Ariko Inaoka is a Japanese photographer who photographed two Icelandic twins for 5 years. Inaoka believes that the twins have a telelpathic connections as they are always together, never fight with eachother and claims that she has never seen such a powerful connection between two individuals. One quote that she got from the twins which Inaoka says they tell her a lot is that "We dream the same dreams sometimes". Dreams are individual and unique to every person, it is often the peak of people's imagination as their mind is allowed to freely flow. By having the same dreams indicates an intense connection between the two, leading the mind to imagine that maybe they do have a telepathic connection. A good website for images is the Guardian: https://www.theguardian.com/artanddesign/gallery/2014/nov/23/ariko-inaokas-photographs-of-devoted-icelandic-sisters-in-pictures
I believe that the eyes drawn on their heads is to connote the ‘third eye’ and Inaoka is trying to make the readers think that they have an ethereal connection aswell as a telepathic bond.
Inaoka uses a pictorialist approach to her photographs, making the images hazy and dream like. I think that Inaoka considers the twins claim that they dream the same dreams sometimes and tries to replicate some of them. I want to use some of Inaoka's techniques in my personal study to portray the intense connection my sisters have. Although they are very different in many ways, they're also extrememly similar and have an unique connection. I will increase the haze whilst manipulating my images to create a pictorialist approach and I also want to use the idea of drawing a third eye on their heads to replicate their telepathic connection.
For my first photo-shoot, I will be focusing on the liberation of male gender stereotypes and roles. I have decided to dedicate a photo-shoot to this, as I think including both male and female stereotypes, and struggles related to the pressure of abiding to a strict “gender model”. In being able to showcase men breaking from the gender norms of being strong, unemotional, adventurous and competitive, I will be able to show a new perspective, where men are presented as being delicate and emotional human beings, and are not confined to the characteristics that society has laid out for them. For this photo-shoot, I will take a lot of inspiration from photographer Phoebe Jane Barrett, as in her work she portrays the delicate, emotional side of men, and draws attention to the unrealistic belief that all men must be emotionally detached and constantly strong in order to qualify as having masculinity. In taking inspiration from Barrett, I will be showing contrast between stereotypical femininity and masculinity in my work, and will be highlighting this contrast through overt and obvious visual examples, such as placing a masculine object/action/concept directly next to a feminine one, or merging the two together.
I have decided to take the approach of merging together both feminine and masculine traits in an obvious but thought provoking manner, and in order to do so, I will be using a male subject, and will be placing him in stereotypically feminine situations and scenarios, all the while keeping his identity hidden from view. In doing this, the viewer will be forced to only consider the contrast between the male model and feminine activity/scene, and will only be able to develop an opinion on the actions themselves, rather than the identity of the subject. Removing the identity of the subject also allows for the conclusions that the viewer develops, to be generalized to all individuals and scenarios in which there is a contrast between the stereotypical “gender” of a specific activity/scene/scenario, rather than focusing on the identity and individual scenario that the subject is in.
I have produced a mood-board in order to collect some of my ideas for my 1st photo-shoot:
John Stezaker is a contemporary British Conceptual artist who is best known for his collages of found images taken on postcards, film stills and commercial photographs. Stezaker’s work resembles early Surrealist and Dada collages.
With surgical like precision, Stezaker overlays distinct images to create new personalities, landscapes and scenes. “I’m using an archive to create another archive of my own,” he elaborates. “My ideal is to do very little to the images, maybe just one cut: the smallest change or the most minimal mutilation. What I do is destructive, but also an act of deliberate passivity.”
Stezaker has a collection of photographs, some which have been sliced in half diagonally or carefully cut around so that only a silhouette of the face remains. He collects photographs in order to deface them and in the process, create something new. His collages give old images a new meaning. He states that “There is something very odd, even unnerving about cutting through a photograph; It sometimes feels like I am cutting though flesh.”
One of Stezaker’s most famous series is called Mask where he fuses the profiles of glamorous sitters with natural landscapes or architecture to create images of eerie beauty. By simply placing an old coloured postcard of a landscape across a face he creates a strange new world. The end results are both deceptively simple in their execution and oddly disturbing in their suggestion. “When we look at a face, we assume that we are looking behind the face for a personality”, he says, “By making literal that behindness, I often create something that twists into an image of horror”.
I have chosen John Stezaker as one of my references for my personal investigation because I like the concept of hiding the facial features of the subject with a postcard showcasing nature or architecture. When I create my own collages, instead of using postcards I will use archival images depicting countries I have lived in and their most iconic scenery and architecture. These photographs will make the country clearly identifiable through symbolism and well known places or landscapes. These archive images will cover the face from my current self to convey how living in different countries has shaped my current identity. Perhaps I could also capture portraits of my parents since when I think of “home” I associate it with them since I haven’t had a long term house or place I have lived at. In order to replicate Stezaker’s collage style from the series Masks, the archival images will have to blend with the face. Although there will be minimal manipulation to the images, the overall design will have a huge impact.
The image depicts a collage created by superimposing a postcard on a black and white photograph. The photograph is a film publicity portrait of an unidentifiable actor taken during the 1940s or 1950s. the postcard is a colour image mounted over the actor’s face. It showcases a rocky cavern in which a sandy track curves around a central pillar. The postcard photograph appears to have been taken from inside the cave looking out through two openings towards the light. Stezaker has positioned the card on the actor’s face so that the dark silhouette of the rocky opening and the curvature of the cavern line up with the contours of the actor’s face. This placement creates human features. The two openings to the light suggest eyes connected by the rocky central column which covers the actors face in the position of his nose. This is an unusual composition and is definitely associated with the term “uncertainty” because we as viewers have no idea who the person behind the postcard is. His story is also unknown and we do not know the reason why that image has been associated with him, other than the fact that the suggested facial features of the postcard aligns with the portrait.
For my last photo shoot I will using self portraiture as a way of representing fashion through dance costumes. The influencer for this shoot is fashion photographer Hasson Hajjaj who is known for his colored photography, as well as being a self-taught designer and filmmaker. I have chosen him as an influence as I love the sense of fashion he includes in his photos which he captures in a colored background using a fast shutter speed. I think this will fit in well with my other shoots and my whole photo book as costuming can be seen as another archival term and represents fashion throughout different years and how it has developed. The costumes will be linked to my other shoots to create a selection of images where you can see the growth of costuming within dance. These images will be in the photography studio with a plain white background where I will be both photographing costumes as well as modelling my recent costumes in a way of self portraiture. Due to Hasson taking his images in portrait style therfore I will follow the same layout as I think this will be an easier way to show my images in a book. I will also not include my face in this shoot and may include dance poses to add to the dance element. The images will also be in color as it relates back to Hajjaj’s style as well as helps to show the costumes for how they realistically are. Futhermore, i will be using artificial lighting which may include a transmitter to capture my images, I will not be using any flash photography as I don’t think this will help towards the effect of my images.
Looking into camera settings/ equipment into more detail, I intended to use a Canon Camera with a setting on Manual Focus so i can play around with the camera settings freely. The use of a tripod will be important as there wont be much moving around in the image and i can then place the camera to a height where i feel as if will be the best angle to showcase the costumes. The artificial lighting will be coming from a soft box which will be placed to each side of me as well as an additional light in front.
Process of Elimination
I firstly sectioned the best images from others in order to allow it easier to choose the overall best images.
I then rated the images out of five stars to show further selection.
Planning Editing Process
I am extremely happy with how my images turned out and don’t think they need much editing doing to them as they are well lit, however i plan to edit them using Adobe Light room to do simple edits such as cropping of image, contrast change, brightness etc to ensure the image doesn’t look too over edited.
Editing my Images
The process above was then carried on for all other images which will be shown below. In order to elaborate, the images below have cropping edits, contrast, brightness, exposure, highlight edits in order to create even images.
Best Edited Images
Technical Analysis- Technically, I used a Canon Camera on Manual Focus in order to allow change to settings. Therefore, I had a high ISO setting of 1600 with my shutter speed being quite high to allow a fully focused image. In regards to the lighting set up I used, I used three artificial lightings in total, one placed either side with the other being a ring light which was placed in front. I also did some of these images in ‘self portraiture’ therefore used a tripod for my camera which was placed in the middle of the ring light.
Visual Analysis- Visually, we can see that the images are clearly focused and there is no intended blur. The images are clearly lit showing the three lighting points worked, carrying on from this there is a white background used to add an aesthetic to the images.
Evaluation
Overall, I think I have been able to capture successful images with the use of camera settings and location. I like the positioning of the hanging costumes as well as how the modelled images worked out and I wish I had developed this more with other costumes as I found these images were better.
For my second photo shoot, I plan to take still life object images in the photography studio to show personal items of mine which have sentimental value to me. These items will be dance related ie, certificates, trophy’s, medals etc and will be taken in artificial lighting to allow for shadowing etc to be seen. I will use both a straight on angle and a birds eye view to take pictures of my objects, this is different from the typical still life way of taking images which is usually face toward, however I feel as if taking birds eye view images of certain objects such as certificates is going to look better in my book. I have done previous research on still life history as well as explored Laura Letskinsky’s contemporary work foe further inspiration. After looking at her work, it inspired me to use a range of angles when photographing my objects, as well as experimenting with lighting, meaning I will be carrying out this effect in order to create a better image. I plan to keep the images very simple and will therefore be photographing on a white coloured background adding an aesthetic feel to my work which has been taken from Lauras work. I will use a transmitter when taking my images to allow light to be in all corners of my photograph, as well as a tripod to ensure an even image. For arranging the different objects if wanting to include more than one in a single image, I will ensure that it is not overlay complicated and sticks to the aesthetic. As for editing, I want to use as less editing as possible to showcase my originally photography skills, therefore I will only change aspects such as cropping, co toast and brightness etc. I will use Adobe Lightroom Classic for this.
Looking into camera settings/ equipment into more detail, I intend to use a Canon Camera on an auto setting to allow me to use a transmitter with my images which will create a fully focused image. The use of a tripod will also be important as it saves me struggling to find the perfect heights each time I need to change objects. The artificial lighting will be from a box light which will be placed directly to each side of the objects.
Process of Elimination
I firstly flagged all the images which I liked from the shoot, the flagged images are above.
Flagged ImagesAfter flagging my images, I then went and rated each image out of five stars and then deleted the images which I ended up not wanting to use in my project.
Planning Editing Process
As for how my second shoot ended up, I am mostly happy with my images are they are all clear meaning the transmitter was a good idea for this shoot in particular. For the straight on angle images I found that I liked the shadowing which was ported sometimes. and plan to do as little editing to this in order to keep them elements. Carrying on from this, I also plan to do little edits to my bird eye view images as they also took well to the transmitter and are fully focused, positioned in a good way as well as being of a good brightness/ contrast, I will therefore be mostly cropping the images.
Editing my Images
The process above was then carried on for all other images which will be shown below. In order to elaborate, the images below have cropping edits, contrast, brightness, exposure, highlight edits in order to create even images.
Best Edited Images
Technical Analysis- Technically, I used a Canon Camera which was connected to a photographic transmitter in order to create a flash when photographing my images. This meant that artificial lighting was used to photograph all these images and helped to create an even picture. Due to this transmitter, I did not need to experiment with camera setting meaning I kept it on auto throughout.
Visual Analysis- Visually, we can see that then images above are objects which have been photographed in colour from a both birds eye view and in front of the objects to show experimentation with angles. We can also see that all images are fully focused and fully lit, portraying the effect that editing has been successful.
Conceptual Analysis- Conceptually, outsiders looking at these images may be able to see that all the images link due to key words such as ‘dance’ and ‘distinction’ which would give away that these objects may be linked to a dancer, further showing that these are her objects which may have sentimental value.
Contextual Analysis- Contextually, these images are photos of my personal dance related objects which mean something to me, this being either a trophy or a hair pin which I wore when performing my best solo piece etc.
Evaluation
I think that overall I was able to capture a few successful images out of the multiple different objects I photographed. However, I feel as if I should have been more accurate with the way I positioned paperwork as it created inaccurate edits which I could then not use any further. I would also take more pictures hairpieces as I found that those are the images which look best both before and after editing.
This shoot went really well. I focused more on the Barbie’s body instead of just it’s face.
I decided to edit this image because I wanted to look at how the Barbie’s figure is unrealistic for young women to aspire to. I then edited it with bright pink typography to enhance the image and to make it less crude and awkward to look at.
For my first shoot, I plan to take images of archival images from when I was both younger and to this day in the theme of dancing, therefore showing the development of my dance practice over the years. This personal dance journey will reflect a documentation and will be the first setting towards my project. The artist I will be using as a reference towards this is female archive photographer Diana Markosian who is well known for her project “Inventing my Father”, this gained her recognition for the way she photographed images from when she was little as well as the meaning behind the photo manipulation. She uses a range in contrast for her images which add range of emotion. The images dont include a lot of background therefore meaning I will be cropping the photos on adobe light room in order to ensure that only the main parts will only be seen. Her work has also inspired to me experiment with different lighting as some of her images are dark and some light, I will do this with artificial lighting in the studio as well as with photo shop. I will use a transmitter when taking my images as it will allow for the images to be evenly lit as well as an overhead tripod to ensure the image is even.
Looking further into camera settings/ equipment, I will use a Canon Camera on an auto setting which will allow me to use a transmitter with my set up as it will create a fully focused and lit up image. The use of a tripod will also be important to this shoot as i will need images from an over head angle which will allow me to have the full archival image in the frame. The artificial lighting will be from a box light which will be placed directly to each side of the images.
Process of Elimination
I firstly ‘flagged’ the best images from the shoot in order to make it easier to edit the best ones.
Flagged images
I then rated the images one out of five to show further selection.
Planning Editing Process
As for how my first shoot for this project has ended up, I am happy with the images as they are all clear meaning that the transmitter was a good idea for the shoot. I had to photograph the images on a wide angle and found it had to position the images evenly therefore meaning i was need to be cropping out backgrounds as well as tilting my images to ensure they’re even. I found that i liked the fact there was no shadowing on my image ensuring the images can be seen clearly, therefore meaning i will only change small edits such as contrast, brightness etc in order to create a fully lit image.
Editing my Images
The process above was then carried on for all other images which will be shown below. In order to elaborate, the images below have cropping edits, contrast, brightness, exposure, highlight edits in order to create even images.
Best Edited Images
Technical Analysis- Technically, I used a Canon Camera which was connected to a photographic transmitter in order to create a flash when photographing my images. This meant that artificial lighting was used to photograph all these images and helped to create an even picture. Due to this transmitter, I did not need to experiment with camera setting meaning I kept it on auto throughout.
Visual Analysis- Visually, we can see that the images above are printed images which have been photographed in colour from a birds eye view in order to allow for the images to be seen correctly. We can also see that all images are fully focused and fully lit, portraying the effect that editing has been successful.
Conceptual Analysis- Conceptually, outsiders looking at these images may be able to see that they are images of other. images, but from first glance would just look like images which are related to dance which can be seen from costumes and logos.
Contextual Analysis- Contextually, these are images of previous printed photos which either my mum or dance teacher had taken of me when I was younger as well as to this day. The images show different highlights in my car career and are ‘archival’ due to not being my own images.
Evaluation
Overall, I think I have been able to capture successful imaged with using camera settings and angles. I am happy with how even the images are, showing my use of tape as a guide worked out, as well as how the images turned out overall as the quality and colours in the images all stand out and it is overall fully focused, allowing the audience to be able to see the images.
The aim of this exhibition was to offer a platform for workers to express their perspectives on agricultural labour in Jersey. It is also a way of showing the undocumented lives of the workers rather than the marketing representation. The project was conducted via a collaboration between migrant workers, the artist Alicja Rogalska and The Morning Boat. I really liked this exhibition because it wasn’t just one medium it used videography, imagery and typography to send out an important and personal message. The workers may not be highly qualified or a university graduate but they are grounded. Many people in Jersey who are unemployed won’t take these jobs because they think they are above it, they leave agricultural workers with no choice but to hire people from abroad. A big problem is that people say immigrants are taking their jobs but in reality they are filling jobs that people are too stubborn and lazy to take.
The agri-care prize was displayed in a box as the ‘bronze potato’ which is awarded for the best employer of migrant labour in the agricultural sector. The award is also a way of giving the workers a voice in their industry because they are essential the backbone and without them Jersey’s agricultural sector would be failing. It is important that the workers have a say in their living conditions and terms of the contracts because Jersey politicians and employers need to treat foreign workers as they would local workers, just because they can’t speak English doesn’t mean they are any less human.
The pictures featured in the exhibition were all taken by workers on their phones. Images were of the fields, their accommodation, themselves etc. The phones they used weren’t anything near an iPhone 11, this emphasizes the minimalist life they live in Jersey when working here. The photos were displayed in black frames with a thick white border and the pictures themselves were relatively small and they were symmetrically placed in two rows.
There was a video which featured the workers sculpting potatoes, the top 10 were displayed as part of the exhibition. The purpose was to create the most life like looking potato and who better to do that then the people who spend their livelihood picking them. The sculpting provided time for conversation between The Morning Boat and the labour workers through the translation of Alicja Rogalska, as the project was about giving a voice to the workers.
Essay Question- Is it possible for photography to capture moments in time objectively and truthfully?
Opening Quote- What are the differenced between reality, witness and point of view?”– Bright and Van Erp 2019:19
Introduction (250-500 words)- What is your area of study? Which artists will you be analysing and why? Will you be using photographs as a way of showing your idea? How will these aspects respond to their work and essay question?
My personal investigation looks into the development of my dance journey throughout the years from 2010. I specifically will be looking into the physical elements i still own such as objects, costumes and images in order to show my journey truthfully. This idea has come from looking into artists Diana Markosian, and Walker Evens who show a clearly their personal styles through their use in photography. Diana looks into archival imagery through her personal life to add emotion to ideas, where as Walker is a documentation photographer and uses the project ‘ let us praise famous men’ to showcase his style.
Paragraph One (500 words)- Historical/ Theoretical context within art, photog and visual culture relevant to your area of study, Make links to art movements
Realism and Straight Photography was first introduced in the 1840s and looks at producing imagery which displays life how it is. Artists who work within this area mostly focused on looking into cultural and social issues which were revenant within that time, helping to gain recognition to issues and showcase detailed images to exhibit real life. Artist Frederick Henry Evens and his project ‘A sea of a Step’ is known to distinctly present realism through the use of lighting and space. He uses symbolism of creating subjective perspectives while changing the reliability of art movement. Focusing more on documentary photography, artist Walker Evens uses portraiture to show lifestyle within an enviroment which can sometimes be shown as being accurate or inaccurate. This carries me to explore my own topic which is based on my own dance lifestyle and I left that using a small element of documentary photography within my project would be nessesary to capture my intended subject. Carrying on from this, Paul Strand took an interesting approach to photographing objects where he uses the ‘Macro Technique’ which shows clear focus on light and shadowing. This gives an idea as to how Strands work is seen and how his work causes a narrative which can illustrate how the art movement can be truthful.
Paragraph Two (500 words)- Analyse first photographer in relation to your essay question. Present/evaluate your own images and responses.
I will be analysing my chosen photographer Diana Maroksian and looking through her non-traditional way of photographing archival images. I feel as if her use of archival images adds an element of truth to her work and contrasts a stereotypical family, adding a sense of loneliness to her work. This particular emotion can be linked to the use of black and white edit which is typically used, creating more depth in the background of her work. To extend this, Maroksian had a particular project called ” Inventing my Father” which can be seen as portraying the truth behind her families upbringing, in particular how her mother left her father to move to California, not thinking on how the children would feel later on in life not being able to be brought with with a father figure. Adding to this, she cut the father out of all the images in the family album, adding separation. I feel as if this clearly shows an element of truth in her work and also shows that archival imagery is a successful way of representing how reality is.
Paragraph Three (500 words)- Analyse images which will help to represent your ideas and visions
This image shown above is from Markosian’s project ‘ Inventing my Father’ which explores her family history from when she was born to the time period where the project was published. The project is very emotional and focuses mostly on the images she has taken which don’t include a lot of editing, adding a raw approach to her work and showing it for how it originally was, adding an element of truth to her work. We can see in the image above that conceptually it seems as if there has been a disappearance of a family member, due to the size and build it looks like a male suggesting it is her father. The cut out also proposes that the father has either left or the mother has left him as a cut out is very drastic for precious family photographs. Carrying on from this, the cut out shows to the audience how important diana’s mother was to her, being her only adult influence throughout her life.
Paragraph Three (500 Words)- Analyse second photographer in relation to your essay question. Present/evaluate your own images and responses.
Walker Evans most recognizable work is from his project ‘ Let us Now Praise Famous Men’ a series where he explores Alabama farmers during the Great Depression from portrait using a documentation style of photography. Looking into his portraiture, it is clear to see what the families have gone through and how they don’t know any different. He has stated that he enjoys to use editing as a large part of his image as it develops an image even if you are trying to prove a realistic point. Evans imagery has been described as “You can’t sniff the stink of the quilts in the Evans pictures” showing a positive response to his work and emphasis how he is accurate with representing his work in the way he is successful at capturing raw images through simplicity. Evans uses naturalistic lighting to capture his images and does not position the models, but photographs them in their typical element adding a sense of truthfulness and reality. Capturing the subject in their naturalistic environment allows a sense of authority to the images, adding emotion and a sense of sympathy.
Looking into my key words of myths, legends and stories surrounding the idea of occupation I came across Anna Gaskell, a contemporary American artists known for exploring themes such as Lewis Caroll’s Alice in Wonderland (1865). Using photography, video, and drawing, Gaskell creates ominous images of women that nod to familiar or historic narratives. Born on October 22nd, 1969 Gaskell would create mostly self-portraits in the style to that of Cindy Sherman, from this she developed to taking photographs of young girls in odd or ambiguous scenes as seen in her series Wonder (1996-97). Gaskell is famous for her dream-like narrative photographs which make reference to children’s games, literature and psychology.
Gaskell’s film influences range from the Noir to French New Wave and Horror. In a series entitled Hide (1998), she sets up a narrative using the sinister Brothers’ Grimm story The Magic Donkey, which is about a young women who disguises herself under pelts to hide from a marriage proposal from her own father. The series evokes a sense of terror through the scenery of a gothic mansion and contrast of light and dark in a dimly lit space.
Gaskell explains, “Trying to combine fiction, fact and my own personal mishmash of life into something new is how I make my work”, this gives me ideas and influence of how she is a good artist for me to look into and have influence and inspiration from with the ideas of taking a starting point of fiction, using the fact and not only that but my own influence I feel is something very important that I could use as I have the influence of my own personal experiences of being told the sorties and living in and around the island.
I have chosen to look at Gaskell as one of my artists as I enjoy and am finding a lot of inspiration in the way she takes her photographs and presents them with the lighting and the costumes and effects that her photographs using the lighting but also the double characters I feel is a really interesting take in some of her work. In my own work I plan on producing photoshoots in the style of tableaux photography, staging the photographs and having the models in costume and makeup.
Analysis of Anna Gaskell’s work:Wonder & Override
Gaskell’s work is produced and influenced off the back of the idea of isolating dramatic moments from larger plots such as Lewis Carroll’s Alice in Wonderland, which is visible in the two series: Wonder (1996-97) and Override (1997). Gaskell’s style of ‘narrative photography” the images are planned and staged; the scenes presented are ‘artificial’ in that it exists only to be photographed. Gaskell’s process can be mentioned as similar to filming however there is an important difference; Gaskell’s photographs are not tied together by a linear thread, it is staged and created to be as though all of the events take place simultaneously, in an ever-present. In untitled #9 of the wonder series, a wet bar of soap has been dragged along a wooden floor; in untitled #17 it appears again, forced into a girls mouth with no explanation of how or why. This suspension of time and causality leads to a sense of ambiguity that she uses to evoke a vivid and dream like world.
Below I have a photograph from the wonder series, it shows two girls in the frame one lent over and holding onto the other and holding her nose. Gaskell’s girls do not represent individuals, but act out the contradictions and desires of a single psyche, Gaskell uses a pair of twins for Alice for the identicalness. While their unity is subset by their identical clothing and looks, the mysterious and often cruel rituals they act out upon each other may be metaphors for disorientation and mental illness. In wonder and override, the character collectively evoked is Alice, perhaps lost in the Wonderland of her own mind, unable to determine whether the bizarre things happening to her are real or the result of her imagination.
In the photograph below we can see both of the twins in the costume of Alice, one holding onto the nose sat above the other, the photograph is taken or has been cropped quite close up into the characters, it is creating a sense of intimacy to be that close to the subjects of the photographs but the cropping also cuts out the surroundings of the girls, it removes the context of what is happening around them and leaves the onlooker to be able to use the story of Alice in Wonderland that they know to create ideas of what is happening in this photograph alongside the other photographs. The lighting of the photograph creates an eery aura of the photograph the dark shadows on the girls I feel creates a dramatic effect that I want to try to incorporate into my own work when I start to develop the tableaux images in my personal investigation. The almost chiaroscuro lighting creates that dramatic effect on the girl in the top of the photograph.
