Inside, Outside and In Between

Idea 1: Inside within outside Idea 2: Meeting points and perspective

Stephen Akinyemi

ARTIST ANALYSIS JULIAN LEGRAND

My initial source of inspiration was this shot by Julian Legrand from his unusual banality collection, where he captures everyday visuals however particularly focuses on interesting unusual sections of our day, for example the shadow of a trees branches on a house without the tree in shot. I think Julian has a great talent for composing a situation to portray it as an intriguing piece of art to an audience. Within this shot we have 2 women on what appears to be a street however the dirty stained glass effect in front of them creates a fallacy , portrays a somewhat gloomy miserable day, looks like its just been raining. Personally I'm unsure weather Legrand is shooting from behind a glass through to the outside or shooting the reflection where the women are behind him.

One of the most fascinating elements about this shot I felt was the misleading, covering effect the glass created almost like a blanket over the reality within the shot almost like a dirty sheet blocking the true picture behind, the buildings or any location signifying objects are distinct so we are pretty much unaware of the location in which this shot is taken as an audience apart from the idea that the subjects may actually be walking along a pavement on a roadside. A couple cars are just about distinctive so I get the impression that the vast space is a road. This indistinct edge to the photograph I felt was to illustrate within and in between which I used as a strong focal point in my photographs, the idea of a behind (inside) being malfunctioned due to a central medium misleading perspective.

ARTIST ANALYSIS ELI REINHOLDSTEN

This inspirational photograph shot by Eli Reinholdsten was shot on the high street of Oslo, Norway. Eli has a strong passion for shooting reflection photography; she has a very distinctive style and strong eye. The composition in this shot is very significant as it allows the visibility of manikins behind the shop window. There's a faint light hitting them from above giving them that translucent effect on the glass. The 2 compositions (in front and behind the window) all in one shot creates a slight complexity at first glance, until you realise there’s a window in between. The glass acts as a separation between each congregation, its interesting because on one side there’s the living human figures going about their daily lives then behind the glass you have another human figure only lifeless simply watching the living humans as they subsist. All in one photograph we’re presented with the inside outside and in between; which is what drew me especially to Eli Reinholdston as an artist she focuses on reflections which always withholds complex attractive composition. Apart from the manikins being there for advertisement the composition of the photograph makes you think as an audience that they are somehow trapped within this translucent box where the outside signifies reality.

ARTIST ANALYSIS JULIAN LEGRAND

Another shot from Julian Legrand a very inspirational photographer for me particularly under this topic of inside outside and in between he tends to explore the complexity within the combination of inside and in between. The harshness and impact within this shot helps to combine both compositions; outside and in. The outdoor furniture within the shot being reflected unto the shop glass by the perfect amount of sunlight making them perfectly visible. Although its very clear that here the photographer is photographing a reflection, I found it quite a fascinating complex.

Julian doesn't appear to be in the same location as the bicycle and motorcycle; the odd composition in which the shop structure has a lot of reflective mirrors and glasses where it enhances the distance of certain objects forward and back. We initially see the photographers reflection on the furthest glass at the end of the store or office (this I'm unsure of) but the building consist of a lot of transparent reflective planes which differs composition and distance from different perspectives. After a while I only just noticed the closest reflection of the photographer literally on the first glass of the building just in front of the camera, this just shows the many hidden complexities and perplexities of this shot by Julian I at first glance mistook for a simple shot with one perspective. Furthermore the black and white filter enhances and deeply complements the reflective tones within the shot especially. The motorcycle especially I found its position wonderful as it just simply bends in with the reasonably bright greyish containers inside the building, the different tones of the object change o interlocking tones upon the reflective glass which gives the whole shot a general complexity as well.

1st IDEA EVALUATION

My two focal photographers within this first set were my greatest inspiration during this project they balance the differentiations of the inside and out into one appealing composition which is what I tried to implicate in my photographs. Bringing two completely different sceneries however with a set of relationships into one shot, where in some I defeated/ completely removed the idea of a central point and in between, in others I attempted to imitate Julian Legrands idea of unusual banality, still maintaining the realism . I travelled to different locations searching for a strong typical sense of an outside scenery and the closure of an up close and cosy inside, one key major factor I attempted to convey in all my shots is the significance of an window which was my focal initial idea to work from during this set of photographs. The window; a transparent object which enables visual path from one side to another, has an significant role to play which generally people don’t often pay attention to. Inside, outside and in between; a window participates within every section so I felt this would be a great exploration within my photographs its different forms, functions and its method of provision in different scenarios. Likewise I concentrated on gaps and wholes another form of path to another scenery. I tried to illustrate gaps as an invitation to a more exciting picture, there isn’t any transparent /translucent central in this case a gap its just a whole in a wall, floor or any material I wanted to express this in my photographs. The central points that act as the in between and the separations of sceneries. My first shot was the combination of a vandalised wall and a view from a train window off a high way ; my focus was to entrance the audience into its peculiarity, a magnificent piece of wall art which momentarily grasp your attention then suddenly a bird eye view of a motor way . I found this very Interesting because these two sceneries don't relate or interlock at first view but depending on your perspective of the shot the wall could either be sitting on the ground or be 50ft in the air on an 8 story building it plays around with perception. A vast majority of my developments was specific to bizarre unusual sceneries behind windows then some I just used the whole shot as a frame: as a gap through to where this manifestation happens. For example my firth shot was through one of the entries to the emirates stadium a fascinating broad view , at first your are unaware of the second location I incorporated in with it until you realise the ceiling of a stadium isn't that low; I incorporated the ceiling lights from a car park. Initially I made sure that the structure within both locations was similar . The overriding themes within my first idea was the significance of the in between acting as a divider between the out and in, and central paths.

ARTIST ANALYSIS RUDOLF VLCEK

This shot of a small section of an eroded fence was taken a couple years back (2009), a very simplistic shot however I appreciated it very much so I intend to incorporate it into a couple shots of my second idea. The focal point of the shot really is the only distinct visible object, the eroded fence which we can see in reasonably high definition the interlocking section were the metals rods meet are the nearest section and appear to be in the field of focus as well as the top right and bottom left metal rods, the photographer has zoomed into the gate quite a bit hence this specific distinct line of field.

The most appealing thing about the shot I appreciate is the contrast of colours between the focal object and the surroundings; the metal has a dull brownish grey which is fairly darker out of focus, but however the indistinctness doesn't affect its impact within the pale green and white it still stands out strong. The contrast between colours these colours create a combine rather well to create a beautiful composition. The element of inside and in between I felt is strongly illustrated in this shot by Rudolf Vlcek; not only are fences generally a separation in between different locations they can be seen through to another side due to the thinness of the metal rods which interlock one another creating this interesting design with again central interlocking sections.

IDEA 2 : MEETING POINTS AND PERSPECTIVES Idea 2: Meeting points and perspective

ARTIST ANALYSIS JASON MIC

This photograph was taken by Jason Mic at a London underground in 1993 while he was studying for he’s photography degree, for me it struck a real sense of inside, outside and in between from many perspectives. The main initial perspective was the fact the shot was taken within a tunnel underground signifying in between and inside. The cylinder case of the tunnel encloses itself wrapping round the photograph strongly signifying within and inside a shell. Trains have always symbolised enclosing and centralising in my mind, for example the central line the name alone reminds me of being within and in the middle - underground. Train stations, particularly this one withhold a overriding atmosphere of imprisonment and having a single destination again linking to captivity in a way. Interestingly in this shot though we are aware as an audience there is a greater outside which is outside the train station the minor outside within the inside: which in this case is the platform path outside the train would symbolise the outside. I can just vaguely see into the train which is clearly moving judging by its blurriness; seems to be reasonably crammed where in contrast you have the empty outside space, I think this contrast of density complements the shot - the ideology I wanted to bring out of the photograph of inside, outside and in between. I would like to incorporate this idea into my second set however develop it further for a stronger portrayal.

2nd IDEA EVALUATION

The idea of meeting points and perspective came about when I was concluding my first set of photographs, during that I focused more on the transition and differentiations from outside to inside so for a different I tried thinking about a broader aspect or a more literal take. Though I did mention the significance of transparency and paths quite a bit during the last set of photographs I wanted to concentrate more on different perspectives of an environment colliding, I felt there's a lot of interesting possible outcomes to explore that could really illustrate the subject to an audience. Firstly the meeting of a fence (one fence, 2 different perspectives) one shot in focus and the other out of focus; my intention here was to create a complex perspective of the meeting of the fence as it appears to be joining correctly only with the depth of field appearing in an unrealistic form. There's a beautiful contrast between the compositions where the background of one is visible and the gate if blurred and the other side is vice versa, however to enhance the whole composition as a development I incorporated another shot into it which went along the whole piece; acting as a form of binding medium to diminish the contrasting elements within this shot. The overlaid section on the left side of the shot isn't possible to fabricate when simply taking a photo however still very effective as the realistic background appears out of focus the layer of another similar scenery overlaid creates a reflection appearance . This blurred field suddenly becomes some kind of reflective sheet. Likewise with the train shots I played around with realism and created unrealistic circumstances which however still join to convey a meeting point or pathway in between. The second train shot of the train tracks at different times from different perspectives, particularly demonstrate a non linear composition as the movement of the train within the final composition is illusory illustrating a form of imaginary activity. I enhanced this by the developmental photograph I incorporated unto it; slightly blurring visibility and complementing the imaginary non linear composition between both shots. I’m fairly impressed with my final outcomes I tried my hardest to correctly convey the themes as effectively as possible likewise tried my hardest to produce appealing photographs I hope would attract an audience and conjure a multiple of ideas an perspectives within their minds.