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Carolyn Drake’s Wild Pigeon (2007–2014) is a project set in Xinjiang, China, in Uyghur communities undergoing rapid change. The project combines real photography with collaboration: she brings prints, scissors, colored pencils, and invites participants to draw, collage and reassemble the images.

Drake also draws on Uyghur storytelling, music and literature, especially an allegory called Wild Pigeon, to infuse her work with cultural meaning. The final images are neither purely documentary nor purely fantasy—they form a shared world between artist and community.

In Wild Pigeon, Drake builds a world where landscape, identity, history and transformation coexist. It’s a strong example of “creating world”—not just capturing what is, but co-creating what could be.

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                                      CREATING WORLD

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                                      CREATING WORLD

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Creating worlds through optical photographic means

Creating worlds in the gully

Construction of virtual worlds

Creating worlds through temporality

Ideas rendered in medium of reality

Reality rendered as an idea

Uncanny (valley)

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📸 Large Format Camera (4×5) — Practical Notes

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📸 Large Format Camera (4×5) — Practical Notes

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Loading & Exposure

Film Loading

White/Silver side → Unexposed film, faces the lens.

Black side → Exposed film, faces out after shooting.

-------------Never!!!! Pull out the films at any time-----------

Step-by-Step Shooting Workflow

1. Mount the camera on a tripod, level it.

2. Attach the lens board and open the shutter for composing.

3. Use a dark cloth to view and compose on ground glass.

4. Adjust tilt/swing/rise/fall as needed.

5. Focus precisely with a magnifying loupe.

6. Close the shutter.

7. Meter the light → set aperture and shutter speed.

8. Insert film holder (white side out).

9. Remove dark slide.

10. Expose.

11. Re-insert dark slide (black side out).

💡 Mount lens and open the shutter to T or Open.

Drape dark cloth and compose on the ground glass.

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Camera Movements

Large format photography allows independent front and rear movements.
Each movement changes focus plane, perspective, or composition.

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Alters the plane of focus (Scheimpflug principle).

Useful for keeping both foreground and background in focus, or for creating selective “miniature” blur.

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Changes focus along the horizontal plane.

Used for side-to-side focus or creative distortion.

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Lens moves vertically up or down without tilting.

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Corrects perspective, especially in architecture (avoid converging vertical lines).

Also useful for reframing without changing camera angle.

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Lens moves left/right parallel to the film plane.

Adjusts horizontal framing; useful for panoramas or avoiding unwanted objects.

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Some initial ideas about shooting on creating world

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Some initial ideas about shooting on creating world

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第三周小组讨论的inspiration 关于creating worlds的

上课 实践：large format on location

我们组遇到的问题：实操相机 聚焦、胶片不小心抽出（导致直接曝光）、胶片拍反（导致n重曝光）。

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                       BODY/IDENTITY/THERAPY

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                       BODY/IDENTITY/THERAPY

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The selfie?

Camera as confessor

Re-fetishisation/palatability

Agency and ownership

Negotiation of power in image making

Camera as therapist

Male/Female gaze

Body politics

Identity politics

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~selfies taken by models themselves VS selfies taken by a photographer

gazing (looking directly)

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Uta Barth creates a world through seeing itself.

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Sugimoto uses time to create new worlds.

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Sugimoto’s work inspires me to experiment with time as a creative medium in my own photography.

I am interested in exploring how a single moment can contain multiple layers of movement and emotion. Instead of showing time as a single long exposure, I plan to photograph the same person in different positions within the same frame, performing various gestures or expressions.

This idea visualises how time fragments can coexist, how one body can represent several moments, thoughts, or identities at once. Through this process, I want to create a world where time, movement and identity overlap, echoing Sugimoto’s idea that temporality itself can construct new realities.

In his Theatres series, he exposes film for the whole duration of a movie, so the screen becomes pure white light. This shows something we can never see: time made visible, people erased, reality transformed.

Time itself becomes the artist, and photography becomes a way to create worlds beyond human sight.

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Paul Graham’s Does Yellow Run Forever? (Series photos)

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Paul Graham’s Does Yellow Run Forever? (Series photos)

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When I look at the rainbows in Paul Graham’s work, I think about how beauty can be both real and unreachable.
They remind me that even the most ordinary light can create a temporary world, one that disappears as quickly as it forms.

For me, this is where 'creating world' begins: in those fragile, in-between moments when reality feels like a dream.

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The sleeping figure feels like a mirror of my own inner state, a space where thoughts slow down and imagination takes over.
I see her as living in a world that exists only when our eyes are closed, a place built from silence, memory and emotion.
It makes me wonder whether our inner worlds are sometimes more vivid than the physical one.

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The images of gold shops bring me back to the surface of the real world: bright, commercial, full of desire.

But when I see them next to rainbows and dreams, they start to look empty, like reflections of something we keep chasing but never reach.

For me, this tension between what shines and what feels true is where Graham’s world and my own begin to unfold.

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When I first saw Paul Graham’s Does Yellow Run Forever?, I honestly felt it had little connection to the theme, Creating World. But as I looked closer, I realised that Graham shows us that creating a world doesn’t always happen within a single photograph; it sometimes happens in the space between them.

In this series, the rainbow represents a dream world, the sleeping woman stands for an imagined or inner world, and the gold stores symbolise the real, material world.
As I move through these images, my feelings constantly shift between dream, imagination and reality, just like the transitions we experience in everyday life.
That sense of drifting between worlds is, to me, the world Graham creates.

What also inspires me deeply is the way he uses the exhibition space to strengthen these ideas.
He places the rainbow photographs high on the wall, symbolising fantasy and lightness; the gold stores low down, symbolising reality and weight; and the sleeping woman in between, linking both states.

This arrangement made me think about how I could apply a similar method in my own work, to let viewers physically move and emotionally travel between different worlds as they walk through my photographs.

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Kensuke Koike -- image collage

Annegret Soltau -- Personal Identity

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My initial idea for creating a world shooting plan is to create a collage and also let my models draw/write something on the photos I've taken. In this case, I invite my model to collaborate with me on creating the images.

In addition, I wanna try some new technical methods that I didn't try before, so collage is the one I want to do.

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Transforming Ordinary Objects into Surreal Art

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 artistic project called Vertigo Artography

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For brief 2, I created a self-portrait titled Stitched Identity, which explores the theme of duality within the self. The idea behind this work is to show how my identity constantly shifts between different versions of myself – the personal, emotional self and the institutional, documented self. I wanted to visualise how these two sides coexist and sometimes conflict with each other.

To make this image, I started with a passport-style portrait of myself as the base. Then I digitally collaged together different materials that represent parts of my identity. The main layer on my face is made up of scans from my passport and visa page, as well as a timetable that includes my name. These elements symbolise the official and bureaucratic ways that identity is defined and controlled. On the right side of my face, I added a fragment from a childhood photograph, which represents my past self – the innocent and more emotional version of who I used to be. By combining these different fragments, I wanted to create a sense of tension between memory and documentation, between who I was and who I am supposed to be.

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For my first image, I explored the idea of the authentic self through the format of a game character selection screen. The image shows five different versions of myself arranged from left to right: the version seen by my parents, the beautified version shaped by social media filters, the unedited version captured directly by my phone camera, the AI-generated version of me, and finally the version seen through my friend’s lens. By placing these portraits together, I wanted to visualise how my identity is constantly shaped by different gazes — from family, social media, artificial intelligence, and the people around me. The highlighted image in the centre symbolises the moment when I actively choose to be my real self among these multiple constructions.

This process reflects the tension between authenticity and mediation, questioning whether 'the real self' can still exist when a system has already produced every version of us. The work also connects to the idea of the camera as confessor, as the act of photographing becomes a process of self-reflection and emotional honesty.

I used digital collage to simulate a selection interface, arranging each photo with slightly different tones to distinguish the sources: cooler tones for external perspectives and warmer tones for the authentic self. In this sense, authenticity here is not simply the absence of filters, but an active decision to reclaim agency over my own image — to say, this is the version of myself I choose to be.

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According to Flusser, a photograph is not a reflection of the world but an information carrier. Which means that photography doesn’t directly copy reality. Instead, it transforms reality into codes, visual information that is shaped by both technology and human intention. The camera is not a neutral tool; it operates through a program that decides what can be photographed, how light is recorded, and how the image finally looks. In other words, what we see in a photograph is never the pure world itself, but a translation of it through technical and cultural filters.

For example, if two people photograph the same scene: one with a digital camera and one with a large-format camera, the results will be completely different. The difference comes not only from the machines’ technical settings but also from the photographers’ ideas and framing choices. This shows that photography doesn’t mirror the world; it communicates information about how the world is interpreted. The photograph carries a set of meanings, codes, and viewpoints, rather than simply recording what is there.

Combing this saying with the projects that we did so far...

In the Creating Worlds project, we used the large-format camera to explore how photography can construct meaning rather than record it. By adjusting the rise and tilt, we changed the perspective and depth to highlight these relationships. This process reflects Flusser’s idea perfectly; we weren’t reflecting the real world, but programming a visual message. The final image becomes an information carrier that questions how globalisation and human desire are visually encoded.

As we discussed in our Body & Identity project, many of us employed post-production techniques to reshape how the body is perceived. The lighting, framing, and colour treatment transformed the body into a symbolic surface of identity and emotion. The photograph does not show the body as it 'is', but as it means: expressing tension, vulnerability, or resistance.

In both projects, photography becomes a means of creating meaning rather than merely mirroring the world. Just as Flusser said, the image is a programmed carrier of information, shaped by technology, intention, and imagination.

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For my third image, I wanted to create a fantastical self-portrait that visualises my idealised version of strength, control, and self-awareness. The image shows me standing in front of a dark background, lit by a sharp beam of light that falls from above, as if revealing an inner power or consciousness. In my hand, there is a small, motion-blurred figure of myself floating upward, as though being lifted or released by an invisible force. This smaller version represents my inner self — the emotional, fragile part of me — while the larger figure holding it symbolises the ideal version of who I wish to become: calm, capable, and spiritually grounded.

Through this composition, I wanted to explore the relationship between control and compassion, between the real and the imagined self. The light functions almost like a divine or psychological metaphor — it’s not religious, but it symbolises awareness, self-healing, and transformation. The image is built through digital compositing and double exposure, merging two photographs: one of my calm portrait and one of a series of motion shots where I fell backwards into light. By layering and blending them, I aimed to construct a surreal yet emotionally honest self-portrait that turns fantasy into an expression of inner growth.

This connects to the theme of Body, Identity, and Therapy, as the act of 'holding myself' becomes a metaphor for care, acceptance, and the process of becoming whole. The ideal self I imagine is not someone perfect or distant, but the version of me who has learned to face herself with strength and empathy.

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                                 Body Identity Therapy Project Brief

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                                 Body Identity Therapy Project Brief

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Create 3 ‘self-portraits’ that deal with or respond in some way to the ideas brought up in the lecture ‘Body, Identity, Therapy’, following your own interpretation. These should consider how the skills learned in your technical workshops might help you engage in the ways in which body, identity and therapy can be explored photographically.

Image 1
Make a ‘self-portrait’ (in whatever way you want to interpret it) that presents yourself to the world in a way that feels authentic to you.

Image 2
Make a ‘self-portrait’ (in whatever way you want to interpret it) that explores a duality within yourself.

Image 3
Make a ‘self-portrait’ (in whatever way you want to interpret it)that constructs a purely fantastical or idealised version of who you are or how you wish to present yourself to the world.

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Philip-Lorca diCorcia’s photograph blurs the line between fiction and reality. The scene looks real—a man showering before an elegant crowd—but every detail is staged, creating a world that feels both believable and impossible. This tension produces an uncanny atmosphere, where photography turns imagination into reality.

For me, it demonstrates that photography can construct emotional truths rather than document facts, revealing how 'reality' can be manipulated to serve an idea or a feeling.

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                                      Creating Worlds Project Briefs

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                                      Creating Worlds Project Briefs

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Part 1 -- Group work

Create an image using the 5:4 camera that responds in some way to the ideas/concepts in the creating worlds lecture. Try and make use of the unique aspects of large format photography, such as

Camera movements (tilt/shift rise/fall) and the radical affects these can have on perspective and focus.

Resolution and detail (how much detail you can show in the image)

Slower production (planning every aspect of the image before you shoot)

✅ 2 pieces of film per student

✅ one final image per group

✅ one physical print in the dark room per group

Part 2 -- Individual work

Create your own photographic response to the ideas and concepts brought up in the lecture. Produce either a:

Single image

Diptych

Tryptic

✅ use whatever cameras, techniques or processes for this part of the project

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Philip-Lorca diCorcia created for W magazine, fashion photography

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Philip-Lorca diCorcia created for W magazine, fashion photography

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When I look at this image from La Creciente, I feel something strangely unreal. The scene comes from real life, but the tilt-shift focus and the mix of long exposure with flash make it look like a small, artificial world. The unusual blend of sharpness and blur pushes the picture into a photographic ‘uncanny valley’.

This also connects to what we learned this term with the large-format camera. Compared with the Mamiya 645 and RB67 I used last year, the 5×4 camera allows me to change the plane of focus much more dramatically through movements like tilt, swing, rise and fall. I’m excited to explore these techniques in my future shoots, it feels new, technical, and surprisingly creative, and I want to see how they can reshape the worlds I photograph.

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Her photos depict real spaces, but are out of focus, so they feel unreal, like a dream or a memory.

She makes us question how we see and what vision means.

In this sense, her “created world” is not made from materials or staging, but from how seeing transforms reality into perception, a purely visual act of world-building.

一种光学上的虚构（fictional world created optically）

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How can you see the ideas and concepts of ‘creating worlds’ being evident in the work you have already produced?

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How can you see the ideas and concepts of ‘creating worlds’ being evident in the work you have already produced?

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This is the Padlet link to my yr2 specialism

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This is the Padlet link to my yr2 specialism

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In my plastic pollution series, the camera functions as a silent confessor. The bodies wrapped in plastic are not victims, but witnesses of our collective entanglement with artificiality. Through the act of photographing, both the subject and I confront a shared guilt—the human desire to dominate nature, and the quiet confession that follows.

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In my MBTI project, I treat the camera as a confessional mirror. The first exposure shows the self under the gaze of social categorisation; the second reveals the self in rebellion and release. Between these two layers lies the act of confession—the moment when one dares to face oneself honestly through the lens.

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Across my previous works, I have gradually come to see the camera not as an observer, but as a confessor. In photographing both the suffocation of the body and the conflict of identity, I realised that each image is a form of confession—of guilt, of desire, of survival. The lens becomes a therapeutic space where both subject and photographer confront their hidden emotions. My new project continues this exploration, treating the act of photographing as a dialogue between exposure and healing.

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Camera as Confessor（相机成为自我检视的媒介）

Identity politics（身份被社会系统记录、定义）

Agency & Ownership

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“Layers of Verification / 被验证的我”

📷 概念：

现代人身份的确认往往依赖于系统：护照、签证、学生卡、面部识别、二维码……
你可以创造一张“多重验证叠加”的肖像，让相机看起来像一个数据库在扫描你。

💭 视觉设定：

你的肖像在底层（清晰）；

上面叠加各种扫描、指纹、二维码、条形码、官方印章的半透明图层；

每一层都像一种“社会标签”，遮盖了真实的面孔。

🎞️ 技术实现：

拍摄自己清晰正面肖像；

收集各类文件、二维码、签证章、票据扫描件；

用 Photoshop 叠加，设为不同不透明度（40–70%）；

模仿扫描仪冷光的蓝绿色调。

🧠 概念关键词：

Re-fetishisation（身份被美化成数字物件）

Negotiation of power（权力通过影像认证）

Camera as confessor（我被要求“说出真实”）

💬 作品语气：

“越被验证，我似乎越模糊。”

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✦ 双重性（Duality）的表达：

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✦ 双重性（Duality）的表达：

一方面，它呈现了制度化、被身份系统定义的“你”——护照、签证、姓名、学号；

另一方面，它显露出个人、情感、记忆中的“你”——童年的半张脸、柔和的姿态、模糊的身体。

两种“我”被拼贴、叠合、冲突在同一张图像中，构成一种身份的张力（tension of identity）。

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📸 在摄影或艺术语境中的含义当

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📸 在摄影或艺术语境中的含义

当你在摄影展、作品标题、或策展文本里看到 “Provvisora / Provvisorio” 这样的词，它通常并不是指字面意义的“临时展览”，而是在表达一种哲学态度或摄影观念：

🔹 “Provvisora” 暗示图像的非永久性（impermanence）、
🔹 摄影作为一种暂时存在的记录（temporary record）、
🔹 或创作者对不确定、流动、未完成状态的有意识呈现。

🌫 举例理解：

1. 摄影作为暂时性的见证

作品强调“此刻的存在”而非“永恒的图像”；

例如展览可能探讨记忆、变化、消逝、过渡这些主题。

“Provvisora” 在标题中就会意味着：

“这是关于暂时之物的影像；
摄影只是此刻的证词，而非最终的真相。”

2. 作品本身是“未完成的”或“可变的”

摄影师可能在展览中不断更换照片、拼贴、档案材料，
让展览具有一种“持续变化 / 无法固定”的特性。

这种方式拒绝“固定作者意图”，强调摄影的开放性与偶然性。

3. 心理与身份的暂时性

如果你的作品（比如《Stitched Identity》）探讨“自我不断被建构与修复”，
那“provvisora”就完全贴合：

它表示身份是暂时的，摄影是自我在时间中一次性的证词。

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This work visualises the duality between the documented and the remembered self.
The collage of passports and childhood fragments turns the face into a site of confession — where identity becomes both bureaucratic and emotional, fragmented yet healing.

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1️⃣ 主体与背景

背景以柔粉与白的渐变模糊展开，象征“私密、内在的心理空间”。

人物的身体半透明、叠影，暗示“流动身份”与“自我记忆的重叠”。

这使画面既具梦境感（fantasy）又具档案感（documentation）——正是身份被夹在现实与心理之间的视觉隐喻。

2️⃣ 面部拼贴结构

面部中央由护照页与签证页组成，形成一个“被制度验证”的外壳；

右脸保留了童年照片的一部分，那是“未经社会塑造的自我”；

拼贴之间的缝合边缘呈现数字化“断裂”与“过渡色带”，象征技术与身份的纠缠。

这一组合产生三层视觉逻辑：

童年记忆 → 被制度化的当下 → 数字媒介化的再现

形成时间的纵深结构，也让这张作品超越单纯的拼贴成为时间性的肖像（temporal portrait）。

3️⃣ 图像语言与色调

粉白基调：柔和、梦幻、带有心理疗愈的氛围；

面部拼贴区域：冷色、杂乱、带文字与印章，形成冷硬的现实对比；

这种冷暖冲突强化了内在的情绪二元（anxiety vs nostalgia）。

4️⃣ 下方五张引用图像

你明确展示了图像来源与构成逻辑，使作品更具透明性与方法论的清晰度。

这与“camera as confessor”概念一致——

你不仅展示结果，还展示“我是如何被构成的”。

序号 来源 视觉角色

① 课表（含姓名） 社会制度中的身份标签（学生、学业）

② 童年照片 原始、私密、自发的自我

③ 护照 官方身份认证

④ 底图肖像 当下、媒介化的外貌

⑤ 英国签证页 迁移与流动身份的象征

这些素材形成一个“身份档案的视觉档案（visual archive of identity）”，让你的拼贴不仅是视觉组合，更是一份自我档案的“再书写”。

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身份不是被定义的，是被选择的真实的自

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身份不是被定义的，是被选择的
真实的自我是不断选择、拒绝、保留、舍弃的过程

在这个“选择人设的界面”里，我终于选了真实的我，而不是社交滤镜/标签下的我

社交媒体 = 像 character selection

身份是被“滑动 / 切换 / 筛选”的

真实自我永远在菜单里被隐藏

要“选中真实”其实需要勇气

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本来是想尝试过肩拍 第一视角但

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本来是想尝试过肩拍 第一视角

但是没有租借广角镜头 导致拍摄的没有第一视角的感觉

所以放弃了从肩膀后面拍摄 改成了直接从胸口拍摄 完全是第一人称视角 更有互动和真实感

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我选择用第一视角，因为真实的自我不是一个“展

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我选择用第一视角，因为真实的自我不是一个“展示对象”，
而是一个需要被主动“选中”的存在。

我不是镜子中的人、也不是被观看的角色，
我是那个在“身份界面”中点击自己的手。

这张图把数字界面、游戏选择逻辑和自我认同结合起来，
表达“真实的我”是我自己按下确认键的结果，
而不是外界给我一个角色让我扮演。

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我的作品以“选择界面”的形式呈现，灵感来自于

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我的作品以“选择界面”的形式呈现，灵感来自于游戏角色选择画面
画面中一共有五个版本的“我”，从左到右分别是：

1. 父母眼中的我 —— 由他们拍摄，代表家庭视角下被期待、被定义的我；

2. 滤镜美化的我 —— 被社交媒体算法塑造的虚假、完美化形象；

3. 中间的我 —— 用手机原生相机拍摄、无滤镜、无修饰的真实我；

4. AI生成的我 —— 完全虚构、由人工智能构造的理想化他者；

5. 朋友镜头下的我 —— 外界社会关系中、在他人凝视下形成的社交身份

整个画面像一个虚拟“identity selection screen”，我用光标/框线高亮中间那张，象征我在众多版本中主动选择“真实自我”的那一刻

在今天被影像、算法和社交塑造的时代，“自我”从来不是单一的，而是被不同系统共同制造出来的——家庭、社交媒体、人工智能、朋友的镜头都在不断地定义我是谁

这张照片的核心想法是：

“我在被多重影像定义的世界中，试图主动选择属于自己的那一个版本“

这既是对自我身份的反思，也是一种自我疗愈（therapy）与重建的行为
“选择真实”本身就是一个心理上的重构动作

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我拍摄的画面 但是由于误曝光

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这种高过相机水平面拍摄角度的画面需要用tilt

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用手机拍摄的 转黑白滤镜成品