Henry Mullins, the renowned headshot photographer, was born on June 12, 1975, in Los Angeles, California. From an early age, he exhibited a passion for creativity and art, particularly in the field of photography. As a teenager, he would spend countless hours exploring his neighbourhood with his trusty camera, capturing the essence of the people and places he encountered.

He was one of the most prolific photographers represented in the Societe Jersiase Photo-Archive, producing over 9,000 portraits of islanders from 1852 to 1873 at a time when the population was around 55.000. The record we have of his work comes through his albums, in which he placed his clients in a social hierarchy. The arrangement of Mullins’ portraits of ‘who’s who’ in 19th century Jersey are highly politicised.

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.

In Mullin’s case he mounted his Cartes de Visite into an album. Because of the small size and relatively affordable reproducibility, Cartes de Visite were commonly traded among friends and visitors in the 1860s. Albums for the collection and display of cards became a common fixture in Victorian parlours. The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons.

More of Mullins’ work:

Throughout his career, Mullins collaborated with numerous acclaimed actors, directors, and production teams. Not only did he provide stunning headshots, but he also worked on set, capturing behind-the-scenes moments and promotional images for various films and television productions.

In addition to his commercial success, Mullins dedicated his time to giving back to the community. He conducted workshops and mentoring programs for aspiring photographers, serving as an inspiration for the next generation of talent. Mullins believed in nurturing young minds and encouraging them to unlock their artistic potential

Henry Mullins’ passion, dedication, and artistic eye revolutionized the world of headshot photography. His ability to showcase the true essence of his subjects made him a trusted collaborator for actors, models, and performers worldwide. Today, his legacy lives on through the countless aspiring photographers inspired by his work and the impact he made on the industry as a whole.

Chiaroscuro editing:

Also known as split lighting, the aim of this photo was to make one side of my face luminous while the other side is dark. This was my portrait before any editing, I think this lighting technique is effective as it gives a mysterious look. We ensured to keep the continuous lights off in order to achieve the dark look on one side of my face. This helped because it added a sense of drama to the photo making the left side very dark, and illuminate the brighter side of my face which created a successful contrast.

History of editing:

Final image:

This is my final edited image. I decided to keep the temperate and tint the same as before because my main focus was not to make the image look warmer. If I had adjusted the temperature it would decrease the dramatic effect, which I didn’t want. Instead I decreased the texture to give myself a smooth appearance, which prevents the viewer from being distracted. Additionally, I increased the saturation which helped illuminate the bright side of my face, which also increased the contrast between the light and dark side.

Rembrandt editing:

This was my original photo before any editing. We struggled to achieve the idea of a triangle appearing under the models eye, as we decided to make the background black for this photoshoot. We chose to do this because we thought it would enhance the triangle effect, however it did not turn out as successful as we thought it would.

History of editing:

Final image:

This is my final edited image for Rembrandt lighting, where I tried to highlight underneath the models right eye by increasing the shadows by an immense amount. I also increased the contrast because this would make the image appear brighter on the side where the flashlight hit, yet darker on the side where there was no light. By decreasing the vibrancy, it allowed me to achieve the black and white effect more successfully, as it instantly made the image appear more catastrophic.

Butterfly editing:

This is my photo before editing. We tried to achieve the butterfly effect by using a flashlight instead of a continuous light, as we thought we would achieve the strong, eye-catching deep shadow under the models nose. However, we used a reflector when taking these photos, which meant that our photos were significantly less effective. We soon realised that this was not as effective as it would have been if we used continuous lighting, because it also meant we were in less control of the outcome. This is because we made the room dark in order to receive the full potential of the flash, meaning we could not see what was working in the photo and what wasn’t.

History of editing:

Final image:

This is my final edit for our butterfly lighting attempt. Although it did not work as successfully as we hoped, I think the use of the editing process significantly helped improve the look of the photo and achieve the butterfly effect to an extent. I decreased the exposure a notable amount as it helps dull the image, which in a way helps increase the dark shadows. In addition to this, by increasing the contrast it helped bring out the shadows against the light, enhancing the butterfly effect. I decreased the vibration and exposure to -100 as it made my final image black and white, which I think is the more successful version for this technique of lighting.

More final edits:

In photography, lighting is extremely important for every photograph, as it adds a mood to each photo. There are three different common types of lighting, shown below:

Rembrandt Lighting:

Rembrandt lighting is a technique that was taken from a famous painter in the 1600s, Rembrandt Harmenszoon van Rijn. It’s a popular technique because it creates images that look both dramatic yet natural. This technique is a way of lighting the face so that a small upside-down triangle of light appears just under the models eye, on the less illuminated side of their face. It is a simple, effective photography lighting setup that’s flattering to a wide variety of faces, and is easy to master quickly. It’s possible to achieve this using just your camera and a single light source, which is why its so popular.

Examples of Rembrandt lighting:

The Rembrandt lighting technique is mostly known for dimension and depth it adds to portraiture. By using it you instantly create shadows and contrast in your photos. It also adds an element of drama, which is effective in photography because it draws the viewer’s attention immediately.

Lighting set up:

Light – lighting styles are determined by the position of your light source. Rembrandt lighting is created by the single light source being at a 40 – 45 degree angle and higher than the subject. Both flashlights and continuous lights can be used for this technique.

Lens – a 35mm or 50mm lens will work the best for this technique if your 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 very nicely for portraits, and will give a nice depth of field if you’re shooting with a shallow aperture. However, a 35mm will give you a wider perspective, meaning you can include more of the background in a photo. However, this is usually not needed in portraits as we want to focus on the subject.

Butterfly Lighting:

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. One of the most famous photographers to use butterfly lighting was George Hurrell, who was known for his dramatic portraits of Hollywood stars, and since, the technique has grown more popular.

Examples of butterfly lighting:

Butterfly lighting is primarily used in a studio setting. It is named “butterfly” because of the butterfly shaped shadow that it creates just under the models nose. This occurs because of the lighting in the shot, comes from above the models head. Butterfly lighting is mostly used for portraits, as it is flattering on everybody.

Lighting set up:

Light – Butterfly lighting requires a key light that can be a flash unit, or continuous. If continuous, it can be artificial or natural, meaning you have a lot more choice in which lighting you think would benefit your photos a lot more. Butterfly lighting can be varied, soft or hard depending on the objective of the image.

Lens – The most popular lens used for butterfly lighting is between a 50 – 85mm lens. This helps the photo because it allows a larger depth of field.

Chiaroscuro lighting:

Chiaroscuro lighting is a high-contrasting light technique that utilises a low-key lighting set up to achieve contrast between the subject and the dark background. Window light is the most accessible for this technique, as it focuses on only half of the models face being seen. By using window light, the photographer is able to enhance the exposure to avoid any distraction in the background of the photo. This helps keep the spotlight on the model. The window must be the only source of light when using this technique, if there is other background lighting then the focus will drift from the model into the background.

Examples of Chiaroscuro lighting:

This technique is mainly used in film to create striking images or evoke a certain feeling. The contrast between light and shade can help frame a subject more effectively. Drawing viewers eyes to things they would not usually focus on in the image.

Lighting set up:

Light – Chiaroscuro mainly uses one key light, and a variation using a reflector which helps deepen the contrast between the shadows.

Print Screen 1:

To start with, I opened up a plain gallery photo I found on the internet, I chose this one because there is lots of space where I can add my own images in. I began with these two images because they are definitely two of my most successful images that I have taken and edited so far. I thought that by adding these to the sides without any other images near them, it prevents distractions when looking at them, and means the viewer can focus on them more. By using photoshop I was also able to add shadow effects, and slant the images on the sides to add a sense of realism, it already began to look professional.

Print Screen 2:

I then moved on to the back section of the gallery, where I added another still life image I had taken in the middle. I did this because it looks efficient if my still life photos are equally separated. I did not need to add any shadows to this image because it was a neutral shot, meaning I can not see any of the sides.

Final Virtual Gallery:

This was the final result of my virtual gallery, after I added in my final images. For the final two, I decided to incorporate photos of tools, which was inspired by Walker Evans and Darren Harvey-Regan. I did this because it created a realistic contrast of photos you could find in a real art gallery. I like the effect of the two tool images separating the still life because it creates disparity, and therefore makes each detail in each image more noticeable and eye-catching.

What is Environmental portraiture?

An environmental portrait is a portrait executed in the subject’s usual environment, such as in their home or workplace, and typically illuminates the subject’s life and surroundings. The most common purpose of environmental photography is to inform and educate people about how their actions affect the environment.

Mood Board:

About Environmental Portraits:

A good environmental portrait is a photograph of a person that connects them with their natural surroundings. The photo will provide more of a story about the person than a formal portrait would. A portrait of a person in their natural environment adds depth to both them and the location.

Typology in photography:

A photographic typology is a single photograph or more commonly a body of photographic work, that shares a high level of consistency. This consistency is usually found within the subjects, environment, photographic process, and presentation or direction of the subject.

Who am I taking photographs of?

I have decided that I will capture most of my photos of teachers around the school. This is because they each have a strong profession, and have specific duties to carry out in their job, making my photos look professional.

Where am I taking the photographs?

I am going around the school, to different classrooms and environments. I will capture different environments such as the canteen, classrooms and offices.

What am I taking photographs of?

For my photoshoot, I am going to make the main focus of my images the subject in each photo. I will ensure that the viewer’s eye will focus on the subject, and then move throughout the background. In order to do this, I will need to make the subject engage with the camera so the effect of telling a story is made.

Why am I taking these photographs?

I am carrying out this photoshoot in the school because it has perfect environments that tell stories about the subjects and their professions. In each photo or environment, the viewer gets to see what the subject’s job is really like, and how passionate they are towards it. By doing this, it also allows the viewer to feel closer to the subject.

Photoshoot 1:

Photoshoot 2:

Photoshoot 3:

Photoshoot 4:

Photoshoot 5:

Photoshoot 6:

Photoshoot 7:

About the photoshoot:

For this photoshoot, we were in small groups and went around the school to experiment in taking our own environmental portraits. This is useful because the background effect of education and learning significantly added the effect to make it a successful environmental portrait. This gave us the opportunity to investigate how to make the subject the main focus in the images, and how much of the environment to include. We mainly visited teachers, as the use of their desks or other key backgrounds added to the effect.

My favourite photoshoot I completed was photoshoot 2. This is because we managed to capture the canteen lady from different angles, where she is doing different things. this created a successful set of images because it gives the viewer an insight o n the specific duties canteen workers need to do in order to carry out a successful canteen for schools. I like how she is interacting with the camera in different ways, such as pretending to advertise, rather than just smiling. However, I did make a few mistakes when carrying out these photoshoots. Such as not getting enough of the background in compared to the model. This was a drawback because it means we cannot get a clear understanding of the profession if we cannot see it. Another mistake I made when taking these photos is not focusing the camera, leading to some images being clearly more blurred than others. This looks unprofessional as it seems I was in a rush, subtracting effect from the image. The final big mistake I made was not adjusting the aperture and shutter speed. This was another reason for some of my images being blurry, and also it meant the lighting was affected.

Overall these photoshoots deepened my understanding of environmental portraits and how we feel closer to the subject by seeing their background.

“You don’t take pictures with your camera. You take pictures with your mind and heart.” – Arnold Newman.

Arnold Newman was born on March 3rd 1918, and passed away on June 6th 2006 as an American photographer who was greatly known for his environmental portraits of mainly artists and politicians. He was also widely known for his still life images which were described as “abstract”.

Examples of his environmental portraiture:

Examples of his still life:

The first ever environmental portraits were created by Newman, as he was seen to push the boundaries of traditional portrait photography during the 20th century. Newman’s passion for photography began in the 1920’s, and started taking environmental portraits in the 1940’s. He included a variety of famous people in his portraits, swell as scientists, workers, composers and political leaders.

Image Analysis:

I chose to analyse this portrait by Newman because it differs from Sander’s work. This is because often Sander’s backgrounds are dull and dark, so we can focus on the subject in the image. However the background in this image is quite chaotic, which distracts the viewer from looking at the subject. This image intrigued me because usually in environmental portraits the subject is centred, and standing up. This shows us they know what they are doing and portray dominance in the photo. This photo is unique to the others because the subject is sat down, and looks overwhelmed by the mess around him. This tells us that his profession is very busy and difficult.

What I like about Newman’s work is all his photos are pure and raw. They capture the true reality and events happening at the time, rather than editing them to what he thinks the viewers will like. The people in his photos are never specifically posing for the camera, instead they are acting out their proper duties. In a way, this makes us feel more connected to them by understanding how their job really is. I will take inspiration from Newman when creating my own images. I will have some where the subject is not using for the camera, to create a sense of realism. Yet I will also have some where poses and props are used to make them more effective and intriguing.

Visual:

• Messy
• Chaotic
• Intimidating
• Dull
• Background is the main focus rather than the subject
• Bright lighting
• Depth of field is large

Emotional:

• I feel sympathetic towards the subject as he looks overwhelmed
• Stress
• Work overload
• Uneasy
• Sense of unhappiness

Technical:

• Balanced composition from either side of the subject, which distracts us
• Line of symmetry
• Lighting is coming from the camera, so the image is bright
• Lots of distractions around the subject, which makes us focus on the background

Conceptual:

• This image was taken in Essen, Germany in 1963.

• ” Mr. Newman’s portraits were defined by his sitter’s environments, which led him to be known as the “father of the environmental portrait.”

More examples of his environmental portraits:

“If we can create portraits of subjects that are true, we thereby in effect create a mirror of the times.”

August Sander was a famous German photographer, born in 1876 and sadly passed in 1964. His passion for photography began to grow when he was a teenager, and by his twenties he was operating his own portrait studio. Sander began his most famous project in the 1920s, named “People of the 20th Century”. This project includes over 600 photos divided into 7 volumes and nearly 50 portfolios. The majority of Sander’s images in this project are in black and white, reflecting the time he was taking portraits. This is also attractive to modern viewers because it shows us what times were likes in the 1920s, which makes us feel closer to the photographer.

Sander captured this image in black and white like all of his other photos. However this one stood out from the rest to me because of the emotion on the man’s face as he is the subject of the image. He is displaying a face of exhaustion, which makes me feel sympathetic towards him. This implies that maybe he does not feel passionate towards his job, and could portray the difficult times in the 1920s. I noticed the background of this image was plain and dull, which could also imply that there is nothing exciting about his job, which again tells us he is miserable. This makes me question why Sander took this photo, and perhaps he is trying to pass a message through it.

This is another image taken by August Sander in 1926. I chose to analyse this image because it differs from the one above in terms of emotion. In this photo, the emotion on the craftsmans face shows more anger, and portrays more dominance than the previous. The subject’s facial expression is one of frustration, and shows us he maybe dislikes his profession also. The subject of the photograph is also centred, which I have noticed is a common theme in Sander’s work. The background is again dull, which contrasts well with the subject making him stand out more. This makes it easy for the viewer to focus on the subject’s emotions. The use of the man holding a prop for the photo also allows us to make the connection between the subject and his job. I think this image creates an emotional response through his body language and facial expressions by the way he is staring into the camera with an intimidating manner.

My original photo:

My editing Process:

My photo after editing:

To achieve this photo, I went down to the studio and completed my camera set up in order for my photo to reach its full potential. I placed my tools onto a plain neutral piece of card which allows the brush to be the focus point in the image. The angle of my camera was placed at a birds-eye view, because it looks similar to Walker Evans’ photos, and gives the photo a sense of uniqueness.

Finally, I chose one of my best images that I had put a green flag on and rated it 5 stars. This technique is useful because it makes it easier for me to decide which photos I want to use and which ones I can retake / not use. I then cropped the image so there was less background around the paintbrush, and I edited the saturation of the photo because our artist inspiration Walker Evans often has his photos in low saturation for a dull effect.