Home away from home.

After recreating family photographs, I wanted to experiment further and had an idea when walking to university one morning.

I wanted in some way to be able to show that although I have moved away from my home in Chudleigh, there are still parts of me and my family here. Almost like I have brought them with me. And due to my mum being brought up in Plymouth, and my Grandma still living here it does feel like a home away from home.

I created the images using my iPhone7 camera to show the difference in times. It also felt appropriate as family photographs and ‘snaps’ are often made this way these days.

Contact sheets.



I took a handful of my family photographs out with me and took a photo of them in the area i live in Plymouth. I tried to find similarities in the surroundings, to put this point across. Whether it was colour, texture, materials, earth, water etc.

I’m really pleased with how these images turned out and am much happier with this concept as it feels much stronger to me.



I started my individual work for this module, by looking through the extensive family photo albums on a bookshelf in my family home. I put aside images that meant something to me or made me feel something, aiming at images of my immediate family as a starting place for this project. I love the idea of using found photographs in my photography. There’s something fascinating about looking into the past and ‘exploding images’ in that way.


My first shoot involved using the following two images. This is my Mum, when she was pregnant with me in 1995, walking the dog in the fields behind our home. Taken on my Dad’s old film camera.



I wanted to recreate these images, but in a way that showed how much has changed in 22 years. I used my DSLR (Sony α58) to show the change in technology. As well as this, I wanted my Mum to be wearing what she would normally these days on a walk. I also wanted our dogs to be in the second image, as you can just make out our old dog in the old image.



Although I enjoyed making these images, I knew that this wasn’t a strong enough idea for me. I was sure that this was a way to explode images but don’t think the outcome was what I had in mind. I tried to play around with the images in Photoshop by making translucent layers out of the old photographs. I did this by adding the layer and changing is opacity.



I definitely liked these images a lot more. Particularly how it almost looks like my Mum in the layer of new images is looking towards the past. However, I wanted to continue experimenting until I know for sure what I wanted to do.


Artist Research.

Sally Waterman – PastPresent.

Sally waterman.jpg

Sally Waterman’s work focuses on producing photographic and video works that explore memory, place and familial relationships.

The ‘PastPresent’ series of six photographs feature snapshots from the artist’s childhood taken around the family home, where her Mother still lives. Meditating on her past, Waterman re-assesses her family album selecting key vernacular images that capture significant occasions, such as a birthday party on the patio or riding her new bicycle on Christmas Day.

Josh Huxham – 1954.


Josh uses found photography and layering in his photo series ‘1954’.

J. Frede also has a strong interest in memories. This inspired him to make his series ‘fiction landscapes’. He sources old family photos from flea markets and arranges them into new landscapes. He says ‘Arranging these into new landscapes that never existed speaks to the stitching together of human behavior and how we relate to time and the past: How many people have stopped at that rest stop and taken nearly the same photo of the plain hillside? All locking their own associations into the view, first road trip with a new love; last road trip to see grandma; one of many road trips alone.’


When i was doing my research, I came across the following on pinterest. Something that is rising in popularity is the idea of recreating old family photographs. These images often have a lot of humour.


Or, they can be more emotional.




Ambient Flashlighting.

Equipment list:

  • Elinchrom Quadra ranger FX kit
  • soft box
  • reflector
  • light meter

For the best outcome, reasonably dull lighting is required. If there is a lot of ambient light then the flash lighting will not be as strong.

You mainly use flash on location to: create drama within the scene by over powering the ambient light; lift the shadows; or to separate different parts of the image.

You can change the photograph dramatically by either overpowering the background by changing the shutter speed e.g 1/100 to 1/200 this makes the model darker and the background brighter by enhancing the ambient light. You can also you can increase the power by a full stop on the light.

By overpowering the ambient light you images will become more dramatic.

Compliment the ambient light to lift shadows.

Introduction of a secondary flash. You use this to add into the scene. To add more depth within the image. You can use colour gels to change the background or the whole image to change the feel of the photograph. Also you can use high since to dramatically change the photograph.

The first flash is to light the subject, and the second flash is to separate. Start by placing the first flash where you want it and how you want to light the subject. Then place the secondary flash afterwards.

How to use flash to create drama: Underexpose the ambient light a lot, this makes the background darker and you only light the subject. (take light meter reading and then lower the ISO.) Before you use the flash and take a picture of the subject in ambient light (a test shoot), the subject will be almost pitch black and the background will be a lot darker than the natural light.

How to use flash to lift shadows/ natural effect: use your light meter to read the correct meter reading and then set your camera, to where the subject will only be slightly underexposed. Then for your flash only use a low flash setting/ more subtle.

Pedro Valiente.

Pedro Valiente – Spanish film maker.

pedro v.jpg

‘Cuba 15’
Mixture of shots- closeups, wide angles
– Cubans say that life in Cuba us good because they are happy. Americans say that life in Cuba is poor and rubbish because of the poverty.


‘Newyork spin’
Not a photographer but uses it to be creative
Styles of shooting
Ethical issues
Special moments
Personal to him and his characters
Transmedia Film
Documentary films – his older films are heavier, but his newer films like this one is lighter.

‘You are mythical’
The way they are presented adds to the narrative
Transmedia documentary film.
‘Penelope is waiting’

Basic studio – notes.

Aperture – recording in f stops.

1.4 2.0 2.8 4.0 5.6 8.0 11 16 22 32 45 64 90 128

32-128 changes exposure.

Standard aperture – f22, f32

Studio aperture – f45, f64, f128

f/8 is the mid-point aperture (key)

Knowing these numbers allows complete control over exposure.

Foreground and background – build up layers. Change exposures for white or black background.

To create a whiter background increase the aperture by 2 stops. For a darker background lower the aperture by 1 1/2 stops.

If the background is f64, the foreground is likely to be f32. If you only have f22 you can drop the power of the lights therefore dropping f stop of background.

Between each number is 10 lines which make up every number on head of light. Panel has no relevance without light meter. 1.0 is lowest. 5.0 is highest. Four stops of lighting control. If you need it lighter – move light closer.

Attachments can be used such as soft box to create softer light. If you diffuse it the light spreads.

You can bounce light. That requires someone to hold reflector. Could use nd filter (often used for landscapes). this allows you to scientifically  access full stops or half stops.

Tungsten = 2000 – 2500 kelvin (colour temperature). White = hot to blue ambers.. daylight = 6500 kelvin = white light.

Lightning gel – colour correction and colour effect.

Shooting neg colour – daylight balance shot in studio with tungsten light (continuous) – image would be fire orange as it can’t cope – it’s been set at daylight. You can manipulate it to create whatever effect you want.

Arsenal of attachments – snoots, dishes, spill

D lights 200j

Sky port mark II

Sekonic light meter.

Studio Portrait Lighting.

On this day, we were given the task of taking some portraits in the studio using various lighting techniques.

We mainly focused on Rembrandt, butterfly, beauty and side lighting.


Rembrandt Harmenszoon van Rijn was a Dutch Painter and Etcher. The ‘Rembrandt lighting technique’ was named after and influenced by him.

His portraits showed the subject not necessarily at a head on angle, with half of their face lit and the other half of the face in shadow. This half of their face was to have a small triangle of light on the subjects cheek. The triangle is often no longer than their nose and no wider than their eye. It seems to give more feeling and mystery to the portrait as well as adding definition.


This is a technique I have used in the past and loved. I feel that images using this technique seem to have an extra depth to them that draws you in.

isaac studio.jpg

To get this outcome, we used lights which we pointed down on the side of the models profile at a 45 degree angle. You can diffuse the light differently using a honeycomb filter over the light. You can also vary the amount of light on the shaded side of the face using a reflector is you want to.


Named because of the ‘butterfly’ shape formed under the nose using this technique, butterfly lighting is created by pointing a light onto the sitter, angled down from above them. You can change the strength of the shadow using a reflector to diffuse the light.

tom butterfly.jpg


This lighting technique is created using a beauty dish which attaches onto the light. Its large, circular form means that it bounces a wide cast of light at all angles onto the sitters face. Again, a reflector can be used to add different highlights and shadows to the portrait.

tiah beauty .jpg


Side lighting is created by light being shone on only one side of the face. The outcome should be one side of the face in shadow and one in light. The light source should be pointing straight on at the side of the sitters face to make this technique effective and a reflector can be used to to change the strength of lighting on either side of the face.

tom side.jpg


Large Format Sinar F1.

Induction notes. 

  • you can only shoot one dark slide at a time. (one dark slide contains two pieces of film).
  • you must build the camera, it comes in different pieces in a box.
  • you can use darkroom paper as a negative, this will give you a one off image that you can not re-create.
  • the ISO is 3, you have to time the exposure yourself.
  • always get the rear and front standard right, the rear standard has a larger knob.
  • 80mm lens – medium format
  • 150mm lens – large format
  • 50mm lens – 35mm
  • scan the negatives in at 2300
  • there is also a 10×8 version of this camera which is bigger.
  • ground glass screen (rear standard)
  • always zero the camera before shooting and before packing away, this means ensuring that everything is on zero.
  • front standard controls the plain of sharp focus.
  • rear standard is where the film plate will be.
  • when booking the camera you do not get a lens, you must book this seperatley.
  • copy bookings from previous bookings to save time.
  • there is a variety of different lenses available for this camera.
  • you must ask for a large format Monfrotto tripod for this camera as it does not use a standard tripod.
  • there is a blue tab on the connect 2 system that leads you to frequently booked with.
  • there are bellows for the camera, you can book extra bellows if needed.
  • bottom first, in at top, inner tabs. (installing the bellows)
  • own a loop, these are not available in the etc but prove to be useful when looking t the images on the camera and on screen.
  • you must ensure that the ground glass screen does not come of the camera during the shoot.
  • book lenses, tripod, dark cloth, dark slide, loop.
  • don’t touch the inside of the ground glass screen.
  • 5×4 dark slides.
  • it is good to have a can of compressed air and a brush on you to clean off the dark slides and lens.
  • white tab on dark slide is unexposed and the black tab is exposed.
  • the white ball on the light meter is incidental, which is a 3D reading of light on a subject.
  • clear on the light meter – reflective – this can be used for light metering landscapes etc.
  • 2 paper, gloss at front and white on white on front (dark slide)
  • mono rail extension – these are available to book for things such as macro work.
  • bottom nobs x2 control making the camera go longer and shorter.

when booking a large format i need to ask for the following:

  • Sinar F1
  • Large Monfrotto Tripod
  • Lens Board with pinhole or 150mm lens.
  • darkslides, quantity depends on amount of film/paper being used.
  • L358 lightmeter seconic, reflective lumagrid.
  • dark cloth.
Sinar F1 in use.