In these montages I mixed two different photoshoots to create a more visible montage, I mixed the colour gels photoshoot and the chiaroscuro lighting shoot. I used two different images from the colour gel photoshoot to create more dimension within the images. Some images I created a basic montage to try and keep the image simple and a somewhat basic montage. In the first two edits I used the same images from the same photoshoot however soon realised it wasn’t as impactful. The first edit I used different coloured images so that you could see the images I cut and pasted however in the second image there is minimal difference within the image. Furthermore in the second edit there is limited depth to the images as there is stationary lighting throughout.
The images used in this edit have been taken as singular shots, which means each image is an individual. We used colour gels to create the different colours within the image in order to create the multi coloured background. I picked images within the same photoshoot to keep a corresponding mood within the triple exposure edit, these images were alike yet shared differences therefore worked within the edit. I made one of the pictures and slowly while decreasing the opacity to create a shadow within the triple exposure.
EDIT TWO:
Similarly to the other edit colour gels were used, these images were still taken while using the blue and red lighting. While photography Phoebe she held a mirror in order to try and reflect her face, in order to get to sides of her face within the portrait. That image was taken at an angle therefore I used an image with a direct mode of address, this is to create dimension in the image.
EDIT THREE:
These images were taken in a red light, which connotes danger, sacrifice, courage however has also had recent connotations of heat, love and passion. Within my images taken of Phoebe my images radiate danger and anger, this is to do with her posture as well as the stance of her body and the direct eye contact seen in this images. For this double exposure I chose images that are fairly similar with a slight difference of the angle of her face, this is to create a simple yet affective double exposure without removing the power image it is itself.
EDIT FOUR:
This image was taken on the camera itself using the double exposure setting, this therefore meant I didn’t have to manually have to create a double exposure on photoshop. However I did adjust the exposure and hues in the image to reduce the amount of light which affected the images by creating a white undertone and lacking colour. In order to create the vivid colours seen in the last image I increased the hues and saturation.
The images used in this diamond cameo are used with chiaroscuro lighting, that is where the light creates a contrast of dark and light on your face. These images seemed to work with the diamond cameo as Anna’s face was tilted on the side creating that circle and affect of a flowy circle. However to further improve this cameo I would do another photoshoot using this lighting and take photos in more angles, as I had to photoshop the different angles on her face.
EDIT TWO:
In this diamond cameo I tried creating a older, rusty look. I got a picture of old brown paper from the internet to create a more vintage look. When editing the pictures of Wiktoria I made them black and white due to most of the first photography created they tended to be black and white. I used the posterize tool to create the grainy background in the back of the portraits. To further experiment I made the whole image black and white including the background to create more of a neutral plain image, also using the posterize tool to blend the background a portraits together while also trying to additionally old age period mood.
EDIT THREE:
In this cameo I used images from the colour gel photoshoot, I used photos from the same colour to try and be able to create an association within the cameos. I put these images on a dark background as it visually looks more aesthetically pleasing as the portraitures are already slightly darker and a white background would wash out the images and create the main focus on the background instead of the images. The images show different angles of Phoebes face which fits with the diamond structure, as it goes round in a circle, which slightly gives a connotation of a clock how time passes and how a face can change even if it is just the angle.
Diamond Cameo’s are four small oval portraits that are placed on a carte de visite in the shape of a diamond. Each portrait being of the same person photographed in a different position.
EXAMPLE’S OF DIAMOND CAMEO:
Diamond Cameos
HOW TO TAKE/MAKE A DIAMOND CAMEO:
To make a diamond cameo start by creating headshots of the person. Personally I would use straight on lighting, or butterfly lighting, this is so the image is not too dark and you can see the face clearly.
Begin with the first image, the image of your subject. Open the image and use the pen tool to create a selection with your subject. Create a layer mask to hide the background.
Add your second image, to the document. Resize it to fit the frame accordingly.
In the “Blend Mode” dropdown, select “Screen.” This will layer the two images and create the double exposure effect. If you don’t like where the images overlap, re-size the second image until it looks right.
Adjust the contrast, colour balance, hue, and saturation to achieve your desired effect.
Photomontage is the process and the result of making a composite photograph by cutting, gluing, rearranging and overlapping two or more photographs into a new image.
EXAMPLES OF A PHOTOMONTAGE:
Photomonatge
HOW TO CREATE A MONTAGE:
To create Grid images you can either do this digitally or hand-made. In photoshop you can open a background image and open a further image you wish to put in addition to the other image. You then cut out your image and add it wherever you wish on your background layer. You can also do this handmade by cutting out images and experimenting where you can place different shapes and sizes, you can then glue it to create your photomontage.
These images were used with Chiaroscuro Lighting. I photographed Phoebe on a black background to create more of a dramatic effect and a more darker sinister image, giving a sense of a horror movie poster. However in these images I want to create a sharper contrast between the two halves of her face to create more of a distinction between the bright and dark lighting on her face. In these images I will increase her exposure slightly, while also increasing the contrast to create that sharp lines on her face, yet I don’t want to overdramatise the image. Increasing the whites in her images will illuminate the natural highlight on her cheekbones which will give her a natural brighter complexion.
Original
EDIT TWO:
The lighting used in this image is slightly underexposed which has an affect on the whole photograph. While creating this image we had a dark background with minimal lighting which creates a flat image as there is no contrast between the two lightings. So in this image I will increase the exposure to make Phoebes right side of the face brighter which will results in a jarring distinction between the lighting. I also slightly increased the contrast so the exposure doesn’t wash out the features and colours in her face.
Original
EDIT THREE:
Due to the darkness of the image, it has created an ominous and sinister aura. The Chiaroscuro Lighting can be used to create film posters including the genres: horror, and drama, this is because eerie and mysterious mood. The position of the lighting has given a symmetrical shadow of her face, however due to the low lighting their is no depth in the image, so I will slightly increased the exposure to create some light on her face. Furthermore I will increase the highlights in order to show the natural highlight already seen on her face, enhancing the brighter features on her face.
Chiaroscuro, deriving from the Italian describing the contrast between light and dark in imagery. Chiaroscuro lighting is a high-contrast lighting technique that uses a key light to achieve dark backgrounds with starkly lit subjects.
WHAT IS CHIAROSCURO LIGHTING USED FOR?
This type of lighting creates shadows and highlights on objects in your frame which help to bring out texture and shape.
Butterfly lighting is a type of portrait lighting technique used primarily in a studio setting. Its name comes from the butterfly-shaped shadow that forms under the nose because the light comes from above the camera. You may also hear it called ‘paramount lighting’ or ‘glamour lighting’
WHAT IS BUTTERFLY LIGHTING USED FOR?
Butterfly lighting is a lighting pattern used in portrait photography where the key light is placed above and pointing down on the subject’s face. This creates a dramatic shadow under the nose and chin that looks like a butterfly. Butterfly lighting is usually used for modelling as is highlights the cheek bones by creating a shadow, this makes the model look skinner.
HOW TO CREATE BUTTERFLY LIGHTING:
RESPONSE TO BUTTERFLY LIGHTING:
Wiktoria Markiewicz Butterfly LightingCharlie Bell Butterfly Lighting
Rembrandt lighting is a standard lighting technique that is used in studio portrait photography and cinematography. Rembrandts lighting signature is to create a small triangle on the face.
Keanu ReveesMarilyn Monroe
WHY USE REMBRANDT LIGHTING?
Rembrandt lighting is used to create a mysterious or moody portrait. By using Rembrandt lighting you instantly create shadows and contrast – and of course, the characteristic ‘triangle of light’ beneath the subject’s eye, which draws the viewer’s attention should be drawn to the triangle of light on the subject’s cheek.
HOW TO CREATE REMBRANDT LIGHTING SET UP:
Light: Lighting styles are determined by the positioning of your light source. Rembrandt lighting is created by the single light source being at a 40 to 45-degree angle and higher than the subject. Use cans use both flashlights and continuous lights.
Lens: Use a 35mm or 50mm if space is at a premium – or if you’re looking at including more of the subject than just the head and shoulders. A 50mm works really nicely for portraits and will give a nice depth of field if you’re shooting at a shallow aperture. But a 35mm will give you a wider point of view and is great to fit more of the body in of.
Lighting Set Up
RESPONSE TO REMBRANDT LIGHTING:
George Flavell Rembrandt Lighting Charlie Bell Rembrandt Lighting
Camera obscura literally means ‘dark chamber’ however it is defined as a darkened room with a small hole or lens at one side through which an image is projected onto a wall or table opposite the hole. The earliest known written account of a camera obscura was provided by a Chinese philosopher called Mo-tzu (or Mozi) in 400BC. He noted that light from an illuminated object that passed through a pinhole into a dark room created an inverted image of the original object.
Joseph Nicephore Niepce who was the first to make a permanent photographic image. He was a son of a wealthy family suspected of royalist sympathies, Niépce fled the French Revolution but returned to serve in the French army under Napoleon Bonaparte. Dismissed because of ill health, he settled near his native town of Chalon-sur-Saône, where he remained engaged in research for the rest of his life.
Heliography is technique, Niepce used to create the world’s oldest surviving product of a photographic process: a print made from a photoengraved printing plate in 1825.
Traces of solar energy are burnt into the film material using self-constructed devices and lenses with a diameter of up to one meter. Afterwards, the shots are enlarged and printed on paper or the film sheets are directly shown in light-boxes. Or, the film slides themselves are projected onto hangar-sized walls.
Louis Dagueterre was a French painter and physicist who invented the first practical process of photography, known as the daguerreotype. Though the first permanent photograph from nature was made in 1826/27 by Nicéphore Niépce of France, it was of poor quality and required about eight hours’ exposure time. The process that Daguerre developed required only 20 to 30 minutes.
Daguerreotype was the first publicly available photographic process; it was widely used during the 1840s and 1850s. “Daguerreotype” also refers to an image created through this process. In contrast to photographic paper, a daguerreotype is not flexible and is rather heavy.The daguerreotype is accurate, detailed and sharp. It has a mirror-like surface and is very fragile. Since the metal plate is extremely vulnerable, most daguerreotypes are presented in a special housing.
To make the image, a daguerreotypist polished a sheet of silver-plated copper to a mirror finish; treated it with fumes that made its surface light-sensitive; exposed it in a camera for as long as was judged to be necessary, which could be as little as a few seconds for brightly sunlit subjects or much longer with less intense lighting; made the resulting latent image on it visible by fuming it with mercury vapor; removed its sensitivity to light by liquid chemical treatment; rinsed and dried it; and then sealed the easily marred result behind glass in a protective enclosure. [FOUND FROM WIKIPEDIA]
Henry Fox Talbot was an English chemist, linguist, archaeologist, and pioneer photographer. He is best known for his development of the calotype, an early photographic process that was an improvement over the daguerreotype of the French inventor Louis Daguerre. Talbot’s calotypes used a photographic negative, from which multiple prints could be made; had his method been announced but a few weeks earlier, he and not Daguerre would probably have been known as the founder of photography.
The Calotype technique, a sheet of paper coated with silver chloride was exposed to light in a camera obscura; those areas hit by light became dark in tone, yielding a negative image. The revolutionary aspect of the process lay in Talbot’s discovery of a chemical (gallic acid) that could be used to “develop” the image on the paper—i.e., accelerate the silver chloride’s chemical reaction to the light it had been exposed to.
Robert Cornelius was an American photographer and pioneer in the history of photography. He designed the photographic plate for the first photograph taken in the United States, an image of Central High School taken by Joseph Saxton in 1839. His self image taken in 1839 is the first known photographic portrait of a person taken in the United States.
Cornelius attempted to perfect the daguerreotype, due to this around October 1839, at age 30, Cornelius took a self-portrait outside the family store. The quality of the photographic plate and the technique used required him to sit motionless for 10 to 15 minutes. He took the image by removing the lens cap and then running into frame where he sat for a minute before covering up the lens again. On the back he wrote “The first light Picture ever taken. 1839.”
THE “ETERNAL RETURN”: SELF PORTRAIT PHOTOGRAPHY AS TECHNOLOGY OF EMBODIMENT
The “Eternal Return”: Self portrait photography as technology of embodiment
‘In these works, the subject performs herself or himself within the purview of an apparatus of perspectival looking that freezes the body as representation and so—as absence, as always already dead—in intimate relation to lack and loss.’
In Jones’ book about self portraiture she discuss’ how people can become whomever they would like to be perceived as to the viewer of the image. A picture ‘freezes the body’ in a still image which is how the person will be represented. Cornelius was required to sit for 10-15 to get his self portraiture, which implies he created a stance to represent himself the way he would like other people to see him.
Robert Cornelius and The first Self Portrait [Selfie]
Julia Margaret Cameron is known for her soft-focus close-ups of famous Victorian men and for illustrative images depicting characters from mythology, Christianity, and literature, she was an ambitious and devoted pioneer of photography. Cameron is best known today for her moving and sensitive portraits of eminent Victorians. A paramount example is her 1867 photograph of Sir John F. W. Herschel, in which the scientist, mathematician, and photographic experimenter looks directly at the camera, emerging from the shadows with the tousled hair and deep facial lines of a man devoted to the intellectual life.
Cameron and her pictorialist contemporaries pursued painterly compositions, subjects, and qualities, hoping to elevate photography to a high art. A representation of a person or thing in a work of art.
Julia Margaret Cameron Pictorialism
HENRY MULLINS & CARTE-DE-VISIT
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. 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. His speciality was cartes de visite, it was originally a calling card, especially one with a photographic portrait mounted on it.
Mr Bolton, photographed by Henry Mullins in 1849-50
I will be taking environmental portraits of people in their work place. Furthermore I will take images of people in public places living their lives, personal or professional.
WHERE?
Locations where I may try to take this images will be various places in town; the market, restaurants, small local business’ and perhaps small spots where young people decide to meet up.
WHEN?
These images will be taken on the date; Wednesday 1 March, regarding whether the weather will be dry and have some soft natural light. Higher in the market and fish market there is natural lighting while also having some artificial light on the walls and ceiling so perhaps I can take my images there. This will also give me enough time to upload and basic edit the photos I will take.
HOW?
I will be uses my personal camera which I have at home, while also taking some on my phone so I can take subtle and natural images, to create an authentic image of how people really are.
WHY?
This shoot is to illuminate the subject of environmental portraiture which discovers the behaviours and decisions of people.
