gallery visit
- OOf gallery(martin parr)-
For one of my gallery visits I decided to visit the OOF gallery where Martin Parr had photographed the joy and community within football throughout the years.
From freezing cold northern stadiums to sunburned shirtless fans, Martin Parr has been documenting football and the culture around it since the start of his career. But the game itself never appears in his work. Instead, Parr watches the watchers, capturing people at the game, celebrating, commiserating, or just meditatively lost in the moment of the watchers following their team. That’s what this exhibition is about: the unity, passion, ecstasy and community of football.
As Parr sees it, football fulfils an important function. “It’s a way of people accessing emotions. It’s very tribal … It’s an important aspect of creating your own identity. Especially for men; it’s a very welcome way of letting your emotions go.”
As Parr sees it, football fulfils an important function. “It’s a way of people accessing emotions. It’s very tribal … It’s an important aspect of creating your own identity. Especially for men; it’s a very welcome way of letting your emotions go.”
strand 1 - obscurred -
The word obscured can connote to the photograph being purposely manipulated in some way that distorts the final outcome. So when photographing with the objective of obscured in mind, my intentions are usually focused on distorting the subject of the photo with other added elements. I am hiding the subject in plain sight from the audience thus obscuring their view and interpretation of the image.
pinterest board
my photos
edited final images
strand two - identity -
The word identity in photography is an explorative theme with multiple different pathways to explore and develop, as I believe it allows the viewer to gain new perspectives and understanding of other people’s lives, and of the different layers to what defines a person. Identity can also link to themes of hidden sides to each individual as well as the ones you see on the surface.
pinterest board
My response
pBelow are some of the edited photos that I took in order to express what I felt identity resembled; a multitude of layers to an individual.
I took a collection of different angles Portraits of my model, where she would pose as the different emotions a person might go through at the same time.
I took a collection of different angles Portraits of my model, where she would pose as the different emotions a person might go through at the same time.
These photos depict my intentions adequately as there are multiple photographs and facial expressions within the image meaning different layers were used, however the different facial expressions and emotions the model is wearing is still visible to the eye. My editing included pasting different images over another and decreasing the opacity for the under image to be presentable. As well as this my prepping of the model proved helpful in conveying the message of multiple v[ews.
strand three - time -
Time is normally something that is out of our control in reality, however in photography I believe it is something that we have the power to control through the use of the camera. That is why my interpretation of time is the ability to capture and measure out small moments that could easily be forgotten. Below in my response I wanted to focus on the idea of freezing small moments in time, the fruit falling into the milk, and allowing the viewer to experience the small details of a simple action that one might miss.
pinterest board
my response
What are you going to photograph? How will you achieve your intentions?
For this my response Is photographing elements of movement frozen in time, in order to capture the powerful after effects that are normally ignored or missed to the common eye. In order to carry out my intentions I used a bowl filled with a liquid so that the viewer can see the precise ripple effects on impact made by the object being dropped from a height above the milk.
For this my response Is photographing elements of movement frozen in time, in order to capture the powerful after effects that are normally ignored or missed to the common eye. In order to carry out my intentions I used a bowl filled with a liquid so that the viewer can see the precise ripple effects on impact made by the object being dropped from a height above the milk.
edited images
I believe I had very successful images from this collection of photographs. I have shots from a variety of different angles which brings to light the hidden complexities in which we see Harold Edgerton explore in his photographs. I used a tripod situated above where I was dropping the strawberry into the milk to create a splash effect. The technique increased the chances of my images having no blurriness effect. However, I have a limited amount of best edits to showcase due to lighting issues, so to improve, I would've shot inside with a brighter light placed above.
harold edgerton
Harold Edgerton is largely credited with transforming the stroboscope from an obscure laboratory instrument into a common device. He also was involved with the development of sonar and deep-sea photography, and his equipment was used by Jacques Cousteau in searches for shipwrecks.
development 1
-Obscurring in the darkroom-
The theme I will concentrate on developing further is obscured identity. My initial place to start when discussing the theme of obscurity is in the darkroom, as the tools needed to transform a natural portrait into something more complex and concealed lie in there. When thinking of identity alone it can examine how we see ourselves as individuals as well as how we see ourselves in relation to others. It challenges us to express our individuality and the qualities that make us unique, but at the same time it asks us to consider how our group affiliations can define us as being part of a distinct group. This being certain characteristics that we share. It invites us to reflect on how we represent who we are and what gives us a sense of belonging. When you add obscured into the mix this could highlight the difference in what identity you are showcasing to the world versus who you truthfully identify as.
As a way to further explore that I resorted to the darkroom to uncover the different layers of what can obscure a person's identity. To start, I took a selection of portraits of my model in which I attempted to photograph a range of angles of their different facial features.
As a way to further explore that I resorted to the darkroom to uncover the different layers of what can obscure a person's identity. To start, I took a selection of portraits of my model in which I attempted to photograph a range of angles of their different facial features.
photos taken for darkroom use
I then chose a selection of photos in which I was going to invert their form to be able to then print them on acetate and use them in the darkroom.
chosen photos inverted for darkroom
results
In order to achieve an element of obscurity in the prints I attempted to distort the image in a numerous amount of ways thus creating this mask over the model, limiting the audience to what they can uncover from the image itself.
The techniques I used included having a paintbrush dipped into developer once the image had been exposed to the acetate. Instead of putting the image straight into the developer tray I ran the paintbrush along the top of the print allowing lines of developer to drip down. This technique created a drip effect on the image, in which the drips were a shade darker than the layer underneath which highlighted certain areas of her face significantly.
The techniques I used included having a paintbrush dipped into developer once the image had been exposed to the acetate. Instead of putting the image straight into the developer tray I ran the paintbrush along the top of the print allowing lines of developer to drip down. This technique created a drip effect on the image, in which the drips were a shade darker than the layer underneath which highlighted certain areas of her face significantly.
Another technique used in order to add an element of obscurity to the photograph is to use masking tape to cover a line or two in the image before it was placed in the developer in order to create this barrier across the photograph. The barrier resembles a mask for the eyes, as they are one of the most noticeable characteristics on the models face. By concealing them from the audience I am obscuring the portrait and thus obscuring the identity of the model. As well as this, you will notice that some of the tape in the images is significantly darker, I like how I used tape which had been dipped in water prior to being put in the image as it represents conflict between the identity you construct and allow others to see, and the identity which you are. This is represented by how the watery tape allowed water to seep through therefore slightly disrupting the barriers already put into place.
Development 2
- flowers symbolism in
the darkroom -
Moving onto my second development, I wanted to bring an outside object into the mix in order to see how it could alter identity further by obscuring it. Previously I relied solely on darkroom techniques to investigate how they would affect the image on the print, but by adding flowers to further obscure my model, I want to see how an everyday object could effect the façade put up in reality.
To do this I used the same prints in order to be able to compare, and collected a variety of small flowers. Before exposing my print to the light, I placed the flowers specifically onto certain areas of the face initially to obscure those said areas. In order for the best result I used a sheet of glass to hold the flowers down on the image while exposing it to light.
To do this I used the same prints in order to be able to compare, and collected a variety of small flowers. Before exposing my print to the light, I placed the flowers specifically onto certain areas of the face initially to obscure those said areas. In order for the best result I used a sheet of glass to hold the flowers down on the image while exposing it to light.
I admire how in this last one you see the outline of the eye but not the entirety of it, therefore parts of her are being hidden from the audience. This helps in capturing their attention and maintaining as they try to untangle the hidden elements of this photo. As well as this, squashing the petals down worked extremely well as it allowed light to seep through more easily, playing into highlighting the outlines of the eye better. However, I feel that I should've used a wider range of flowers in order to further explore ways of potentially obscuring the image in more dynamic and challenging ways. As well as this, not all of the flowers fully let the light reach the acetate properly so in my next development I am going to use a different medium as a way of achieving this.
development 3
- further darkroom development -
I had some issues in my previous development, which led to me using leaves (another outside unknown object) in order to create this sense of distortion of the identity of the model. Instead, like in my previous development, of simply placing the object on the surface of the image. I took a slightly different approach learning from mistakes made in my previous development, which was to paint developer onto the back of the leaf. Then instead of putting the print straight into the developer I pressed the back of the leaf (which is already covered in developer) to the print and let it sit for 30 seconds. I then took the leaf off thus leaving this outline and then put the print back into the tray of developer to let it develop slightly.
The leaf left an imprint which created this interesting effect on some facial characteristics. It drew attention to areas more than others, showcasing elements of the models identity that you are paying more close attention to as they have been made more compelling to observe.
The leaf left an imprint which created this interesting effect on some facial characteristics. It drew attention to areas more than others, showcasing elements of the models identity that you are paying more close attention to as they have been made more compelling to observe.
One of the issues I encountered was that because I could not leave them in the developer for very long I was left with a dull looking grey image, which is not very appealing when attempting to engage viewers. In order to fix this problem I altered the levels of the image on photoshop increasing the contrast and brightness slightly. I like this effect as it led to a more dynamic relationship between the darkness of the imprints the leaves left, and the slightly lighter areas of the image. This left an effect which both concealed and revealed the identity of the model. However in order to improve, I should've taken some extra photos of the model covering a greater distance from her face in order to add some variety to the images.
Development 4
- combining images -
For my next development, I was inspired by Pablo Thecuadro as up until this point I have remained in the darkroom medium experimenting with different ways to obscure the identity of the model by using objects from surroundings. I want to explore challenging identity by obscuring it with numerous facial features on the models face, observing how they influence and interact with one another.
pablo thecuadro
He is a Madrid-based photographer who specialises in crafting abstract images that ask the viewer on what is real and what is not. He is interested in the complexities of human kind and therefore uses his work to reflect that there are layers to what makes up the identity of a person and this strongly links with the theme of obscured identity. In his work, Thecuadro dances along the line of obscuring and revealing, which strongly links to my theme of altered identity, as it hints at what we as individuals will reveal about ourselves to other people and we will also hide. This creates a variety of layers and perspectives that contribute to making up one persons identity.
Thecuadro often uses the cutting and separation of images in order to convey a detachment from the norms surrounding the fashion industry and advertising. He uses fashion editorials of which some have been shot by himself and some shot by others. This allows him to create something new entirely, a new reality. By doing this he is stating that there is a substantial divide in the duality of a human being, who we really are and what part of us that is made visible to others. His artwork offers numerous perspectives by showing the subject from different points of view within the image,. By doing this he exposes the duality that exists within the identity of human existence. By also experimenting with line, shape and traditional form, Thecuadro redirects attention away from the fashion and instead transforms both model and clothing into a piece of art that keeps the viewer’s eye constantly in observation.
Thecuadro often uses the cutting and separation of images in order to convey a detachment from the norms surrounding the fashion industry and advertising. He uses fashion editorials of which some have been shot by himself and some shot by others. This allows him to create something new entirely, a new reality. By doing this he is stating that there is a substantial divide in the duality of a human being, who we really are and what part of us that is made visible to others. His artwork offers numerous perspectives by showing the subject from different points of view within the image,. By doing this he exposes the duality that exists within the identity of human existence. By also experimenting with line, shape and traditional form, Thecuadro redirects attention away from the fashion and instead transforms both model and clothing into a piece of art that keeps the viewer’s eye constantly in observation.
I started by taking photographs of one model, in which I had her show her face at a variety of angles allowing for multiple layers and perspective's to be revealed to the audience. After photos were taken, I then used the prints of the same model that I had already developed in the darkroom as I was very content with the effect of how they turned out.
photos taken
In order to emulate Thecuadro's style I had to use photoshop as that enabled me to manipulate the layers bringing together multiple images, allowing me to paint numerous perspectives thus obscuring the identity of the model further.
the results
I like how all of the images have these different unique twists to them which makes it overall more engaging for the audience. As well as this the overcrowding of the multiple viewpoints of the models faces help us to understand how an identity is sometimes led astray and obscured by obstacles, whether that be experiences that help shape us as the person we identify as today. The effect of the combination of my naturally taken photos contrasting with the distorted heavily processed darkroom prints, results in bringing to light the many faces a person can wear my obscuring their identity from others. However, if | were to take these again I would photograph the model in a more neutral tone of clothing so it does not distract the viewer from the true intention of the images. And I intend to include a range of far away shots instead of just close-ups in order to add more variety to the development.
development 5
For my next development I'm still keen on exploring the techniques portrayed by Pablo Thecuadro from my previous development, however this time I photographed my models in a more discreet, neutrally toned way of clothing. As well as this, I will be experimenting with three models at the same time instead of just one in order to fully explore how identitys can intertwine and potentially obscure another. This would reflect how reality or simply others can heavily shape your identity whilst obscuring it through the experiences you sustained.
For this, I took a series of close-ups and far-away shots of each of the three models in order to guarantee I have all resources needed before heading into the darkroom.
For this, I took a series of close-ups and far-away shots of each of the three models in order to guarantee I have all resources needed before heading into the darkroom.
selected shots to invert
When in the darkroom I remained with the techniques I used in previous developments as I have been content with the results they provide. These include the paint dripping/splattering method as well spray development on method.
darkroom results
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I am pleased with my results as I have produced a wide range of close-up and far away shots which deepen my pathway for next development. As well as this I admire how the drips of developer play a role in revealing subtle bits of the photograph as well as concealing at the same time. This contributes to my intention as we as humans choose how much of ourselves we share with the world hinting at the illusion behind what makes a person. These dark drips help to emphasise this as it leaves the audience heavily captivated but at the same time wanting to know what is being hidden in the lighter areas of the photograph thus keeping them engaged with the image. However, moving forward I hope to be careful to not leave finger prints which could potentially ruin the image.
Development 6
Moving on to my next stage, I am bringing in Pablo Thecuadro my previous developments as I wish to further experiment with the new darkroom prints I have produced.
The effect of using Pablo's collaging process results in the images having these contrasting twists to them individually and as a whole image. This creates a puzzle of a kind piecing different identity's together thus showcasing their influence on each other. Additionally, the crowded many viewpoints of the models faces let us comprehend how an identity can occasionally be misdirected and hidden by challenges, whether those challenges are experiences that helped us become the people we identify as today. A person can hide their identity from others by wearing a variety of faces, which is what the combination of the naturally taken pictures with the strongly distorted prints bring to light.
development 7
- David Samuel stern -
For my next development I am still keen to carry on experimenting with the idea of different personalities modifying each other when placed together possibly even creating entirely new perspectives. I wanted to continue with knowledge from previous developments concerning the darkroom prints produced. However, I felt that this would be an opportunity to explore a new medium as I was inspired by the artist David Samuel Stern.
Stern specialises in collaging, specifically woven portraits. In his “Woven Portrait” series, Stern physically weaves together two prints of the same subject. The resulting portraits are intriguing and ghostly multi-perspective studies of Stern’s subjects.
He is seen to toy with the viewer and create a sense of blurred identity as each single print by itself depicts a subject at rest, when woven together, the final result appears to be in motion.
By doing this he engages the viewer into the deeper layers of consciousness which are at work always revealing and concealing the subject as the body appears idle. Another aspect in which Stern is seen to explore is the element of blurring and distorting the boundaries between multiple different perspectives as the subject attempts to try on different identities. He purposely blurs the models identity's as when woven the portraits become abstracted. As Stern said himself, these images “are an attempt to bridge dignified, direct portraits with a sort of abstraction that allows their subjects to hide within themselves, and the photographs to be distinctly physical objects. In hiding some things, we reveal others.”
Stern specialises in collaging, specifically woven portraits. In his “Woven Portrait” series, Stern physically weaves together two prints of the same subject. The resulting portraits are intriguing and ghostly multi-perspective studies of Stern’s subjects.
He is seen to toy with the viewer and create a sense of blurred identity as each single print by itself depicts a subject at rest, when woven together, the final result appears to be in motion.
By doing this he engages the viewer into the deeper layers of consciousness which are at work always revealing and concealing the subject as the body appears idle. Another aspect in which Stern is seen to explore is the element of blurring and distorting the boundaries between multiple different perspectives as the subject attempts to try on different identities. He purposely blurs the models identity's as when woven the portraits become abstracted. As Stern said himself, these images “are an attempt to bridge dignified, direct portraits with a sort of abstraction that allows their subjects to hide within themselves, and the photographs to be distinctly physical objects. In hiding some things, we reveal others.”
To initiate this process I first developed large sheets of paper in the darkroom of prints taken from before, this allowed me to then have a original standing point to work from. After, I drew lines that were the same width onto both photographs and then used them as a guide to cut strips from. I proceeded to weave together the two separate images creating this intriguing effect of a puzzle for the viewer to untangle.
I like how the two colours of light and dark contrast heavily against each other emphasising the intention that everyone has their own innate rhyme or pattern, thus embracing inner conflict of what to reveal about your identity and what to obscure about it to reality. It also brings two separate personalities and identity's together into co existing states of being, depicting the effect and multiple realities that can obscure and control an identity. As well as this, I love the strongly enforced repetition of the pieces of woven paper simultaneously hide and reveal the model, as it allows for the model to remain hidden in the photograph however not entirely thus leaving the viewers imagination to wander.
development 8
- matthiew bourel -
The handmade, digital and animated collages of French artist Matthieu Bourel are based on the power of images and the diversions resulting from a wide range of different visual combinations. He labels his work as ‘data-ism’, and when mixing elements he constructs a story for the viewer. He is known for combining the processes of traditional collaging along with digital editing, resulting in unique diversions. In his series titled Duplicity Serie, he is seen fragmenting vintage photographs and aligning them in multiple ways over one original standing point, sometimes the models face appearing in the image several times but in different ways. By manipulating his subjects so that their faces look like masks or puzzle pieces adds an element of surrealism into the mix.
His artwork carry's an alternative view on personal reality revealing hidden veils within the image and unfolding each mask that has been purposely put into place.
A common occurrence in Matthiew's work is the absence of a singular head in his images. This links to identity and how it is manipulated and obscured in the photographs by the repetition in the image of the same layers of the face, consequently masking each other. By modifying the face he frees the model from the burden of being hidden beneath the layers and guides the viewer to understanding what lies beneath the facades enforced around obscuring your own identity.
His artwork carry's an alternative view on personal reality revealing hidden veils within the image and unfolding each mask that has been purposely put into place.
A common occurrence in Matthiew's work is the absence of a singular head in his images. This links to identity and how it is manipulated and obscured in the photographs by the repetition in the image of the same layers of the face, consequently masking each other. By modifying the face he frees the model from the burden of being hidden beneath the layers and guides the viewer to understanding what lies beneath the facades enforced around obscuring your own identity.
I took inspiration from his work as I wanted to further explore the different dynamics between different identities interfering with another, leading to obscure each other in the process. For this process I retained the images of my models and therefore took that from my previous development. I then developed them in the darkroom like so. After they were developed I cut them into wavy strips in order to give a more unique, eerie atmosphere to the image, challenging the viewer to tackle my illusion.
I like how the fragmented parts of the image have been taken in a curved sway form as it helps to add to the intention of perplexing the viewer. Therefore they feel engaged to tackle the intentions behind the image and exploring the different dynamics between the two identities and how they communicate with each other, therefore leading to an element of obscuring as both models are now distorted due to each other. However, if I were to continue this I would use a sharper knife and be more delicate to further prevent any extra paper being ripped between the lines and resulting in a cleaner neater cut.
development 9 - adding a different darkroom effect
For a small development, I wanted to explore the same effect shown to us by Bourel but using the darkrooms images in the collage that had been previously disrupted in order to add an element of further complexity and surrealism to the image.
development 10
- double exposure in darkroom -
Moving onto my next development I wanted to explore my own idea of double exposure in the darkroom whilst combined with past developments. As it exemplifies the effect of having two separate identity's merge to create an entirely new dual identity. This links to my previous development as that tackled the layers in the act of obscuring an identity with the use of another.
Continuing forward I will still use the techniques from the darkroom, but when exposing the photographic paper, instead of having one sheet of acetate I will have multiple at the same time. This results in this ghost-like effect of several different positions of the same person appearing on one print.
Continuing forward I will still use the techniques from the darkroom, but when exposing the photographic paper, instead of having one sheet of acetate I will have multiple at the same time. This results in this ghost-like effect of several different positions of the same person appearing on one print.
The dark contrast between the two images helps to emphasise the ghost-like figure appear in the image as well as establishing a stark divide and struggle between the two dual identity's. As well as this, the paintbrush technique succeeded in obscuring certain facial features adding to the overall obscurity of the image. However, I feel like the image is thrown slightly out of balance due to the double exposure separating the models too far apart. I would like them to be more centred in order to create more detail in the images, as if two identities are really merging and thus obscuring each other.
development 11
For this small development, I was not satisfied with my results from my previous work as the models were spaced too far out in the image, leading to some uncertainty in areas. So moving forward I decided to align the faces more when going through the process of the double exposure.
development 12
For my next development I wanted to go back to past developments, in which I explored bringing together different models into the expansion of my project. As in my past developments surrounding the use of double exposure, I have only used the same model and explored how the different perspectives and viewpoints can help to distort and obscure identity. However, in this final development I want to concentrate on how two conflicting identity's when brought together can shape each other through double exposure because through my work I have learned that other people are the most influential in the shaping of yourself.
development 13
Layer drawings
One key objective of identity, which photographer Nobuhiro Nakanishi exposed me to, is the importance of perception. Even in examining the same piece of work, it is not uncommon to have conjured a multitude of different perceptions from different individuals. Different elements of the image may stand out to certain people. Nakanishi’s work is a form of sculpture making, which typically involves representing humans or objects in three-dimensional interpretations using media like wood, stone, clay or metal. In his work, Nakanishi distances himself from the weight, gravity and materiality of media related to sculpture.
Nobuhiro Nakanishi played a vital role in influencing the form of my final piece as he exposed me to a new photographic technique of expressing different perceptions of an obscured identity. In my previous projects, I focused on expressing the conflict behind identity and how it is easily obscured, but through the use of digital collage. However, after viewing Nakanishi’s work I was introduced to this form of layering in which three photographs I will have selected are placed on top of each other, one by one. Thus an effect on manipulation is achieved as the separate images are literally obscuring one another. Nobuhiro believes that we as individuals are “all subject to the passing of time, however it is perceived differently for everyone”. So therefore, when Nakanishi creates these interesting displays of layering he intends for us to whilst looking at the photographs, to discover that our visual perception of the image changes as the photos are slightly obscured. Thus, we attempt to fill in the gaps between the individual images. Our visual perception of the image is flexible depending on whether we make a conscious effort to seek out something or not. The layering creates an “instantaneous optical illusion”, as explored previously in my other developments. When gazing upon his work, the relationship between the art and viewer intermediaries thus becomes more complicated and multilayered the longer you look at it.
In his work which I took inspiration from, titled “Layer Drawing” (2004-2005), was produced by developing a series of objects he shot on 24 frames of film one by one on slide film. Nakanishi then in order to create one layered drawing using his collection of photographs, he by stacking them up flat in 35mm paper mounts.
Nobuhiro Nakanishi played a vital role in influencing the form of my final piece as he exposed me to a new photographic technique of expressing different perceptions of an obscured identity. In my previous projects, I focused on expressing the conflict behind identity and how it is easily obscured, but through the use of digital collage. However, after viewing Nakanishi’s work I was introduced to this form of layering in which three photographs I will have selected are placed on top of each other, one by one. Thus an effect on manipulation is achieved as the separate images are literally obscuring one another. Nobuhiro believes that we as individuals are “all subject to the passing of time, however it is perceived differently for everyone”. So therefore, when Nakanishi creates these interesting displays of layering he intends for us to whilst looking at the photographs, to discover that our visual perception of the image changes as the photos are slightly obscured. Thus, we attempt to fill in the gaps between the individual images. Our visual perception of the image is flexible depending on whether we make a conscious effort to seek out something or not. The layering creates an “instantaneous optical illusion”, as explored previously in my other developments. When gazing upon his work, the relationship between the art and viewer intermediaries thus becomes more complicated and multilayered the longer you look at it.
In his work which I took inspiration from, titled “Layer Drawing” (2004-2005), was produced by developing a series of objects he shot on 24 frames of film one by one on slide film. Nakanishi then in order to create one layered drawing using his collection of photographs, he by stacking them up flat in 35mm paper mounts.
filters created in the darkroom
In order to create the same effect but continue with the obscured theme in mind, I created filters in the dark room using a variety of techniques involving paintbrushes.
portraits to be used from previous series
Final pieces
I like how my work emulates the same intention that has been expressed all the way throughout my project. That fragments of identity can be revealed as well as concealed by the obstruction of other identities. There are subtle flashes of unexpected elements and fragments of the face, in which you have to purposely seek out these details, simple beauties captured in time as Nakanishi states. Nakanishi’s work resonates with the way in which we experience the world. Therefore he has been a pivotal influence on my final piece as he has allowed me to express simple discarded elements of the models faces through the use of his multi layering. Also the fact that I am relying on the strength of the light highlights different obstacles interfering with your own perception of yourself and obscuring it.