Camera, tripod, lights with flash, ring light, umbrella light, box light and transmitter
3/4, Headshot, close up, side profile
Artificial
Identity, portraiture
My photoshoot plan
Contact Sheets
One of my contact sheets for this shoot – I uploaded my pictures to Lightroom classic, added them to a new collection for the shoot, and used the P and X tools to flag and reject my images. Some of my images were shaky in this shoot, so to combat this in the future I would use a tripod to ensure clear and steady images. – I used a portrait lens on my camera for some of these pictures, which I found helped for the best focus and narrow depth of field.
Another one of my contact sheets – in this shoot I had slight trouble with overexposure in my images, but I fixed this by turning lights down, editing post-production, and turning ISO down to around 100 for this shoot.
One point lighting
More dramatic one point lighting
More soft one point lighting
Examples of one-point lighting
One point lighting in photography means that light is only coming from one source. A single source of light can have a very natural, or depending on the posing of the subject, sometimes dramatic look that will draw people’s attention to the single lighted person or surface. One-point lighting, depending on its positioning, can also create a harsh shadow. However, this also depends on the brightness of the light being used, whether it’s natural or artificial.
A one-point lighting setup
My examples of one-point lighting images
This is my first edited one-point lighting example. I have edited this image by increasing blacks, contrast, vignette, and adding grain. The light in this image is coming from the right, which illuminates the subject’s darker hair and eyes. The use of one-point lighting in this image helps to create high contrast between the areas of light and dark, creating a focal point of the subject’s face.
Edited – this use of one-point lighting creates Rembrandt lighting. The lighting is coming from the left-hand side of this image, with the subject facing towards the light, turning their head towards the camera. Light seeps into the right-hand side but is mainly on the left on my subject’s face. The faint triangle of light on the right side of the subject’s face is a key feature of Rembrandt lighting. The subject’s hair and body are mainly dark, which helps to create a high level of contrast in the image – this contrast helps to define the model’s features. For example, her nose is highlighted on the left but then contrasted to the right, as well as her eyes and the darkness of her hair.
Edited – the light in this image comes from the left, which helps to illuminate the curly hair, and jewelry of the subject. The contrast in this image, increased by my black and white editing, helps to highlight the subject’s jawline, as well as her nose and eyes. In my opinion, the focal point in this image is the subject’s hair and ear, because of how it’s illuminated by the light coming from the left corner of the image.
Edited – the lighting in this image is coming from the left to the left of the subject’s face. This placement creates highlights on the left side of the face and deep contrast to the right. These differing tones create a focal point of the subject’s eyes. Here, the light and dark tones meet and bring the image together, evening out the composition.
Two-point lighting
Rembrandt
Two-point lighting in photography is the use of two sources of lighting when shooting. This can create, soft even lighting, illuminating the subject’s features well. The crucial concept to understand when using 2 point lighting is that the light sources point directly towards each other and the subject is placed between the two. On plan, there is a straight line between light source 1, the subject, and light source 2.
High-key lighting
High-key lighting is a style of lighting for film, television, or photography that aims to reduce the lighting ratio present in the scene. This was originally done partly for technological reasons since early film and television did not deal well with high contrast ratios, but now is used to suggest an upbeat mood.
A mood – board of high key, two-point lighting
High-key lighting is often used in commercials for food and beauty products. The brightly lit scenes often suggest an upbeat mood and positive message. This look can also imply truth and openness, making it effective for video interviews or training videos.
A two-point lighting setup
My examples of two-point lighting and high-key lighting images
Edited – my favourite image from this shoot. I think this image works really well due to the framing and composition, but also the lighting. There are two lights on either side of the subject, both about the same strength. This creates even light on the subject’s body, but more contrast and shadow on the left of the subject’s face. The light background and jumper contrast with the subject’s darker hair and the high shadow in the face.
Edited – in this image, there is light coming from the middle, and also to the side of the subject. The light in this image is soft but slightly harsher on the subject’s cheek and hair where the subject is facing towards the harsher light.
Edited – this is a high key lighting image with two-point lighting, with lights used on either side of the subject. The light on the left is dimmer, which adds shadow and depth to the image. The right light is brighter, adding highlights to the right side of the subject’s face, creating contrast in the image.
Edited – this use of two-point lighting creates a Rembrandt lighting effect, to the left of the face mainly. This was done using a dimmer light diagonally to the left, and brighter light to the right. This creates a shadow on the nose to the left, the eye, and the hair intensely on left, and more softly to the left eye and jaw.
Edited – this image was created using light in front of the subject, and light slightly to the left too. This creates a dramatic shadow in the background, and on the subject’s left cheek. This contrasts with the brighter face of the subject, as she is facing towards the light.
here I selected the images that all fitted the same colour tones and contrast. here i moved the pictures around on photoshop until I reached my desired outcome
A photo grid is a collection of photos that are positioned vertically and horizontally to make one overall shape, usually a square or rectangle.
A photo sequence is a group of photographs that go in a specific order to tell a story. Probably most popularly used by Duane Michals, the photo sequence can be a strong tool in communicating actions that happen over time in a still photograph.
My photo grid:
In order to create this photo grid, I chose a set of 9 images that I took in Grouville and placed them onto a dark grey background. I cropped a few of them down to fit nicely into the grid. I used to lightroom to edit all 9 images to make them seem black and white other than the orange pumpkins which I made stand out.
A photo montage is a combination of several photographs joined together for artistic effect or to show more of the subject than can be shown in a single photograph.
What makes a good photo montage?
Photomontages are similar to cubism. There are no bounds of perspective or time. You can create a single artwork using several images of the same or many subjects. Doing this in a cohesive manner gives exciting results.
Example of a photo montage
My photo montage edit:
For my photo montage I created two layers of the model and put one behind the other, then cut out the outline. After that, I decided to use an orange newspaper because I think it works very well on a blue background. Next, I got an image of a sketched face and cut out the eyes. I placed the sketched eyes over the models and was surprised that it worked well.
Double exposure photography is a technique that layers two different exposures on a single image, combining two photographs into one. Double exposure creates a surreal feeling for your photos and the two photographs can work together to convey deep meaning or symbolism. A similar technique, called a “multiple exposure,” is when you combine more than two exposures in a single image.
Examples of double exposure in photography.
For my double and multiple exposure photos, I used the ones we took in the studio and stacked them on top of each other. I used both the coloured photos and the regular lighting photos to blend them and give two different perspectives.
Compared to the other photo, in this one I stacked three photos and lowered the opacity of each one, compared to the other photo, where the opacity stayed the same.The three photos that I used to create first double exposure.Double exposure photography is a technique that layers two different exposures on a single image, combining two photographs into one.Two original photos I combined.For this photo i chose to focus on one part of it – the eyes. I put an orange background photo in and combined it with the studio lighting.Two photos I used to create the double exposure, for this I stacked the orange coloured photo over the plain one so that the two colours wouldn’t clash.
A sequence/grid in photography can be described as a group of photos, which can be similar or all completely different, which are lined up next to each other against a background of any solid colour. Therefore it then helps to create the idea of a storyboard, but with pictures whereas most storyboards are drawn and is used when telling/creating stories.
A storyboard –
Experimenting
These are the 6 photos which I will use:
Photos which I will use to create my sequence/grid, I haven’t edited them as I like how the lighting/filter falls onto the photo already.
Then I loaded my pictures into PowerPoint and organised them in the way I wanted them to be presented on the storyboard sequence. This is because they have a good range of organisational ways to present photos in the way in which I would like, this is shown on the right hand side.
Final outcomes –
For my final outcomes, I really liked how they both turned out as they represent the idea of a sequence/grid well which links into a storyboard. Firstly, I began with experimenting with the different options of how to organise them through PowerPoint. I decided that these two were my favourite ways because they show 2 fluid ways of how a storyboard should flow with its design to create a visual story without having to say any words, which leaves it to the viewers imagination to understand and create their own version of what is happening.
Objective = Finalise images, print and and display…
For the 2 x weeks leading up to the Year 12 PHOTOGRAPHYCONTROLLED CONDITIONS you will need to refer to this resource pack for ideas and inspiration…
“SELF -PORTRAIT and IDENTITY JAC PDF”
(to find it just copy and paste the link below into the top bar of the folder icon on your screen)
M:\Departments\Photography\Students\Resources\Portraiture\TO DO
We have included a mini-unit to help you explore opportunities with self portraiture in photography as this may become essential to your project outcomes. We will spend 1 x lesson looking closely at this and discussing ideas for you…
Remember…your stimulus for the month of January is
Your Personal Heritage
TASKS OVER CHRISTMAS PERIOD
Over the festive holidays we would like to you start thinking about your personal heritage. What’s your story? Who are you? What are your origins? etc.
Therefore, what better time to discuss this with your family.
Find out about family stories, grandparents memories, their favourite places, family heirlooms/objects and documents etc.
TASK 1
Collect or find if your family members have any old passports, identification documents, postcards, letters, stamps, objects, jewellery, toys, photographs, diaries, medals, cultural objects etc.
All these can be collected kept safe and photographed on your return to school as part of YOUR PERSONAL HERITAGE – YOUR IDENTITY.
Aim to collect at least three.
TASK 2
In addition, take some portrait photographs of family members – mum, dads, aunties, uncles, siblings, grandparents, great grandparents. Perhaps during a Christmas gathering.
Think about lighting! Use natural lighting, pull an armchair into the window – think about the Hamptonne workshop using natural light. Use artificial lighting – whatever is to hand, main lights, table lamps, fire light, candlelight, or even TV light can be effective.
Aim to take +50 images.
These images can be a starting point for you. Responding to YOUR PERSONAL HERITAGE – who you are etc.
Now watch this and discuss the way in which artists tackle identity…
Blog Posts to make :
define “identity” and explain how identity can be influenced by “place”, or belonging, your environment or upbringing /gender identity /cultural identity /social identity / geographical identity /political identity /lack of / loss of identity / stereotypes / prejudices etc
2. Add a mindmap and moodboard of ideas and trigger points
Choose a range of photographers that you feel explore identity as a theme and create a CASE STUDY (detailed analysis and interpretation) on Claude Cahun and then compare Cahun to a chosen artist (that will have an influence on your final outcomes re : MOCK EXAM)
Here is a link to blog post where you can find out more about Claude Cahun and also Identity Politics.
Clare Rae from Melbourne, Australia visited Jersey as part of the Archisle international artist-in-residence programme last year. Clare has been researching the Claude Cahun archive, shooting new photography and film in Jersey and contributing to the educational programme. Clare Rae produces photographs and moving image works that interrogate representations of the female body via an exploration of the physical environment.
from the series Magdalen. These images engage with the site of the Magdalen Asylum, where girls and women were housed at the Abbotsford Convent, whilst working in the laundries downstairs. The asylum was in operation for approximately 100 years until it was decommissioned in the 1970’s. These rooms are laden with history, and provided a dense and loaded environment within which to make artwork. Using this history as a starting point, I attempted to activate these spaces using my body, gently testing the physical environment.
Stages is a collaborative project by Clare Rae and Simone Hine. Both artists follow in the tradition of feminist art practices, using their own body to examine broader ideas related to the conditions of feminine representation. Stages takes the Rosina Auditorium at the Abbotsford Convent as a catalyst for the production of new work. Both artists will bring their own aesthetic and line of questioning to this very particular space. Together, Rae and Hine present works that are defined by the space, whilst also contributing to a redefinition of the space.
Untitled (NGV). 2013 This project engages with the public and private spaces of the National Gallery of Victoria (International), in particular the photography and print store rooms.
Monash Commission 2016. The series of 10 photographs investigate institutional spaces around the Monash University Clayton Campus, mostly engaging with buildings within the Science faculty, but also including iconic modernist architecture such as Robert Blackwood Hall, the Law Library and the former site of the Monash University Museum of Art.
Clare gave a artist talk contextualising her practice, covering recent projects that have engaged with notions of architecture and the body, and the role of performative photography in her work. Clare will discuss her research on these areas, specifically her interest in artists such as Claude Cahun, Francesca Woodman and Australian performance artist Jill Orr. Clare will also discuss her photographic methodologies and practices, giving an analysis of her image making techniques, and final outcomes.
Homework: Here is the task that she asked participants to respond to in a workshop. This could be a good starting point to for photographic exploration.
1. Produce a self-portrait, in any style you like. Consider the history of self-portraiture, and try to create an image that alludes to, (or evades?) your identity.
2. Produce a performative photograph, considering the ideas presented on liveness, performance documentation and Cartier-Bresson’s decisive moment. ‘Captured’ vs. pre-meditated?
3. Produce a photograph that engages the body with the physical environment. Think of architecture, light, texture, and composition to create your image.
For further context lets consider some of these artists’ influences on Clare’s practice.
Claude Cahun, born Lucy Schwob was a French photographer, sculptor, and writer. She is best known for her self-portraits in which she assumes a variety of personas, including dandy, weight lifter, aviator, and doll.
In this image, Cahun has shaved her head and is dressed in men’s clothing. She once explained: “Under this mask, another mask; I will never finish removing all these faces.”1 (Claude Cahun, Disavowals, London 2007, p.183)
Cahun was friends with many Surrealist artists and writers; André Breton once called her “one of the most curious spirits of our time.”2(See Guardian article below by Gavin James Bower, “Claude Cahun: Finding a Lost Great,)
While many male Surrealists depicted women as objects of male desire, Cahun staged images of herself that challenge the idea of the politics of gender. Cahun was championing the idea of gender fluidity way before the hashtags of today. She was exploring her identity, not defining it. Her self-portraits often interrogates space, such as domestic interiors and Jersey landscapes using rock crevasses and granite gate posts.
I Extend My Arms 1931 or 1932 Claude Cahun 1894-1954 Purchased 2007 http://www.tate.org.uk/art/work/P79319
The Jersey Heritage Trust collection represents the largest repository of the artistic work of Cahun who moved to the Jersey in 1937 with her stepsister and lover Marcel Moore. She was imprisoned and sentenced to death in 1944 for activities in the resistance during the Occupation. However, Cahun survived and she was almost forgotten until the late 1980s, and much of her and Moore’s work was destroyed by the Nazis, who requisitioned their home. CaHun died in 1954 of ill health (some contribute this to her time in German captivity) and Moore killed herself in 1972. They are both buried together in St Brelade’s churchyard.
For further feminist theory and context read the following essay:
Amelia Jones: The “Eternal Return”: Self-Portrait Photography as Technology of Embodiment – pdf Jones_Eternal Return
Last year the National Portrait Gallery in London brings the work of Claude Cahun and Gillian Wearing together for the first time. Slipping between genders and personae in their photographic self-images, Wearing and Cahun become others while inventing themselves. “We were born in different times, we have different concerns, and we come from different backgrounds. She didn’t know me, yet I know her,” Wearing says, paying homage to Cahun and acknowledging her presence. The bigger question the exhibition might ask is less how we construct identities for ourselves than what is this thing called presence?
Behind a mask, Wearing is being Cahun. Previously she has re-enacted photographs of Andy Warhol in drag, the young Diane Arbus with a camera, Robert Mapplethorpe with a skull-topped cane, hard-bitten New York crime photographer Weegee wreathed in cigar-smoke. Among these doubles, you know Wearing is in the frame somewhere, under the silicon mask and the prosthetics, the wigs and makeup and the lighting. Going through her own family albums, she has become her own mother and her father. It is a surprise she has never got lost in this hall of time-slipping mirrors, among her own self-images and the faces she has adopted. Wearing has got others to play her game, too – substituting their own adult voices with those of a child, putting on disguises while confessing their secrets on video.
Cindy Sherman, A selection of images from her film stills
Masquerading as a myriad of characters, Cindy Sherman (American, born 1954) invents personas and tableaus that examine the construction of identity, the nature of representation, and the artifice of photography. To create her images, she assumes the multiple roles of photographer, model, makeup artist, hairdresser, and stylist. Whether portraying a career girl, a blond bombshell, a fashion victim, a clown, or a society lady of a certain age, for over thirty-five years this relentlessly adventurous artist has created an eloquent and provocative body of work that resonates deeply in our visual culture.
For an overview of Sherman’s incredible oeuvre see Museum Of Modern Art’s dedicated site made at a major survey exhibition of her work in 2012.
This exhibition surveys Sherman’s career, from her early experiments as a student in Buffalo in the mid-1970s to a recent large-scale photographic mural, presented here for the first time in the United States. Included are some of the artist’s groundbreaking works—the complete “Untitled Film Stills” (1977–80) and centerfolds (1981), plus the celebrated history portraits (1988–90)—and examples from her most important series, from her fashion work of the early 1980s to the break-through sex pictures of 1992 to her monumental 2008 society portraits.
Some of her latest images using digital montages
Sherman works in series, and each of her bodies of work is self-contained and internally coherent; yet there are themes that have recurred throughout her career. The exhibition showcases the artist’s individual series and also presents works grouped thematically around such common threads as cinema and performance; horror and the grotesque; myth, carnival, and fairy tales; and gender and class identity.
Here is link to Shannon’s blog showing all her research, analysis, recordings, experimentation and evaluations
Watch her film below about feminism, her mother and her role in the family. This film was the starting point for her photographs above by re-staging herself as a domisticated female
Another site of influence to Clare Rae is Francesca Woodman. At the age of thirteen Francesca Woodman took her first self-portrait. From then, up until her untimely death in 1981, aged just 22, she produced an extraordinary body of work. Comprising some 800 photographs, Woodman’s oeuvre is acclaimed for its singularity of style and range of innovative techniques. From the beginning, her body was both the subject and object in her work.
The very first photograph taken by Woodman, Self-portrait at Thirteen, 1972, shows the artist sitting at the end of a sofa in an un-indentified space, wearing an oversized jumper and jeans, arm loosely hanging on the armrest, her face obscured by a curtain of hair and the foreground blurred by sudden movement, one hand holding a cable linked to the camera. In this first image the main characteristics at the core of Woodman’s short career are clearly visible, her focus on the relationship with her body as both the object of the gaze and the acting subject behind the camera.
Woodman tested the boundaries of bodily experience in her work and her work often suggests a sense of self-displacement. Often nude except for individual body parts covered with props, sometimes wearing vintage clothing, the artist is typically sited in empty or sparsely furnished, dilapidated rooms, characterised by rough surfaces, shattered mirrors and old furniture. In some images Woodman quite literally becomes one with her surroundings, with the contours of her form blurred by movement, or blending into the background, wallpaper or floor, revealing the lack of distinction of both – between figure and ground, self and world. In others she uses her physical body literally as a framework in which to create and alter her material identity. For instance, holding a sheet of glass against her flesh, squeezing her body parts against the glass and smashing her face, breasts, hips, buttocks and stomach onto the surface from various angles, Woodman distorts her physical features making them appear grotesque.
Through fragmenting her body by hiding behind furniture, using reflective surfaces such as mirrors to conceal herself, or by simply cropping the image, she dissects the human figure emphasising isolated body parts. In her photographs Woodman reveals the body simultaneously as insistently there, yet somehow absent. This game of presence and absence argues for a kind of work that values disappearance as its very condition.
Since 1986, Woodman’s work has been exhibited widely and has been the subject of extensive critical study in the United States and Europe. Woodman is often situated alongside her contemporaries of the late 1970s such as Ana Mendieta and Hannah Wilke, yet her work also foreshadows artists such as Cindy Sherman, Sarah Lucas, Nan Goldin and Karen Finley in their subsequent dialogues with the self and reinterpretations of the female body.
For those interested in exploring identities, stereotypes, gender, alter-egos through self-portraiture using varies techniques such slow shutters-speeds, use of dressing up, make-up, props, masks, locations (mine-en-scene) Often these images are questioning ideas around truth, fantasy or fiction an involve artists making images in both interior and exterior environments
3. Organise and carry out your photo-shoots !!! You MUST complete a minimum of 2 PHOTO-SHOOTS in readiness for the mock exam itself
Decide whether or not YOU will become a feature of your work…will you point the camera at yourself? (how important is self-portrait to “identity”?)
4. Show your experiments and outcomes as a response to chosen artists over the next few weeks…and begin to plan how to finalise and display your ideas.
Some suggestions for you to look at…
Carole Benitah…memories of childhood, loss and belonging
Jessa Fairbrother…mother and daughter relationship
Phillip Toledano…loss, death, memory, grief
Laia Abril…loss and memory, eating disorders and body image
Diana Markosian…cultural, geographical and political identity
Rita Puig Serra Da Costa…death, grief, loss and family identity
Yoshikatsu fuji…relationship breakdown
Nancy Borowick…relationships and support
Julian Germain… people as individuals vs community
The daily grind can be a test of endurance. In Tokyo Compression, Michael Wolf recorded the extreme discomfort of Japanese commuters pressed up against windows dripping with condensation on their journeys to and from work.
In Harlem Trolley Bus, Robert Frank showed the divisions within American society in the mid-20th century. Dryden Goodwin took pictures of exhausted travellers on London night buses and wove a protective cocoon of blood capillaries around them.
Connections with film making…
The idea for this project comes from Luke Fowler‘s series of half-frame photographs recently published in the book ‘Two-Frame Films‘. The project is intended to encourage students to concentrate on the editorial aspect of photography, the selection and juxtaposition of photographic images and how this might affect the ways in which a viewer engages with the work. Fowler is better known for his work in film but has used a half-frame camera as part of his practice. This work explores the relationship between two juxtaposed images. A half frame camera exposes two shots on each 35mm frame. A roll of 36 exposures therefore produces 72 images in pairs. The resulting diptychs are still images but reference the theory of montage, first articulated by Russian film makers in the 1920s, specifically Sergei Eisenstein
An example of two frames from Sergei Eisenstein’s film ‘Battleship Potemkin’, 1925
Making a Virtual Gallery in Photoshop
Download an empty gallery file…then insert your images and palce them on the walls. Adjust the persepctive, size and shape using CTRL T (free transform) You can also add things like a drop shadow to make the image look more realistic…
CONTROLLED CONDITIONS : Essentials
You will have 15 hours to complete this unit…focus on selecting and editing your final images / set of images
Remember to label each JPEG in the print folder with your name
Minimum 1 x file per A3, A4, A5
Ensure that your final images are a direct response to your chosen photographer (s) and show a clear visual link
Print size images = ADD YOUR a4, a3, a5 MEASUREMENT TO SHORT EDGE in Lightroom / Photoshop
BLOG SIZE images = 1000 pixels on SHORT EDGE
Always ensure you have enough evidence of…
moodboards (use influential images)
mindmap of ideas and links
case studies (artist references-show your knowledge and understanding)
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 protestRaoul 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
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…
Mood-board, definition and introduction (AO1)
Mind-map of ideas (AO1)
Artist References / Case Study (must include image analysis) (AO1)
The Patent Diamond Cameo photograph was registered by F.R. Window of London in 1864. Four small oval portraits (1″ x 3/4“) were placed on a carte de visite in the shape of a diamond, each portrait being of the same person photographed in a different position. A special camera made by Dallmeyer was used in which the one glass negative was moved to a new position in the back of camera after each portrait had been taken, and when the paper print had been pasted on the card a special press was used to punch the four portraits up into a convex cameo shape.
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