This photo shows difference types of lighting and how it affects the portrait.
What is Studio Lighting and why do we use it?
Studio lighting setups give photographers the flexibility to create different looks and lighting effects in their photos. These setups have a big impact on the style and mood of your images–allowing you to create the effect you or your clients desire.
1, 2 and 3 point lighting
In photography, 1-point, 2-point, and 3-point lighting refer to different setups for illuminating a subject. These setups control the mood, depth, and focus of the subject through how light is positioned. Each technique addresses different visual and narrative needs.
1-Point Lighting
One-point lighting is the most basic lighting setup, involving a single light source. This primary light, known as the key light, is typically placed at an angle to the subject. The result is a photograph with strong shadows and high contrast, which adds a dramatic and mysterious feel to the image. This setup is often used in portrait photography to create a moody and intense atmosphere.
In this portrait, I used a hard one point lighting so create half light half shadow effect. This one point lighting technique uses a single key light at an angle to the face this makes one half of the face lit up and the other in darkness. This particular one point lighting technique is also called split lighting. This is where the face is split in contrast between light and shadow. This technique is used to create a dramatic and moody atmosphere. I also experimented with a black and white version of the portrait which gives the image a dramatic effect.
2-Point Lighting
When moving to a two-point lighting setup, an additional light source is introduced—the fill light. The key light remains the primary source of illumination, placed at an angle to the subject, while the fill light is positioned opposite the key light. The purpose of the fill light is to soften and reduce the shadows created by the key light, resulting in a more balanced and natural look. This technique is useful in both portraits and product photography to highlight details without casting overly dramatic shadows.
Key lightKey light + Fill light
3-Point Lighting
The three-point lighting setup is more advanced, involving three light sources: the key light, the fill light, and the back light (also known as the rim light). The key light and fill light are positioned similarly to the two-point lighting setup. However, the addition of the back light, placed behind the subject, adds a crucial element by creating a sense of depth. This back light helps to separate the subject from the background, giving the image a more three-dimensional and professional appearance. This technique is widely used in film, television, and portrait photography to achieve a polished and well-lit look.
Rembrandt Lighting
Rembrandt lighting is a popular technique in photography where the light source is positioned at about a 45-degree angle from the subject. This setup creates a distinctive triangular patch of light under the eye on the side of the face that is in shadow. It’s named after the Dutch painter Rembrandt, who often used this lighting style in his portraits. This technique adds depth and dimension to the subject’s face, making the photograph look dramatic and visually appealing. It’s particularly effective for portraits, as it enhances facial features and adds a professional touch to the image.
Recreating Rembrandt Lighting
In these photos, I attempted to create Rembrandt Lighting by positioning the light source at about a 45 degree angle from the subject. These photos were successful as I managed to create the distinctive Rembrandt triangle underneath the eye. To improve these portraits, I could experiment with the angle of the lighting more to create a more vivid and bold triangle of light on one side of the face making it more distinct and standing out more. I also experimented with black and white versions of the portraits which accentuate the lighting technique and creates a more dramatic effect with the light and shadow.
Butterfly lighting
Butterfly lighting is a technique where the main light source is placed directly in front of and above the subject, typically above their eye level and angled downwards. This setup creates a shadow under the nose that resembles a butterfly, hence the name. This lighting style highlights the cheekbones and creates a flattering, glamorous look, making it popular in beauty and fashion photography. Butterfly lighting is especially effective for subjects with prominent cheekbones or a slim face, as it enhances facial contours and adds a touch of elegance to the portrait.
Chiaroscuro lighting
Chiaroscuro lighting is a technique in photography that creates a strong contrast between light and shadow, resulting in a dramatic and moody effect. The term “chiaroscuro” is derived from Italian, where “chiaro” means clear or light, and “scuro” means dark or shadow. This lighting style uses a single light source to illuminate the subject, while the rest of the scene is left in shadow. The stark contrast enhances the three-dimensionality of the subject and adds a sense of depth and texture. It’s often used in portrait photography to create intense, powerful images with a striking visual impact.
Fill lighting
Fill lighting in photography is used to reduce shadows and soften the overall lighting of a scene. Imagine you’re taking a photo of someone, and one side of their face is in deep shadow because of the main light source, called the key light. By adding fill light, you gently illuminate those darker areas, creating a more balanced and natural-looking image. This helps to ensure that details are visible in both the brightly lit and shaded parts of the photo. Essentially, fill lighting adds that extra touch to make your photos look more even and pleasing to the eye.
Experimenting with fill lighting using a reflector
In these portraits I used one key light positioned to one side of the face. As shown in the first portrait, one side of the face is lit up and the other is in shadow. In the second portrait, the model held up a reflector. This reflector acts as a fill light in which it subtly lights up the other side of the face. This fill light reduces the shadows and improves the general lighting in the portrait and shows more detail in the face. This creates a more balanced and natural looking image. Essentially the reflector makes the image more pleasing to the eye and reduces the moody effect that the extra shadow portrays
Back lighting
Back lighting in photography is when the main light source is behind the subject, pointing towards the camera. This creates a silhouette effect, highlighting the edges of the subject with a glowing outline while the front of the subject is darker. It’s often used to create dramatic or ethereal images, making the subject stand out against the background.
This isn’t perfect backlighting in this portrait because the light source isn’t directly behind the subject, it is more to the side. As shown in the example images above, the image on the left is more silhouette like and is what backlighting would look like if the light source was directly behind the subject. The example image on the right of Leonardo di Caprio is more like the image I created. With this particular lighting the left side of the face is illuminated however there is shadow around the eyes and the centre of the face. This creates a moody tone and a different effect.
This is a portrait with the same lighting as the last however, the subject is in a different pose which their face is illuminated and since they are looking up at the light and the light is shining down on them, it creates shadow underneath the chin and from the jaw. This makes most of the neck area in shadow. This lighting creates a dark and moody effect with the shadow, however the face being in light still gives the image a natural look.
Virtual gallery
Finally, I created a virtual gallery to show all the different types of lighting techniques in my portraits. One, two, three point lighting, Rembrandt lighting and butterfly lighting. All these different lighting techniques are used to create different atmospheres and each portrait has its own mood and vibe set by the lighting. If that’s lots of shadow or minimal shadow in different areas, all the techniques create unique portraits with their own feel.
Claude Cahun was a French surrealist artist and photographer, born Lucy Schwob in 1894. She adopted a gender-neutral name and used her art to challenge and defy traditional gender roles and norms. Cahun’s work was deeply introspective and often explored themes of identity, gender fluidity, and the subconscious.
What
Cahun is renowned for her surrealist self-portraits and experimental photography. Her work often involved blending her image with various props, settings, and imaginative elements to create thought-provoking compositions. She also engaged in writing and sculpture, contributing to her multifaceted artistic expression.
When
Most of her significant work was created during the 1920s and 1930s, a period marked by artistic experimentation and the rise of surrealism. Cahun continued her artistic pursuits into the 1940s and even during World War II, maintaining her creative output despite the challenges of the time.
Where
Cahun’s artistic journey began in Paris, where she became involved in the Surrealist movement and collaborated with other avant-garde artists. During World War II, she moved to Jersey with her partner, Marcel Moore, where they continued their creative work and engaged in resistance activities against the Nazi occupation.
How
Cahun utilised innovative photographic techniques such as multi-exposure, solarisation, and surreal compositions to explore and challenge traditional concepts of gender and identity. Her self-portraits often featured dreamlike and fantastical elements, creating a unique and impactful visual style that stood out in the art world.
Why
Cahun’s work aimed to question and defy societal norms, particularly around gender and identity. Through her art, she sought to express her unique perspective and challenge conventional ideas, making a lasting impact on the world of art and photography. Her work continues to inspire and provoke discussions around these themes, cementing her legacy as a pioneering figure in both surrealist art and LGBTQ+ history.
World War II activism
In 1937, Claude Cahun and Marcel Moore moved to Jersey. When Germany occupied Jersey during World War II, they became active in the resistance, creating anti-German fliers. These fliers often included translated BBC reports on Nazi crime, arranged into rhythmic poems and harsh criticisms. Using the pseudonym ” The Soldier With No Name,” they aimed to deceive German soldiers into thinking there was a conspiracy among the troops. They secretly distributed the fliers at military events and in carious places for soldiers to find.
On one occasion, they hung a banner in a church saying, “Jesus is great, but Hitler is greater – because Jesus died for people, but people die for Hitler.” Their resistance efforts combined political activism with artistic creativity, using dark humour to undermine authority. In 1044, Cahun and Moore were arrested and sentenced to death, but the sentence was never carries out as Jersey was liberated in 1945. Cahun’s health suffered from their imprisonment, and they died in 1954. At their trial, Cahun famously told the German judge they would need to be shot twice as they were both a resister and a Jew, which reportedly led to laughter in the court and may have spared them from excecution.
Social Critique and Legacy
Claude Cahun created art for herself and did not seek fame. Her work remained largely unrecognized until 40 years after her death. Cahun’s life was marked by actions that defied convention, challenging public notions of gender, beauty, and logic. Her art aimed to unsettle viewers’ understanding of photography as a mere documentation of reality.
Her poetry challenged gender roles and criticised the social and economic boundaries of the modern world. In the Parisian Surrealist group, Cahun introduced new, diverse representations, contrasting with the male-dominated view of women as symbols of eroticism. Instead, she presented a gender non-conforming, chameleonic figure. Cahun’s photographs, writings, and revolutionary lifestyle continue to influence artists today.
Marcel Moore
Marcel Moore, born Suzanne Alberte Malherbe, was a French illustrator, designer, and photographer. She was Claude Cahun’s romantic and creative partner, and they were also step-siblings. Their parents married each other after their respective divorces, making them stepsisters before they fell in love as teenagers. Together, they formed a powerful artistic duo. Moore and Cahun collaborated on numerous projects, with Moore often assisting in the creation of Cahun’s iconic self-portraits and other works. Their relationship was not only personal but also deeply intertwined with their art, making them a significant force in the surrealist movement.
Claude Cahun and Marcel Moore
Religious Background, Gender and Cahun’s mother
Claude Cahun was raised in a wealthy, interfaith family with strong Jewish roots from their father’s side. Their mother, Mary-Antoinette Courbebaisse, suffered from severe mental illness and was eventually institutionalized, which left Cahun to be primarily raised by their grandmother. This challenging family dynamic contributed to Cahun’s sense of being an outsider and influenced their work, as they used art to challenge societal norms and explore themes of identity and gender fluidity.
During the early 20th century, society had rigid and conservative views on gender, with strict expectations for men and women. Cahun defied these norms by presenting themselves in androgynous and ambiguous ways in their self-portraits, using costumes, makeup, and props to blur the lines between male and female.
Image analysis
Behind this mask another mask – Claude Cahun
“I am in training dont kiss me”
The statement on Claude Cahun’s shirt, “I am in training dont kiss me,” is a powerful and provocative declaration that encapsulates her radical approach to gender and identity. By wearing this inscription, Cahun subverts traditional gender expectations and societal norms. The phrase “I am in training” suggests a process of self-discovery and transformation, indicating that identity is not fixed but rather fluid and evolving. The command “dont kiss me” rejects conventional female passivity and objectification, asserting autonomy and control over her own body and identity. This defiant message aligns with Cahun’s broader artistic and philosophical exploration of gender ambiguity and self representation, challenging binary notions of male and female embracing a more nuanced, multifaceted understanding of self. Through this visual and textual statement, Cahun invites viewers to reconsider their assumptions about gender and identity, foregrounding the performative and constructed nature of both. This is exceptionally striking as during the early 20th century there were strong stereotypical gender roles and expectations, and Claude Cahun and their work totally contradicts these societal norms and that is why they are extremely inspirational and inspiring as an artist.
Emotional Response
Cahun’s “Behind the mask another mask” portrait evokes a complex array of emotions. The image elicits a sense of intrigue and introspection, compelling viewers to contemplate the layers of identity and self-perception. The solemn expression and the direct gaze of the subject create an intense connection, while the mask motif adds an element of mystery and ambiguity, prompting reflections on the nature of appearance and reality.
Mise en Scene
The photograph features a close-up of Claude Cahun, adorned with a mask. The mask itself is a focal point, symbolizing the theme of duality and the concealed aspects of the self. The subject’s head is slightly tilted, and the background is nondescript, ensuring all attention is drawn to the intricate details of the face and mask.
Visual Aspects
The composition of the portrait is tightly framed, focusing on the subject’s face and the mask. The stark contrast between light and shadow highlights the contours of Cahun’s features and the mask, adding depth and drama. The visual elements include sharp lines and defined textures, creating a visually striking image that captures the viewer’s attention.
Technical Aspects
The portrait was likely taken using a large-format camera, which was common during Cahun’s time. The high contrast and sharpness suggest careful control of lighting and exposure. The photograph might have been developed using traditional darkroom techniques, which allowed for precise manipulation of contrast and detail.
Conceptual Aspects
Conceptually, the image explores themes of identity, performance, and the fluidity of self. The mask serves as a metaphor for the multifaceted nature of personal identity and the societal roles individuals play. Cahun’s work often delved into gender and identity politics, challenging conventional norms and encouraging viewers to question their perceptions.
Contextual Aspects
Claude Cahun was active during the early 20th century, a period marked by significant social and political upheaval. The photograph reflects the avant-garde artistic movements of the time, particularly Surrealism, which sought to explore the unconscious mind and challenge traditional representations. Cahun’s work was also influenced by the burgeoning feminist discourse and the questioning of gender binaries, making this portrait a significant commentary on the evolving notions of self and society during that era.
Gillian Wearing
Gillian Wearing is a British conceptual artist, born on December 10, 1963, in Birmingham, England. She is known for her thought-provoking works that explore themes of identity, memory, and the boundaries between public and private life. Wearing gained recognition as one of the Young British Artists (YBAs) and won the prestigious Turner Prize in 1997. Her work often involves engaging with strangers and inviting them to express themselves through signs or masks, blurring the lines between reality and fiction1.
Wearing was inspired by Claude Cahun’s work because of its exploration of identity and gender fluidity. She discovered Cahun’s photographs in the mid-1990s and felt a strong connection to the playful yet profound way Cahun used masks and self-portraiture to question societal norms. This inspiration led Wearing to create her own version of Cahun’s “Behind the mask, another mask,” reflecting her ongoing interest in the performative aspects of identity and the layers of self that we present to the world
Gillian Wearing’s version of Claude Cahun’s “Behind this mask, another mask” is a fascinating exploration of self identity and artistic homage. In her 2012 self portrait titled “Me and Cahun holding a mask of my face,” Wearing reconstructs Cahun’s iconic 1927 self portrait, creating a powerful dialogue between the two artists across time. Wearing’s interpretation not only pays tribute to Cahun’s pioneering work but also reflects her won ongoing exploration of identity, gender, and masquerade. By holding a mask of her own face, Wearing emphasises the performative aspects of identity and the layers of self that we present to the world. This act of mirroring and reimaging Cahun’s work highlights the enduring relevance of Cahun’s themes and the continuity of artistic inquiry into the nature of selfhood.
ISO is a camera setting that measures the sensor’s sensitivity to light.
High ISO means greater sensitivity to light, allowing you to capture images in darker conditions, but it can create visual noise (graininess) in the photo. Low ISO means less sensitivity, resulting in clearer, smoother images in bright light but needing more light to properly expose the photo. Visual noise refers to the unwanted grainy or speckled appearance in an image.
You might want to use a high ISO in low-light situations, like indoors, at night, or during events where using a flash is not allowed. It helps you capture images without blurriness from slow shutter speeds.
White balance
White balance in photography refers to the process of adjusting the colours in an image so that they look natural under different lighting conditions. Different types of light, like sunlight, fluorescent bulbs, or candlelight, can give photos a yellow, blue, or green tint. By setting the correct white balance, a photographer ensures that white objects appear truly white and that all colours in the image look accurate.
When white balance is off, the overall mood of the image can change dramatically. For example, an image with a warm, yellow tint might feel cozy but could also look unnatural. On the other hand, a cool, blue tint can create a feeling of calmness but might make skin tones look unnatural. By adjusting white balance, photographers can enhance the emotional impact of their images and make them look more pleasing to the eye.
Francis Bruguière
Francis Bruguière was an influential American photographer and painter known for his innovative use of photography in the early 20th century. He explored various techniques, including the manipulation of ISO settings, to achieve unique artistic effects. Bruguière’s work often combined elements of abstraction with traditional photography, pushing the boundaries of how images could be created and perceived.
His experiments with ISO allowed him to play with light sensitivity, capturing images in unconventional ways. By using high ISO settings, he could create striking contrasts and textures, adding depth to his compositions. This approach not only showcased his technical skills but also reflected his artistic vision, where the interplay of light and shadow became central to his work.
Bruguière’s legacy continues to inspire photographers today, emphasizing the importance of technical experimentation in achieving artistic expression. His contributions to the field illustrate how understanding and manipulating camera settings like ISO can lead to innovative and impactful photography.
Brendan Austin
Brendan Austin is a talented photographer known for his unique approach to capturing textures through his work with ISO settings. He focuses on how different light and shadow interact with surfaces, bringing out intricate details that often go unnoticed. By experimenting with various ISO levels, he creates that emphasize the tactile quality of materials, making viewers almost feel the textures through the photos.
Austin’s work showcases a wide range of subjects, from natural elements like leaves and bark to man-made objects like metal and fabric. His keen eye for detail allows him to transform ordinary scenes into striking visual narratives, inviting viewers to explore the world around them in new ways. Through his photography, he celebrates the beauty of texture, encouraging appreciation for the small details that enrich our everyday lives.
My own photos experimenting with ISO
Firstly, I imported all of my photos into adobe Lightroom for selection and editing.
I went through all the photos and flagged the ones that I thought were good photos or interesting ones.
Here are all the ones that I thought were interesting photos with varying ISO.
ISO 100 32mm f/4.5 1/4 sec
The image on the left is the raw image of a paper ball using a standard ISO of 100. I decided that the image was a bit too dark; to fix this, i added these changes:
I Increased the exposure, contrast and whites to make the image brighter and more clear. I then decreased the vibrance a bit since the paper ball had a bit of a blue colour to it. I think the edited image is better as the subject is more clear and in focus.
Next, i started experimenting with different ISO levels to see how the visual noise changed and how it effected my image.
ISO 160 34mm f/6.3 1.0 sec400 ISO 34mm f/6.3 1.0 sec
This is the exact same image but the only thing I changed was in the second photo I increased the ISO level. The first photo has an ISO level of 160 which is pretty standard, however in the second photo the ISO level is 400. Increasing the ISO means that the lens has a greater sensitivity to light, which is shown in the image as it is brighter and more exposed than the first.
ISO 1000 34mm f/6.3 1/20 sec
In this photo I used an ISO of 1000. This is clearly shown as the image very grainy – visual noise. In the photos above, the increase in ISO meant that the image was over exposed and brighter. However, in this case, I also made the shutter speed faster, which in doing, means that the lens was open for a shorter period of time therefore, letting less light into the camera which makes the image darker.
ISO 8000 34mm f/6.3 1/20 sec
In this photo I increased the ISO even more which is definitely shown by the over exposing and the image demonstrates lots of visual noise as it is very grainy. This is the same photo as above but the only difference is the ISO is 8000 not 1000. This increases the exposure as the image is a lot brighter than the first. The increase in ISO means that the camera is more sensitive to light, hence why with the higher ISO the image is brighter.
Francesca Woodman was an American photographer known for her haunting black-and-white images that often feature ethereal, ghostly figures in enigmatic environments. Born in 1958, she began experimenting with photography as a teenager and developed a unique style that combined elements of surrealism and conceptual art.
One of the distinctive aspects of Woodman’s work is her innovative use of shutter speed. She frequently employed long exposures, which allowed her to create a sense of movement and fluidity in her images. This technique often resulted in blurred figures or partial representations of the human form, contributing to an atmosphere of mystery and introspection. The long exposure times also emphasized the interplay between light and shadow, enhancing the emotional depth of her photographs.
Woodman’s images often explore themes of identity, femininity, and the body, reflecting her own struggles with self-image and mental health. Her work is deeply personal, often featuring herself or other women in intimate, vulnerable poses, surrounded by decaying interiors or natural settings.
Though Woodman’s career was tragically cut short when she died at 22, her work has had a lasting impact on contemporary photography, influencing many artists who seek to convey emotion and narrative through visual experimentation. Her legacy continues to resonate, with exhibitions and publications keeping her vision alive in the art world.
Some of my pieces inspired by Woodman’s work
– Last Photo taken by Ollie Fus
To achieve these blurry images, we needed to use a very low shutter speed which in doing, means that the shutter is open for a longer period of time, so it lets more light in and when an subject is moving in the frame with a low shutter speed set, the images appears blurry. This is because if the shutter speed is set to one second, and the subject is moving during the whole time period, the camera tries to capture that whole sequence into once single image, therefore it shows all the motion – hence the motion blur.
– All images shot between 1″ – 5″ second shutter speed
Photos inspired by Francesca Woodman – using the studio
Shutter speed is the amount of time in which the shutter is open. The longer the shutter is open the more light is let into the lens. Lower shutter speeds are used for low light scenarios as the lower the shutter speed the longer the shutter is open and therefore, the more light is let into the frame.
Faster shutter speeds are used for subjects in fast motion for example a car. Slower shutter speeds are used for subjects in slower motion like taking photos of the stars in the sky.
These two two photos are taken using a very different shutter speed. The first photo is taken using a very fast shutter speed as it shows the stars set still. The second photo uses a shutter speed of just over three hours. This very slow shutter speed allows the camera to capture the stars in motion as they move over the three hours. – Estimate for shutter speed of first photo: 25-50.
Experimenting with shutter speed
This photo was taken using a lower shutter speed around 1/30. This low shutter speed makes the image in blurry as the subjects are moving when the photo was taken. If this was taken with a high shutter speed like 1/250 then it would be a clear, still image.
These photos wer taken with a really low shutter speed around 1/4-1/15. This is very low shutter speed makes the image extremely blurry, so bad that half of the persons head is missing in the large photo. This very low shutter speed means that the shutter is open for a longer period of time which not only lets more light in but it means that the camera is trying to capture the image while in motion for that whole duration of time, this is why the image comes out very blurry.
In this photo, we were trying to capture 3 balls thrown in the air in a straight line. Since the balls are falling through the sky in motion, we needed to use a high shutter speed around 1/250 to create a clear image of the moving subject. This high shutter speeds works because the shutter is open for a shorter period of time, this not only lets less light in because its open for less time, but this means that the image is captured in a still clear motion.
Artists who experimented with shutter speed
Eadweard Muybridge
Eadweard Muybridge was a pioneering photographer and motion picture inventor in the late 19th century, best known for his ground-breaking work in capturing movement through sequential photography. His most famous project involved a series of images of a galloping horse, which he created in 1878 to settle a bet about whether all four hooves left the ground during the horse’s stride. Muybridge used a series of 12 cameras, each triggered by the horse’s movement, to capture the motion in a way that revealed the fluidity of motion previously unseen.
Muybridge’s experiments with shutter speed and rapid photography not only advanced the art of photography but also laid the groundwork for the development of motion pictures. By manipulating shutter speed, he was able to freeze moments in time, allowing viewers to analyze motion in ways that had profound implications for both science and art. His work influenced future filmmakers and artists, and his innovative techniques are still relevant in modern photography and cinematography.
Harold Edgerton
Harold Edgerton was an American engineer and photographer renowned for his pioneering work in high-speed photography. His innovative use of strobe lighting allowed him to capture rapid events, such as a bullet piercing an apple or a dancer in mid-leap, with extraordinary clarity. Edgerton’s techniques revealed details of motion that were previously impossible to see, pushing the boundaries of photographic technology and artistry.
His contributions to the field extended beyond artistic pursuits; Edgerton’s work had practical applications in various scientific and engineering disciplines. By using high-speed photography to study dynamic phenomena, he helped improve understanding in fields ranging from ballistics to fluid dynamics. His iconic images not only captivated the public but also laid the groundwork for advancements in both photography and experimental science, solidifying his legacy as a pioneer of visual exploration.
Hiroshi Sugimoto
Hiroshi Sugimoto is a Japanese photographer known for his meditative and thought-provoking images that explore the intersection of time, memory, and perception. His most famous series, “Theaters,” captures the interiors of old movie houses in a long exposure that blurs the line between past and present, creating a surreal sense of nostalgia. Sugimoto’s meticulous approach to composition and lighting allows him to transform mundane spaces into timeless reflections, inviting viewers to contemplate the passage of time.
In addition to “Theaters,” Sugimoto’s work spans various series, including “Seascapes” and “Dioramas,” where he investigates natural and artificial environments. His use of traditional photographic techniques, combined with a philosophical inquiry into the nature of reality, challenges the viewer’s understanding of both photography and existence. Through his art, Sugimoto encourages a deeper engagement with the world, revealing layers of meaning in seemingly simple subjects.
Diorama – Hiroshi Sugimoto
Francesca Woodman
Francesca Woodman was an influential American photographer known for her evocative black-and-white images that often explored themes of identity, femininity, and the passage of time. Her work frequently featured herself and other female figures, captured in haunting, ethereal compositions that blurred the lines between presence and absence. Woodman’s innovative use of long exposure and soft focus created a dreamlike quality, allowing her to express emotional depth and vulnerability in ways that resonated powerfully with viewers.
Tragically, Woodman’s career was cut short by her untimely death at the age of 22, yet her body of work has had a lasting impact on contemporary photography. Despite her brief life, she produced a significant number of striking images that have inspired generations of artists and photographers. Woodman’s exploration of self and the human condition continues to provoke thought and discussion, cementing her legacy as a key figure in the realm of conceptual and feminist photography.
The Camera Obscura is a natural phenomenon which is around 200 years old and comes from the Latin words for dark (obscura) and room (camera).
What is a Camera Obscura?
With a camera obscura you can capture the world around you by projecting what’s on the outside down into a darkened room on the inside. It also doesn’t involve any power source. Camera obscura — and before them, pinhole cameras — have been around for several hundred years. But it wasn’t until the early 1600s that manufacturing lenses of high enough quality to create more flexible cameras with larger openings was possible – this meant letting in more light to create brighter and higher quality images. For example painters would once have used a camera obscura like this for making accurate and detailed sketches of scenes. It was especially useful for capturing perspective – accurately representing the height, width, depth and position of what you can see in the 3D world but presented on a 2D surface.
How does it work?
Other than a rather theatrical looking curtain that surrounds the darkened chamber, there’s a large lens mounted in a wooden panel. That lens focuses the light from the scene outside down onto a mirror which is held at a 45 degree angle behind it on the inside. The mirror reflects the rays of light onto a piece of paper – or canvas – laid out flat on the base inside the wooden box. To see the image, you need to cover yourself with a piece of black cloth to stop any other surrounding light from getting into the box. Then, you would trace the outlines of the scene you can see projected onto the paper inside. And because this camera obscura uses a lens, which created a relatively large aperture, you get a sharp, colourful image on the paper – like a mini video of the outside world.
Who used a camera obscura?
Because the light is bouncing off the mirror, you see the image the right way up. But the lens causes the image to flip (or invert) so it’s also the wrong way round. That meant artists using a camera obscura would have to trace the final image in reverse. There is plenty of evidence that master like Canaletto and Rembrandt used the camera obscura – but other artists may have been more secretive. People debate whether the Dutch painter Johannes Vermeer used a camera obscura to capture the incredible detail in his exquisite paintings of domestic scenes. Although there’s no written evidence to prove it either way, art historians think, on balance, that he probably did.
The Music Lesson – Johannes Vermeer
The birth of photography
In the 1700s and 1800s CE, the camera obscura was also a useful accessory for the wealthy taking the ‘Grand Tour’ to make drawings of Italian landscapes or classical ruins. But the camera obscura is only focusing and reflecting light — not capturing it. The next big leap in the 1800s CE was to combine a device like a camera obscura with a material that would alter when exposed to the light — and preserve the image.
View from the Window at Le Gras taken by Joseph Nicephore Niépce c. 1826/27
That’s how this photograph was taken. Called View from the Window at Le Gras, it’s the earliest known photograph. The Frenchman Joseph Niépce took it in 1826 or 1827 using a camera obscura and a plate coated with chemicals.
Nicephore Niepce
Who is he?
Nicéphore Niépce (born March 7, 1765, Chalon-sur-Saône, France—died July 5, 1833, Chalon-sur-Saône) was a French inventor who was the first to make a permanent photographic image.
What did Niepce do?
When French inventor Joseph Nicephore placed a camera obscura aimed toward the view outside the second-story window of his country house in Le Gras, France, in 1826-27, he couldn’t imagine the revolution he was about to be a part of.
By then, he had already been experimenting for a while with lithography, a technique invented by Bavarian playwright Alois Senefelder in 1798, which consisted of an artist drawing an image on a smooth, flat limestone surface, taking advantage of the immiscibility between the oil and water. Unsatisfied and recognising his inability to draw, Niepce began experimenting with different methods and techniques that wouldn’t required this skill. He also wanted to find a way to create a permanent image whose lines wouldn’t fade over time and couldn’t be washed away. After a series of unsuccessful attempts, Niepce turned his attention to materials that were affected by light, and explored the use of metal plates. Eventually, an element in particular caught his attention: bitumen of Judea, a naturally occurring asphalt which hardens on exposure to light.
Placing existing engravings, made transparent, onto the surface of pewter plates coated with bitumen, then exposing them to light through a camera obscura, he finally achieved his goal. The sunlight “exposed” the plate except for the areas that were covered by the lines on the engraved paper. Finally the plate was washed in lavender oil and turpentine, removing the unexposed bitumen. By doing that, Niepce created the process which he called “heliography”, from helios meaning “sun”, and graphein, “writing”.
This famous heliograph was produced in 1826, based on an engraving by Issac Briot. It pictures a profile of Cardinal d’Amboise.
The window at Le Gras
Original image
Enhanced version
Point de vue du Gras or View from the Window at Le Gras was taken from the window of Niépce’s ‘laboratory’, and is considered the earliest surviving photographic image.
It is said that it required about 8 hours of exposure for the image to be completed. The sun moved from east to west during the process – the reason why it appears to shine of both sides of the building. Some people estimate that the exposure must have continued not for hours, but for several days.
This amazing milestone offered, in Niepce’s words: “The first uncertain step in a completely new direction”
Was it the first photograph?
The oldest photograph preserved today is the image at Le Gras, France, in 1826. Theoretically, it’s not the first-ever photograph because Niépce had been experimenting with heliography since 1816. But previous ones didn’t get to enter history.
William Henry Fox Talbot
Who was he?
William Henry Fox Talbot (born February 11, 1800, Melbury Sampford, Dorset, England—died September 17, 1877, Lacock Abbey, near Chippenham, Wiltshire) was an English chemist, linguist, archaeologist, and pioneer photographer. He is best known for his development of the calotype, an early photographic process that was an improvement over the daguerreotype of the French inventor Louis Daguerre. Talbot’s calotypes used a photographic negative, from which multiple prints could be made; had his method been announced but a few weeks earlier, he and not Daguerre would probably have been known as the founder of photography.
Photogenic drawings
Photogenic drawings was the name given to the images produced by William Henry Fox Talbot to the images produced by his earliest experiments in the 1830’s. Salted-paper prints: The first viable paper negative process was developed by William Henry Fox Talbot in the late 1830s. n William Henry Fox Talbot. These so-called photogenic drawings were basically contact prints on light-sensitive paper, which unfortunately produced dark and spotty images. In 1840 he modified and improved this process and called it the calotype (later the talbotype).
In October 1833, during his honeymoon at Lake Como, William Henry Fox Talbot faced frustration while sketching the landscape with a camera lucida, realizing his drawings couldn’t capture the scene’s beauty. This experience prompted him to revisit his earlier work with the camera obscura and inspired him to explore the possibility of permanently fixing images onto paper. Upon returning to Lacock Abbey in January 1834, Talbot began experimenting with photographic techniques, using salt and silver nitrate-treated paper to create detailed botanical tracings through sunlight, which he called “the art of photogenic drawing.” By summer 1835, he advanced his work by placing sensitized paper in small cameras to capture images of his surroundings.
However, Talbot soon encountered competition from Louis Daguerre’s precise photographic process introduced in 1839. To assert his claim in photography, Talbot presented his findings to the Royal Society and continued refining his techniques. In September 1840, he achieved a breakthrough with the calotype process, enabling faster exposures and the development of latent images. Despite challenges with image permanence, he collaborated with scientist Sir John Herschel to develop a more stable fixing solution. Talbot also pursued photogravure to create enduring photographic prints, ultimately revolutionizing photography and establishing its artistic and scientific foundations.
Talbot’s Mousetraps
The cameras belonging to William Henry Fox Talbot are some of the most precious items in the Royal Photographic Society Collection at the V&A. Most famous of al are the simple little cameras nicknamed ‘mousetraps’. These were given this name by Talbot’s wife Constance, partly because of their appearance and partly due to Talbot leaving them around the house for long exposure times of up to several hours.
The mousetraps are study little wooden boxes with a brass tube housing a lens at one end, and a sliding wooden panel at the other. Into the wooden panel at the back Talbot would tick a piece of normal writing paper that he had made chemically sensitive to light. On some you can still see the traces where successive pieces of paper have been stuck in place. The mousetrap cameras themselves are pleasant to hold – toy-like even – and their simple design allows even a photographic novice to understand how they might work.
Once the paper was inserted, the camera would be placed in front of the subject being photographed and left for several hours to expose. After that, the paper inside would be carefully removed and chemically treated to bring out and then stabilise the latent negative image. if the experiment reached this point successfully, the negative was used to create positive prints by sensitising a further sheet of paper, laying the negative on top of it in a frame, and exposing it in the sun for several hours. The resulting print would then need to be fixed to stop the image from fading. Getting the right balance of chemicals and treatments for this stage of the process was one of the most vexed areas of research for the duration of early photographic experimentation.
The earliest of the cameras dates back to 1835, when cameras weren’t available to buy. Instead Talbot made some himself out of cigar boxes and other readymade wooden boxes he could modify. He also employed a local carpenter to make more robust boxes to fit lenses from microscope and telescopes
Louis Daguerre
Who was he?
Louis-Jacques-Mandé Daguerre was a French artist and photographer, recognized for his invention of the eponymous daguerreotype process of photography. He became known as one of the fathers of photography.
What is a daguerreotype?
The daguerreotype is a photographic process that involved capturing an image on a polished sheet of metal, usually sharp and detailed, but also incredibly fragile. The process of creating a daguerreotype involved a number of steps. starting with preparation of a metal plate. The daguerreotype plate was coated with a light sensitive chemical, and then placed inside a camera. The image was captured by exposing the plate to light for a certain amount of time, depending on the lighting conditions and the desired result.
Once the exposure was complete, the plate was processed in a chemical bath to fix the image. This involved washing the plate in a solution of salt water and alcohol, and then exposing it to mercury vapor. The mercury vapor reacted with the light-sensitive chemical, creating a visible on the daguerreotype plate. One of the most difficult aspects of this stage of the process was ensuring that the image was properly exposed. This required a high level of expertise and experience, as well as the use of specialised equipment. The final was to polish the plate, which gave it its unique, mirror-like finish. The resulting daguerreotype was then placed inside a protective case, and could be viewed by tilting it at different angles to catch the light.
Why was the daguerreotype not as successful as Talbot’s system?
But the daguerreotype had serious limitations. The mirror-like surface of the image could only be viewed from a narrow angle. Further, the process produced a one-of-a-kind image that did not permit printing duplicates.
Cyanotype
Cyanotype photography is a camera-less technique that involves laying an object on paper coated with a solution of iron salts before exposing it to UV light and washing with water to create stunning white and Prussian blue images.
Sir John Herschel: The inventor of cyanotypes Later, in 1842, he used paper coated with a solution of iron salts, sun exposure and a water wash to create the very first cyanotype – a white image on a deep blue background.
Richard Maddox
Richard Leach Maddox was an English photographer and physician who invented lightweight gelatin negative dry plates for photography in 1871.
The Gelatin or Dry Plate photographic process was invented in 1871 by Dr. Richard L Maddox. This involved the coating of glass photographic plates with a light sensitive gelatin emulsion and allowing them to dry prior to use.
Richard Leach Maddox invented the gelatin dry plate silver bromide process. This led to the invention of dry plate photography, which did not require the photographer to develop the plate immediately after exposure. This proved to be a highly successful process, which continued to be used into the 1920s.
George Eastman
George Eastman was an American entrepreneur who founded the Eastman Kodak Company and helped to bring the photographic use of roll film into the mainstream.
In the 1880s, Eastman developed a convenient method of preparing ready-to-use plates. Improvements led to flexible, roll film as well as photo processing and printing done by mail order. Millions of people worldwide captured memories using cameras and film, leaving all the chemistry to Kodak.
In 1881, with the financial backing of Rochester businessman Henry Strong, Eastman formed the Eastman Dry Plate Company (reincorporated as the Eastman Dry Plate and Film Company in 1884 and as Eastman Kodak Company in 1892). With a series of innovations, the company created easy-to-use cameras that made photography widely accessible, established the practice of professional photofinishing, and developed a flexible film that was a critical contribution to the launch of the motion picture industry.
Kodak (Brownie)
The Brownie was a series of camera models made by Eastman Kodak and first released in 1900. It introduced the snapshot to the masses by addressing the cost factor which had mean that amateur photography remained beyond the means of many people; the Pocket Kodak, for example, would cost most families in Britain nearly a whole month’s wages.
How was the kodak brownie influential?
It was easy to use compared to other cameras, and could be loaded in the daylight. Through the advertising schemes used by Kodak, and because of the affordability of the Brownie camera, many amateurs and middle class people were able to discover the joys of photography.
Who invented it?
It was invented by Frank A. Brownell for the Eastman Kodak Company. Named after the Brownie characters popularised by the Canadian writer Palmer Cox, the camera was initially aimed at children.
How did it work?
The Brownie was a basic box camera with a single lens. It used a roll film, another innovation from Eastman Kodak. Users received the pre-loaded camera, took their photographs, and returned it to Kodak. Kodak would develop the film, print the photos, reload the camera with new film, and return it to the customer.
Digital Photography
Digital photography is a process that uses an electronic device called a digital camera to capture an image. Instead of film, it uses an electronic digital sensor to translate light into electrical signals. In the camera, the signals are stored as tiny bits of data in bitmaps, tiny bits of data that form the image.
in 1957, the first digital image was produced through a computer by Russell Kirsch. It was an image of his son. First digital image ever created, by Russell Kirsch. It is an image of his son, Walden.
DSLR
In 1991, Kodak released the first commercially available fully digital SLR, the Kodak DCS-100, previously shown at Photokina in 1990. It consisted of a modified Nikon F3 SLR body, modified drive unit, and an external storage unit connected via cable.
The first mirrorless camera commercially marketed was the Panasonic Lumix DMC-G1, released in Japan in October 2008. It was also the first camera of Micro Four Thirds system, developed exclusively for the mirrorless ILC system.
Aaron Siskind was an American photographer whose work focuses on the details of things, presented as flat surfaces to create a new image independent of the original subject. He is best known for his black-and-white, close range, and aerial photos of surfaces and objects.
Siskind’s photos can seem both sculptural and vast or diminutive and painterly. Their ambiguity has caused spectators to “muse (sometimes in print) in front of a Siskind photograph like analysands in front of ink blots,” wrote art critic Thomas B. Hess. Born on December 4, 1903 in New York, NY, Siskind didn’t begin photographing until he received a camera as a wedding gift and soon after joined the New York Photo League. His work follows in the lineage of Bauhaus photographer László Moholy-Nagy and American photographer Harry Callahan, inspired by their formal and technical approaches to the medium. His works—which range in subject matter from volcanic lava to graffitied walls—are in the collections of the Art Institute of Chicago, the J. Paul Getty Museum in Los Angeles, and the Smithsonian Museum of American Art in Washington, D.C., among others. Siskind died on February 8, 1991 in Providence, RI.
Aperture is essentially the amount of light let into the camera which alters the focus. Aperture is measured in f stops (focal length).
Depth of Field
The depth of field is what’s in focus in front or behind the subject.
Focal length and Focus points
Focal length is the distance between the lens and the image sensor when the subject is in focus. It determines how zoomed in or out your photos will be. Shorter focal lengths (like 18mm) capture wider scenes, while longer ones (like 200mm) bring distant subjects closer.
Focus points are the areas in your frame where the camera can focus. More focus points give you greater flexibility to choose what to keep sharp in your photo. You can select a single point for precise focusing or let the camera choose automatically.
Experimenting with aperture
This is a photo with a high aperture – f/2.8
The photo doesn’t have much in focus – the subject – the plane – is the main thing in focus when the rest of the image is out of focus. The higher aperture in the image means that the lens hole is larger which means it lets more light in so there is a smaller depth of field which means less is in focus.
This is a photo with a medium aperture – f/8
This photo was taken using a medium aperture therefore a decent amount of the photo is in focus. The main subject being the plane is fully in focus and most of the background is in focus, however the pencils and marbles at the front of the image are out of focus.
This is a photo with a low aperture – f/22
This photo was taken using a low aperture – f/22, therefore less light is entering the lens, this allows for more of the image to be in focus and ultimately a more detailed image with the subject, foreground and background in focus. – The whole image in is focus.
Experimenting with aperture on cameras
This photo was taken with a decently high aperture estimate – 4-8 – as the main subject is in focus however the foreground and background are out of focus. This means that more light is entering the lens because the aperture is higher so the lens hole is wider. This image worked well because the image focuses on the subject while disregarding the fore, and background. Which is what i was trying to achieve.
This photo was taken with a low aperture, estimation: f/ 18-22. This is because the lower the aperture, the smaller the lens hole is therefore less light is entering the lens which means more of the image is in focus. Because of this lower aperture, almost all of the image is detailed, including the background as it isn’t as blurred as the image above. This image worked pretty well as both subjects are in focus which is what I wanted, however I think the image could improve if perhaps a slightly higher aperture was used to then blur the background while keeping the subjects in focus.
Artists who have experimented with aperture
Uta Barth
Uta Barth is a contemporary artist known for her innovative exploration of perception and visual experience, particularly through photography. Her work often examines the effects of aperture and depth of field, using these technical aspects to challenge the viewer’s understanding of focus and clarity. Barth frequently employs shallow depth of field, blurring elements of her images to create an ethereal quality that encourages contemplation and invites viewers to engage with the act of seeing itself. By manipulating focus, she highlights the ephemeral nature of perception, making viewers acutely aware of the distinctions between what is seen and what is overlooked.
In her series such as “Ground” and “…the windows,” Barth plays with light, space, and composition to construct an immersive visual environment. The interplay between sharp and blurred elements in her photographs can evoke a sense of memory and intimacy, suggesting that perception is not merely about clarity but also about the feelings and thoughts that accompany our visual experiences. Her work invites viewers to reflect on their own perceptions and the inherent subjectivity of seeing, making her contributions to the realm of contemporary photography both intellectually rich and visually striking.
Saul Leiter
Saul Leiter was an influential American photographer and painter, best known for his pioneering work in colour photography during the mid-20th century. His images often feature a unique blend of urban landscapes, street scenes, and intimate moments, characterized by a masterful use of depth of field and a keen sensitivity to colour. Leiter frequently employed shallow depth of field to isolate subjects, drawing attention to details that might otherwise go unnoticed. This technique not only enhances the emotional resonance of his work but also reflects the transient nature of city life, inviting viewers to engage with fleeting moments in a dynamic urban environment.
Leiter’s iconic photographs, often taken in New York City, showcase his ability to juxtapose sharp and blurred elements, creating layers of visual intrigue. His compositions are marked by rich colours and reflections, capturing the interplay of light and shadow that define the urban experience. By blurring the boundaries between the foreground and background, Leiter compels viewers to look closer, exploring the poetry found in everyday scenes. His innovative approach to colour and form has left a lasting legacy, influencing generations of photographers and redefining the possibilities of visual storytelling in photography.
Ralph Eugene Meatyard
Ralph Eugene Meatyard was an American photographer renowned for his unique approach to portraiture and his exploration of identity, often employing masks and unconventional settings. His work is characterized by a haunting quality, blending the ordinary with the surreal, and frequently utilizing shallow depth of field to create a dreamlike atmosphere. By focusing on specific details while allowing the background to blur, Meatyard invites viewers to engage with the emotional and psychological layers of his subjects, emphasizing the complexities of human expression and the themes of isolation and alienation.
Meatyard’s photographs often depict family members and friends in eerie, enigmatic settings, where masks serve as both a literal and metaphorical device. This intentional obscuration raises questions about identity and perception, prompting viewers to contemplate the nature of self and the roles we play in society. His masterful use of aperture not only shapes the visual narrative but also enhances the emotional weight of his imagery, reinforcing the sense of mystery and introspection that defines his work. Meatyard’s contributions have had a profound impact on contemporary photography, establishing him as a key figure in the dialogue between art and life.
Ralph Eugene Meatyard and his work with sticks and branches
Ralph Eugene Meatyard was known for his unique approach to photography, especially when he captured images of twigs and branches. He used these natural elements to create mysterious and dreamlike scenes. Instead of focusing on traditional subjects, he made everyday objects look intriguing and artistic. His work often blends the ordinary with a sense of the surreal, inviting viewers to see beauty in simple things.
My work influenced by Meatyard’s Zen twigs
In my photos of twigs and branches, I aimed to capture the beauty and simplicity of nature, inspired by Ralph Eugene Meatyard’s work. I experimented with aperture to control the depth of field. By using a wide aperture, I created a soft background that makes the twigs stand out sharply, adding depth and focus to my images. My goal was to turn these ordinary elements into something intriguing, inviting viewers to see the magic in the everyday.
