This was my initial setup of the studio, with a spotlight illuminating one side of the model and another secondary LED panel light illuminating the model from the other angle. Later on through the photoshoot I added a third ring light to balance the images. All lights where set at a neutral colour ( not tinted warm or cold colour), accept for the spotlight which was slightly yellow. I tried to cancel tis out later with the ring light. With the set up I had a white background.
CONTACTS:
I think that my photoshoot was successful as I managed to produce many usable photos. My model was easy to communicate with and allowed me to capture a range of photographs with expressions and poses that wanted. The camera setting where every accurate in helping me get the images I wanted, with the right exposure as well as being focused. one problem I encountered was the shadows made by the model on the backdrop. I could have achieved better photographs by adding a third light to the setup (a background light to illuminate the backdrop and eliminate shadows). however the shadows can be easily cleared with tools in photoshop during the editing process. The images I marked in green are my favourite images, which are most in focus and display the model best, they are; 0141, 0147, 0152, 1060, 1063, 0175, 0183, 0191, 0195, 0207. however I will re-select a smaller range of images to be edited and experimented with.
I will be taking photographs of my female friend at Hautlieu school.
WHAT
I will focus on the face of the model, specifically on facial features such as nose, eyes, mouth, and collectively together to form facial expressions. I may experiment with emotions, taking photos of the model, with a range of expressions; happy, sad, scared.
WHERE
I will have my photoshoot in the studio, where I can use the black and white curtains to create the backdrop. I will also be able to set up a 2 or 3 point lighting system to illuminate my model.
WHEN
I will take the photographs on Monday the 13th of January, through the entire day, depending on when the studio is free and when my models are free.
WHY
My idea is to edit the images in a similar style to Silvia Grav, to explore idea that ones identity can be aspects of their body (specifically face). It will bring the idea that someone can be identified through their facial features, and can be unidentifiable when facial features are blurred. The concept is to focus on the manipulation of facial features that identify someone, suggesting that faces can be one of the simplest forms of one’s identity.
Editing inspiration from one of Silvia Grav’s images:
HOW
I will set up the studio with the camera on a tripod to prevent camera shakes, so the images are in focus, as well as having a two point lighting system with a neutral coloured LED panel illuminating the subject. However, to create softer lighting and decrease shadows, I may use a three point lighting system instead. The camera should be around 200 so that the image isn’t grainy, and the shutter speed should be short to keep the image in focus as the model may move around( 1/250). The aperture should be an average f/4.
Silvia Grav is a Spanish photographer who creates dreamy, mesmerising images edited with harsh contrasts and light effects. These editing techniques produce mysterious sceneries in which young models have rays of white lines and smoke like shadows moving across them and the rest of the photograph. Grav seems to use a variation of different layers to create her final photo, layering images with different opacities.
At 18 she dropped out of Fine Arts the first year. After this her work got discovered and became viral after being published in media such as Juxtapoz, Communication Arts, Vice, The Huffington Post, This Is Colossal and My Modern Met.
PHOTO ANALYSIS:
CONTEXTAL/CONSEPTUAL:
The true woman cannot be seen in the image due to the warp across her mouth. She is shown portraying some intense emotion which may show a sign of her mental state. The concept of the workday be to show someone through their emotion, linking to the idea of emotional or mental identity
TECHNICAL:
The lighting of this image is generally quite light, clearly taken with a daylight source of lighting. You can see this lighting is natural, reflecting the focus of the photograph. The image looks to have been reasonably exposed, with a high contrast between the backdrop of the image and the model herself. The shadows of her figure and hair seem to be very dark (almost black) compared the the rest of the image.
The aperture of the photograph cannot be exactly determined as the background id barely visible, however the model is in focus. The shutter speed seems to be average, maybe 1/125 as the image seems to be regularly exposed, but also quite focused and sharp. The ISO also seems to be low as the image was taken in daylight maybe even a studio, so probably around ISO200.
VISUAL:
The image shows an almost nude woman with her hair up, holding her neck. The colour of the image is clearly in black-and-white with A clear use of tone being used between light backgrounds and dark shadows of the model. There seems to be some form in the photograph as there is some difference in shadows and highlights on the models body. The editing of the photograph is interesting as there seems to be a stretched or warped section on the models mouth being drawn to the left, which leads the eye fo this focal point.
“Identity is the qualities, beliefs, personality, looks and/or expressions that make a person or group, in psychology. Categorising identity can be positive or destructive, as psychological identity relates to self-image, self-esteem, and individuality.”
The idea of identity can relate to a more philosophical, deeper personal meaning about the way you want people to perceive you. It involves questioning yourself:
who you are
the way you think about yourself
the way you are viewed by the world
the characteristics that define you
An example of identity is a person’s name
PHOTOGRAPHERS WHO EXPLORE IDENTITY:
Claude Cahun was a Surrealist photographer whose work explored gender identity and the subconscious mind. The artist worked with her lover Marcel Moore to create self-portraits from 1928 showing her attitude and style. In her pieces she stares defiantly at the camera in an outfit that looks neither conventionally masculine nor feminine.
Camila Falquez is a photographer and director with a creative point of view shaped by her background in ballet and contemporary dance. She is inspired by the human body and sees its movement through space as a kind of universal language, which she uses to express people identity through fashion and emotion. Falquez has photographed for labels including Nike, Barneys, Kanebo and Louis Vuitton.
Hans-Peter Feldmann is a German conceptual artist who has worked in multiple formats, from drawings and sculptures to artistic books and photographic essays. One of his most famous works is his 1973 piece “All the Clothes of a Woman” featuring 70 pieces of one woman’s wardrobe photographed one by one, showing the parts of a woman that make her, herself, linking to ones personal identity.
Shirin Neshat created a photographic series called “Women of Allah” which examines the complexities of women’s identities in the midst of a changing cultural landscape in the Middle East. It shows both through the view of Western representations of Muslim women, and through the more intimate subject of personal and religious conviction.
Francesca Woodman is best known for photographing herself, but her pictures are not self-portraits in the traditional sense. She is often nude or semi-nude and usually seen half hidden or obscured – sometimes by furniture, sometimes by slow exposures that blur her figure. She uses this ghosty presence to express her identity, focusing on the deeper meaning of mental health, depression and anxiety.
Identity in portraiture photography can have a lot of variation in meaning. There are many sub themes that come under this main title of Identity with in portraiture, such as the ones below. Identity’s true meaning is: the fact of being who or what a person or thing is. The way the photographer explores what identity is with in a person exposes their own identity as a photographer and what the word means to them.
Here is a mood board of examples of different photographers who’s work I able to express these different sub themes using portraiture:
Picasso made this painting right after the death of his close friend in 1903. This painting shows an old, blind, tired man with bare clothes on his shoulder. Playing in the streets of Barcelona with his guitar. He made many paintings which illustrated the hardship of the poor, the ill and those cast out of society. The blue hue to the painting brings a melancholy mood to it, adding to the sadness of the man in the image. I have decided to recreate this image as a part of my tableau portrait photography study.
PHOTOSHOOT PLAN:
WHO
I will be photographing my friend Aimee, and she will mimic the subject in Picasso’s painting,
WHAT
I will photograph the model holding a guitar, similarly in position wise to resemble the old man holding his guitar in Picasso’s painting.
WHERE
I will be completing the photoshoot in the school studio as I will be able to create adequate lighting that mimics the painting, through the use of led panels and other lighting and camera equipment available.
WHEN
my photoshoot will take place during a photography lesson during the first week of December.
WHY
I think that this is an interesting painting to create a tableaux vivant from, as the painting shows lot of emotion. I also enjoy the composition of the painting and think that it the models position with the guitar will be challenging to mimic.
HOW
I will be able to replicate the blue hue of the painting by using a blue gel filter on the led lights. I will also use a one point lighting system ( coming from the left hand side of the model) the to illuminate the model and the guitar. I will use ISO 200 to take the image, an exposure time of 1/8 and a shutter speed of f/4.
CONTACTS:
EDITING AND MANIPULATION PROCESS OF FINAL IMAGE:
Taking the chosen photograph to photoshop, I firstly started by cropping the image, with a boarder of space between the model and the edge of the photograph, as well as mimicking Picasso’s composition. I secondly altered the colour balance of the image, allowing for the midtones to be altered to warmer shades of red and yellow (as shown by the image above). This gave the image more depth and contrast between colours.
After this, I altered the brightness/ contrast of t. as the contrast of the picture was already very contrasted from initially taking the photograph, I decided to decrease the contrast to -35. Then I manipulated the brightness to -58. I found this helped the highlights become more muted as the initial image had very bright whited from the models shirt and reflection of light off of the guitar.
FINAL IMAGE:
EVALUATION:
From looking at my final photograph, I can see that I have completed what I intended to achieve. I think that the lighting I set up to take the photoshoot, resembles my idea of how I wanted it to look. I also think that the backdrop of black, created contrast to the model. The emotion in the face of the model is solemn and calm, reflecting the subject in Picasso’s piece. However, I think that it could be improved using a two point lighting system instead of one, with one key light ( containing a blue filter), and a second white fill light to allow the subject to be illuminated more, as the image is very dark.
The definition of identity is who you are, the way you think about yourself, the way you are viewed by the world and the characteristics that define you. An example of identity is a person’s name, however a deeper meaning of identity could imply the qualities, beliefs, personality, looks and/or expressions that make a person or group. Categorizing identity can be positive or destructive. A psychological identity relates to self-image, self-esteem, and individuality. Since its origins photography has enabled people to make sense of themselves and their environment. In one sense all photography, whether it is directly about the photographer or not, is an exploration of identity and/or place and can be separated in the following categories…
Geographical/Political
…translates as being based on or derived from the physical features of an area but can also relate to cultures, races, and traditions that are accustomed to such areas, regions or countries. Political on the other hand defines as relating to the government or public affairs of a country. Both categories are similar in some respect and merge together well as one theme for this project.
Gender Identity
…is the personal sense of one’s own gender. Gender identity can correlate with assigned sex at birth or can differ from it. All societies have a set of gender categories that can serve as the basis of the formation of a person’s social identity in relation to other members of society.
Culture
…is an umbrella term which encompasses the social behavior and norms found in human societies, as well as the knowledge, beliefs, arts, laws, customs, capabilities and habits of the individuals in these groups.
Society
…can relate to a group of individuals involved in persistent social interaction, or a large social group sharing the same spacial or social territory, typically subject to the same political authority and dominant cultural expectations
Loss of Identity
…can be perceived as personal psycho-social conflict especially in adolescence that involves confusion about one’s social role and often a sense of loss of continuity to one’s personality.
Identity Series By Polish Photographer Michalina Woźniak
The Project
For my project, I have chosen to explore the theme of geographical/political identity, aiming to take photos with the intent of expressing geographical aspects such as race, culture and how places/environments can affect lifestyles and the outcome of people and its influences on their success in life, whether it be high or low. In addition to that, I will try to also include political themes, capturing the political views of people, and the effect it has on them and others around them, as well as similarly to the geographical aspects, highlighting different races, cultures and how politics affects them as well as how society both shapes and perceives them.
The definition of identity is: the fact of being who or what a person or thing is, a close similarity or affinity. I am inspired by this definition because it will enable me to look at a variety of photographers and will prompt me to question my own identity. During this project I will explore the works of other individuals who inspired me and photographed similar themes of identity and aim to express these elements through a variety of photographic techniques.
Inspiration – Diana Markosian
Diana Markosian is an American and Russian artist of Armenian descent, working as a documentary photographer, writer, and filmmaker. She is known for her photo essays, including Inventing My Father, about her relationship with her father, and 1915, about the Armenian genocide. Her work has inspired me to take a similar approach in my photography during this part of the project, aiming to highlight geographical and political aspects through my photography just like hers. Diana Markosian is an artist known for her experimental approach to storytelling, using photography and video. Her work is both conceptual and documentary and can be found in publications like National Geographic Magazine, The New Yorker and The New York Times. She holds a Master of Science from Columbia University in New York.
“My commitment and passion for this profession doesn’t come from simply creating images. It comes from building relationships. You have to be a person before you are a photographer.”
Markosian was born in Moscow. In 1996, she moved to California with her mother and her brother, while her father remained in Russia.She had no contact with him until 23, when she found her father in Armenia, after 15 years of being apart. Markosian graduated from the University of Oregon with a bachelor of arts in history and international studies in 2008, and earned a Master of Science from Columbia University’s Graduate School of Journalism in 2010 at the age of 20.
Her Work
This is a brief introduction to Markosian’s work, a handful of selected images that I thought best fit the theme of geographic/political identity. These photos as well as many more can be found on Markosian’s personal website where you can find her portfolios for different projects she has completed over the years as well as commisions for world renowned news outlets such as National Geographic, the BBC, The New Yorker and The New York Times.
Her work is often presented in a photo-essay style, where she posts a handful of her best images she has taken along her journey, and gives them very brief descriptions of context below, often describing her journey and what she has found, recalling accounts of local people and always sharing a moral of a story. These stories usually relate to the theme of cultural/geographical/political identity. Great examples of her photo-essays are…
In Chechnya, (a Russian republic explored by Markosian in one of her projects), she says how “couples must meet in public and sit a distance from one another. All physical contact is forbidden before marriage”. This highlights cultural and regional differences, as a result of many factors, geography and politics often being the main reason for these.
Markosian is a skilled artist, her photos have a clear meaning and intent. This photo simply shows the cultural and religious differences of Chechnya, placing herself right in front of the Heart of Chechnya mosque, the largest in Europe, highlighting Chechnya’s Islamic beliefs, a contrast from the country of Russia which mainly practices Orthodox Christian.
Most of her photos capture differences that can be observed worldwide, often religious, political and always geographical. Through her photography, cultural anomalies shine through, and thus makes her photography not only unique, but very interesting to glance at.
Aspects of Markosian’s Photography
Technical
The images purposefully doesn’t use loads of clever techniques in order to create a sense of realism, instead they use natural light which creates this darker tone to the image with higher contrasts. To add to that her images often seem to have short exposures which also further adds to the dark, contrasts seen in her photos. The images also often have some depth of field which creates a distinguishable foreground and background to the image. Additionally, the composition of her photos are often symmetrical, as as well as generally being very well focused, highlighting detail in the foreground and a subtle blur in the background, however the blur isn’t always used by Markosian.
Visual
Her images vary considerable throughout her work. In the photo above, the dark tones are also apparent due to the lack of lighting, with faint yellows coming through from the background lighting, adding variety to her photographs. The composition is very natural, and fits with her style of realism as the photographer didn’t set the image up and so the image has the appearance which works very well with their project.
In the photo, Markosian finds herself in the middle of worshipers gathering outside a monastery in Minya in anticipation of an apparition. The project was to discover what occurs in religious pilgrimages and the people who part-take i them.
Project Ideas
For my exam piece I was thinking of getting a plain book and presenting my final photographs of which I hope to have at least 10 in chronological order in a photo-essay style as famously presented like Markosian’s work. I will organise them into these mini stories made up of primarily photos with small, concise descriptions of context underneath, just like Markosian. I will also base it on the people’s life experiences of coming to the island from abroad or those who were born and bred on the island and their political views on immigration and similar topics as explored by Markosian.
These photos will be inspired by Markosian’s style of photography, exploring the theme of realism and implementing similar photographic techniques with the intent of showing cultural/geographical/political differences within the small island of Jersey to show the diverse community we live in. This is not purely about showing different ethnic groups, religions and cultures, but also aims to manifest the thoughts, and political views of such individuals too.
Photo Shoot Plan
WHO:
Take photos of friends, showing different cultures, race, religions, political views and ethnicity that may flourish from such individuals, with the intent of highlighting diversity within the population. I’ll also try to photograph certain events that link to any of the criteria above, such as cultural festivals, religious events, political movements/protests etc.
WHAT:
The images I am going to create will be in the Markosian’s style of identity photography which has heavily inspired me.
WHERE:
In Jersey, it’s quite vague to distinguish one particular spot to photograph any of the criteria as it can be found everywhere.
WHY:
I am taking the images to explore the idea of identity, whether it is cultural, religious or geographical identity and as an effective set of identity images for my exam.
HOW:
With a DSLR camera placed on a tripod or mobile phone, which will be taken in various environments to give a suitable background/backdrop.
