Another change in the way that I considered mise en scene and framing can be identified above. Whereas my previous post talked through the themes evoked through combining nature and man, the compilation above diverged from this connection. I wanted to capture both nature and industry in separate images.
The first two are an example of industry. The rusted metal, dark wood and untidy hay all illustrate the life of a farmer. It gives the audience a simpler interpretation of the subject being photographed. Additionally the low angle shot where I am looking outwards with only trees in the background is a simple but impactful pose. For me, the previous shots I took may have been too packed with colour and scenery to make an effective cover photo, but these three present a well-constructed frame connoting only one specific theme.
Since the farm I used contained many effective props and a variety of rural elements, I tried to include photos from all around to create an overall impression of what to expect from a rustic encounter.
The images above demonstrate the labour that comes with farmlife. Choosing the log pile as the backdrop was an intentional decision that expresses the physical demands of the functioning environment. This impacts the context of my magazine massively. My artist will hail from a similar family and background so that I can use the stereotype of country origins to influence how I construct the text and fictional events in my artist's life.
Unfortunately the top left photograph includes a washing rack in the corner of the frame, distorting an otherwise serene impression. It can be noticed that I exchanged this angle in the other shots so that the fence or ground offered an unintruding alternative. I wanted to keep the guitar with me in these shots. My reason being that on a location where the workload would be strenuous, music could provide a sense of escapism. In a way this refers back to the theme of companionship that I felt was reflected through the neck of the guitar resting on my shoulder. Music brings the ability to express emotion and passion, two heavily symbolic themes in country lyrics.
Also recognisable is the change in clothing. I just felt that the white t-shirt conveyed innocence and was more subtle in complementing the logs, rather than the darkness of my jumper.
These long shots are a continuation on how music can be seen as escapism. Casually leaning against the pillar carries a majestic implication to do with class. Although agriculture is not considered an upper class profession, the proud stance can be associated with how music can give people a sense of pride.
Another benefit of these photos is the lighting. My blue jeans and white top provide a bright contrast to the darkness of the barn's interior, symbolising that I have emerged from the shadows.
I chose to don my black coat for one of the shots because I think it emphasises age and maturity. It could be that the artist is revisiting a place from his past after reaching fame in the country genre.
I shot both landscape and portrait photographs with the horseshoes. The most relevant thing about them is their quantity, implying long-term dedication into maintaining a certain lifestyle. As well as this, the way that they have been collected and stacked is a reminder of the farmer's accomplishments. The horseshoes represent trophies and how my artist is reflecting on his distinguished future in relation to his past.
I wanted to change my body language to more of a crouch in the final shot because I felt that the way one of my legs had been extended more than the other appeared too unnatural. Furthermore the angle changed from a deeper frame to a front view, because I felt that exposing the audience to the horseshoes without the barrel would enhance their impact.
The very last shots I took offered a better impression of 'home.' Most of the photographs I've collected in this location were focused on making the most out of the farm. Because of this I feel like I have captured a vivid depiction of how my artist used to have an agricultural background and how this may or may not have influenced his music. However I do not feel like I have significantly expressed that my artist valued his home in a positive way. In the context of my magazine I have two options when using these photos; either the artist is revisiting his home in the present day or the photos are a flashback offering the audience insight into his former life. For this reason I want readers to be familiar with how the artist channeled his enjoyment and hardship into his future, not just one or the other.
Leaning on the stable doors and sitting on the bench with the house in the background are both examples of how I wanted to symbolise belonging. By being placed inside the stable whilst casually looking out it presents me as feeling secure and in control. Meanwhile the photos on the bench have poignancy due to the green lawn covering the majority of the backdrop. The idyllic colours of both the grass and my clothes differ from that of the plain hay or the worn, rusty tools. This contrast is not solely visual, it also shows the balance of work life and leisure time, challenging the overpowering sense of struggle that was connoted in earlier shots.
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