Whilst editing these objects I tried to enhance the colours that were already on screen in order to create a set of peaceful yet old images.

Editing One of My Photos

I decided to edit this image as I thought the framing and angle that the image was taken at looked interesting especially with the natural light falling upon part of the chest, enhancing the shadows and the details carved into the wood. I think I could enhance this image further by giving the light a warmer look [which’ll make the image look softer] then tint the shadows red so they don’t look clash against the light.

I started the edit by increasing the temperature of the photo, giving it a warm look before increasing the sharpness of the image, making it so the details of the chest and objects on the chest were visible. Next, I tinted the highlights so they were orange and made the highlights a subtle magenta which complimented the image nicely. I finished off the edit by adding a soft vignette, making it white as the image was already quite dark, which created a small light leak at the bottom of the image.

My Final Edits

Whilst editing my photos of buildings, I tried to keep the lighting warm and bright in order to make Hamptonne look peaceful, inviting and almost nostalgic for the viewer.

Editing One of My Photos

I chose to edit this image as I liked the lighting in the photo along with the framing. I felt as though I managed to capture a lot of the scenery around the building whilst still keeping the building the main focus of the photo. I thought I could improve the photo as it was slightly overexposed which made it difficult to see some of the details in the courtyard and the colours were also muted due to this.

I started off the edit by decreasing the exposure slightly in order for the details in the bricks and trees to be clearer then increased the temperature of the photo in order to get a warm and inviting look. Next, I saturated most of the colours in the image so it would look brighter and more vibrant, making sure to keep down some of the yellow tones so it wouldn’t overpower the rest of the colours in the image. I finished off the edit by sharpening the image and increasing the contrast slightly so each object would be separated from each other and not one blob of colour.

My Final Edits

Here are some of my best images from my first environmental photography shoot. I pictured Ruby in her bedroom as it expresses her interests and general life.

I based this shoot on Arnold Newman, I wanted to include the dishevelled look to my images which he has in his, I did this through the clutter of posters on Ruby’s wall, the stack of CDS and the rustic looking chair.

Original photos – unedited

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Edited

The Process

I used a camera stand to keep my camera level and directed Ruby to pose how she felt comfortable to keep the authenticity of the photographs. I chose to conduct my photoshoot at mid afternoon to capture the bright sun peaking through the window, highlighting the details of her bedroom.

I chose the placement for the images where Ruby is sat on the chair to capture the reflection of the mirror which also gives us a look into her interests, her wardrobe which expresses her love for fashion, a globe suggesting her interest of the world and two stuffed animals from her childhood. I believe Ruby’s choice of clothing was great as her minimalistic fashion choice made the background pop.

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before editing my photos I wanted to sort through the good and bad images, I used the star system which helped me group the good images together.

When editing my images i wanted to capture the black and white theme which is a prominent feature within Newman’s Work, i also adjusted the shadows and exposure to capture that subtle shadow which can be seen in many of Newman’s black and white pieces.

Further Experimenting

Using photoshop, I edited images to create some further edits of my images.

For this image, I took another one of my images from the same shoot and placed that in the reflection of the mirror. To do this I used photoshop, I then used the lasso tool to select the part of the image I wanted to remove. After erasing the original reflection from the mirror I inserted another photo and placed that layer underneath my original.

For this image, I wanted to contrast the vibrant colours of Rubys wall with the black and white of the Arnold Newman style edit. To do this I used the same image in colour, then i used the rectangular marquee tool to select the parts of the coloured image I wanted to include.

To create this futuristic mirror portal image I once again selected the original mirror reflection with the lasso tool and deleted the reflection, I then placed this image with a frenzy explosion of colours in its place, creating a portal mirror.

PHOTOGRAPHIC IMAGE ANALYSIS

Image analysis is very important in your understanding of photography. Both from learning how an image is composed or structured to the actual content and meaning of an image. You may need to understand or find out its social, historical, or political context.

Light: Light in the photo are coming from the skylight windows and from a single train light, the rest of the image is filled with morbid colours. The Harsh blacks and greys contrast the light colours. The image consists of lines of machinery and window leading to a window that hovers over Alfred Krupp’s head.

There’s a lot of repetition within the structure of the building and there’s light reflecting on Krupp’s head. All of the lines are geometric. This image to an extent has a shallow depth of field as Newman wanted to highlight.

The darkest part of the image surrounds Krupp and the frame that allows you to see the factory. Dark colours are constant throughout the image

I think that the elements of Newman’s photograph were purposely placed in such way to portray an implicit meaning of Krupp and his factory to be the angle of death.

Contextual Information

He inherited the factory, the factory created all the bombs and missiles for the Nazi’s, he was 14 when he inherited the factory taking over after his Fathers death

My Perception

Idea of the sarcastic halo, triangle shape with his hands, Lines all lead to the sarcastic halo, Angel of Hell and death, Lighting is coming from the sides creating a dark shadow around his eyes. He sorta reminds me of Mr Burns ngl…

Who am I photographing?

For my outdoor photoshoot, I will be photographing my grandad.

What am I photographing?

i will be photographing him his bee hive, and his bee suit

when am I conducting the shoot?

the weekend

where am i working/ location?

I will either be producing this shoot at his home or bee hives

why am i designing the shoot in this way?

i am designing the shoot in this way because my grandad has really enjoyed Bee keeping as a hobbie for many years

how am i going to produce the images (lighting / equipment etc)?

i am going to make sure it is a good lit day to be able to capture the best quality images possible.

He was born in St. Louis, Missouri to Jessie (née Crane) and Walker Evans. His father was an advertising director. Walker was raised in an affluent environment; he spent his youth in Toledo, Ohio; Chicago; and New York City. He attended the Loomis Institute and Mercersburg Academy, then graduated from Phillips Academy in Andover, Massachusetts in 1922. He studied French literature for a year at Williams College, spending much of his time in the school’s library, before dropping out. He returned to New York and worked as a night attendant in the map room of the Public Library. After spending a year in Paris in 1926, he returned to the United States to join a literary and art crowd in New York City. John Cheever, Hart Crane, and Lincoln Kirstein were among his friends. He was a clerk for a stockbroker firm on Wall Street from 1927 to 1929.

Evans took up photography in 1928 around the time he was living in Ossining, New York^. His influences included Eugène Atget and August Sander. In 1930, he published three photographs (Brooklyn Bridge) in the poetry book The Bridge by Hart Crane. In 1931, he made a photo series of Victorian houses in the Boston vicinity sponsored by Lincoln Kirstein.

In May and June 1933, Evans took photographs in Cuba on assignment for Lippincott, the publisher of Carleton Beals’ The Crime of Cuba (1933), a “strident account” of the dictatorship of Gerardo Machado. There, Evans drank nightly with Ernest Hemingway, who lent him money to extend his two-week stay an additional week. His photographs documented street life, the presence of police, beggars and dockworkers in rags, and other waterfront scenes. He also helped Hemingway acquire photos from newspaper archives that documented some of the political violence Hemingway described in To Have and Have Not (1937). Fearing that his photographs might be deemed critical of the government and confiscated by Cuban authorities, he left 46 prints with Hemingway. He had no difficulties when returning to the United States, and 31 of his photos appeared in Beals’ book. The cache of prints left with Hemingway was discovered in Havana in 2002 and exhibited at an exhibition in Key West.

The Depression years of 1935–36 were ones of remarkable productivity and accomplishment for Evans. In 1935, Evans spent two months on a fixed-term photographic campaign in West Virginia and Pennsylvania. In June 1935, he accepted a job from the U.S. Department of the Interior to photograph a government-built resettlement community of unemployed coal miners in West Virginia. He quickly parlayed this temporary employment into a full-time position as an “information specialist” in the Resettlement Administration (later Farm Security Administration), a New Deal agency in the Department of Agriculture. From October 1935 on, he continued to do photographic work for the RA and later the Farm Security Administration, primarily in the Southern United States.

In the summer of 1936, while on leave from the FSA, writer James Agee and he were sent by Fortune on assignment to Hale County, Alabama for a story the magazine subsequently opted not to run. In 1941, Evans’s photographs and Agee’s text detailing the duo’s stay with three White tenant families in southern Alabama during the Great Depression were published as the ground-breaking book Let Us Now Praise Famous Men. Its detailed account of three farming families paints a deeply moving portrait of rural poverty. Critic Janet Malcolm notes that a contradiction existed between a kind of anguished dissonance in Agee’s prose and the quiet, magisterial beauty of Evans’s photographs of sharecroppers.

Walker Evans gained his eye for knowing what a great photograph was through the visual education of his painter friends. He undoubtedly became influenced by the great works of artists that his friends would probably talk about, share, and aspire towards.

Evans died at his apartment in New Haven, Connecticut in 1975. The last person Evans talked to was Hank O’Neal. In reference to the newly created A Vision Shared project, O’Neal recounts, “The picture on the back of the book, of him taking a picture – he actually called me up and told me he had found it”. “And then the next morning I got up and I had a phone call from Leslie Katz, who ran the Eakins Press. And Leslie said: ‘Isn’t it terrible about Walker Evans?’ And I said: ‘What are you talking about?’ He said: ‘He died last night.’ I said: ‘Cut it out. I talked to him last night twice’ So an hour and a half after we had our conversation, he died. He had a stroke and died.”

In 1994, the estate of Walker Evans handed over its holdings to New York City’s Metropolitan Museum of Art. The Metropolitan Museum of Art is the sole copyright holder for all works of art in all media by Walker Evans. The only exception is a group of about 1,000 negatives in collection of the Library of Congress, which were produced for the Resettlement Administration and Farm Security Administration; these works are in the public domain.

In 2000, Evans was inducted into the St. Louis Walk of Fame.

some of his work:

What are environmental portraits?

An environmental portrait is a portrait executed in the subject’s usual environment, such as in their home or workplace. They typically highlight the subject’s life and surroundings.

Michelle Sank

Michelle Sank is a social documentary photographer, based in Exeter, in the UK. She was born in Cape Town, and left there in 1978. During her childhood in Cape Town, her family were jewish immigrants, who faced high amounts of antisemitism and witnessed the awful era of the Apartheid. Because of her experiences in South Africa, she became interested in documenting people and their situations both in the UK, where she is based, and elsewhere, for example the USA and Ireland.

Insula

Insula is one of Michelle’s many projects. These images were taken both in Jersey, as well as Guernsey.

“Insula eschews a specific brief though the work responds to the wealth of nineteenth century portrait photographs within the Jersey Photographic Archive that it now joins as a powerful point of interpretation. The beguiling qualities of these new photographs call to mind the position that Lewis Baltz found for photographic series, ‘somewhere between the novel and film.’ As such, Sank’s photographs offer a visual poem to the island”.  Gareth Syvret

Images from Michelle’s other collections

This image, along with many of Michelle’s other images, has a very striking background. This helps to make the subject appear more striking, creating a natural focal point to the subject’s face. This photo features an overcast and slightly overexposed background, which helps to contrast the dark tones in the subject’s outfit. The tones in this image are muted, except from the harsh black tones within the subject’s outfit. The image is slightly cool tones, with grey and very slight blue tones coming from the sky and water.

The image also has a wide depth of field, and slightly lower light sensitivity, leading to a slightly grainy image. Furthermore, I think that by capturing thus image, Michelle is commenting o what it is like to be a teen in Belfast when the picture was taken, as well as class and social aspects – Belfast after the era of the troubles, and how it affected the younger generation.

My photoshoot plan

	Inside Shoot	Outside Shoot	Multiple People Shoot
Location ideas	Condor Ferries Terminal, Skills Jersey offices, Local Corner Shop, Cafes, Shops such as Butchers, Boots, The Quayside food kiosk.	Rubbish Dump, Building Sites.	Rubbish Dump, Green Waste dump.
Subject(s)	Employees, owners, bar staff, waiters.	Workers	Workers
Shot Types	Full body, 3/4 length, headshot	Full body, 3/4 length, headshot	Full body, 3/4 length, headshot