Photoshoot Plan

My plan for this photoshoot is to go to various workplaces and take photos of people within their own workplaces. I would like to aim to take photos of mainly people who have dresses in a way that links to their workplace, such as by wearing an apron, suit or outfit with logos of the workplace. I also think it would be a good idea to get photos of my Grandad in his armchair as it is typically the place he is associated with. Some locations I am going to try get photos are in the Market, at Waffle House and I may see if I can go to the States of Jersey offices with my parents.

Contact Sheet

This is my contact sheet of all of my photos taken in the photoshoot. I am now going to create a smaller contact sheet with all of my best images for editing.

This is a collection of my best photos which I am going to use to edit.

Edits

Edit 1

This is a photo of my Grandad in his Armchair. I edited this photo by cropping it then decreasing exposure, contrast and shadows. I finished off by increasing highlights, texture and clarity.

Edit 2

I got this photo in Little Wren in the Market of the lady who works there stood at the till. I edited this photo by slightly cropping the bottom and increasing the texture and clarity to make the image more clear and give it more depth.

Edit 3

This is a photo of the man who works in Waffle House. I edited this photo by, starting off, cropping the top, bottom and left then slightly decreasing the exposure. Lastly, I increased the temperature, tint, texture and clarity.

Edit 4

This is a photo of my Dad at his desk at work. I edited this photo by cropping the top and bottom then increasing the texture and clarity.

Edit 5

This is one of the very important bosses within the States of Jersey. I edited this photo by, firstly, cropping the top and bottom then slightly rotating it so that the side of the shelving unit lines up with the side of the photo. Finally, I increased the exposure, highlights and texture.

Edit 6

This is a photo of a random guy at the States building. I edited this photo by cropping the bottom and then increasing the texture and clarity to enhance the finer details.

Edit 7

I took this photo in the Warehouse where they maintain Government vehicles, this is one of the Mechanics. I edited this photo by slight rotating the photo so that the beam across the image is straight and then I cropped the top of the image. I also increased the texture and clarity and slightly adjusted the exposure.

Edit 8

This is a photo of another Mechanic who is doing work on a Police Motorcycle. I edited this photo by cropping the top and slightly decreasing the exposure to make is more clear and less pixelated.

Edit 9

All I did to edit this photo was decreasing the texture then, additionally, using the brush tool to decrease the exposure of the windows.

Edit 10

This is a photo of one of the States workers who are in charge of the pumping stations on the Island, as shown by the map on the TV screen. I edited this photo by cropping the top and then increasing the texture and decreasing the exposure.

Final Outcomes

Virtual Gallery

Evaluation

In 1963, Jewish photographer Arnold Newman was commissioned by Newsweek to take a portrait of Alfred Krupp, a convicted Nazi war criminal. At first, Newman refused, but eventually, he decided to take the assignment as a form of personal revenge. The resulting portrait became one of the most controversial and significant images of its time.

Alfred Krupp by Arnold Newman

Alfred Krupp was a German industrialist who ran the Krupp empire, a major arms manufacturer during World War II. Convicted as a war criminal for his company’s use of slave labour, he was later pardoned. Despite his pardon, Krupp remained a controversial figure, and his reputation as a ruthless businessman and war profiteer followed him.

To capture the image he envisioned, Newman had a platform erected, positioning Krupp against an industrial backdrop. He asked Krupp to lean forward slightly and clasp his fingers under his chin, creating an unsettling and sinister appearance. The portrait captured the essence of Krupp’s character, making him look like the embodiment of evil.

Newman wanted to take this photograph as a way or revenge for what Krupp had done in his past especially to Newman’s own race. Which Newman executed perfectly capturing his pure evil and upsetting Krupp.

Arnold Newman. Igor Stravinsky

This picture is dominated by a grand piano silhouetted against a white wall with the composer confined to the corner.

His black and white portrait of Igor Stravinsky seated at a grand piano became his signature image, even though it was rejected by the magazine that gave the assignment to Newman. Taken during a rehearsal in New York (December 1, 1946), the image juxtaposes Stravinsky with the piano, and together they form the shape of a musical note. 

The image is almost monotone, dominated by the stark geometric contrast between the white wall and the black piano. Newman deliberately used the open lid of the piano because he felt “It is like the shape of a musical flat symbol—strong, linear, and beautiful, just like Stravinsky’s work.”

His dramatic cropping of the composition was a key technique that Newman often utilised to make for more immediate impact. He would routinely experiment with aggressive crops of his original picture, intending to maximise the overall effect.

Photoshoot 1:

Photoshoot 2:

For these 2 photoshoots, I made the mistake of using my phone as a camera. Therefore the quality is not as detailed and the subject isn’t as focused as they would’ve been if I used a Digital Camera. I do like these images because both of these photoshoots provide portraits of people within different social environments. Photoshoot 1 is of my work colleague playing chess, and naturally posing for the camera. The subject is aware he is being photographed, but I could’ve improved these photos by making sure the subject was looking directly at the camera and making a connection with the viewer. In these photos, the subject is the main focus as he is the only person present, making it clearer to the viewers about what is happening. Photoshoot 2 is purposely a lot different, as the subject was not aware he was being photographed. Also, in these photos there is more than one person present, making the ‘subject’ not fully focused on. Although, it is clear to viewers that the DJ is supposedly meant to be the main focus of the image. I also should’ve tried to make the subject more centred, and as we can see the photos were taken on an angle so this made it difficult to include more of the background. The lighting also affected these images because we were in a dark environment, with only artificial and coloured lighting. The low light helped create a sense of gloom and mystery. Some of these images appear to be more blurred than the others, and this is because it was difficult to get a still, focused shot of the DJ when he was not aware of the photoshoot at that moment. This subtracts the effect from the images, as it looks as though the photos were not planned out or thought through enough.

Photoshoot 3:

Photoshoot 4:

Photoshoot 5:

Photoshoot 6:

Photoshoot 7:

Photoshoot 8:

Photoshoot 9:

Photoshoot 10:

Photoshoot 11:

Photoshoot 12:

Photoshoot 13:

Photoshoot 14:

Extras:

Overall, I did around 15 photoshoots altogether. I used different people in different environments to create stories behind the images. My favourite photoshoot I did was photoshoot 7. I like these images because it is clear what environment the subjects are linked to, and also in some there is only one subject and in the rest there are 2, therefore it adds contrast. I also like photoshoot 8, because the subject is looking directly in the camera with a serious and dead facial expression. This creates a mood of frustration for the viewer.