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Environmental Portrait – Arnold Newman

 Environmental Photography Definition – “An environmental portrait is a portrait executed in the subject’s usual environment, such as in their home or workplace, and typically illuminates the subject’s life and surroundings. The term is most frequently used of a genre of photography”

Arnold Newman Mood Board

Arnold Newman was born in New York in 1918. At university Newman studied art, due to the fact he was granted a scholoship at the university of Miami. Newman started his careers as a photographer in 1938, where he started to explore abstract and documentary photography. In 1941 his work was ‘discovered’ and he was given a exhibition in the Museum of Modern Art. It is said around this time Newman pioneered environmental photograph, which presents a new idea/concept to other photographers at this time. During his career as a photographer he has gained multiple awards including nine honorary doctorates.

In this photograph which Newman has captured we can see an old man located in the centre of the frame. He looks as if he is standing in-front of an easel, suggesting that he is a painter and a very creative man.  The main focus point of the image is the man (the subject) who is directly looking straight at the lens of the camera, which is implying that he may be proud of his job. In addition the facial expression on the mans face is plain and his body posture is slouched, which can inform us that he could be bored. My eyes are first lead to the subject of the image, they then move around to the different objects in the room. The frame of this photograph is not busy making it easier on the eye, and allows us to gain a better understanding of what life was like for this man. The image is taken at a straight on angle and only shows half of the mans body. The background shows a plain wall with a painting on it, in the top right, which may be showcasing work he has previously done, thus he could be in his place of work.  The formal elements found in this image is value and light, which is shown through the different tonal areas due to the picture being presented in black and white, and there is a sense of depth due to a large depth of field being used. It also stands to reason that the aperture is low, which also allows the whole frame to be in focus. The shutter speed seems to be very quick as no ‘intended’ blur can be seen. Moreover, the ISO is low as there is no noise, because of lighting, in this photograph. The lighting which is used in this image is likely to be artificial lighting as the man is located in doors, inside a room or a studio. The lighting is quite cold which makes us grasp a better understanding of the type of environment the man is in. The fact the image is black and white and the photographer was alive during the 1900’s suggests that it was at a time when the men had to work and provide for their partner, thus presenting  his gender role. However, the fact he is an artist implies that he was a higher class otherwise he would be working in a factory.  Multiple ideas can be drawn upon from this image, making Newman’s attempt at environmental photography successful.

Planning

In these photographs I will be using two models in their natural environment, their home. I will capture them doing normal tasks that they would do. However, in order to show gender roles, like Newman did, I will be making stereotypical judgements of having the woman model do the cooking and knitting and my male model working in an office, with his car and cleaning a fire place. The photographs will be taken during the morning and I will be using natural lighting with an occasional use of artificial lighting. In order to make the final outcomes successful I will be editing them black and white. I will be use a manual camera setting allowing me to have full control of the focus, shutter speed, ISO and white balance.

Contact Sheets

Edits

For these edits I decided to keep things simple, like Newman did. I wanted to be able to show a clear contrast of tonal regions in the photograph and make the images seem like they have been taken at the same time period as Newman’s images. I simply levelled all the images and adjusted the curves until I was pleased with the outcome. I then desaturated my images, turning them black and white giving them this effect.

I am very happy with my final outcomes from this photoshoot. It clearly shows environmental photography as it meets the criteria of: having the model looking directly into the camera lens, having a neutral expression on their face and having something in the background to show the context of the image. These photographs also clearly show gender role stereotypes through the activities my subjects are doing. To further expand this shoot I would look at capturing the youth to show how times have changes, breaking the gender role stereotypes. I would also look at presenting some of these images in colour.

1. Portrait Unit | Winter 2018-2019 | Starting points / half term task

>>Find resources here<<

M:\Departments\Photography\Students\Resources\Portraiture\TO DO

TASK 1

You must introduce the new topic : PORTRAITS

Ensure your blog posts are clearly CATEGORISED

Remember… your images must include a caption…this is especially important if they belong to someone else (copyright etc), and helps clarify which images are yours for assessment.

Try adding hyperlinks to use websites / blogs / video URLs or embed relevant YOUTUBE clips to help illustrate your key points

CREATING A VISUAL MOOD-BOARD 

  1. Choose a range of portraits / self portraits to develop a grid of images to show your understanding of what a portrait can be…
  2. You must include a range of approaches to portraits in your mood-board…
  3. Define what Contemporary Portrait Photography is…
  • formal (posed) and informal / candid / natural
  • head-shot / half body / three quarter length / full length body shot
  • high angle / low angle / canted angle
  • colour vs black and white
  • high key (light and airy) vs low key (high contrast / chiarascuro)
  • archival imagery (past / historic)
  • current / contemporary approaches
  • futuristic approaches

3. Develop a blog post that includes your imagery and label the images accordingly

TASK 2 CREATING A MIND-MAP

We will be studying the history, theories and concepts of portrait making…their purpose and role in our day to day lives too.

  1. Design a mind-map / brainstorm / spider-gram / flowchart of portrait based ideas
  2. Think about the ways in which we use portraits, and what they can say about us / reveal / conceal
  3. define what a portrait actually is
  4. Add your mind-map to a blog post

HALF TERM HOMEWORK TASK (1)

We will begin the unit by looking at ENVIRONMENTAL PORTRAITS, which depict people in their…

  • working environments
  • environments that they are associated with

“An environmental portrait is a portrait executed in the subject’s usual environment, such as in their home or workplace, and typically illuminates the subject’s life and surroundings. The term is most frequently used of a genre of photography”

Here are some examples…

Image result for famous environmental portraits
Arnold Newman

 

Image result for Mary Ellen Mark environmental portraits
Mary Ellen-Mark-Circus Perfomers

Look at these influential photographers for more ideas…

  • August Sander (1876 – 1964)
  • Paul Strand (1890 – 1976)
  • Arnold Newman (1918 – 2006)
  • Daniel Mordzinski (1960 – )
  • Annie Leibovitz (1949 – )
  • Mary Ellen Mark (1940 – 2015)
  • Jimmy Nelson (1967 – )
  • Sara Facio (1932 – )

Key things to consider with formal / environmental portraits…

Technical= Composition / exposure / lens / light

Visual= eye contact / engagement with the camera / neutral pose and facial expression / angle / viewpoint

Conceptual= what are you intending to present? eg :  social documentary? / class ? / authority ? / gender role ? / lifetsyle ?

Contextual=add info and detail regarding the back ground / story / detail / information about the character(s) / connection to the photographer eg family / insider / outsider

 

  1. Take 100-200 photographs showing your understanding of ENVIRONMENTAL PORTRAITS
  2. Remember…your subject (person) must be engaging with the camera!…you must communicate with them clearly and direct the kind of image that you want to produce!!!
  3. Then select your best 5-10 images and create a blog post that clearly shows your process of taking and making your final outcomes

Remember to show your Photo-Shoot Planning and clearly explain :

  • who you are photographing
  • what you are photographing
  • when you are conducting the shoot
  • where you are working/ location
  • why you are designing the shoot in this way
  • how you are going to produce the images (lighting / equipment etc)

THIS HOMEWORK IS DUE IN WED 7TH NOVEMBER

New Deadline : Monday 12th November 2018

Project Evaluation – Abstract Photography

In this project I have been able to explore into the concept of abstract photography. I have looked at a variety of artists, who use multiple editing and camera skills, allowing me to gain a greater depth into the theme of abstract photography. I have captured a range of subjects, from paper to twigs, allowing to experiment with the formal elements which play an active role in abstract photography. I have acquired many camera skills, from controlling the shutter speed, ISO, White Balance and Depth of Field. I feel that I have successfully demonstrated these skills through my photo shoots, which have been inspired by artists that I previously researched.

Here is a collection of all of the photographs I have captured and edited throughout this project. It shows the different camera skills I have obtained, editing skills and the overall theme of abstraction. These photographs I believe to be my top images as they are sharp, present formal elements clearly and again successfully show the theme of abstract photography. The images have been selected from every photo shoot I conducted which have been inspired by artists, which I researched.

Final Images

These are the 4 final images which I have chosen to print out as my final images.

This will be my largest print out (sized at A3). I will seperate the print into the two images it consists of; then stick them onto one layer of white styrofoam board, then display them on a black A2 piece of card. This will make them literally pop out of the page more as they will be lifted approximately 1cm above the card. The whole display will also keep the black & white theme as the display elements are also black & white.This image will be printed out in A4 size. I will frame it in black A3 card to keep the dark theme of the photo. Howevr, I will bevel the edges around the photo so that the white underside of the card shows through, this will help distinguish the image from the frame without adding too much bright elements.

This photo will be printed out in A5 size. I will cut it into three elements (left, middle, right) to help show how the image consists of three clear parts. I will then layer them on different thicknesses of styrofoam board; left part will be 2 layers thick, middle right part will be 3 layers thick, and middle part will be 5 layers thick. These will then be stuck onto an A4 piece of black card with small gaps between each third of the photo.

This photo will also be printed at A5 size. For this photo I have decided to keep things simple by only sticking it onto one layer of styrofoam board.

Edits and Ideas For Final Prints

Final Edits- Prints A5

These are my other final 3 images suit the topic of abstract photography. I was inspired to look at rock works and the way they form and overlap one another. This also links to texture and surface  which in these images although all the detail is there the image tone and colour is quite neutral and the lighting is quite dim despite being on a medium brightness setting. I’m using these as my A5 images and I’m having them set like a story board as a set of 3.

I decided to change the setting on my images to make them black and white. I also edited the image by changing the brightness, exposure, black point, highlights, brilliance and the amount of shadow that is coming through the image.

 

Possible Final Image Layout

IDEAS AND INSPIRATION:

These are possible layout ideas for my final images which I selected previously. They range from full image layout, to cropping it parallel and arranging them with additional photos. I have a total of 6 images that I am able to combine and put into a layout. It will be a difficult arrangement as each image comes in a different format, some being more panoramic, some rectangular and some in a regular A4 or A5 format.

 

 

This is another possible layout idea which could work for my final piece, but it is difficult to determine whether this will be the right way to do it as the sizes of the photos are not relative to their actual sizes (A3, A4, A5). I like the overlapping of the images as they harmoniously blend into each other. The simple color pallet of all the images means that they can be easily grouped together without clashing or looking out of place, it also allows me to group the images without having to crop any of them which makes the whole process a lot simpler and easier.

 

Final Images For Abstract Unit

These three images I have chosen to print are my favorite and most successful photos over the abstract project. My A3 print is a combination of three separate photos taken from the same shoot which was about exploring blur motion, focal points and negative space. The first photo situated on the left hand side was taken in the intention of having the plant  in focus and the background as blurred negative space as i wanted emphasis on the vibrant red and detailed stalk, as i felt the contrast between the dull murky background and the bright plant would fit well together. The second photo in the middle is similar to the first but I made it black and white, to match with Ralph Eugene Meatyard’s Zen Twigs work. ISO 200-39mm-1/50-ƒ/5.6, these were the setting I had my camera set to to take this photo, I ensured my camera has a middle focus, in order the capture as much detail as possible from the plant as well as being able to display that I can use negative space effectively within my photos. The third image on the left is completely blurred the background and the plant, this is also inspired my Meatyard’s work. I chose to place them in a repetitive structure to extenuate the similarities of the three pictures. I felt that the black and white worked well as a contrast in the middle between the colourful pictures.

A3

My second print is a combination for two photos from my pre AS summer task. The shoot was inspired by Jan Groover an American photographer who was among the very best still life photographers since the medium’s invention. Her Kitchen Still Life photographs were first exhibited at Sonnabend Gallery. She received a John Simon Guggenheim Foundation Fellowship in 1979. In 1987, Groover had a major retrospective at the Museum of Modern Art which subsequently toured the United States. Her work has been exhibited and included in the collections of most major museums worldwide, and continues to influence a new generation of artists. Groover moved to France in 1991, with her husband, the painter Bruce Boice, who still lives there. I cropped both photos in order to focus on the detail in the pipes, the reflections from the natural light and the cobwebs. The layout of the photos are overall messy, which to me made sense as i was trying to recreate the work of Groover in which she focuses on catching things in the moment. In the two photos there isn’t a clear focal point, I want the viewer to be able to work there way around the photo as their are several different elements to them.

A4

My final print is my favourite photo from my shoot which was inspired also by Ralph Eugene Meatyard but a different collection of his with is called ‘No focus’. Meatyard made his living as an optician. He was a member of the Lexington Camera Club and pursued his passion for photography outside the mainstream. He experimented with various strategies including multiple exposures, motion blur, and other methods of photographic abstraction. Two of his series are particularly concerned with focus and depth of field, both stretching the expressive potential of photography, film and cameras when looking within the ordinary world. My camera was set ISO 200-34mm-1/40-ƒ/5.6.  In order for this blur affect to be achieved the aperture must be wide (smallest f-value) so that the blurred area is harsher. A long focal length and a reasonably far distance from the subject would have also been techniques that Meatyard would have used. In all this photos of this particular collection he used a colour balance of black and white, which creates cold tone. The black and white goes well with the motion blur as it creates a mirroring effect for instance the people are walking, everything is fast pace and blurry, you can see no expression from anyone, this is similar to how there is no colour expressing the atmosphere, everything is gloomy and dull. I wanted this photo to be isolated as its own as I feel it was my successful over the abstract unit.

A5