Select a series of your headshots (between 5-12) and produce a sequence either as a grid, story-board, contact-sheet or typology. Reference Mullins pages in his portrait albums
Henry Mullins: Pages and re-constructed contact-sheets from his portrait albums.
Contact Sheet
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.
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.
What is a close up image?
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.
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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,”
KEY COMPONENTS AND DISTINGUISHING FEATURES of PHOTO-MONTAGE
SOURCE MATERIAL YOU CAN USE
TECHNIQUES
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.
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.
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.
Henry Mullins was the first professional photographer to arrive in Jersey and start a portraiture business in the very early days of photography. 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.
Above is a diamond cameo, created by Mullins, of Constable and Deputy of St Helier Philip Baudains taken in the 1800’s. I wish to recreate this style of photography by capturing the same subject in the same setting, turning their head to different positions, with a monotone facial expression. My plan is to experiment with two-point lighting to produce bright clear images that will be easily seen in the diamond cameo format.
To create my diamond cameos, inspired by Henry Mullins, I first produced a photoshoot using two-point lighting. My camera’s white balance was set to daylight (5000K) and I used a fast shutter speed of 1/125 in order to capture bright portraits with limited shadows on the subjects face. When editing my images I slightly heightened the exposure and brightness to further this effect. Next I used the Elliptical Marquee tool in photoshop to draw an oval shape around the subject, I then copied and pasted this circular image onto a white background. I repeated this four times to produce my final diamond cameo portraits, I also experimented with editing a black and white filter onto my cameos to mirror Mullins’ work further.
Henry Mullins was a Canadian exporter, farmer, and politician. He was the first professional photographer to arrive to jersey to start taking portraiture business in his early years of taking photographs. He mainly focused on taking photos of the upperclassmen including people who were doctors as well as political people.
I feel as Henry Mullins’s work is very unique to others as he has changed and adapted his work to create diamond Cameos, which adds more details and focus to the portraits in which he has taken. I’m going to try and recreate a Diamond cameo similar yo Henry Mullins’s as I’m inspired by the work in which he created. I’m going to do this by taking several head shots of a model and edit them to black and white through Photoshop. I’m going to use these head shots below to attempt to recreate Henry Mullins work.
Overall I feel that this successfully portrays what Henry Mullins achieved as my work shows very similar aspects to his. I done this by taking head shots of a model and then edited them in Photoshop by desaturating the images. After I done that I used the Elliptical Marquee tool in Photoshop to draw an oval shape around the subject then I repeated this step another 3 times and added a plain white background layer.
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 Jersey political elite, mercantile families, military officers and professional classes. He would take multiple portraits of high class people, and narrow his portraits down into a set of 4 images cut into oval shapes, and placed into a diamond formation.
Henry Mullins uses 2-point-lighting in his portrait photographs to gently illuminate the face. He instructs the model to turn themselves at different angles in order to capture multiple perspectives of the face. Mullins uses a white background so that nothing is distracted from the face.
From these photos I chose my favourites from different angles and then using Photoshop I edited them into diamond cameos by using the elliptical marquee tool.
I then opened an image of old paper from google, opened it in photoshop and copy and pasted my cut-outs onto the background.
DEADLINE: Essay MUST be handed in Mon 31 Jan 2022
ESSAY: In the Spring term will be spending 1 lesson a week every Wednesday on writing and developing your essay. However, you will need to be working it independently outside of lesson time.
Objective: Criteria from the Syllabus
Academic Sources:
Quotation and Referencing:
Why should you reference?
What should you reference?
How should you reference?
Use Harvard System of Referencing…see Powerpoint: harvard system of referencing for further details on how to use it.
Here is an full guide on how to use Harvard System of Referencing including online sources, such as websites etc.
TUE: Essay Question
Some examples of Personal Study essays from previous students
In what way have Jim Goldberg and Ryan McGinley represented youth in their work?
What Constitutes a ‘Real’ Image
To what extent can we trust documentary photography to tell the truth about reality?
How does Jeff Wal’s Tableaux approach depict a seemingly photojournalistic approach?
Compare how Cindy Sherman and Phoebe Jane Barrett challenge gender stereotypes.
How can something that doesn’t physically exist be represented through photography?
How can photography bear witness to reality?
How does the work of Darren Harvey-Regan explore abstraction as an intention and process?
Essay Plan:
Make a plan that lists what you are going to write about in each paragraph – essay structure.
Essay question: Hypothesis
Think of a hypothesis and list possible essay questions
Here is a list of possible questions to investigate that may help you.
Opening quote: Choose a quote from either one of your photographers or critics. It has to be something that relates to your investigation
ESSAY STRUCTURE
See below for a possible essay structure. Further help can be found here essay structure or see link here The Royal Literay Fund
Introduction (250-500 words). Think about an opening that will draw your reader in e.g. you can use an opening quote that sets the scene. You should include in your introduction an outline of your intention of your study e.g. what and who are you going to investigate. How does this area/ work interest you? What are you trying to prove/challenge, argument/ counter-argument? What historical or theoretical context is the work situated within. Include 1 or 2 quotes for or against. What links are there with your previous studies? What have you explored so far in your Coursework or what are you going to photograph? How did or will your work develop. What camera skills, techniques or digital processes in Photoshop have or are you going to experiment with?
Paragraph 1 Structure (500 words) : Use subheading. This paragraph covers the first thing you said in your introduction that you would address. The first sentence introduces the main idea of the paragraph. Other sentences develop the subject of the paragraph.
Content: you could look at the following…exemplify your hypothesis within a historical and theoretical context. Write about how your area of study and own work is linked to a specific art movement/ ism. Research and read key text and articles from critics, historians and artists associated with the movement/ism. Use quotes from sources to make a point, back it up with evidence or an example (a photograph), explain how the image supports the point made or how your interpretation of the work may disapprove. How does the photograph compare or contrast with others made by the same photographer, or to other images made in the same period or of the same genre by other artists. How does the photograph relate to visual representation in general, and in particularly to the history and theory of photography, arts and culture.
Include relevant examples, illustrations, details, quotations, and references showing evidence of reading, knowledge and understanding of history, theory and context!
See link to powerpoints: Pictorialism vs Realism and Modernism vs Postmodernism here
Paragraph 2 Structure (500 words) : Use subheading. In the first sentence or opening sentences, link the paragraph to the previous paragraph, then introduce the main idea of the new paragraph. Other sentences develop the paragraphs subject (use relevant examples, quotations, visuals to illustrate your analysis, thoughts etc)
Content: you could look at the following...Introduce your first photographer. Select key images, ideas or concepts and analyse in-depth using specific model of analysis (describe, interpret and evaluate) – refer to your hypothesis. Contextualise…what was going on in the world at the time; artistically, politically, socially, culturally. Other influences…artists, teachers, mentors etc. Personal situations or circumstances…describe key events in the artist’s life that may have influenced the work. Include examples of your own photographs, experiments or early responses and analyse, relate and link to the above. Set the scene for next paragraph.
Include relevant examples, illustrations, details, quotations, and references showing evidence of reading, knowledge and understanding of history, theory and context!
Paragraph 3 Structure (500 words) : Use subheading. In the first sentence or opening sentences, link the paragraph to the previous paragraph, then introduce the main idea of the new paragraph. Other sentences develop the paragraphs subject (use relevant examples, quotations, visuals to illustrate your analysis, thoughts etc)
Content: you could look at the following…Introduce key works, ideas or concepts from your second photographer and analyse in-depth – refer to your hypothesis…Use questions in Pg 2 or add…What information has been selected by the photographer and what do you find interesting in the photograph? What do we know about the photograph’s subject? Does the photograph have an emotional or physical impact? What did the photographer intend? How has the image been used? What are the links or connections to the other photographer in Pg 2? Include examples of your own photographs and experiments as your work develop in response to the above and analyse, compare, contrast etc. Set the scene for next paragraph.
Include relevant examples, illustrations, details, quotations, and references showing evidence of reading, knowledge and understanding of history, theory and context!
Conclusion (500 words) : Write a conclusion of your essay that also includes an evaluation of your final photographic responses and experiments.
List the key points from your investigation and analysis of the photographer(s) work – refer to your hypothesis. Can you prove or Disprove your theory – include final quote(s). Has anything been left unanswered? Do not make it a tribute! Do not introduce new material! Summarise what you have learned. How have you been influenced? Show how you have selected your final outcomes including an evaluation and how your work changed and developed alongside your investigation.
Bibliography: List all the sources that you used and only those that you have cited in your text. Where there are two or more works by one author in the same year distinguish them as 1988a, 1988b etc. Arrange literature in alphabetical order by author, or where no author is named, by the name of the museum or other organisation which produced the text. Apart from listing literature you must also list all other sources in alphabetical order e.g. websites, exhibitions, Youtube/TV/ Videos / DVD/ Music etc.