An environmental portrait is a portrait executed in the subject’s usual environment, such as in their home or workplace, and typically illuminates the subject’s life and surroundings. The term is most frequently used of a genre of photography.

By photographing a person in their natural surroundings, it is thought that you will be able to better illuminate their character, and therefore portray the essence of their personality, rather than merely a likeness of their physical features. It is also thought that by photographing a person in their natural surroundings, the subject will be more at ease, and so be more conducive to expressing themselves, as opposed to in a studio, which can be a rather intimidating and artificial experience.

The surroundings or background is a key element in environmental portraiture, and is used to convey further information about the person being photographed.

Where it is common in studio portraiture and even in location candid photography to shoot using a shallow depth of field, thereby throwing the background out of focus, the background in environmental portraiture is an integral part of the image. Indeed, small apertures and great depth of field are commonly used in this type of photography.

Mary Ellen Mark: (1940-2015)

Mary Ellen Mark (March 20, 1940 – May 25, 2015) was an American photographer known for her photojournalism, documentary photography, portraiture, and advertising photography. She photographed people who were “away from mainstream society and toward its more interesting, often troubled fringes”.

Mark had 18 collections of her work published, most notably Streetwise and Ward 81. Her work was exhibited at galleries and museums worldwide and widely published in Life, Rolling Stone, The New Yorker, New York Times, and Vanity Fair. She was a member of Magnum Photos between 1977 and 1981. She received numerous accolades, including three Robert F. Kennedy Journalism Awards, three fellowships from the National Endowment for the Arts, the 2014 Lifetime Achievement in Photography Award from the George Eastman House and the Outstanding Contribution Photography Award from the World Photography Organisation.

Mark was born and raised in Elkins Park, Pennsylvania and began photographing with a Box Brownie camera at age nine. She attended Cheltenham High School, where she was head cheerleader and exhibited a knack for painting and drawing. She received a Bachelor of Fine Arts in painting and art history from the University of Pennsylvania in 1962. After graduating, she worked briefly in the Philadelphia city planning department, then returned for a master’s degree in photojournalism at the Annenberg School for Communication at the University of Pennsylvania, which she received in 1964. The following year, Mark received a Fulbright Scholarship to photograph in Turkey for a year, from which she produced her first book, Passport (1974). While there, she travelled to photograph England, Germany, Greece, Italy, and Spain.

In 1966 or 1967, she moved to New York City, where over the next several years she photographed demonstrations in opposition to the Vietnam War, the women’s liberation movement, transvestite culture, and Times Square, developing a sensibility, according to one writer, “away from mainstream society and toward its more interesting, often troubled fringes”. Her photography addressed social issues such as homelessness, loneliness, drug addiction, and prostitution. Children are a reoccurring subject throughout much of Mark’s work. She described her approach to her subjects: “I’ve always felt that children and teenagers are not “children,” they’re small people. I look at them as little people and I either like them or I don’t like them. I also have an obsession with mental illness. And strange people who are outside the borders of society.” Mark also said “I’d rather pull up things from another culture that are universal, that we can all relate to…There are prostitutes all over the world. I try to show their way of life.” and that “I feel an affinity for people who haven’t had the best breaks in society. What I want to do more than anything is acknowledge their existence”. Mark was well known for establishing strong relationships with her subjects. For Ward 81 (1979), she lived for six weeks with the patients in the women’s security ward of Oregon State Hospital, and for Falkland Road (1981), she spent three months befriending the prostitutes who worked on a single long street in Bombay. Her project “Streets of the Lost” with writer Cheryl McCall, for Life, produced her book Streetwise (1988) and was developed into the documentary film Streetwise, directed by her husband Martin Bell and with a soundtrack by Tom Waits.

Mary Ellen Mark (1940- 2015) is one of the leading documentary photographers of the past half-century, and has achieved worldwide visibility through her many exhibitions, books, photo essays and portraits.

Mark traveled extensively since her first trip to Turkey on a Fulbright Scholarship in 1965. Her pictures of diverse people and cultures are groundbreaking images in the documentary field. Her essays on runaway children in Seattle, circuses and brothels in India, Catholic and Protestant women in Northern Ireland and patients in the maximum-security ward of Oregon State Mental Hospital demonstrate original and insightful ways of examining each theme. Her photographs are compassionate and factual.

Mark’s photographs have appeared in The Times Magazine, The New Yorker, Rolling Stone and Vogue. Among her many books are Ward 81 (Simon & Schuster, 1979); Falkland Road (Knopf, 1981); Mary Ellen Mark: 25 Years (Bullfinch, 1991); Mary Ellen Mark: American Odyssey (Aperture, 1999); and, most recently, Mary Ellen Mark: The Book of Everything (Steidl, 2020). Mark earned three fellowships from the National Endowment for the Arts, the Photographer of the Year Award from the Friends of Photography, the World Press Award for Outstanding Body of Work Throughout the Years, the Victor Hasselblad Cover Award and two Robert F. Kennedy Awards. She was the associate producer of the film American Heart (1992), directed by Martin Bell.

some of her work:

this image was taken by Arnold Newman who was famed for taking environmental portraits. this type of portrait is used to show his huge industrial empire with a sinister way. the shadows and the way the light highlights all the wrinkles in his face making him look more corrupt and dis honourable.

Alfred Krupp invented the spoon roller for spoons and forks.

the Krupp company helped the Nazi regime, used slave labour by the Nazis to carry out the holocaust. as Krupp gained the economic benefits.

On Thursday 30th of September we visited the Jersey Museum and Art Gallery in St. Helier to observe and take pictures of their most recent “People Power Protest” exhibit, as well as their other general history exhibits, which details history of Protest on Jersey. We thought this would be appropriate for our topic of ‘Heritage’

A Link to their Page on the Jersey Heritage website:

https://www.jerseyheritage.org/explore/find-a-place-to-visit/jersey-museum-art-gallery/

Some of my Images:

I chose to edit this image because I liked the way the straw figures were organised, their positions made them look human-like, while their faces are simply straw. I took the image at eye-level so it may appear that the viewer is a part of those figures’ organisation. I think that the way I edited it was effective as the harsh lighting, line and dark shadows makes the image look serious.

I chose to edit this image because I thought the colours and use of line was interesting to look at. Similar to the last image, I took an image of the straw figures, only this time I decided to use a low-angle shot to make the figures look more intimidating. I edited the image to have a darker, more contrasting look to help make the figures look more sinister.

I chose to edit this image because I like how shape and line is very vivid, as well as the colder colours and clear shadows. When editing I wanted to keep all of the things that the original image did well and make them even more effective by increasing the contrast and making the image ever-so-slightly colder, which to me, makes the image look more formal.

I like this image because of the way the sheets of paper are layered, it creates an angular shape which takes up the whole frame. Also, because of the layering, I get a sense of time from these pieces of paper and how it looks almost like a timeline of sorts. When editing I wanted only the pieces of paper to be visible, so I increased the contrast and lowered the exposure slightly, this also allowed the paper to look more clear.

This image’s layout is similar to the last image, with an angular, staircase-like shape to it. Because of the harsher lighting and lack of colour, I think like this image is more formal and office-like, which works nicely with its ordered appearance. When editing I wanted to preserve its formal and angular look by simply increasing the contrast and exposure slightly, as well as making it black-and-white to keep the image’s formal appearance.

I chose this image because I like the way the object in the foreground works with the straw-like pattern in the background. I also think that the harsh lighting creates an interesting shadow that is a similar shape to the object. When editing I wanted to create a contrast that would bring out the shadows of the image, as well as keep the beige colour which, to me, makes it look more farm-like.

The Jersey Corn Riots is celebrated today as it is a celebration of our modern day democracy today. This began in 1769 when the corn riots took unfolded. Monday 27th September 2021 marks 250 years since the people of jersey protested against landowners.

A bad harvest in 1769 lead to the prices shooting up, many islanders were frustrated with the food shortages, higher prices and the unfair tax system leading to 500 islanders storming the Royal Court. The islanders rioted and protested with 13 demands for a fairer island.

Here are the 13 demands of the islanders:

• That the price of wheat be lowered and set at 20 sols per cabot.

• That foreigners be ejected from the Island.

• That his Majesty’s tithes be reduced to 20 sols per vergée.

• That the value of the liard coin be set to 4 per sol.

• That there should be a limit on the sales tax.

• That seigneurs stop enjoying the practice of champart (the right to every twelfth sheaf of corn or bundle of flax).

• That seigneurs end the right of ‘Jouir des Successions’(the right to enjoy anyone’s estate for a year and a day if they die without heirs).

• That branchage fines could no longer be imposed.

• That Rectors could no longer charge tithes except on apples.

• That charges against Captain Nicholas Fiott be dropped and that he be allowed to return to the Island without an inquiry.

• That the Customs’ House officers be ejected.

The power of protest

In September 1770, The code of laws were introduced to the island by Bentinck, Jerseys Lieutenant- Governor. These news laws aimed to make the law as fair as possible for everyone. These laws were laid down in 1771. The Jersey corn riots worked as a way of new fair life in Jersey for many years after.

Hamptonne is the oldest farm in jersey it was purchased in 1633. it is an old thatched house with smaller houses and animal pens surrounding it.

The farm makes cider and have there own orchid which you can walk around. The trees in the orchid were chosen for their bitter and sweet tastes to combine together to make a cider which is perfectly mixed of flavours.

Every year Hamptonne prepares for their cider making festival called ‘La Faîs’sie d’Cidre‘ by collecting the apples from their orchard. They offer apple picking sessions throughout the first 2 weekends of October however are limited with the amount of people they can allow per session due to its popularity.

A local photographer, Tom Kennedy, uses natural light in order to make painting-like photos that are similar to the work of 17th Century painters. He’s visits Hamptonne and has photographed there multiple times. He wants people to reflect on their own lives and hopes to move people with his work.

In 1767, people protested about the export of grain from the Island. Anonymous threats were made against shipowners and a law was passed the following year to keep corn in Jersey. In August 1769 the States of Jersey repealed this law, claiming that crops in the Island were plentiful. There was suspicion that this was a ploy to raise the price of wheat, which would be beneficial to the rich.

On Thursday 28 September 1769 a group of individuals from Trinity, St Martin, St John, St Lawrence and St Saviour marched towards Town where their numbers were swelled by residents of St Helier. The group was met at the door of the Royal Court and was urged to disperse and send its demands in a more respectful manner. However, the crowd forced its way into the Court Room armed with clubs and sticks. Inside, they ordered that their demands be written down in the Court book.

The demands of the Corn Riots protestors included:

• That the price of wheat be lowered and set at 20 sols per cabot.

• That foreigners be ejected from the Island.

• That his Majesty’s tithes be reduced to 20 sols per vergée.

• That the value of the liard coin be set to 4 per sol.

• That there should be a limit on the sales tax.

• That seigneurs stop enjoying the practice of champart (the right to every twelfth sheaf of corn or bundle of flax).

• That branchage fines could no longer be imposed.

• That Rectors could no longer charge tithes except on apples.

• That the Customs’ House officers be ejected.

In 1769, frustrations with food shortages, rising prices, an unfair taxation system, and Jersey’s power structure led to the storming of the Royal Court by around 500 Islanders in what became known as The Corn Riots.

In 1767, people protested about the export of grain from the Island. Anonymous threats were made against shipowners and a law was passed the following year to keep corn in Jersey. In August 1769 the States of Jersey repealed this law, claiming that crops in the Island were plentiful. There was suspicion that this was a ploy to raise the price of wheat, which would be beneficial to the rich, many of whom had ‘rentes’ owed to them on properties that were payable in wheat. As major landowners, the Lemprière family stood to profit hugely.

On Thursday 28 September 1769, a Court called the Assize d’Héritage was sitting, hearing cases relating to property disputes. The Lieutenant Bailiff, Charles Lemprière, sat as the Head of the Court. Meanwhile, a group of disgruntled individuals from Trinity, St Martin, St John, St Lawrence and St Saviour marched towards Town where their numbers were swelled by residents of St Helier. The group was met at the door of the Royal Court and was urged to disperse and send its demands in a more respectful manner. However, the crowd forced its way into the Court Room armed with clubs and sticks. Inside, they ordered that their demands be written down in the Court book. Although the King later commanded that the lines be removed from the book (image 3), a transcription survives that shows the crowd’s demands.

In September 1770, Bentinck declared that a set of rules and regulations be written down to make the Law as fair as possible. The aim was that everyone ‘…be no more obliged to Live in a continual dread of becoming liable to punishments, for disobeying Laws it was morally impossible for them to have the least knowledge of.’

Bentinck’s Code was introduced in 1771 and clearly laid down the Laws of the Island. It also divided the power to make the laws and enforce the laws between the States of Jersey and the Royal Court. Charles Lemprière remained as Lieutenant Bailiff but he had lost his monopoly on power.

The Corn Riots had started Jersey on the road to reform and a fairer society.

Editing One Picture

I decided to edit this picture because I liked the composition and I thought it looked quite simple and nice. I also liked the way the sun was coming from the window and the reflection it created on the wall. I started by turning it black and white to make it look old then I increased the contrast to make the lines on the wall and texture of the metal tub stand out. I also decreased the highlights and increased the shadows because It was a bit too bright.

• 

• 

Final Edits

• 

• 

• 

• 

• 

• 

Editing One Picture

• 

• 

I decided to edit this picture because I liked the composition. I think the way the model was in the centre of the image and looking to her right whilst holding a vase could tell a story to the viewer. I cropped the photo first to bring more attention to her instead of the background. I then sharpened the picture and increased the texture to make the details stand out. I also increased the vibrance to make it livelier.

• 

• 

Final Edits

Photography, as we know it today, can be done at any type due to the invention of mobile phones but before technology, taking photographs was a lot more work and took a lot more time…

17th Century – Camera Obscura

It first started with the Camera Obscura, which consisted of a dark box, 3 lenses and held a mirror at a 45° angle. It would capture light from the scene and reflect these light rays through a large tube that contained 3 lenses, then using the mirror, would project an upside-down version of the image onto the wooden table.

It’s not clear who invented the camera obscura as there’s evidence that goes back to 400BC where a man, Mo-tzu, discovered how light can project and invert an image, however, the term camera obscura was created by Johannes Kepler in 1604 who used a portable version of the device for astronomy purposes. [The camera obscura was mainly used by artists to compose their paintings which made the device quite popular as it would save them a lot of time painting and was much more efficient.]

19th Century – Nicephore Niepce

Nicephore Niepce was a French inventor who was the first person to ever make a permanent image when he experimented with various light-sensitive substances to create what he called sun drawings. It took many attempts but he didn’t succeed until 1922 when he created a photographic copy of a glass engraving by using bitumen of Judea that hardens when exposed to light then in the year 1827 created the first lasting record of his work that took roughly 8 hours to expose. This led to Niepce teaming up with Louis Daguerre for 4 years, before unfortunately passing away, who improved upon his work and eventually made the Daguerreotype.

19th Century – Louis Daguerre + Daguerreotypes

Louis Daguerre was a French painter and physicist that created the first practical process of photography called the daguerreotype after improving upon Niepce’s work after he passed.

He discovered exposing an idolized silver plate in a camera would create a permanent image if the latent image was developed through exposure to fumes of mercury then fixed by a solution of salt. Daguerre’s process lowered the exposure time from 8 hours to roughly 30 minutes! However, daguerreotypes were expensive as they were highly detailed, heavy and very fragile due to their mirror-like surface which meant only the wealthy could afford them.

Despite their pricing, daguerreotypes were very popular and used for still life, natural phenomena, documentary subjects and most commonly portraits.

19th Century – Henry Fox Talbot

Henry Talbot was an English scientist that created the salt paper and calotype processes which are known as an improved daguerreotype.

The salt paper process involved placing paper into a salt solution that would later be dried before one side of the paper got coated in a solution of silver nitrate, creating a light-sensitive silver nitrate that would darken when exposed to light. Objects would be placed on the paper or the image from a camera obscura would be used in order for the photo to be made.

The Calotype process used a paper negative to make a softer version of the daguerreotype which makes it possible to make multiple copies as a negative is produced.

19th Century – Richard Maddox

Richard Maddox was an English photographer and physician who created lightweight gelatin negative plates in 1871 which meant photographers didn’t have to make their own emulsions in a dark room but could instead use commercial dry plates off the shelf which meant negatives didn’t have to be created immediately. This also meant cameras were now small enough to be handheld which made photography more convenient than ever before.

19th-20th Century – George Eastman + Kodak + Brownie

George Eastman was an American entrepreneur and inventor who managed to perfect the making of dry plates and introduced the Kodak camera and the Brownie to the world along with the use of film.

The Kodak was the first camera that could be used to create amateur photography as it was a small handheld box that was sold with film sealed inside so that it could be mailed back to the Rochester in order for the film to be processed, printed and reloaded free of charge which created the company’s slogan ‘you press the button, we do the rest’.

After 8 years, Eastman released a cheaper version of the Kodak called the Brownie which was aimed towards children and sold for 1 dollar. The main difference between the Kodak and Brownie was that the film could be removed in the brownie which meant it didn’t have to be sent back in order for their photos to be processed.