On my initial full print I noticed so marks on and around the flower, I cleaned the negative up and did another print, which was much better, this image was now ready for print. 
I then followed the same procedure with the second (body) image, this image took much less time to expose correctly, with the best being just 4 seconds. I found this difference of time strange, as I used the same type of film for both shoots, however I have realised that this could be due to the lighting I used in the second shoot. 
Unfortunately this did not happen how I thought it would, as you can see, the part of the page that has been doubly exposed is obviously much darker than the rest of the image. I needed another way of making the image. 
I decided to swap the exposures around, so that the body could be projected onto the existing flower. I made a template out of card that could be placed onto the paper, so not to expose the flower more than wanted. Into this I cut a small shape in the position of the head of the flower, so that the body could be let to shine through this area. Using the same technique with the dark bag method, I exposed the paper in this new way. The image in the middle is very obviously different in tone, it is much darker and the line between the two is very harsh, I wanted it to blend in more with the flower.
I then did the same process using the same template but this time I decided to dodge the edges to make the line less obvious. Although this helped the line it didnt get the effect that I wanted.
I tried this same technique but dodging the edges again, I tried this many more times and this was the best image that I made. 
I started off by collecting objects that I could see around me, for example, this pine cone that I found on the floor, it initially grabed me as being an eye catching and unusual shape. The object is interesting however I soon began to realise that when thinking of putting the body into similar shapes I needed some more flowing and curved lines to work with. Opposite are a few other examples of the natural objects I collected, that again haven't inspired me to use the body. 
Here are some examples of the shells that I have photographed. I have tried to focus on the curves and lines of the shell itself, looking at different angles that I can see best fit the body. I particularly like the shape of the top right image as I can see how the body can be shaped into this frame. These are much stronger shapes that I can use within my images, I don't yet know whether these will be easier or harder to recreate than the images of the flowers, again I am going try and sketch some possible positions for the body to be put it, which will recreate the shape of the shell. 
This is one of Weston's natural studies titled, Pepper #30, his most famous pepper image. These images follow the abstract style that I have been looking at, allowing the viewer to decide the subject. The tonal range is great in this image, with highlights in certain areas, contrasting the shadowing in other areas. Again as with other artists I have looked at, I like the use of lines in his images, The soft twists and curls resemble that of some of the body images I have been looking at. I have realised that with this project the lighting is crucial in making the body or natural object appear different to what it is. It is important to get enough shadowing in the image so that the subject can be disguised into something else. It is also important that I use a black and white image as all of the artists I have looked at so far have used black and white, which also helps to take away some of the detailing that could make the subject matter more obvious. 
This is another example of Weston's work, taken from his nudes collection, this image again produces the subtle shadowing I have spoken about, creating depth within the image, making the curves of the body more prominent. I have started to see how the bodies can resemble different things, for example, whilst looking at this image I am reminded of a pear lying on the side with perhaps more fruit next to it. I am more interested in the resembling the body to some natural object rather than putting the body into a landscape. _large.jpg)
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This is an image of a shell, taken from Weston's natural studies collection. I picked this image out as I can clearly resemble it to some of his nude work (example right) where the body has clearly mimicked this position. I like the idea of taking an image of a natural object and then trying to position the body in a similar way. The nude image this time appears to have been taken on location using natural lighting but again the, this time harsh lighting, has produced shadowing on the body which emphasises the natural lines in the frame.
This is an example of Greenfield's work, taken from her Airborne collection, here she has used a studio. This shows her ability to 'capture the moment'. With the dancers performing a circle in the air. This is another example of how the body can be used in an extreme way to create an image. The lighting she has used is soft, controlled in the studio setting, which is different from the natural lighting that has been used in previous artist's work, such as Minkkinen. I like the soft lighting and it doesn't matter to me weather it be created in studio or on location using natural lighting. 
This image was taken from Greenfield's collection Bodyscapes, which is the work I am most interested in. It comes away from the idea of the dance moves and concentrates more purely on the body and the positions it can be put into. This work takes me back to looking at the body in an abstract way. These images have also been taken in a studio setting with soft balanced lighting, producing little shadowing, just enough to produce detail in the shapes of the body. Similar to the work of Cunningham, Greenfield's work is much more about lines that can be created in the body, with the composition of the image. 
This is an example of Minkkinen's work, taken from his Water and Sky collection, it is titled Back like a Rock. This is a great example of the way in which he uses the body in his natural surroundings, to blend in with what is already there. Similar to Cunningham's work, the use of Black and white photography is essential in making the body appear to be something that it is not, if this image was taken in colour, the skin tone would be obvious and would stick out in the surroundings however in black and white the tone of the skin can be disguised within the image. I like how on first glance at the image, it is not clear that there is a body hidden within the landscape, however on closer inspection the curled up body can be identified. 
This is an example of Cunningham's work titled Calla. It displays the shadowing and lines I was talking about. The curve of the flower leads the eye around to the middle of the image and the stem of the flower. The flower has high amounts of detail in the petal area, giving an added texture to the image. The shadowing give depth however it isn't a harsh shadow breaking the image up, it softly leads the eye around the curve of the flower.The flower appears as if you could reach out and touch it, this is what I want my images to be like. The lighting is very soft and flattering to the flower it is very natural complimenting the natural subject of the image.
This is another example of Cunningham's botanical work titled Spines, about 1925. This is different to the above image with it's soft lines and lighting giving a soft texture. This image uses harsher lighting and has a much stronger feel to it. This eye is still very concentrated on the lines of the image, which in this case are very straight and angular giving it that strong feeling. This image is much more abstract making it hard to see what the subject is without the use of the title.
This is an example of Cunningham's nude work. Titled Nude, 1932. This is another piece of work that is inspirational to me. I prefer this more tasteful image of the subject where little can be seen, compared to some of her other nude images which are much more revealing. This image is taken in a very similar style to the image above of the Lilly, using flattering soft lighting. The eye is concentrated again upon the lines and curves within the image. I like how at first glance the subject is not necessarily identified as a person, the image has become very abstract. The image is very natural, and works well positioned next to the flower above. The body could resemble a natural item such as a flower or a vegetable, it does remind me somewhat of a mushroom and I believe it would work well as a series of natural studies.
In 2010 the competition changed, it is no longer in association with the penguin books it is now a competition surrounded on a theme. 2010 the theme was senses. 
As Creative Director for Metro Imaging in London, Steve has been at the forefront of photographic imaging for nearly twenty years, collaborating with a vast network of clients, he was awarded with a fellowship of the RSA in 2004 for his commitment to his industry.
Lisa Creagh specialises in Marketing strategy and planning, with project managing at all levels from web- restructuring and design, copywriting, print management, photography buying, exhibition and events production to google adword campaigns and networking.
From this work Birchnall decided to look more in depth at dementia, working with different people. She decided contact The Little Sisters of the Poor, which is a Roman Catholic religious institute for women. Birchnall described how at first she struggled to build contact with the group, mainly due to a lack of knowledge of Birchnall's work. After persisting with contacting the group, Birchnall was allowed to visit the home, she was allowed to take pictures however she was followed around by one of the nuns. She described this experience as awkward, she had taken a few images but felt unable to be completely herself with somebody watching over her. However over time she kept in contact, revisiting and eventually the nuns and archpriests began to trust Birchnall, to the point where she is free to meet with residents whenever she wants to, taking images and interview people. She talked about often just going to spend time with the residents, building relationships. She did many shoots of residents and a nun saw one of her images and commented on how sad the resident looked. This was when Birchnall realised that she would have to show the resident these images, and although she was pleased with them, she also understood that the residents may not appreciate the sad angle she had drawn upon. She started producing some more happy natural images of the residents, which she could then show them.
It was interesting to hear about how Amelia had to think of all the people she owed apologies to and find an appropriate way of displaying that apology. She mentioned several of the small apologies she had to make to people. In some cases she found this more difficult as she hadn't seen the individual for several years. Each apology was photographed. As an art work Amelia also did a live act of performance, where she wrote a note of apology to each person she needed to apologise to and then she attached this to a balloon which read sorry and let them off at the top of Nottigham castle. This was a active act of apology where she completed the challenge. 