Environmental Portraiture is a photographed portrait that captures a subject/s in its natural surroundings instead of in a studio or other artificial background setup. These ‘environmental portraits’ can be used to tell a story behind an individual’s place of work, personal history, and daily life especially someone’s connection to a certain place and being able to tell a story through the art of taking a photograph. Environmental Portraiture may reveal about a person their work conditions/ how their environment may impact their daily life (if they look upset/ way they are positioned and the individuals status may present how they feel)
What is a typology in photography?
Typology in photography is a single photograph or more commonly a body of photographic work that has a high level of consistency. Usually found within the subjects, environment and direction of the subject.
Typology can link to Environmental Portraiture as both topics discuss different aspects of change/ nature. Environmental Portraiture shows a collection of numerous characters and careers and contrasts between them, as well as typology presenting changes and contrast in a collage of multiple photographs.
I selected my top 3 photographs presented on the virtual gallery above. I added a layer style –> stoke and layered the outside area of the photograph similarly to a frame.
On this specific website called “artsteps” I experimented with putting up my favorite photographs up on the 3D wall presenting them how I would if it were a real art gallery.
In this photoshoot, I collected objects such as tools like Walker Evans. I ensured each one was of a specific shape or a different colour from the others so that every other photograph from this photoshoot looked different. I also took lighting as a big factor in the photo shoot as I believe in the photoshoot lighting was a big contributor to how the photo shoot turned out as it was important for it to be brightened up.
DevelopmentPhotoshoot 2 Contact Sheet: Using multiple objects
In this photoshoot, I experimented with different textures, and layers and thought about how I could potentially rotate and position multiple objects similarly to the artists (Walker Evan and “Beauties of the Common Tool”).
I played around with the cutlery with different backgrounds and different textures. In this photoshoot, the photographs didn’t turn out as well as I wanted to therefore I decided to experiment with the same silverware and other objects in another photoshoot. What I would improve in the net photoshoot is the angle of the camera lens to make it look inspired by the photographer Walker Evans with his silver tools.
In this photograph, the camera is positioned at a low angle to add perspective to the silverware. I like the outlook of the photograph and how the strong shadows and artificial lighting creates a clear silhouette of the silverware.
In this particular photograph, I wanted to crop out the odd black dots around the edges of the photograph and I wanted the different tonalities of the photograph to be around in different areas so I decided to make beneath the tape a light point.
The photograph below is presented as the one presented above (editing process). To create the specific shadows and depth in the photograph consisted of narrowing down the exposure, and shadows and dehazing the photograph. I increased the temperature (warm) and the highlights of the photograph so that the highlights are illuminated and the images is bolder and has more depth.
Third Photoshoot:
Similar to the work of Walker Evans, the shadows are not visible in these photos and the objects are taken from a face-on angle. The camera settings used for this particular photograph on the top was taken at a 43mm range of depth on the lens, at a f/6.3 aperture and at a 1/100 sec shutter speed. The photograph was also set at an ISO 100 meaning that the camera lens’ sensitivity to light was slightly lower than the much higher settings.
This could have an effect on the outcome of the photograph as the red and purple glossy overlay could mean that if the settings are high then the outcome of the silver ware will look too light and pastel therefore having the shadows and outline of an objects increased the result looks increasingly better and advanced.
In the second photograph on the bottom, the camera settings are set at a manual mode of the lens 47mm and an aperture of f/6.3. The photograph has a shutter speed of 1/100 sec and an ISO of 100.
In this photograph, I tried to bolder the shadows/highlights and the exposure levels so that the contrasting colours can look striking and look brighter than all the other colours. The camera settings used manually to create this photograph were: a 55mm lens close-up, an aperture of f/6.3, a shutter speed of 1/100 sec, an ISO of 10 and no flash as the image itself does not have many shadows and darker areas therefore does not require the additional light.
This print screen demonstrated the editing process changing the photo filter to a cooler undertone, I chose to do this as it represents the cooler-toned colouring pencils. It may also link to a story/ feeling/ theme of nostalgia as the colouring pencils may be remembered as a thing that was used when you were younger/ a child so that cool undertone of the blues may represent that sadness/ memory and thought of the past.
Born in 1903 in St Louis, Missouri, Walker “dabbled with painting as a child, collected picture postcards, and made snapshots of his family and friends with a small Kodak camera. He continued to take photography as a hobby when his family moved to Chicago, and subsequently Ohio. After a year at “Williams College, he quit school and moved to New York City, finding work in bookstores and at the New York Public Library, where he could freely indulge his passion”. Between 1943 and 1965, “he worked as a staff photographer for Time and Fortune”. Soon after retiring from professional photography in 1965, he taught graphic arts at Yale. “Walker Evans’s photographs were as prototypes both for the American documentary movement of the 1930s and for street photographers of the 1940s and 50s”.
In the “Beauties of the common tool” Walker Evans works with a contrast of silver hard materials describing it in his accompanying text as “Among low-priced, factory-produced goods, none is so appealing to the senses as the ordinary hand tool. Hence, a hardware store is a kind of offbeat museum show for the man who responds to good, clear ‘undesigned’ forms”. The “images of a reamer, an awl, a bill hook, an auger, various pliers, and a couple of variations on a T-square and some wrenches.” are photographed showing the simplicity of dusky and darkened tools when photographed alone.
I like how the photographs are presented and how the idea of Formalism comes across because both aspects of “form and style” play throughout the photograph such as the texture on the rocks contrasting to the shadow and dark features exposed to the lens behind the object. The “visual aspects” of Darren’s images are the different shaped creases and crevasses on the rocks.
•Formalism describes the study of art by analysing and comparing form and style. It’s topic also includes the way objects are made and their purely visual or material aspects.
Seven Basic Elements to photographic art:
Line-“a straight or curved geometric element that is generated by a moving point and that has extension only along the path of the point/ Straight lines often show up in manmade objects. Curved lines can be manmade but are often organic in nature. Solid lines are common in scenes.”
Shape-“the visible makeup characteristic of a particular item or kind of item/ spatial form or contour/ a standard or universally recognized spatial form.
Form-“form is three-dimensional. Form has overall height, width, and depth.”
Texture-“the visual or tactile surface characteristics and appearance of something/ texture in “real life” can be, basically, smooth or rough. We can use other descriptors as well: slimy, wet, hard, soft, bumpy, shiny, etc.”
Colour-“the aspect of the appearance of objects and light sources that may be described in terms of hue, lightness, and saturation for objects and hue, brightness, and saturation for light.“
Size-“physical magnitude, extent, or bulk : relative or proportionate dimensions”
Depth-“the direct linear measurement from front to back“
My understanding of the settings used manually is that the aperture (will affect the shutter speed and the depth of field). As the aperture increases the background comes more into focus.
ISO (increasing it makes the camera sensor more sensitive to the light). Enables the photographer to use a faster shutter speed/ higher aperture. In low light you can increase the ISO too make the low light photograph more visible/ good exposure.
Exposure Settings:
The final check before you snap a picture. At a glance the exposure setting will tell you how our picture will turn out (based on the aperture, shutter speed settings and ISO settings. It works as a guide and exposure is a matter of personal preference.
Throughout the couple of lessons, my class and I took photographs with different camera modes, angles and lighting qualities. I brought photographs from different of my family background e.g. photographs when my mum and grandmother wee younger, myself as a child (nostalgia) and childhood and memorable photographs in general which are special to me. I tried to adjust the photographs to my liking and bringing the different settings like ISO, shutter speed, aperture and other manual settings we played around with. My mum mentioned that I had scribbled on the further left photograph so I as well think of the pen damage as a memorable and funny childhood thought.
In our previous lesson the class was introduced to Adobe Lightroom classic and learned skills such as selecting colour label and making collections and collections set in order to clearly identify where the photographs are and if you prefer one from the other using the contrasting colours.
It is seen in this print screen I started to develop the photographs temperature and the tonality and exposure settings. I didn’t want the photograph to dark yet too light so that the slightly pink features popping through the photograph come out, the slightly pink atmosphere gives the photograph a sweet and positive outlook and feeling when looked on especially on terms of the theme of Nostalgia, looking back on childhood memories and reflecting to the earlier years.
Objects:
As well as taking photographs of arrangement of photos, I took photographs of objects. When composing these photos, I focused on the objects being framed in the centre of the image. I narrowed down/cropped the image so that it is clearer to see the details of the subject and to not have a lot of blank space.
I believe having a photograph of a singular object can make the outlook on it a lot more interesting, mysterious, and a lot more compelling as it may raise a lot of questions: Why is it only the dress? Is the dress abandoned? Is used? What is the backstory of it? What does it tell us as a viewer? Looking at the photograph having only one subject may give the viewer a lot more to say and may give a greater emotional impact.
In this photograph there are three objects included and as it is presented by the rule of thirds, it is clear that the focus is in the centre of the middle column. Many of the darker tones of the photograph are located in the middle creating an atmosphere of emptiness, unsolved matters and enigma.
Above I have presented the photograph without the lines. This photograph consists of three objects instead of just a singular one so the story or backstory behind the object’s meaning may be more developed by the viewer as there’s more to say about it. Questions like: Why do they link? What does the old box have to do with the black hat? What was the odd box used for? How old is the silver mug?
In this photograph, I experimented with other objects and backdrops’ colour schemes (which ones paired better with the undertones of the objects). I paired the skull object, open book and vintage-like patterned vase with a black and orange coloured piece of card so that the shadows and discreet tonalities of the skull especially can come out. I increased the white tonalities so that the lighter areas of the photograph can pop out as well as the clarity and textures as seen on the right image editing selection panel.
In this photograph, I decided to take the image in a landscape formation as the subject expanded in width rather than in height. I find the photograph a good mixture of tonalities and colour scheme as I believe the dusty white/yellow tones of the pages pair well with the orange and black background colour. I believe the outlook on the pages flicking over, especially in this specific photograph where the page in the book has been already flipped further increases the meaning and background of “still life”.
In this photograph, I kept the background and the same colour scheme. I figured that the black and orange scheme would play well with the colours of the pattern and similar warm tones shades on the lamp. I like how the photograph turned out and the highlighted area on the lamp as it appears shiny and gleaming. Anything that I would change in this photograph would be to look first photograph the object with a brighter light so that the photograph doesn’t appear as bright as first and when editing the photograph so that it doesn’t appear even more darker.
In this photograph I combined both elements into a trio, I added the vintage-like lamp from the previous photograph and brought together other unique and one-of-a-kind objects complimenting each other with the colour scheme, pattern and size and shape e.g., if it looks distorted or funky.
The three different objects are positioned closely together and, in the centre, when looking at the rule of thirds. When the object is closely put together the lighting can be seen being presented from the left side of the photograph, there are more shadows presented in the lower right of the photograph clearly showing the light source from one direct area, and the lighting reflects onto all three of the objects in all similar area, the middle to top of each of the items shown.
In this photograph, I have presented another one of the objects in a singular formation as well as with the orange and black back set. I believe if the background would have changed colours, especially by implementing the colour white the photograph wouldn’t have the same effect as it does despite it being under-exposed as it appears quite dark despite the editing and brightening the warm saturated aspects. If I were to change anything with the photograph, I would not change the background I would change the lighting brightness as I believe to make the photograph a bit more effective, I would need to implement a slightly brighter artificial light.
In the image above and images below, I have tried to create different scenarios and formations with unique and abnormal skull figures to make different stories and through them images to have different meanings. In all the skull-similar images I experimented with directions and where the shadows would face to create a specific outlook on the photographs shown.
Still Life originated in the Netherlands in the 1600s (first flourished there).
Still life was heavily impacted by Dutch colonialism, which saw the transportation of exotic fruit and objects. Displaying these objects in still life became a symbol of wealth and value.
Still life art could be used to document and symbolise historical moments where culture is brought to another country.
What is Vanitas?
Vanitas is a still-life painting genre that uses symbolism to show the transience of life, the futility of pleasure, and the certainty of death. It began in the 16th century and carried on into the 17th century.
What is Memento Mori?
Memento Mori is an artistic or symbolic trope acting as a reminder of the inevitability of death. As well as that it is a latin phrase meaning ‘remember you must die’. A basic Memento Mori painting would be portrait with a skull, but other symbols commonly found are hour glasses or clocks, extinguished e.g. guttering candles, fruit, and flowers.
What kind of metaphors and symbols are used in still life and why? (Include connections to trade, slavery, colonialism, wealth, status…)
The kind of metaphors and symbols used in still life are
In this painting above the fruit, cheese and other items may represent the transportation of new foreign goods being documented in history. The cheese could be transported from France, the grapes and peach presented harvested in Europe and the wine could also be transported from another side of Europe.
The still life presents humanly and materialistic pleasure such as pairing wine with cheese and grapes, something that Is often paired together in modern day similarly to the paintings layout of items portrayed out.
Laura Letinsky Artist Reference/ Image Analysis:
Laura Letinsky (60 years old and currently based in Chicago, Illinois) is an artist and professor ( Department of Visual Arts) in University of Chicago. She has exhibitions around the states. Laura started her photography journey in the 90s through still life and brought her ideas of food and still life considered as “feminine due to it’s affiliation with home and domesticity”.
It is obvious to the audience that this photograph is taken in the 21st century, as the colour, style and articulation of the background and the objects is much more different in comparison to the 20th century stiff life.
Laura Letinsky is driven by the articulation of “accidents, control and contrivance”. She found her inspiration “after breakfast, look to her plates for raw materials and set her camera up in the kitchen”. Laura took food as her main subject and created artistic displays of the free roaming “mess”, instead of the classical 20th century creative object and cuisine display with dark and classic backgrounds.
In this painting the fruit, cheese and other items may represent the transportation of new foreign goods being documented in history. The cheese could be transported from France, the grapes and peach presented harvested in Europe and the wine could also be transported from another side of Europe.
The still life presents humanly and materialistic pleasure such as pairing wine with cheese and grapes, something that Is often paired together in modern day similarly to the paintings layout of items portrayed out.
Image Analysis:
In the first week of starting A-Levels we focused on image analysis and the visual and technical components of the image and it can be influenced by the camera. When looking at the Visual element of the photograph I looked at the composition of the subjects in the photograph, if there is an odd number of subjects to make the photograph appear interesting and unique. When looking at the technical elements we focused on how the manual modes play a part in the shadows, lighting and quality of the photograph through the lens. The image was taken in natural daylight and taken in a position when the depth of field is long so every detail of the image is clear and easy to observe.
