I chose to do a mounting presentation for my work because, its very hard to catch and keep someone’s attention through a book. On the wall, mounted, its in your face, you cant avoid, and from there, its the message you share that holds the importance.

Mounting grouping –

My first mounting group will consist of my 2 surrealism edits:

I will mount them simply, using mount spray to stick them initially, on a piece of black cardboard, so they will look almost bordered. Then using double sided tape to stick them onto a piece of white foam board. Having both photos side by side with about a 2 inch gap between laying next to each other on the same piece of foam.

I wanted these two photos together due to their similarity. Both being harsh edits and similar forms, I knew that they would compliment each other very well. I printed them off individually as A5 prints because I knew in my project, they wouldn’t have very much significance.

My second mounting group will consist of my final 3 images:

I mounted these photos slightly differently, using mount spray to attach the print to a piece of foam board the same size. This was done for all 3 prints individually. I then used double sided tape again to tape them to a large piece of black cardboard. I allowed my prints to overlap slightly to give my presentation some depth and texture since it is the most simple way of presenting my work.

I wanted to group these 3 images together and not all individually because they reflect what I would call the three unspoken rules of relationships, friendly or intimate. Vulnerability, trust and intimacy. It reminded me of the saying, ‘Hear no evil, See no evil, Speak no evil’, and I thought that could be very impactful.

Examples –

Group 1 –

Group 2 –

Virtual gallery and Evaluation –

Overall, the mounting process went very well, I gave range and difference between both groups, including texture and having different levels on group 2. The bordering on group 1, complimented the photo and gave the end result dimension and depth.

I could have improved this process by changing the sizing for both groups and varied this to show more dimension between the photos instead of having all images the same size in both groups.

I will be editing all Green coded photographs. I’ve been exploring the idea of surrealism through my work, and wanted to incorporate that into some of my edits through trial and error.

Photographs to be edited –

With these photos, I incorporated 2 old photographs I took a year ago while working on the portraiture topic, to give one photo idea some depth.

Edit 1 –

I first imported this photograph into Lightroom, after editing it to my desire, using portrait filters, and changing the tones and highlights to best fit the photo.

I then imported it to photoshop while I edited the layers I want to add to the photo, in Lightroom.

Photo 1 –

Photo 2 –

Photoshop edits –

I placed the initial photo into its own layer, locking it. Then in a new layer, imported the first edited photo, I positioned it above the sitter and began to play around with opacity. Since I didn’t want the layer to be so harsh, I wanted the second photo to almost look faded, so I set the opacity on 57%.

Doing the same to the 3rd photo, imported and positioned exactly where I wanted it, then putting the opacity at 57% to mirror, image 2, bringing the whole finished edit together.

Final edit –

Edit 2 –

With this photograph being my base photo for this edit, I decided to edit it black and white, almost opposite from the previous edit

Photo 1 –

For a little bit more contrast on this photo, I edited it slightly to bring out some of the natural highlights a little more, enhancing the texture and colour to bring some life into the picture that was taken from the studio lighting.

Photoshop edits –

After I finished editing the photos in light room, I exported them to photoshop, in different sections.

I cut, cropped and edited the side profile photo again in photoshop due to some technical difficulties and then duplicated it to use in the final process.

I mirrored the photo and set the opacity to 57% for the perfect contrast to my background photo. Placing the photo along the side of the portrait of the sitters.

Finally, doing the same again with the side profile photo to have each have their back to the main subjects.

Final edit –

Virtual gallery and evaluation –

With the limited amount of photos I gathered for this photoshoot, I’m very happy with the outcomes of my edits. The use of layering and playing around with opacity complimented my idea and the photos I included very well. The reverse editing and similarities between them send a familiarity feel to all my photos collectively, especially with the wide range of photos I have overall.

The took full use of eye contact and touch, that I included in these photos as that is such an effective way to show unity and intimacy through people. I focused on not just the touch and contact in my edits, but direction. The way I edited subjects to face away or together, close or far, really helps tell my idea to the viewer.

Plan –

Subjects –

For my first photoshoot, I wanted to focus my photoshoot on the friendship element of UNITY. Experimenting with touch and closeness through my sitters.

I made sure to gather individuals that were already friends, because this would help show the connection naturally, rather then the forced awkwardness you can often see in intimate photographs.

Technicalities –

With this photoshoot, I wanted to use the studio for lighting, and ease. With the use of snapshot lighting it helped the clarity and sharpness of the photographs outcome. Using a monitor accessory on the camera, it linked to the light, creating sharp bursts of light as each photo was taken.

I used the technique of portraiture for this photoshoot, I wanted to vary my technical ideas and as all my other photoshoots will be more candid. I wanted the inclusion of subject to camera eye contact in this photoshoot, this is because it connects the photos to whoever may see it, the saying ‘ eyes are the window to the soul ‘ resonates incredibly with this idea.

Photoshoot –

This photoshoot consisted of around 48 photographs, majority similar to each other, all portraits, in artificial lighting. I went through all photo, giving them a colour determining how successful I believe the photo is.

After colour labelling each photograph, all green photos will be edited as planned and will be put into a final group of photos to choose my favourites for my final prints.

After moving them into their own small folder, I’ve pinpointed what photos I will be editing it, just to make them easier to access.

Constructed reality –

Also known as staged reality, photographers often use constructed reality as a way of capturing a false reality, where the photos look candid and real but are artificially staged using studio lighting and propped sitters. In other variations of constructed reality in photography, artists usually use editing through photoshop or other editing tools to merge photos together and almost enter the idea and theme of surrealism.

Examples –

In these photographs, you can see the unusual, the confusing, aspects that you wouldn’t see in types of photography like portrait or romanticism. Layering, texture and editing is very much a focal point of these types of photographs, and have a very good way of getting us to question ourselves and the artist.

Artist example –

James Casebere –

Born in 1953 in Michigan, Untied States, Casebere is a contemporary artist and photographer, he has devised complex models and photographed them in his studio. His early work has reflected the stereotypical ‘American suburban home.’ Casebere then followed that by some photographs and sculpture, occasionally tapping into the mythical American west.

Analyzation of his work –

Through James’ work, his use of dimension in his photos are very impactful. It gives an eerie sense of emptiness and also enticement in his photos. The shadows and highlights throughout these examples show a harsh light and dark contrast through his work which compliments his dark theme.

Casebere loves to include the image of water, usually through image editing, maybe photoshop. It really helps show dimension through his work and also gives the artist the sense of the unknown. As his images are meant to be strange and unusual, it compliments that a lot.

James’ use of architecture is very impactful, the easy line work, and geometrical shapes, compliment each other and allow the images to flow very comfortably. With the help of ‘windows’ in his photos, the inclusion of pinpointed bursts of light allow the focal point to change as your eyes move around the photographs.

Inspiration –

James’ use of texture is something I really want to include in my work. The difference in substance and view of each part of his photos I believe is very eye catching, and causes for a lot more thinking when someone were to come across his work.

That is something I want to include in my work because I don’t want my work to be simple, I want it to be cause for thinking, I want people to stop and wonder, think as deeply as I did while making them. Deep thought is a very large aspect of my life and I want that to be shown through my art and photography.

Laura Pannack –

Laura’s art focuses on documentation, socially, with inclusion of portraiture that looks to explore the relationship that is shown between situation and photographer. Pannack largely pinpoints shooting on analogue film which allows the process to become more organic rather then being predefined but still ideas. Laura tries to understand what she is photographing, for example while photographing an individual, she seeks to understand them, and their life, and present that creatively. Laura has a belief that trust and understanding is a very large key to portraying people truthfully, and you can see the development of this through her work over the years. This approach also allows Laura to have a genuine connection with her models, which helps enrich the intimacy between photographer and subject.

Laura’s work aims to tell and inspire peoples stories, causing connection and emotional engagement with not just her work but her subjects as well. Laura is a London based, award winning photographer. Known for her recognizable portraiture and social documentary work. Her work heavily focuses on the youth, forming connections and complex relationships. She was educated at the University of Brighton, Central Saint Martins Collage of Art and LPC. Pannack’s work has been incredibly exhibited throughout the UK and overseas, including at The National Portrait Gallery, Somerset House, The Royal Festival Hall and even the Houses of Parliament.

Laura perceives ‘time, trust and understanding’ to be key elements to achieve full understanding of her subjects and portrayment of them truthfully. This allows her to achieve a genuine connection with her ‘sitter’, which benefits through the photos as you can see the emotion, connection and common ground they share in her work. Pannack shoots with analogue film, she finds beauty in the mistakes that come from working with such unpredictable material.

Laura’s work has received much ground and won countless awards, among which are the John Kobal award, Vic Odden prize, World Photo Press Award and the HSBC Prix de la Photographie prize. As well as her own work, Laura lectures, critiques and teaches at universities, workshops and festivals around the world, and in 2015, judged the portrait category in World Photo Press Awards in Amsterdam. Pannack has also been a widely published, not just for her photography, but commercially too< with work appearing in the British Journal of photography, Hotshoe International, TIME, The Guardian weekend, The Telegraph, Sunday Times and Creative Review.

Pannack has also been widely published, both commercially and as a photographic artist, with work appearing in The British Journal of Photography, Hotshoe International, TIME, The Guardian Weekend, The Telegraph, The Sunday Times, Creative Review. Her monograph ‘Against the dying of the light’ was published by Acts de Suds in 2016 and YOUTH Vol 1 was released in 2018 by Polite company.

Her work –

In Laura’s work, The captivating use of natural light gives a sense of connection, the warmth and reality it brings to her photographs is enticing. Using the outdoors and focusing on including something that can ground you like nature can be a very powerful tool for portrait photographs. It almost brings a sense of uncleanliness or dirtiness to the photos, and since Pannack’s aim was to be truthful and show unfiltered or covered reality of individuals lives, I believe they compliment each other very well.

Her use of eye-contact in her photos is very powerful. It forces connection between her and the subject, and after that, the subject and their viewers. With her aim bring to create connection this does not just create it, but forces it, like you cant look away. You can feel the emotion the thought that went into the work when you look in someone’s eyes and I think the inclusion of this in the work is very intelligent.

The impactful inclusion of touch through her work is very important for the aspect and story she is trying to portray. Being touched is a very vulnerable thing for a lot of people, and as her work and photoshoots include a lot of touching, it backs her aim as to allowing people to get vulnerable and make a meaningful connection with other people. Being showed that you are able to have that touching connection with another person can allow a viewer to be open to having a emotional connection with not just Laura but the subjects in the photos.

Her influence –

Laura’s work is very impactful, her influence is heavy on not just the world but my work in particular, I want to include so many aspects and ideas that have come from Pannack’s work, her inclusion of touch and eye-contact being the main ones.

With the topic of Union, eye-contact can be the most emotionally tuned, way to show how someone is feeling, you can read a thousand things from someone’s eyes, emotions like empathy, sadness and joy are easily seen through how someone looks at you, and including this into my project could be very impactful with creating emotional connections through my sitters and viewers.

Touch is a very difficult thing to photograph through A level photography, due to guidelines we have to follow. However, touch is such a powerful tool to show Unity through people. The intimacy and connection you view through touch is so powerful. With touch being one of the main focal points of my topic, its importance is huge. incorporating it into my work will have to be done with caution, but through my Femininity and Masculinity topic, I was able to find loopholes very easily.

^{Logan white –}

Logan white was born and raised in the South of America, which instilled in her a belief of spirit in the form of body place and time. Raised very southern she was surrounded by folklore and classical music, and her work resonates deeply with her heritage.

Her work has a strong sense of emotional intensity of the romantic period. As a young white southern girl, brought up around the bible and its teachings, some expression of her photographs are seen to be nostalgic and subversive.

Logan graduated from Rhode island School of Design with a degree in photography and studied on the European Honours program in Rome, Italy. Her work has been in various publications such as :

• New York Times
• Vogue
• Purple
• Dazed
• L’Official Art Paris

Examples of her work –

In this particular photoshoot, the themes of nostalgia and femininity is very strong. I want to stray from the idea of nostalgia for this project but will definitely want to explore the theme of femininity.

The impact of femininity on the world and women in general especially in this day and age is very important, and is something that should be placed on a pedestal, taught to younger generations and explored through school and social scenarios.

With the first initial thought of UNITY as the theme, I thought immediately of the word ‘together’. Unity can be seen as bringing things or people together through emotions and thought. Continuing on from this thought, I went back and analysed my archived work. My head immediately went to my work on the topic of Femininity and Masculinity, my work for that topic I believe is some of my strongest work so far. I loved the intimacy that I explored through that topic and I enjoyed working on skin and touch through that topic too.

I wanted to venture out of just solely focusing on intimate relationships for this new topic, I wanted to also explore the idea of Unity through community and friendships. I personally believe that friendships can sometimes be as intimate or even more then relationships, with your friends being the people you choose to be around, not just the people your placed around through family.

I’ve strayed away from the idea of photographing family for this topic due to a thought that, you are born into your family and as uniting as that is, I have come to personally learn that real bonds and platonic love comes from the people you choose to surround yourself with, like your friends. You are forever stuck with family but you choose to stick with your friends and your lovers. I feel that that is honestly so much more of an emotional and intimate outlook on the idea of friendships. I hold all of my relationships that I have with people very close to me and would love to be able to show that through my work.

Photography techniques –

Mirror photography –

Mirror photography is the technique of self portraiture in photography, allowing the artist to partake in the photoshoot. It connects the photographer to the work and story, that they may be trying to show. This shows a deep connection and vulnerability of the artist and allows the viewers to feel interlinked and accepting of the photographers thoughts and feelings.

Window photography –

Window photography is the technique of photographing almost the world outside your own. It can be seen as candid photography or street photography more often, but that is not all it portrays. Giving the viewers almost an inside look into someone’s life is not only interesting, but eye-opening. Allowing yourself to view others lives, can change not only your view but perspective on a lot of different aspects of life overall.

Analysation –

In my project, I want to include the use of not just window but also mirror photography, I want this project to show a vulnerable side to me as a photographer and allow it to connect me as a person to my work. Showing deep emotion and intimacy through my photoshoots, I want to not just relate to my work but also allow myself to accept the emotions I am trying to portray in it as well.

Including window photography under the same themes and ideas will be difficult to help portray the theme of unity, however, allows perspectives on others views to change. Believing that others may have the same thought or feeling on the topic will allow viewers to almost feel a sense of comfort in their opinion and helps widen the scale of acceptance when it comes to emotion and unity as a whole, since my perspective is only one of almost 8.1 billion people.

Isms are different ways of portraying photography, Romanticism, Objectivism, Neoclassicism are examples of them.

For my final project, I want to focus my work on 2 different types of ‘isms’, Emotionalism and Romanticism. Since my work will predominantly be on the topic of relationships ( intimate and platonic ) I believe that both these isms fit quite smoothly overall.

Romanticism –

Romanticism was a movement that originated in the 18th century where artists and photographers placed a high value on emotions and subjective experiences. They believed that emotions such as love or fear were more important then rational thought or scientific discovery. Romantics celebrated individuality, personal freedom and self-expression, and all was a big part of the culture of romanticism. People were often portrayed as heroes who went against societal norms and stood for themselves. Nature also played a big part of portraying romanticism through photography and art, as romantics often viewed nature as source of inspiration, beauty and truth. They believed that nature was a strong force that could stir up and portray emotion and almost lead to spiritual experiences.

For the input of romanticism into my work I want to focus on the aspect of silhouette and touch, allowing both pieces to bring out emotion and impact towards work and what it offers to the viewer. Touch can be perceived as both intimate and platonic depending on the context of the photograph, and I feel like that will be a very powerful way of showing not just romanticism but emotionalism as well.

Emotionalism –

Emotionalism is a convey of emotions through photographs, being able to see, feel and understand how a person may be feeling through an image is a very transformative way of pointing out views, links and hidden meanings through photography. Emotionalists often use portraiture to show emotion leaving it up the the photographed to show or prove how they are feeling. With facial expressions, a photograph can engage a viewer on a personal level through intimate feelings and emotional depth. An emotional photograph is a master of non-verbal communication, a perfect way to relate without talking, making a strong enough link with whoever may see it, no matter the situation or environment. It is always felt.

Emotionalism will play a very large part of my work, even through photographs that may not be portraits, body language will show so much expression and emotion it will be hard to see through it. With including portraits in my work too, emotion will be unavoidable, I want to include aspects like eye contact and blatant emotions like sadness through crying and love through the saying ‘the look of love’. Emotions can be perceived and picked up on so easily through simple eye contact and I would love to include that in my work. Love will be a very important part of my project and capturing that will bring so much joy, not just to me but to everyone involved.

The meaning of unity can have many universal meanings, can be interpreted and identified in various ways, however, the dictionary definition says :

• ” the state of being united or joined as a whole “

For my final exam, I want to interpret unity in my own individual way in the form of ‘Ying and Yang’. The belief that the universe is balanced through equal good and bad, love and hate is a very important mindset to me, the idea that there has to be one to have the other almost gives undisclosed closure in the sense of day to day life. I want to incorporate relationships, friendships and community into my photoshoots to give a sense of relation to my project.

Mood board –

My mood board depicts how I want to express the idea of unity. Through love and relationships and friendship and inclusivity, with the feeling of being interlinked with someone, not just intimately but platonically through the people you choose to surround yourself with.

I want to include the Ying and Yang concept through using black and white colouring on top of originally coloured photographs to embody the dark of Yang and the light of Ying.

My photographs will be majority mirror photography with some inclusion of window photography to give my ideas depth and understanding of different perspectives since I’ve chosen to elevate the idea of diversity not only in societies but also in intellect. With the use of portraiture and romanticism, my project will not just reflect myself and my thoughts but encourage others to allow themselves to engage with there own perspectives as well.

Mind map –

My mind map depicts all 4 topics I want to bounce from throughout my UNITY project. The comfort and support from community’s, cultures, friendships and relationships are so important to everyone, and the impact that that will have on my work and project overall will be effective in so many ways. Not just capturing the audience but also allowing them not not only interpret my work in their own ways but relate to it as well.