Studio lighting is an essential part of most photographer’s work, as it allows them to create an effect which can be either natural or artificial. A photographer’s choice of lighting is an integral part of the composition of their photographs, and can be the difference between a good image and a bad image. Studio lighting in particular can be manipulated in so many different ways, allowing the photographer to create a numerous amount of images just by changing the lighting.
Rembrandt lighting is a standard lighting technique that is used in studio portrait photography and cinematography. It can be achieved using one light and a reflector, or two lights, and is popular because it is capable of producing images which appear both natural and compelling with a minimum of equipment. Chiaroscuro is the use of contrast in light and shading across an entire image composition. It is a technique that creates a three-dimensional quality in images on a two-dimensional plane. Chiaroscuro lighting was developed by Leonardo Da Vinci, Caravaggio, Vermeer, and Rembrandt.
MY RESPONSE
FINAL IMAGES
I have selected these three photographs as my final images because I think that they best show the Chiaroscuro lighting technique. The shadows being cast across my subject’s face fall in a triangular shape, which creates a three dimensional effect. I had my light set up on one side of my subject’s face and I switched sides regularly in order to create and explore different angles and shadows. I decided to use a colourful plastic sheet over an L.E.D. light instead of a spotlight because I wanted as much of my subject’s face illuminated as possible, but still with the shadows being cast over one side of her face. Additionally, I think that the colour adds a slightly modern touch to the old technique, and makes the photographs appear more vibrant and full of life. I chose the red and blue colours because they gave the best visibility through the camera lens, and were the most contrasting in tone.
Henry Mullins was a portrait photographer known best for introducing professional photography to Jersey, after moving from London in July 1848, and setting up one of the first photography studios on the island. This was known as the Royal Saloon, located at 7 Royal Square. He promoted his business to Jersey locals by pricing his portraits at “one half of that in London”, half a guinea.
Mullins’ photographs have been preserved and stored online by https://societe-jersiaise.org/photographic-archive with his collection amounting up to 9600 images. Mullins was well known for printing his portraits on carte de visite paper, which was popular due to its small size, allowing friends to trade them amongst each other.
A technique often used by Mullins were the diamond cameo portraits, in which four different portrait angles were taken and printed onto one card, in the format of a diamond.
Diamond Cameo portrait of Philip Baudains, taken by Henry Mullins.
Analysis
Mr Bolton, photographed by Henry Mullins in 1849-50
This sepia toned image taken by Henry Mullins displays a Mr Bolton, almost a year after Mullins set up his business. This is said to be of a very high quality for its time, due to the fact that it captures facial details such as wrinkles and shadows sharply. In addition, here Mullins has showcased a strong contrast between light and dark, with the black suit Mr Bolton is dressed in and the bright tone of his skin.
For this portrait it appears that Mullins has chosen to use a two point lighting technique, allowing for little to no shadow behind the subject or around his face. The way in which Mullins has framed this image demonstrates a half body shot of Mr Bolton sitting down, also leaving little empty space around the subject, as the background is not important for the viewer of the photograph.
Photo-Shoot
Plan
Contact Sheet
Edited Images
For these two point lighting photographs, I started editing them by decreasing the brightness slightly, meaning the images wouldn’t be over exposed, and then increased the contrast allowing for a sharper image. I also used the dodge tool in order to make the facial highlights brighter, and to brighten the backgrounds of the photographs.
Diamond Cameos
In order to create these diamond cameo edits, I used the elliptical tool in Photoshop to cut out an oval shape from four of my best images for each person. I then copied these cut out sections and dragged them onto a blank A4 page, and arranged them into a diamond format. For my second diamond cameo edit, I also added a sepia tone over the cut out images, by using a sepia image from the internet and blended it over the top of the photos.
Lighting in an image is such an important factor, it can not only determine how bright or dark an image is but also how different the mood or atmosphere is. Studio lighting is used because it allows us to manipulate the lighting of a photograph to create a desired texture, vibrancy or shadow on our subject. Studio lighting also allows photographers to experiment with different styles and perspectives when capturing an image, it is important for them to be able to photograph abstractly and naturally.
1 Point Lighting – This style of lighting involves just one light, the key light, which is the main light source that lights up the subjects face. Images taken using 1 point lighting usually contain lots of shadows surrounding the subject, this is due to the singular light providing the only highlights in one specific spot. This lighting style can create very dramatic and abstract images due to the contrast between the bight highlights and dark shadows.
Rembrandt – Chiaroscuro Technique
Rembrandt Portrait Paintings
Chiaroscuro is an art and photography technique which shows a bold contrast between light and dark. It is an Italian term which translates as light-dark, and refers to the balance and pattern of light and shade in a painting or drawing. Painters of the Renaissance and Baroque periods used this technique to create a dramatic atmosphere in their work to interest and excite their viewers. For example, above are two paintings by the Baroque painter Rembrandt, who used Chiaroscuro to illuminate one side of his subjects face- therefore leaving the other in shadow creating an impressive dramatic image. Rembrandt’s contrast between light and dark was inspirational throughout the baroque period, many other artists produced similar paintings such as Caravaggio and Johannes Vermeer.
Peter Lindbergh
Peter Lindbergh (1944-2019) was a German fashion photographer and film director. Considered a pioneer in photography, he introduced a form of new realism by redefining the standards of beauty with timeless images. His humanist approach and idealisation of women sets him apart from other photographers as he privileges the soul and the personality. Lindbergh is considered to be one of the most influential contemporary photographers to date and his use of Chiaroscuro in his images produces a mysterious atmosphere which intrigues the observer greatly.
Peter Lindbergh | Natalia Vodianova | Vogue Italia, May 2003
Lindbergh uses Chiaroscuro in this image to create a cinematic shot that captivates the observer. He has clearly used 1 point lighting to illuminate the left side of the model’s face, which produces a dark shadow on the right. Additionally, Lindbergh’s images are black and white which furthers the mysterious mood created by the deep shadows falling across the model’s face. The tonal range in this image is limited to a main white highlight, grey mid-tone and black shadow- with the darkest point of the image in the background. This black background produces negative space in the photograph, emphasising the focal point of the subject by allowing her to stand out against it. Furthermore, the harsh contrast between light and dark in this image creates several sharp lines. For example, on the models nose we can see a straight dark line formed by the Chiaroscuro lighting. The composition of the image is not abnormal to those usually printed in a vogue magazine, as the subject is directly addressing the observer through eye contact straight down the camera lens. Also, the model’s eye contact with us creates an enticing atmosphere in the image, supported by the secretive shadows that surround her.
Photoshoot Plan
Who – I plan on photographing a friend who has done modelling in the past in hopes of capturing images with more professional poses. Additionally, my model will be comfortable in front of the camera so will be relaxed when experimenting with different angles and poses.
What – I will attempt to photograph my model using Chiaroscuro, letting shadows fall across her body, face and the background of the photograph.
Where – My plan is to do the photoshoot in the photography studio in school as the professional lighting equipment will allow me to create the Chiaroscuro images more easily and effectively.
Why – I am going to produce this photoshoot in hopes of broadening my knowledge of using studio lighting and shadows to create different moods and atmospheres in my images. I also wish to experiment with lighting techniques and take inspiration from Peter Lindbergh’s work.
How – I plan on using 1 point lighting with a spotlight to create most of my Chiaroscuro images, I wish to experiment with changing my camera’s white balance and ISO settings whilst also changing the whiteness of my lighting to find the most effective lighting colour.
Contact Sheets
Selected Images
Final 1 Point Lighting Portrait
I have chosen this photograph for my final 1 point lighting image as I believe it shows a successful example of chiaroscuro and the abstraction of using a singular light. I produced this image using a spotlight to create the 1 point lighting set up, I had the key light positioned to the left of my subject and angled slightly below their chin pointing upwards. This therefore produced dark shadows surrounding the subject and falling across the right side of their face as my key light was close enough to her that it limited the highlights falling anywhere else. I believe this manipulation of shadows has created a mysterious atmosphere as the limited light connotes the idea that the subject is being consumed by the darkness. Additionally, with the subject not having direct eye contact with camera lens it forms a cold and disconnected aura in the image, almost as if she is looking away from the light because of a darker temptation. I experimented with changing my white balance to ‘daylight’ so I could manipulate the image’s lighting to look like ‘golden hour’, however after consideration I re-took my image with the automatic white balance as the warmer lighting didn’t reflect the desired cold atmosphere. Similar to the work of Peter Lindbergh, my solid black background allows the subject to stand out clearly. However, there are still moments in my photograph where parts of the subject blend with the shadow, for example as she is wearing a black vest it creates the impression she is being absorbed into the background. I think that I have succeeded in creating a dramatic image using chiaroscuro and 1 point lighting as my contrast in light and dark alludes to a clear story and produces a mysterious atmosphere.
Experimenting With 3 Point Lighting
3 Point Lighting – This style of lighting in photography involves 3 main sources of light usually in 3 different positions. The main light sources used are a key light, fill light, and backlight. In 3 point lighting images, in order for the subject to not blend with the background, the backlight is used to separate them. 3 point lighting is one of the most popular lighting set-ups in photography as it allows the photographer to clearly illuminate their subject and limit the amount of shadows created around them.
During the photoshoot I also wanted to experiment with using 3 point lighting to minimise the amount of shadows and see how it changed the atmosphere of my images. My plan was to keep the singular spotlight to the left of my subject, while also adding a ring light in the middle and a LED panel light on the right. I experimented by using warmer tones in one light compared to colder in the others to see how it would effect the image’s composition of shadows.
Final 3 Point Lighting Results
It is clear that by adding 2 more lights to this photoshoot it creates a completely different mood in the images. Before, the dark shadows surrounding and engulfing the subject created a secretive mysterious atmosphere. However, now by adding the ring light and panel, the photographs are brighter and clearer for the observer. This change in lighting created a more playful happy mood, nevertheless I still wanted to experiment with the subject’s facial expressions to see if I could change it further. By having her make direct eye contact with the camera lens while sitting in relaxed positions, it shows the subjects confidence and lets her connect with the observer. I angled the camera slightly above her eye-level to prevent the idea that the subject was looking down the lens in an intimidating manor. Instead, I believe this additional lighting and engagement with the observer creates a more laid-back atmosphere and a welcoming mood.
A head shot or headshot is a modern (usually digital) portrait in which the focus is on the person. Head shots are used in many different ways, for example actors, models, and other performers are usually required to present a range of head shots alongside their portfolio and CV when applying for a job. This is so their employer can see exactly who they are ( i.e. age, ethnicity, etc. ). It is therefore important that they are taken in the right and most flattering way.
THOMAS RUFF
Thomas Ruff ( 1958 – ) is a German photographer who has been described as ‘a master of edited and reimagined images‘. In 1974, Ruff acquired his first camera and started to experiment, taking shots similar to those he had seen in many amateur photography magazines. During his studies in Düsseldorf, Ruff developed his method of conceptual serial photography. He began photographing landscapes, but while he was still a student he transitioned to the interiors of German houses, with typical features of the 1950s to 1970s. This was followed by similar views of buildings and portraits of friends from the Düsseldorf art and music scene. Between 1981 and 1985, he photographed 60 half-length portraits in the same manner: passport-like images, with the upper edge of the photographs situated just above the hair, even lighting, the subject between 25 and 35 years old, taken with a 9 × 12 cm negative and, because of the use of a flash, without any motion blur. The early portraits were black-and-white and small, but he soon switched to colour, using solid backgrounds in different colours. The resulting portraits depict the individual framed as in a passport photo, typically shown with emotionless expressions, sometimes face-on, sometimes in profile, and in front of a plain background.
MY RESPONSE – ACTION PLAN
WHO – My plan is to take photographs of my friends as they are easily available for me to shoot.
WHAT – I will be taking deadpan photographs in order to portray a ‘passport’ effect.
WHERE – I will take these photographs in the lighting studio against plain black and white backgrounds.
WHEN – I will be taking these photographs at the earliest opportunity in order to allow myself more time to edit and finalise my images.
WHY – I will be taking these photographs in order to showcase my knowledge and understanding of portrait photography.
CONTACT SHEETS
FINAL IMAGES
I have selected these two photographs as my final images because I think that they reflect Thomas Ruff’s work the most accurately. For example,e I have taken these photographs against a plain white background with my subject facing directly to the camera. My subject is placed in the middle of the photograph in order for there to be an equal amount of space and depth on all sides. I experimented with different angles and distances, such as shooting from up close to a few steps back. This allowed me to ensure that my photographs all looked as unique and different as possible, whilst still staying true to Ruff’s work. I edited my photographs using PhotoShop; firstly I sharpened them by selecting the filter tab, then sharpen. I then adjusted the vibrance by selecting the image tab, then adjustments, then vibrance. I slid along the scale until I was happy with the end result.
“Ole Christiansen is known for his covers of Euroman and record covers of bands such as Sort Sol, TV2, Thomas Helmig and many others. His visual signature is unique and differs by a very graphic look.”- His profile from Profil : Ole Christiansen
Main inspiration
Setup
We had a blue gel on the key light so that the subject had a blue hue and a red gel over the back light so there was a red circle in the background which some could interpret as a halo.
The two colours merged together on the screen meaning there were no harsh lines and they made purple which allowed the colours to smoothly gradate.
Contact sheet
Best Images
These are my most successful images because they aren’t blurry and have a balanced contrast of light and shadow.
The first image I think, is my most successful image. It is also the photo that is most similar to Christiansen’s image that is displayed earlier on in the blog post.
The model is looking away from the camera into the distance and the light is focused on the center of his face creating a shadow on the left side of his face and neck.
Experimenting with Photoshop
I wanted to layer two of my images so I went into Photoshop and used the magic eraser tool to get rid of the background of the image. Then I zoomed in so that the background was completely erased and only the models body was visible.
I used ctrl T and dragged the image onto the other and went through the options and the final blending option I chose was Luminosity with opacity at 72% and fill at 73%.
I’m very pleased with how the image turned out and how the two images blend in together. The two image contrast each other; the background image is of the model with a straight face, and the second image layered on top of that is of the model more relaxed with him leaning forward and smiling.
Double or multi exposure is a technique used by photographers that uses layering in order to combine 2 or more photos into 1 to create an almost ghost-like affect. This can be done on film cameras by inserting used film back into the camera and taking photographs over the top of the film, or in Photoshop by layering images and adjusting the opacity.
Double Exposure moodboard
Double exposure inspired photoshop development
Original image
Edited image
Original image
Edited image
To edit these images I layered 3 images over each other and adjusted the opacity in order to fade out the images as they get further from the original image. I also used the monochrome filter on one of the layers to create a ghost-like affect.
A close up is when the photographer only focus on a part of the face, which fills up most of the image. It draws more attention on their facial features and expressions.
Satoshi Fujiwara– (reference)
Satoshi Fujiwara is a Kobe-born, Berlin-based artist and photographer.
He creates emphasis on facial features and expressions through the focal length.
He mainly uses different people to photograph as it tells a different story and has a different meaning every-time. He creates different angles and composition to make the viewer re think what the subject is feeling.
As you can see, Satoshi Fujiwara uses a low f stop to create high depth of field, as it creates a stronger focal point. In the images all 4 include high detail, where you can see every strand of hair, and detailing in the skin. The subject isn’t looking at the camera, and most of the entire head is in view. The exposure is good, as there is a balance between the shadows and the highlights.
My images – Contact Sheet
I picked out 4-6 images that I felt were the best ones, which I would later pick 1 or 2 as my final images. This really helped decide what images were stronger.
Best Images
These were the best images off of the contact sheet, which I edited in Photoshop.
Final Images(1)
I chose 2 images as i thought they were both equally as good. They both focus on facial features, specifically the eye, like Satoshi Fujiwara work.
The eye is the centre piece in this image, which displays the complexity in the detail.
The blur around the outside of the eye make the eye the focus point, make it seem that the eye is staring at you.
The eye contact with the camera makes it a stronger image as there is more of a direct and emotional atmosphere between the viewer and the image.
Overall, the skin tones are nicely balanced and the composition creates a slight foreground, that contrasts the eye behind it.
Final Images (2)
There is so much detail and intricacy in the eye which makes the image stronger.
Since I used a macro lens I was able to create a shallow depth of field. This made it so the eye and part of the eye lashes were focused, and the rest wasn’t, which draws more attention to the eye itself.
Overall, I like how the eye is in the centre and fills up most of the screen. The colours are strong and provide key details, although I feel like the blue background takes the blue and green eye colour and takes some of the value or significants away.
Therefore, this maybe be considered better, as that blue background is now more dull, as I desaturated it. Which brings more “life” and attention to the eye.
A photomontage is a collage constructed from photographs.
Historically, the technique has been used to make political statements and gained popularity in the early 20th century (World War 1-World War 2)
Artists such as Raoul Haussman , Hannah Hoch, John Heartfield employed cut-n-paste techniques as a form of propaganda…as did Soviet artists like Aleksander Rodchenko and El Lissitsky
Photomontage has its roots in Dadaism…which is closely related to Surrrealism
Hannah Hoch – art as a form of protest
Raoul Haussman
John Heartfield
Grete Stern
El Lissitsky
Aleksander Rodchenko
Pop Art developments (USA and UK 1950s-)
Photomontage was also used to great effect by various Pop Artists in the mid 20th Century
Many Pop Art images and constructions tackled popular consumerism, advertising, branding and marketing techniques
Pop art also explored political concerns such as war, and gender roles too
Richard Hamilton
Peter Blake
Robert Rauschenburg
Andy Warhol
Examples and Inspiration
Richard hamilton /
Kurt Schwitters /
Peter Blake /
Soviet Art
Sammy Slabinck
John Stezaker
Jesse Treece
Jonny Briggs
David Hockney
Hannah Hoch
Annegret Soltau
Brno del Szou
Joachim Schmid
Jesse Draxler
Peter Kennard
Eugenia Loli
Sarah Eisenlohr
Grete Stern
Jerry Uelsmann
Duane Michals
Edmund Teske
Man Ray
El Lissitsky
Martha Rosler
David Hockney – joiner photographs
Christian Marclay-Album Covers
Soviet war art and propaganda
Jesse DraxlerMartha Rosler
Joachim Schmid
Jerry Uelsmann
In her artist statement Montana based artist Sarah Eisenlohr explains that her collages use places of existence to create fictional ones in an effort to demonstrate the ways in which humans have transformed the earth. These scenes often carry undertones of spirituality and faith. “I consider the figures’ desire for shelter, warmth, and something stronger than themselves as symbols of serenity that I seek through spirituality, while the use of sublime in my work points to a relationship with the divine,”
Eugenia Loli
California based artist Eugenia Loli draws inspiration for her surreal art collages from vintage magazine images. Loli intends for her images to serve as a snap shot from a surreal movie from which the viewer can create his or her own narrative.
Task 1
Create a blog post that includes a clear understanding of the history and background of photo-montage.
Include a moodboard / mindmap
Add examples of Early – late 20th Century Photomontage eg Hannah Hoch
Task 2
Choose a specific photo-montage artist and write/create a CASE STUDY
This must include a detailed analysis of 1 x key image by the artist
Create a set of 3-5 photo-montages using a mixture of your own imagery and “found” imagery….(this could be archival imagery) either using Adobe Photoshop methods or traditional cut-n-paste methods
TAKE 100-200 NEW PHOTOS TO CREATE MATERIAL FOR YOUR EXPERIMENTS — based on STEREOTYPES
Show your process clearly…remember to add screen shots etc
Evaluate your process…describe and explain what you have done, why, how etc
KEY COMPONENTS AND DISTINGUISHING FEATURES of PHOTO-MONTAGE
A NARRATIVE, CONCEPT OR THEME (A MESSAGE OR A COMMENT)
ARCHIVAL / VINTAGE IMAGERY COMBINED WITH OWN IMAGERY
SUBVERSION OF MEANING—-POSTMODERNISM
SOURCE MATERIAL YOU CAN USE
NEWSPAPERS
MAGAZINES
ORIGINAL IMAGERY (from studio, tableau, other portraits etc)
INTERNET-SOURCED IMAGERY
BOOKS
TECHNIQUES
MANUAL CUT-N-PASTE (SCISSORS, SCALPEL AND GLUE)
PHOTOSHOP –
selection tools (to cut and move elements of images)
free transform (CTRL T)– to move, re-size and shape elements
layers and layer masks
opacity tool
blending options
distortion
proportion
scale
Ensure you have enough evidence of…
moodboards
mindmaps
case studies (artist references)
action plans
photoshoots + contact sheets (annotated)
appropriate selection and editing techniques
presentation of final ideas and personal responses
analysis and evaluation of process
compare and contrast to a key photographer
critique / review / reflection of your work
Ensure you discuss / describe / explain your images using key words and vocab…
Henry Mullins started working at 230 Regent Street in London in the 1840s and moved to Jersey in July 1848, setting up a studio known as the Royal Saloon, at 7 Royal Square. He would photograph the upper class such as doctors and political elites as they were able to afford to visit his studio. He would photograph the upper class such as doctors and political elites as they were able to afford to visit his studio.
MY RESPONSE
Before I started working on the diamond cameo, I adjusted the brightness and vibrance by selecting the image tab, then adjustments, then brightness/contrast first, then vibrance. Then I used the Marquee tool in PhotoShop to draw an oval shape around my subject, then I copied and pasted the image onto a plain white background. I repeated this four times, and I also added a black and white filter onto my images.
Henri Cartier-Bresson (1908 – 2004) was a French humanist photographer who is considered the master of candid photography. He pioneered the genre of street photography and viewed photography as a decisive moment.
Alongside Robert Capa, George Rodger, and David Seymour, Cartier-Bresson founded Magnum Photos in 1947, which today has approximately 80 members. Magnum Photos is a cooperative wholly owned by its photographer-members. This independence offers a great freedom of choice and treatment of subjects. Magnum photographs are famous for their journalistic and aesthetic qualities. Through its four editorial offices in Paris, New York, London, and Tokyo and a network of fifteen sub-agents, Magnum Photos provides photographs to the press worldwide. At the heart of this activity is a concern to encourage the photographers to carry out their individual projects and to act as sensitive witnesses to world events.
IMAGE ANALYSIS
Henri Cartier – Bresson | 1969
This photograph was captured in Simiane-la-Rotonde, France in 1969. It depicts several people, both children and adults, sat relaxing in what appears to be an old, derelict building. Cartier – Bresson has taken advantage of the bright and harsh natural light in this image, using it to illuminate the foreground of the photograph. This intense lighting also allows the people sat on the wall in the background to be silhouetted against the white, creating numerous contrasting figures. As the lighting in the photograph is so bright, it appears to be over – exposed, creating a more modern feel, even though the image was captured over 50 years ago. Cartier – Bresson has utilised the natural straight lines of the pillars in the background to create an interesting composition; it is an example of the rule of thirds, with the second pillar landing directly in the centre of the photograph, making it the main focal point which instantly draws the viewer’s attention to it. This image has a range of tones varying from bright white, to grey and black. Some of the darkest points of the photograph are the people silhouetted against the bright light in the background, again creating a heavy contrast between the two.
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