Initial Experimentation

Below, are my first experiments, using my initial ideas as a guideline, taking inspiration from my chosen photographers.


'They were replaced by gauzy white bandages wrapped around my skin. Spots of red bled through.'

These selection of photographs, are an initial experimentation based upon the quote that I have taken from the book, which is shown above. Using my initial idea sketches as a guideline, I shot these in the studio using the white background. My main inspiration was from my chosen photographer Lissy Elle Larrichia. I have taken the element of a pure essence to the photograph by using mainly white within the background and clothing. It is then you notice the colour pop of the red more. I used the genre of self portraiture, therefore, I set up the camera, using a tripod and used the self timer, to which I positioned myself central in the composition. I used simple lighting, using one flash placed on my right side. This however, did create a shadow, therefore if I were to develop more studio work, I would experiment with the lighting. I was wearing an old bed sheet made to look like a general hospital gown. I placed hand prints with the fake blood that I used on the bed sheet. This was to enhance the characters reaction within the book, in how she ends up going frantic at why she is in the hospital in the first place. It also reflects what is to happen in the rest of the book- showcasing her hysteria that she develops. Within the composition, I cropped it so that it has a main focus on the hands and the blood so that the audience is unclear as to who the person is, yet is given a sense of uneasiness due to the content of the photograph. I intend my work to create slight ambiguity and to create the feeling of the audience to be intrigued by the story from my photographs. As this is the first photograph in the series, I feel that it needs to have a big impact upon the audience, so that they want to unravel the story further. As a development, I could experiment using the same composition, but on location. (in the forest/woods)  Also, not only this, but I could experiment with depth of field. For example, have my hands in focus, more forthright within the composition, and then the gown in the background with the blood on, out of focus. This could create more power within the photograph and also relate well to Larrichia as some of her pieces contain the element of depth of field.  

'They didn't make it.'
 'Mara, they didn't make it.'

For my next shoot, I proceeded to go out on location. Also taking inspiration from my initial sketches and the quote from the book, the location was set in an old graveyard. This composition took inspiration from the photographer Brooke Shaden and my previous photographs in response to her. I want to include the element of the figure being blurred due to movement, to not only enhance the 'weird' aspect, but to also create the ambiguity that I want to achieve. Essentially, I wanted to create a vision of myself appearing to run in between the gravestones. I used 4 specific areas of the graveyard to create my scenes. The first 2 areas were in and amongst the gravestones. I set up the camera on a tripod and had a helper with me that pressed the shutter. I set the shutter speed to 1/1.2 of a second and the aperture was set to f22. I found that with this setting, it is a case of keep pressing the shutter and I carry on the movement so that you get a variety of different shots as you never know what the composition will be. The 3rd area on the location, there was a path leading off further into the graveyard. I was intrigued to include this, as it creates leading lines. I stepped out infront of the camera and proceeded to run back and forth down the path whilst my friend was pressing the shutter one after the other. I chose two contrasting photographs from this area. The first, shows me close to the camera. I look almost as if I am the ghost wandering the graveyard. The second, shows me further away, at this point I am running towards the camera. My movement looks quite desperate in the way I am running and I look at most in a panic. The last area was again, in and amongst some gravestones, however, I am aware of the background being a slight distraction due to the houses present. I do, however, like the position that I am in, as you get a clear view of my facial expression. As a development for these, I will go back on location and retake these using a black dress instead to show the contrast. 

Developments; As a development for the graveyard scene, I went back on location to take similar photographs, however, this time I was wearing a black top and skirt. This was an experiment to show the contrast between the white and the black dress in the same location.

As an experiment for this scene, I went back on location to the graveyard. This time, I was wearing a black dress. Not only was this an experiment to show the contrast between the white and the black dress, but the black dress creates the meaning of mourning. Black, in this instant reflects the location better than a white dress due to it's significant meaning. I recreated similar photographs to the previous ones. Personally, I prefer the photographs with the white dress, the element of purity plays a part with the white, creating a contrast within the story I am telling through these photographs, as she ends up not being as innocent as she once thought. The reasoning behind experimenting with the black, was to differentiate the bleached sky to the model. The black dress shows a more prominent figure within the composition whereas, the white dress can blend in with the background. I feel that the white dress has a more flowy nature to it, creating more effective photographs when using the slow shutter speed, therefore, moving forward in my project, I will use the white dress in my other shoots. 

'My eyes scanned the labels of dozens of tiny bottles and jars of herbs and liquids in front of me.'

The next set of photographs, show a slight contrast between my other photographs in that it does not include the element of movement. These still photographs are reflective of the photographer Lissy Elle Laricchia with the use of props and camera angles. As this did not use a slow shutter speed, the camera was free hand, and I was directing my helper to place the camera closer and to what angle to aim for. I used the technique of the rule of 2/3rds as in my other scenes, I have been mainly central, therefore, I wanted to create a variety of different photographs. Also, another technique not seen in my other photographs, is the use of depth of field. The intimacy between the subject and the camera creates another sense of curiosity and ambiguity as I am the main focus and the background is out of focus. The focus portrays the importance of the prop that I am holding. The viewer would then be curious as to why I seem to be really interested in this prop. I experimented with looking directly into the camera as well as the prop itself. The photograph that shows me looking directly into the camera, show the seriousness and intensity of what I am holding and experiencing. The quote from the book was taken at the point where Mara is looking for a solution to her hallucinations- for her to remember the event that happened for her to get this way. Mara is clearly desperate for this solution, therefore this is what I wanted to achieve. 

'I leaned over the edge.'
'I plunged my arm in.'
'My mother found me there an hour later.'

This scene, I chose the location of the lake. This was to represent the part in the book where Mara hallucinates above some water and collapses. For this, my original plan was to create levitation using my previous experiments and photoshop skills. I took a photograph of the background and then placed the step ladder that I was using, in the water. I placed myself on top of the stepladder. For these collection of photographs, I used a slow shutter speed. This was to incorporate the movement within the composition, taken from my photographer Brooke Shaden, referring to the hallucinations. The first two photographs shown above in this section, I attempted the levitation effect. This, however, does not look clean and sharp compared to previous experiments. I also feel that the positions that I found myself in, did not link well will the levitation aspect, therefore making the photograph as a whole, unrealistic. Below these, are the original photographs, that include the stepladder. These look slightly more realistic and eery. It suggests that I am more or less stuck on top of the stepladder, and I can't escape. The ground to which the stepladder was placed, seemed to be uneven, therefore the composition is off balanced. This is something that I will need to take into account and improve on if I decide to reshoot this composition. I like the surrounding area to which I am placed in. It gives a sense of isolation which reflects Mara and her mental state. In post editing, I have increased the contrast. I have also desaturated the image, yet leaving a slight colour to it- this makes the photograph more mysterious. I lastly added a sepia photo filter. I have taken inspiration from Shaden by using a filter to represent the 'weird' element to my photographs. The filter gives the photograph an old, distressing look and enhanced the dark meanings behind it. 

'I turned away and picked up the pace. I walked away from him, slowly at first, then ran.'

These set of photographs are set in a woodland area. The location was inspired by my chosen photographer Christopher McKenney. I placed the tripod in the centre of the path with the trees either side creating leading lines. I then proceeded to set the camera on a slow shutter speed to create a similar pattern to link my project together. I ran out infront of the camera, running up and back down the path. I am particularly intrigued by the photographs to which show me as the subject, to be looking at the camera. This is because it reflects the quote to which I took inspiration from. The quote from the book shows Mara running away from someone who she has seen, that in reality is dead. With these photographs, I wanted to capture the urgency and panic within me and my positioning, therefore, the photographs in which I am running away from the camera, I turned my head back so that it captured my facial expression. The photographs of me running back to the camera, I wanted to achieve the desperation within my body and the way I was running so that it reflects the chosen quote. Similarly to my other photographs, in post editing, I have desaturated the photograph and added the sepia filter to link my photographs together. 

'Crying in my closet the next day clutching a shard of a broken mirror in my bloody hand.'

For this shoot, I took the object of the mirror, into the woods. I took inspiration from my photographers Christopher McKenney and Lissy Elle Larrichia. The location and mirror, I took from McKenney. The object of the mirror, is one I have experimented with before in my earlier work, however, with this composition, I envisaged the use of reflection. The still life was inspired by Larrichia. I also used the rest of the fake blood to capture the imprint on the mirror, which essentially links to the quote directly. As this was an experiment on the use of reflection, there are different variations of angles that I have experimented with. These series of photographs, create an element of intimacy between myself and the camera portrayed through the mirror. I am representing Mara, who is currently searching for herself, and searching for what is happening to her. The hallucinations were getting intense. I positioned myself on the floor, with the mirror in front of me. I positioned my body and hands on the mirror in a harsh and forceful way to reflect the intensity of the situation. Subjectively, the mirror is a representation of a portal, something that can transport Mara back to the night where it all happened, therefore, I am trying to represent her looking for this. The blood that I have on my hands, represents the struggle and the seriousness of this.   

When I was out on location for the mirror shoot, I realised the beauty of the surrounding area that I was in. The sea of leaves all over the ground. As luck would have it, the sun started beaming through the trees. The first set of photographs, I decided to incorporate the movement within this location.
The last 3 photographs were taken without the movement, just as the sun was beaming through the trees. I asked my mum to follow me around with the camera, and these photographs were captured. I linked it in with Mara being lost and finding herself, trying to portray what was going on.
I experimented with the same technique as the graveyard photographs, by using movement, yet in a different location. I felt that the various set of trees overwhelm the subject, which is what I wanted to achieve so that it reflects Mara's condition. 

Abandoned Building shoot.

The next series of photographs were taken, inspired by the location of the remaining quotations. These are shot against an abandoned building that represents the main storyline of the book. This would come at the beginning of the series, reflecting upon the main cause to Mara's hallucinations, essentially where it all began.

This shoot, was based around an abandoned building which contributes to the main storyline of the book. Within this series, I have taken various different view points and locations around the abandoned building to portray Mara in the environment that it all started out at.  I took inspiration from Lissy Elle Laricchia in terms of location and view points within the location. My aim for these photograph, were to create a level of disturbance and intimacy to reflect the personal discovery that Mara is trying to reflect upon.