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Arnold Newman | Portrait of Alfred Krupp | 1963

Arnold Newman | Portrait of Alfred Krupp | 1963
  • Emotional Response (how it makes you feel):  This image makes me think, i cant quite understand what is going on in this image and what the main focus or ideology behind the photo. The facial expression of the male figure draws you in, creating mystery. It looks as if he is in deep thought which makes me feel confused also makes me wonder what he is intently thinking about.
  • Technical: The image is internally framed creating a inter structure. This use of perspective looking into the image is created by the use of different dimensional layers to create a tunneling effect. This created depth withing the image making it easy to follow with your eyes starting from the bottom at working your way up and through with your eyes. The geometric lines give the image a rigid structural form creating a visual rectangle picture. When looking at the image you feel as I have  you are inside a cuboid shape looking outwards. The image makes you feel like you are inside of it encapsulating your visual senses.
  • Visual: The main color pallet with in the image is one of dark tonal greens and blues.  Also there are splashes of color are to off set the viewers focus , create intrigue and secondary focal points through color in the image. The main focal point of the image is the man and his facial expression and postural positioning. This is the largest object within the image and the furthest forward in relation to all other objects this creates a main focal point, drawing the viewer in and making them ask questions about the image in there heads.
  • Conceptual: I feel like the background is meant to mirror what he is actually thinking/ what is going on in his head. I feel like it is meant to mirror mental confusion or chaos. His brain trying to cope with the ever changing environment which is portrayed behind him. His facial expression is stark and ghost like perhaps compensating for what is going on inside, his mind is busy and always occupied by individual thoughts flying by. These individual thoughts migrating through his brain could be represented by the trains coming in and out of the station on there different arrival and departure times.
  • Contextual : It seams to be that this old man has something  to do with the train station ether he used to be a diver or travel and commute every day.  I feel that he may have been a train driver when he was younger and has retired now. He is wearing a suit which means he has to be going something rather formal. My ideal is that he is saying goodbye to every one and that in the photo he is reflecting on the time he had as driver and how overwhelming all of this is now that he doesn't have that job anymore
Image result for arnold newman alfred krupp

Studio Photography Lighting (Double)

What is dual point lighting:

Two point lighting setups can be very beneficial. By adopting two separate positions, the photographer can illuminate the key subject (such as a person) however desired, while also controlling (or eliminating entirely) the shading and shadows produced by direct lighting.

The key light, targets the key subject of the photo and serves as the primary illuminator source. The Photographer can experiment with the strength of the video lighting, colour and angle.  The key light will determine the shot’s overall lighting design.

Then a fill light can be used to balance out the shadows appearing on your subject. The fill light will typically not be as strong as the key light. If your lights are all the same strength you can look into using diffusers to help soften a light source along with colour gels. A colour of lighting gel is a transparent coloured material placed over a light source for colour correction and video lighting effects.

Diagram:

Two Point Video Lighting - Basic Online Video Light Setup

Examples:

Image result for what is dual point lighting photography

Related image

My own aim, action plan and technical features:

Use two separate lights in different angles facing the model to capture a series of images that highlight/concentrate on key features of the photograph.

Therefore is se up two lights one facing towards the model from the left and one light facing towards the from the front. This helped to keep the focal point in the part of the photo where those lights cross over, which illuminates the key areas I want to show. I then set my camera to a high ISO so the colour differences were distinct in the harsh light, whilst using a shutter speed of around 1/8 second and a slightly lower aperture so not as much of the light could enter the camera.

Contact sheet:

Final image outcome:

Visual elements of this image include:

The lighting in this was in two locations with one light at the front of the model and there was another lamp to the right side. A fairly plain colour range of primarily whites, greys, browns and black can be seen with a range of light and dark tones across the photography which contact each other. The depth of field and 3D-ness of the photograph is created by where the bottle in the foreground is not in focus, but the model is. The texture is quite smooth and there is a slight lead in line using the sides of the bottom.

Many portraits have contextual and conceptual meanings but this one does not and is designed to showcase a camera technique.

Studio Portraits

My photography class went to the studio room to capture images of people under different lighting. We experimented with the different studio lights as well as the colour filters available. The studio had a key light which highlights the form and dimension of the subject, and a soft box light which diffuses the light into a pleasing soft, even light. When used properly, it reduces harsh shadows. The problems I faced were that some of my images were either over exposed, under exposed or completely blurry. I often had to change my camera settings to get high quality images. Although it was difficult to mange the exposure and focus on the subject I did manage to capture over 100 images. I have selected the best from the contact sheet and edited them on photoshop.

In this image you can see that I have applied the Chiaroscuro technique. Chiaroscuro is the use of strong of contrast between light and dark. It is a bold contrast affecting the entire composition. To create this affect I pulled out the black curtain to have a dark background. I told my subject to wear all black for the photo shoot so the results of the photographs would have her blended in with the black background. To create light areas in the image I used a soft box light and situated it to the right hand side so it emits a soft pleasing, even light onto one side of the subject’s face.

 

Studio portraits – Studio light (Chiaroscuro lighting)

Studio light

Studio lighting is artificial meaning that you can be very creative with portraiture. You can do things like changing the distance of the lights to create hard/soft lighting, Change the angle/direction of the lighting to create different effects, use directors/diffusers to manipulate the lighting and also make use of backdrops.

Chiaroscuro technique

This is a technique tat has been used in a lot of painting, most famously renaissance paintings. This technique is when there is a contrast between lighting on a subject. Usually, the  light will illuminate one side of the face leaving the other side darker.

Chiaroscuro mood board

Below are some examples of this technique used in paintings and in portraiture photography.

Images are not my own.

 

Contact sheets

Best outcomes

 

 

Analysing

 

Technical

The technical skills are what makes this image successful. To take this image I used Chiaroscuro lighting, so that half of the subject’s face was lit, and the other half was shadowed. In order to do this I placed a spot light with a cover over it in order to make the lighting softer, on the subject’s left side. I made sure that it was placed directly to the side of him so that when I stood in from on him with my camera, only half of his face would be shadowed in order to successfully use Chiaroscuro lighting.

My ISO was set to 400, as I noticed that anything under that made my image far too low key and underexposed. My shutter speed was set to 1/200, which through trial and error I realised was the best shutter speed because it wasn’t too slow that my images were blurry and over exposed, and it wasn’t too quick that my images turned out under exposed.

Visual

Visually I think this photo is very aesthetically pleasing. The subject is perfect framed in the centre, so that your eye is directly drawn to him. The powerful contrast between the lighting and the shadow also helps make the image successful as they are perfectly proportioned, as both the shadow and lighting each cover half of the face. The use of the black backdrop also makes the photo very pleasing to the eye as it doesn’t cause any distraction that would take the audience’s eye off the foreground. It makes the image successful as it blends in with the shadow on the half of the model’s face, creating an almost sort of illusion.

Portraits using Studio Lighting

For my experimentation into using lighting in a studio setting, I decided to also incorporate a number of camera skills into my experimentation as well, to produce the best products possible.

The lighting in the studio consisted of a key light, and a soft box light. the key light was used to illuminate the face of the subject, and to alter the overall lighting of the image, whereas the soft box light was used to manipulate shadows, softening them where necessary to alter the appearance of the image.

The following images are of contact sheets I have created including all of my studio portraits:

Key: Red F = out of focus, Red C.A = wrong camera angle, Green L = slightly off lighting , Green F = slight focus issue, Red O.E = over exposed, Red Cross = rejected, Green Box = finals for editing

The final images before the editing process can be found below:

After deciding on which images should be processed to the editing stage, I used Photo-shop to manipulate the colors and tones of the images to make them as eye-catching and effective as possible.

The aftermath of editing can be seen below:

The above 2 images are photographs are examples of me attempting to create a chiaroscuro effect, where 1/2 of the face of the subject is illuminated using studio light, and the other portion is shadowed, to create a contrast between the 2 portions of the same subject. This is very effective when trying to draw attention to the depths of the subject, and it helps to bring the image to life, giving it more of a 3D effect.

Some of the images were over saturated due to the lighting in the studio and the original position of the camera, and so I attempted to edit some of the images to reduce the saturation, and make the coloring of the images more natural. This kind of editing occurred in the above 2 images.

For some of my photographs, I experimented with using different filters in front of the lighting, to create different effects of the image. Colored filter paper was used to manipulate the overall color of the photograph, but for the above photograph, a piece of paper covered in holes was held in front of the key light. I think this created an interesting shadow effect, and helps to draw more attention to the photograph, and gives the viewer more to look at.

The above 2 examples are example of props being used in studio photography. Props are often easier to use and manipulate in a controlled environment like a studio, rather than in a natural setting.  The props in the above image can be used to create a contrast to the colors of the subject, thus breaking up the color of the image and creating more areas for the subject to have their attention drawn to, and can in certain circumstances be useful in conveying meaning and reason in an image.

Overall, I believe that experiencing the different kind of lighting that can be used in a studio setting has allowed me to understand how much having control over the lighting of an image can effect the final outcome of the photograph. Natural lighting is useful to create a natural effect in an image, however for situations where natural lighting is not possible, or when a particular angle or intensity of lighting is required, using studio lighting can be very useful.

Studio Photography Lighting (Singular)

STUDIO PHOTOGRAPHY ONE POINT LIGHTING

This post is focussed on our studio lighting photoshoot using a single light to capture images.

Single point lighting or “one point lighting”, is the technique of carrying out a photoshoot within a studio with only a single source of light, for example large lamps, spotlights or torches.

It enables reflective lighting techniques, and it sometimes, can be used to focus a viewers attention to a particular aspect of a photograph or subject in the photograph, or it can be used to create shadows when used correctly that add additional depth of field and conceptual features to an image.

Contact sheet of images:

 

From this contact sheet I picked out my favourite two images from the shoot and edited them in Adobe Photoshop.

My final edited images from the single point lighting shoot:

I chose to edit both of these images because of the sharpness, diversity in model actions, contrast differences, brightness differences and the similarity in the position of the single light and the shadows on the models’ face.

The camera was using a high ISO of around 800 and an above average aperture on the first photo, and using a lower ISO of around 600 and a smaller aperture on the second.

The shutter speed for the first photo was slightly faster than the second creating the darkened effect with only the single light from the side creating the shiny parts that give the image its ‘definition’.

The depth of field in both images is shown through the shadows created by the side-lighting however, this only shows depth of field on the model themselves.

Alex looking “into the light”

“Seriously Serious”

Studio Lighting – Post 1 (Rankin)

Rankin:

John Rankin Waddell (born 1966), also known under his working name Rankin, is a British portrait and fashion photographer and director.

Best known as the founder of Dazed and Confused magazine (along with Jefferson Hack), and for his photography of models including Kate Moss and Heidi Klum, celebrities such as Madonna and David Bowie and his portrait of Elizabeth II. 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.

Mood Board:

 

Studio portraits

After going into the studio once to test and see what we could do and learn how to do it,  I got about 100 images and then I have taken it down to this group of 17 as possible final images for this shoot

After looking through I selected the images that I thought had the most potential.

Once I had chosen these images I then went into photoshop to edit them.

The centre photo I did in the style of Rankin and drew over the top of it after editing it.

The photo on the right I felt that it needed to be cropped and that it would look good in black and white.

And the left photo I felt that it was composted fine and that i only needed to touch it up and make the colours pop more.

Here are the results:

 

Window Light – Post 1

Window Light:

Window light is an excellent, free light source. It can have the same effects as bigger, more expensive lighting equipment. A large window is pretty much just a huge soft box. It will diffuse light into the room and around the subject you place in front of it. The earliest photography studios didn’t use fancy electric lighting. They just used big windows. It can also create interesting shadows as well as the window itself being a part of the composition itself which can not be achieved with any amount of light.

Mood Board:

My Response:

Best Images:

Case Study Street Photography – Bruce Gilden

Bruce Gilden

Who and what:

Bruce Gilden (born 1946) is an American street photographer. He is best known for his candid close-up photographs of people on the streets of New York City, using a flashgun. He has had various books of his work published, has received the European Publishers Award for Photography and is a Guggenheim Fellow. Gilden has been a member of Magnum Photos since 1998. He was born in Brooklyn, New York.

About his style and technique:

Photographer Title Theme – Candid Black and White Photographer

Bruce’s style is defined by the dynamic accent of his pictures, his special graphic qualities, and his original and direct manner of shooting the faces of passers-by with a flash. Gilden is also very prone to shooting in extremely close proximity to his “models”, so close in in-fact that a lot of the people he photographs think he’s photographing someone being them which makes them feel more part of the image and gives them a more natural and interesting facial and bodily expression. Gilden’s powerful images in black and white and now in colour have brought the Magnum photographer worldwide fame. Bruce has been known to walk on certain sides of streets and locate himself in certain places he believes give the most diverse and interesting range of people and actions to capture in his portraits.

Bruces inspiration stems from a large fascination of his to do with capturing the energy, the stress and the anxiety of busy city life. He uses flash in a large proportion of his photos and is very selective on the characters he shoots. In one video he quotes, “I look for characters, things that make an impression on me. Someone who’s not the average looking person.”

One of his famous quotes is “If you can smell the street by looking at the photo, its a street photograph”. This quote captures his ethos of trying to take photos that fully represent the non pictorial qualities like emotions and moods of people in the city and those that come with city life.

Video Links:

 

 

 

Images:

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Favourite image and analysis:

 

NYC155381.jpg

This is my favourite image because of the anger it carries through the texture of the photography.

Technical features of this photo include;

  • An artificial flash gun light along with dull daylight.
  • A macro lens used to distinguish the smallest of facial features.
  • A greater exposure and shutter speed to capture the minute changes in colour and the variety and true form of the main colours.
  • A higher saturation to give the photo some more warmth and colour.

Visual features of this photo include;

  • A very intricate texture with little noise in the photo but a lot of texture.
  • An extremely high sharpness and high levels of colour saturaion
  • A kind of 2D shape, made 3D by the small patched shadow areas and of out of focus scenery behind the model
  • There is also a high contrast to other colours in the photo and shadows are very prominant  to enhance the facial features.

Contextual and Conceptual features of this photograph;

  • This photograph is part of a project carried out by Bruce Gilden called ‘Portraits’ which aimed to capture very different and diverse looking people who captured Bruce’s attention. There may be a personal context that Bruce applies with these photos as-well due to his rough up bringing he maybe feels like these people are those he was destined to end up among if he hadn’t have found photography.
  • The conceptual essence behind these portraits and portraits in general is to capture the whole environmental feeling from the place the photo was taken. For example emotions like anger and stress can come across from this photo due to unknown reasons. Or street photography portraits can capture the chaos that occurs in a city.

 

Why Bruce Gilden?

Out of all of the case studies I have completed so far on photographers, Bruce has come across to me as the most genuine, realistic and diverse photographers around. I love his confident style in shooting up close with a flash gun and not caring what other people think of him or his work for example he once quoted “nobody can tell me a picture isn’t good if  think its good  “. I also love his approach to finding who he’s going to shoot by looking for people who are “different” and not fitting into society because it makes them interesting. I also finally like the way he tries to capture emotions and feelings of city life in his portraits because I personally think street photography is all about not capturing an image necessarily but capturing a mood, emotion or vibe from a person or place.