Ex 2: Thinking about location update

 Made a start finding my 6 locations.

These pillars are at the entrance to The Gallery of Modern Art, Glasgow. They have strength and pattern. I would like to come back on a brighter day as I know there are interesting shadows which would bring out the stonework. The shot I imagine would have a figure stading or sitting at the end of the row with a shallow depth of field, blurred nearest the camera.

This empty shopfront on Argyll Street is advertising an exhibition by the artist Joe O'Brien. I think fun could be had with the interplay of the painted portraits and the passer-by.

UPDATE 27/4/10

Actually completed this exercise a while ago, just haven't had time to organise and upload the shots.

This is the new bridge across the Clyde, which has these fabulous traingular columns and sweeping curves. I went back and took pictures of my husband, one of which I intend to submit for Assignment 1.

This metal textured wall at The Lighthouse Gallery caught my eye. I thought it would provide an uncluttered backdrop but eventually dismissed it as too plain. Perhaps it would suit an edgy urban fashion shot.

The exercise guidelines suggest that photographing someone in familiar suuroundings may help them feel comfortable, so I considered our conservatory and kitchen, mainly as test shots for Assignment 1. Both work reasonably well in bright daylight conditions but are confined spaces, which might have been restrictive for a whole body or torso shot.

This shelving is in an artroom at my college. I liked all the objects on the shelves and that there was plenty of natural light from the window. I decided to return with one of our art students. My idea was to use the backdrop to hint that she was an artisit. The yellow dumpbins were messy, so I removed them.

Although I liked the shallow depth of field, I thought the background was ultimately too cluttered and I didn't like the magazine files to the left of Paula's face, so I opted for a tighter crop.

The problem now is that not enough 'art' materials are visble to make the connection. The concept of photographing an artist in the studio still appeals to me but I would need to reconsider the setting to successfully shoot a torso or whole body portrait.

Finally, I considered a wild, outdoor environment, again putting somebody into surrounding they were familiar with. Marion is a keen hillwalker and climber and we have been up to the cliffs on Ben Nevis many times, so I knew they would make an imposing backdrop. I think her stance, the winter colours and the wide angle (18mm), all contribute to making this a successful portrait of Marion.