Red/ Purple: model wasn’t ready

Yellow: Over Exposed

Green: Photos I want to use

For this photo shoot I edited my images using Photoshop.

I then repeated these same processes for the rest of my images.

Edited Outcomes

I chose these as my favourite outcomes in my Identity shoot as I think they were my most successful. I think the colour splash effect worked effectively to lead the audience’s eyes onto the burning images; it keeps the audience focused and allows them to think above the image and onto the true meaning of these photographs.

I like the fact that the burning can represent a variety of different things; however, for me the burning of the images represents the fact that as we grow up, we start to grow out of friendships or lose contact with people we used to be close to, this burning represents our memories slowly fading away as soon we won’t be able to remember our memories that once meant so much to us and therefore losing that part of our identity.

Here the models have either a neutral or sad facial expression; I think this is important as it adds to the meaning of the image as the neutral face creates the ideas that they have already forgotten about the memory and therefore the image has no longer much meaning to them or something has happened to cause them to not want to go back, the tearful and sad face represents the sadness felt through loosing this memory or important time period of the models life as it could have been one of the happiest periods of their lives that they have now lost or are losing.

I also quite like the contrast with the texture of the backgrounds; here I have tried to use a different background for each photographer to show each models individuality and to further emphasis the idea of memories and that every memory is unique to that person and to further link this to idea of identity.

Overall I am quite happy with my outcomes as I have managed to merge the ideas of my two photographers and put my own spin on this topic of Identity. This photoshoot was quite important to me as I have tried a more conceptual approach to the image and a more emotional side to this photoshoot.

Here with Carolle Benitahs work I tried to merge her idea of altering old memories to help symbolise what is going on now in her current life and Identity. Here my alterations made was through the burning my the images is similar to Susannah Benjamin’s work as I am burning a picture of a younger version of my models however this version is a memory which has sentimental value to them, I feel like this creates a more meaningful photograph as it was extremely emotional for them to burn these sentimental images; however I feel as though it works as a powerful metaphor for what is happening to them in real life and the idea of them losing their identity.

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Tableau Vivant is french for “living picture”. Here this is a static image normally consisting of one or more models or actors. Here the people are carefully posed, usually with props and or costumes in order to create the effect of an image that is actually living.

The origins of Tableau Vivants believe to have come from sources of entertainment popular in royal weddings, coronations. Here actors often imitated paintings or statues in the manner of todays street entertainers; however in these times the performance would usually consist of larger groups creating elaborate tempoary stands along the path of the processions. Often a poem or music would accompany the actors when remaining in there still positions and a wooden frame would outline the stage to give the effect of a living picture.

in the late 19th and 20th century, tableau normally consisted of “flexible poses” or “poses plastiques” through semi naked or naked models which was used as a source of entertainment either live or in-print.

In today’s society Tableau is normally present in living statues, here people dress up and normally use body paint in hope to busk and receive money from taking photos.

Photography Tableau was said to have started in 1970/ 1980; here Jean-François Chevrier  was one of the first to use tableau in a art photography format in an essay called “The Adventures of the Picture Form in the History of Photography”.

Yinka Shonibare is a British-Nigerian artist living in the United Kingdom. Shonibare works on a variety of things such as painting, sculpture, photography, installation art, and, more recently, film and performance. He has a psychical disability which has paralysed on one side of his body; however he still creates his photos and art work but by using some assistance. He has since used his disability as an advantage as in 2013, Shoibare became a patron for an annual Shape Arts “Open” exhibition where disabled and non-disabled artists are invited and allowed to submit their own work following an open theme.

He has received many awards such as a CBE which is a “Order of the British Empire” this is a British order of chivalry, which rewards contributions to arts, sciences, public service outside of the civil service and work with charitable and welfare organisations. Shonibare had his very first exhibition in 1989 in Byam Shaw Gallery, London. During 2008-09 he was part of a major mid career opportunity in both Australia and the USA. where he toured his work through Sydney and up to the Brooklyn Museum.

His work usually surrounds cultural identity, colonialism and post-colonialism. He mainly focuses on the identity between Europe and Africa; especially on economic and political histories. Yinka Shonibare is best known for his tableaux characters which are dressed in amazing period costumes from batik; which is an Indonesian designed fabric which is usually produced in the Netherlands but has been popularised in West Africa. Here he re-imagines a scene from Tchaikovsky’s Swan Lake in a complex and subtle interplay between two dancers of different races. Here he tries to capture each others expressions on either side of a ornate Baroque frame; showing the movements of the characters as estranged and united

(Batik examples shown below)

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Examples of his work:

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Analysis

Technical: Here flash lighting has been used which is shown through the reflection on the globe. The Camera has been placed at chest height and the light seems to be pointing towards the right side of the characters body shown as the left side of the characters body is receiving less light. Overall the photo seems to be well exposed and there are no signs of glares or under exposement. The Focal point seems to be on the globs/head of the character as that is the sharpest point of the image. The white balance seems to be well defined as the image doesn’t seem to be warm or cold but rather once again the image seems to have a well balance white balance.

Visual: Colour is well represented in this image which I think is important due to the photographer, here there are various colours each rich and vivid. Tone is also present in the image especially the contrast between the light white walls and the black globe as it helps to bring the attention onto the the character. Strong patterns are shown through the different styles of clothing shown all coming with different colourful patterns which are striking and interesting. The shape and form of the the image is present through the use of shadows on the character and the contrasting colours of the background which is quite light and plain against the foreground of the character which is rich and full of colour. The eye is first lead to the characters globe head as it the darkest and the focal point of the image, its then lead to its chemistry set, due to that being the main movement of the character and then onto the characters fun and colorful traditional clothing.

Contextual / Conceptual I think these characters help to bring back culture into today’s society, which I think is vital as many traditions have been lost through these years due to modernisations. The colour is definitely a key part of the image as the vivid colours represent the pride in the patterns that people that wear this have there for these characters show how diversity can be shown everywhere and even in professions; such as this scientist in colourful Indonesian clothing. I think these images also represent joy and happiness which can stand out from the crowd as many people are now dealing with many mental and physical illnesses whereas this tries to represent a happier and maybe even a fantasy in what Shonibare whats life to look like and be.

What? I will be taking photos for my tableau photoshoot and trying to imitate Shonibare work through colourful outfits and his staged structures.

When? I will take my photographs on Monday 11th January.

Where? In the Studio or the Dry Room.

Who? I will be using my friends as models for my shoot.

How? I will be using a variety of clothing items to imitate Shonibare use of traditional colorful clothes and I will be asking my models to imitate his staged images to create my desired effect.

Why? I want to create successful set of outcomes and because I like my artists work as I found it interesting.

Orange: Images I want to use to edit

Blue: Model not ready / Bad Angle

For my tableau editing process I used Photoshop in order to edit my photos.

I then followed this same process for all of my images and below are my final edited outcomes.

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My Final Image^ Character in Comparison^

Throughout my work on this Tableau topic my aim was to imitate these Tableaux figurines in order to match my chosen artist, Yinka Shonibare, I think that through my photos and edits I have successfully achieved my aim as I think there are clear links between my image and Shonibare’s works. I have tried to incorporate the colourful clothing‘s with different patterned clothes and long pieces of material which I wrapped around my models. I also tried to incorporate any similar props that I could find in the images and try and keep my model holding them in a similar way. The main similarity I tried to incorporate, was my models body language and their expressions, I wanted to try and create what I thought the Tableaux figurines facial expression would be if they had a head instead of a globe. In this photo for example, I tried to create a proud a powerful sense in the model through her facial expression as the fact that shes looking up shows her power and authority

I cleaned up the background in the image in order to keep the focus onto the model and not on the background which I think helped create a cleaner and crisper image. The eye is successfully lead to the bold red patterned clothes and then on top my models facial expressions which is what I wanted as these were my main aims. Once again visually the patterned clothing are the main attention of the image which is striking. Overall I quite like my final outcome for Tableau as I think I have successfully matched my artists work and Incorporated there main techniques. With the image itself I loved my models body language and confinement of my image I am also again really happy with the colours of the image.

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Studio photography first began in the 19th century. Here the earliest known photographic studio was made up of painters’ lighting techniques to create photographic portraits.

Here sunlight was the main use of lighting as it was the cheapest option and strong enough to bring light into the photograph. this was achieved through a large window of sky light facing north above or somewhere around the subject being used.

Later on, Flash photography began to be used here Flash powder was the first of artificially illuminating photography sufficiently bright enough to freeze the action. However this was not safe therefore as electricity and the vacuum tungsten light became available to help start the beginning of studio photography.

Electric studio flashes became available in the 40s but they were very dangerous and expensive as they could even explode. In the 60s these flashes were used commonly in professional studios whereas small time portrait photographers would still use tungsten lights (or hot lights). Furthermore in the late 70s flashes and sometimes strobes became affordable for small studios. Now in the last 10 years digital studio photography is used more frequently nevertheless in some instances film is still used.

Studio Photography has many uses in todays society such as:

• Advertising (eg food, product, corporate, architecture, film library etc)
• Still Life
• Portraiture
• Fashion (which could be viewed as a sub-category of advertising)
• Fine Art

https://staffweb.worc.ac.uk/photomodule/CDME2021&3021/Session02/History-of-studio-photography

1-2-3 Point Lighting

1 point lighting is good technique for contrast against the high and low tones of the image, here many photographers use chiaroscuro and Rembrandt lighting.

2 point lighting is often used as one light (key light) helps ton illuminate the subject whereas the second light (often fill light) offers a second source of light whilst controlling the shadows.

3 point photography is similar to two point however this has an additional back light which helps to provide more continuous light throughout the image. Here the backlight brings light to the subject from behind which helps to separate the subject from the background and lighting the contours which are present.

Chiaroscuro

Chiaroscuro is Italian for “lightdark” which refers to it meaning of bold contrast between light and dark, here they usually effect the whole composition within the image. Chiaroscuro first started out in 15th century paintings in Italy and Holland; however what people perceive as “true Chiaroscuro” started in the 16th century in Mannerism and in Baroque art.

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Examples of Chiaroscuro Photography and Paintings^

Rembrandt Photography is a type of chiaroscuro photography however it is more technical, here light is projected onto one side of the subject face which causes a highlight on the other side of the face shown as an upside down triangle which is formed by the shadow from the subjects nose and the contour of the cheek.

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My attempt with Chiaroscuro

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Contact sheet^

Favourite Outcomes