PI2 – Exercise Breaking Dawn

So here I am, retreating to the Central Catchment Nature Reserves over the weekend and rethinking therapeutic landscapes amidst the horrifying series of final projects heading towards our way.

The act of pushing and pulling film is almost like a myth to me; I have heard about it from the old masters, professors, photography peers but I have never seen any physical image or prints produced from this technique nor have I encounter/ experience it personally. For the purpose of my study on the effects of pushing and pulling, I have exposed both rolls of film with identical setup (aside from light reading) with +/- 1/3 Ev to have a better understanding to both approaches for my future field applications.

It is evident that pushing film increases negative contrast and pulling film decreases negative contrast – this is definitely one of the most important piece of information to be aware of in order for me to adapt to the different lighting condition and subject matter if ever one day, monochrome or colour film becomes my selected choice of medium; for what I have been exposed to are only dodging and burning in the traditional darkroom.


Come to think of it as I am writing this post, I should have also expose one more roll in its native ISO rating for a better comparison… Oh well, at the very least, now I can be proud to declare that I have come face to face with the myth and I have finally tried this technique out personally for once!

PI2 – Assignment #5: Your Favourite Image

Addressing issues of current affairs through the medium and dialogue of art have always been a driving force to my practice. For this project, I look into the Singapore’s urban landscape and it’s ever-changing fabric. Land reclamation, deforestation, demolition & erection of buildings, they are often motivated by political and economic reasons – but who exactly have the last say to such decisions and how do different groups of people view such movements? Do they see/ feel anger, love, sadness, happiness or simply being indifferent when issues are out of their area of interest/ concerns?

I have also taken this opportunity to further explore on various artistic methodology. Which I might say – a constant exploration, deconstruction and reconstruction in the study of fine art aesthetics, is my style. Perspective, then, has become a key element to this research pertaining to my interest (ways of seeing) and style (seeing through lens).

Paul Cézanne (1839 – 1906) is considered by many art historians, a revolutionary painter in the Post-Impressionism period. Quoting Rod Bantjes, ‘“Perspectives bâtardes”: Stereoscopy, Cézanne, and the Metapictoral Logic of Spatial Construction’, History of Photography.

Cézanne’s desire to capture the truth of perception led him to explore binocular vision graphically, rendering slightly different, yet simultaneous visual perceptions of the same phenomena to provide the viewer with an aesthetic experience of depth different from those of earlier ideals of perspective, in particular single-point perspective. His interest in new ways of modelling space and volume derived from the stereoscopy obsession of his era and from reading Hippolyte Taine’s Berkelean theory of spatial perception.

In short, Cézanne employed the idea of multiple perspectives into his body of work in the later part of his life, painting different objects in different perspectives onto a canvas which led the viewers to see different angles in a single frame. The other painting that has also influenced me is Cézanne’s Mont Sainte-Victorie.

Paul Cézanne, The Basket of Apples, c. 1893, oil on canvas, 65 x 80 cm (Collection of Art Institute of Chicago)

Paul Cézanne, Mont Sainte-Victorie, 1904-06, oil on canvas, 81 x 65 cm (Collection of Princeton University Art Museum)

Upon understanding his methodology through my course of research, I have attempted to carry out this idea of multiple perspectives into “the canvases of photography” with a few numbers of trial-and-error, and here is the result at this preliminary stage of exploration after consulting with our dear Prof. Elke.

Nikon D800, Sigma 24-70mm f/2.8 EX DG HSM @ 24mm, shutter speed varies, f/16, ISO 200.

However, that does not constitute as my favourite image still, because I think I can further develop this idea of approach and offer much more to this particular location. The following image is one that I am more satisfied with, in terms of the overall end result with a touch of the good old composition rules, painterly quality and the perspective application in the classical work of art. How does this image and methodology relate back to my interest I have mentioned earlier? This, I will share with you in class.

Nikon D800, Sigma 24-70mm f/2.8 EX DG HSM @ 24mm, 1/100 second, f/16, ISO 200.

Relevant artist references I have came across whilst doing my research are British artist, David Hockney and Germany-based photographer, Stephanie Jung.

PI2 – Assignment #4: Freedom of Choice

The intent of this assignment is to change the appearance and the character of one subject in a series of images. I have decided to challenge myself with a fisheye lens in this situation with my subject matter being the ADM (where I have seen so many images of the building around the internet and I have not even attempted to photograph it despite knowing the campus for almost 4 years!). With regards to that, I have a belief about perspective distortion in the architecture aspect, that either I keep everything free from distortion, or I exaggerate it in an artistic manner.

The first image is where I tried to keep everything in order and distortion-free, and I went crazy with the other two images.

Nikon D800, Fisheye Nikkor 16mm f/2.8, 1/15 second, f/2.8. ISO 2500

Nikon D800, Fisheye Nikkor 16mm f/2.8, 1/15 second, f/2.8. ISO 2500

Nikon D800, Fisheye Nikkor 16mm f/2.8, 1/15 second, f/2.8. ISO 2500