I want to achieve a clear, accurate, record of the post top at the moment the photograph is taken. I want the photograph to record the post top in a manner that maximises the potential to recognise its earlier incarnations and determine any changes.
The tide and weather conditions are the main inhibitors of achieving the`ideal’ photograph of the post top. The changing tidal rhythms can restrict
Masking the post top from its natural background.
When I started photographing the groyne post tops I knew that I wanted to isolate the post top from its background. I want the post top to be the focus. To achieve this I edit the photograph using Photoshop.
I think of masking as the process of isolating the post top from its background by producing one or two templates that I can overlay. I become fascinated by achieving the edge, the boundary between the post top and the pebble background of the photographed image.
The process of selecting the edge begins with looking at a complete view of the image photographed. This repeats what I did in framing and taking the photograph – I check if the post top is in frame.
Then, I check if there is a clear edge. Is the edge of the post top worn in such a way that there are two or more potential edges? Is there a clear transition from to the edge? If so, what type of transition: curved edge, sloping edge, off-centre, off-horizontal picture plane? If there are two possible boundaries I often work on the outer edge first and then do the inner edge. Seeing both gives a comparison with which to decide which edge to use in processing the image.
Masking the post top to exclude the background is both an on-going practical and intellectual investigation of the complexity of boundaries. They become invisible from a distance and some edges that seem clear, become confused and complex when viewed close-up.
The Waveworn Gallery shows a selection of completed work taken from the Intervention project. Additional photographs relating to this project can be found on my Facebook page.
