14.5 Projection Photography

Experimenting with Projection

After experimenting with layering patterns over PHOTOGRAPHS, I wondered how it would look to physically layer patterns over people in real life using a projector. The results are below.

Casting shadows was a successful way of creating art similar to Kara Walker's / Pipilotti Rist's, because of the shadows formed. The shadows look like silhouettes, which removes the person's identity.

I enjoy the two pieces above because of the depth. The foreground and background are very separate, but they are linked by the shadow. You can see the face and identity of the girl, but it is distorted by patterns - and the background is distorted by her shadow. They are fighting against eachother.

My model's hair was very successful in casting interesting shadows, because it was curly and full of volume - it cast many organic, free flowing shadows, so I asked her to experiment with it.

It was also successful in allowing me to capture personality, rather than just a void, blank expression or pose.

The fact that it was an interactive experience made it fun and enjoyable for those participating, as seen above. It was fun to be able to cast shadows and 'wear' patterns.

I thought that perhaps the projection would look more intense on a smaller scale, but it didn't look anywhere near as impressive.

Removing the colour gives a different effect entirely. It seems a lot sadder, a lot moodier - and a lot more eerie. 

The above piece is interesting because I caught my subject whilst she was turning her head. Her hair is flicking, which makes it seem like she is in zero gravity conditions.

The above image is interesting to me because it appears dark, and edgy - the background flowers seem to be "glitching", because of the double image - this was totally intentional. Then, there appears to be a double image of the girl - herself (all in black) and her shadow (all black).

I love this image because of the innocence that it captures. She is blissfully unaware of the patterns on her face, and the dark shadow behind her is looming over her like an evil presence. There is a narrative.

The above images were inspired by Elena Ray's photography. I attempted to create a serene, spiritual piece by posing like a yoga instructor.

The images below are the images I considered to be the MOST SUCCESSFUL - this model is wearing a light grey vest, which allowed the patterns to project very successfully on a light surface, and bare skin.

The projections are so clear that you could almost lose the girl's figure in the projection. They look like PART of her shirt, and part of her skin.

Like tattoos.

I enjoy this image because of the interesting pose, and the shadow cast.

In this image, my model is walking casually across the screen without paying any attention to the camera.

I imagine this is how it would look to see a participant in one of Pipilotti Rist's exhibitions, as her large scale projections are often intercepted by participants walking through the projection.

I enjoy the idea that somebody could become a piece of art /become piece of the art without even realising, like above.

Although floral patterns represent nature, femininity and lead from my inspiration Pipilotti Rist, I have began to find the ABSTRACT SWIRLING PATTERNS far more effective.

The swirling abstract patterns may not be NATURAL,  (they were created on photoshop with a liquify tool) but they are organic like flowing water. They remind me of EBRU art (Turkish paper marbling).

Ebru

The patterns are surreal, and I enjoy the fact that it becomes difficult to tell that the patterns were ever flowers at all. There are hints of flowers left untouched, but you have to look very deeply to see them.

The swirling patterns projected so well onto my model's body and skin that it almost looked like they had been painted on. It reminded me very specifically of body marbling, which is often done at festivals. See below.

Full Body Marbling

Arm body marbling (most popular)

Face marbling (I did not know this existed, until now)

If I had more time, and the relevant materials, I would have liked to experiment further with body marbling. I think that it is a surreal and successful way of incorporating surreal patterns with a person's body temporarily.

The images below are my favourite captures from the experimentation with abstract, squiggling patterns.

This piece separates my model from the background entirely, making it seem like the colours and patterns are genuinely a part of her skin. You can see her face, but it is distorted by colours and patterns - but, her eyes are very large and bright, and our eyes are drawn to her eyes.

I enjoy this piece because of the depth. There are three levels. The background (projection on wall) the foreground (model) and the shadow, which ties the two together.

This piece is my favourite of them all, because of the close of of the girl's face. The patterns distort her features and her identity, but her eyes are bright and command the viewer's eyes to the point that we can look past the surreal distortion.

I projected this image by accident, because it was in the same folder as my other imagery. I was surprised at how interesting the effect was, when projected on a body. The patterns and colours are natural, although they are split up by HARSH geometric lines like a mosaic. It makes an interesting contrast.

My model had light hair, meaning that it picked up on the projections. It was interesting to experiment with projecting imagery onto hair. Hair is not a canvas I anticipated, because of its free flowing nature - but here, it creates a very interesting image and the rose is very visible.

This image is beautiful to me, because the model appears completely oblivious that she has become a piece of art, and oblivious that there are projections on her skin.

Again, it reminds me of Pipilotti Rist's exhibitions where participants can walk infront of projections aimlessly. 

I enjoy the idea that using projections creates an interactive art piece, by allowing viewers to project their own shadows and "wear" the art by blocking the projection. 

The below images were completely experimental and I was not sure how they would turn out.

They involved abstract patterns / "squiggles" but the colour scheme is unlike nothing I had used before.

I was pleasantly surprised at how these images did not need any photoshop editing - no adjustments of contrast / colour / brightness were needed, because the levels in the piece were already very successful.

The bright, swirling yellow reminds me of sunshine on flowing water, or honey. It is very warming and welcoming.
The yellow reminds me of summer wheat fields.

These pieces are very warming and pleasant to look at - especially since my model seems so relaxed, and she seems to be acknowledging her own arms and looking at the patterns she is wearing. She is self aware, breaking the 'fourth wall'.

Other experiments below.