Headshot – A photograph of someone’s face, head and shoulders.

Headshots are mainly used as passport photos, resumes and for actors and musicians. This style of portrait helps to clearly define the subjects facial features as well as provide a clear basis for people to make assumptions on someone’s character, possibly based of appearance (like how they dress).

The first person to experiment with headshots in 1839 was Robert Cornelius. However, in 1854 André-Adolphe-Eugène Disdéri produced a more cost effective way of taking headshot photos, by cutting up full-sized plates into 4 seperate small portraits. These photos soon became known as Carte-de-visite.

These grew in popularity across both Europe and the US, where families of wealthy class got them to exercise their wealth. With some people such as queen Victoria getting one to flex her status.

The modern headshot is now used as an art form, for exploring different ways of portraying the face. They can also be used as professional headshots of someone with an influential status, like a celebrity. These can be used as a marketing purpose and can be sold. Another thing headshots are used for today are passport, or ID photographs. These are used to show someone’s age, identity and that they are suitable to fly.

Headshots and Techniques

Lighting-

The technical definition of lighting, or illumination is the deliberate use of light to achieve practical or aesthetic effects. Lighting includes the use of both artificial light sources like lamps and light fixtures, as well as natural illumination by capturing daylight.

There are different types of lighting, such as soft lighting, natural lighting, artificial lighting and hard lighting etc. Soft lighting is a type of light with few hard shadows that’s bright yet balanced. In soft lighting, the transition between the light and the shadows is more of a gradient and much smoother. When your subject is bathed in soft light, there will be little to no shadows on their face.

Hard lighting is a focused, often bright light that casts harsh shadows and draws attention to a specific part of a photo. In hard lighting, the transition between the light and the shadows is very harsh and defined.

Framing-

Framing in photography refers to the process of composing a picture. It involves choosing what you’ll include in the frame and what you’ll leave out. The goal is to create a pleasing composition that directs the viewer’s attention to the subject matter.

Headshots-

A headshot is a tightly cropped photo of the face, from the shoulders up. The subject is camera aware and typically looking right in the lens. Years ago, headshots were reserved for actors and models. For talent, these images are in some ways more important than a resume.

Focusing-

In photography, focus is the sharpest area of the image. It is the area where the lens works to highlight an object, a person, or a situation. Focus is one of the pillars of photography, along with ISO, aperture, and shutter speed. You can either use automatic or manual focus.

Focus on eyes-

In photography, focus is the sharpest area of the image. It is the area where the lens works to highlight an object, a person, or a situation. Focus is one of the pillars of photography, along with ISO, aperture, and shutter speed. You can either use automatic or manual focus.

Using AF (Autofocus) place the square, or set of squares on one eye of your subject. If the subject’s other eye is not on the same horizontal plane as the AF square, it will be out of focus. So, move your subject, or tilt your camera (if you can without ruining composition) so that the eyes are on the same plane.

Pose-

If you pose for a photograph or painting, you stay in a particular position so that someone can photograph you or paint you. Eg. position yourself, sit, model, strike a pose etc.

Expression-

Expression is the action of making known one’s thoughts or feelings. In impressionist photography you create an image to communicate to others, using visual language, how you feel about a specific idea or a subject.

Henry Mullins is one of the famous photographers in Jersey, producing over 9000 portraits of islanders from 1852-1873 at the time when the population was around 55,000. The record we have of his photographs comes through his albums , in which he placed his clients in social hierarchy. The arrangement of his work of ‘who’s who’ in the 19th centaury Jersey are highly politicised.

Henry Mullins Album showing his arrangements of portraits presented as cartes de visite

About him

When Henry Mullins arrived to Jersey in 1848 there were no photography studios to visit and no archive to consult. His was a community supported primarily by agriculture and maritime trades, and an emerging tourism industry. Mullins was already highly skilled in photography, so he set about setting up a highly successful business attracting Jersey’s wealthy upper classes to his studio. This cemented that his clients statuses among the island were elite. His most productive years were 1867-1872.

His work

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. This is where he would photograph Jersey political elite, such as; The Bailiff, Lt Governor, Jurats, Deputies etc. as well as mercantile families, such as; Robin, Janvrin, Hemery, Nicolle etc. and military officers and professional classes such as; (advocates, bankers, clergy, doctors etc.

His portrait were printed on a carte de visite as a small albumen print, which was the first commercial photographic print produced using egg whites to bind the photographic chemicals to the paper. It 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 Mullins case he mounted his carted 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 parlors. The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons.

Portrait of Philip Baudains, Writer, Advocate, Constable and Deputy of St Helier. The four headshots of Baudains are presented in a Diamond Cameo.

Diamond Cameo- It is a process in which four separate portraits of the same subject are printed on a carte-de-visite.

Some headshots by Mullins of both Jersey men and women produced as vignette portrait which was a common technique used in mid to late 19th century.

Mullins and Sank

Michelle Sank arrived to Jersey as the inaugural Archisle: Jersey Contemporary Photography Programme Photographer in Residence to complete a new commission of work for the Social Jersaiase Photographic Archivein response to insulur culture and society in 2013. With Mullins and Sank’s work we can therefore traffic 165 years a history. Over that period of time the lives of people in their portraits and the descendants and ancestors that lived between them have been radically changed by developments in every sphere of life. The photographic medium as a visual has also developed and changed due to constantly evolving technology.

Mullins and Sank’s work

Here are images of Mullin’s work from the years 1848- 1872 compared to Sank’s work from 2013 to modern day. The difference in their photographs of how men, women and children lived them compared to now are significant. There is also very obvious technology changes. Mullin’s photograph were in black and white, because technology wasnt very advanced, however Sank’s photographs are in colour.

I used ArtSteps to create a virtual gallery of some of my best Rembrandt, Butterfly, Chiaroscuro lighting photographs.

I used a mixture of black and white images, colourful images and of all the different lighting techniques.

Firstly, I picked a virtual gallery on ArtSteps that I liked and wanted to put my photographs in. Then, I dragged the photos I wanted to use for my gallery from my documents into ArtSteps and gave them all unique names. Then, I inserted the photos into the gallery, positioned them where I thought looked good and added a black frame to each one.

I took a close up picture of one of the walls of the gallery, so the photographs details and features could be seen clearly. Next, I took a photo of the whole gallery from a distance, so all the photographs could be seen, and so the layout of my gallery could be seen clearly.

Photoshoot- Edits

The photographs that are highlighted green are the photos I have chosen to edit, because they have the best poses and composition. They also display the different types of lighting the most effectively and well, so it is easy to tell which lighting was used for each of these photographs.

Chiaroscuro Lighting

Chiaroscuro lighting, which is also known as split lighting shows a split of the lighting, where there is half dark and hark light. This is how you recognise Chiaroscuro Lighting. The set up, which was used is shown below;

The light was positioned at the side of the model and camera and was angled on a 45 degree angle, to face the model. The light was about 2 feet higher than the model and slightly tilted down, to shine onto the model. The camera was also positioned on a 45 degree angle to face the model, or directly in front of the model at the same level. The reflector is then positioned under, or to the side of the model on an angle, so the light reflects of it into the models eyes, to make them brighter and more visible.

Edits

I edited this photo to make it brighter, so the model would stand out more and so the background would be brighter. I did this by increasing the exposure, contrast, whites, highlights, blacks and clarity, while decreasing the shadows. I also used a brightening tool on Lightroom to brighten up the models eyes and used a correction tool on Lightroom to get rid of any blemishes on the models skin, hair etc.

I then made a virtual copy of the edited photo and edited it again to make black and white version, to really help show that split lighting of dark and light.

I edited this photo to make it brighter and more vibrant, so the model and her accessories would stand out more. I did this by increasing the exposure, contrast, whites, highlights, texture and clarity, while decreasing the shadows and blacks. I also used a brightening tool on Lightroom to brighten up the models eyes and used a correction tool on Lightroom to get rid of any blemishes on the models skin, hair etc.

I then also made a virtual copy of the edited photo and edited it again, so I could create a black and white version.

I edited this photo to bring more highlights and light onto the models face, so that it has more contrast, with the dark and light split lighting. I did this by increasing the exposure, contrast, highlights, whites and clarity, while decreasing the shadows and blacks. I also used a brightening tool on Lightroom to brighten up the models eyes and used a correction tool on Lightroom to get rid of any blemishes on the models skin, hair etc.

I then made a virtual copy and edited it again to make a black and white version, so it has more of a contrast between the light and dark and so it shows different tones.

I edited this photo to bring more highlights onto the models face and to make it lighter, so it enhances the contrast between the light and dark. I also thinks this gives the photograph a different mood. I did this by increasing the exposure, contrast, highlights, whites and clarity, while decreasing the blacks and shadows. I also used a brightening tool on Lightroom to brighten up the models eyes and used a correction tool on Lightroom to get rid of any blemishes on the models skin, hair etc.

I then made a virtual copy of the edited photo and made a black and white version.

For all my Chiaroscuro photographs the camera settings were;

Aperture: f/10

Shutter Speed: 1/25 seconds

ISO: ISO-100

Top 8 Chiaroscuro Lighting photographs

Conclusion

In conclusion, I think this photoshoot went well, as I understood the lighting technique and managed to achieve portraits using this lighting technique, because I was able to set up the studio correctly for the different types of lighting. I also experimented with different backgrounds, such as black or white backgrounds, to give the photograph a different mood. I was also able to direct my models to try different poses and to sit at different angles or facing different ways. This helped change the mood of the photographs. I also experimented a lot with my editing skills, as I used a brightening tool on Lightroom to brighten up my models eyes, so they would be more visible and stand out more. Furthermore, I also used a correction tool on Lightroom to correct or get rid of any blemishes on my models skin, hair etc. I then also experimented with making my photos black and white, so it would give a complete new portrait and a complete new mood.

Photoshoot- Edits

The photographs that are highlighted green are the photos I have chosen to edit, because they have the best poses and composition. They also display the different types of lighting the most effectively and well, so it is easy to tell which lighting was used for each of these photographs.

Butterfly Lighting

Butterfly lighting is lighting that displays a butterfly shadow under the nose. This is how you can tell it is butterfly lighting. The set up which was used is shown below;

The light was positioned directly in front of the model, but raised about 2 feet above the model, so the light would shine down onto them. The camera was also positioned directly in front of the model, but at the same level as the model. The reflector is then used to reflect the light into the models eyes to make them brighter and more visible in the photograph. The reflector is positioned either under the model on an angle, or to the side of the model on an angle. 

Edits

I edited this photo to make it much brighter, so that the model was more visible. I did this by increasing the exposure, contrast, highlights and whites, while also decreasing the shadows and blacks. I also experimented with editing in Lightroom, by using a brightening tool on the models eyes, so they are brighter and more visible. I also used a correction tool to get rid of any blemishes on the skin, hair etc.

I also experimented with the editing by making a virtual copy of the edited photo and making it black and white.

I edited this photo to make it much brighter, so that it was more vibrant and the model could be more visible. I did this by increasing the exposure, contrast, highlights, whites and clarity, while also decreasing the shadows and blacks. I also experimented with editing in Lightroom, by using a brightening tool on the models eyes, so they are brighter and more visible. I also used a correction tool to get rid of any blemishes on the skin, hair etc.

I also made a virtual copy of the edited photo and edited it again, so it was black and white. I did this to give the portrait a different mood and to just experiment with different tones and contrasts.

I edited this photo to make it brighter and more vibrant, so the model and her features were more visible. I did this by increasing the exposure, contrast, highlights, whites, texture and clarity, while decreasing the shadows and blacks. I also experimented with editing in Lightroom, by using a brightening tool on the models eyes, so they are brighter and more visible. I also used a correction tool to get rid of any blemishes on the skin, hair etc.

I also made a virtual copy of the edited photo and edited it again to make a black and white copy. I then started to experiment with different backgrounds, so I used a black background instead of white background.

I edited this photo to make the model more vibrant and the photo brighter, so that the model would stand out more. I did this by increasing the exposure, contrast, highlights, whites and clarity, while decreasing the shadows and blacks. I also experimented with editing in Lightroom, by using a brightening tool on the models eyes, so they are brighter and more visible. I also used a correction tool to get rid of any blemishes on the skin, hair etc.

I then made a virtual copy of the edited photo and edited it again to create a black and white version.

I edited this photo to make it brighter and to give the model’s face more highlights, so that the shadow under her nose stood out more, so it was easier to to tell it was butterfly lighting that was used. I did this by increasing the exposure, contrast, highlights, whites, texture and clarity, while decreasing the shadows and blacks. I also experimented with editing in Lightroom, by using a brightening tool on the models eyes, so they are brighter and more visible. I also used a correction tool to get rid of any blemishes on the skin, hair etc.

I also made a virtual copy of the edited photo and edited it again to make a black and white version.

For all my butterfly photographs the camera settings were;

Aperture: f/14

Shutter Speed: 1/80 seconds

ISO: ISO-100

Top 9 Butterfly lighting photographs

Conclusion

In conclusion, I think this photoshoot went well, as I understood the lighting technique and managed to achieve portraits using this lighting technique, because I was able to set up the studio correctly for the different types of lighting. I also experimented with different backgrounds, such as black or white backgrounds, to give the photograph a different mood. I was also able to direct my models to try different poses and to sit at different angles or facing different ways. This helped change the mood of the photographs. I also experimented a lot with my editing skills, as I used a brightening tool on Lightroom to brighten up my models eyes, so they would be more visible and stand out more. Furthermore, I also used a correction tool on Lightroom to correct or get rid of any blemishes on my models skin, hair etc. I then also experimented with making my photos black and white, so it would give a complete new portrait and a complete new mood.

Photoshoot- Edits

The photographs that are highlighted green are the photos I have chosen to edit, because they have the best poses and composition. They also display the different types of lighting the most effectively and well, so it is easy to tell which lighting was used for each of these photographs.

Rembrandt

Rembrandt lighting usually displays a triangle on the cheek under one of the eyes. This is how we can tell it is Rembrandt lighting. The set up of Rembrandt lighting, that we used in the studio is below;

The light was on the right hand side of the camera on a 45 degree angle, onto the model. The light is also roughly 2 feet higher than the model and positioned to point slightly down. The reflector was then used to reflect that light into the eyes of the model to make them brighter and more visible in the photo. The reflector is positioned either under the model on an angle, or to the side of the model on an angle. The camera is then positioned directly in front of the model.

Edits

I edited this photo to make it brighter, so the model would stand out more. I did this by increasing the exposure, contrast, highlights, whites, texture and dehaze, while decreasing the shadows, blacks and clarity. I also then made a copy of the edited photo, which I edited again to make it black and white. I also used a brightening tool on Lightroom to brighten up the models eyes and used a correction tool on Lightroom to get rid of any blemishes on the models skin, hair etc.

I then took another photo of the model, but experimented with the background, and tried out a black background.

I edited this photograph to make the model brighter and exposure higher, so the model would be more visible and the viewpoint of this photograph. I edited this by increasing the exposure, contrast, highlights, whites, texture and clarity, while decreasing the shadows and blacks. I then also made of copy of the edited photograph and edited it again to create a black and white version. I also used a brightening tool on Lightroom to brighten up the models eyes and used a correction tool on Lightroom to get rid of any blemishes on the models skin, hair etc.

I then started to experiment with different poses, using hands, arms, legs, or body movement. In the photograph below I ask the model to turn to sit facing the side and to hug her legs and then look at the camera.

I edited this photograph to make it brighter, and to create more of a light contrast on the models face. I did this by increasing the exposure, contrast, highlights, whites, texture and clarity, while decreasing the shadows and blacks. I then made a copy of the edited photograph and edited it again, to create a black and white version. I also used a brightening tool on Lightroom to brighten up the models eyes and used a correction tool on Lightroom to get rid of any blemishes on the models skin, hair etc.

I then asked the model to sit facing away from the camera and turning around over her shoulder to look at the camera.

I edited this photo to make it brighter, so the all the models features were visible. I did this by increasing the exposure, contrast, highlights, whites, vibrancy and saturation, while decreasing the blacks and shadows. I then made a copy, to create a black and white version. I also used a brightening tool on Lightroom to brighten up the models eyes and used a correction tool on Lightroom to get rid of any blemishes on the models skin, hair etc.

I then experimented with different backgrounds and used a black background, instead of a white background.

I edited this photo, to make it brighter and give it higher exposure, so the model was more visible against the darker background. I did this by increasing the exposure, contrast, highlights and whites, while decreasing the blacks and shadows. I then also made a black and white copy. I also used a brightening tool on Lightroom to brighten up the models eyes and used a correction tool on Lightroom to get rid of any blemishes on the models skin, hair etc.

I then experimented with the space around the model, by making the model much closer and bigger, with less space around her.

I also made a black and white copy of the edited photograph.

For all my Rembrandt photos the camera settings were:

Shutter speed: f/14

Aperture: 1/80 seconds

ISO: ISO-100

Top 9 Rembrandt photographs

Conclusion

In conclusion, I think this photoshoot went well, as I understood the lighting technique and managed to achieve portraits using this lighting technique, because I was able to set up the studio correctly for the different types of lighting. I also experimented with different backgrounds, such as black or white backgrounds, to give the photograph a different mood. I was also able to direct my models to try different poses and to sit at different angles or facing different ways. This helped change the mood of the photographs. I also experimented a lot with my editing skills, as I used a brightening tool on Lightroom to brighten up my models eyes, so they would be more visible and stand out more. Furthermore, I also used a correction tool on Lightroom to correct or get rid of any blemishes on my models skin, hair etc. I then also experimented with making my photos black and white, so it would give a complete new portrait and a complete new mood.

What is lighting in Portraiture?

There are different types of lighting, such as artificial lighting/ studio lighting, or natural lighting. In artificial lighting there are different lighting techniques, such as Rembrandt, butterfly, chiaroscuro etc.

Mind Map

Mood Board

Exploring Technique

In most cases we can make use of natural or available / ambient light, but we must be aware of different kinds of natural light and learn how to exploit it thoughtfully and creatively;

• intensity of the light
• direction of the light
• temperature of the light (and white balance on the camera)
• making use of ‘the golden hour’
• Using reflectors (silver / gold)

Golden hour- Seen as the best time to shoot, because the lighting is warm and soft, which enhances shots of landscapes, nature and more.

Artificial/ Studio Lighting

Using artificial lighting can offer many creative possibilities;

• the size and shape of light
• distance from subject to create hard / soft light
• angles and direction, high, low, side lighting, filtered light
• camera settings : WB / ISO / shutter speed etc
• reflectors and diffusers
• key lighting, fill lighting, back lighting, 1,2+3 point lighting
• soft-boxes, flash lighting, spot lights and floodlights
• Rembrandt lighting, butterfly lighting, chiarascuro 
• high key and low key lighting techniques
• backdrops and infinity curves
• long exposures and slow shutter speeds

Rembrandt Lighting

Rembrandt lighting is a technique for portrait photography, named after Rembrandt Harmenszoon van Rijn, the great Dutch painter. It refers to a way of lighting a face so that an upside-down light triangle appears under the eyes of the subject.

In Hollywood in the early 20th century, the legendary film director Cecil B. DeMille introduced spotlights to create more realistic effects of light and shadows into the ‘plain’ studio lighting setup that was generally in use. Rembrandt lighting is one effect that was created by this, and it became widely used in promotional photographs of film stars showing them in a dramatic and eye-catching way. An example of these film stars is Marylin Monroe and Keanu Revees;

Why use Rembrandt Lighting?

Rembrandt lighting is used to create shadows and contrast, and the ‘triangle of light’, beneath someone’s eye. This causes an element of drama and psychological depth onto the individual, who’s photo is being taken. Rembrandt lighting is an effective device to draw the eye. However, you can do this in many ways in photography, such as depth of field, leading lines, negative space etc. In portraiture, the eyes of your subject are nearly always the main point of focus. The triangle of light, placed just below the eye on the shadow side of the face, will increase the emphasis and the viewer really will be ‘drawn in’ to your image.

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 your subject.

Examples of Rembrandt Lighting

This photograph is using Rembrandt lighting, with hard lighting.

This photograph is using Rembrandt lighting, but now with soft lighting.

Butterfly Lighting

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 used for portraits, because it is a lighting that flatters almost everyone, as it can highlight cheekbones and create shadows under them, as well as under the neck, which makes the model look thinner. This makes it the most commonly used lighting setups. This lighting has also been used for famous stars, from classic Hollywood and that’s why it’s also called Paramount lighting.

Lighting: Butterfly lighting requires a key light that can be a flash unit or continuous. If continuous, it can be artificial or natural. In other words, you can use strobes, speed lights, LEDs or even the sun. A butterfly lighting effect refers to the setup and not to the quality of light – it can be soft or hard light depending on the effect you want. If you want to create a soft light, you’ll need to use modifiers. A beauty dish is perfect for glamour photography as it distributes the light evenly and smooths the skin. You can also use a softbox or an umbrella. Instead, if you want to have hard light, you can leave the light source as it is. Alternatively, you can use grid spots to direct it and create different effects.

Experimentation: Once you have the key light set up, it’s time to fill the shadows. You can use a reflector to bounce the light back up and soften the shadow under the chin and the one from under the nose. To do so, position the reflector under the subject’s face. Start at waist level and see how it looks. If the shadows are still strong, move it closer to the face and so on. Experiment with different positions to achieve different effects. You can also change the colour of the reflector. A white one will give you a neutral tone, while a golden one gives a warming overcast. Once you’re happy with your butterfly lighting, direct the model to have a striking fashion pose or whatever the desired pose or expression you’re looking for. Just keep in mind that the subject’s face needs to be towards the light in order to have the butterfly shadow under the nose.

Examples of Butterfly Lighting

Chiaruscuro

Chiaruscuro is a visual element of art, which is defined as a bold contrast between light and dark. It is called chiaruscuro, because it is an Italian word meaning lightdark. A certain amount of chiaroscuro is the effect of light modelling in painting where 3-dimensional volume is suggested by highlights and shadows. It first appeared in 15th century painting in Italy and Flanders (Holland), but true chiaroscuro
developed during the 16th century, in Mannerism and in Baroque art. Dark subjects were dramatically lighted by a shaft of light from a single constricted and often unseen source was a compositional device seen in the paintings of old masters such as Caravaggio and Rembrandt.

Chiaruscuro in Film

Film noir, which is French for Black Film, is a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize moral ambiguity and sexual motivation. Hollywood’s classic film noir period is from the early 1940s to the late 1950s. Film noir of this era is associated with a low-key black-and-white visual style that has roots in German Expressionist cinematography, while many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Depression.

Chiaruscuro in photography

Chiaroscuro lighting uses one key light and a variation using a reflector that reflects light from the key light back onto the sitter.

Examples of Chiaruscuro

The photograph on the left is the Flagellation of Christ is a painting by the Italian Baroque painter Caravaggio, now in the Museo Nazionale di Capodimonte, Naples. It is dated to 1607. This painting uses chiaruscuro lighting. The photo on the right also uses chiaruscuro and is by Johannes Vermeer and is called The Girl with the Pearl Earring, 1665.

These two images are examples of chiaruscuro lighting being used in a film.

These three images are examples of chiaruscuro lighting being used photography.

Photoshoot:

These are all the photos I have chosen to edit, because they are my best photographs of environmental portraits. These are my best photos, because they have the most interesting environments and have the best composition. These are also my clearest and least blurry photographs, as the camera was focussed when taking them.

These are all the photographs I have taken for environmental portraits and the photos highlighted green are my best photos, which have been edited.

Edits

I edited this photo to make it more vibrant and to make the individual stand out more and be the main viewpoint of the photograph, by blurring the background. I edited this photo by increasing the contrast, shadows, whites and vibrancy, while decreasing the exposure, highlights, blacks, clarity and dehaze.

I also created a black and white version of this photograph, so it had more contrast and black and white tones.

I chose to edit this photo, because it has the best composition and the individual is using her hands to pose, which adds an element of her character into the photograph.

I edited this photo to make it more vibrant, so it attracts the viewers eye and makes the environment for this environmental portrait more interesting. I did this by increasing the contrast, shadows, texture, clarity and vibrancy, while also decreasing the blacks and the dehaze.

I chose this photograph, because it has an interesting environment, which we can learn a lot about the individual through.

I edited this photograph, to make it brighter and more vibrant, by increasing the contrast, texture, clarity and vibrancy, while decreasing the highlights, shadows, whites and blacks.

I chose to edit this photo, because it has an interesting environment, which we can learn a lot about the individual through. We can also perceive from her pose and smile that this is her natural environment as she feels comfortable in it and is also happy in this environment.

I edited this photo to make it brighter and more vibrant, by increasing the exposure, contrast, highlights, texture and vibrancy, while decreasing the shadows, whites, blacks and clarity.

I also edited a black and white version of this, so that the two individuals would be the main viewpoint and focus of this photograph.

I chose to edit this photo, because I was experimenting with having more than one person in my environmental portraits. I also chose this photo, because the two individual used their hands to pose, with them on their laps, which presents to the viewer about their personality.

I edited this photo to give it a more warm lighting, so the photograph was more clear and in focus. I did this by increasing the contrast, shadows, whites and vibrancy, while also decreasing the exposure, highlights and blacks.

I edited this photo to also give it warmer lighting, so the photo and the individual were more clear. I did this by increasing the exposure, contrast, shadows, whites and vibrancy, while decreasing the highlights and blacks.

I chose both of these last two photographs to edit, because they had good composition and had an interesting environment. I also chose this last photo, because of the use of the prop, which shows that this individual is in this environment that much, that he even comes here on his birthday.

Conclusion

In conclusion, I think this photoshoot went well, as I experimented with taking environmental portraits of one person, or with more than one person. I also experimented with different poses using the individuals hands and I experimented with props. I also experimented with editing black and white pictures.

Who is Arnold Newman?

Arnold Newman (1918-2006) was an American photographer known for his environmental portraits of artists and politicians. He was also known for his carefully composed abstract still-life images. With his method of portraiture, he placed his sitters in surroundings represented of their professions , aiming to capture the essence of the individuals life and their work. Arnold Newman is widely known for pioneering and popularizing environmental portraits.

About him

Arnold Newman was born March 3rd 1918, in New York City. He studied art under a scholarship at the University of Miami, Coral Gables, FL from 1936 to 1938. In June of 1941, Beaumont Newhall of the Museum of Modern Art and Alfred Stieglitz “discovered” him, and he was given an exhibit with Ben Rose at the A.D. Gallery in September. There he began working on experimental portraiture. He then returned home to Miami Beach, but once he was well established, he moved to New York in 1946 and opened his studio and became a member of the American Society of Magazine Photographers. Newman’s new approach to portraiture began its influence through key publications in America and abroad.  Exhibits and purchases of his work by major museums quickly followed. In 1949, he married Augusta Rubenstein, and they had two sons, Eric, born 1950, and David, 1952. He died in New York City on June 6, 2006 and his wife died in 2009.

Who inspired him?

Arnold Newman stated that he was particularly inspired by Flemish painters. However, he also mentioned the work of Cubists including Picasso, who influenced the way Arnold Newman structured his photographs.

His work

This image shows us into the life of Pablo Picasso, who is the man in this photograph. Pablo Picasso is a famous artist, who painted and made art pieces. In this photograph he is surrounded by all his work, which suggests this is his studio. However, the rocking chair in this photograph also suggests that this is his living area and his home.

This image is in black and white, which most of Arnold Newman’s pictures were. This helped to add more contrast to the photo, because it had lots of light and dark tones throughout the photo. The black and white also helped to create more texture in the photograph, especially in Picasso’s art pieces and canvas painting. The viewpoint of this photo is Picasso, who is in the centre of the photo. Him being in the centre in the composition presents him as the viewpoint, as it is leading out eye towards him. The position Picasso is sat in on his chair, with him leaning forward, leaning on his arms and sat with his legs spread either side of the chair suggests that Picasso is not a very serious person and he has a sense of fun about him. However, Him leaning forward on his chair and leaning of his arms with him in the centre of the room suggests that he owns this room and is proud of everything in it. This photo has natural lighting coming from the side window, but also uses indoor lighting as the photo was taken indoors. This has low light sensitivity as the image is not grainy.

This is a famous photograph of Arnold Newman’s, which was published in The New York Times. This picture contains two people, who are Marylin Monroe and Carl Sandburg, who are pictured in their natural environment, and doing things, which are natural to them, like having an alcoholic drink.

This photo is in black and white, with lots of black and white tones like most of Arnold Newman’s photos. The layout of this photo is the two individuals in the centre of the photo, which then makes them the viewpoint of this photo. The background of this photo suggests that this is their living space or an environment that is natural to them, like a hotel, which they are in often. Marylin Monroe is a famous singer and Carl Sandburg is a famous poet, so him and Marylin tend to stay in hotels often, which is why this photo was set in a hotel room. Marylin Monroe and Carl Sandburg were in a relationship with each other, which makes this environment more natural to them as they are very often together. The photo was taken indoors, so we can interoperate that the lighting of the photo was not natural lighting and a flash was used, or indoor lighting.

The individual, who is the viewpoint in this photograph, is Alfried Krupp, who was an industrialist, who used slave labour. Arnold Newman at first refused to take his photo, as he did not agree with how he did things, but after some time Arnold Newman agreed to photograph him, because he saw this as an opportunity. Alfried Krupp hated this photo and wanted Arnold Newman to delete it, but he didn’t and instead used it as a way to share the unmoral things Alfried Krupp was doing.

The background of this image is Alfried Krupp’s industrial factory, so this environment was natural to him. This photo is one of the few portraits that Arnold Newman took, that wasn’t in black and white, but instead it has a green tint to it, which is caused by the lighting used, as this photo uses quite dim lighting. This makes the photo look more scary and sinister. The individual is posed leaning forward onto his hands, while glaring, which causes him to look really sinister. Arnold Newman used this pose to make Alfried Krupp look really sinister to the viewers, so they would know, that he was a sinister individual in every day life. This photo caused society to learn the real truth about Alfried Krupp and about his industrial business, and it was all because of how Arnold Newman positioned him, the lighting, the background and how he refused to delete the picture when Krupp wanted him to , but instead posted it in the New York Times.