These pictures i took are from a project i started a few years ago called "IM WATCHING YOU TOO". Based around how security cameras cover the modern urban landscape. As i did this project i realised how prevalent they really are and decided to take advantage of the abundance to develop an idea and project that ticked along as i went about my life.We are always being watched, under surveillance 24/7. I simply decided to just take photos back.

The cameras don't wait till you pose they catch you whatever state you are in which is where the project ties in with deadpan, everyday people doing everyday things emotionless on the surface, deadpan.

These are some photos i took of my friends asking them to hold an emotionless face to develop my understanding of deadpan photography. Deadpan portraits create their own emotion as there is no overwhelming apparent emotion.For most i have kept the subject centred in the photo and asked for direct eye contact with the camera. This is because i wanted the photos to feel raw and real as if you are face to face with this person.

I edited the photos slightly making the straight on portraits greyer and duller to amplify the emotionless callous faces.

This simple painting i did using inks. I tried to really create depth in tones and expressive lighting. Only using black and white in different intensities helped make the piece seem more dramatic and expressive.Using shadows to hint at features i did this to experiment in a new style and Im happy with the outcome.

This is when i started to use oils in my work, i had used it before but not on a full portrait.I started to sketch and paint some deadpan faces as that is ultimately what my final work was gonna be, i also decided i wanted to do the final work in oils and practicing using them was essential to develop techniques and understand how the medium works for an optimum final artwork I am happy with.

I chose the photo for the right side picture as it had lots of contrast ad tonal range.The contrast helped me develop my blending oils skills and also added more drama and intensity to the portrait.I decided to keep the background simple and went for a grey colour to stick with the dull emotionless theme of deadpan as a whole.The simple plain background also allowed the subject to maintain dominance in the piece as its the main focus, so i didn't want to divide attention for people when looking at the portrait.

I began to take on some more oil portraits as well as my final piece artwork.My idea for a final artwork was inspired by the ideas from my project "IM WATCHING YOU TOO" being about people caught in the everyday. Most of the photos i've used for the piece are from people on trains or just in the street going about there business. I decided i wanted the pieces composition to feel cramped and compact putting the people close together, overlapping them as if the viewer of the piece was sitting on a crowded subway across from these people.

I started to develop technique with the oils as well as a personal style which i was using for this particular piece.Again i chose pictures with a variety of tones and lighting adding more drama and interest to the piece as well as helping me develop my oil skills in blending and texture.