My Photoshoot aim is to capture the Political side of Anthropocene capturing the effects to what us as humans altering and damaging our world is doing and the effect that it is having to our small Island. I would like to achieve a realistic effect of how we are almost oblivious to the changes that are being made on the daily basis.
Humans have been around we’ve been around less than 0.1% of the earths lifespan yet human-kind has caused mass extinctions of plant and animal species, polluted the oceans and altered the atmosphere, among other lasting impacts. Our population growing at an average over 200,000 people per day consuming excessive resources we’ve managed to alter more than 50% of the Earth’s Land.
The Anthropocene or ‘The Age of Humans’ represents a segment on the Earths timeline in which includes a rise of fossil fuels as an energy, Industrialization of Agriculture, Urbanization. We associate this time period with the impact that human activity has on the environment and how we have collectively caused a cascade of effects.
How and why should we tackle Anthropocene through photography?
It’s important that creative subjects such as photography tackle the subject of Anthropocene to express the impact the Humans have on the Earth’s Land as photographs can change behaviour, stimulate understanding and create a sense of urgency that will move people to action. Photography is the universal language that speaks to the heart.
Not everyone wants to pick up a newspaper and read a whole article on how we all might be dead in 15 years time ( dramatic I know ) but images however are everywhere and on social media too. The fact that photography is visual means that it is suitable for all ages and can be interoperated in different ways. Because images hold so much power it is our way of communicating for help.
Exposure bracketing means that you take two more pictures: one slightly under-exposed (usually by dialling in a negative exposure compensation, say -1/3EV), and the second one slightly over-exposed (usually by dialling in a positive exposure compensation, say +1/3EV), again according to your camera’s light meter.
Use a tripod
Use slow shutter speeds (experimenting with TV Mode / Shutter speeds)
Photoshoot plan
I plan to take photos of…
St Helier- Buildings around King Street and the crossroads
Rows of houses
Industrial Areas
Multi-story Car Parks- Minden Place -Greenstreet
Building sites and Scaffolding
Demolition sites
Underpass / overpass
Tunnel
The Waterfront
Harbour
Fort Regent
Contact Sheets
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New topographics was a term coined by William Jenkins in 1975 to describe a group of American photographers (such as Robert Adams and Lewis Baltz) whose pictures had a similar banal aesthetic, in that they were formal, mostly black and white prints of the urban landscape
What was the new topographics a reaction to? The New Topographic image are stark, beautifully printed images of this mundane but oddly fascinating topography was both a reflection of the increasingly suburbanised world around them, and a reaction to the tyranny of idealised landscape photography that elevated the natural and the elemental.
Joe Deal
Deal was born in Topeka, Kansas on August 12, 1947, and was raised in Albany, Missouri and St. Paul, Minnesota.[1][2] He attended the Kansas City Art Institute, where he earned a Bachelor of Fine Arts degree. After his graduation in 1970, he was designated as a conscientious objector by the local draft board and was assigned to work as a guard and janitor at the George Eastman House in Rochester, New York, and its museum of photography. He later earned a master’s degree in photography and a Master of Fine Arts degree from the University of New Mexico. While working on his thesis for his MFA degree in the 1970s Deal started teaching at the University of California, Riverside, where he helped establish the UCR/California Museum of Photography. In 1989, he became dean of the School of Art at Washington University in St. Louis. He was named to serve as provost of the Rhode Island School of Design in Providence, Rhode Island 1999, and lived there for the remainder of his life. In the mid-1970s, Deal was one of ten photographers chosen to participate in the “New Topographics: Photographs of a Man-Altered Landscape” exhibition curated by William Jenkins at the International Museum of Photography at George Eastman House. Deal contributed 18 black and white photographs to the exhibit in a 32 cm × 32 cm format. Many of the photographs Deal submitted featured homes newly constructed against the desolate landscape of the American Southwest. He continued photographing the human effect on the landscape in The Fault Zone, which featured images combining human and geologic effects on the area surrounding the San Andreas Fault. Subdividing the Inland Basin featured suburban areas east of Los Angeles and Beach Cities focused on Pacific Ocean communities in Southern California. West and West: Reimagining the Great Plains featured photographs of the grid pattern of much of the Midwestern United States and was on exhibit at the University of Arizona‘s Center for Creative Photography in Tucson, Arizona after opening at the Rhode Island School of Design and being presented at New York City’s Robert Mann Gallery. A ten-year resident of Providence, Rhode Island, Deal died at a hospice there due to bladder cancer at age 62 on June 18, 2010. He is survived by his wife, Betsy Sara Ruppa, and a daughter, Meredith Deal.
Image Analysis
I like how this image doesn’t have much negative space within the photograph however, is has a large range of tones this image looks like it was taken roughly mid-day. There’s lots of tones within this image from the dark trees to the bright house in the near distance which portrays a sense of a deeper meaning to the image.The House and the fencing give the image geometric shapes which are a bright colour which juxtaposes the hectic darkness of the winding branches. There isn’t much negative space within this photograph making it rather busy.
“Writers and artists rejected the notion of the Enlightenment, which had sucked emotion from writing, politics, art, etc. Writers and artists in the Romantic period favored depicting emotions such as trepidation, horror, and wild untamed nature.”
“The ideals of these two intellectual movements were very different from one another. The Enlightenmentthinkers believed very strongly in rationality and science. … By contrast, the Romantics rejected the whole idea of reason and science. They felt that a scientific worldview was cold and sterile.”
JMW Turner- Hannibal Crossing The Alps 1835
Caspar David Friedrich 1832 Germany
The Age of The Enlightenment (1700-1800ish)
The Enlightenment is a European intellectual movement in the 17th and 18th centuries, it concerned God, reason, nature, and humanity were synthesized into a worldview that gained wide assent in the West and that instigated revolutionary developments in art, philosophy, and politics.
Central to Enlightenment thought were the use and celebration of reason, the power by which humans understand the universe and improve their own condition. The goals of rational humanity were considered to be knowledge, freedom, and happiness.
Historians place the Enlightenment in Europe (with a strong emphasis on France) during the late 17th and the 18th centuries, or, more comprehensively, between the Glorious Revolution in 1688 and the French Revolution of 1789. It represents a phase in the intellectual history of Europe and also programs of reform, inspired by a belief in the possibility of a better world, that outlined specific targets for criticism and programs of action.
The Age of Romanticism (1800-1900ish)
The Industrial Revolution got into swing in the later part of the 18th century, starting in England and spreading to France and America. This revolution brought with it a new (system where supply and demand controls prices and production), based on new technology–machine tools and machine power instead of human tools and animal power.
Villages exploded into city based centres and people moved to them from farms and the countryside to take jobs in newly opened factories. With little to no rules in place, these jobs could be violent/difficult.
While (when a country builds factories and manufactures lots of things) made (products normally found in stores) cheaper and increased the production of food, there were those who looked back on the past wishingly, seeing it as a romantic period before people were (made money from) and nature ruined/diseased and destroyed.
At the same time, there was a growing reaction against the way of thinking of the Understanding, which drew attention to science, evidence (that was actually seen), and clear thinking above all. Romantics challenged the idea that reason was the one path to truth, judging it not enough in understanding the great mysteries of life. These mysteries could be uncovered with feeling of love, hate, guilt, etc., imagination, and (gut feeling or deep-down opinion). Nature was especially celebrated as a classroom for self-discovery and (related to religion or the soul) learning, the place in which mysteries could be showed/told to the mind of man. Romantics drew attention to a life filled with deep feeling, (interest in religion/belief in a higher power), and free expression, seeing such good qualities/advantages as a wall against the terrible effects of (when a country builds factories and manufactures lots of things). They also praised the value of human beings, which they believed to have (without limits or an end), godlike (possible greatness or power).
Artists of the Romantic Period tried to capture these ideals in their work. They rejected the rationalism and rules-driven orderliness that characterized the Neoclassical style of the Enlightenment. Like Baroque artists, Romantic artists hoped to inspire an emotional response in those who viewed their art; but instead of seeking to inspire faith as their predecesors had, most sought to evoke a nostalgic yearning for rural, pastoral life, the stirrings of life’s mysteries, and a sense of the power and grandeur of nature. Art of this period also depicted the romantic ideal of nationalism, but for reasons of length, we will focus on landscapes in this post.
Carelton E. Watkins (1829–1916)
Carleton E. Watkins is considered one of the greatest photographers of the American West. Traveling the western United States, he made thousands of mammoth and imperial plate photographs of the Yosemite Valley, Columbia River, the Sierra Nevada, and the Pacific Coast in Oregon. His pictures of Yosemite Valley served an essential role in Congress’ establishing Yosemite as a National Park in 1864. Watkins’ photographs of the West remain as important historical documents of the landscape, showing a moment before the onslaught of massive development.
Ansel Adams
Adam’s was a Photographer and a Conservationist. “At one with the power of the American landscape, and renowned for the patient skill and timeless beauty of his work (see Ansel Adams Yosemite black & white photographs & original prints), photographer Ansel Adams has been a visionary in his efforts to preserve this country’s wild and scenic areas, both on film and on Earth. Drawn to the beauty of nature’s monuments, he is regarded by environmentalists as a monument himself, and by photographers as a national institution. It is through his foresight and fortitude that so much of America has been saved for future Americans.”
Image Analysis
Ansel Adams, Mount Williamson, Sierra Nevada, from Manzanar, CA, 1944
I like how the image uses soft lighting which reflect on the rocks especially in the foreground and in the background harsh lighting. This image looks like it was taken roughly mid-morning as you can see that the sun is rising from the mountains in the background. The rocks give the image texture with the reflection of the sun giving the image curvy lines. The geometric rocks almost look like a pattern which in repeated hundreds of times. There isn’t much negative space within this photograph making it rather busy. There’s lots of tones within this image from the dark rocks with a reflection to the beaming sun shining through the mountains which portrays a sense of depth through the rocks.
I specifically like tis image as it’s monochrome however there’s a wide range of different shades in the photograph. Monochrome images can help us to understand the subject better for example in 1943 and 1944, Ansel Adams made several trips from Yosemite to the Manzanar Relocation Centre, located at the foot of Mount Williamson, where Japanese and Japanese-American citizens were interned after the attack on Pearl Harbour where he Deeply distressed by the situation, Adams photographed the people and conditions. Adams had visited this place several times, but the conditions had not been right for photographing Mount Williamson, whose dark granite rock tended to blend into the sky.
He needed clouds to make the photograph work. He later commented, “When the clouds and storms appear the skies and the cloud-shadows on the mountain bring everything to life, shapes and planes appear that were hitherto unseen. Mountain configurations blend with and relate to those of the clouds. Paul Strand said to me at Taos, at my meeting with him in 1930 that was of such importance to my photography: ‘There is a certain valid moment for every cloud’.” For my photoshoot I would like it follow how Ansel took his photographs ensuring not only bright light but plenty of clouds in the sky.
Rural Landscape Photography
Examples of Photographers:
Wynn Bullock
Wynn Bullock
Wynn Bullock
Fay Godwin
Fay Godwin
Fay Godwin
Fay Godwin
Fay Godwin
Edward Weston
Edward Weston
Edward Weston
Minor White
Minor White
Minor White
Don McCullin
Photoshoot plan
Ideal camera settings for landscape photography… Aperture: F/16. Shutter speed: a low shutter speed mainly due to fading light (dawn/ dusk), so to avoid camera shake use a tripod. ISO: 100 to maintain maximum quality and minimum grain. Exposure bracketing: use this technique to control exposure in low light situations.
I plan to take photos of…
Coastline
The sea – Beaches with plenty of rocks i.e.. St Catherine’s Breakwater, Le Rocque Harbour
Fields – Fields where there are trees and maybe people in the background which could assist with me telling a story
Park – Little greenery park with benches
Woods – St Saviours woods again however I would like to stand on the pavement surrounding the woods looking down into it
My Images
Artist Response
Carelton E. Watkins
My Unedited Image
Experimentation
Urban-
relating to a city or town which are densely populated living relating to the experience, lifestyle of the surroundings.
Urban Decay
Urban Decay Photography uses abandoned and rundown buildings
old and abandoned buildings have a lot of character and personality in a darker and grimmer sort of way. I want to use this to tell almost a story with my images and to put across my point I plan to shoot from unconventional perspectives and angles to really highlight the character of these old buildings. I could shoot upward to exaggerate the hugeness of a room and/or I could shoot at an angle to stress the sense of disorientation.
Using the Red, Yellow and Green colour labels I narrowed my 182 images down to 51 images that I could work with and the Green ones being the ones that I am definitely going to use.These are the images that I have decided to work with, the Green labelled ones are my best photos that I have selected and the Yellow images being my back ups.
Laura Hospes
I chose Laura Hospes as one of my artists as
My image
Laura Hospes inspiration
My image
However, I am unhappy with how some of my images inspired by Hospes turned out as I found that the lighting was too dark and therefore when
Editing
Photoshoot 2
I chose to take my last photoshoot in Saviours forest because forests convey the message of Chaos is nature.
Chaos- Conveys a certain message and make order out of the chaos in nature. Structure (Visual Highways), balance and harmony. Vertical growing trees chaos is the variety of tree heights, shape, colour, grow in different places, tilt, break and grows branches in different places. Chaotic mixtures of leaves, trunks and branches. To control chaos set up a tripod defines perspective. However I wanted to capture that chaos as I captured the chaos of Mental Health in my previous photoshoots.
Talk about my camera position ie crouching (worms eye view), standing on objects and eye level.
Do I capture the forest floor and the horizon.
Contrast- Noon on a sunny day gives high-contrast light. sun up and clear sky direct light shines through the canopy, leaves, branches and trunks with dark shadows filling the forest.
Could use high contrast
The following photographs are the inspiration for my shoot.Using colour labels I narrowed my phoroshoot down to my favourite 16 images that I am going to use for my zine.
My image
Inspiration
I used the following camera settings Shutter speed:1/100 Aperture: F14 and ISO: 3200. Along with these settings I photographed against the light shining through the trees
I don’t want high contrast therefore I am taking my images in the evening just before sunset when the contrast is significantly reduced giving my images a soft lighting under a cloudy sky in almost foggy conditions.
Ralph Eugene Meatyard
My Image In Response
Artist’s Image
My Image In Response
My Image In Response
My Image In Response
Editing
For all my photos in Photoshoot 3 I decided not to edit them much as
Laura Hospes has been photographing herself since she was 16 because she felt as though she needed to connect with other people and has become necessary over the years. Her work focuses on the struggles that she has experienced in life. Her experiences of depression and anxiety and mirrors well-being, she is currently working on a project about caring and healing.
As closure of a difficult period of time, Hospes created a book called UCP (named after the psychiatric ward where she had to stay in. UCP was chosen as one of the best photo books of 2016 by De Volkskrant, is shortlisted as one of the best Dutch Book Designs 2016 and shown on many book fairs and exhibitions.
Katie Joy Crawford
Katie Joy Crawford focuses on her own experiences with anxiety, battling it for a decade she felt as though she was finally able to express her inner emotions. Her work consists of self-portraiture and she visually interoperates her own emotional and physical journey as a way of projecting the weight that so may people bare in society. She wants her work to be used as a source of healing for other people as it was for her.
Photoshoot Plans
Photoshoot 1– Inspired by Laura Hospes
For my first shoot I’m going into the studio with two of my friends
Photoshoot 2– Inspired by Katie Joy Crawford
For my second photoshoot I am planning to make a milk bath that I am going to dye black with flowers.
Inspiration of a Dark Milk Bath that I found on Goole and Pinterest
Photoshoot 3– Wild goose chase of a photoshoot
For my final photoshoot I have decided to take images of a Forrest as I think that it will tie the idea of loneliness no matter how surrounded you are when it comes to mental health.
With two of my friends will go into St Saviours Forest
Louis Daguerre, in full Louis-Jacques-Mandé Daguerre, (born November 18, 1787, Cormeilles, near Paris, France—died July 10, 1851, Bry-sur-Marne), French painter and physicist who invented the first practical process of photography, known as the daguerreotype. Though the first permanent photograph from nature was made in 1826/27 by Nicéphore Niépce of France, it was of poor quality and required about eight hours’ exposure time. The process that Daguerre developed required only 20 to 30 minutes.
Daguerre was at first an inland revenue officer and then a scene painter for the opera. In 1822 at Paris he opened the Diorama, an exhibition of pictorial views, with various effects induced by changes in the lighting.
Fox Talbot was an English member of parliament, scientist, inventor and a pioneer of photography.
Fox Talbot went on to develop the three primary elements of photography: developing, fixing, and printing. Although simply exposing photographic paper to the light produced an image, it required extremely long exposure times. By accident, he discovered that there was an image after a very short exposure. Although he could not see it, he found he could chemically develop it into a useful negative. The image on this negative was then fixed with a chemical solution. This removed the light-sensitive silver and enabled the picture to be viewed in bright light. With the negative image, Fox Talbot realised he could repeat the process of printing from the negative. Consequently, his process could make any number of positive prints, unlike the Daguerreotypes. He called this the ‘calotype’ and patented the process in 1841.
Identity
a piece of personal identification that contains a photograph.
Oliver Doran is a portrait and advertising photographer who works in Jersey, London, Paris and Dubai.
Doran loves cinematic and theatrical imagery mainly of humans but also, as any professional photographer, I delve into other areas of the photographic world including; product, food, interiors and architecture.
Oliver Doran Biography- I endeavour to shoot timeless images that work today and in a 100 years and avoid using fad techniques that date the images. One can only guess where technology will lead us but the art in the humanity will never change. Our eyes on a piece of art, a portrait and the emotion we derive should remain as relevant today as well as in 100 years time or even a 1000 years time.
Having lived in Dubai UAE for the last decade, I return to my roots here in Jersey and enjoying capturing local personalities mixing influences from the graphic and bold portraiture of Platon and the fashion and audacious style of Helmut Newton.
Being a strong advocate of organic creativity, I pay special attention to lighting and mood to capture flattering elements of peoples personalities and enjoy immortalising milestones in peoples lives.
I love to travel, meeting new people and appreciating cultures different from my own – this really excites me. My time in the Middle East was packed with weird and wonderful people from all warps of life. When I first embarked to work in Dubai, it felt I had touched-down on Tatooine, a planet full of hungry aliens and I was the Han Solo of the photography world.
I’ve worked with the Royal families of Bahrain and UAE, an honour that I cherish, photographing the Princess of Bahrain’s wedding to the Prince where I was the only man in a ball room of 2000 women. I also work with celebrities whom I think appreciate my calming yet relaxing and direct approach to my portraiture.
The key in Rembrandt lighting is creating the triangle or diamond shape of light underneath the eye. One side of the face is lit well from the main light source while the other side of the face uses the interaction of shadows and light, also known as chiaroscuro, to create this geometric form on the face.
Butterfly lighting is a portrait lighting pattern where the key light is placed above and directly centred with a subject’s face. This creates a shadow under the nose that resembles a butterfly. It’s also known as ‘Paramount lighting,’ named for classic Hollywood glamour photography.
Split-lighting- Split lighting is a photography lighting technique. The light source that illuminates the subject is perpendicular to the model.
This setup lights up half of the face while keeping the other half shadowed. You “split” the lighting on your subject’s face.
The strong side lighting emphasizes the texture of the skin and the details of the face. The contrast and texture in split lighting portraits often make them very intense. It gives photos a sense of power, assertiveness or conviction.
You can also use split lighting to emphasize glamour.
Continuous lighting is exactly knocks itself on the head with it’s name- lights that are always on. Continuous lighting differs from strobe lighting, which flashes on and off. Light sources of this type range from basic indoor light fixtures to professional-grade lighting equipment.
Rembrandt lighting
Butterfly Lighting
Split-lighting
Continuous lighting
Rembrandt lighting
Split-lighting
Rembrandt lighting
Rembrandt lighting
Rembrandt lighting
Split-lighting
Rembrandt lighting
Rembrandt lighting
Continuous lighting
Split-lighting
Split-lighting
Rembrandt lighting
Sequence/ Grid Of Images
Thomas Ruff
Thomas Ruff got into capturing portrait photos in 1981. He mastered the required photography technique between 1981 and 1985. Along with portrait photography, Ruff was into large format printing, producing images in large seven feet (2,1 meter) by five feet (1,5 meter). This combination helped to introduce a unique feel to the pictures.
When Thomas Ruff started capturing portraits, he was aware that he is living at the end of the 20th Century. In addition to that, he knew that he is spending time in an industrialized Western country. Therefore, he wanted to introduce that unique vibe to the photos captured.
By 1987, Thomas Ruff was well settled as a portrait photographer and in high demand. This tempted him to try other photography styles and come up with innovative photos. To do that, Thomas Ruff experimented with composite faces in 1992, assisted by Minolta Montage Unit.
Then Thomas Ruff started working on 8×10 colour portraits. He took these photos against coloured backdrops. Along with that, he went ahead to capture night images and buildings as well.
Thomas Ruff has once admitted to the fact that portraits captured by him look Apollonian. That’s because the sitters of all his photos are providing a perfect surface to the viewer. They are friendly and neutral.
How to take a Passport Photo
FACE:
eyes must be open and clearly visible, with no flash reflections and no ‘red eye’
facial expression must be neutral (neither frowning nor smiling), with the mouth closed
photos must show both edges of the face clearly
photos must show a full front view of face and shoulders, squared to the camera
the face and shoulder image must be centred in the photo; the subject must not be looking over one shoulder (portrait style), or tilting their head to one side or backwards or forwards
there must be no hair across the eyes
hats or head coverings are not permitted except when worn for religious reasons and only if the full facial features are clearly visible
photos with shadows on the face are unacceptable
photos must reflect/represent natural skin tone
BACKGROUND:
Photos must have a background which:
has no shadows
has uniform lighting, with no shadows or flash reflection on the face and head
shows a plain, uniform, light grey or cream background (5% to 10% grey is recommended)
Dimond Cameo
Henry Mullins
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. Initially he was in partnership with a Mr Millward, about whom very little is known. By the following year he was working alone and he continued to work out of the same studio for another 26 years.
For a brief period in the 1860s he also worked in London, but judging by the collection of his photographs which is now held by La Société Jersiaise, he found plenty of willing sitters in the island prepared to pay half a guinea (promoted as “one half of that in London”) to have their portrait taken by him.
Double / Multi-Exposures
Double or multiple exposures are an illusion created by layering images (or portions of images) over the top of each other. This can be achieved in the camera settings, or on Adobe Photoshop by creating LAYERS and then using BLENDING OPTIONS and OPACITY CONTROL. Artist have used these techniques to explore Surrealist Ideas and evoke dream-like imagery, or imagery that explores time / time lapse.
Man Ray
During his career as an artist, Man Ray allowed few details of his early life or family background to be known to the public. He even refused to acknowledge that he ever had a name other than Man Ray.
Man Ray was the uncle of the photographer Naomi Savage, who learned some of his techniques and incorporated them into her own work.
Up close!
Satoshi Fujiwara
In Michael Haneke’s 2000 film Code Unknown, there is a scene in which the protagonist’s lover, a photographer, secretly snaps pictures of passengers sitting across from him on the train.
Inspired by the film, I used the same approach to shoot people in Berlin trains. Yet in contemporary society, it is not acceptable to rashly and publicly display pictures of people’s faces that were taken without their permission. Thus, I shot and edited my pictures in a way that makes it impossible to identify the individual people who served as my “models.” To avoid impinging on the “right of likeness,” I used the shadows created by the direct sunlight pouring in through the windows, various compositional approaches, and digital processing to keep their identities anonymous.
When we look at another person, either directly or through another medium, we interpret a wide range of information based on outward appearance (face, physique, clothes and accessories, and movements)—in other words, various codes. By regulating and altering these codes in various ways, I set out to obscure the individuality and specificity of the subjects in the pictures in my series.—Satoshi Fujiwara
USA. Milwaukee, Wisconsin. 2013. Chris, worker at the state fair.
Juxtaposition
Juxtaposition is placing two images together to show contrast or similarities. For inspiration look at some of the page spreads from ED.EM.03 where pairings between portraits of Henry Mullins and Michelle Sank are juxtaposed to show comparison/ similarities/ differences between different social and professional classes in Jersey mid-19th century and early 21 st century.
My Image
Cut and Paste/ Photomontage
The following images are my chosen images that I will use the technique of cut and paste on
Creating a GIF
How to make a GIF in Photoshop 1. Create layer for each image 2. Window > timeline 3. Select > Create Frame Animation 4. Drop Menu > Make frames from Layers 5. Timeline > select Forever 6. File > Export > Save for Web Legacy > reduce image size to 720 x 720 pixels
