Binary Opposition has roots in Saussurean structuralist theory in linguistics where two ‘opposites’ are defied by one another and get compared. Examples of binary opposites:
Good vs Evil
Black vs white
Masculinity vs Femininity
‘Masculinity and femininity’ is a common example of binary opposites and a common comparison for backgrounds, discrimination and privilege. It is an easy comparison to make and is one of many that is commonly mentioned in conversations about identity politics and culture wars.
Identity Politics and Culture Wars
Identity Politics are politics based on identity. Many factors influence and makeup someone’s identity such as:
Race,
Nationality,
Religion,
Gender, and
Social background
Identity by definition is a factual makeup of a person, however it is also a personal interpretation of what makes you you. Personal identity can bring people with similar struggles, opinions and backgrounds together, but can similarly split two people apart for little reason creating tension which builds into ‘culture wars’.
A culture war is a cultural conflict between different social groups who struggle to impose their own ideology. They can be small and harmless grown out of innocent competition or aggressive and hate filled.
Identity can bring people together by harnessing their joined identity to create a community. This group could be a positive thing aimed to help and boost one another but could also become a negative environment if each person holds grudges and fuel one another’s hatred. These communities can build within a geographical location or online in recent times.
Recently left wing LGBT communities have taken over the media. Some label this movement ‘woke propaganda’ as though communities haven’t been fighting for genuine respect for decades. This community strays from the traditional Binaries of gender and therefore defy stereotypical gender norms which upsets conservatives.
The LGBT community has culminated a bad reputation online from loud individuals who attack ‘wrong’ or uneducated individuals for disagreeing with their opinions. They are known to ‘doxx’ these individuals which puts them in harms way. Despite the loud commotion on sites like twitter, other sites are relatively quiet since the large group is not as easily connected.
Groups with shared identities are often sectioned into subcultures online. These can help young people connect and socialise with people with similar interests and feel understood. They could also push young people to become closed off and distant from ‘outsiders’. These communities are also infamous for weaponizing joined identity or radicalisation.
Masculinity vs Femininity
This is one of the most prevalent examples of binary opposition which is acknowledged even by children in the playground due to the ‘social norms’ pushed by society from a very young age. This is achieved in many ways including: marketing, characters in tv and personal experiences. This both separates the two and pits them against each other creating competition and unease.
The differences between the two could be as simple as long hair being associated with girls and short hair with boys. Not particularly harmful stereotypes but prevalent ones regardless.
Masculine stereotypes:
Strength, aggression, well educated, breadwinner, provider, emotionally unavailable, anger, blues, reds, gyms, positions of power, power in general, cars, dinosaurs, trains, army, work, trousers
Women are often seen as inferior for being emotional, weaker and dumber due to a past of different education and standards being measuring with men’s strengths in mind.
In addition to the diamond cameo I wanted to try some different presentation techniques.
Double Exposure
I experimented with 2 different uses of double exposure. The first I added false colour and arranged each layer in a different spot to create an arrangement. The second I layered 4 different angles over the top of each other to distort the portrait. I reduced the opacity of these layers so that they wouldn’t be too harsh. I prefer the second one because I think that the distortion looks more interesting than the first arrangement.
Vignette
Using photoshop I added a light vignette to the corners of the portraits. The lighter backgrounds worked best only needing one layer to be visible. The dark one needed many layers which made the clothes looks overly exposed. I don’t really like how these turned out and were one of the weaker experiments this project.
Cut outs
Using these two portraits I used the triangle shape tool to select two areas of the portrait and cut out those sections. The black background is too dark and didn’t give much to choose from in terms of areas to select. With the lighter background it stands out more from the background.
Virtual Gallery
I arranged the four portraits I was using on one wall using the perspective tool. I added one multiple exposure image and the two diamond cameo images. The diamond cameo images look out of place on the wall and I think I should have made them smaller and together on one wall.
Evaluation
I compiled all the best images into my virtual gallery. I think the photoshoots inspired by Henry Mullins were the best since I had a clear plan and vision. I wanted to create some diamond cameo arrangements and at least one vignette portrait so set out to photograph similar angles. Since I wasn’t planning on creating the multiple exposure or cut outs, I hadn’t photographed with those ideas in mind so especially for the cut out images they just looked a bit odd.
Henry Mullins moved to Jersey from London to take commercial portraits of over 9,000 islanders from 1852 to 1873. He compiled copies of these portraits into 4 large albums currently kept in the Societe Jeriase Photo-Archive.
Henry Mullins opened a studio named the ‘Royal Saloon’ at 7 Royal Square. Here he would photograph middle-class subjects under Queen Victoria’s rein. Commercial photography was still incredibly new and costed £1 per image. This price meant that portraiture was no longer limited to wealthy upper-class individuals. His subjects included the elite: the Bailiff, Lt Governor, Jurats and Deputies but also bankers, doctors and Clergies.
The commercialisation of photography
Carte de Visite was a small photograph originating rom France in 1854. This was not the first permanent photograph or commercial photography process (Daguerrotype came first. It was the process of printing onto a fragile copper plate created in 1839.) but was the first small, portable type. These images were 6x9cm and would be sent like postcards between friends and sparked interest in creating albums. Carte de Visite used Albumen Print where the images were binded using egg whites. This technique used negatives which made allowed for reproductions. This was the technique used by Henry Mullins where he even advertised his studio as being cheaper than London.
Henry Mullins
Henry Mullins adventured with different styles of portrait. He would use diamond cameo, four ovals showing a face at different angles, as a unique presentation. He would cut out the ovals and arrange them into a diamond shape. Additionally he would bleach the edges to whiten the background and fade them into the page. Both of these styles would frame a headshot unlike the usual portraits which were full body in front of a intricately decorated background.
An Inspiration
Henry Mullins has inspired many other photographers including Michelle Sank who travelled to jersey to photograph people in a similar way. There are many similarities between the portraits but also many differences.
Comparing the two
In this Portrait Michelle Sank photographed Ian Gorst, the chief minister. It would have been impossible for Henry Mullins to photograph Jerseys Cheif Minister since the first one was only elected in 2005, however he did photograph many of the islands elite.
Composition
I decided to compare these two images because they both show a man dressed in a suit angled straight on. Both of the subjects are resting their right hand some furniture to create an interesting pose and are stood upsright.
Michelle Sank was able to take her photographs in colour due to the advancements of digital photography. This photograph is also taken to landscape to showcase the background unlike a traditional portrait. The background is a dull 2000s office with the whole thing in focus. This image uses the natural light from the window as the main source of light and frames the subject slightly off centre. These features together separate this image from a traditional portrait and instead file it under the umbrella of ‘modern art’ instead.
Henry Mullins took his photograph in his studio using slightly harsher light. The image has been taken in portrait to frame the subjects full body. However unlike Michelle Sanks portrait, Henry Mullins bleached out the background and the bottom of the mans body to frame and draw attention to the subject, a technique called vignette. Since this was early in the development of photography, it was used as a means of documentation instead of an art form. Bleaching out the background was a way to highlight the individual in their portrait. Having a full background could make the frame too busy which is why when Henry Mullins does use backgrounds its a way to put a person into an environment or to create unique shapes.
Clothing
This portrait shows a modern man in modern dress. Like Henry Mullins, the subject wearing what he would normally be wearing to work, only this was taken 100+ years later showing a stark difference in silhouette, fabric and colour. Both here and in inspirational photographs show the subjects in typical suits of the period. A modern suit is created with cut corners due to the nature of them being mass produced. The fabrics are thinner and cheaper to produce leading to less flattering draping, shaping overall quality. There is no care put into their production which comes through when buying, wearing and being photographed.
The modern suit can have as few as 2 main layers: Shirt and blazer. A Victorian suit however needed to cover everything and a shirt had only really recently stopped being seen a part of underwear. The suit had began showing signs in Britain while under the rein of Charles II however only became recognisable in the late Stuart era. The Vicorians are well known for their modesty which meant formal attire for men required a minimum of 3 layers but was typically accompanied by a coat also. Typically the sets were created with bold colours and patterns as well as rich embroidery and detailing to showcase wealth (which would be important in a portrait being sent to friends for example).
These sets were made with thicker, organic materials and were still being handmade which meant it was tailored with more flattering seams and unique shapes. Unlike a modern suit with only one back seam at times, the Victorian suits could have 3. This would allow for a form fitting jacket, movement and a unique silhouette which wouldn’t be possible with just one back seam. These differences are evident when comparing photographs. In Henry Mullins’s photographs, the fabrics show depth in folds, texture and shape leading them to photograph much better.
Michelle Sanks portrait above shows a rigid, square and ill fitting suit. I believe this is a good comparison between the portraits because it is (apart from the colour) the first visual sign of a difference in time period I caught onto. This demonstrates how photography creates perfectly preserved time capsules. The modern suit is quickly identifiable due to its familiarity now and in years time fabrics and shapes. A Victorian suit isn’t what we’re used to or would see on a daily basis so it is unfamiliar despite still being a suit. When putting these two images next to each other it shows
Since the above Image is low resolution here is a good example of the quality difference. This is another portrait taken by Henry Mullins however this time of Victor Hugo, a French writer.
Juxtaposition
Juxtaposition is when two opposites are placed next to each other with contrasting effect.
Placing these two images next to each other showcases not only the advancements in photography and production but also society.
Headshots
This photoshoot is a response to Henry Mullins where I will be experimenting with a new camera lens (105mm) and diamond cameo.
Photoshoot 1
I began choosing sets of 4 images to use for a diamond cameo. To edit the images I set them all in black and white and adjusted the settings until I was happy with the effects. They don’t all have the same background since I was moving around the backlight for different lighting effects. This wont be as much of an issue when I edit the portraits into a diamond cameo however when all the images are being presented as is it ruins the continuity.
Set 1
Set 2
Diamond Cameo
I wanted to try out two different styles when I created the diamond cameo arrangements. I wanted one where I used some old paper as a background and coloured the portraits in beige to create an aged look similar to Henry Mullins. I then wanted to try a second one where I used a different background and didn’t recolour the portraits.
For this first one I added each Image onto the background and created an oval shape. This oval shape needed to be same for each of the four portraits so I copied the shape 4 times and rearranged them into the diamond shape. I then added the portraits over the top of the shapes and created a clipping mask so they’d be the correct shape.
The only difference in this was when I recoloured the portraits. To recolour the black and white portraits I selected the colour overlay and changed it to a brown to match the background. This one was made in portrait as opposed to landscape like the first. This made the circles more round which didn’t look like Henry Mullins examples.
Rembrandt Lighting is characterised by the triangle of light under one eye. It uses one artificial light at a 45 degree angle to create shadows over a persons face.
Origins
Rembrandt Lighting is named after Dutch artist Rembrandt Harmenszoon van Rijn who painted portraits during the golden age. He ranged from self-portraits to animal studies with around three hundred portraits and two thousand drawings and solidified his reputation as one of the greatest etchers during his lifetime (1606-1669).
His interpreted biblical scenes were highly praised as well as representing emotions and attention to detail. He was an influential artist but not without his fair share of personal troubles which is reflected in his collection of self-portraits. He had many teachers who influenced his style of painting, mainly: Jacob van Swanenburg, Pieter Lastman, Jacob Pynas and Joris van Schooten.
Set up
A flashlight is set up at a 45 degree angle to cast shadows over the face. The angle of this light will illuminate one half of the face but not the other which creates the triangle associated with this lighting style. The nose will cast a sharp shadow while the rest of face will have lighter shading which is part of what makes this such a unique and interesting technique. This works best for headshots so the camera needs to be close to the face with a 55mm lens.
Examples
Butterfly Lighting
What Is Butterfly Lighting?
This lighting technique uses an overhead light which casts a butterfly like shape under the nose. Also known as ‘paramount lighting’ and ‘glamour lighting.’
Origins
This lighting technique earned the name ‘Paramount lighting’ from its common appearance in classic Hollywood. Paramount used this technique for every corporate image in the early days of Hollywood earning it the name. It makes the model look slimmer by highlighting cheekbones and creating shadows under the neck and also evens the face and hides wrinkles giving it its other name ‘Glamour lighting’.
Set up
The type of light can vary massively for this lighting technique however the light is always higher than model looking down on them. This ensures the shadows are under the nose, jaw and cheekbones since they are further forwards and will catch block the light.
The camera needs to placed slightly lower than models face and not above. The model needs to be in front of the backdrop so that there isn’t a shadow over the backdrop.
Examples
Chiaruscuro
What Is Chiaruscuro Lighting?
Chiaruscuro is Italian for ‘lightdark’ which is defined by a bold contrast between light and dark. Also known as ‘split lighting’.
Origins
It first appeared in renaissance paintings in Italy and Flanders however didn’t fully develop until it was associated with Baroque art. It began with drawing on coloured paper and gradually working towards whites or building up darker shades in a gradient.
It is used often in art to create a sense of volume or three-dimensional objects and in photography and cinema is typically black and white for additional emphasis.
Set up
The first of these techniques uses the flash to bounce off of white surfaces to create a soft effect. The second two use only one key light and occasionally a reflector to bounce light back onto the model.
Examples
Stylistically these types of images are typically black and white for additional contrast between the white light and the black shadows. Using light this technique can also showcase silhouettes which have interesting shapes and are unique to this type of lighting.
Loop Lighting
What is Loop Lighting?
A style of lighting where a round shadow is formed under the subjects nose, similar to butterfly.
Set up
The key light is set up at 45 degrees from the persons face and raises just above the eye line. This height creates the nose shadow similar to butterfly and the angle is similar to Rembrandt. This means that similar shadows are casted to the side of the face but not as extreme as Rembrandt so there is no defined triangle.
Types of Light
Why do we use Studio Lighting?
Studio Lighting is controlled, artificial light to achieve a specific outcome and/or style. The light will be consistent across the whole photoshoot unless deliberately changed. It also reduces the amount of post-production editing to be done. When the environment is consistent and created in a way to achieve a specific look there shouldn’t be much if any editing after because any issues can be adapted on the spot.
What is fill lighting?
A fill light is used to expose details lost in shadows. This is the secondary light in a 3 point lighting set up. It is typically set up in the opposite direction to the key light to fill in the shadows.
How do the 3 points of light differ?
this involves just one point of light known as the key light. This is the simplest type of light placement. This technique will cast dark, ominous shadows and brings drama to an image.
two points of light are typically set up at 45 degrees from the subject to illuminate the image with the key light and fill in shadows with the fill light. This softens shadows which solves some problems with one point lighting that the shadows are too dark or prominent.
Three points of light are the key light, fill light and backlight. This is used to fully illuminate a subject in a pleasing way with minimal shadows.
Studio Photoshoot
For this photoshoot we tried two set ups. First was standard Rembrandt lighting which makes up the first half of these images. They turned out really well however we didn’t have a second light on the background to make it white so it was a grey instead because the flashlight wasn’t bright enough to reach it. The second set up switched the flashlight away from the people and onto a reflective surface which still illuminated the face but didn’t reach far enough to shine any light onto the background so it was black. This one was more difficult since a lot of the time there wasn’t enough light on the face.
Occasionally we used a smaller reflective surface under the face also to lighten the eyes since they sit back in the sockets and are usually slightly overcast with shadows.
The camera was a 55mm lens at a close distance to the models. They were sat on a stool at a slight angle towards the light with their heads turned towards the camera so they weren’t front on or sat in an awkward positions.
When I was sorting images I was checking that the photographs were in focus first of all. Second I was checking the placement of the model and their pose. I could crop out background to centre the person but when half the face is out of frame there’s nothing I could do. I had to make sure that they weren’t awkward also. In lots of portraits its obvious that they don’t want to be there and aren’t comfortable in front of the camera yet so they wouldn’t hold eye contact or weren’t posing in an interesting or meaningful way.
I started by flagging all focused images and marking down all the unusable ones. I then went in and used stars to rate the quality of each one. I mainly only used 4/5 star images to edit. Using green I marked all the images I considered editing and purple for the ones I wasn’t going to use.
Images
Using the same three images I also tried black and white:
Next time I will also experiment with hands and props. I tried to photograph fingers twisting hair etc but I wasn’t directing the models very well so the hands were out of shot, obscuring the face or just looked out of place. I would like to experiment with props especially when we move into full body portraits because it will give the model something to do leading them to pose easier and fell less uncomfortable. Props will also bulk up the frame a bit whereas a single person in fame could look small with some props it will create more interesting shapes and fill out space a bit more.
Studio Photoshoot 2
We used a three point lighting set up for this photoshoot. We had the key light at 45 degrees, a fill light behind and a reflector to bounce from key light.
We used flash light which occasionally didn’t go off leading to a few black shots in the photoshoot but on the whole I think these came out well. I think I’ve gotten better since the first photoshoot as I have more experience and practice. As I take more photos I will get better at directing the subjects and arranging the lighting.
As I was going through these images I was making sure that they were in focus and sharp. I used a 55mm lens at varying distances from the subjects to either get headshots, half body or full body. The subjects were all sat on a stool which was taller than the chair I was sat on so that they were framed easier and looked more important. Mainly we used three point lighting with the key light at an angle, the reflector under the eyes and a fill light on the background to make it white.
Images
This Image used butterfly lighting which created a shaped shadow below her nose and defined her cheekbones. I think this image could have benefited from not using the fill light and defining the nose shadow more. I think making this portrait black and white helped since the shadows became more defined since they’re the opposite of the whites. We drew the blinds behind her face so that the background was pure black and the key light could be directly on her face. The reflector was below her eyes to lighten them.
I used Chiaruscuro lighting for this image where the key light was pointed away from the subject and towards the reflector. This made the background black and created an overall darker Image since there was less light on the subject. In addition we kept the fill light to illuminate the hood from behind to create the outline to the left.
This portrait used just the key light and the reflector. The key light was turned away from the subject and pointed towards the reflector so that the light was too weak to reach the white background making it black. The little light that was bounced back at the subject illuminated half the face in a Chiaruscuro technique.
I framed this portrait in landscape instead of portrait because she was wearing a bulky coat which I wanted to be fully in frame. I used loop lighting with both sides illuminated creating a dark stripe down the subjects face. This stripe obscures her eye and creates a moody look. The fill light is to the left of her face which breaks up the shadow while the key light is reflecting to light up her right.
This image was made with Rembrandt lighting to create a triangle over her cheek. I kept this image in colour because I like the difference from all the previous portraits and I think all the colours worked well together. The portrait was also lit much brighter than the previous few so it didn’t look as moody and so wouldn’t fit black and white because it would need more prominent shadows to avoid looking grey.
Presentation
I plan to group three black and white images into a triptych and keep the other two separate. This is because I think all three are similar and compliment each other well.
Final Images
I tried two arrangements using just the three portraits: one vertical, and one horizontal. The vertical arrangement makes the centre portrait look too big in comparison which is disproportionate especially since the landscape ones have wider framing and make the subject look even smaller in comparison. I do think that the smaller gap between the images looks better though. The horizontal arrangement is better proportion wise however in this one makes the centre portrait look squished.
To combat these issues I created a grid with all four. Initially I wasn’t sure about this arrangement since the hooded image doesn’t have a face and mightn’t of fit with the others. All of them use a different type of lighting however I think these portraits sit well together anyways because they all use the same editing and the same subject. None of the images look squished or too big because there is one landscape and one portrait frame on each level which evens it out.
Virtual Gallery
I downloaded a blank virtual gallery background off of google after setting filters for a large size so that I could edit on it photoshop. I then opened up the images on top of it and changed their perspectives if needed. I added a drop shadow bellow the images to match the backgrounds lighting.
Evaluation
Each time I used the studio I think the quality of my photographs increased. This is why all the final Images are from the second photoshoot as opposed to a mixture with the first since the quality of each portrait was overall better. I tried each type of lighting and there was at least one good example for each although next time I will focus on Rembrandt to get a sharp, large triangle because I only got small soft triangles. By experimenting with the position of the key light I managed to create two completely different styles of portrait; the black and white one where the key light is pointing away, and the coloured one where there is lots of bright and directed lighting.
I need to try and get more light into the eyes by using a reflector because they look quite dark in some of the images. To do this I will use a reflector close under the eyes and pointing at an angle as opposed to being completely flat. This will bounce lots of light up into the sockets which sit slightly back in the face and therefore don’t usually get well illuminated. I would also like to get more creative with my portraits because a lot of these images are rather basic with plain white light and deadpan angles.
For this photoshoot I set up my father in his work vest and hat to portray his job in the building department. He ensures that safety is met on the site and keeps everyone involved safe. To match this job we found a messy building site which he would need to check.
This site was on a hill which in some photographs makes the fence look tilted which I didnt realised when taking the images. I stood a few meters back for these so that they would be full body portraits like most environmental portraits and for lighting, we waited until the sun was out so that it would be well lit.
I filtered out blurry and samey images until I settled on a few traditional portraits and a few where he was looking into the site like he would do on his job. I then adjusted the exposure to brighten the vest and cropped down these images to better frame the images.
First Cut
I chose these two photographs because one was had my father engaging with the camera like an environmental portrait and one where were following my dad through his job which actively utilises the background. Although I liked these two final images I wanted to experiment with how I would present them so I decided to change them into black and white.
Photoshoot 2
I didnt like these photographs as much as the first photoshoot mainly because the lighting was an overhead artificial light. I wanted her to be working on some cookies because those are her favourite things to bake. I wanted some photographs indoors and with foreground so I figured this would be best photoshoot to try these out.
Karen Knorr is a a German photographer who’s lived in both America and the UK. She combines animal studies with conceptual art and lifestyle. Her work consists of intricate and meaningful backgrounds with animals as the focus.
Academies was Karen Knorr’s project from 1994 until 2001 where she began experimenting with fine arts transmissions and consumption as well as animal studies. These ideas continued through to her projects Fables (2004-2008) and her most recent projects. She uses heritage sites with rich history and aesthetic and combines feminine subjectivity and animality.
Case Study
This photograph shows a grand house with rich embellishments from an older period. This building radiates wealth and therefore power and so would have been built for someone with lots of influence. Instead of a person that would be associated with such an environment, Karen Knorr photographs birds. There are three birds in frame and all of them are centred in the frame. By placing these birds in such an impressive building it makes these birds seem important and powerful.
This photograph is all in focus because the photographer used a high focal length to capture the whole hall. This is important because it ensures the whole hallway is visible and showcases the fine details to highlight the wealth in the interior design. The interior design of a building is different to the exterior which everyone sees. Only people invited into the building will see all these fine details and wealth. Someone’s interior is only shown to friends, family and close piers. Someone wealthy would host an even to other wealthy individuals to showcase how they deserve to be in elite circles and deserve respect. Being invited into someone’s home is personal and intimate.
There are two different species of bird: the first is a tall, elegant bird and the second is a small, colourful one. The tall one has long, slim legs which showcase a lack of muscle or strength. This bird does not need strength to radiate power as its height towers and its wingspan takes up space showing importance. This bird has neutral colouring with a splash of pink which isn’t showy and instead elegant. Its neck creates an ‘S’ shape which reflects a swans which is associated with femininity, elegance and grace. I think that this elegance makes the bird look at home in its environment. It doesn’t stick out for any reasons other than the fact that its a bird inside of a house which is unusual.
-The small bird has bright green, blue and yellow colouring. It looks out of place for its flamboyant colour and disproportionate size. This bird lacks the elegance that the taller one has and instead reflects a child who accidently stumbled into a showroom. This not only makes everything else seem larger and more sophisticated but also shows elitist biases. The colour palate is muted with exception to the small bird which makes it stand out massively in comparison. This ostracization of the bird through colour shows us through the eyes of the elite how they would view a common folk or ‘outcast’. The birds physical size is representative of its wealth and therefore power in the room. Unlike the tall, powerful bird, this little one does not fit in. The birds small size also makes the viewer look down on it like someone of the elite would.
This photograph is vertical to elongate the doors and make the building seem even taller. This is because high ceilings are associated with wealth and power. In terms of wealth, vertical height requires more materials and space which would require a significant sum of money in the past. All the space is unnecessary for practicality and purely to showcase an abundance of wealth. Height is commonly associated with power because physically something tall towers over everything else, stands apart and looks intimidating. Additionally something tall is powerful because throughout history, height is symbolic of being closer to a heaven above and whatever has been believed to be there. The tall bird also encapsulates this power which is part of why it blends into the environment and almost looks natural.
I believe that this photograph has been created to break down what would typically be expected in an environment and present it in an unconventional way. A grand environment like this would be associated with generational wealth, elegance and importance. Britain is still rooted in a class system which would have impacted Karen Knorr who is currently living here. By moving to the UK she would have an exterior perspective on these beliefs. Karen Knorr took these traits (elegance and importance) and presented them in the form of a bird. Despite the bird meeting these traits it looks unnatural in its environment because its doesn’t meet subconscious and conscious criteria such as being human. By association, we would probably also expect the owner to be on the older side and typically a white male but by using birds which don’t match stereotypes, she’s questioning this subconscious bias in a light-hearted way.
Alternatively this photograph could be approaching an angle of symbolism. Animals throughout history have had meanings associated with them such as a deer with antlers pointing to the sky make them leaders. A lamb is associated with innocence for its pure white colour, soft wool, and eyes. They are prey not predator which signifies helplessness. A sheep is stupid which makes it seem like a brainless herd following animal. However a horned goat is associated with evil because its similar enough to a sheep for a false sense of security but has aggressive tendencies, and large horns which curl around/downwards as opposed to a strong deer with sky grazing antlers. These powerful horns reaching downwards shows strength being drawn from ‘low’ or evil places.
This idea could be associated with the birds. Birds are associated with hope because their flight allows them further transport through the sky which means they can see from height. This has led sea travellers to utilise birds to find land by staving them and letting them try to find food. This has lead to associations with good fortune, new beginnings and hope.
Alec Soth is an American photographer who photographs strangers in different parts of America. He targets individuals out and about with unique equipment like tents and suitcases. One of his projects was called ‘Sleeping by the Mississippi’ where he travelled by the river and photographed interesting individuals he past. He aimed for people with a unique story and showcased their characters through props and environment.
This photograph shows an older lady sat on her chair in a large, old house. She is centred in the frame surrounded by woods, patterns and greens. It looks as though there are two images overlaid: one of the house and the second with a tree. There is an out of focus plant also at the front which creates a sense of depth as everything else in frame is further away and sharply in focus.
This photograph is laid out as though the viewer is looking through a window and the trees appear like a reflection. By peeking through a window into the lady’s personal home the viewer is peaking into the woman’s life as homes are used in the media for as a reflection of a person/characters mind and personality. Her home has earth tones and lots of wood which shows a down to earth headspace. She has a plush orange chair which shows her loving/comforting personality. To her side is a large, modern window which lights up the whole room. This shows an open mind and cheerful personality which shines bright despite being realistic and down to earth. Additionally she has a selection of bold patterned cushions and carpets which show an unconventional look on life.
The woman herself is dressed in a green nightdress. Its shape reflects a nightgown which shows how she values comfort. By making the photograph look like its been taken through a window this isn’t necessarily how she would present herself to others and instead how she dresses on her own in the comfort of her own home. Despite being alone in her home, she is dressed well in a clean and tidy dress which shows how she values and cares for herself.
The overlay of greenery shows how she isn’t in a bubble or closed off but overgrown with external influence, has a successful social life and constantly growing as a person. Alternatively it could show what the woman is looking at. Since it looks like a reflection, it seems as though the woman is staring out her window at the woodlands. This could show an appreciation for the plant life but also outside in general which she might’ve taken for granted when she was younger and able to spend long periods of time in. If her house is representative of her mind then this staring out a window could be showing her longing for the outside world around her and what’s past her through the years and therefore her youth. She could be reflecting on her past with regrets or pride or wishes to go back. I believe this could also show a disconnect with the viewer as she is looking at the world around her with appreciation while the viewer is looking inwards at her instead and judging her based on her environment in the comfort of her home. We weren’t invited in were just looking.
The woman is well lit in light colours to make her stand out from the darker background. Additionally she is centred and well lit which draws the eye and showcases that nothing makes up her personality but her. Some people put too much importance into work or material items however this woman understands the balance. The flower in the foreground could represent her love for her garden however since it does not obscure her in away way it shows that she doesn’t let it takeover her life.
This portrait also showcases and highlights the woman’s age. The abundance of bright colours with bold patterns creates a vintage appearance. The background also highlighting outdated maximalist styles with woods, a grand fireplace and an excess of cushions and rugs also looks old in comparison to white, modern minimalistic styles. I believe that the background having an older look is significant because it reflects both the woman’s age and her interests. This tells us a lot about the woman without ever meeting her as interests and experience will impact her personality and therefore her home.
An environmental portrait shows a person in their working space or a spot associated with them for example a pianist at his piano. This tells us about the person and their typical surroundings while also placing them how someone else would view them. These are posed typically with the person in there centre engaging with the camera.
Photoshoot Action Plan:
Who
For this photoshoot I wanted to take photos of several people. It would be easiest to photograph people I already know as the photoshoot would be more natural. I would also already know these people so I would know where they spent time and what they mean to me.
First would be my sister, she likes to bake cakes and has gotten really good at the basics.
Second would be my father who works in the building trade to ensure houses and community spaces are safe for use.
Finally my friend. Her house was damaged during the storm which has affected her family negatively.
What
Environmental portraits need a person in front of a meaningful background. I will take images where they are both engaging with the camera and looking away. Some will be front on and I would like some to experiment with foreground and positioning. Additionally I don’t want all the images to be of people just standing. So I will experiment with poses also.
Where
My sister will need to be in a kitchen of some sort for a least a few images however I might try and position her at a stand or cake sale also holding her cakes.
My father will be in front of some building site where construction is clearly underway. Ideally one which wont particularly safe either.
My friend will be in front of storm damage. This could include fallen trees, damaged housing and excessive build up of debris.
How
For my sister I will set her up in a way where we can see the process of her baking and her. This will probably be by having her stand in front of a counter I can get behind so she can work as normal and I can see the whole thing. For my father I will make sure he’s wearing a helmet and hi vis jacket so that he looks like a builder and set him up in front of a building site. I will stand quite far back so that the background is visible too. For my friend I will try and experiment with poses and with props. I will also be stood back with a 55mm lens so that I see the whole background also. I will mostly be using natural lighting since these will be outside however for the insides I will experiment with lighting to find what looks best. I might set her up near a window or under some artificial lights but I’m unsure what will photograph best.
To create this virtual gallery I opened a blank gallery space in photoshop and each image to add separately. I opened all 4 images together and arranged them onto each wall. The two angled walls didn’t fit the image so I changed the perspective of each image. Then using the fx drop shadow I created a shadow under each image and made sure each one had the same.
Artsteps
Using Artsteps I created an empty room and opened up the same three photographs. I arranged these on the walls and sized them up since they loaded in really small. In this virtual gallery the side images looked better because in photoshop the perspective made the images look wonky. However the room I used in photoshop looks better because It has lights and a skirting board which makes the room feel more real. The room was also a little claustrophobic. I wouldn’t want it as wide as the photoshop room but somewhere in the middle which wont make the centre image look too small or big. It should frame it nicely. Maybe next time I could use Artsteps to get the perspective right and layer it on the photoshop layer.
Evaluation
Arrangements
I began this project with still-life arrangements were I used the infinity screen with a continuous studio light. The light was at an angle to the side so that the objects were well lit with shadows to create depth and variation. These was inspired by 1600 Dutch still life paintings so they included assortments of many different objects, sizes and colours.
The second photoshoot was inspired by modern still-life arrangements with one main focus and less going on. I used two pieces of card to replicate the table often holding the objects and got up close for a tighter frame.
When editing I had to rotate and crop the images especially in the second photoshoot because there was a horizontal line which was obviously not straight. I adjusted the white balance so the background was bright and clearly white.
I think I should have dulled colours and lighting to represent the aesthetic of he paintings and combined more objects into the arrangements. I would also like different levels of objects and cloths on tablesw with neutral colours and rustic wooden tables to look more like an old painting.
Singular
The singular tools were inspired by Walker Evans. They were household items in front of a plain background with simple overhead lighting to reduce shadows.
I edited these photographs in Lightroom with black and white pre-sets, exposure settings and white balance. To present them I used photoshop to over crop and add a boarder which is different to the inspiration but presents the photographs well.
I wasn’t able to raise each item like Walker Evans however with a lightbox there were no shadows. I should have photographed a wider variety of objects and not be limited to household tools. I could have found other shapes with more meaning to me like a hairbrush for example to take ownership over this project however it wouldn’t have been as much of a response to the artist.
I chose four images overall as my final images. This included two single tools and two arrangements. The single tools were set in black and white inspired by Walker Evans.
I used a black and whitepreset which had high contrast. I then opened them in photoshop to add a border with the stroke option. I added this because the white background meant that the frame around the objects wasn’t clear. The framing was different between both images also, scissors were wide and pliers were thin. In photoshop I couldcrop outside of the image to add in more white around the plyers so they’d both have similar boarders.
Both of these images now look like they should be together so in photoshop I opened a A4 landscape page which I added both images to. I really like how the boarders look when the images are together and this helped visualise what the images would look like mounted. I chose the diptych style of presentation which places two similar photographs together. This process taught me how to experiment with arrangements as well as how to edit in photoshop.
I tried a triptych including the mixed photograph too but I don’t think the three sit together very well. The two are similar enough but the edited one is changed a little too much from the other two. Both halves are smaller and moved which becomes obvious next to the original.
Still-life arrangement
These two images don’t look like they would look right in a collage together and I believe this is because they are at different angles at different distances from the camera. The plyers are much closer to the camera than the violin. Also the set ups are different. I took the plyers in front of two pieces of card with a harsh split between the two. The card is matt and the lighting was just natural lighting. This looks significantly different to the infinity screen I used with the violin which used a continuous spot light, a backlight and a reflective white background without any harsh lines behind.
I tired arranging both photographs into a diptych but I think presenting these as single photographs looks better. This is because the objects used are extremely different. The plyers are balancing with tapes which have anindustrial style while the violin uses household items which creates a homely feeling. This shows the importance of items as they can completely change the meaning of a photograph.
