William Hall

William Hall originated from Scotland. William Hall was, according to his own account, born in the Scottish county of Roxburghshire around 1826. In the 1891 census, William Hall gives his place of birth as Selkirk, a Scottish town located in a neighbouring county. When he was in his twenties, William Hall moved to England, where, around 1853, he married his wife Eliza (born c1826, Portsmouth, Hampshire). The couple settled in the Sussex seaside resort of Brighton, where, during the 4th Quarter of 1854, their first child, Eliza, was born.

General Photographic Institution was unusual in that the photographers offered to take portraits using all three of the available photographic processes. – Daguerreotype, Talbotype and Collodion Positive. 

During his business association with the photographer Stephen Grey, which lasted for over 4 years, William Hall had fathered two more children. William Hall junior was born in Brighton towards the end of 1856 and his brother James Hall was born in Brighton during the 2nd Quarter of 1858. William and Eliza Hall’s fourth child, Christiana (or Christina) Hall was born in Brighton during the 4th Quarter of 1859.

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What I like about the image above: I think that the boarder on this image makes it more interesting as it makes the oval portraits stand out from the background, as its very light and the black contrasts with this. Furthermore, I think very warm tones in the ovals means that the portraits stand out more, and when I recreate diamond cameo I think I will do this but in a more modern way, maybe in black and white as this will be putting my own twist on this old fashion diamond cameo work, and I like how to can use some of my existing work (portraits) to do this.

Furthermore, I think that the the formal of these diamond cameos gives me a good opportunity to use some of my good portraits that weren’t suitable for other aspects of this portrait project. In my opinion these pieces are a good way to use both monochromatic portraits and colour photographs and showcase all angles of the face, especially the side profile, as stronger noses and jawlines are shown off great in these pieces of work, and the fact that the oval profiles of the faces and that fact that they can be edited makes modelling for creating diamond cameos even easier and the majority of the time, these models end up looking good and liking diamond cameo work.

Process of creating a diamond cameo:

• Choose images and edit them in Lightroom
• Find a diamond cameo piece that already made
• Open this on photoshop and use this as a template
• Cut out the portrait areas on the existing diamond cameo
• Drag the new image you would like in this area into Photoshop
• Repeat so that all of the portrait areas are filled
• Position the ovals so that they are symmetrical

My examples and Analysis:

Here I have created a diamond cameo of Leticia, finding four separate images of her looking in different directions was easier than expected as we had instructed most of our models during our shoots to look in multiple different directions, as we knew we had to create diamond cameo pieces, but only using one persons face with four different photographs of the same person. I think that this image came out successful despite the small darker yellow tones around some of the oval portraits, as it was hard to position the pictures of her so that these darker tones were not visible, one other weakness is that the portrait on the left hand side has a slightly different background and this means that it stands out in a bad way, but i think the fact that she is still looking in the opposite direction, meaning this is still a good diamond cameo, makes up for the fact that it doesn’t one hundred percent fit with the other portraits.

Above I have created a diamond cameo piece using photographs of Diana, finding a good variety of images to use to create a good piece was difficult, as we didn’t take any photos of Diana looking to the left during her photoshoot. To overcome this problem I put the image on the right into photoshop and flipped it around so i had an identical image but just reflected, this meant that I could still create this piece, as I couldn’t do this with images of a wider variety of people as photographs of them were just not suitable or of good enough quality to create diamond cameos out of. I think that this example is good as the ovals in the middle are slightly bigger meaning that the darker yellow tones around the ovals that appeared in diamond cameos of Leticia and Katarina did not occur, as this takes away the positive attention from the actual portraits. However this did made this piece not as symmetrical which could be seen as a weakness.

Final/ Best Piece:

I have selected this diamond cameo of Katarina as my final image as I think that the original photographs of her are better compared to the the ones of Leticia and Diana above as they required no editing and no need for using photoshop other than to create the actual diamond cameo. I think this piece is really good as Katarina has a good side profile and the lighting whilst taking the original portraits is better compared to when other modelled, as we got her to look in different directions and got her to laugh whilst doing so, these images came out looking very natural and only the top, deadpan aesthetic portrait, came out looking serious, and i think that the other ones are so unposed creates great contrast within this final piece. Furthermore, my favourite part about this diamond cameo is how symmetrical these portraits are without the same image being flipped to do so.

A photo sequence means putting a bunch of pictures in the order the viewer will receive those images, it can be for a book, an exhibition walking tour, or just the reading order of a few photographs displayed on a wall.

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Tracy Moffatt

Tracey Moffatt is a contemporary Australian artist known for her photographs and films. With a variety of narrative techniques, including text, collage, and set design, Moffatt explores issues of childhood trauma, Aboriginal people, and popular Australian culture. She approaches all her work with a film director’s eye for setting and narrative, and her photographs play with a dynamic array of printing processes. Moffatt was the first Australian Indigenous artist to represent Australia for the 2017 Venice Biennale, in a solo presentation of two new photographic series Passage and Body Remembers in the Australia Pavilion in the Giardini.

‘Something More; (1989) is a photographic series composed of six colour prints and three black-and-white prints. It is a now-iconic series of photographs that built Moffatt’s first widespread public attention, each of which borrows from film language to construct what is described as “an enigmatic narrative of a young woman looking for more out of life than the circumstances of her violent rural upbringing.” The series has been described by critic Ingrid Perez as ‘a collection of scenes from a film that was never made. While the film may never have been made, we recognise its components from a shared cultural memory of B-grade cinema and pulp fiction, from which Moffatt has drawn this melodrama. The ‘scenes’ can be displayed in any order – in pairs, rows or as a grid – and so their storyline is not fixed, although we piece together the arc from naïve country girl to fallen woman abandoned on the roadside in whatever arrangement they take.

In Moffatt’s series ‘Up in the Sky‘ (1997), the artist employs the aesthetic conventions of Italian Neo-Realist films to portray scenes of an outback town in which there is some lurking violence. “My work is full of emotion and drama, you can get to that drama by using a narrative, and my narratives are usually very simple, but I twist it,” she has explained. “There is a storyline, but there isn’t a traditional beginning, middle, and end.” The 25 images in Up in the Sky read like stills from a black-and-white movie, set in an Australian outback town desolated by poverty, violence and despair. The narrative of the series is non-linear, but threaded through it are the figures of a young white woman and an Aboriginal baby who represent moments of peace and love amongst the menacing figures of grim nuns withered old men and feral townspeople.

Contact Sheets

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These are some of my contact sheets from the photoshoot, they consist of portraits that are taken from different angles and in different lighting so that I could find which look best for each individual person. I also tried to get as many different faces/emotions as I could so that there were contrasting emotions and it also made it easier to make different sequences.

Editing

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In most of my photos, I really like how they came out a first hand so I have only slightly adjusted the exposure, contrast and some others etc, highlights and shadows.

Final Images

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I have chosen to do two different sequences, the first one is us smiling either towards the camera or while looking away and the second one is the black expressions looking straight at the camera. These are two different and contrasting sequences as there are very different emotions being shown.

A multiple exposure photograph is a type of photo that is created by exposing the same frame of film to light two or more times. Harking back to the days of early film cameras, this allowed the photographer to superimpose one image over another, creating a ghostly image that showed two scenes at once.

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Alexander Rodchenko

Alexander Rodchenko was known for his politically motivated photography, posters, paintings, and sculpture. “The avant-garde of Communist culture is obligated to show how and what needs to be photographed,” he said of the medium. “What to shoot—is something every photo group knows but how to shoot—only a few know.” An early influence came from Kazimir Malevich, whose Suprematist style contributed to Rodchenko’s adoption of an austere aesthetic and use of materials.

Rodchenko was one of the most versatile Constructivist and productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or down below—to shock the viewer and to postpone recognition. He wrote: “One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same keyhole again and again.”

Contact Sheets

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These are some of the photos from our photo shoot, they are portraits of me and my friends with different emotions, they were taken from different angles and with different lighting to try and find what works for each person.

Editing

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While editing I used both Lightroom and photoshop, in Lightroom I adjusted both the exposure and contrast as some of the photos were overexposure due to the lighting. I moved the pictures to photoshop where I layered images and reduced the opacity so that you could see the different layers which created a ghostly effect. On the right, I have used the same three images but have moved two away from the centre but are still overlapping whereas on the left I have used two different images which give two angles of the model instead of just the one.

Final Images

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These are the final four images that I have chosen because I think that they all have unique differences which make them eye-catching. I like the bottom image because of the pink tint as it stands out against the three black and white images, I also like how you can see the multi-exposure and her face clearly which makes the photo captivating. The top right and left photos are similar as they have two exposures, one of the models smiling/laughing and one of them with serious/blank features. The two contrasting emotions allow the viewer to see two sides of the model all in one photo, the photo on the left I also like how the black expression is bigger but still seems to be in the background of the photos while the laughing on is seen as in front.

Photomontage, a composite photographic image made either by pasting together individual prints or parts of prints, by successively exposing individual images onto a single sheet of paper.

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Kurt Schwitters

Kurt Schwitters was a German artist involved in both Dadaism and Constructivism. Schwitters is best known for his Merz and Merzbau works, which incorporated collage, found objects, typography, and sound poetry to construct unique compositions. In these works, the artist used magazine clippings, waste material, and other recycled items in an attempt to express the rapidly changing world.

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Alongside his collages, Schwitters also dramatically altered the interiors of a number of spaces throughout his life. The most famous was the Merzbau, the transformation of six (or possibly more) rooms of the family house in Hanover, Waldhausenstrasse 5. This took place very gradually; work started in about 1923, the first room was finished in 1933, and Schwitters subsequently extended the Merzbau to other areas of the house until he fled to Norway in early 1937. Photos of the Merzbau were reproduced in the journal of the Paris-based group abstraction-création in 1933-34, and were exhibited in MoMA in New York in late 1936.

One entire wall of the Merzbarn was removed to the Hatton Gallery in Newcastle for safe keeping. The shell of the barn remains in Elterwater, near Ambleside. In 2011 the barn, but not the artwork inside it, was reconstructed in the front courtyard of the Royal Academy in London as part of its exhibition Modern British Sculpture.

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“I could see no reason why used tram tickets, bits of driftwood, buttons and old junk from attics and rubbish heaps should not serve well as materials for paintings,” he observed. “It is possible to cry out using bits of old rubbish, and that’s what I did, glueing and nailing them together.”

Final Images

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I have put together three photo montages, using the photos from out portraits photoshoot. The image on the right I have split two portraits with neutral expressions down the middle and I photoshop I have placed them together, I have tried to line the faces up evenly, while still showing all the features of the faces. The photo in the middle I have left in colour as I liked how vibrant the colours are and stood out underneath the two black and white eyes. The eyes are from other portraits of different people which I have tried matching up with the different elements of the background photo. And lastly the photo on the left includes two portraits, one is underneath another which has been split so that it looks like they are slowly coming apart revealing a different face.

I like all of these montages, as they bring different aspects and different ways of montaging photos together. I especially like the image on the right as I think the two halves of the faces compliment each other as they are two different skin tones as well as having darker/lighter clothing. the image on the left I think i should have kept more of the face from the photo on top to make it seem more like it was slowly coming apart and less like there has been a chunk taken out of it.

A diamond cameo is when 4 portraits of the same person are placed onto paper in a diamond shape, each photo having the model looking in a different direction

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In 1864 was when Diamond cameos started getting used, four small oval portraits were placed on a visit card 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. But if there had been a failure of just one of the four portraits through movement, poor expression or incorrect exposure meant that the plate had to be rejected and another four portraits made on a new plate.

In 1865 Frazer Crawford returned from Melbourne with ‘all the latest improvements and novelties in photography’ which included a camera to make Diamond Cameo photographs which, he said, was a new style that was ‘becoming so fashionable.’

Townsend Duryea

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Townsend Duryea and his brother were American-born photographers who provided South Australians with invaluable images of life in the early Colony. 

Townsend Duryea began making Diamond Cameos about May 1865, saying that as he was ‘supplied monthly with all the most recent improvements by the most eminent photographers of England and America’, he felt it was his duty ‘to the public of South Australia to introduce any improvement or novelty worthy of note with as little delay as pressure of business will admit of.’ The novelty of the Diamond Cameo must have worn off by the end of the year as he offered his camera for sale in December, ‘complete with press and dies.’

William Hall

William Hall was a Scottish photographer that moved to England in his twenties, he did this to create a partnership with Stephen Grey ion Brighton who was a portrait painter and photographer. By July 1854, the firm of Grey and Hall had established a ‘Photographic Institution’ at 13 St James’ Street, Brighton. In an advertisement dated 13th July 1854, Grey & Hall announced the opening of their “General Photographic Institution”, where they made photographic portraits “by all the most recent  and improved processes, by License of the Patentees”. In 1862 Hall brought a business premises at 21 North Street, Brighton. The building had previously been used as a lace and linen warehouse, but Hall successfully converted it into a photographic portrait studio. By the early 1860s, William Hall was mainly producing small carte-de-visite portraits at his photographic studio.

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Between 1870 and 1873, William Hall was operating a photographic booth on the West Pier as well as a well-equipped photographic studio at 21 North Street, Brighton. The carte-de-visite portraits produced at Hall’s West Pier booth are distinct from the formal portraits taken at Hall’s main photographic studio in North Street. Whereas the portraits taken in Hall’s North Street premises contain the usual studio props – furniture, drapes, books, painted backcloth, etc., his West Pier portraits are more stark with plain backgrounds with only a collection of fake rocks and boulders to suggest a seaside setting. William Hall closed his West Pier studio after a couple of years.

Final Images

Here I have tried to make a diamond cameo out of some of the portraits I have taken. I edit this in photoshop by creating the ovals and putting the different angled portraits in them. I also tried to pick a neutral colour for the background as I wanted the photos to be the main focus. I like how in all the photos they are very similar as they were taken in the same lighting and the camera wasn’t moved, but the shadows move around the face due to the different positions of the face.

I tried to match the colour of the background to the with the other popular cameos so that they look similar but so that you can see the difference between the modern portrait and one taken in the early 1900s.

In this diamond cameo I have used an old cameo which I have chosen off google as my background and have used the framing tool to out line each circle where I want to place my portraits. I like how the black and white photos sit on the darker background, which isn’t fully black and has little specs of white which shows it age and gives an idea of when the background may have been used first. I couldn’t find a portrait which was looking to the left so i chose a similar portrait of her looking in the same direction but at a different angle and with different lighting.

A juxtaposition is an act or instance of placing two elements close together or side by side. This is often done in order to compare/contrast the two, to show similarities or differences.

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In some pieces where photographers have juxtaposed their photos, they have united them by the quality of light, different viewpoints, subjects, colours and moods to create tension.

Photographers tend to juxtapose their photos when they are trying to highlight or focus on their similarities or differences. They could be trying to show wealth and poverty, class differences, beauty and ugliness or even the different lighting. Photographers might also use this technique for people to see different ways of living in certain places around the world.

Henry Mullins / Michelle Sank

Henry Mullins and Michelle Sank represent 165 years of the practice of photographic portraiture in Jersey. That period has seen the island undergo major social and economic changes. Sank shows how the social divides that were placed during Mullins time can still be seen today. For example in the bottom left photo Sanks image of a farmer in the middle of a field contrasts with Mullins image of a woman in what seems to be upper class getting her portrait taken.

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Between 1850-73 Henry Mullins made over 9000 carte de visite portraits of Jersey’s ruling elite and wealthy upper classes. The collection that exists of his work comes through his studio albums, in which he placed his clients in an ordered grid with reference to mid-nineteenth century social hierarchies. 

“This sense of theatre, ritual and a richness of materiality are things I was very tuned into during my residency and consequently when making the work which crossed class, age and gender.” -Michelle Sank

My Experiments

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I have used two portraits taken by Julia Margaret Cameron and have put them next to two other portraits that are more modern and are in black and white which I have taken. I like how in Cameron’s photos you can see the age through the colours, how clear the portraits are and on the right, you can see the wore out edges.

I have used a portrait of a young woman which was taken in the 1800s by an unknown photographer. I like how in both photos they are both in the middle and looking in the same direction but you can see clearly that they are from two different eras and not just by the quality of the portraits. The more modern hairstyle and clothing contrast with the older style that was worn during the 1800s.

Introduction and Mood Board

In art, as in literature, juxtaposition refers to the side-by-side placement of two or more contrasting things. As with colour, shape, and cropping, juxtaposition can become a key component of photographic compositions, helping to tell a story and emphasise differences or similarities between objects or people.

I have created this mood as an inspiration for how I will create/ take some of my juxtaposing images, the main idea of the layout of this mood board as to create a blend between photographs of objects and the ones of objects and landscapes. What I like about these images impartially is the wide use of portraits as they have been contrasted with other individuals or for example their younger self or landscapes such as mountains.

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Why do writers use juxtaposition? When a writer juxtaposes two elements, they invite the reader to compare, contrast, and consider the relationship between those elements more closely. Also, Writers create juxtaposition by placing two entities side by side to create dramatic or ironic contrast. Juxtaposition is a form of implied comparison in that there is no overt comparison or inference on the part of the writer.

Beyond that, juxtaposition is a theme that spans genres, from street photography to landscapes. Below, we’ll take a look at some exciting and unexpected examples of juxtaposition within the 500px community. Any photo that uses proximity to make a subject appear larger or smaller than it is, is an example of forced perspective. It works particularly well in street photography, where your position can make a person look tiny—and a dog or a cat appear huge in comparison.

Robert Rauschenberg

Robert Rauschenberg was an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his Combines (1954–1964), a group of artworks which incorporated everyday objects as art materials and which blurred the distinctions between painting and sculpture. Rauschenberg was both a painter and a sculptor, but he also worked with print and paper making.

Rauschenberg received numerous awards during his nearly 60-year artistic career. Among the most prominent were the International Grand Prize in Painting at the 32nd Venice Biennale in 1964 and the National Medal of Arts in 1993. Rauschenberg lived and worked in New York City and on Captiva Island, Florida, until his death on May 12, 2008.

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Rauschenberg merged the realms of kitsch and fine art, employing both traditional media and found objects within his “combines” by inserting appropriated photographs and urban detritus amidst standard wall paintings. Rauschenberg believed that painting related to “both art and life”.

Rauschenberg had experimented with technology in his artworks since the making of his early Combines in the mid-1950s, where he sometimes used working radios, clocks, and electric fans as sculptural materials. He later explored his interest in technology while working with Bell Laboratories research scientist Billy Klüver. Together they realised some of Rauschenberg’s most ambitious technology-based experiments, such as Soundings (1968), a light installation which responded to ambient sound.

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Why I would like to use his work to influence my ideas: I like how these pieces of art allow for a lot of creative freedom, as they could be seen as random and sporadic. Thinking my work could benefit from this inspiration, I am going to recreate these types of pieces with my monochromatic portraits, combining multiple different peoples faces together to create final pieces. I do like how Rauschenberg’s work is full of colour and therefore life, but I will not copy his work, just apply his techniques to my editing to attempt to made combinations of portraits.

Artist Contribution: In 1969, NASA invited Rauschenberg to witness the launch of Apollo 11. In response to this landmark event, Rauschenberg created his Stoned Moon Series of lithographs. This involved combining diagrams and other images from NASA’s archives with his own drawings and handwritten text. Also, International travel became a central part of Rauschenberg’s artistic process after 1975. In 1984, Rauschenberg announced the start of his Rauschenberg Overseas Culture Interchange (ROCI) at the United Nations. Almost entirely funded by the artist, the ROCI project consisted of a seven-year tour to ten countries around the world.

Other Ideas

Here I have no use any inspiration from any artists to create photo montages, but have just combined some of my favourite images, mostly to just experiment and to learn what works and what doesn’t, but furthermore to showcase my strongest photographs and illustrate and multiple images put together can show a story throughout time.

This piece was created using some images of Katarina and Diana, the whole aim of this piece was for both of them to be looking in the same direction, like they are both smiling for the same reason. I think that this images compliment yet still contrast each other well as the left of Katarina has no shadows is a very light and subtle image whereas the portrait of Diana on the right of Diana is very dark, containing the focus onto her face and only that, whilst Katarina’s focus is more on her hair and eyes. It could be implied that this could be linked to the idea of night and day and the image of Diana looks like it was taken during the night time. Furthermore, it could be thought that the initially thinking of this montage would be to compare these two individuals, but it’s actually to allow them to relate to the same things, this is all linked back to them looking in the same direction.

Above I created a photo montage in photoshop, using 3 photos of Niamh from the same photoshoot, I ordered them so that the most zoomed in image was in the middle, making this piece symmetrical. In addition, these images are actually placed in time ordered, with the first being taken before the last, the aim of this way to create a story through time and me and Lottie were behind the camera attempting to make her laugh, as in my opinion her best features are brought out this way. I really like how this turned out as her smile gradually gets wider and the placement of the photographs compliment each other well.

Another experimentation I created when making photomontages was this one of Leticia on the left and me on the right. In my opinion, the main contrasting element of this piece is us looking in opposite direction, with Leticia looking very natural and happy. Whilst the photo of I juxtaposes this as its very serious and posed, despite being very different I still like both of these images and i think thats why this piece turned out so successful.

Francesca Woodman 1958-1981

Francesca Stern Woodman was an American photographer best known for her black and white pictures featuring either herself or female models. Many of her photographs show women, naked or clothed, blurred, merging with their surroundings, or whose faces are obscured. Her work explored many themes that affected young people and herself, for example: relationships, sexuality, questions of self, body image, alienation, isolation and confusion or ambiguity about personal identity.

I have picked her because I like her gothic like style. It looks like she might be struggling mentally and I want to do something similar because it interests me. The blurry pictures that she takes could indicate that she feels like she doesn’t know who she is or is lost.

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Claude Cahun 1894-1954

Claude Cahun was a French surrealist photographer, sculptor and writer. They are best known for their androgynous self-portraits that focus on identity, gender and social norms. During the second world war they lived in Jersey Channel Islands with their partner Marcel Moore until 1954. Because they lived here during the occupation, they got imprisoned and sentenced to death due to their resistance activities; however, it never got carried out because Jersey was liberated . They would go to town with their partner dressed as old ladies and place German messages about the idiocy of war on car windows and inside cigarette packets.

 “Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me.”

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Lorna Simpson 1960

Lorna Simpson is an American photographer that became well known in the 1980s for exploring themes and ideas relating to identity politics. Identity politics focuses on the lives and experience of those who are often marginalised in society such as people of colour, women and gay people. She combines her photographs with words and questions and challenges the narrow ideas surrounding women, culture and race.

I like her work as it focuses on gender norms and stereotypes. I think her use of sequences is quite powerful and it’s something I would like to incorporate into my own work.

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Angela Kelly 1950

Angela Kelly is an Irish photographer that moved from Belfast to the US as a full- time Visiting Artist at the School of the Art Institute, Chicago. One of her early works is called “Woman’s Identity” and is from 1975-79. In this project she takes on the conscious idea of a self portrait as both problematic and self empowering, and issues of feminism, identity and place. The title refers to a singular woman’s gaze rather than assuming a universal status for all women.

I picked her because I like how all of her work is simple and how she doesn’t show her full face in any of the photographs, which could indicate that she doesn’t want to be known and is not important enough because she is a woman and at the time men had more power and importance.

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Close up photography refers to a tightly cropped shot that shows a subject (or object) up close and with significantly more detail than the human eye usually perceives. The extreme close up shot is generally used to allow the viewer to enter the character’s personal space, revealing traits and emotions that might otherwise go unnoticed. The frame is so tight that using an extreme close up shot gives the viewer no choice but to experience the character’s feelings alongside them.

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Satoshi Fujiwara

Satoshi Fujiwara is a contemporary artist and photographer who was born in Kobe, Japan and is currently based in Berlin, Germany. He has produced and contributed to several art books such as Code Unknown, this book consisted of portraits taken by Fujiwara while he was on a subway in Berlin of his fellow passengers. As he knew he couldn’t publish pictures of people without their consent or knowledge he edited them so that identifying the person was practically impossible. Using shadows and various compositional approaches, as well as digital processing, framing, and trimming, Fujiwara modified the “code” of his secret portraits, thereby also circumventing the right of likeness. Accustomed to the homogeneity of Japanese society, he was struck by the diversity of people and the diffusion of codes he encountered.

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“I took these pictures over a period of several months while riding various subway lines in Berlin from morning to night. The city is home to people from a diverse range of ethnic backgrounds. On the train, the air is not only filled with German, English, and other European languages, but also many languages from the Middle East and Asia. To someone like me, who was born and raised in a racially homogenous country like Japan, it seems as if these codes, unleashed from every direction and unmixed, form a diffuse reflection.” -Satoshi Fujiwara 

Contact Sheets

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These are a couple of my contact sheets which show the different types of close-up photos that we took. As you can see we tried different lighting and many different angles to try and get the perfect photos for each person.

Editing

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These are some of my edited photos in lightroom, in most of the photos I have only adjusted a few of the different settings, these include exposure, contrast, highlights and shadows. For the edit of the right, I decrease the shadows so that the final photo was darker, by doing this the shadows around the eyes and nose are more prominent. In the edit on the left, I have decreased highlights instead so the lighting on the left side of the face wasn’t as shiny or bright.

Final Portraits

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I have chosen these photos as my final ones as I feel that they each have different lighting which compliments the model in the photos. I really like the bottom left photo as it is a close-up of her face where you can see all the different features such as her smile lines, I also like that she is looking away from both the camera and the light which means the camera captures the shadowing around the nose and mouth as the light is on the other side facing the camera. Another one that I think shows the model’s feature nicely is the top middle, by the way, the camera angles and how she is looking towards the camera you can see the different heading in the eyes and the different texture of the hair as it frames her face.

Definition: Close up photography refers to a tightly cropped shot that shows a subject (or object) up close and with significantly more detail than the human eye usually perceives. With close up photography, you reduce the field of view, increasing the size of the subject, and creating a tight frame around your selected shot.

Role in my project: I could use the images taken from this photoshoot to create diamond cameos and multi-exposure edits. I also think that being able to see models’s facial features more easily makes for interesting photography on my blog as it means I can display a good range of different ways to photograph, showing skills.

Mood Board

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Bill Brandt

Bill Brandt (born Hermann Wilhelm Brandt; 2 May 1904 – 20 December 1983): 14  was a British photographer and photojournalist. An English photographer of German birth, Brandt travelled to Vienna in 1927 to see a lung specialist and then decided to stay and find work in a photography studio. There, in 1928, he met and made a successful portrait of the poet Ezra Pound, who subsequently introduced Brandt to the American-born, Paris-based photographer Man Ray.

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Upon his return to London, in 1931, Brandt was well versed in the language of photographic modernism. During the 1930s he published his important early monographs The English at Home (1932) and A Night in London (1932) in addition to becoming a frequent contributor to the illustrated press, specifically Picture Post, Lilliput, Weekly Illustrated, and Verve, his published pictures exemplifying his technical skill and his interest in building visual narratives.

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Image analysis of his work

I have selected to analyse this image as this portrait is not of a face, and I think that I will recreate this in my project. The fact that this image is in black and white means that the shadows that are in between the fingers are more prominent, this also makes the texture of the skins more obvious, adding depth to the image. It can be implied that this portrait is composed of a male and a females hand as the different in hand sixes and textures is apparent, and they could have a big age gap. Furthermore, the fact that they are their fingers are interlocking like holding hands means they could be in a relationship or have been positioned this way to make it appear as in the linking of fingers is the connection or their love. Additionally, their is a variety of the shapes in this piece as the ovals around the tips of the fingers and the stronger outliners around the stones below contrast each other, but still compliment each other. As this could also represent the theme of the living and the inanimate as the hands are laid above the stones to create a part of a contrasting image.

Satoshi Fujiwara

It was through a career in advertising, working as a graphic designer and planner, that Satoshi Fujiwara, born in Japan and now living in Berlin, became interested in how visual information and photographic images influence people and society, and how he could attempt to redefine photography to make cross-sectional inquiry within his artistic practice

Satoshi has also published several books, including : Code Unknown, published by IMA photobooks, 2015; 5K CONFINEMENT, Luigi Alberto Cippini, published by la Fondazione Prada, 2017; HORSES, Satoshi Fujiwara & Yngve Holen, published by Walther König, 2018.

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Second picture below: It was taken at 12:37 p.m on September 10, 2014, a couple of years after relocating to Berlin where I started working as a photographer. Since the beginning, I’ve had a strong interest in the various fuzzy boundaries in relentlessly reproducible contemporary imagery. To focus on portraiture, the right of likeness is something that has long-troubled photography since the invention of the camera. Today, with the rise of social media, we have become even more acutely aware of photographs and those who appear in them when they are posted on digital media.

With furthering technological developments in digital photography, it will be even more difficult to make legal judgments in cases involving the right of likeness. I won’t mention anything about this specific subject. How she/he actually looked like, so-called ’fact’ or ‘background’, and so on except for the date photographed which is visible in the data. Because only the image that is detached from the ‘original’ context allows the viewer to be read with subjective interpretation.

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Image Analysis: These images are very different from Brandt’s as they are full of colour and warmth, and these pieces of work are of the full face and not just part of the faces such as the ears and nose. Firstly, I think that the clarity of this photograph and the lighting make for a part more interesting image and better final product, as other aspects such as the lighter line on his cheek bone and the freckles and wrinkles on the face of an older individual creates more depth of the image. Furthermore, the grey/ blue colours in the eyes creates a nice colour difference compared to the red of the food packaging, and the fact that this is scrunched up means that it adds additional texture to the image despite the wrinkles on the face already being there. My favourite part of this photograph is actually the hand at the bottom and it creates an end to the image and you can see that part of the smallest finger as been cropped out, I think this is an effective way to combine these piece together, as the skin from the forehead and at the bottom on the hand make the image more cohesive.

How to create a close up portrait:

1. Make your model’s face stand out with makeup or face paint
2. Take face close ups using a zoom lens
3. Use a large aperture for a softer focus
4. Use natural side light to make every close up look good
5. Use direct light to create portrait lighting patterns
6. Make sure a range of lighting techniques are used
7. 1 and 2 point lighting should be included
8. Additionally the Rembrandt and butterfly effect

Contacts Sheets

Below I have placed some contact sheets to show that I have placed them into Lightroom and organised them, as the third contact sheet is full of images i think are usable for this project, along with some being edited. To do this I created a quick collection to better help organise my images.

Editing

Below I have placed some screenshots of the editing process, done in Lightroom Classic, to alter these photos I have changed setting such as the exposure, saturation and white balance to make these images look better.

Final Images

Here I have edited an image of Katarina, in the same way in which Bill Brant does, making the image monochromatic so that the texture of the skin is more prominent, this means that it gives the final image more depth and even more clarity then it did before. My favourite part of this up close image occurred by accident, and that is the light reflecting off her eyes, as this mean that the bright light in her eyes matches with the light reflecting off of the end of her nose ad some areas of her cheeks, making the piece more cohesive. Furthermore, I decided that this image would look better in black and white as the darker tones in Katarina’s hair and eyes means that tones in the image can link together better.

I have selected this image of me as one of my final ones as I think the lighting of this images of some of the best in our taken collection of images meaning that my facial features are clear and the pigment on my lips and in my eyes stand out as the best aspects of the image. Furthermore, I changed the exposure of this image so that its on the verge of being too exposed an I think this was a good choice because it means that the light reflecting on my eyes is more apparent, and this matches with my pale complexion whilst still leaving the shadow next to my nose.

Above I have chosen this photos of Diana as one of my final pieces as I have cropped it so that the background and some of her hair are now taken away so that more focus is on her face.