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Tableau Vivants response planning

I have decided to do my own interpretations of music album covers as my response to Tableau Vivants. This is because they are often open to interpretation and sometimes have hidden meanings. This will make for a good response form as  it gives me a wide range of inspirations as well as a rough guide to what to do as the images will be my own take on certain album covers.

I was thinking of re-interpreting album covers such as ‘Starboy’ ‘Blonde’ and ‘Flower Boy’. I will end up doing more ideas than these, but they are the ones which I will prioritize.

The first thing that stands out in this photo are the artist’s eyes and cross. This is because the musician’s clothes and skin tone are all similar colours which helps his eyes and cross stand out as they greatly contrast as they are bright white. His body language also suggests despair and giving up. His head being low and in line with his shoulders makes him look vunerable which further helps portray this emotion. The lighting is blue which subconciously implies that he isn’t angry or hostile in any way, this is because western society portrays blue and green as calm colours.

The part of this photo that stands out most is the artist’s green hair colour. This fits in with the theme of the album which is reminiscence and sadness at some points; as after a hard time such as a loss, breakup etc. a lot of people decide to make a big change in their appearance such as a haircut or dyeing it an extreme colour. The next part we pick up on is the water dripping off of the artist, it is due to him standing in a shower but as we can’t directly see the shower head it appears as those are his tears, almost as if his emotions have been materialised.  One more aspect of this photo which clearly stands out is the contrast between the artist’s skin tone and the background and border of the photo. This makes him stand out more and therefore makes the photo more striking.

This album cover is less about portraying emotions or feelings, it is instead about self discovery. This theme is carried over through real life parallels which are present in both the songs on the album and on the cover itself. Firstly, there is a white Mclaren in the background on a winding road. He uses the car to portray the journey through life, and the winding road as problems you face on the way. Another important aspect of the cover is that one of the bees is covering the artist’s face, this raises the tension of the photo as we can’t be sure what’s behind the bee, this is also helped by most people’s fear of being stung by a bee or wasp; the bee on his face appears to be ready to sting him which may makes some viewers anxious for him. The bee’s wings are painted as if they are moving which  makes the photo more appealing as there is some sort of action happening.

The last two album covers don’t have a deep meaning like the rest, but I have decided to replicate them as they have been edited in a very interesting way. The first cover has had threshold applied to it and had a pink filter applied over every segment of the photo which isn’t solid black. This creates an old school feel, and joined with bright pink creates a connotation of ‘fun’ which matches the song, there isn’t a deeper meaning, it’s just entertaining.

 

This album cover is just about exploring visual effects and using the ones that match the photo and look good. There are multiple exposures in this cover, a photo of the artist, crinkled bed sheets, a classic marshall speaker, and a tilted image of buildings. These help the photo look more full and eliminate any empty space. There is also a semi transparent box around the artist’s head, this highlights him being the most important thing in the photo, as well as strengthening the middle of the photo by differentiating it from the area around it. The bottom-left corner of the photo has been edited so that it appears as if there was a layer of plants behind the photo, the tear between the main image and the plants gives the photo a rough look. The crinkled bed sheets and slight distortion effect helps achieve this image of a torn up and battered album cover.

Album cover responses

This photo is my recreation of the ‘Lil Boat’ album cover by Lil Yachty. In the original the artist’s clothing, boat, and frame are all very similar shades of red. Whereas in my version all of those elements are yellow, this is because I used a yellow raincoat in the shoot which meant i had to make every previously red element yellow. The original photo was taken in front of a green screen, then edited into the backdrop of the original album cover. I used the content aware brush to remove the artist from the picture and placed a picture of my friend. I used the colour range function to select the boat along with its shadow and change it to yellow. To change the colour of the frame I created a yellow layer the size of the whole cover, then moved it so that it was in front of the original red frame, but behind the image in the centre. I then applied some colour filters to the image of my friend and slightly blurred the edges to make him seem more authentic as part of the photo.

This is what the original cover looked like.
The green screen in the background is a bit creased towards the bottom, but luckily there is a lot of contrast between it and the trousers so it was easy to edit out the background.
This is the photo of my friend after I had removed the green screen, this is before any colour correction or editing was done so it there is a feint green outline and some green reflections.
This is the original album cover with the artist removed from where he was standing on the boat. I left his shadow in the water is it was easier to give it a yellow tint instead of erasing it all together and replacing it with a feint image of my friend.
This is the album cover with my friend placed in.
Here the frame has been coloured yellow, I used the eye drop tool to match the colour of it to the coat, this makes the photo more relaxing to look at because there is less variety of tones.

This is my take on the ‘starboy’ album cover. I had to change the colours as the blue colour scheme wouldn’t work as well as in the original because of my friend’s ethnicity. I also had to change the positioning of his hands because he has a different hairstyle and colour to the artist. If his hands were in the same pose they would stand out a lot more against his hair; which wouldn’t have the same effect. Also, due to his hair being longer his fingers would be covered up by his hair if he slid them up his head; which would also be less effective than the original album cover.

The original album cover, it has a much different colour scheme to my version, but these colours work well only in the original because of the artist’s and my model’s ethnicity. The theme of blue-lit black is possible here due to his dark skin tone. There is also a parental advisory tag in the bottom right due to the contents of the album, I didn’t include this in my version because I had already used that tag in previous covers in this project and i didn’t want to repeatedly use them.

This is a work-in-progress edit of the photo which I decided to abandon because it looked too __ and didn’t fit the theme of the cover. My idea behind it was to make everything light colours apart from the eyes and cross (this is the opposite of what they did in the original album cover; everything dark apart from eyes and cross), I edited the eyes first and realised that the idea didn’t really work out so I didn’t bother editing the rest of it.

 

This is my take on the cover of ‘Falacy’ By Raheem Bakare. I have kept the basic composition very similar. However, I have changed around the angles, colours, and used different layers in the photo. I changed the overlays to purple as it complements the brighter skin tone more than red. I have overlayed images of crumpled paper, sound amplifiers, and strip lights, and there is a torn corner with autumn leaves behind it. I also took the photos in front of a subway background to match the urban look of the original cover.

This is the original album cover for ‘Fallacy’. It has a lot of layers placed on top of each other; which fills in the empty space which the main photo would otherwise have. There are plenty gray/dull coloured layers and red elements to highlight the artist’s head, title of the album, as well as leaves in the bottom left corner.

This is the original photo, it doesn’t have the same effect as the finished product as there is too much empty space in the background, the person is standing in the middle, in addition to there only being one layer present, which is the photo itself.

This is my recreation of the ‘Nice For What’ cover by Drake, I posterized it to create blocks of light/dark. I then applied a pink colour block to all the white areas of the photo to match the original again. However, I applied a much darker shade of pink to make the cover pop more as a whole, it also makes the writing in front of it easier to read.  I then cropped the photo to show a close up of two faces like the original cover. The writing is in two different fonts, with a lot of spacing added between the letters so that they fill out more of the box and appear more bold. The final step was adding the parental advisory stamp in the bottom right corner to match the original.

This is the original ‘Nice For What’ album cover, it’s edited so that you can’t really tell what’s going on but it’s possible to make out the main shapes and the title in the middle.

 

This is the original photo, I chose to take it in front an urban background in hope to achieve some distortion in the background after I applied the filters.

This is the image after I had edited it, but before cropping and adding and lettering. As you can see there is distortion in the background due to its texture, however its only present around the outer edges, so it wasn’t visible in the final cover after I had cropped it.

Henri Cartier and Bruce Gilden

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This is my favourite photo by Bruce Gilden; mainly because of the genuine expressions on the women’s faces. The photo also captures textures and motion really well. It being black and white helps focus attention on the facial expressions instead of the background.
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This is a photo of what Bruce Gilden looks like.

Bruce Gilden is a street photographer who is most known for his up-close photographs of people. He was born in Brooklyn in 1946 and has received many awards including the ‘European publishers award for photography’. The main reason for him starting photography is the film ‘blowup’. Being influenced by this movie, he went and bought his first camera  and started attending night school photography classes.

He doesn’t try to be discrete at all when taking photos. He prefers to approach people and take photos of their initial reaction. He also aims to take photos of people who either stand out, or people he can portray as different.

Henri Cartier-Bresson was a French humanist photographer considered a master of candid photography, and an early user of 35 mm film. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment. He was also one of the founding members of Magnum Photos in 1947.

This idea of capturing the decisive moment can definitely be seen in this photo; if the photo was taken a fraction of a second later the person in the foreground would have stepped in the standing water, which would have caused ripples and ruined the clarity of the reflection on the water.

These two photographers are very different but they have one thing in common, they both focus on the decisive moment. For Henri Carter that is the whole frame (like described in the photo above), and for Bruce Gilden it’s the moment people react to him taking a photo of them.

Studio photo shoot No. 2

These are my final edited images from another photo shoot in the studio. The main purpose of this shoot was to experiment with different lighting techniques/colours.

This is two photos edited together. The original was two different people staring at each other, but I decided to take another darker photo of myself and edit it into the previous one. This give a bright/dark good/bad side effect.

This photo used two-point lighting. A spotlight with a green tint to the left, as well as a ring light positioned directly in front of the camera. The ring light isn’t visible as the camera was placed in the middle of the ring light. This results in a brighter image, but still keeps the colour lighting.

In both this, and the following photo I have used only one light source, this lights the model in the centre evenly with one colour, it also gives a big clear shadow to one side.

In this photo I used two-point lighting. There was a softbox placed to the right side at a slight angle, and a spotlight with a purple cover placed on the other side. This creates a warm and colourful effect.

The same lighting was used for this photo as the previous one. Only in this photo the camera is positioned nearer the purple tinted spotlight, which gives it a bigger overall impact on the face.

Studio photo shoot

This is a photo sheet of the whole shoot, the green markings show that I will use the photo, yellow means i might use it. Blue lines mean that I will crop the photo along the lines.
I used two point lighting for this photo, the blue light from the left creates attractive shadows, and the warm white light from the right helps make the skin appear more tanned and makes the whole photo look more real, instead of looking staged.
This photo has been edited to appear brighter and more grainy, this has been done by adjusting the saturation, gamma correction etc.
Here Layla is playing the guitar, her placement creates a show which is offset to the right which makes the image more powerful. It is also composed of neutral tones which complement the simplicity of the acoustic guitar.
In this photo Layla’s hand gestures create emaciated shadows across her face. The only light source is a soft box which helps create bold shadows.
For this photo I decided to experiment with blur. The photo came out blurry so I decided to blur the rest of it more so that the centre of the image looks sharper in contrast with them.
This is structurally my favourite photo as the middle is empty. The right side is really dark which diverts the attention away from the middle which is the weakest part of a photo.

Artist research – Rankin

Rankin (who’s full name is John Rankin Waddell) is a British fashion photographer and director. He has done photo shoots with numerous celebrities and other influential figures; including Arnold Schwarzenegger, Queen Elizabeth II and the spice girls.

This is a photo of Rankin.

 

In his portrait photos he tries to bring out and exaggerate the emotions or personality of the person he is photographing, he also encourages and tries to boost the confidence of the person. These two factors combined result in the photos looking very natural and genuine, instead of giving the effect of forced emotions. The exaggerated emotions also make the images more appealing as they stick out from the majority of photos which aren’t as expressive.

He is best known as the founder of the ‘Dazed and Confused’ magazine. His work has appeared in magazines such as GQ, Vogue and Marie Claire. In 2011 Rankin started the biannual fashion, culture and lifestyle magazine, Hunger and launched Rankin Film to produce and direct his own commercial and editorial film work.

Studio lighting techniques

There are many possible techniques that can be used in a studio setup, these can be used to achieve various effects, such as minimising shadows, exaggerating shapes or highlighting certain areas of the frame.

One-point lighting:

We are used to seeing this type of lighting every day in nature, in the form of sunshine. A single source of light creates a very natural, sometimes dramatic look that will draw people’s attention to the single lighted person or surface. And if it’s good enough for nature, there will be times is will easily bee good enough for taking photos. As anyone can see with a walk around the park, a single source looks two dimensional or flat, and rarely hits people straight on, so it creates shadows.

This is an example of an image taken using one-point lighting.

Two-point lighting:

This lighting method is used when you want the subtleness of a single light source but you want the person/object to stand out, and appear more 3D. Its a great way to add depth to photos without going overboard. There is still quite a potential for shadowing if a person turns their head either direction, but where a little shadowing is okay, this can be an effective way to bring focus.

This is an example of an image taken using two-point lighting.

Three-point lighting:

Not everyone is happy with the shadows that two-point lighting can produce, so the obvious solution is to have two lighting points at the front with a back light to try get rid of the shadow.

This is an example of an image taken using three-point lighting.

Street photography

Last week I went into town and did an urban photo shoot, these are my best images which I have slightly edited (added filters,cropped etc.).

The sunlight in this photo creates a bold outline around the people in the photo. This creates strong shapes and therefore makes the photo as a whole pop more. The bright part of the photo is down the middle, the rest is predominantly shadows and dark areas. This gives the photo a focus point (the middle). The photo is also split into thirds (left, middle, right), the structure prompts the viewer to focus on the man on the left, down the road in the middle, and the tree trunk on the right.

I particularily like the strong shadows and ligh highlights of this photo. Because it was taken near the ‘golden hour’ the sun was low which created these elongated shadows. It also gave a nice outline/shine to people on the street as there wasn’t any cloud cover.

This is a photo of a market trader, I have chosen it because of the contrast between the man and the products for sale behind him. I have cropped it so that the strongest points of the photo (in terms of structure) are visible. It’s just a pleasant photo to look at because: the bright colours which the photo is composed of are naturally attractive to the human eye. The products are stacked symmetrically, this both pleases the eye as well as gives the photo structure. Finally, the trader is smiling and appears very open to conversation, this makes the photo pleasing to look at because seeing other people smiling has been proven to lift your mood and change brain chemistry.

I like this photo because its very simple, it shows the daily commute of people whilst keeping their anonymity. Although it is a simple photo it isn’t boring, this is due to the shadows caused by the sunset, which give the photo structure, the angle at which the photo was taken, and the texture/shapes of the trousers near the centre of the photo. Another aspect of this photo that I like is that both people in the photo are only visible from waist down, it gives a different perspective to the world as it differs from standard photos of whole people taken at head-height.

This is a very similar image to one further back in this post. It doesn’t have the same effect as there are more elements without strong shapes but I have kept it in because it captures the work environment and daily tasks of these market traders.

This is my favourite image out of the whole shoot, it has the right exposure, vibrance, structure, and it captures the work environment as a whole. This photo has a warm white balance, this makes it more relaxing to look at as warm lighting as it feels more natural than cold lighting. The photo also has a variety if colours thanks to the products on display out front. There is also a lot of structure and symetry throughout the photo, the bottles on display and crisp packet boxes for example.

 

Street photography moodboard

I have chosen to go in the direction of either strong shapes (e.g. buildings) or showing people’s lives either in commute or their workplace.

However, I haven’t yet decided if I’m going to follow the common theme of making the photos black & white as I think leaving the colour in the photo will help it be both more eye catching, as well as helping portray certain aspects such as colours wearing out (which you can’t see in black & white).

Arnold Newman – Portrait photography

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Emotional response: Visual: Technical: Conceptual:

Emotional response:  My response to first seeing the photo was that the man in the foreground is quite intimidating and mysterious. There are big differences between light levels, saturation, and contrast within the photo. The man is wearing a suit which shows that he is quite an important person as suits were more expensive than today.

Visual: The man in the middle looks around 75-80 years old, he is lent forward with his hands together (with his fingers intertwined) and is resting his chin on them. The man is less lit than the background which gives a sense of cruelty and mystery about him. He is also in the stereotypical villain pose which makes him more easily associated with being a bad person.

The background also has a lot of contrast, this helps distinguish the trains from the production lines and makes the whole photo more attractive to the eye as it is more colourful.

Technical:  The windows at the top  let in more light into the photo as well as giving it more structure as they consist of strong lines. As they windows get further away they appear smaller which draws the eye into the centre of the photo.

The photo is symetrical through the middle, This balance makes it more attractive as people instinctively prefer symetrical objects/things.

The photo was taken with a shorter exposure. This was probably done to avoid overexposing the background; which is more lit than the foreground. This results in the foreground being darker, which works for this photo as it makes the man look more sinister (which was the intent).

Conceptual: The subject of the photo was Alfred Krupp. He was made to look as sinister as possible in this photo because the photographer (Arnold Newman) was Jewish and Alfred Krupp was a nazi, so this photo was Arnold’s ‘bit of revenge’.