the top and exposing light to it) created my positive images.
Each of my photographs below used about 20-30 seconds exposure time. Depending on the camera, I managed to figure out what worked best for me when photographing. My best image is the first one of the model looking to the side as it responds to Valerie Kabris's work, appearing with the soft blur effect and the abstract use of light. |
Georgetown from lewis khan on Vimeo. |
Responding to the Documentary task at home, I firstly captured a close up portrait of my dad. I create a sense of identity within the shot and an introduction for a look into his life. I utilised the natural lighting reflected from the window, giving off a gentle warm hue to the image.
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For this photograph, I captured an overhead shot of old cassette tapes of my dad's interviews from many years ago, showing the change in technology over the years. Some of these are analogue cassette tapes, where as now he records and edits digitally. The tapes feature interviews with artists such as David Bowie, Kate Bush and Paul McCartney.
My dad works for BBC radio and television as a presenter, but he also produces a lot of programmes himself from home. This image shows his at-home set up.
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Responding to The Big Up Portrait we were asked to create a collage piece inspired by Ben Watt's work. For our task we used previous photographs of Muhammed Ali, such as Thomas Hoepker's famous fist image. As well as different cut outs of our subject, we also utilised various materials like paper, masking and washi tape, paints and magazines. I used the contact sheet of black and white images from his fight and layered them on the base, adding to the collage effect. For my interpretation I wanted to use Ben Watt's technique of emphasising a certain focus of the image, for me I brought out Ali's fist. Inspired by Watts' use of colour to draw attention, I cut out a painting in a magazine and traced around the fist to produce a colourful outline. I placed the new fist on top of the original but slightly to the right making it look like it was coming out of the image. This technique allowed me to try and capture a sense of power in his punches and an almost god-like significance to the subject. I used oil pastels to write his famous quote 'Champ of the world', further emphasising his greatness.
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Next, we responded to The Big Up Portrait again but creating a piece more personal to us as individuals. Using Ben Watts' style, it allows an insight into who we are and everything we put together to make us unique. For my base I used a city map of London showing the River Thames flowing through the middle of my piece, I thought this would be good way to present how I have lived in various places in London. Although I didn't use a big main image of just myself I used images that reflect who and what means to me including photographs of my parents, friends, photography and music. Inspired by a Ben Watts image I was particularly looking at, I used previous film camera contact sheets, cut them into individual pictures and stuck them down one side of the A4 in a jumbled way. For materials I used masking tape over the sides of the sheet, adding a more DIY aesthetic to the collage. I cut out some of my favourite albums from my wall in my room and used washi tape to place them down. I really like how this collage came out as it brought a sense of identity within the piece as well as a response to Ben Watts' work.
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