• Creative Imagery
• Full or half body shots
• Capture the whole environment
• Look at lighting and poses

Photoshoot Plan:

1- shoe shop

2- skate shop

3- in the trees

4-skate park/ mel

Michelle Sank

Michelle Sank was born in Cape Town Africa, but however has been living in England since 1987. Her images reflect a preoccupation with the human condition and to this end can be viewed as social documentary. Her work encompasses issues around social and cultural diversity. Michelle Sank, “Insula”, Insula was a photoshoot that took place within Jersey, Gurnsey and Sark.

Insula

“Working outside of particular demographic scenarios Sank’s Jersey imagery continues to develop a lyrical vision within which the defining influences are place and cultural geography. As a stranger, present for a limited period only, Sank’s ‘residency photographs’ are of course procured under certain psychological precepts. In April 2013 when she arrived at the Archisle Project to undertake a six month residency, geographic and historical influences also loomed large. There were late twentieth century blanks in the archive to compensate, Jersey’s peculiar British-Norman cultural identity to contemplate, economy, politics, community, work, leisure, environment; these concerns together set against a twenty-first century backdrop.”

Image analysis

The location of this image is a well-known beach in Jersey, from my perspective of living in Jersey I know that this is a popular beach that many people use for many varied reasons, either being to swim, relax or just have an enjoyable time. From an outsider’s point of view, it clearly looks like this photo was taken on a warmer day, giving the reflection that these girls are there to enjoy their summers. The environment of the image gives context to the viewer, this tells a story about the people within the image. With the beach clearly being a public beach, it proves something of their social class, we can see that they may be more middle/lower class due to being on a public beach, one which is more known for being not a genuinely pleasant beach too. We can also interpret this from the girls ages and clothes, we can see that these girls may be in their teens and there clothing does not seem to be anything designer adding more to our assumption of their class and social status. Within the framing of this image, we can see the girls’ whole bodies, showing off their skin due to the warm weather, and may give ideas of their outfits to further add to assumptions of their wealth. The girls are clearly not smiling and are posed in a more formal way which gives off a completely different idea to us if they were posed in a more unformal way. I personally think Sank has posed them in this formal was to contrast their personalities, being their age and wearing those outfits in that setting almost proves how these girls may be more informal so the look of them being formal is a mind twister. Both of the girls are engaging with the cameras, giving a feel that they are looking directly as us, this can connotate to many things, people are generally scared of eye contact, and the idea of the girls staring at you almost makes you want to look away from the camera, they look with more of an angry gaze yet again adding to the peoples fear.  

This image represents a completely different idea than the last photo did. The environment and location of this image are in this lady’s house. We can see that the lady clearly has a cabinet behind her which are filled with things of more wealth and ore meaning hence why they are locked away. Being able to see this we can Invision her social status of something more of the upper class. There is a clear colour scheme going on here of the woman’s dress, her couch, and her curtains’, the colour red has many symbolic meaning’s, sex, anger, power but within this woman’s case it is symbolising something of power. We can see her whole body in frame and her whole entre environment, this gives an idea that she may be happy with her life and proud of what she owns and is wanting to show it off. This woman is looking at the camera in a formal way, but her body posture may be argued as formal or informal, she seems like more of a formal lady trying to assert her power with her body posture. This environmental image stems very differently from the last one I just analysed, proving that depending on the environment and person you are photographing they can all have completely different outcomes.  

The table shown above includes 6 different environmental portraits by 6 different photographers. Each different photo portrays a different type of environment , the first image portrays a girl and a boy, giving ideas of a relationship between them based on the distance between them maybe one with tensions, the idea of them in the garden and the boys clothing portrays ideas about their social class maybe being a little bit on the lower side. The environment of that image led me too all those connotations, that’s why the environment of your image is so important to the viewer’s, its sets a whole basis for thinking.

Ways in which we use environmental portraits~

Environmental Portraits can be used for many different things, a main reason being business, they are a tool that can help a business connect with its potential clients. They can show a more realistic and authentic representation of a workers everyday routine, which may make the business more appealing, opposed to regular old business headshots. Workplaces, like offices, tend to be flatly and evenly lit, which makes them good for a photoshoot without needing to set up a background. Environmental portraiture offers more options than traditional headshots when it comes to cropping photos. Capturing the subject’s stance, gestures, and corporal expression shows they are real people. Recently, it has become very common to see companies use environmental portraits instead of the classic business portraits or headshots, and it works. However, that doesn’t mean business headshots and environmental portraits are the same thing.

Environmental portraits are powerful tools in photography that convey a subject’s personality and story through their surroundings. Here are several ways to use environmental portraits effectively:

1. Contextual Storytelling: Use the background to provide context about the subject’s life, interests, or profession, enhancing the narrative and allowing viewers to gain insight into who they are.
2. Emphasizing Character: Choose settings that reflect the subject’s personality or hobbies, helping to illustrate their identity and creating a deeper connection with the viewer.
3. Creating Atmosphere: Use lighting and composition to establish a mood or atmosphere that complements the subject, enhancing the emotional impact of the portrait.
4. Capturing Action: Incorporate dynamic elements by photographing subjects engaged in activities relevant to their environment, making the portrait feel more alive and authentic.
5. Incorporating Details: Include objects or elements in the environment that hold significance for the subject, adding layers of meaning and personal touch to the image.
6. Balancing Elements: Use composition techniques to balance the subject with their environment, ensuring the viewer’s eye is drawn to the person while still appreciating the setting.
7. Highlighting Relationships: In group environmental portraits, show interactions among subjects within a shared space, emphasizing connections and relationships.
8. Experimenting with Angles: Explore different perspectives and angles to create unique and compelling compositions that highlight both the subject and their surroundings.
9. Using Natural Light: Leverage natural lighting to enhance the mood and texture of the environment, creating a more organic and engaging portrait.
10. Conveying Emotion: Use the environment to evoke specific emotions, whether it’s warmth, solitude, or vibrancy, aligning the setting with the subject’s feelings or story.

By thoughtfully integrating the subject with their environment, environmental portraits can create rich, engaging images that resonate with viewers and tell powerful stories.

What actually is an environmental portrait?

Environmental portrait photography is the art of taking pictures that will be used to tell a person’s story via its connection to a certain place. This connection often reflects the message that the environmental portrait photographer wants the viewer’s eye to receive. Great portraits of this sort will capture people’s interaction with their natural surroundings to tell strong stories that generate an emotion in the viewer, giving insight into where these people are, what they do and who they are.

An environmental portrait is a type of photography that captures a subject in their natural surroundings, providing context about their life, personality, and interests. Unlike traditional portraits that often focus solely on the subject’s face, environmental portraits incorporate elements of the background to enhance the narrative and emotional impact of the image.

These portraits often showcase the subject engaged in an activity or situated in a setting that is significant to them, such as their home, workplace, or a location that reflects their hobbies or passions. The combination of the subject and their environment helps to tell a more complete story, offering viewers insights into the individual’s identity and lifestyle. Environmental portraits can range from casual and candid to formal and composed, and they are widely used in editorial, documentary, and fine art photography.

Hoe to create a good environmental portrait

1. 1. Get to know the subject. As a photographer, you can increase your subject’s comfort in front of the camera by connecting with them on a personal level. By getting to know them a little, you’ll be able to better figure out the type of shot that reflects who they are. This is a great time to talk about possible locations, such as their workplace, their home, or an urban or natural area where they like to spend time.
2. 2. Get to know the location. Research potential locations to understand the layout and available lighting conditions so that you can come properly equipped with the right gear. Test out different portrait lighting setups if necessary to ensure you’ll get what you need.
3. 3. Make a plan. Have a few shots in mind that you know you want to capture, especially if you’re working with natural light. Depending on the available light or present colors, you may also want to instruct your subject on what they should wear, or some particular poses to try.

To create a good environmental portrait, start by choosing a location that reflects the subject’s personality, interests, or profession, ensuring it enhances the narrative of the image. Pay attention to composition by framing the subject thoughtfully within their surroundings, using elements like leading lines or the rule of thirds to guide the viewer’s eye. Utilize natural light for a softer, more organic feel, and consider the time of day to capture the best lighting conditions. Engage the subject in an activity or pose them naturally within the environment to convey authenticity and emotion. Finally, include meaningful details in the background that add depth to the story, ensuring the focus remains on the subject while still allowing the environment to play a significant role in the portrait.

Reviewing the Photos

Reviewing the photos after a photoshoot is a crucial step in ensuring the quality and integrity of the final images. This process allows photographers to assess the composition, lighting, focus, and overall aesthetic of each shot, ensuring that they have captured the intended vision and achieved the desired results.

Taking a close look at every detail is essential for identifying any potential issues or areas for improvement. Pay attention to composition and framing, ensuring that elements within the frame are well-balanced and visually appealing. Check for proper exposure and lighting, making adjustments as needed to enhance the overall mood and atmosphere of the images.

Photo #1

Within the technical aspect of this photo, I would say it has a dimmer type of lighting, the flash on the camera makes it seem as if the room was dimly lit but the flash lights up the objects I am taking photos of. I think its tonal range is quite different, it seems to have many variations, there is a big difference between the photos light parts such as the glare you can see on the plastic, compared to its dark points like the black box the objects are in. Within the visual elements of this photo, its colours are very beige and just dull in general. You can see the glare on the plastic which reflects too its texture. These are all clearly 3D objects/shapes. Some context behind this photo, would be that these are all the objects other people were taking still life photos of, so rather then being the same as all of them and propping these objects up someone where in a neat order I instead have shown them how they really were. You can see the everyday wear to theses objects in my photo and I think that’s what makes it really special as you can see these objects are really helping students produce the work they are wanting too.

Photo #2

This image is very brightly lit, you can see the florescent lighting in the celling lighting up the drum kit and the glare of the lighting really shows the rings on the cylinder which show the texture. You can see that this image is more zoomed in then how the human eye would see it and I did this because i really wanted the pure texture and the dirt on the drum kit really proves life, it proves how many songs have been played on this drum set, how many people have persuade there passion and just purely how many people this drum kit has made happy.

Photo #3

I think that this is my personal favourite photo, it may not be your typical still life photo but I personally love the contrast of the lighting within this photo. The sharp harsh flash on the camera provides a shine on the step ladder but then there is a dim area between the doors and the ladder, the dimly lit room could contain anything. The light within the door and the corridor is florescent lit my average school lights, but these lights have lit up so many people, so many different lives, lives that have gone onto so many different things, proving that everyone may come from the same place but not everyone is the same.

Photo #4

This photo has very key elements of white, the photos colour contrast makes you really focus on the blue caravan as the background is white and the other objects are white discarding the sunglasses. The light coming up through the bottom aims more focus onto the objects and really makes them clear in your point of view. The tone of this image, the clear light bottom compare too the darker background really makes you focus onto the shadows of the image, showing the size of the items I am taking photos of. The white bottle has a glare on it of the light reflecting which portrays its smooth ceramic texture. This image has a sort of repetition pattern, there are two larger objects, then two smaller objects placed in front of them, this yet again portrays the effect of size, which is part of the composition.

Photo #4

This photo has very dim lighting, some may say this photo isn’t “useable” due to how unlit it seems, but I personally like the dullness of this photo, I fell like it leaves a sense of mystery and just darkness in general, almost as if its portraying a season, the season of winter, the dull morning and the dull nights, and i feel like the emptiness of the photo which is helped with the objects composition represents the coldness. This image is a bit under exposed, leaving a little bit of a blur in the photo and a mysteriousness of what the objects of the right actually is because its so dimly lit. The image has a 3D form, you can clearly see that these are real life 3D objects, objects that are useable and grabbable. This photo mainly lead the eye to the foreground the objects which are right in the centre, but it also leads the eye to the massive white sheet in the background purely due to its vast emptiness. almost like a blackhole. I feel like the emptiness of this image has a deeper meaning, the big spaces between the objects, compared with the how far away the camera is leaving spare on the left and on the right of the objects.

I used art steps to create my virtual gallery, I have each step a pin point so that they could be fully run through when you use the program. Here is the link too my virtual gallery: https://www.artsteps.com/view/652cf5b0d9dec541009e626f

Shutter Speed: 1/45

Aperture: 5.6

ISO Setting: 400

Good Exposure

This shutter speed gives you a great result.

Shallow Depth of Field

Your current aperture setting gives you a short or narrow depth of field. Notice how your subject is sharper than your background.

Invisible Motion

You are currently on a slow shutter speed. This will turn motion into a ghost in your photo.

Q1: What is the etymology (origin & history) of the word photography?

The word photography is derived from the Greek word “photos,” meaning light, and “graphos,” drawing. Modern photography traces its roots back to the camera obscura, a drawing aid artists and scientists used to record images as early as the eleventh century.

Q2: What year was the first photograph made in camera?

Hundreds of years of advancements in chemistry and optics led to the invention of the camera obscura, which enabled the first photograph to be taken. That photograph was taken in 1826 by French scientist Joseph Nicéphore Niépce, at his family’s country home, Le Gras.

Q3: When did the first photograph of a human appear?

Taken in 1838, Louis Daguerre’s photograph of a Paris street scene shows a man standing along the Boulevard du Temple getting his shoes shined. It is widely believed to be the earliest extant photograph of human figures.

Q4: Who made the first ‘selfie’

Robert Cornelius, an American photographer, took a daguerreotype of himself in 1839. Taken two years after the invention of the daguerreotype but just months after Daguerre shared his invention with the world, the image is thought to be both the first selfie and one of the first photographs of a person.

Q5: When did the first colour photograph appear?

The foundation of all practical colour processes, the three-color method was first suggested in an 1855 paper by Scottish physicist James Clerk Maxwell, with the first colour photograph produced by Thomas Sutton for a Maxwell lecture in 1861.

Q6: What do we mean by the word genre?

a style or category of art, music, or literature.

Q7: What do we mean by the genre of still-life?

An image that shows inanimate objects from the natural or man-made world.

Q8: What was the main purpose of the Pictorialist movement?

To affirm photography as an art form.

Q9: How do we describe the term documentary photography?

Documentary photography describes any photos that attempt to record the world as it is. From wide-angle photographs of war to close-up snapshots of people on the street, these images can inform an audience about the hidden corners of contemporary life and even become part of the historical record.

Q10: What is exposure in photography?

In photography, exposure is the amount of light per unit area reaching a frame of photographic film or the surface of an electronic image sensor. It is determined by shutter speed, lens F-number, and scene luminance. To capture bright light.

Q11: What controls exposure on your camera?

The three elements of camera exposure settings.

• Shutter speed — How fast the shutter opens and closes. Faster shutter speeds allow less light to reach the sensor but can reduce blur in your pictures.
• Aperture — How much light is allowed into the lens
• ISO — Your camera’s sensitivity to light.

Q12: What control on our camera records moving objects?

Shutter. The shutter is a curtain in front of the camera sensor that remains closed until you start shooting. Once you click the button to take a photo, the shutter opens and lets in light that passes through the lens, exposing the sensor to it.

Q13: How do we explain depth of field?

How much of your image is in focus. Depth of field is the portion of that distance or ‘depth’ that is ‘in-focus’. A higher depth of field would see the whole image from foreground to background sharp and in focus, a lower depth would result in blurry backgrounds and blurred elements in the foreground too.

Q14: What factors affect Depth of Field?

You can affect the depth of field by changing the following factors: aperture, the focal length and the distance from the subject.

Q15: What is composition in photography?

Composition in photography is the equivalent of the skeleton in the human body. It keeps everything together, supports the weights of various visual elements, and makes the frame look dynamic. The arrangement of visual elements within the frame.

Q16: What is your understanding of aesthetics in art?

Philosophical study of beauty and taste. Aesthetic qualities refer to the way and artwork looks and feels. This understanding can influence how students see beauty and the way they appreciate and understand art. 

Q17: What are contextual studies in photography?

Simply put, meaning is derived from context, whilst context is the information that surrounds something (which in most cases here refers to a photograph). We form our understanding of a photograph not just from what is in it, but what we know about it. To provide historical, cultural and theoretical understanding of images.

Q18: How many images are captured on average every day worldwide?

4.7 billion.

Q19: Which portrait is the most reproduced in the world?

For it is John Hedgecoe who took what is now thought to be the most reproduced photo in history — the sideways portrait of The Queen that was used on Royal Mail postage stamps.

What does it mean?

The language of photographic images. Photographers communicate their meanings in particular ways. Photo literacy helps understand the meaning behind a photo and what that photo is trying to get across too you.

Why?

Photo literacy is considered important, it has been described as the ability to understand, interpret and evaluate visual messages. It is based on the idea that images can be “Read” and that meaning can be communicated through a process of reading.

You can mostly analyse images using four categories :Technical, Visual, Contextual, Conceptual.