By using the honey comb attachment onto the light with a coloured gel, and a different colour gel in the snoot light attachment. I then took the pictures into photoshop, I duplicated the images then flipped them and changed the opacity of the top layer of the image.
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.
Examples of his work
My Response
The Camera Obscura (Latin for ‘dark chamber’) is the ancestor of the photographic camera, a blacked-out room with a small hole or lens which allows the outside image to be projected into the room upside down. The earliest known accounts of the Camera Obscura date back to 400BC from Chinese Philosopher Mo-Tzu. After thousands of years, the first scientific outlined description was in 1000AD by Ibn Al-Haytham. It was mostly used for drawing, it allowed the artist to trace the projected image and produce a high quality and accurate work of art. Famous artist such as Leonardo da Vinci and Michelangelo used the camera obscura, da Vinci wrote a detailed account of the it in his 1,286 paged collection of drawings and writing called “Atlantic Codex” in 1490. It was also used for studying eclipses, it reduced the risk of damaging their eyes while looking directly into the sun. This invention has now developed into the modern day “Pinhole Camera” .
“…Here the figures, here the colours, here all the images of every part of the universe are contracted to a point. O what a point is so marvellous!”
– Leonardo da Vinvi, 1490
Joseph Nicephore Niepce developed the Heliography in 1927, the world oldest surviving photographic technique. This process created the first and earliest known permanent photograph, taken from a natural scene, Niepce’s iconic photograph “View from the Window at Le Gras” in 1826. This picture is often acclaimed the most important and famous photographs of all time. The image and Niepce’s research was effectively lost in the 19th century despite all his efforts to get his work publicised and sell his invention. His iconic first photo was then rediscovered by photography historian Helmut Gernsheim in 1952 along with many of his writings.
For the time, Heliography was a ground-breaking process. The procedure worked by Niepce dissolving light-sensitive bitumen in oil of lavender and applied a thin coating over a polished pewter plate. He then inserted the plate into a camera obscura and positioned it near the area that he wanted to photograph.
Louis-Jacques-Mandé Daguerre was a French painter and physicist that invented the first practical process of photography, the Daguerreotype, in 1839. It is a direct-positive process which creates an intensely detailed image on a sheet of copper lined with a thin coat of silver without the use of a negative. The copper plate will then need to be cleaned, polished and refined until it looks like a mirror. The polished plate is then taken to a dark room and sterilised with chemicals before then being left in the open to be exposed to what the photographer wants to be photographed. The copper plate is then returned to the darkroom where the image is “brought out” with the fumes of heated mercury before then being “fixed on” with hyposulphite of soda and then washed in water and dried. These images were very delicate and easily damaged so they often came with protective cases
William Henry Fox Talbot invented the Calotype, also known as the talbotype, in the 1830s. The name calotype comes from the Ancient Greek καλός (kalos), “beautiful”, and τύπος (tupos), “impression”. It was the first ever negative-to-positive image process and famous for the soft texture and lack of detail A piece of paper would be bathed in chemicals (silver chloride) to become light sensitive which was then placed inside the Camera obscura and would record a negative image as it is exposed to light. These images were then printed in positive on salted paper and fixed using sodium hyposulfite.
Robert Cornelius was an American photographer who took the first self portrait in 1839 in Philadelphia, USA using the Daguerreotype. He set up the camera in the back of his family store by removing the lens cap and then sitting in front of it for a minute before then covering the lens again. On the back of the image, it said “The first light Picture was ever taken. 1839.”
“Catching a shadow is a thing no more to be laughed at. Mr Cornelius, in one matter, has outstripped the great master of the art.”
–GODEY’S LADY’S BOOK, APRIL 1840
Born in the 1860s, pictorialism flourished for several decades after and was a photographic approach that looks to emphasis beauty rather than documentary. Pictorialism creators took photography and reinvented it as an art form, placing beauty, expression, and composition above creating an accurate visual record. Pictorial photographs often had a soft focus and was printed on one or two colours rather than black and white, also often including brushstrokes or other similar visible manipulation to the surface.
Julia Margaret Cameron was a British photographer who was considered one of the most important Pictorial photographers in the 19th century. Born in 1815, her famous portraits of Victorian men and women established herself herself first among Calcutta’s Anglo-Indian upper-class. She picked up photography late after getting a camera from one of her children at 48 years old, she went on to take over 1200 photographs over 14 years.
Henry Mullins was a photographer working at the Royal Saloon, at 7 Royal Square in Jersey during the 2840s. He would photograph singular, duos and grouped portraits of islanders which led to almost 10,000 photographs in the Jersey Photographic Achieve, this was known as cartes-de-visite. During this time, the cost of a portrait was very high so only the upper-class and more wealthy people of Jersey got photographed. Mullins was popular with many high up officials and politicians so often photographed them, their wives and children.
Bibliography
Camera obscura: https://www.hsm.ox.ac.uk/camera-obscura
Camera obscura: http://www.photographyhistoryfacts.com/photography-development-history/camera-obscura-history/
Daguerreotype: https://www.metmuseum.org/toah/hd/dagu/hd_dagu.htm
Daguerreotype: https://www.photohistory-sussex.co.uk/dagprocess.htm
Calotype: https://www.metmuseum.org/toah/hd/tlbt/hd_tlbt.htm
Calotype: https://www.britannica.com/technology/calotype
Self-portrait: http://www.betterphotography.in/perspectives/great-masters/robert-cornelius/216722/
Pictorialism: https://www.britannica.com/technology/Pictorialism
Julia Margaret Cameron: https://www.vam.ac.uk/articles/julia-margaret-camerons-working-methods
Julia Margaret Cameron: https://www.theartstory.org/artist/cameron-julia-margaret/
Henry Mullins: https://www.theislandwiki.org/index.php/Henry_Mullins
NATURAL LIGHT
Natural light is the use of the sun to illuminate the area for the photographer. There are many different types of natural light: shade/overcast, backlighting, direct light, side light, and golden hour which is argued to be the best time to take photos.
GOLDEN HOUR
What is the golden hour?
The “golden” or “magic” hour is the hour after a sunrise or the hour before a sunset, the sky is often a soft golden yellow colour as the sun leaves or enters our hemisphere. Photographers and cinematographers often deem this as ‘perfect lighting’ as the brightness of the sky matches the brightness of the streetlights, lit windows, and car lights which creates an overall blend and calmness. However, this lighting can be used to the photographers advantage by placing the subject/camera in a way that elevates the whole picture (either having the sun light come from behind the camera or in the background) and the use of shadows can be used creatively.
Light is softer – unlike the harsh rays at the other times of day, the sun is not shinning directly down, the sun rays have to travel a longer distance which reduces the intensity of the direct light. Skin tones get washed away in direct or artificial light but the golden hues enhances the subjects natural skin.
ARTIFICAL LIGHT
BUTTERFLY LIGHTING
Butterfly lighting, also known as ‘paramount lighting’ or ‘glamour lighting’. The name comes from the butterfly shape shadow created under the subjects nose. A reflector is often used under the model to ensure that the light reflects back up onto the subjects face, adding more definition and highlights their features. A soft box is also used so that the light is not too harsh and doesn’t wash out the subject too much. This is the lighting set up which is used:
REMBRANDT LIGHTING
Rembrandt lightning is when the light source, often a soft box, is around 5 feet away from the model at a 45 degree angle, looking down onto the subject. This casts a shadow on one side of the models face and highlights the other side, this is also called “Rembrandt patch”. A reflector is then used so as much light is being utilised as possible.
This lighting technique originated through Rembrandt’s famous paintings where he would often using different lighting techniques, but this one in particular, to elevate and add another artistic element to his paintings. The famous Dutch painter ‘coined’ the term in the 17th century
Here are the outcomes from a portraiture photoshoot I did in the studio. The majority of my photographs are half-body shots, which allowed me to instruct the models to do certain poses. I have edited them in Lightroom, for some to make the background colours more apparent, and for others to make them in black and white to dramatize them.
Contact sheet
My first subject:
These are the outcomes of the photographs I took of my first subject, it is clear that she is confident in front of the camera. I instructed her on certain poses, to make the photograph more engaging and entertaining but also to make her try feel more relaxed. I have also edited some so that they’re in black and white, though this is to dramatize them a bit more but also because the original images don’t contain much colour, therefore they’re arguably more appealing in black and white.
The lighting technique I used to photograph this model was Rembrandt lighting.
Contact sheet
My second subject:
The lighting technique I used to photograph this model was Rembrandt lighting.
The lighting technique I used to capture these photographs was butterfly lighting.
Contact sheet
My third subject:
I believe these photographs show elements of the Chiaroscuro lighting technique.
The lighting technique I used to capture these photographs was Rembrandt lighting.
I believe the majority of these photographs to be example of the butterfly lighting technique.
Diamond Cameo edit
I cropped a circle from 4 photographs I took during the lighting techniques photoshoot above. I then arranged them into the diamond cameo structure
Final outcome:
I made the final edit black and white to dramatize it. This was also so that the colours of the photographs and the previous beige background didn’t clash.
Who
Friends available
What
I will be focussing on taking pictures that show evidence of lighting techniques we have been taught in lesson i.e., Rembrandt, Butterfly, Chiaroscuro
Where
In the studio so I can effectively use the lighting and space to create the right lighting in the techniques
When
During study periods when I have booked the studio
How
Using the lights in the studio, as well as instructing and positioning the subjects to create the different lighting techniques
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. Here he would photograph Jersey political elite (The Bailiff, Lt Governor, Jurats, Deputies etc), mercantile families (Robin, Janvrin, Hemery, Nicolle ect.) military officers and professional classes (advocates, bankers, clergy, doctors etc).
His portrait were printed on a carte de visite as a small albumen print, (the first commercial photographic print produced using egg whites to bind the photographic chemicals to the paper) which was a thin paper photograph mounted on a thicker paper card. The size of a carte de visite is 54.0 × 89 mm normally mounted on a card sized 64 × 100 mm.
This diamond cameo was inspired by Henry Mullins who created diamond cameos of Jersey citizens in 1848.
To create these photos i created them using the exposure settings on the camera and by also using photoshop, i enjoyed creating them more using the camera settings and using the different lighting in the studio.
I chose to do this style of portraiture as I wanted to challenge myself by being able to create multi-exposure on a camera and on Photoshop.
Research/ information on Double/ multi-exposure:
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.
Artists explore these techniques to dive into Surrealist ideas, ‘dream-like imagery’. The blur and sense that the image was taken twice creates the affect that it explores time. Artists that explore Double/multi-exposure: Man Ray, Alexander Rodchenko and Claude Cahun.
My take on Double/ multi-exposure:
The following edits were made using the camera and having it on multi exposure setting.
Edit one:
Edit two:
Edit three:
The next following edits are made using photoshop and merging images together and changing the opacity:
Edit one:
Edit two:
