Henry Mullins started working in London in the 1840s and moved to Jersey in July 1848. He set up a studio known as “the Royal Saloon”, at 7 Royal Square. He was initially in a partnership with Mr Millward, but a year later he was working alone, he continued to do so for 26 years in the same studio. His photographs are now held by La Societe Jersiaise, and he found many people willing to have their photos taken.
Cartes de visite
His speciality was Cartes de visite, La Societe Jersiaise holds 9600 of these images, but the majority are 16 photographs taken in a single sitting. “The carte de visite was a format of small photograph which was patented in Paris by photographer André Adolphe Eugène Disdéri in 1854, although first used by Louis Dodero” 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.
Albumen Print
Cartes de visite photographs were taken as a albumen print, this was published in January 1847 by, Louis Désiré Blanquart-Evrard. It used the albumen found in egg whites to bind the photographic chemicals to the paper and became the dominant form of photographic positives from 1855 to the start of the 20th century. During the mid 19th century, the carte de visite became one of the more popular uses for the albumen print.
Henry Mullins Work
Image Analysis
Henry Mullins photographs portray something like a passport photo, no shadows, uniform lighting, light grey/cream background, eyes are open and clearly visible, with no flash reflections, facial expression are neutral (neither frowning nor smiling), with the mouth closed, photos show both edges of the face clearly, photos show a full front view of face and shoulders, squared to the camera, the face and shoulder image must be centred in the photo; the subject must not be looking over one shoulder (portrait style), or tilting their head to one side or backwards or forwards, there is no hair across the eyes, photos with shadows on the face are unacceptable.
Henry Mullins uses different poses within his photos, such as looking directly ahead, to the right, to the left, up and down. This creates framing which almost changes the look of the models face, allowing for different interpretation and eye contact with the camera, or a side angle pose.
My responses
I took inspiration from Henry Mullins’ photos by using his poses, by taking photos from left, right or central angles, to portray all different sides of the face to show how a person can come across different depending on the angle you view them from, which also touches on the perception of the human eye, how everyone views everyone differently depending on their perception.
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.
Between 1850-73 Henry Mullins made over 9000 carte de visite portraits of Jersey’s ruling elite and wealthy upper classes.
It’s not known when he was deceased, however he spent over 20 years in Jersey and produced 4 albums with 2 and half thousand in each album, he also put the most important people at the at pof the albums eg, people in chareg of state cham,bers and piut togther a social higharchoty with it going own to fame nd i mportamnce in his albums.
Cartes de visite
His speciality was cartes de visite and the photographic archive of La Société contains a massive collection of these. Their on line archive contains 9600 images, but the majority of these are sets of up to 16 photographs taken at a single sitting. In those times even 10s 6d was a substantial sum to pay to have one’s photograph taken, and included among his subjects are many of the island’s affluent and influential people.
He was also popular with officers of the Royal Militia Island of Jersey, for whom it was very popular to have portraits taken, as well as of their wives and children, for the more senior and more affluent officers. The pictures of these officers show clearly the fashion for long hair, whiskers and beards in the mid-1800s. Indeed, so similar is their appearance and so stylised the portraits, it is very hard to detect much difference between a large number of officers of the same rank and social standing.
An advertisement in the Jersey Times of 5 June 1849 states that “Portraits are taken in groups of two or three, or the single figure, or bust, and of various sizes, even small enough for a ring, the charge for which is reduced to one half of that in London.
Here is some of his grids that he took.
ALBUMEN PRINT
Invented in 1850, and commonly used in the late nineteenth century, the albumen print is a type of photographic print made from paper coated with albumen (egg white).
The albumen print became popular because it produced a rich sharp image. The process involves coating a sheet of paper with albumen (egg white), making the paper’s surface glossy and smooth. It is then coated in a solution of silver nitrate. The albumen and the silver nitrate form light-sensitive silver salts on the paper. When a glass negative is placed directly on the paper and exposed to light, it forms an image on the paper.
Here are some more recent images of his.
This technique is called diamond cameo, licenced by Henry Mullins. Some cameo carvers are well known and signed cameos are valuable. Hardstone cameos are more highly valued than the softer Shell cameos.
Diamond Cameo photograph was registered by F.R. Window of London in 1864. Four small oval portraits were placed on a carte de visite in the shape of a diamond, each portrait being of the same person photographed in a different position.
Their on line archive contains 9600 images, but the majority of these are sets of up to 16 photographs taken at a single sitting.
JUXTAPOSITION
Juxtaposition is placing two images together to show contrast or similarities.
Here is some of my examples’ of headshots, as well as an examples of diamond cameo.
Rembrandt lighting is a technique utilizing one light and one reflector or two separate lights. It’s a popular technique because it creates images that look both dramatic yet natural. It’s predominantly characterized by a lit-up triangle underneath the subject’s eye on the less illuminated area of the face
The style of Rembrandt lighting is particularly useful in the Making of Film Noir as, “It illuminates not just the physical landscape but also the emotional landscape of the characters.” In a genre where character and setting are integrally linked, Rembrandt Lighting provides an intimate insight into the characters
for the photos bellow I used three point Rembrandt lighting with one light behind one light to the right side and a light reflector to the left, this creates a lighter effect than traditional Rembrandt lighting
diagram of lighting set up used in the photography
i like these photos because i think it demonstrates the signature triangle on the left cheek while still achieving a soft overall atmosphere to the photos
here is my editing process when trying to create a high quality photo and I believe I achieved this for the most part creating the traditional triangle shape on the left cheek.
my pictures bellow are using traditional Rembrandt lighting at its most basic, Rembrandt lighting consists of a single light source placed on a 45 degree offset from the subject, about 5 feet away. Positioned roughly two feet higher than eye level, the light source is angled slightly downward and hits the side of the face that is farthest away from the camera.
the photos above are what I believe to be the best i have of this photo style, I believe Rembrandt lighting is not what I am strongest in but I think I have managed to achieve the desired effect in a good amount of my photos specifically the ones listed above.
above is my editing process when creating these images, i edited the photos not to change the images but to enhance the key features of this photography style .
Henry Mullins is one of the most prolific photographers represented in the Société Jersiase photo-archive. He has produced over 9,000 portraits of islanders in jersey channel island from 1852 to 1873 at a time when the population was around 55,000. The records of his work comes from his albums, in which he placed his clients in a social hierarchy which basically means he categorized them depending on their class. The arrangement of Mullins’ portraits of ‘who’s who’ in 19th century Jersey are highly politicised.
Henry Mullins started working at 230 Regent Street in London in the 1840s and then shortly moved to Jersey in July 1848, where he set up a studio known as the Royal Saloon, at 7 Royal Square. In his studio he would photograph Jersey political elite (The Bailiff, Lt Governor, Jurats, Deputies etc), mercantile families (Robin, Janvrin, Hemery, Nicolle and more) military officers and professional classes (advocates, bankers, clergy, doctors etc).
Mood board:
Diamond Cameo: The Patent Diamond Cameo photograph was registered by F.R. Window of London in 1864. It is basically four small oval portraits ,usually 1″ x 3/4“, were placed on a carte de visite in the shape of a diamond. Each portrait of the subject are headshot photographed in a different position.
Loop lighting is a lighting that creates circular shadow on the subject’s face right just under which should look like a loop hence the name. Photographers can achieve this by placing the key light at an 45 degree angle to one side of the subject and then raising the key light just above the subjects eye line.
Mood board:
Set up for Loop lighting
Own experiment of Loop lighting:
Experiment 1:
Editing process: for this picture, I desaturated the picture to -100 so that the picture would go black and white. I did this to create diversity and because I also liked how the picture looked in black and white.
Before (left) and After (right):
Experiment 2:
Editing process: For this picture I didn’t change it. I left the picture as it was because i thought that it looked great with colour and I also think that editing it would destroy that loop lighting that is evident in the picture.
Experiment 3:
Editing process: For this picture I desaturated the picture to -100 so that the picture would be black and white as I though that it would enhance that loop lighting that was slightly missing when the picture was in colour.
Diamond Cameo is where four small oval portraits (1″ x 3/4“) were placed on a carte de visite in the shape of a diamond, each portrait being of the same person photographed in a different position.
The carte de visite was a format of small photograph which was patented in Paris by photographer André Adolphe Eugène Disdéri in 1854, although first used by Louis Dodero. It was usually an albumen print from a collodion negative on thin paper glued onto a thicker paper card. The size of a carte de visite is 54.0 mm × 89 mm mounted on a card sized 64 mm × 100 mm.
Henry Mullins:
Henry Mullins was the first professional photographer to come to Jersey and establish a portraiture business in the very early days of photography
Henry Mullins is 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.
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. Here he would photograph Jersey political elite (The Bailiff, Lt Governor, Jurats, Deputies etc), mercantile families (Robin, Janvrin, Hemery, Nicolle ect.) military officers and professional classes (advocates, bankers, clergy, doctors etc). Initially he was in partnership with a Mr Millward, about whom very little is known. By the following year he was working alone and he continued to work out of the same studio for another 26 years.
Diamond Cameo Photoshoot:
For this photoshoot, I went into the studio and took headshots of students. I ensured that I captured them from direct angles eg front on and side on so I can then use these to create a diamond cameo. I experimented with using a dark background and light background I took a variety of portrait and landscape photos.
Once I had my images, I then picked 4 that I wanted to use on my diamond cameo. I edited these on Lightroom, adjusting the exposure, composure, whites etc. I then opened a new blank page on photoshop then pressed file the open in order to pick on of the 4 images from my file. Once I had opened the image I wanted to use, I clicked on the elliptical Marquee Tool and created an oval shape around the face of the subject. I then dragged down the tab and using the select tool, dragged the cut out onto the blank page. I then used ctrl t in order to move and adjust the size of the images. I repeated these steps until I had 4 images in a diamond shape.
Finally, to finish off this first attempt, I added a drop shadow to each of the images to make them stand out compared to the white background. Here is my first attempt at creating a diamond cameo.
I then decided I wanted to experiment more with this first attempt and chose to make the images black and white. In order to do this, I went onto image, adjustments then pressed black and white.
Next, I made the images have a sepia colour in order to give the impression of it being old as seen in Henry Mullins’ images. I did this by going onto image, adjustments, photo filter then chose the sepia colour and raised this to 62%.
I then decided to colour the blank background in order to make it more interesting to look at. I decided to use a beige like colour in order to match with the old theme I was going with. In order to colour the background, I used the paint bucket tool and then experimented with different colours until I was left with an image I was satisfied with.
Lastly, I experimented with adding a pattern over my images. I did this by going onto each of my layers then right clicking and pressing blending options. I then went down to pattern overlay and chose a brown grassy pattern as I felt this matched the sepia tone I had previously. I then changed the opacity of it to be 24% so you can still see the person behind it. I also decided to make the background a bit less colourful as otherwise it felt too similar to the images and looked cluttered.
Overall, I like how this first attempt and my different experimentations of it came out. I feel I successfully managed to create a diamond cameo and a vintage tone as seen in Henry Mullin’s work, which is what I was trying to achieve. Next, I want to experiment with different images and a different model.
I think these diamond cameos turned out well too. However, to further my work next time I would try to add a frame to my images as I noticed that I whilst researching about diamond cameos, they sometimes had a frame around the headshots, making them look richer and helped to make the overall image look more vintage.
For my final diamond cameo, I decided to try something different and create a bright boarder around my images which are placed on a black piece of paper. I did this by repeating the usual steps when creating my other diamond cameos. However, once I had done these steps, I went onto each of my layers and right clicked on them. I then went onto blending options and selected outer glow. I experimented with different opacities, sizes and ranges until I found the perfect glow boarder. I made one in colour and then one in black and white.
Here I experimented with adding two different people to one diamond cameo:
During this project, I managed to experiment with a variety of different diamond cameos. For example, I tried a range of different colours, textures, people and backgrounds. These different attempts at creating different, unique diamond cameos helped me to be able to use photoshop more comfortably and make my work more interesting to look at as it isn’t just the same concept each time.
Head-shots are a specific type of portrait photography that focuses on capturing an individual’s face, typically from the shoulders up. They are often used in professional settings, such as for actors, models, business professionals, or individuals seeking employment. Head-shots aim to capture the subject’s personality, professionalism, and approach-ability. They are used for various purposes, including resumes, portfolios, websites, social media profiles, and corporate profiles. Head shots are generally characterized by a clean and simple composition, with the subject looking directly at the camera to establish a connection with the viewer.
Why are they important?
Headshots are important for professional presentation, personal branding, career advancement, networking, and brand consistency. They create a positive first impression, convey personality and professionalism, increase visibility and opportunities, improve online presence, and contribute to a cohesive image for businesses.
Who is famous for Head-shots?
There are several famous photographers known for their expertise in head shot photography, including Peter Hurley, Annie Leibovitz, Mark Seliger, Lindsay Adler, and Greg Gorman. These photographers have established themselves as experts in capturing authentic and compelling headshots, working with celebrities and models. They are recognized for their unique styles and ability to capture personality and emotion in their images. However, there are also numerous other talented headshot photographers who may vary in popularity based on personal preferences and location.
Fixing the shadows in photography refers to the process of ensuring that the dark areas of an image have adequate detail and are not overly underexposed or lost in darkness. It involves adjusting the exposure or using post-processing techniques to retain or enhance the shadow details, making them visible and well-defined without being too bright or washed out.
In photography, shadows play an essential role in creating depth, contrast, and mood, so it is important to strike a balance between the well-exposed areas and the shadows in an image. This can be achieved through proper lighting techniques during the initial capture or through adjustments made during post-processing using software tools like Photoshop, Lightroom, or other editing software.
Fixing shadows typically involves adjusting the brightness, exposure, contrast, or levels of the shadow areas selectively to ensure that they are neither too dark nor too bright. With careful editing, photographers can bring out details in the shadows without losing the overall integrity of the image.
Why is it Important?
Fixing shadows in photography is crucial for multiple reasons: it enhances detail and clarity, sets the desired mood and atmosphere, creates balance and contrast, adds visual interest through patterns and textures, and effectively conveys storytelling elements. Overall, shadow fixing elevates the quality and impact of an image, making it visually captivating and successful.
Additional facts about fixing the shadow;
Fixing shadows in photography involves manipulating light sources and exposure settings to achieve a desired outcome. It can be done during the shooting process or in post-processing using software like Adobe Photoshop or Lightroom. HDR photography and dodging/burning techniques are commonly used to capture a wider range of shadow details and selectively adjust exposure. Shadows can be natural or artificially created, and experimentation is important to discover unique styles and enhance image composition. Ultimately, fixing shadows is an artistic choice driven by the photographer’s vision.
Photography originated in the early 19th century and is credited to multiple inventors and technological advancements. Joseph Nicéphore Niépce created the first permanent photograph in 1826 using a camera obscura and a bitumen-coated metal plate. Louis Daguerre developed the daguerreotype process in 1839, producing detailed images on silver-plated copper plates with reduced exposure time. William Henry Fox Talbot introduced the calotype process, enabling multiple prints from a single negative in 1839. Further innovations such as dry plates, roll film, and portable cameras were introduced throughout the 19th century. The Kodak camera by George Eastman in 1888 made photography accessible to the general public. The development of photography is a result of the collaborative efforts of inventors and technological advancements.
Joseph Nicéphore Niépce
Louis Daguerre
William Henry Fox Talbot
Why is the origin of photography important?
The origin of photography is significant because it revolutionized various aspects of human life. It showcases technological advancements, enables documentation and historical preservation, fosters artistic expression, facilitates communication and journalism, and has personal and social impact. Photography has transformed how we create, remember, communicate, and understand the world.
Additional facts about the origin of photography;
The origin of photography is marked by several important milestones. The camera obscura, used by artists for centuries, laid the foundation for capturing light to create images. Joseph Nicéphore Niépce’s successful capture of the first permanent photograph in 1826 and Louis Daguerre’s introduction of the daguerreotype in 1839 were significant breakthroughs. The development of the wet plate collodion process in the 1850s improved image quality and production. Advancements in technology and manufacturing made photography more accessible to the public, and the shift to digital photography in the 20th century transformed the industry. These milestones demonstrate the continuous evolution and impact of photography on the medium itself.
Butterfly lighting is a technique of lighting the forms a small butterfly shape under the nose, where it got its name, and it can also highlight the cheekbones.
It is a technique that will flatter anyone. Then taken with soft light it can cast a delicate light to create an ethereal look. here is a example that I took.
to create the technique have a light directly faceing down on to the models face, as seen below.
