within in these photos it gives off a dramatic scene to it, which in the way the subject has been edited it shows a timeless effect. which these photos will be presented as A5.
another print layout to go with the previous print layout.
within this photo I edited by cropping it so each face is in one 3rd each and as been put into a black and white which makes it seem more like its been taken when most photos would be taken in black and white which is similar to Ilse Bing, which is quite similar to the one I edited below. however within this photo its slightly blurry, so dose not capture the full essence of the photographs that are similar to this photograph. (image above)
The edits in this photograph create a vintage, artistic vibe through the use of a black-and-white filter, which adds a timeless and nostalgic feel. The high contrast emphasizes textures and details, such as the reflection in the mirror and the roller skate in the foreground, while the composition, using the mirror and layered elements, adds depth and intrigue. Additionally, the graininess evokes a film photography aesthetic, enhancing the analogue feel and transforming a casual self-portrait into a stylistic and expressive piece. (image above)
this photo has a similar pose to a photos which Anastasia jobson took and how its been done in black and white however in all of her photos there is more of an facial expression , which in the photos is similar to Ilse Bing. (image above)
The edits in this image create a dramatic and emotional effect through the use of black-and-white conversion, high contrast, and sharp details. By removing colour, the focus shifts to the subject’s expression and textures, while the strong contrast highlights key features like the eyes and facial structure, adding intensity. The dramatic lighting creates depth and a sense of mystery, emphasizing vulnerability or introspection. Together, these techniques evoke a powerful emotional connection with the viewer. (image above)
the edits in this black and white photo create a moody and timeless atmosphere. the absence of colour emphasizes texture and contrast, bringing attention to the subjects posture, expression, and surroundings. the gritty details, like wood grain floor and soft fabric of the chair, contribute to a vintage, reflective feel. (image above)
the edits enhance the photo by using dramatic lighting and a dark background to make the subject stand out, while the muted pastel tones and warm skin hues create a nostalgic, vintage feel. the focus on textures, like skates and hoodie, adds detail, while the soft emphasis on the subjects face and evokes an intimate and timeless aesthetic. (image above)
the edits in the photo creates a striking and intimate effect by emphasizing the subjects expression with soft lighting and dark background, which isolates and draws attention to her. the warm skin tones and subtle blush add a natural, emotional touch, while the pastel tones of roller-skates contribute to a nostalgic and youthful vibe. these elements work together to evoke a sense of quiet reflection and simplicity.
the edits in the image creates a dramatic and emotional tone by using a silhouette effect, where the subject is fully un shadow, contrasting sharply with a bright background. the high contrast enhances the textures of the ground and water, while the backlighting highlights the subjects edges, drawing focus to the glowing effect of the setting sun. the black and white filter removes colour distractions, emphasizing composition, light and texture, while adding a timeless and nostalgic quality. altogether, these elements combine to evoke a reflective, serene, or melancholic mood. (image above)
the edits in this image builds on the pervious image on the dramatic mood by maintaining the subjects is now standing still, facing the light, the background further highlights their shape while leaving their features undefined, emphasizing form and posture. the black and white tone enhances the reflective and timeless quality, while the textures of cracked ground and shimmering water adds dept. the stationary stance and quite composition evoke a scene of calm contemplation or solitude.
all of the black and white ones are quite similar by that in most of the its a black out subject that the shape is quite prominent but the photo below that’s in black and white show the facial features and expression and how is quite a sad tone within this photo.
the image shifts the tone by revealing the subjects face and details, breaking away from the pervious silhouette style. the natural light creates contrast, but emphases the texture of subjects clothing and reflective background, adding depth. the subjects posture and expression feel candid and contemplative, while the monochrome palette maintains the timeless and nostalgic atmosphere. the inclusion of the skates and casual attire adds a scene of personality, blending a reflective mood with subtle dynamism. (image above)
the edits of this photo give a very cold effect to this image, which also with the subjects face facing downs its shows the mood of sadness and the blue background adds to this dramatically.
within theses 3 photos it gives a similar effect of timelessness but there is a more lighter pale shade within the photos.
this style of editing is what i will be doing on the day of the exam (2 photos above) these photos give off an effect of timelessness and the vibrant colours in the background make the subject more dramatic.
some of these photos will be give their final edits on exam day.
inspired contact sheet and selection –
with the photography I took its been baced on 2 artist Anastasia jobson and Ilse Bing, the photos in green I used the style of self portraiture which Ilse Bing and I involved roller skates like some of the photos which Anastasia jobson, and I also do similar with the photos which are highlighted in blue via the roller skates and similar poses. with this photo shoot I will be taking more photos because there wasn’t as many good usable ones available and haven’t tried taking photos out in the street. which would relate more to Anastasia Jobson.
which the best raw photos are flagged
with this photos I took it quite like Anastasia jobson but the facial expression is more so like Ilse Bing
these photos are inspired by Ilse Bing by the they have been taken as self portrait mirror selfie.
within this photos shoot, which relate a lot to Anastasia jobson with roller-skating within an environment that you wouldn’t normally see people doing that type of activity and in some of the photos relates to her because of the facial expressions which my subject is given with in some of the photos. however with some of her images is quite bland which relates to Ilse Bing
stuff she has said on her website about her –
“A little about me and what I do… I am a bit of a rolling stone, I have lived and worked in four different countries. Formerly a professional dancer, now I’m a professional photographer and video creator operating in Birmingham, West Midlands. I am really excited to see where my craft takes me next!”
“Simply put, I love working with people, hence why portrait photography is my passion.“
“As a former professional dancer and choreographer, I understand the way the body moves. I have transposed this skillset into my photography; I can instruct my clients to make subtle body adjustments that will transform an image in a spectacular fashion!”
“I’ve been studying posing for years and I believe there’s no “one pose fits all”. To me, effective posing requires a personal approach. I work with every single client by studying their body language, in order to find the flattering shapes, angles and poses specifically for them, and the personality they are trying to project.”
“I deeply believe that every single person I photograph should love their portrait, especially when it comes to a professional headshot/business portrait. I know how frustrating it can feel having a photo that you’re not particularly happy with, on a public display representing you. “
Visual Analysis
This black-and-white portrait exudes a sense of joy, individuality, and empowerment.
• Composition: The subject is positioned in a relaxed, squatting pose, which feels natural and inviting. Her smile and gaze directed away from the camera suggest spontaneity and an effortless connection with her surroundings.
• Lighting: Soft, natural light emphasizes the subject’s features, creating contrast against the smooth marble backdrop. The shadows cast by her figure and braids add depth and texture to the image.
• Contrast and Tonal Range: The monochrome palette enhances the interplay of light and shadow, drawing attention to the subject’s expression and the texture of her braids, denim jacket, and the marble wall.
• Textures and Details: The mix of soft and sharp textures—the smoothness of the marble, the braided hair, the denim fabric, and the sneakers—creates a dynamic visual experience.
Technical Analysis
The photographer has carefully balanced the technical elements to highlight the subject’s personality and style.
• Framing: The tight crop ensures the subject is the focal point, while the diagonal lines created by her posture and shadows guide the viewer’s eye through the composition.
• Depth and Focus: The shallow depth of field keeps the subject sharp and detailed while softening the background, further emphasizing her presence.
• Lighting and Shadow Play: The direct sunlight creates crisp shadows that enhance the three-dimensionality of the image while maintaining a flattering softness on the subject’s face.
• Monochrome Choice: The decision to render the image in black and white eliminates distractions and focuses attention on form, texture, and emotion.
Conceptual Analysis
This photograph captures themes of individuality, freedom, and self-expression.
• Representation of Identity: The subject’s confident pose and vibrant smile suggest a celebration of individuality. Her braids, denim jacket, and roller skates express her personal style and evoke a sense of youth and freedom.
• Timelessness: The monochrome aesthetic lends the image a classic, timeless quality, allowing it to transcend specific eras and connect universally with themes of joy and authenticity.
• Movement and Energy: The roller skates hint at mobility and playfulness, while her relaxed yet dynamic posture conveys a sense of ease and energy.
Contextual Analysis
The image’s cultural and stylistic elements provide deeper context:
• Cultural Identity: The subject’s braided hairstyle and casual attire suggest a celebration of cultural heritage and individuality.
• Urban and Contemporary Aesthetic: The roller skates and denim jacket speak to modern, urban fashion and lifestyle trends, emphasizing a connection to contemporary youth culture.
• Symbol of Liberation: Roller skating is often associated with freedom and self-expression, further reinforcing the photograph’s uplifting and empowering tone.
Evaluation
This photograph is a striking example of how simplicity can convey depth. The combination of visual, technical, conceptual, and contextual elements creates a portrait that feels both personal and universally relatable. Its balance of light and shadow, relaxed composition, and joyous energy make it a celebration of individuality, self-confidence, and freedom.
a pioneering German-born photographer known for her innovative work and use of the Leica camera. Often referred to as the “Queen of the Leica,” Bing played a significant role in modernist photography, blending artistic creativity with technical mastery. This passage highlights her early life, academic pursuits, and eventual pivot to photography, which became her lifelong passion and career.
This self-portrait by Ilse Bing presents a layered and reflective composition that draws the viewer into its complexity.
• Composition: The image is carefully framed to include multiple perspectives of Bing, with her reflection in the mirror to the left and her direct gaze toward the camera lens. This interplay of reflections creates a fragmented yet intimate atmosphere.
• Lighting: Soft, natural lighting enters from the left, casting subtle shadows and emphasizing Bing’s facial structure. The highlights on the camera’s metallic surface provide a focal contrast in the otherwise muted tones.
• Contrast: The black-and-white tonal range enhances the drama, with deep blacks in her clothing contrasting with the brighter, overexposed window in the background.
• Focus: The sharpness of Bing’s face contrasts with the softer, blurred edges of her mirrored reflection, further emphasizing her direct engagement with the viewer.
Technical Analysis
Ilse Bing’s technical mastery is evident in her use of innovative techniques for the time.
• Camera and Equipment: Bing holds a Leica camera, a symbol of modernity and mobility in the 1930s. Its inclusion in the image reflects her identity as a pioneering photographer.
• Framing and Depth: The use of mirrors introduces layers of depth, making the viewer question what is “real” versus a reflection. This effect also speaks to her technical precision in controlling multiple focal planes.
• Exposure: Bing skilfully balances the light to avoid overexposure of the reflective surfaces while maintaining detail in her face and the camera.
• Self-Portraiture Technique: Using a mirror and tripod, Bing constructs a self-portrait that feels both candid and deliberate, showcasing her dual roles as both subject and creator.
Conceptual Analysis
Conceptually, the photograph explores identity, perception, and the role of the photographer.
• Themes of Reflection: The use of mirrors signifies introspection and the multifaceted nature of selfhood. Bing presents herself not just as an individual but as an artist in control of her image.
• Breaking the Fourth Wall: By directly engaging the viewer through her gaze, Bing asserts her presence, creating an intimate yet authoritative connection.
• Photography as Art: The inclusion of her camera within the composition blurs the line between the act of creation and the creator, emphasizing her role in redefining photography as an art form.
• Modernist Ideals: The image reflects modernist influences, with its focus on technology, innovation, and a rejection of traditional portraiture.
Contextual Analysis
Understanding the historical and cultural context deepens the appreciation of this work.
• Cultural Context: Taken in 1931, this photograph situates itself within the interwar period, a time of significant technological advancements and shifts in artistic expression. Bing’s work is emblematic of the avant-garde movement, which sought to challenge conventional forms.
• Artistic Influences: Bing was known as the “Queen of the Leica,” and her work aligns with contemporaries such as Man Ray and László Moholy-Nagy, who explored experimental and abstract photography.
• Feminism and Identity: As a woman photographer in a male-dominated field, this self-portrait can be interpreted as an assertion of autonomy and professional identity, with Bing presenting herself as both subject and creator.
• Personal Context: Bing’s use of the Leica camera not only symbolizes technological progress but also represents her personal connection to her craft, making the photograph a testament to her innovation and artistry.
Evaluation
Ilse Bing’s 1931 self-portrait is a remarkable fusion of visual, technical, conceptual, and contextual elements. Its layered composition, technical precision, and conceptual depth challenge the boundaries of self-portraiture and photography itself. Through reflections, lighting, and her direct gaze, Bing captures not only her physical presence but also her identity as a pioneering photographer and artist.
While minimalist in its setting, the photograph is rich in meaning, serving as a testament to Bing’s ability to combine personal expression with innovative techniques, making it a landmark in modern photography.
subject – trying in self portrait but will mainly use a subject as in my sister who roller-skates as well.
Cindy Sherman was an important figure in Conceptual Photography, especially in Feminist Art and Postmodernism.
Her work involved taking self-portraits where she dressed up as different characters to explore themes like identity, gender, and how women are shown in media.
Purpose: Sherman’s goal was to challenge the typical ways women are portrayed, like the “femme fatale” or the “damsel in distress.” She showed that these roles are not real, but rather performances influenced by society. Her work made people think about how media shapes our ideas of gender and identity.
Before becoming a photographer, Cindy Sherman studied art. She initially attended Buffalo State College in New York, where she earned a degree in fine arts with a focus on painting. However, she became increasingly drawn to photography as a medium to express her ideas. While at college, she also experimented with other forms of art, including drawing and film.
Sherman’s shift to photography allowed her to explore concepts of identity, gender, and representation in a new way, eventually leading her to become one of the most influential photographers in contemporary art.
Cindy Sherman’s photography focuses on challenging stereotypical representations of women and exploring the performative nature of gender and identity. Through self-portraits in which she transforms into various characters, she critiques how women are portrayed in media, pop culture, and art, often highlighting the artificial and constructed nature of these roles. By using herself as the subject, Sherman questions the “male gaze” and shifts the control over female representation, urging viewers to reconsider how images shape our understanding of identity and gender. Her work ultimately seeks to provoke thought about how societal expectations influence how we see ourselves and others.
Cindy Sherman achieves her goal by photographing herself in a variety of personas and roles, using costumes, makeup, props, and elaborate set designs to transform her appearance. She doesn’t photograph other people but instead uses herself as the model, allowing her to explore and manipulate different identities. Through these self-portraits, Sherman portrays a wide range of characters, such as the “victim,” “heroine,” “mother,” “old woman,” “sex object,” “movie star,” and various figures drawn from stereotypes in film, advertising, and art. These personas often exaggerate or distort societal expectations of women.
Through this process, Sherman conveys a message about the constructed nature of gender roles and identity. By embodying different characters, she reveals how these roles are not inherent but are shaped by external influences like media and culture. Her work challenges viewers to question how much of their identity is influenced by societal norms and stereotypes, especially in how women are portrayed and objectified in the media. Sherman’s use of transformation and performance in her photography critiques the power of visual imagery in shaping perceptions of gender and identity.
Cindy Sherman does not consider her photos to be traditional self-portraits. While she is the subject of her work, her photos are not about capturing her “true” self or identity. Instead, Sherman uses herself as a medium to explore and critique various personas, stereotypes, and societal roles. Through her transformations, she embodies a wide range of characters, often drawing from cultural and media archetypes like the “victim,” “femme fatale,” or “older woman.”
Her work is more about examining how identity is constructed and how roles are performed rather than portraying herself in a direct or autobiographical way. Sherman’s photographs aim to reveal the artificial nature of these roles, rather than offer an intimate or personal glimpse into her own identity. In this sense, while she is the subject, the focus is on the broader themes of representation, gender, and identity, rather than a self-portrait in the traditional sense.
within the photo you can see and women betrayed as a stereotypical women and that’s its in black and white, that’s shows that its been seen in an old mind set. furthermore how she is dressed is quite proper for a young women and also her outfit seems very feminine compared to how people dress now a days. on the face you cant see the facial expression, its very plain and doesn’t show any personality of the person. within this the photo is cute spacious its got only building, which go straight up high, and the subject is positioned in the lower middle and in the frame is the shoulders up.
aperture – the background is mostly blurred in the left side and the right is in focus, the subject is fully in focus.
Shutter speed – which could of been quite a fast shutter speed as the subject is in focus, with a balanced exposure
Angle – Has it been taken from a slightly lowered angle, which is to create a sense of power or dominance in the characters she portrays. This challenges traditional depictions of women, who are often shown from higher angles to appear passive. The lower angle also emphasizes that the roles she embodies are not natural, but constructed, reflecting her critique of how society and media shape identity. By shifting the viewer’s perspective, Sherman encourages a more critical engagement with the images, inviting them to question the power dynamics and the meaning behind the characters.
this photo is taken as a head shot, this adds more mystery of to what’s going on below her.
Cindy Sherman’s Untitled Film Stills is a suite of seventy black-and-white photographs in which the artist posed in the guises of various generic female film characters, among them, ingénue, working girl, vamp, and lonely housewife.
a subtle satire of the feminine. stereotypes plaguing society now and in the past. By confronting viewers with a. familiar image of the ideal 1950s woman, she attempts to have viewers realise their. indoctrination to stereotypes.
within this photo you can see a very lady like subject, also it can be seen that its a hole body which shows the femininity of her outfit, as she is wearing a dress.
aperture – the backgrounds is out of focus and the foreground (the tree) is very in focus and same with the subject.
Shutter speed – should be relatively fast, ensuring the subject remains sharp and in focus while maintaining a well-balanced exposure.
the angle being taken from straight on creates a sense of direct confrontation or engagement with the viewer. This perspective often emphasizes the subject’s presence, allowing for a more intense or provocative interaction. By using a straightforward, frontal angle, Sherman often challenges traditional representations of identity and the roles people play, highlighting the constructed nature of the persona she’s portraying. This directness can evoke a feeling of discomfort or force the viewer to question their perceptions, as the subject seems to confront them head-on.
Identity refers to the characteristics, qualities, beliefs, and traits that define a person or thing. It is the concept of who or what someone or something is, often shaped by a combination of internal and external factors. In the context of a person, identity can include aspects like:
Identity is a complex, multifaceted concept that can evolve over time as individuals grow, learn, and adapt to different experiences and environments. It plays a central role in how people navigate relationships, society, and the world at large.
Femininity refers to qualities and behaviours that society traditionally associates with being female or womanly. These can include:
While femininity has often been tied to women, anyone can express feminine traits. Today, there’s a growing understanding that femininity can look different for everyone.
Masculinity refers to qualities, behaviours, and roles traditionally associated with being male or manly in a given society. These can include:
Like femininity, masculinity is not fixed and can be expressed in many different ways. In recent years, ideas of masculinity are evolving, encouraging more diverse and inclusive expressions of what it means to be masculine.
Identity can be influenced by femininity and masculinity in the following ways:
Overall, our identity is influenced by how we express or challenge traditional ideas of masculinity and femininity.
a technique in which the camera shutter is opened more than once to expose the film multiple times, usually to different images.
In 1922, Man Ray (born Emmanuel Radinsky) freed himself from traditional painting by working with light through camera-less photography. He called this technique “rayographs,” where objects were placed on photosensitive paper and exposed to light, creating abstract images. Though the process existed since the 1830s, Man Ray focused on chance, irrational combinations, and abstraction. His early rayographs were featured in Champs delicious (1922), with an introduction by Dada leader Tristan Tzara, and he later explored moving images in his 1923 film Le Retour à la raison.
Rooted in the Dada movement, which rejected traditional art for randomness and spontaneity, Man Ray’s work embraced these ideas in both paintings and photograms. His photography and art also connected with the Surrealist movement, which aimed to explore the unconscious and the uncanny. He created surreal images like Anatomies, which transformed the human form, and iconic objects like Gift (an altered iron) and Indestructible Object (a metronome with a photo of an eye). A major figure in early MoMA exhibitions, Man Ray’s work was featured in Cubism and Abstract Art (1936) and Fantastic Art, Dada, Surrealism (1936–37). In 1941, MoMA added key works, including 24 rayographs, highlighting his desire to make photography as automatic as a typewriter.
Alexander Rodchenko was a ground breaking artist, both politically and artistically. He worked in many fields, including design, printing, painting, sculpture, and photography. He was also an art theorist and educator, teaching at VKhUTEMAS in Moscow starting in 1920. As a key figure in Russian Constructivism, he co-wrote the 1921 manifesto, advocating for the use of industrial materials in art for a society in revolution.
Rodchenko began photography in 1924, inspired by his earlier work in illustration and design. He incorporated his own images into photomontages and made it a key technique. Known for his experimentation, Rodchenko viewed the camera as a versatile tool for drawing, using unique angles and foreshortening. He encouraged photographers to take multiple shots of an object from various angles.
for this photo I edited in photo show 3 different photos then made the effect in photo shop by dragging one photo on top of each other and then making so its blend is lighten and did same on other photo and edited the amount of opacity, on one of the photos the opacity was low so it blended in with the face and the other one is a bit higher but still blends in.
with in this photo multi exposure is used to seem like there is multiple of the subject, 3 different photos with this the subject is looking in 3 different directions to make photo look more interesting. which this photo style is seem more like man rays work.
for this photo i used double exposure, within in this photo, which its most similar to Alexzander Rodchenko. which I also tried with the same photo but added one more photo.
process and the result of making a composite photograph by cutting, gluing, rearranging and overlapping two or more photographs into a new image. Sometimes the resulting composite image is photographed so that the final image may appear as a seamless physical print. A similar method, although one that does not use film, is realized today through image editing software. This latter technique is referred to by professionals as compositing, and in casual usage is often called photoshopping. A composite of related photographs to extend a view of a single scene or subject would not be labelled as a montage, but instead a stitched image or digital image mosaic.
Stezaker is a British artist who creates collages by combining classic movie stills, vintage postcards, and book illustrations. By manipulating and merging these images, he gives them new meaning. His Mask series, which blends glamorous portraits with scenes like caves or waterfalls, is known for its eerie beauty.
Kensuke Koike (b. 1980, Japan) creates unique art by altering vintage photos. His approach focuses on using only the elements within the original image to craft a new, contemporary story. For Koike, each piece starts like a puzzle, with its own challenges to solve.
In 1927, Alfred H. Barr, Jr., the first director of the Museum of Modern Art, visited Moscow and met Aleksandr Rodchenko, one of the first Anglophone art historians to do so after the Russian Revolution. Barr was shown a wide range of Rodchenko’s work, including Suprematist paintings, woodcuts, posters, book designs, photographs, and kino sets. Rodchenko was proud of his work, especially his 1921 declaration that painting was dead. He demonstrated this with three monochrome paintings—Pure Red Colour, Pure Yellow Colour, and Pure Blue Colour—exhibited alongside works by other Russian artists. These pieces focused on the material nature of paint, using the primary colours to eliminate representation and reduce painting to its simplest form.
within this photo its seems most like the artist Kensuoke koike, by that the face has been made into multiple circles which look a bit like an optical allusion.
within this photo I edited it so would give this rectangle distorted effect by the parts are lifted up. also the one blow i used the same original photo however I duplicated it and inverted it and then deleted the sections.
for this photo I used a similar method however i brightened the layer underneath and then blended the top layer, to give this effect.
Studio lighting is a popular choice for portrait photographers who want complete control over their lighting environment. In a studio setting, photographers can use a variety of lights, such as soft boxes, umbrellas, and beauty dishes, to create the perfect lighting setup for their subject.
Studio lighting in photography happens when a photographer uses an artificial light source to either add to the light that’s already there, or to completely light their photograph. Setups can range from using a single flash that you mount onto your camera, to multiple off-camera lights.
point 1 – key light
usually the strongest point of light and most influence within the area, places to on side of camera or subject.
point 2 – fill light
if are to lights the more stronger one is your key light and the less one is your fill light, which is usually places the opposite side of the key light, which is used to full the shadows created by the key light. The fill will usually be softer and less bright than the key
point 3 – back light
the third light in your kit after setting up the key and fill will become the back light which is also known as the rim, hair, or shoulder light.
The back light is normally placed behind the subject and lights it from the rear.
The back light is the light that makes your shot ‘pop’. Rather than providing direct lighting, like the key and fill, its purpose is to provide definition and subtle highlights around the subject’s outlines. If setup correctly there should be a subtle rim of light around your subject. This helps separate the subject from the background and provide a three-dimensional look.
additional lighting – 4 point light setup
If there is a fourth light available to you then it would become your background or environment light.
The background light is placed behind the subject. Unlike the other three lights, which illuminate foreground elements, it illuminates background elements, like walls or outdoor scenery. This technique can be used to eliminate shadows cast by foreground elements onto the background, or to draw more attention to the background.
This setup would then typically become known as a four point lighting setup.
is a classic photographic and cinematic technique that creates a dramatic yet natural look by using a single light source positioned at 45-degree angle to the subject and slightly above eye level. it is characterized by a distinct triangle of light on the shadowed cheek, under eye, formed by the interplay of light and shadow. this high contrast effect adds depth and dimension, emphasizing facial features. commonly used in portrait photography and dramatic scenes, Rembrandt lighting evokes a sense of mystery and intensity, making it a popular choice of creating moody, compelling visuals.
is a portrait lighting technique characterized by a small, butterfly shaped shadow directly under the subjects nose. it is achieved by pacing a single light source above and directly in front of the subject, normally a a 30 – 45 decree angle. this setup highlights the cheek bones and creates a smooth, flattering look, making it popular for beauty, glamor and headshot photography.
is an artistic technique that uses a strong contrasts between light and shadow to create sense of depth, volume and drama. originating in the renaissance it was formally used by artists like Caravaggio and Rembrandt to emphasize three dimensional forms and evoke mood. in visual arts, chiaroscuro highlights specific areas of a subject while leaving others in shadow, gilding the viewers focus and enhancing the emotional intensity of the sense. this technique is also widely applied in photography and cinematography for dramatic lighting effects.
A fill light is a the style of lighting which is often used in theatre and film as well as in photography. Often used as part of a three point lighting set up, fill lighting is utilised in order to light up the shadowed parts of your setting – this creates less contrast where you do not want it.
yellow shows chiaroscuro and red is Rembrandt and green shows butterfly
in this photo its shows the light technique of Rembrandt lighting, and with in this photo a reflector is used to the shadows don’t completely block out half of the face. Also even with the glasses u can see the triangle and how it dose not effect the lighting.
same for this one but its more obvious that’s its Rembrandt lighting, as can see the triangle more so. And the light was moved more so closer to the camera, like half way between the model and camera.
for this photo you can see that its lighting represents more so like Chiaroscuro, this is shown by that half of the face is lit up and the other half is shadow but u can still see the shadow side cause a reflector has been used.
similar for this photos that it represents chiaroscuro, this is achieved by the light to be beside the model, so that the light on the face is only on one side. and again the reflector is used so that the shadow side of the face is still visible.
within this photo you can kinder see the shadow under the nose and the lighting is focused above the subject to give this effect.
chiaroscuro –
on this photo i edited it into black and white and made the brightness on one side quite bright and on the other side the shadows so that it blends into the background.
Rembrandt –
with this photo I cropped it to seem closer and focused more on the features of the subject.
for this photo I cropped it so was more background and to make photo seem more ominous and makes subject seem really small.
for this photo I tried to see what it would look like in black and white.
for this I cropped the photo so was made to seem like the subject is really small
with this photo I edited the background so it get rid of the texture and focused on only the subject, made it to a low exposure.
with this photo I edited it in black and white, which made the butterfly effect more obvious.
with in this photo its similar to the last but some of the texture has been taken away.
raw photos –
i chose these photos because
using this virtual gallery made me realize that I could change from horizontal to vertical, which vertical shows the top photos to be hiding her emotion’s and the top one showing her screaming out what’s been hiding inside. from doing this improves the took of the display of the photos in the gallery.
I chose these as my final images because these are the best edited photos out of all of my possible photos and they showed the most seminaries to August Sander. and how in each photos she is looking within the camera.
with those I used artsteps to visualise what it would look like in a gallery and to see that those 4 photos go well together