For this image I used light-room to lightly retouch the image, below you can see the settings that I changed. the only edit not shown in this screenshot is that I cropped the image slightly. This however can be seen in the comparison between the original and the retouched image. I mainly played with the exposure, black and white levels in order to produce an overall lighter image.
Original
Retouched
Throughout this photo-shoot I stuck with a large aperture in order to create a strong depth of field in order to give more of a feel of importance to the subjects. This helped to prevent images in which there was a lot going on in the background from looking messy, the softer lines in the background allow the subject to be more pronounced creating a more coherent image.
Of the images taken I have chosen to work further into eight in particular. These are IMG_4511, IMG_4542, IMG_4547, IMG_4548, IMG_4554, IMG_4557, IMG_7553 and IMG_4568
For most of the images I decided to keep very subtle with any retouching, this was in order to accurately capture the feeling of the town environment. I mainly focused on lightly adjusting color temperature, cropping and some changes to brightness/ contrast. On the first image of my selection however I decided to make the image black and white and introduce some light uniform grain. I like the soft lighting in all the images i selected and decided to lightly enhance that in some of the images. I tried to keep contrast and saturation rather low (while still being high enough to not result in an image that looks washed out or overexposed) in place of brightness in order to make the images feel more welcoming.
My Personal Favorite of the selected images ^
I have been mainly experimenting with artificial lighting during the portrait unit, and have decided to further develop of using natural lighting from the first photo shoot I conducted.
For this photo shoot I decided to conducted outside when the sun had began to come out after a down pour of rain. It was slightly windy as well. I used a silver and a gold reflector to reflect the sunlight onto darker areas of my model, getting rid of the contrast in tones. Due to different areas being lighter and darker my white balance I used varied. I mainly has it on sunny or cloudy. My ISO was low as it stayed of 400 so that no noise was presented on my final images. Moreover, the shutter speed varied again to how lit up the area was. Within this photo shoot I experimented with using different depths of field to have my model in focus and the background slightly out of focus. I also mainly captured head shots of my model, but occasionally took a full body portrait of the modal.
Case Study
When I first look at this image my eyes are immediately drawn to the woman who is smiling and staring straight down at the lens of the camera. They then move around the slightly blurred out background which shows that she is exploring some woodlands. Putting the two together I can understand that she is enjoying what she is doing. This is also supported by her straight body posture. The artificial lighting, the sun, is warm which also creates a happy tone towards the image. This photograph shown above has many technical elements which I believe makes it a good photograph. As mentioned before the girl is in focus and the background is out of focus, which means that a narrow depth of field has been created. The shutter speed must have been quick as the image is perfectly focused. This also means that the aperture is likely to be around f/5.6. Moreover, no noise is found within the image meaning that the ISO used is also likely to be low. The lighting is found behind the modal, as that is where the sun is at that time, which means no shadow of the modal is created. However, shadows of the background can be found on the grass. This helps makes the model stand out from the background. In addition, the photograph is presented in black and white which shows us all the color and allows the viewer to appreciate the scenery. From this case study, I have learnt that a good outdoor portrait should be in color, but I may experiment in black and white, it would be nice to use a narrow depth of field and the facial expressions and posture of the model is important.
Contact Sheets
Edits
Within these edits I just adjusted the levels and curves to ensure the photographs where sharp. I believe that these images have been one of the most successful photographs that I have taken so far as they clearly show good camera control, due to the different techniques I have used. In the three edits you are able to see a narrow depth of field as the modal is in focus leaving the background slightly blurred. This ensures that the viewers attention will be focused on. Moreover, the photographs clearly show no intended noise and clearly shows the correct white balance, shutter speed and aperture
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Irving Penn (1917-2009) was an American photographer known for his fashion photography, portraits and still lifes. Penn’s career included work at Vogue Magazine, and independent advertising work for clients including Issey Miyake and Clinique. His work has been exhibited internationally and continues to inform the art of photography.
Irving Penn’s iconic covers for Vogue Magazine showcased the clean lines and tapered waists of Postwar Paris and New York, and transformed the aesthetic of the fashion industry. Penn removed everything from the shot but the clothing and the model. His dramatically lit figures are essentially living, breathing sculptures. Inspired by Surrealism, Modern dance, and film noir, his images register as provocative visual statements, not just commercial photographs. With a firm grasp on the geometry of the body, the psychology of consumerism, and an encyclopedic knowledge of the history of art, Penn lifted fashion photography into the realm of high art.
Above is a famous photograph taken by Penn titled The Queen of Freckles. It showcases his technique of using a plain white background behind his subject to put all the focus on the model. The model in this picture has long eyelashes and thick lips, as well as an ornate ring on her finger. She fits with the style of most of his fashion photographs which is class and elegance. Penn used the freckles to his advantage, and instead of covering them up, he made them stand out. Penn created a new style of photography and redefined the image of beauty with this photograph, as ‘imperfections’ like freckles were often covered up in this time. The subject of this photograph is in the centre and takes up almost the entire frame. Our eyes are drawn to her eyes which are framed with thick lashes. The model is looking straight at the camera. This photograph represents beauty and that it has more than one definition.
Below shows one example of Penn’s ‘Corner Portraits’ where he would put celebrities or his models into tight corners and awkward poses that revealed unfamiliar elements of their personalities to the camera. This was a favourite setup of Penn’s in the 1940s, he would often put them at a very tight angle, sometimes alone, sometimes with a prop (like Capote’s chair). The lighting is very simple, the walls are a light colour, which act as a bit of a fill, bouncing light into some of the shadow areas and increasing the range of tones in the final image.
Above shows the set-up that I used and started with for this shoot. I used one of the smaller lights with the soft box over it to diffuse some of the light. I also used some of the lights that came above from the lighting rig and down onto her from above. This set up worked for me as it allowed enough light to fill the area and also allowed me to move the smaller lights to where I needed them to light her.
Above shows my contact sheet from the shoot in the studio. It shows the range of positions I placed Ellie in to either conceal her face with fabric or clothes or reveal it and pronounce it with her hands. Unfortunately not all of the photographs produced became as clear and sharp as I wanted however there were a couple of successful ones which I went forward to edit into black and white as a response to Irving Penn.
Above is a direct response to Irving Penn’s photograph ‘Queen of Freckles’ however here I feel I am particularly interested in Ellie’s eyes instead of something like freckles, her eyes for me are a feature that stand out as they are large open and wide which is why I always had her lock eyes with the camera.
Here above again I am trying to make the focus to Ellie’s eyes by having her hide her face behind the flower and having it sit just below her eyes to try and emphasis them in a different almost ‘conceal and reveal’ kind of way.
This is a more subtle kind of ‘conceal and reveal’. Unlike the other photographs I wasn’t specifically trying to focus in on her eyes or anything specific however I still had her look directly at the camera.
Below shows an experiment that I produced with the flower being the only part of the photograph in colour which is something I think was good to experiment with not necessarily in response to Irving Penn but as a quick experiment that I could maybe explore more in portraits.
I conducted a photo shoot to explore all the different types of lighting within studio photography. The types of lighting I looked at was:
All these lighting techniques have been explained in previous blog posts.
Set Up
My main light source had a diffuse on it making it a soft light, this was angles slightly to the right of my models face, making a chiaroscuro effect. I then added an additional light which was angles to the left of my model, this evenly lit up my model. Finally I used another light at the back. This was raised on a tripod and was facing directly down onto the model, making the model stand out from the background. Due to this it started to create an element of 3D in my photographs. I then played around with turning some of these lights off, but keeping them in the same place, to see what effect I could create. Moreover, I experimented with ring lighting. This is a singular light which is shaped as a circle, the light is usually quite cold and harsh. You are also able to see the ring of the light in the models eye. When using this light, I made sure it was my only light source. I positioned it to face directly at my model’s face. I then placed my camera through the gap in the middle to capture the model. With this lighting I experimented with the different background colors and the different types of white balance. Additionally, using this lighting I looked at taking macro photographs of my models eye, where you are able to see the ring. Finally, the last lighting set up I used where the ceiling lighting rig. I experimented by using the different lights and their positioning. With some of these photographs I also used the soft box light to make my model more lit up.
Another technique I looked at while trying to capture these photographs was, high key and low key. In my first set of photo shoots in the studio I mainly focused on low key where there is a lot of shadows and contrast found in the image. This time around I looked at high key photographs, where the images are much lighter and too some extent are over exposed. To capture these images I used harsh cold lighting and adjusted my white balance to make the images seem over exposed. Furthermore, I tended to stick with a white background in order to add to the effect of a high key image. When I come to edit these photographs my intention is to use the levels and curves to make these photographs seem brighter than they actually are which will also help to present these images as high key photographs.
Contact Sheets
Edits
These edits are the best outcomes from using ring lighting. Due to previous photo shoots conducted, the other techniques of lighting can be found in there outcomes. When it came to editing I simply adjusted the levels and curves to ensure that my images where sharp.
This macro photograph is of the ring light reflecting into my models eye. I decided to capture this as I believed that it was interesting and peculiar to look at. Due to the image being macro it allows the viewer to see all the detail of the facial features, from the eyebrows to the veins in the eye. This helps to present the formal element of line and texture. 
In this final outcome I tried to use the inside of the ring light to frame my model. This has helped to make the model the main focus point of the image. Moreover, I used wind to move around the models hair which has allowed movement and an element of 3D to be found in this image.
Who: I will be photographing any interesting townspeople of Jersey.
What: I will be taking candid photos of people throughout town as well as trying to capture the idea of movement and excitement in the town. I will likely stage a few photographs for more aesthetically pleasing shots in areas however the majority of the photos will be candid.
Where: I will be taking photos along king street as well as some of some of the outskirts of the town for some slightly grittier images.
Why: I believe that the best street photography are candid images since they effectively capture the subjects personality and mannerisms.
Street Photography is a form of photography that involves, as the name suggests, photographing interesting scenes in the streets. Photographers such as Bruce Gilden heavily explored street photography with Bruce in particular becoming a very prominent figure in photography due to his work with him becoming a member of an elite group of photographers known as Magnum Photographers. They often employed a more objective approach to their work while still taking artistic liberties. When successfully executed these photos can very effectively portray socio-economic status and can really say a lot about someone as they often capture a candid moment which can show the facade that people will apply when in public in order to not expose any insecurities or appear vulnerable.
While street photography is often considered a form of portrait, not all portraiture necessarily needs to feature a human subject in the frame and there are various examples of creative examples of portraiture of still life subjects with either no human presence or minimal presence in order to push a particular message.
Smith originally studied Fine Art, between 1991 and 1995 at Coventry University and as part of his course he undertook a research project into contemporary art which included living on an Aboriginal reserve for four months. After completing his degree at Coventry he completed a master’s degree in Photography at the Royal College of Art. During this time he examined the meaning and construction of masculinity, concentrating on the cultural and visual creation of various alpha male identities. He has subjected various forms of heroic behaviour to incredible scrutiny. Smith has travelled from ‘Soldier’ via ‘Action Hero’ to arrive in his current body of work, the forensic vision of death presented as a new series called ‘Impact’. -Wikipedia
WORK STRATEGY:
WHO – for this photo shoot, I selected two models for my shoot which I thought would be suitable to photograph, people who are quite photogenic in nature.
WHAT – the main objective of this photo shoot was to experience the studio and the way in which it is most suitable to work in, using different types of lighting, backdrops and gel filters.
WHEN – the images were taken during school time, regardless of the time of day, artificial lighting lit the photo shoot.
WHERE -the images were captured in the school studio, specially designed for taking photographs.
WHY – to understand the most suitable ways in which to photograph people, and how to set up equipment specially designed for a studio environment. To also work with models and instruct them on their positioning.
HOW – I used my regular DSLR camera for this photo shoot, using the artificial lighting provided.
SUCCESSFUL IMAGES: 
MOST SUCCESSFUL IMAGE ANALYSIS:
TECHNICAL:
In terms of exposure, in order to capture this image the exposure of my camera had to be set very high, to ISO 3200, the highest setting on the camera. The red gel filter which we placed on the light source highly darkened the surrounding studio, contributing to the high ISO used. The f stop was also set quite high at f/5.6 in order to let as much light as possible into the camera. In order to achieve clean and crisp images, the shutter speed was set to 1/200. I also urged the models to have as little movement as possible to avoid motion blur. To add to the crisp nature of the image, we used the white infinity screen to provide a blank canvas for the models to pose on. This accentuated the model and lightened up the image, making the red more prominent.
VISUAL:
Chiaroscuro lighting is an artistic term dating back to the Renaissance that is noted by the contrast between dark and light. It is often times used in a bold manner so that it has a noticeable and dramatic effect on the entire composition of a work. It was one of the main aspects we wanted to capture in the photographs. The red gel filter applied over the top of the light source means that there is a chiaroscuro effect that includes color adding to the dramatic effect of the image. The dark surroundings and overall red tone in the images gives a creepy aura and a feeling of mystery and tension. The one faulty aspect of this image is the exposure. It was challenging to to not underexpose the image, making it dark and hard to distinguish the model, or overexpose it, making the highlights too strong and prominent. In order to retain the outline of the model, i chose to slightly overexpose the image. Rather than only capturing the face of the model, I attempted doing a full body shot. I angled the camera from a low angle to create power play between the camera and the model. This gives her a sense of importance and a grand stance. Irregularities in the gel filter placed on the light means that parts of the image are darker than others. Although undesired, it gave a nice effect, differentiating the tones in the background, The model is making clear eye contact with the camera which connects the viewer and the photo.
CONCEPTUAL:
The main concept of these images was to experiment with various items in the studio and to get used to the environment. It allowed us to use various backgrounds such as the black curtain and infinity screen, both creating different effects when used in images. When the black curtain is used, it adds darkness and mystery to the images, as it means that only the models are illuminated. When the white infinity screen is used, all the attention is drawn to the models, such as the face or clothing.
CONTEXTUAL:
Since the early years of the 20th century the business functions of a photographic studio have increasingly been called a “photographic agency,” leaving the term “photographic studio” to refer almost exclusively to the workspace.
The history of photographic studios and photography dates back to 19th century with the first camera. The earliest photographic studios made use of painters’ lighting techniques to create photographic portraits. During that era the nothing was better than the sunlight with open window as the primary source of light of painters. Photographic studios started using flashes in 1840. However, not everyone could afford it as they were quite expensive and dangerous. These flashes were also known as ‘hot lights’ and could have exploded. By 1860s they were in common use in professional studios. ‘Tungsten Lights’ or ‘Hot Lights’ were still in use. In around 70s even smaller studios got access to flash lights or strobes.
CONTACT SHEETS:
When doing this photo shoot, we experimented with various features in the studio, using both the black curtain and infinity screen. We also captured various angles of the models, from close-ups to full body shots. At points we also used two point lighting, using the soft box and red heads in conjunction to light the images. Halfway through i switched out the models in order to capture the varying characters of the people.
CLICK HERE FOR LINK TO TATE DEFINITION
A tableau vivant (often shortened to tableau, plural: tableaux vivants), French for ‘living picture’, is a static scene containing one or more actors or models. They are stationary and silent, usually in costume, carefully posed, with props and/or scenery, and may be theatrically lit.
Tableau Photography is staged. Think of it like theatre.
Tableau Photography is dependent on a defined NARRATIVE, theme or storyline
COMPLETE TABLEAU UNIT BY FRIDAY 14th DECEMBER
Just a few notes on DiCorcia’s working methodology:
DiCorcia has no patience for visual passivity. “I’ve been trying to create photographs in which the emotional and psychological content is time-released… From the very beginning, I was fighting against this media-created idea that imagery is so disposable that it’s exhausted within a very short amount of time.” His tendency is to slow time down, an apprehension that has nothing to do with entropy. Instead, it is a seduction into the act of looking.
… amongst the art historical references glimpsed within Hunter’s oeuvre, the voyeurism of Vermeer is most discernible. Subjects are often shown full figure, in private spheres (e.g. sites of domesticity), and set in the mid-ground in order to include something of their environment.
Birch, Tim
Tableau Photography makes use of symbolism and metaphor.
Allegorical paintings / photographs contain metaphor and symbolism
Pictorialist Photography was the starting point for Tableaux art
Narrative is vital to successful tableau / staged reality
Research each of these examples…
